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Editions & Works on Paper New York, 23 April 2019


64. Roy Lichtenstein


41. Helen Frankenthaler


Editions & Works on Paper New York, 23 April 2019

Auction & Viewing Location 450 Park Avenue, New York 10022

Auctions 23 April 2019, 10am, 2pm & 6pm Day Sale Morning Session 10am, lots 94–221 Afernoon Session 2pm, lots 222–343 Evening Sale Auction 6pm, lots 1–93

Viewing 15 – 23 April Monday – Saturday 10am – 6pm Sunday 12pm – 6pm

Sale Designation

Modern and Contemporary Editions Department Contact +1 212 940 1220 editions@phillips.com Worldwide Co-Director Contemporary Editions Cary Leibowitz cleibowitz@phillips.com Worldwide Co-Director Modern Editions Kelly Troester ktroester@phillips.com Specialist Kip Eischen keischen@phillips.com

When sending in written bids or making enquiries please refer to this sale as NY030119 or Editions.

Cataloguer Jason Osborne josborne@phillips.com

Absentee and Telephone Bids

Administrator Ana Ziegler aziegler@phillips.com

tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Property Manager Paul Stefens pstefens@phillips.com


2. Joan Mirรณ


Our Team. Editions New York. Cary Leibowitz

Kelly Troester

Kip Eischen

Jason Osborne

Worldwide Co-Head, Editions cleibowitz@phillips.com +1 212 940 1222

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Cataloguer josborne@phillips.com +1 212 940 1332

Anne Schneider-Wilson

Rebecca Tooby-Desmond

Louisa Earl

Senior Specialist aschneider-wilson@ phillips.com +44 20 7318 4042

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London. Robert Kennan Head of Editions, Europe rkennan@phillips.com +44 20 7318 4075

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Š Brigitte Lacombe

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Miety Heiden

Alexander Payne

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Marianne Hoet

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Deputy Chairman, Europe Senior Specialist, 20th Century & Contemporary Art +32 3257 3026 mhoet@phillips.com


7. Pablo Picasso


Business Development. Americas.

Europe.

Vivian Pfeifer

Guy Vesey

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Head of Business Development & Marketing, Europe +44 20 7901 7934 gvesey@phillips.com

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Yassaman Ali

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Giulia Campaner Mendes

Europe.

Asia. Jasmine Yan

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Associate Client Advisory Manager +44 20 7318 4058 gcampaner@phillips.com

Margherita Solaini Business Development Associate +39 02 83642 453 msolaini@phillips.com


International Specialists & Regional Directors. Americas. Cândida SodrÊ

Carol Ehlers

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Melyora de Koning

Blake Koh

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Cecilia Lafan

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Laurence Calmels

Clara Rivollet

Maria Cifuentes

Laurence Barret-Cavy

Regional Director, France +33 686 408 515 lcalmels@phillips.com

International Specialist, 20th Century & Contemporary Art, France +33 6 42 09 97 39 crivollet@phillips.com

Specialist, 20th Century & Contemporary Art, France +33 142 78 67 77 mcifuentes@phillips.com

Specialist, 20th Century & Contemporary Art, France +33 633 12 32 04 lbarret-cavy@phillips.com

Carolina Lanfranchi

Maura Marvao

Kalista Fenina

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy +39 338 924 1720 clanfranchi@phillips.com

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Kyoko Hattori

Jane Yoon

Sujeong Shin

Regional Director, Japan +81 90 2245 6678 khattori@phillips.com

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Meiling Lee

Christine Fernando

Sandy Ma

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Europe. Dr. Nathalie Monbaron

Dr. Alice Trier

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Wenjia Zhang

Alicia Zhang

Cindy Yen

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Asia.


24. Jasper Johns


Evening Editions, 6pm Lots 1–93 Day Editions morning session, 10am Lots 94–221 Day Editions afternoon session, 2pm Lots 222–343


When Joan Miró wrote that “the march of the world is leading towards collectivity” he likely drew from his experiences with printmaking. The comradery and shared activities of printing processes enlivened the Catalan master. Friendship prompted his frst foray into printing; conversations and admirations among Miró and surrealist poets during the early 1930s resulted in printed illustrations that were among his earliest graphics. Print shops provided Miró with welcome breaks from the solitude of a painting studio as well as dialogue with the outside world. Miró’s lithographs and etchings resulted from happenstance occurrences and personal interactions unlike his paintings that were preceded by investigations in isolation. Master printers became Miró’s friends and provided great inspiration and comfort. He mentioned, “I work at my engraving in a team. . . They give me ideas and I take them fully into my confdence. But if you want to remain a star, it’s impossible.” Intaglio printmaking prohibited isolation; Miró’s etchings were a chorus of plate marks and personalities. Lots 1-5 are masterworks in the medium that date from Miró’s most advanced period. Depicting characters encountered throughout a life spent traversing France and Spain, his prints burst with the vigor of friendships, imagination and memories. Le Permissionnaire (Soldier on Leave), lot 1, was an of-duty and elated young soldier like one that Miró would have encountered throughout his travels during the great wars. Areas of vivid color and even a handprint ensconced a black fgure sprouting string-like appendages. Late-career etchings continued Miró’s legacy of depicting wide-ranging personalities with dimensionality though his unique eye of interpretation. The imperfection of humanity continually motivated Miró’s intaglios; Le Maréchal des logis (The Sergeant), lot 4, presented a dominant fgure commanding authority, yet looking like a whimsical bird. While he depicted L’Oustachi (The Ustachi), lot 5, as a fearful follower in vibrant colors,

the very next print he created, Le Brahmane (The Brahman) referenced the Hindu idea of supreme cosmic power! Miró’s cast of characters were diverse and flled with life. The large format and visual diversity of Le Sarrasin à l’étoile bleue (Saracen with Blue Star), lot 2, Le Permissionnaire and L’Oustachi were examples from a confdent master at liberty to improvise, work ambitiously and trust in his collaborators. Amongst all of these people, animals and surreal ideas, Miró asserted his unique form of whimsy as enjoyed in Souris rouge à la mantille (Red Mouse in the Mantilla), lot 3, and created two color versions using diferent plates and colors as well as a Pollock-style dripping of aquatint. Even during prolifc periods of his painting practice, Miró found motivation in waking up early to work at engraving. By the mid-1970s his output approached a ferocity that belied his advanced years. More than 60 intaglio prints were made between 1974 and 1975 alone, a testament to the vitality that Miró took from his work in the medium. Miró continued to engrave enthusiastically until his death in 1983 with a number of projects printed but not yet signed. His very last completed works from 1981, lots 137 and 138, Lapidari “Llibre de les propietats de les pedres” (Lapidary “Book of the Property of Stones”), lot 137, and one example from Llibre dels sis Sentits (Book of the Six Senses), lot 138, ended his illustrious career with a refection on the natural world.

1. Joan Miró

1893-1983

Le Permissionnaire (Soldier on Leave), 1974 Etching and aquatint in colors, on Arches paper, with full margins. Signed and numbered 6/50 in pencil (there were also some artist’s proofs), published by Maeght, Paris, framed. I. 44 7/8 x 29 in. (114 x 73.7 cm) S. 54 1/8 x 37 3/4 in. (137.5 x 95.9 cm) Estimate $30,000-50,000 Provenance Sindin Galleries, New York, c. 1979 Private Collection, New York Literature Jacques Dupin 655


2. Joan Miró

1893-1983

Le Sarrasin à l’étoile bleue (Saracen with Blue Star), 1973 Etching and aquatint in colors with carborundum, on Arches paper, the full sheet. Signed and annotated ‘H.C’ in white pencil (an hors commerce, the edition was 50), authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse and dated ‘2 Octobre 2008’, published by Maeght, Paris, framed. S. 54 1/2 x 23 3/4 in. (138.3 x 60.3 cm) Estimate $20,000-30,000 Literature Jacques Dupin 578


Property from an Important East Coast Collection

3. Joan MirĂł

1893-1983

Souris rouge Ă la mantille (Red Mouse in the Mantilla), 1975 Aquatint in colors, on Arches paper, with full margins. Signed and numbered 23/50 in pencil (there were also some hors commerce impressions), published by Maeght, Paris, framed. I. 44 1/4 x 29 1/4 in. (112.4 x 74.3 cm) S. 54 1/4 x 37 3/8 in. (137.8 x 94.9 cm) Estimate $12,000-18,000 Provenance Opus Art Studios, Inc., Coral Gables, Frederic B. Snitzer, 1982 Literature Jacques Dupin 751


4. Joan Miró

1893-1983

Le Maréchal des logis (The Sergeant), 1978 Etching and aquatint in colors with carborundum, on Arches paper, the full sheet. Signed in white pencil and numbered ‘HC VIII/XII’ in pencil (an hors commerce impression, the edition was 50), authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse and dated ‘28/IV/2015’, published by Maeght, Paris, framed. S. 41 7/8 x 29 5/8 in. (106.5 x 75.4 cm) Estimate $10,000-15,000 Literature Jacques Dupin 994


5. Joan Miró

1893-1983

L’Oustachi (The Ustachi), 1978 Aquatint in colors with carborundum, on Arches paper watermark Maeght, with full margins. Signed in white pencil and numbered 40/50 in pencil (there were also 12 hors commerce impressions in Roman numerals), authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse and dated ‘10/IV/2014’, published by Maeght, Paris, framed. I. 44 7/8 x 29 3/8 in. (114.2 x 74.5 cm) S. 54 3/8 x 37 7/8 in. (138 x 96.5 cm) Estimate $15,000-25,000 Literature Jacques Dupin 1000


6. Pablo Picasso

1881-1973

7. Pablo Picasso

1881-1973

Jacqueline at the Easel (Jacqueline au chevalet), 1956 White earthenware round plate, painted in colors with brushed glaze. Incised ‘F.219’ and numbered 137/200 in black paint, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. diameter 16 1/2 in. (41.9 cm)

Little bust of woman (Petit bust de femme), 1964 Red earthenware rectangular plaque. Incised ‘J. 109’ with green paint and numbered 93/100 on the reverse, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the reverse. 13 x 10 in. (33 x 25.4 cm)

Estimate $20,000-30,000

Estimate $15,000-25,000

Literature Alain Ramié 333

Literature Alain Ramié 523 Georges Ramié 633


8. Pablo Picasso

1881-1973

Buste de femme au corsage blanc (Jacqueline de profl) (Bust of a Woman with White Bodice, Jacqueline in Profle), 1957 Lithograph, on Arches paper, with full margins. Signed in blue crayon and numbered 23/50 in pencil (there were also a few artist’s proofs), the frst state of three (the second state was not printed and there were only a few artist’s proofs of the third state), framed. I. 27 1/2 x 19 1/2 in. (69.9 x 49.5 cm) S. 30 x 22 1/2 in. (76.2 x 57.2 cm) Estimate $30,000-50,000 Provenance Purchased in Paris, late 1950’s Private Collection, New York Literature Georges Bloch 848 Fernand Mourlot 311 Felix Reuße 731

“Black scarf—black hair—black pullover— black slacks—black oxfords: hazel-green tigress eyes. Barely fve-feet tall.” David Douglas Duncan


9. Pablo Picasso

1881-1973

Les Jeux et la Lecture (Games and Reading), 1953 Lithograph, on Arches paper, with full margins. Signed in red crayon (an artist’s proof, the numbered edition was 50), framed. I. 18 7/8 x 24 5/8 in. (47.9 x 62.5 cm) S. 19 7/8 x 26 in. (50.5 x 66 cm) Estimate $15,000-25,000 Provenance Pace Editions, New York Literature Georges Bloch 741 Fernand Mourlot 240 Felix ReuĂ&#x;e 626


10. Pablo Picasso

1881-1973

Femme assise en tailleur: Geneviève Laporte (Seated Woman in a Suit: Geneviève Laporte), 1951 Etching and drypoint, on Japon nacré paper, with full margins. Signed and numbered 89/180 in pencil (there were also 12 artist’s proofs), published by G. Gili, Barcelona, the frontspiece for Recordant el Doctor Reventós, 1969, framed. I. 5 3/4 x 4 in. (14.6 x 10.2 cm) S. 12 1/4 x 9 1/4 in. (31.1 x 23.5 cm) Estimate $18,000-25,000 Literature Georges Bloch 1837 Brigitte Baer 888 Patrick Cramer books 147


11. Salvador Dalí

1904-1989

Les Caprices de Goya de Dali (Dali’s ‘Caprichos’ by Goya): 10 plates, 1977 Ten heliogravures made from Goya’s print series (circa 1799 edition) reworked and altered with drypoint and extensive hand-coloring, before Dali’s titles and plate numbers were engraved in the plates, on Rives BFK paper, with full margins. All signed and annotated ‘Premier Etat-Couleur’ (frst colored state) in pencil, two with additional proofng notations in the margins in pencil (all hand-colored proofs before the edition of 200 and 20 artist’s proofs), including a copy note from Denise Rigal (Atelier Rigal) dated ‘18.07.15’ describing how the series was printed and these examples were colored by Dalí, the edition published by Berggruen/ Editions Graphiques Internationales, Paris, all unframed. all I. 9 x 7 in. (22.9 x 17.8 cm) all S. 17 1/4 x 12 1/4 in. (43.8 x 31.1 cm) Estimate $20,000-30,000 Provenance Private Collection, France Literature Ralf Michler and Lutz W. Löpsinger 849-852, 856, 858, 861, 869, 875, 922

Including: A las primeras 18 sillas de mimbre (plate 2); No es verdad, a mí con esas, no... (plate 3); El de los roñones a la brochette (plate 4); El cisne no está para puñetas (plate 5); Cábano (plate 9); Muchachas al avío (plate 11); Qué ramo de bonitas cerezas! (plate 14); Cenicitas (plate 22); Hasta Ensordecer (plate 28); and Los relojes blandos (plate 75) In this large-scale project, Dalí reinterpreted Goya’s famous series by introducing his own surrealist elements and satirical interpretation to the issues Goya presented in his etchings: vices, abuses of power and the relationship between men and women. For the published edition, the reworked plates were then re-titled by Dali below the image with repartee to Goya’s.


12. After Henri Matisse

1869-1954

Odalisque sur la terrasse (Odalisque on the Terrace), 1922 Etching, aquatint and roulette in colors by Jacques Villon, on Arches paper, with full margins. Signed by Matisse and numbered 47/200 in black ink, published by Galerie Bernheim-Jeune, Paris, unframed. I. 19 x 23 3/4 in. (48.3 x 60.3 cm) S. 24 5/8 x 35 1/8 in. (62.5 x 89.2 cm) Estimate $12,000-18,000 Literature Colette de Ginestet and Catherine Pouillon E 633


13. Henri Matisse

1869-1954

Hindoue à la jupe de tulle (Hindu Woman with a Tulle Skirt), 1929 Lithograph, on Chine paper, with full margins. Signed and numbered 26/50 in pencil (there were also 10 artist’s proofs and an edition of 10 on Japanese paper), framed. I. 11 x 15 in. (27.9 x 38.1 cm) S. 16 3/8 x 20 1/2 in. (41.6 x 52.1 cm) Estimate $20,000-30,000 Provenance Howard Russeck Fine Art, New York Literature Claude Duthuit 510


14. Paul Klee

1879-1940

Ältliches Kind II (Elderly Child II), 1930 Carbon drawing, on laid paper watermark MBM, mounted to card by the artist. Signed on the drawing and dated, annotated and titled on the mount ‘1930 B. 2. ältliches Kind II’ in ink, framed. drawing sheet 19 x 12 3/8 in. (48.3 x 31.4 cm) mount 25 5/8 x 19 1/8 in. (65.1 x 47.9 cm) Estimate $20,000-40,000 Provenance Lily Klee, Bern (1940) Klee-Gesellschaf, Bern (1946) Buchholz Gallery (Curt Valentin), New York (1950) (label on reverse of frame) Curt Valentin Gallery, New York (1951) Mr. and Mrs. Ralph F. Colin, New York (1955) Christie’s New York Modern Paintings, Drawings, Sculpture, from the collection of Mr. and Mrs. Ralph F. Colin, May 10, 1995, lot 30 Acquired from the above by the current owner Exhibited New York, Buchholz Gallery, Paul Klee - Sixty Unknown Drawings, Jan.-Feb., 1951, no. 44 (illustrated no. 46) New York, The Museum of Modern Art, Paul Klee Drawings, 1908-1940, (#52.639) (label on reverse of frame); Louisville, J.B. Speed Art Museum, Oct., 1952, no. 34; Poughkeepsie, Vassar College, Jan., 1953; Ann Arbor, University of Michigan, Feb.-March, 1953; St. Louis, Washington University, March-April, 1953; Northampton, Smith College Museum, April-May, 1953; Manchester, The Currier Gallery of Art, May-June, 1953 and Minneapolis, Institute of Arts, June-Aug., 1953 London, Institute of Arts, Fify Drawings by Paul Klee (Collection of Curt Valentin, New York), Nov.-Dec., 1953, no. 36. (label on reverse of frame); Berlin, Galerie Schüler, March-April, 1954 Hanover, Kestner-Gesellschaf, Paul Klee Max Beckmann, Jan.-Feb., 1954, no. 36 (label on reverse of frame) New York, M. Knoedler & Co., Inc., The Colin Collection, April-May, 1960, no. 40 (illustrated) Literature The Paul Klee Foundation, ed., Paul Klee: Catalogue Raisonné, vol. V, 1927-1930, Bern, 2001, no. 5288, p. 493 (illustrated).

Working in drawing almost exclusively until 1914, Klee was a master of works on paper. Klee’s lively drawings and prints elicited unexpected responses from his viewers. Many of Klee’s drawings were improvisational and vivifed by his signature energetic and thin line. Acting as an instrument of precision, Klee used his line to describe form and used his inks to reveal the delicate quality of paper. For this carbon transfer, Klee drew with a needle over an inked surface; the page received the image below as well as any ink transferred by the pressure of the artist’s hand. Carbon transfer was a technically ingenious and autographic method of drawing. Even though Klee’s hand remained invisible, it could be felt palpably pulsating through every inch of this 1930 drawing.


15. Paul Klee

1879-1940

Seiltänzer (Tightrope Walker), 1923 Lithograph in colors, on laid paper watermark BSB, with full margins. Signed, dated and annotated with the work number ‘23 138’ in pencil, from the edition of 220 on laid paper (there was also an edition of 80 on Japanese paper), printed by Staatliches Bauhaus, Weimar for the portfolio Kunst der Gegenwart, published by Verlag der Marées-Gesellschaf, R. Piper & Co., Munich (with their blindstamp), framed. I. 17 x 10 1/2 in. (43.2 x 26.7 cm) S. 20 1/2 x 15 in. (52.1 x 38.1 cm) Estimate $12,000-18,000 Provenance Private Collection, Tokyo Literature Eberhard W. Kornfeld 95


16. Wassily Kandinsky

1866-1944

Kleine Welten II (Little Worlds II), from Kleine Welten (Little Worlds), 1922 Lithograph in colors, on Bßtten paper, with full margins. Signed in pencil, from the edition of 200 (there was also an edition of 30 on Japanese paper), published by PropyläenVerlag, Berlin, framed. I. 10 x 8 3/8 in. (25.4 x 21.3 cm) S. 14 x 11 in. (35.6 x 27.9 cm) Estimate $8,000-12,000 Provenance Dept. P.S.A. Municipal University of Omaha. (inkstamp on reverse) Private Collection, New York Literature Hans Konrad Roethel 165


17. Man Ray

1890-1976

Nu bleutÊ (Blue Nude), 1970-71 Screenprint on acrylic. Signed and numbered 20/25 in black ink (there were also some proofs), printed by Stampatore Margret, Paris, published by Georges Visat, Paris, framed. I. 23 3/8 x 13 1/8 in. (59.4 x 33.3 cm) S. 31 1/4 x 20 7/8 in. (79.4 x 53 cm) Estimate $8,000-12,000 Provenance Georges Visat, 1970’s Private American collection Literature Luciano Anselmino 91


Property from an Important East Coast Collection

18. Robert Rauschenberg

1925-2008

Borealis Shares I, from Borealis Shares, 1990 Screenprint in colors on brass with hand-painted patina and Lexan seat. Signed and dated in gold ink on the reverse, one of 26 unique variants, published by Gemini G.E.L., Los Angeles (with their stamps in the screen). 74 1/4 x 38 5/8 x 19 1/4 in. (188.6 x 98.1 x 48.9 cm) Estimate $10,000-15,000 Provenance Obelisk Gallery, Inc., Boston, 2009 Literature Gemini G.E.L. 1459


19. Louise Bourgeois

1911-2010

Together, 2004 Sof-ground etching with extensive hand-coloring in watercolor, gouache and colored pencil, with additions in graphite, on handmade paper, the full sheet fush-mounted to heavy buf card (as issued). Signed and titled in pencil on the heavy buf card support, annotated ‘Study 11/12’ and ‘BOUR - 8168’ in pencil on the reverse (there were 12 unique variants and the edition of 9 for plate 10 in the illustrated book Hang On!!), published by Osiris, New York, framed. S. 27 3/4 x 19 7/8 in. (70.5 x 50.6 cm) overall 39 3/4 x 29 1/4 in. (101 x 74.3 cm) Estimate $50,000-70,000 Provenance Carolina Nitsch, New York Private European Collection Literature Museum of Modern Art Cat. No. 1119

I want them to like me and tell me that I am ok I want to be noticed I want to be given I want to be loved Hang On!! #10

Contemplate a fnished and concentric world like a rose Hang On!! #17


20. Vija Celmins

b. 1938

Comet, from Skowhegan Suite 1992, 1992 Linocut, on Fabriano Tiepolo paper, with full margins. Signed and numbered 59/80 in pencil (there were also 12 artist’s proofs), published by The Skowhegan School of Painting and Sculpture, Maine, with Oberon Press, New York blindstamp, framed. I. 14 1/4 x 16 3/4 in. (36.2 x 42.5 cm) S. 20 1/2 x 22 3/4 in. (52.1 x 57.8 cm) Estimate $10,000-15,000 Literature Samantha Rippner p. 52


21. Francis Bacon

1909-1992

Portrait of Peter Beard, 1976 Etching and aquatint in colors, on Arches paper, with full margins. Signed and numbered 81/100 in pencil (there were also 45 in Roman numerals and 10 artist’s proofs), published by Éditions Georges Visat et Cie, Paris, framed. I. 9 5/8 x 8 1/4 in. (24.4 x 21 cm) S. 15 1/8 x 11 1/8 in. (38.4 x 28.3 cm) Estimate $8,000-12,000 Literature Bruno Sabatier 1 Alexandre Tacou 33

This image used on the cover of the catalogue raisonné of Francis Bacon’s graphic work by Bruno Sabatier


22. David Hockney

b. 1937

Two Vases in the Louvre, 1974 Etching and aquatint in colors, on Inveresk mould-made paper, with full margins. Signed, dated and numbered 5/75 in pencil (there were also 18 artist’s proofs), published by Petersburg Press, New York and London, with the artist’s copyright blindstamp, framed. I. 29 1/4 x 29 1/8 in. (74.3 x 74 cm) S. 39 x 36 1/8 in. (99.2 x 91.6 cm) Estimate $25,000-35,000

Literature Scottish Arts Council 168 Museum of Contemporary Art Tokyo 154


23. David Hockney

b. 1937

Contrejour in the French Style, 1974 Etching and aquatint in colors, on Inveresk mould-made paper, with full margins. Signed, dated and annotated ‘trial proof I’ in pencil (the edition was 75 and 18 artist’s proofs), published by Petersburg Press, New York and London, framed. I. 29 1/8 x 28 7/8 in. (74 x 73.5 cm) S. 38 7/8 x 35 3/4 in. (99 x 90.9 cm) Estimate $25,000-35,000

Literature Scottish Arts Council 167 Museum of Contemporary Art Tokyo 153


24. Jasper Johns

b. 1930

Gray Alphabets, 1968 Lithograph in colors, on Rives Special paper, with full margins. Signed, dated and numbered 19/59 in pencil (there were also 8 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 51 x 34 1/4 in. (129.5 x 87 cm) S. 59 7/8 x 41 7/8 in. (152.1 x 106.4 cm) Estimate $80,000-120,000 Provenance Private Collection, California Literature Gemini G.E.L. 97 Universal Limited Art Editions 57

The block-form letters of Gray Alphabets recalled childhood toys. Like much of Johns’ work, this print explored forms that seemed familiar while presenting as something new. The ambitious lithograph, Gray Alphabets, was not about the alphabet but rather of the alphabet. Letters themselves were taken from commercial stencils that Johns purchased in order to create an ethos that seemed arbitrary. When asked whether he used these stencils because he liked them, or simply because that was how he had bought them, Johns replied, “ . . .that’s what I like about them, they come that way.” Johns played hide and seek with his imagery in Gray Alphabets through the use of transferring, overprinting and encoding as a kind of ceaseless act that merged fgure with ground. Created at Gemini G.E.L. in Los Angeles, Gray Alphabets required a complex printing process of four diferent matrices in four diferent colors of gray: two warm and two cool. Johns also used water-tusche, stencils and stamps in order to capture the characteristics of a graphite wash; subtlety of hand was of absolute necessity.

Forms of the Latin alphabet are a long-standing and important theme in Johns’ work. Johns sometimes regarded his paintings as models for future drawings and his drawings as explorations for works in other mediums. Two important works preceded Gray Alphabets. Before this 1968 lithograph, an encaustic and collage produced in 1956 was Johns’ early engagement with alphabet imagery. A later 1960 pencil and graphite-wash drawing explored the same imagery and was titled similarly. Upon completion, the Gray Alphabets lithograph was one of Johns’ largest prints and a great technical feat. In the printmaking studio Johns was eager to learn as much technical skill as possible, especially from master printers. One such renowned printmaker, Robert Blackburn remarked that Johns was the most demanding, the most specifc and the most empirical of all the artists with whom he had worked. Johns quickly discovered how making multiples could enhance his practice and he remained fascinated by printmaking’s ability to easily retain imagery. The continuous exploration that printmaking provided appealed to Johns as an opportunity for endless discovery.


Property from the Edwin C. Cohen Family Collection

25. Jasper Johns

b. 1930

Fizzles (Foirades), 1975-76 The complete set of 33 etchings and aquatints (the double pages in colors), in- and hors-texte, text in English and French, with justifcation, on Richard de Bas watermark SB (the author’s initials) and Jasper Johns, text by Samuel Beckett, bound in handmade paper (as issued), contained in the original beige linen-covered box with the lithographic liner in colors and purple silk tassel. Signed by the author and the artist in pencil on the justifcation, numbered 246/250 (there were also 30 artist’s proofs in Roman numerals), published by Petersburg Press, New York. 13 1/2 x 10 1/2 x 2 1/4 in. (34.3 x 26.7 x 5.7 cm) Estimate $12,000-18,000 Literature Universal Limited Art Editions 173


Property from an Important East Coast Collection

26. Jasper Johns

b. 1930

Ventriloquist, 1986 Lithograph in colors, on John Koller HMP paper, with full margins. Signed, dated and numbered 9/69 in pencil (there were also 15 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed. I. 36 3/4 x 24 1/2 in. (93.3 x 62.2 cm) S. 41 1/2 x 29 1/4 in. (105.4 x 74.3 cm) Estimate $20,000-30,000 Literature Universal Limited Art Editions 235


Property from an Important East Coast Collection

27. Jasper Johns

b. 1930

Untitled, 1980 Lithograph in colors, on Kurotani paper, the full sheet. Signed, dated and numbered ‘AP 11/12’ in pencil (an artist’s proof, the edition was 60), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. S. 34 x 30 1/4 in. (86.4 x 76.8 cm) Estimate $20,000-30,000 Literature Gemini G.E.L. 853 Universal Limited Art Editions 206

Property from an Important East Coast Collection

28. Jasper Johns

b. 1930

Target with Plaster Casts, 1979-80 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 7/88 in pencil (there were also 13 artist’s proofs), published by Petersburg Press, New York, framed. I. 23 1/2 x 17 3/4 in. (59.7 x 45.1 cm) S. 29 5/8 x 22 in. (75.2 x 55.9 cm) Estimate $20,000-30,000 Literature Universal Limited Art Editions 208


Property from an Important East Coast Collection

29. Jasper Johns

b. 1930

Savarin 6 (Blue), 1979 Lithograph in colors, on Richard de Bas paper, with full margins. Signed, dated and annotated ‘AP 5/8’ in pencil (an artist’s proof, the edition was 42), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed. I. 17 x 12 7/8 in. (43.2 x 32.7 cm) S. 26 x 20 3/8 in. (66 x 51.8 cm) Estimate $10,000-15,000 Provenance Obelisk Gallery, Inc., Boston, 2010 Literature Universal Limited Art Editions 198


30. Jasper Johns

b. 1930

1st Etchings, 2nd State: one plate, 1969 Etching, on Auvergne paper, with full margins. Signed, dated and numbered 20/40 in pencil (there were also 9 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed. I. 11 1/2 x 17 3/8 in. (29.2 x 44.1 cm) S. 25 1/2 x 19 5/8 in. (64.8 x 49.8 cm) Estimate $6,000-9,000 Literature Universal Limited Art Editions 58


“When the bird and the book disagree, believe the bird.� John James Audubon


31. Walton Ford

b. 1960

Swadeshi-cide, 1998; La Historia Me Absolvera, 1999; Benjamin’s Emblem, 2000; Tale of Johnny Nutkin, 2001; Compromised, 2003; and Visitation, 2004, The complete series of six etchings in colors, on Somerset Satin paper, with full margins. All signed, dated and numbered 43/50 in pencil (there were also 12 artist’s proofs), published by Blue Heron Press, New York, all framed. all I. 35 3/4 x 23 7/8 in. (90.8 x 60.6 cm) all S. 44 x 30 5/8 in. (111.8 x 77.8 cm) Estimate $70,000-90,000


32. H.C. Westermann

1922-1981

See America First, 1968 The complete set of 17 lithographs in colors, on Copperplate Deluxe paper, the full sheets, with title page/colophon, all contained in the original plywood slipcase constructed by the artist, with hand woodburning. All signed, dated and numbered 11/20 in pencil (there were also 2-4 artist’s proofs for each), published by Tamarind Lithography Workshop, Los Angeles. all S. 22 x 30 in. (55.9 x 76.2 cm) fve vertical Estimate $50,000-70,000 Literature Tamarind 2425-2444 Dennis Adrian and Richard A. Born 14a-s

The phrase was emblazoned seemingly everywhere; SEE AMERICA FIRST featured prominently in advertisements for railways, national parks and bus lines — as well as in America’s collective consciousness during the 1960s. Expert crafsman and Korean War veteran H.C. Westermann followed the advice by taking a long road trip prior to accepting a coveted invitation to print at the Tamarind Lithography Workshop in Hollywood. Afer a transcontinental trek to California, H.C. Westermann wrote about “A NEW RESPECT AND LOVE FOR THIS COUNTRY AFTER TAKING A TRIP ACROSS IT SLOW!/ A Tribute to America/ IT’S BEAUTIFUL.” Several preparatory travel sketches and watercolors preceded SEE AMERICA FIRST, Westermann’s expansive and tightly choreographed portfolio that was both a love letter to America as well as a warning about protecting the environment of the country that he held dear.

In the portfolio’s ffh plate a globe hovered above a scorched landscape with sharks encircling; Westermann captured the nascent energy of environmentalism during the 1960s. The teetering globe evoked insignia from the 1964 New York World’s Fair while announcing Westermann’s protective impulse amidst a moment of global optimism. In plate 9, seas engulfed one of Los Angeles’ tallest towers; tidal waves actually hit California while the artist and his wife visited. The bubbling stream in plate 12 that twisted along banks dotted with palm trees and under a stone bridge provided respite from the portfolio’s more daunting images in the manner of this picturesque Victorian landscape. Yet, above foated a blank banner; it was an epitaph to the illustrious pre-industrial landscapes that Westermann traversed en route to California. SEE AMERICA FIRST revealed Westermann’s protective perspective. He was a naval gunner in the Pacifc theatre at the end of World War II and never shook the vulnerability and responsibility that he felt during attacks by kamikaze. Large ships were frequent subjects for his sculptures that also featured in plates 4 and 16 of the portfolio; as one ship threw out a life preserver and another sat trapped in ice there was a cute polar bear among other swimming creatures. Humor was the life raf that Westermann lobbed to his viewers, which made otherwise alarming images agreeable. In the colophon Westermann dutifully remarked on all of his printer collaborators, writing “These. . .works are sincerely dedicated to the magnifcent young men who helped me + printed them <3. . .” and “Now out of due respect for these fne men, + Tamarind please be sure your hands are clean + remember that paper is fragile!!” Before departing the Tamarind printshop Westermann lef each of his collaborating printmakers a cash gif and hosted a thank you party. Unsurprisingly, Westermann rejected the canvas-covered portfolio covers that the Tamarind workshop provided to encase the portfolio. He opted instead to construct by hand using dowelling his own durable wood boxes together with his uncle, a highly-skilled wood carver, that were covered with a shellacked, wood-burn design of “Le Bandeur” or “the shaf,” the daily salute that he exchanged with his printers. Westermann observed that these wooden sculptures would “protect them [the prints] + keep the suites intact.” With his ambitious print portfolio Westermann aimed to protect America.


â&#x20AC;&#x153;The history of the last century has ofen been compared to a chess game, with political systems, brands, and artistic movements jousting for world dominance. Each fgure in our monumental chess set alludes to a particular icon of the centuryâ&#x20AC;&#x2122;s troubled history, from the sinking Titanic to the scarred towers of the World Trade Centre. The Space Shuttle, Coca-Cola Bottle, Unabomber Cabin and VW Beetle-are all here. Essentially our chess set is a collection of 32 diferent sculptures. Their display changes instantly, according to the progress of the gameâ&#x20AC;?. Constantin and Laurene Boym

33. Constantin Boym and Laurene Boym b. 1955 and b. 1964 History Chess, 2009 The complete folding wooden chess board and set including 32 unique hand-carved fgures. Signed, titled, dated and numbered 2/3 in black ink on the side. board 48 x 48 x 4 in. (121.9 x 121.9 x 10.2 cm) largest fgure 5 x 5 x 15 1/2 in. (12.7 x 12.7 x 39.4 cm) Estimate $8,000-12,000

34. Sean Scully

b. 1945

Pueblo Dzibalchen, 2002 The complete set of 20 chromogenic prints. All signed with initials, numbered 7/16 and consecutively annotated 1-20 in black ink on the reverse (there was also an edition of 8 on larger sheets), all framed. all I. 10 1/4 x 13 1/2 in. (26 x 34.3 cm) all S. 11 x 14 in. (27.9 x 35.6 cm) Estimate $10,000-15,000


Property from a Private Collection, New York

35. Richard Serra

b. 1938

Vive la Vive la, 1989 Woodcut, on Arches 88 paper, the full sheet. Signed with initials, dated and numbered ‘ap 13’ in pencil (one of 23 artist’s proofs, the edition was 100), published by Centre National des Arts Plastiques, Ministère de la Culture, Paris, framed. S. 48 1/8 x 71 1/2 in. (122.2 x 181.6 cm) Estimate $8,000-12,000 Literature Silke von Berswordt-Wallrabe 49


36. Richard Serra

b. 1938

Weight V, 2010 Etching, on Kozo Misumi paper, the full sheet. Signed, dated and numbered 13/22 in pencil (there were also 6 artistâ&#x20AC;&#x2122;s proofs), published by Gemini G.E.L., Los Angeles (with their inkstamps on the reverse), framed. S. 76 3/4 x 41 1/2 in. (194.9 x 105.4 cm) Estimate $8,000-12,000


37. Richard Serra

b. 1938

Double Level I, 2009 Etching, on Kozo Misumi paper, the full sheet. Signed, dated and numbered 7/22 in pencil (there were also 5 artistâ&#x20AC;&#x2122;s proofs), published by Gemini G.E.L., Los Angeles (with their inkstamp on the reverse), framed. S. 66 7/8 x 64 1/4 in. (169.9 x 163.2 cm) Estimate $10,000-15,000


38. Richard Serra

b. 1938

Weight IV, 2010 Etching, on Kozo Misumi, the full sheet. Signed, dated and numbered 16/22 in black marker on the reverse (there were also 6 artistâ&#x20AC;&#x2122;s proofs), published by Gemini G.E.L., Los Angeles (with their inkstamp on the reverse), framed. S. 57 7/8 x 56 7/8 in. (147 x 144.5 cm) Estimate $8,000-12,000


39. GĂźnther FĂśrg

1952-2013

Linien I (Lines I), 2004 The complete set of 16 aquatints in colors, on Lana Gravure paper, with full margins, with the original brown paper-covered portfolio. All signed, dated and numbered 15/20 in pencil, published by Galerie Gisela Capitain, Cologne, all framed. all I. 13 x 9 1/8 in. (33 x 23.2 cm) all S. 20 5/8 x 14 5/8 in. (52.4 x 37.1 cm) Estimate $10,000-15,000 Literature Karel Schampers l.19


40. Sol LeWitt

1928-2007

All Combinations of Arcs from Sides and Corners, Grids and Circles, Using Four Colors, 1972 The complete set of 24 screenprints in colors, on Strathmore paper, with full margins, with justifcation and the original portfolio box. All signed and numbered 25/34 in pencil (there was also 1 artistâ&#x20AC;&#x2122;s proof), published by Pio Monti, Macerata, Italy, all framed. all I. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm) all S. 14 7/8 x 14 7/8 in. (37.8 x 37.8 cm) Estimate $15,000-25,000 Literature Barbara Krakow Gallery 1972.02


41. Helen Frankenthaler

1928-2011

Freefall, 1992-93 Monumental woodcut and hand-dyed paper in colors, on TGL handmade paper, the full sheet. Signed, dated ‘93’ and numbered 6/30 in pencil (there were also 12 aritst’s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed. S. 78 1/4 x 60 in. (198.8 x 152.4 cm) Estimate $80,000-120,000 Literature Pegram Harrison 233

Frankenthaler’s most important and challenging print. Freefall is printed on sheets of TGL handmade paper that are dyed or stained with color before being printed with woodblocks. Frankenthaler began each print by “drawing” with dyed paper pulp on a freshly formed sheet, as if she were creating a work on paper with the pulp. The paper was like a blotter to which she added the dyed pulp, melding the fbers into a single entity. . . As always, she paid particular attention to the registration of the blocks so that there is neither an overlapping of the colors nor an unwanted gap between them. Pegram Harrison, Frankenthaler A Catalogue Raisonné of Prints 1961-1994, p. 471

Frankenthaler spraying dyed paper pulp on Freefall (cat. 233), with Kenneth Tyler assisting, Tyler Graphics Ltd., Mount Kisco, New York, 1992. Photographer: Marabeth Cohen Tyler Far lef: Ken Tyler and the Tyler Graphics team pulling a proof of Freefall 1992. Photographer: Steven Sloman


42. Helen Frankenthaler

1928-2011

Monotype XI, from Monotypes I-XXX, a series of 30 unique works, 1991 Monotype in colors with extensive handadditions, on Fujimori-Awagami paper, the full sheet. Signed, dated and annotated ‘XI’ in pencil, additionally signed and annotated ‘28 May ‘91 Monotype #1’ on the reverse, published by Garner Tullis Workshop, New York, framed. S. 25 1/8 x 38 5/8 in. (63.8 x 98.1 cm) Estimate $15,000-25,000 Provenance Sotheby’s New York, Contemporary Prints, November 5, 1995, lot 55 Literature Pegram Harrison 182

The days between 14 May and 4 June in 1991 were the most productive of Helen Frankenthaler’s career in printmaking. Reuniting with monotype master printer Garner Tullis afer their initial 1982 collaboration, Frankenthaler sometimes made as many as fve monotypes a day at Tullis’ New York studio that spring. She remarked, “I bring the liberties of my painting studio to monotypes.”

Monotypes are unique works of art produced by painting directly upon a plate that is later pushed through a press. The technique can be vexing; the fnal image reads in reverse with those inks on the printing plate’s top layer appearing as a fnal work’s bottom layer. For this series of 30 monotypes Frankenthaler alternated between aluminum plates and woodblocks. Sometimes the ghost image of a previous work was used as a base layer for the next one. Helen Frankenthaler’s work on this group of monotypes later led to her The Clearing series.


Property from the Collection of Virginia Lewisohn Kahn

43. Helen Frankenthaler 1928-2011 Monoprint V, from Monoprint, Monotype Series, 1981 Monoprint in colors with handcoloring in lithographic ink, pastel and Paintstik, on white Japanese Suzuki handmade paper, the full sheet. Signed, titled, dated ‘11 Feb ‘81’ and annotated with printer’s notes in pencil, published by Tyler Graphics Ltd., Mount Kisco, New York, framed. S. 42 3/8 x 33 3/8 in. (107.6 x 84.8 cm) Estimate $20,000-30,000 Literature Pegram Harrison 80 see Tyler Graphics pp. 137-38

Helen Frankenthaler reused the matrix carved for her 1980 woodcut Cameo in order to create the rich colors and textured elements of the present lot. Monoprint V resulted from Frankenthaler using a proof pulled for Cameo and then adding an uncarved woodblock and fnally hand-coloring this impression.

Monoprints and Monotypes are both techniques that produce unique works. Generally, Monotypes require that the artist work directly onto the plate — usually a thin and fat surface — from which the impression will be pulled. Monoprints difer from Monotypes in that such works could be made from any number of printing matrices such as woodblocks.


Book cover from Out of This Century: Confessions of an Art Addict by Peggy Guggenheim

A negative of this image appears on the back of the dust jacket designed by Pollock for the frst edition of Peggy Guggenheim’s Out of This Century (New York: Dial Press, 1946.) “[Pollock] lef us at the point where we must become preoccupied with and even dazzled by the space and objects of our everyday life…these, I am sure, will be the alchemies of the 1960s.” Allan Kaprow “The Legacy of Jackson Pollock,” Art News vol. 57 no. 6 (October 1958): 24–26; 55–57.


44. Jackson Pollock

1912-1956

Untitled (M20), circa 1946 Unique screenprint in black, on tan cardstock, laid to wood panel collaged in a period hand-painted homasote frame. Signed with initials in black ink, from a small group of experimental variants printed between 1941 and 1946. S. 8 1/4 x 5 1/2 in. (21 x 14 cm) F. 17 1/4 x 12 1/2 in. (43.8 x 31.8 cm) Estimate $25,000-35,000 Literature see Francis Valentine O’Connor and Eugene Victor Thaw 36 (P6) , variant M11 (the present example printed during this time)

45. Joan Mitchell

1925-1992

Little Weeds I, 1992 Etching and aquatint in colors, on three sheets of Rives BFK paper, the full sheets. Signed, dated and numbered ‘A.P. VIII’ in pencil (an artist’s proof, the edition was 30), published by Tyler Graphics Ltd., Mount Kisco, New York, framed. overall 9 3/8 x 21 3/8 in. (23.8 x 54.3 cm) Estimate $7,000-9,000


46. Robert Motherwell

1915-1991

Red Sea II, 1979 Etching and aquatint in colors, on German Etching paper, with full margins. Signed and numbered 23/100 in pencil (there were also 20 artistâ&#x20AC;&#x2122;s proofs), published by Abrams Original Editions, New York (with the artistâ&#x20AC;&#x2122;s blindstamp), framed. I. 23 1/2 x 19 3/4 in. (59.7 x 50.2 cm) S. 34 1/8 x 28 3/4 in. (86.7 x 73 cm) Estimate $7,000-10,000 Literature Siri Engberg and Joan Banach 242


47. Sam Francis

1923-1994

Light in Itself, 1979 Monotype with LeFranc oils, dry pigments and inks in colors on handmade paper, the full sheet. Signed on the front and annotated â&#x20AC;&#x2DC;EXPSF-27-#4-1979â&#x20AC;&#x2122; in pencil on the reverse, published by Experimental Printmaking Workshop, San Francisco, registered with the Sam Francis Estate (SFM79-090), framed. S. 25 x 30 3/8 in. (63.5 x 77.2 cm) Estimate $10,000-15,000 Exhibited Los Angeles County Museum of Art, Sam Francis: Monotypes, March 13, 1980-May 11, 1980


Property from an Important East Coast Collection

48. Beatriz Milhazes

b. 1960

Figo, 2006 Screenprint and woodcut in colors, on heavy Hiromi handmade Kozo paper, the full sheet. Signed, titled, dated and numbered 17/30 in pencil on the reverse (there were also 5 artistâ&#x20AC;&#x2122;s proofs), published by Durham Press, Durham, Pennsylvania (with thier inkstamp), framed. S. 70 x 47 1/2 in. (177.8 x 120.7 cm) Estimate $20,000-30,000 Provenance Obelisk Gallery, Inc., Boston, 2009

49. Mel Bochner

b. 1940

Blah, Blah, Blah, 2018 Monoprint with collage, engraving, embossing and oil paint in colors, on handmade and hand-dyed Twinrocker paper, the full sheet. Signed and dated in pencil, a unique color variant, published by Two Palms Press, New York, framed. S. 22 5/8 x 31 in. (57.5 x 78.7 cm) Estimate $15,000-25,000


50. Mel Bochner

b. 1940

Do I Have To Draw You A Picture?, 2017 Monoprint with collage, engraving, embossing and oil paint in colors, on handmade and handdyed Twinrocker paper, the full sheet. Signed and dated in pencil, a unique color variant, published by Two Palms Press, New York, framed. S. 28 3/4 x 23 in. (73 x 58.4 cm) Estimate $15,000-20,000


51. Claes Oldenburg

b. 1929

Sof Alphabet, 1978 The complete set of 41 sewn cotton, sand-flled bags, contained in the original wooden box with screenprinted sof alphabet in black. Signed and numbered 6/16 in black ink on the underside of the box (there were also 2 proofs), published by Multiples, Inc., New York. 29 1/8 x 22 1/8 x 2 7/8 in. (74 x 56.2 x 7.3 cm) Estimate $14,000-18,000


52. Robert Indiana

1928-2018

The Book of Love, 1996 The complete set of 12 screenprints in colors and 12 poems with embossing, on A.N.W. Crestwood Museum paper, with full margins, all contained in the original beige paper-covered folio with printed title (loose, as issued), two trimmed at the lower sheet edge 3/4 inches. All signed, dated (the poems not dated) and numbered 9/200 in pencil (there were also 50 artistâ&#x20AC;&#x2122;s proofs), published by American Image Editions, New York. all I. 18 1/8 x 18 in. (46 x 45.7 cm) all S. 24 x 20 1/8 in. (61 x 51.1 cm) Estimate $80,000-120,000


Andy Warhol captured the likeness of anyone within fve minutes of fame as well as of anyone else who could aford him. Warhol was “the court painter of the 70’s”, as art historian Robert Rosenblum described, and he began a new era for portraiture. His subjects were artists and ‘outcasts,’ movie-stars and friends, monarchs and athletes, basically anyone who could grace covers of magazines, gossip columns or newspapers. During the late 1960s Warhol moved away from sourcing his imagery from the tabloids and began working from his own photographs. Use of the bulky Polaroid “Big Shot” was his preferred method; the camera was perfectly outftted for close-ups. Warhol loved the decisions that the camera made for him, producing an instantaneous image that could be easily translated to screenprinting. Warhol’s portraiture enshrined a glamorous, talented, and showy ‘court;’ private commissions rolled in and became his big business. At frst Warhol was chasing afer the rich and famous but then the rich and famous chased him. Through his commissions Warhol attained a notoriety that harkened back to an age when artists were fnanced by wealthy patrons. Everybody who was anybody from the scene of Studio 54 or from Warhol’s cool and stylish Factory crew wanted a portrait.

53. Andy Warhol

1928-1987

Marilyn Monroe, 1967 Screenprint in colors, on wove paper, the full sheet. Signed in pencil and stamp-numbered 30/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed. S. 35 7/8 x 35 7/8 in. (91.1 x 91.1 cm) Estimate $150,000-250,000 Provenance Castelli Graphics, New York Judy Goldberg Fine Art, New York Eric Brown, New York Private Collection, New York and Florida Private Collection, New York Literature Frayda Feldman and Jörg Schellmann 23

Marilyn Monroe’s image most fascinated Warhol. Creating several works from the same publicity photo of the actress, Warhol lef for the world bold commemorations of her tragic end. The misalignment of contours, bleached out shadows, bright yellow hair and cherry red lips of lot 53, Marilyn Monroe, indicated Warhol’s signature palette. Marilyn looked familiar, yet by Andy’s hand she became diferent, at once removed from our world while still appearing tangled by the realities of it. Throughout the 1970s and early 1980s Warhol’s portraits become simpler as he abandoned gestural elements. Lot 55, Mao, was an impish rendition of an iconic symbol now seen with blue lips. A child-like approach to coloring appeared again in his later 1985 portrait of Queen Margrethe II of Denmark, lot 62, from his Reigning Queens series. Lot 60, Georgia O’Keefe, was among Warhol’s earliest uses of diamond dust in portraits. In this portrait Warhol refned the artist’s image; O’Keefe appeared contemplative and serious, revealing of Warhol’s admiration for the renowned painter. In lot 54, Muhammad Ali, there was a similar richness of printing as well as a sense of depth created through the use of miss-registration and overprinting. While at frst glance full insouciance, Warhol’s portraits upon closer viewing revealed something deeper about his sitters, all surface to be sure and yet full of prescient observations.


54. Andy Warhol

1928-1987

Muhammad Ali, 1978 Screenprint in colors, on Strathmore Bristol paper, the full sheet. Signed and numbered 83/150 in black felt-tip pen (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by Andy Warhol Enterprises, Inc., New York (with their inkstamp on the reverse), framed. S. 40 x 30 in. (101.6 x 76.2 cm) Estimate $40,000-60,000 Provenance Private Collection, New York Literature Frayda Feldman and JĂśrg Schellmann 179


55. Andy Warhol

1928-1987

Mao, 1972 Screenprint in colors, on Beckett High White paper, the full sheet. Signed in blue ball-point pen and stampnumbered 81/250 on the reverse (there were also 50 artist’s proofs), with the artist’s and printer’s copyright inkstamp on the reverse, co-published by Castelli Graphics and Multiples, Inc., New York, framed. S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $30,000-50,000 Literature Frayda Feldman and Jörg Schellmann 92


56. Andy Warhol

1928-1987

$ (1), 1982 Unique screenprint in colors, on Lenox Museum board, the full sheet. Signed and numbered ‘P.P. 3/3’ in pencil (a printer’s proof, the edition was 60 and 10 artist’s proofs), published by the artist, New York (with his copyright inkstamp on the reverse), framed. S. 19 3/4 x 15 5/8 in. (50.2 x 39.7 cm) Estimate $50,000-60,000 Literature Frayda Feldman and Jörg Schellmann 279


57. Andy Warhol

1928-1987

Beef, from Campbell’s Soup I, 1968 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stamp-numbered 5/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed. I. 31 7/8 x 18 5/8 in. (81 x 47.3 cm) S. 35 1/8 x 23 1/8 in. (89.2 x 58.7 cm) Estimate $15,000-25,000 Literature Frayda Feldman and Jörg Schellmann 49


58. Andy Warhol

1928-1987

Wild Raspberries, 1959 The complete set of 18 ofset lithographs, fve with hand-coloring, one is a double plate, on laid paper, the full sheets, bound (as issued) in the original pink hand-colored paper-covered cardboard cover, recipes by Suzie Frankfurt, with original fuchsia tissue overlays, inscribed ‘To Tom andy Warhols Mother’ in black paint on the cover. 17 5/8 x 11 1/2 x 1/2 in. (44.8 x 29.2 x 1.3 cm) Estimate $12,000-18,000 Provenance Frayda Feldman and Jörg Schellmann IV.126-143 Literature Gif of the artist to Thomas Royal, New York Private Collection, New York


59. Andy Warhol

1928-1987

Happy Butterfy Day, 1955 Ofset lithograph with extensive hand-coloring in watercolor, on wove paper, with margins. Signed and titled in black ink, framed. I. 11 x 8 3/8 in. (27.9 x 21.3 cm) S. 13 3/4 x 10 in. (34.9 x 25.4 cm) Estimate $8,000-12,000 Provenance Gif of the artist to Thomas Royal, New York Private Collection, New York


60. Andy Warhol

1928-1987

Georgia O’Keefe, 1979 Unique screenprint in colors with diamond dust, on Arches Aquarelle paper, the full sheet. With the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts inkstamps and numbered ‘UP43.79’ in blue ball-point pen on the reverse, framed. S. 40 x 59 7/8 in. (101.6 x 152.1 cm) Estimate $10,000-15,000 Provenance Christie’s, New York, Post-War and Contemporary Art First Open, May 15, 2005, lot 118 Literature see Frayda Feldman and Jörg Schellmann IIIC.45


61. Andy Warhol

1928-1987

Cow, 1976 Screenprint in colors, on wallpaper, the full sheet. Signed and annotated ‘What it is’ in black ink (one of approximately 100 signed in 1979), published by Factory Additions, New York, for an exhibition at the Modern Art Pavilion, Seattle Center, Seattle, framed. S. 45 1/2 x 29 1/2 in. (115.6 x 74.9 cm) Estimate $8,000-12,000 Literature Frayda Feldman and Jörg Schellmann 12A

Inscribed by the artist as a thank you gif to “What It Is,” a cooperative of artists who worked on the production and installation of an event called “SAM and Andy” held to promote the Seattle Art Museum’s 1976 Andy Warhol: Portraits exhibition.


62. Andy Warhol

1928-1987

Queen Margrethe II of Denmark, from Reigning Queens, 1985 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered 14/40 in pencil (there were also 10 artist’s proofs), with the artist’s copyright inkstamp on the reverse, published by George C. P. Mulder, Amsterdam, framed. S. 39 1/4 x 31 3/8 in. (99.7 x 79.7 cm) Estimate $18,000-25,000 Literature Frayda Feldman and Jörg Schellmann 345

63. Andy Warhol

1928-1987

Frolunda Hockey Player, 1986 Unique screenprint in colors, on Lenox Museum Board, the full sheet. Signed by Frederick W. Hughes, executor of the Estate of Andy Warhol, titled, dated and numbered ‘T.P. 8/14’ in pencil on a stamped Certifcate of Authenticity on the reverse (one of 14 unique color trial proofs, before the edition of 100 and 20 artist’s proofs), published by Art Now Gallery, Göteborg, Sweden, framed. S. 40 x 32 in. (101.6 x 81.3 cm) Estimate $15,000-20,000 Literature Frayda Feldman and Jörg Schellmann IIB.366


Property from a Private American Collection

64. Roy Lichtenstein

1923-1997

Thinking Nude, from Nude Series, 1994 Screenprint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 30/40 in pencil (there were also 12 artistâ&#x20AC;&#x2122;s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed I. 35 1/4 x 55 7/8 in. (89.5 x 141.9 cm) S. 42 x 62 in. (106.7 x 157.5 cm) Estimate $120,000-180,000 Literature Mary Lee Corlett 289


The 11 Pop Artists portfolios were a new center of gravity in America’s art history. These edgy compilations of fresh prints from then-emerging artists like Roy Lichtenstein, Andy Warhol and Tom Wesselmann, among others, launched new dialogues as artists engaged printmaking as a way to broadcast novel ideas more broadly. From 11 Pop Artists Volume II and III respectively, Reverie, lot 65, and Sweet Dreams Baby!, lot 66, signaled the meteoric rise of Roy Lichtenstein and endured as two of the greatest prizes in all Post-War printmaking. Mature and masterful, these images belied any notion that contributions to the 11 Pop Artists portfolios were Lichtenstein’s experimental forays into printmaking. Reverie and Sweet Dreams Baby! demonstrated that years of experimentation preceded such ingenious screenprints. In 1948 a seminal exhibition of prints arrived in Cleveland and that same year Lichtenstein took up printmaking while a student at Ohio State University. Making more than 30 editions between 1948 and 1959 that he printed, Lichtenstein learned the techniques of etching, aquatint, lithography, drypoint, screenprint and woodcut. He participated in the whole life cycle of Reverie and Sweet Dreams Baby!, working from preparatory drawings to printing and proofng. A long history with prints notwithstanding, Lichtenstein regarded his contributions to the 11 Pop Artists portfolios as his very frst fne art prints, the culmination of years spent preparing.

Reverie mothered a visual vocabulary that democratized art history. Its face was familiar to many; from the 1964 comic Secret Heart, the central fgure was an avatar for new collectors who were backed by rapid economic expansion in Post-War America. Reproductive techniques and regularized colors more typical of commercial printing delivered a recognizable and conventionally pretty picture that launched previously discredited “cartoon” imagery back into art history. Lichtenstein’s musings on popular imagery sidelined any ongoing notions that art should remain cloistered with obfuscated meaning. Lichtenstein recalled, “There is a relationship between cartooning and people like Miró and Picasso,” and, “I want [my subjects] to come through with the immediate impact of the comics.” If Reverie interrupted PostWar aesthetics politely then Sweet Dreams Baby! delivered a fnal blow to legacies of the 19th century. “Art since Cézanne,” Lichtenstein noted “has become extremely romantic and unrealistic . . . it has less and less to do with the world.” Regarding some of his contemporaries, such as the Abstract Expressionists, as the present-day incarnation of that problematic history, Lichtenstein came out swinging.

Property from an Important East Coast Collection

65. Roy Lichtenstein

1923-1997

Reverie, from 11 Pop Artists, Volume II, 1965 Screenprint in colors, on smooth wove paper, with full margins. Signed and numbered 69/200 in pencil (there were also 50 proofs in Roman numerals and approximately 5 artist’s proofs), published by Original Editions, New York, framed. I. 27 1/ 16 x 23 in. (68.7 x 58.4 cm) S. 30 x 24 in. (76.2 x 61 cm) Estimate $100,000-150,000 Provenance Freeman Fine Arts, Philadelphia, Works on Paper, November 18, 1994, lot 184 Mitchell-Innes & Nash, New York, 2012 Literature Mary Lee Corlett 38


Property from an Important East Coast Collection

66. Roy Lichtenstein

1923-1997

Sweet Dreams Baby!, from 11 Pop Artists Volume III, 1965 Screenprint in colors, on wove paper, with full margins. Signed and numbered XLVI in pencil (one of 50 proofs in Roman numerals, there was also an edition of 200 in Arabic numerals and approximately 5 artistâ&#x20AC;&#x2122;s proofs), published by Original Editions, New York, framed. I. 35 5/8 x 25 5/8 in. (90.5 x 65.1 cm) S. 37 5/8 x 27 5/8 in. (95.6 x 70.2 cm) Estimate $90,000-120,000 Provenance Robert Elkon Gallery, New York Mitchell-Innes & Nash, New York, 2012 Literature Mary Lee Corlett 39


Property from an Important East Coast Collection

67. Roy Lichtenstein

1923-1997

Refections on Conversation, from Refections Series, 1990 Lithograph, screenprint, woodcut, relief and metalized PVC collage with embossing in colors, on Somerset paper, with full margins. Signed, dated and numbered 2/68 in pencil (there were also 16 artistâ&#x20AC;&#x2122;s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed. I. 47 3/8 x 60 3/4 in. (120.3 x 154.3 cm) S. 54 x 66 7/8 in. (137.2 x 169.9 cm) Estimate $80,000-120,000 Literature Mary Lee Corlett 240


68. Roy Lichtenstein

1923-1997

Tel Aviv Museum Print, 1989 Lithograph in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 32/60 in pencil (there were also 20 artistâ&#x20AC;&#x2122;s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), to beneft American Friends of the Tel Aviv Museum of Art, framed. I. 20 5/8 x 51 1/2 in. (52.4 x 130.8 cm) S. 26 1/4 x 56 1/2 in. (66.7 x 143.5 cm) Estimate $35,000-45,000 Literature Mary Lee Corlett 238


69. Roy Lichtenstein

1923-1997

Imperfect Diptych 46 1/4” x 91 3/8”, from Imperfect Series, 1988 Woodcut and screenprint in colors with collage, on 4-ply Archivart rag board, with margins. Signed, dated and numbered 5/45 in pencil (there were also 14 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 38 3/8 x 81 3/8 in. (97.5 x 206.7 cm) S. 46 1/8 x 91 1/8 in. (117.2 x 231.5 cm) Estimate $30,000-50,000 Literature Gemini G.E.L. 1360 Mary Lee Corlett 219


70. Roy Lichtenstein

1923-1997

Portrait, from Brushstroke Figure Series, 1989 Lithograph, waxtype, woodcut and screenprint in colors, on Saunders Waterford paper, with full margins. Signed, dated and numbered 36/60 in pencil (there were also 8 artistâ&#x20AC;&#x2122;s proofs), co-published by Waddington Graphics, London and Graphicstudio, University of South Florida, Tampa, framed. I. 49 7/8 x 32 in. (126.7 x 81.3 cm) S. 52 1/2 x 34 1/8 in. (133.4 x 86.7 cm) Estimate $18,000-25,000 Literature Mary Lee Corlett 229


Property from an Important East Coast Collection

71. Roy Lichtenstein

1923-1997

Landscape Mobile (Limoges), 1991 Painted bronze and porcelain. With printed signature, title, date and numbered 67/125 on the underside in black ink, published by Bernardaud & Artes Magnus Ltd., Limoges and New York. 21 3/4 x 25 1/2 x 5 3/4 in. (55.2 x 64.8 x 14.6 cm) Estimate $25,000-35,000


72. Roy Lichtenstein

1923-1997

Modern Head #2, from Modern Head series, 1970 Lithograph and line-cut with embossing in colors, on handmade Waterleaf paper, with full margins. Signed, dated and numbered 35/100 in pencil (there were also 7 artistâ&#x20AC;&#x2122;s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 19 7/8 x 11 5/8 in. (50.5 x 29.5 cm) S. 24 x 18 1/4 in. (61 x 46.4 cm) Estimate $10,000-15,000 Literature Gemini G.E.L 243 Mary Lee Corlett 92


73. Roy Lichtenstein

1923-1997

Modern Head #5, from Modern Head series, 1970 Embossed graphite with Strathmore die-cut overlay, mounted in white lacquered aluminum frame with wood stretcher support. Signed, dated and numbered 81/100 (there were also 7 artistâ&#x20AC;&#x2122;s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), contained in the artistâ&#x20AC;&#x2122;s original frame. F. 28 1/4 x 19 3/4 in. (71.8 x 50.2 cm) Estimate $8,000-12,000 Literature Gemini G.E.L. 246 Mary Lee Corlett 95


Ed Ruscha drove his old Ford pick-up from Oklahoma out to Los Angeles in 1955. His prints have commemorated that California migration ever since. Ruscha’s traverse across the Southwest was an alluring progression of modernist structures and brightly-lit language. Into California Ruscha imported the ethos of Walker Evans, New York-streetscape photographer, and of Charles Sheeler, painter of industry, where he has since enlivened the art scene for decades. That 1939 Ford truck provided a subject for Ruscha’s earliest lithographs and the western migration miles upon miles of motivation. Afer compiling Twentysix Gasoline Stations, a book of photographs from across Arizona and Texas, Ruscha acquiesced to an admirer of his painting of a Standard Oil gas station and began a prints series. His various screenprints depicting Standard Oil stations captured what Ruscha dubbed a “landscape once removed” with an angular view that was “. . . modeled afer the way Bambi’s father stood in the forest.” The splashy background of lot 77, Cheese Mold Standard with Olive, resulted from the challenging “split fountain” technique whereby a squeegee blended multiple pools of colored inks seamlessly. Ruscha noted that “ofen when an idea is so overwhelming, I use a small unlike item to ‘nag’ the theme.” So into this iconic and accessible image Ruscha dropped one olive. Ruscha aspired to “. . . the idea of a word becoming a picture, almost leaving its body, then coming back and becoming a word again.” By the 1970s his ready-made outlook was admittedly Duchampian. Ruscha was among some artists who produced prints for an American installation during the 1970 Venice Biennale that featured an onsite printshop. Ruscha was fascinated by Duchamp’s 1913 print The Chocolate Grinder; at the biennale he exhibited prints made from sundry chocolate onto which onlookers traced words. With surrealism in mind Ruscha created lot 247, Bowl, from the 1974 Domestic Tranquility series. In 1974 Ruscha also experimented with flm and recalled that “I would forget the story [of movies] but remember the emotion.” His second moving picture Miracle, 1974 featured actress Michelle Phillips and artist Jim Ganzer. An immediately subsequent photographic series published by Gemini G.E.L. revealed Ruscha’s new interest in light. Then, the 1977 print Miracle depicted bright beams of

light, though lacked the narrative of words or fgures. Ruscha observed that “Words have temperatures. . . when they reach a certain point and become hot words, then they appeal to me.” Lot 76, the 1999 lithograph Miracle, coupled the uplifing text “Miracle” in delicate cursive together with a warm and comforting glow. Another result from the collaboration with Miracle actor Jim Ganzer was lot 75, Sea of Desire, a print signed by both Ruscha and Ganzer. Ruscha’s “suggestors” were a legacy of the “spillfountain” technique that provided rich backgrounds for his early pieces. The “suggestors” of Ruscha’s later works were intriguing backgrounds that heightened words’ intensity. Lot 74, the 2012 lithograph Jet Baby, layered an intriguing phrase atop a technicolor background that rested behind a dramatic snow-covered mountain. Published at Hamilton Press, the work resulted from another long partnership — between Ruscha and lithographer Ed Hamilton — that culminated with Hamilton Press’ founding in Venice Beach during the 1990s. The workshop remains open to artists who approach it with independent projects. California ofered endless opportunity that Ruscha paid forward by asserting art’s democracy. Ruscha incorporated text and quotidian imagery, rebufng art historical hierarchies. He took joy from working in multiples, stating “I’ve always had a good time making prints,” and “. . . it is almost worth the money . . . to have the thrill of seeing four hundred exactly identical . . . [works] stacked in front of you.”

Property from an Important East Coast Collection

74. Ed Ruscha

b. 1937

Jet Baby, 2012 Lithograph in colors, on wove paper, with full margins. Signed, dated and numbered 40/50 in pencil (there were also 19 artist’s proofs), published by Hamilton Press, Venice, California, (with their blindstamp), framed. I. 24 x 24 in. (61 x 61 cm) S. 28 7/8 x 28 in. (73.3 x 71.1 cm) Estimate $25,000-35,000


75. Ed Ruscha

b. 1937

Sea of Desire, 1983 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed by Ed Ruscha and Jim Ganzer, dated and numbered 26/40 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), with the Teaberry Press blindstamp, published by Centrum Press, Port Townsend, Washington (with their blindstamp), framed. I. 9 7/8 x 19 7/8 in. (25.1 x 50.5 cm) S. 22 3/8 x 30 in. (56.8 x 76.2 cm) Estimate $15,000-25,000 Literature Siri Engberg/Walker Art Center 138


76. Ed Ruscha

b. 1937

Miracle, 1999 Lithograph, on John Koller HMP cream paper, with full margins. Signed, dated and numbered ‘A.P. 9/10’ in pencil (an artist’s proof, the edition was 60), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 15 3/8 x 24 3/4 in. (39.1 x 62.9 cm) S. 23 1/2 x 32 1/2 in. (59.7 x 82.6 cm) Estimate $15,000-25,000 Literature Gemini G.E.L. 1769


77. Ed Ruscha

b. 1937

Cheese Mold Standard with Olive, 1969 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 31/150 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by the artist, please contact the department for a detailed condition report, unframed. I. 19 1/2 x 36 7/8 in. (49.5 x 93.7 cm) S. 25 5/8 x 39 7/8 in. (65.1 x 101.3 cm) Estimate $25,000-35,000 Literature Siri Engberg/Walker Art Center 31


78. Ed Ruscha

b. 1937

Vacant Lots, 1970/2003 The complete set of four gelatin silver prints mounted to matboard (as issued), all contained in the original black linen-covered portfolio. Each signed, dated and numbered 19/35 in pencil on the reverse of the fush-mount. all I. 22 x 22 in. (55.9 x 55.9 cm) all S. 29 1/4 x 29 in. (74.3 x 73.7 cm) Estimate $8,000-12,000

Including: (La Mirada) #1; (Los Angeles) #2; (Van Nuys) #3; and (Anaheim) #4


Property from a Private Collection, New York

79. Robert Longo

b. 1953

Meryl and Jonathan, from Men in the Cities, 1988 The pair of two lithographs, on Rag paper, the full sheets. Both signed, dated and numbered 11/48 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs in Roman numerals), published by Edition Schellmann, New York and Munich, both framed. both S. 71 3/4 x 36 in. (182.2 x 91.4 cm) Estimate $40,000-60,000


80. Robert Longo

b. 1953

Cindy, 1984 Lithograph, on wove paper, with full margins. Signed, dated and annotated ‘ap 2’ in pencil (one of 10 artist’s proofs, the edition was 38), published by Brooke Alexander, New York, framed. I. 60 x 19 1/2 in. (152.4 x 49.5 cm) S. 68 x 39 1/4 in. (172.7 x 99.7 cm) Estimate $25,000-35,000

81. Carsten Höller

b. 1961

Canaries, 2009 The complete set of nine photogravures in colors, on Somerset paper, with full margins. All signed, dated and numbered 8/24 in pencil (there were also 6 artist’s proofs), published by the artist, all framed. all I. 33 x 23 1/8 in. (83.8 x 58.7 cm) all S. 42 3/8 x 30 3/8 in. (107.6 x 77.2 cm) Estimate $15,000-25,000


82. Yoshitomo Nara

b. 1959

Sleepless Night (Sitting), 2007 Polystone, focking, and mixed media multiple, contained in the original veneer-covered wood box with foam lining and white handling gloves. Signed in black ink and numbered 254/300 on the accompanying wooden Certifcate of Authenticity, published by How2work, Hong Kong. fgure 11 1/4 x 8 1/4 x 6 1/2 in. (28.6 x 21 x 16.5 cm) box 9 1/2 x 10 1/4 x 14 1/4 in. (24.1 x 26 x 36.2 cm) Estimate $30,000-50,000 Literature Noriko Miyamura E-2007-001


83. Yoshitomo Nara

b. 1959

Guitar Girl, 2003 Lithograph in colors, on Japanese paper with chine collĂŠ to Arches paper, with full margins. Signed, dated and numbered 61/75 in pencil, published by KIDO Press, Inc., Tokyo, framed. I. 19 5/8 x 15 3/4 in. (49.8 x 40 cm) S. 25 7/8 x 19 7/8 in. (65.7 x 50.5 cm) Estimate $12,000-18,000 Literature Noriko Miyamura E-2003-004


84. Julian Opie

b. 1958

Walking in Melbourne 2; and Walking in Melbourne 4, from Walking in Melbourne series, 2018 Two laser-cut museum board relief prints, the full sheets, presented in sprayed white frames specifed by the artist. Both signed in black ink and numbered 37/45 on the publisherâ&#x20AC;&#x2122;s label on the reverse of the frame (there were also 4 artistâ&#x20AC;&#x2122;s proofs of each), published by Alan Cristea Gallery, London, both framed. both F. 25 x 62 3/4 in. (63.5 x 159.4 cm) Estimate $20,000-30,000


85. Tom Wesselmann

1931-2004

Monica Nude with Lichtenstein, 2002 Screenprint in colors, on Museum Board, with full margins. Signed and numbered ‘PP 6/6’ in pencil (a printer’s proof, the edition was 60 and 8 artist’s proofs), published by Cooper Square Prints, Inc., New York, framed. I. 24 1/2 x 42 in. (62.2 x 106.7 cm) S. 36 x 49 3/8 in. (91.4 x 125.4 cm) Estimate $12,000-18,000


Property from an Important East Coast Collection

86. Yayoi Kusama

b. 1929

Pumpkin, 1998 Cast bronze with patina. Incised with signature, date and stamp numbered 31/100 on the underside, with the Fonderie Monnaie De Paris stamp. 11 x 11 x 10 in. (27.9 x 27.9 x 25.4 cm) Estimate $25,000-35,000 Provenance Christieâ&#x20AC;&#x2122;s, South Kensington, Prints & Multiples, July 1, 2009, lot 185 Obelisk Gallery, Inc., Boston, 2010

87. Yayoi Kusama

b. 1929

Fish, 1986 Screenprint in colors, on Izumi paper, with full margins. Signed, dated and numbered 12/75 in pencil (there were also 8 artistâ&#x20AC;&#x2122;s proofs), printed by Okabe Tokuzo, framed. I. 18 x 21 in. (45.7 x 53.3 cm) S. 21 1/4 x 24 1/4 in. (54 x 61.6 cm) Estimate $12,000-18,000 Literature Yayoi Kusama 88

This work has been authenticated by the Kusama Studio


88. Yayoi Kusama

b. 1929

Soaring Spirit, 2006 Stainless steel balls and wire construction. Signed, titled and dated on the accompanying photograph, from a series of at least 10 unique versions. 18 x 16 x 14 in. (45.7 x 40.6 x 35.6 cm) Estimate $40,000-60,000 Provenance Robert Miller Gallery, New York, 2006 Private Collection, New York Exhibited Robert Miller Gallery, Yayoi Kusama, OctoberNovember 2006, New York

â&#x20AC;&#x153;The machinery of the sky that confounds us on earth with endless transformations of clouds in the light of dawn does not compare to the extraordinary tenacity of human beings, the way of human life, the presentiment of approaching death, the existence of love, the brilliant coruscations of light and the dark scars of our lives, to say nothing of the incomprehensible form of the cosmos and the overwhelming mysteries of space, time, distance.â&#x20AC;? Yayoi Kusama


89. Keith Haring

1958-1990

Best Buddies, 1990 Screenprint in colors, on wove paper, with full margins. Titled and numbered 9/200 on the front in pencil, additionally signed by Julia Gruen, the executor of the Keith Haring Foundation, dated and numbered on the reverse, unframed. I. 22 x 27 5/8 in. (55.9 x 70.2 cm) S. 26 x 32 in. (66 x 81.3 cm) Estimate $18,000-25,000 Literature Klaus Littmann p. 184-85

Three friends, Keith Haring, Chris Murray and Anthony Shriver, turned a friendship formed at the Govinda Gallery, which was just steps from Georgetown University, into a lasting legacy. When Anthony Shriver, the nephew of President Kennedy, founded the Best Buddies organization he turned to his friends from the gallery where he hosted organizational meetings and planned fundraisers. Best Buddies enlisted university students to help create opportunities for people with developmental disabilities. Haring acquiesced to his friendsâ&#x20AC;&#x2122; request that he design a logo

for the organization. The artist also agreed to make a print of the image in order to help with raising additional funds. Keith Haring died before he was able to sign the edition. Best Buddies was the artistâ&#x20AC;&#x2122;s last print and it helped to raise over $500,000, leaving a lasting gif for the organization and the many lives touched by it. Phillips is honored to ofer this last impression of the edition from the personal collection of Chris Murray, who was gifed the piece by Keith Haring in recognition of his support and friendship.


90. Jef Koons

b. 1955

Balloon Dogs Presentation Set, 2015 The compete set of three porcelain multiples painted in chrome. All numbered 1579/2300 in gold ink on the underside, one of 25 special sets of the three colors with matching numbers contained in a specially created box, manufactured by Bernardaud, Limoges and published by the Museum of Contemporary Art, Los Angeles, with the original plastic stands. all diameter 10 1/2 in. (26.7 cm) Estimate $15,000-25,000


91. Damien Hirst

b. 1965

Butterfy Etchings, 2009 The complete set of 12 etching and aquatints in colors, on wove paper, with full margins, the sheets loose (as issued) contained in the original black fabric-covered portfolio with embossed titles. All signed and numbered 45/45 in pencil, published by Other Criteria, London (with their inkstamp). all I. 11 3/4 x 9 3/4 in. (29.8 x 24.8 cm) all S. 18 5/8 x 15 3/8 in. (47.3 x 39.1 cm) Portfolio 19 3/4 x 16 1/8 in. (50.2 x 41 cm) Estimate $40,000-60,000


92. Jef Koons

b. 1955

Untitled (Donkey), 1997 Mirror-polished stainless steel. Signed, dated and numbered 46/50 in ink on the reverse (there were also 10 artistâ&#x20AC;&#x2122;s proofs). 24 x 18 1/4 x 1/8 in. (61 x 46.4 x .3 cm) Estimate $20,000-30,000


93. Damien Hirst

b. 1965

Beautiful Mickey, 2015 Screenprint in colors, on wove paper, with full margins. Signed and numbered 13/50 in pencil (there were also 5 artistâ&#x20AC;&#x2122;s proofs), published by Other Criteria, London (with their blindstamp), framed. diameter I. 49 1/4 in. (124.5 cm) S. 53 1/2 x 53 3/8 in. (135.9 x 135.6 cm) Estimate $18,000-25,000


Day Editions morning session, 10am Lots 94–221 Day Editions afternoon session, 2pm Lots 222–343


94. Pablo Picasso

1881-1973

Mottled fsh (Poisson chiné) (Chinese Fish), 1952 White earthenware dish painted in colors with partial brushed glaze. From the edition of 200, with the Empreinte Originale de Picasso and Madoura Plein Feu pottery stamps on the underside. diameter 16 3/4 in. (42.5 cm) Estimate $9,000-12,000 Literature Alain Ramié 170 Georges Ramié 64


95. Pablo Picasso

1881-1973

Engraved bull (Taureau gravé), 1947 White earthenware rectangular dish with engraving, painted in yellow and brown. Incised ‘I 107’ and numbered 115/200 in black paint, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 12 3/8 x 15 1/4 in. (31.4 x 38.7 cm) Estimate $6,000-8,000 Literature Alain Ramié 32 Georges Ramié 671

96. Pablo Picasso

1881-1973

Hands with fsh (Mains au poisson), 1953 Red earthenware round dish with engraving, painted in colors with partial brushed glaze. Incised 28/250 and with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. diameter 11 7/8 in. (30.2 cm) Estimate $7,000-9,000 Literature Alain Ramié 215 Georges Ramié 276


97. Pablo Picasso

1881-1973

Fish subject (Sujet poisson), 1952 Red earthenware turned pitcher painted in black and white. From the edition of 500, incised Edition Picasso Madoura and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 5 7/8 x 8 5/8 x 4 1/8 in. (15 x 22 x 10.5 cm) Estimate $3,000-5,000 Literature Alain Ramié 139

98. Pablo Picasso

1881-1973

Glass under lamp (Le verre sous la lampe), 1964 Red earthenware rectangular plaque. Annotated ‘J.105’ and numbered 33/100 in black ink, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the reverse, framed. 13 x 10 1/8 in. (33 x 25.7 cm) Estimate $5,000-7,000 Literature Alain Ramié 519 Georges Ramié 638


99. Pablo Picasso

1881-1973

Woman lamp (Lampe femme), 1955 White earthenware turned vase, painted in colors with knife engraving and glazed on the inside. Inscribed ‘edition picasso’ and numbered 110/200 in black paint, with the Madoura Plein Feu and Edition Picasso pottery stamps on the underside. 14 x 7 x 5 in. (35.6 x 17.8 x 12.7 cm) Estimate $8,000-12,000 Literature Alain Ramié 299 Georges Ramié 746 (right)


100. Pablo Picasso

1881-1973

Face no. 130 (Visage no. 130 ), 1963 White earthenware plate painted in colors, with brushed glaze. Numbered 330/500 and inscribed ‘N° 130’, ‘edition picasso’, and ‘madoura’ in black paint on the reverse. diameter 9 7/8 in. (25.1 cm) Estimate $5,000-7,000 Literature Alain Ramié 479

101. Pablo Picasso

1881-1973

Small owl jug (Cruchon hibou), 1955 White earthenware turned pitcher, painted in colors with oxides and knife engraving. From the edition of 500, inscribed ‘edition picasso’ and ‘madoura’ in black paint and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 10 1/2 x 4 3/4 x 6 7/8 in. (26.7 x 12.1 x 17.5 cm) Estimate $6,000-8,000 Literature Alain Ramié 293 Georges Ramié 711


102. Pablo Picasso

1881-1973

Wood-owl (Chouette), 1948 White earthenware rectangular dish, painted with colored oxides under glaze. Incised ‘I 112’ and numbered 82/100 with black paint, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 12 1/2 x 15 1/4 in. (31.8 x 38.7 cm) Estimate $6,000-8,000 Literature Alain Ramié 48 see Geroges Ramié 738

103. Pablo Picasso

1881-1973

Face with points (Visage aux points), 1969 White earthenware turned pitcher painted in colors, with knife engraving and partial brushed glaze. Incised ‘edition picasso’ and ‘madoura’ and numbered 142/350, with two Edition Picasso and one Madoura Plein Feu pottery stamps on the underside. 11 3/4 x 6 3/4 x 11 in. (29.8 x 17.1 x 27.9 cm) Estimate $7,000-9,000 Literature Alain Ramié 610 Georges Ramié 759


104. Pablo Picasso

1881-1973

Pitcher with vase (Pitchet au vase), 1954 White earthenware turned pitcher with knife engraving, painted in colors with partial brushed glaze. Incised ‘edition picasso’, ‘madoura’ and numbered 27/500, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 11 1/2 x 7 x 10 in. (29.2 x 17.8 x 25.4 cm) Estimate $7,000-9,000 Literature Alain Ramié 226 Georges Ramié 171

105. Pablo Picasso

1881-1973

Polychrome bird (Oiseau polychrome), 1947 White earthenware rectangular dish, painted in colors with boring-rod engraving and colored glazes. Inscribed ‘I 106’ and numbered 135/200 in black, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 11 1/2 x 15 in. (29.2 x 38.1 cm) Estimate $8,000-12,000 Literature Alain Ramié 33 Georges Ramié 756


106. Pablo Picasso

1881-1973

Bulls (Toros), 1952 White earthenware turned plate painted in white enamel, blue, green and black with oxidized parafn. From the edition of 500, incised ‘Edition Picasso’ in black, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. diameter 8 in. (20.3 cm) Estimate $2,000-3,000 Literature Alain Ramié 161

107. Pablo Picasso

1881-1973

Bullfghter (Picador), 1952 White earthenware turned round plate painted in white and black with partial glaze. From the edition of 500, inscribed ‘Edition Picasso’ and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. diameter 7 3/4 in. (19.7 cm) Estimate $1,000-1,500 Literature Alain Ramié 160


108. Pablo Picasso

1881-1973

Modèle contemplant un Groupe sculpté (Model Contemplating a Sculpture), plate 66, from La Suite Vollard, 1933 Etching, on Montval laid paper watermark Picasso, with full margins. Signed in pencil, from the edition of 260 (there was also an edition of 50 with larger margins), numbered ‘327’ in the Henri Petiet inventory system lower lef corner, published by Ambroise Vollard, Paris, framed. I. 11 3/4 x 14 1/2 in. (29.8 x 36.8 cm) S. 13 1/4 x 17 1/2 in. (33.7 x 44.5 cm) Estimate $7,000-10,000 Provenance Private Midwest Collection Literature Georges Bloch 175 Brigitte Baer 328

109. Pablo Picasso

1881-1973

Sculpteur, modèle couché et sculpture (Sculptor and Model Lying with Sculpture), plate 37 from La Suite Vollard, 1933 Etching, on Montval laid paper watermark Picasso, with full margins. Signed in pencil, from the edition of 260 (there was also an edition of 50 with larger margins), published by Ambroise Vollard, Paris, framed. I. 10 1/2 x 7 1/2 in. (26.7 x 19.1 cm) S. 17 5/8 x 13 3/8 in. (44.8 x 34 cm) Estimate $8,000-10,000 Literature Georges Bloch 147 Brigitte Baer 298


110. Jean Cocteau

1889-1963

Indes, 1958 White earthenware round dish, painted in gray. Signed and dated in gray paint on the front, inscribed ‘Edition originale de Jean Cocteau Atelier Madeline-Jolly’ in gray paint and numbered 9/20 in black paint on the underside. diameter 13 7/8 in. (35.2 cm) Estimate $4,000-6,000 Literature Annie Guédras 108

111. Jean Cocteau

1889-1963

112. Jean Cocteau

1889-1963

Le couple au chien (The Couple with Dog), from Le Satiricon, 1961 Red earthenware round dish, painted in colors. Signed in red paint on the front, inscribed ‘Edition originale de Jean Cocteau, Atelier Madeline-Jolly’ in black crayon and numbered 4/15 in black paint on the underside. diameter. 14 in. (35.6 cm)

Suzanne et les vieillards (Suzanne and the Old Men), from Le Satiricon, 1961 Red earthenware round dish, painted in colors. Signed on the front and inscribed ‘Edition originale de Jean Cocteau Atelier Madeline-Jolly’ in black crayon and numbered 5/15 in black paint on the underside. diameter 14 1/4 in. (36.2 cm)

Estimate $2,500-3,500

Estimate $2,500-3,500

Literature Annie Guédras 125

Literature Annie Guédras 124


113. Marc Chagall

1887-1985

Songe du Capitaine Bryaxis (Dream of Captain Bryaxis), plate 21 from Daphnis et Chloé, 1961 Lithograph in colors, on wove paper, with full margins. Signed and numbered 8/60 in pencil (there was also an unsigned edition of 250), published by Tériade, Paris, framed. I. 17 x 25 3/8 in. (43.2 x 64.5 cm) S. 21 1/4 x 29 7/8 in. (54 x 75.9 cm) Estimate $5,000-7,000 Literature Fernand Mourlot 238 see Patrick Cramer books 46

114. Pablo Picasso

1881-1973

Carnaval 1967 “Clown et danseurs” (Carnival 1967 “Clown and Dancers”), 1967 Linocut in colors, on Arches paper, with full margins. Signed and numbered 2/160 in pencil (there were probably 30 artist’s proofs), published by Le Patriote, Nice, framed. I. 25 1/8 x 20 7/8 in. (63.8 x 53 cm) S. 29 1/4 x 24 in. (74.3 x 61 cm) Estimate $5,000-7,000 Literature Georges Bloch 1242 Brigitte Baer 1852


115. Marc Chagall

1887-1985

Songe d’été (Summer’s Dream), 1983 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 37/50 in pencil (there were also some artist’s proofs), framed. I. 15 x 20 3/4 in. (38.1 x 52.7 cm) S. 19 x 25 5/8 in. (48.3 x 65.1 cm) Estimate $8,000-12,000 Literature Fernand Mourlot 1005

116. Marc Chagall

1887-1985

La Branche verte (The Green Branch), 1984 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 40/50 in pencil (there were also 12 artist’s proofs in black and white), framed. I. 24 1/2 x 19 in. (62.2 x 48.3 cm) S. 33 x 23 3/4 in. (83.8 x 60.3 cm) Estimate $5,000-7,000 Literature Fernand Mourlot 1033


117. After Marc Chagall

1887-1985

Carmen, 1967 Lithograph in colors by Charles Sorlier, on Arches paper, the full sheet. Signed in black crayon and numbered 72/150 in white crayon (there was also an edition of 200 without text and a poster edition of 3,000), published by the Metropolitan Opera, New York, framed. S. 40 1/8 x 26 1/8 in. (101.9 x 66.4 cm) Estimate $5,000-7,000 Literature Charles Sorlier p. 108-109 see Fernand Mourlot and Charles Sorlier 39

118. After Marc Chagall

1887-1985

La Tribu de Gad, from Douze maquettes de vitraux pour Jérusalem (The Tribe of Gad, from Twelve Maquettes of Stained Glass Windows for Jerusalem), 1964 Lithograph in colors by Charles Sorlier, on Arches paper, with full margins. Signed, dedicated ‘Pour Leon Mnuchin en bon souvenir Marc Chagall Paris 1962’ and annotated ‘H.C’ (an hors commerce aside from the edition of 150, there was also an edition of 75 in Roman numerals and 10 artist’s proofs), published by Fernand Mourlot, Paris (with their inkstamp on the reverse), framed. I. 24 1/4 x 18 1/8 in. (61.6 x 46 cm) S. 29 x 20 1/2 in. (73.7 x 52.1 cm) Estimate $5,000-7,000 Provenance Private Collection, New York Literature Fernand Mourlot and Charles Sorlier 19


119. Henri Matisse

1869-1954

Nu couchĂŠ au paravent Louis XIV (Nude Lying in Front of a Louis XIV Screen), 1923 Lithograph, on laid China paper, with margins, unevenly trimmed at the sheet edges. Signed and numbered 36/50 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), framed. I. 5 1/4 x 7 1/2 in. (13.3 x 19.1 cm) S. 10 x 11 3/4 in. (25.4 x 29.8 cm) Estimate $6,000-9,000 Literature Claude Duthuit 435


120. Alberto Giacometti

1901-1966

Nude with Flowers, 1960 Lithograph, on Rives BFK paper, with full margins. Signed and numbered 13/90 in pencil, published by Maeght, Paris, framed. I. 14 5/8 x 11 in. (37.1 x 27.9 cm) S. 26 x 19 3/4 in. (66 x 50.2 cm) Estimate $5,000-7,000 Literature Herbert Lust 32

121. Alberto Giacometti

1901-1966

Rimbaud vu par las peintres (Rimbaud Seen by the Painters), 1962 Etching, on Rives BFK paper, with full margins. Signed and numbered 71/97 in pencil (there were also some artistâ&#x20AC;&#x2122;s proofs), published by Matarasso, Paris, framed. I. 9 x 9 in. (22.9 x 22.9 cm) S. 19 1/8 x 14 1/2 in. (48.6 x 36.8 cm) Estimate $3,000-5,000 Literature Herbert Lust 175


122. Salvador Dalí

1904-1989

Dix recettes d’immortalité (Ten Recipes for Immortality), 1973 The complete set of 11 etchings with drypoint and heliogravure and multiples, two in colors and one with gilt, on Auvergne Richard de Bas paper, the full sheets and with margins, the multiples in heavy card stock, plastic or metal, with text in French and English, all contained in the original paper folios with colored binding and text, original paper folio with gilt title, original acrylic case with cast metal phone handle, two locks and keys, all within the original brown cloth-covered slipcase. All signed, numbered 115/210 in pencil and stamped with the notary’s inkstamp on the reverse, additionally signed by the artist, publisher and editor in pencil and stamp-numbered on the justifcation, published by Audouni-Descharnes, Paris. Portfolio 25 3/4 x 19 x 5 1/4 in. (65.4 x 48.3 x 13.3 cm) Estimate $8,000-12,000 Literature Ralf Michler and Lutz W. Löpsinger 567-577

Including: Immortalité tétraédrique du cube; La Sainte Trinité, sainte persitstance de la mémoire; Le systéme i Menja; Épitaphe de L’immortalité; Immortalité de l’impérialisme génétique; Immortalité du Dalianus Galae; Immortalité stéréoscopique et stéréochimique de la monarchie; L’homme ressuscité par l’holographie de l’écureuil; Anamorphose des anamorphoses et tout est hologrammorphose; and Immortalité de Castor et Pollux


123. Salvador Dalí

1904-1989

Playing Cards: Ace of Diamonds; King of Diamonds; Queen of Diamonds; and Jack of Diamonds, from Playing-Cards, 1972 Four lithographs in colors, on Arches paper, with full margins. All signed and numbered 134/150 in pencil (there were also 20 in Roman numerals on Japanese paper and 5 artist’s proofs), all signed by Frank Hunter, President, Salvador Dali Archives, 19 January 2005 in pencil on the reverse and with a copy of a Peter B. Lucas appraisal/authentication on the same date, published by PuiforcatOrfevre, Paris, all framed. all I. 14 1/8 x 9 1/4 in. (35.9 x 23.5 cm) all S. 25 3/4 x 19 3/4 in. (65.4 x 50.2 cm) Estimate $4,000-6,000 Literature Ralf Michler and Lutz W. Löpsinger 1290, 1294, 1298, 1302


124. Salvador Dalí

1904-1989

Kronos; and Athene, from Mythologie, 1963-65 Two drypoints and heliogravure, one with hand-coloring, on Lana and Japanese paper, with full margins. Both signed, Kronos dated, and numbered 43/150 and XLIII/C respectively in pencil (aside from the edition of 150 and 20 in Roman numerals), published by Pierre Argillet, Paris, both unframed. Kronos I. 23 7/8 x 19 3/8 in. (60.6 x 49.2 cm) S. 30 x 22 1/4 in. (76.2 x 56.5 cm) Athene I. 20 3/4 x 16 3/8 in. (52.7 x 41.6 cm) S. 30 x 22 1/2 in. (76.2 x 57.2 cm) Estimate $1,500-2,500 Literature Ralf Michler and Lutz W. Löpsinger 118, 130

125. Salvador Dalí

1904-1989

Chinois, from Le Cirque (Chinese, from The Circus), 1965 Etching and aquatint in colors, on Arches paper, with full margins. Signed, annotated ‘Theatre Chinois’ and numbered 101/175 in pencil (there were also various artist’s proofs), published by Jean Schenider, Basel & Berggruen, Paris, unframed. I. 14 1/4 x 20 5/8 in. (36.2 x 52.4 cm) S. 20 3/4 x 26 3/8 in. (52.7 x 67 cm) Estimate $1,000-2,000 Literature Ralf Michler and Lutz W. Löpsinger 140


126. Fernand Léger

1881-1955

Morceau de gruyère (Piece of Gruyere), from Album 23 gravures, 1935 Drypoint, on wove paper, with full margins. Signed and numbered 24/50 in pencil, published by G. Orbitz et Cie., Paris, framed. I. 9 x 7 in. (22.9 x 17.8 cm) S. 11 3/8 x 9 3/4 in. (28.9 x 24.8 cm) Estimate $3,000-5,000 Literature Lawrence Saphire 15

127. Man Ray

1890-1976

L’Aventure (Adventure), 1972 Etching and aquatint in colors, on Arches paper, with full margins. Signed and numbered 17/90 in pencil (there were also some artist’s proofs), published by Richard Binder Editeur, Brussels, framed. I. 12 1/8 x 16 3/8 in. (30.8 x 41.6 cm) S. 19 3/4 x 26 in. (50.2 x 66 cm) Estimate $1,000-2,000 Literature Luciano Anselmino 36


128. Yves Tanguy

1900-1955

Untitled, from Solidarité (Solidarity), 1938 Etching, on Montval laid paper, with full margins. Signed and numbered 50/150 in pencil, contained in the volume of poetry by Paul Eluard, published by Guy Lévis Mano/ Editions GLM, Paris, framed. I. 4 x 3 1/8 in. (10.2 x 7.9 cm) S. 8 7/8 x 6 3/8 in. (22.5 x 16.2 cm) Estimate $3,500-4,500 Literature Wolfgang Wittrock 6

129. Roberto Matta

1911-2002

Untitled, 1970 Etching and aquatint in colors, on Lana paper, with full margins. Signed and numbered 34/150 in pencil (there were also some artist’s proofs), published by Editions Le Point du Jour, Grenoble, framed. I. 16 1/8 x 21 3/4 in. (41 x 55.2 cm) S. 22 x 30 in. (55.9 x 76.2 cm) Estimate $2,000-3,000 Literature Bruno Sabatier 218


130. Zao Wou-Ki

1920-2013

Forêt perdue (Lost Forest), 1955 Lithograph in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 115/125 in pencil (there were also 20 artist’s proofs), published by l’Oeuvre Gravée, Zurich (with their blindstamp), unframed. I. 23 1/2 x 18 in. (59.7 x 45.7 cm) S. 26 x 19 3/4 in. (66 x 50.2 cm) Estimate $5,000-7,000 Literature Jørgen Ågerup 95

131. Zao Wou-Ki

1920-2013

Untitled, 1959 Lithograph in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 67/140 in pencil (Ågerup calls for an edition of 95 and 20 artist’s proofs), published by l’Oeuvre Gravée, Zurich (with their blindstamp), unframed. I. 19 1/2 x 17 3/4 in. (49.5 x 45.1 cm) S. 25 3/4 x 19 7/8 in. (65.4 x 50.5 cm) Estimate $2,500-3,500 Literature Jørgen Ågerup 121


132. Georges Braque

1882-1963

Nature Morte III (Verre et fruits) (Still Life III, Glass and Fruit), 1921 Lithograph in colors, on laid paper, with margins. Signed and annotated ‘HC’ in pencil (an hors commerce, the edition was 120), published by Daniel-Henry Kahnweiler, Paris, unframed. I. 7 3/8 x 15 1/2 in. (18.7 x 39.4 cm) S. 12 5/8 x 20 1/4 in. (32.1 x 51.4 cm) Estimate $2,000-4,000 Literature Dora Vallier 12

133. After Joan Miró

1893- 1983

Le Moulin à café (Cofee Grinder), 1954 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 52/300 in pencil, published by Maeght, Paris (with their blindstamps), framed. I. 19 1/4 x 22 in. (48.9 x 55.9 cm) S. 24 3/4 x 29 1/4 in. (62.9 x 74.3 cm) Estimate $2,000-4,000 Literature Maeght 1701


134. Joan Mirรณ

1893-1983

Mangeur de soleil (Sun Eater), 1955 Lithograph in colors, on Arches paper, with full margins. Signed, dated and numbered 28/50 in pencil, published by Maeght, Paris, unframed. S. 29 7/8 x 22 1/8 in. (75.9 x 56.2 cm) Estimate $8,000-12,000 Literature Fernand Mourlot 218


135. Joan Miró

1893-1983

Le Cheval ivre (The Drunken Horse), 1964 Lithograph in colors, on Arches paper, the full sheet. Signed and numbered 37/75 in pencil, published by Maeght, Paris, unframed. S. 24 1/8 x 35 1/4 in. (61.3 x 89.5 cm) Estimate $4,000-6,000 Literature Fernand Mourlot 394

136. Joan Miró

1893-1983

Suite la bague d’aurore (The Ring of Dawn Suite): one plate, 1957 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed and numbered ‘épreuve d’artiste IV/X’ in pencil (an artist’s proof, the edition was 60), published by Louis Broder, Paris, unframed. I. 4 1/2 x 5 1/2 in. (11.4 x 14 cm) S. 15 x 11 1/4 in. (38.1 x 28.6 cm) Estimate $3,000-5,000 Literature Jacques Dupin 129 see Patrick Cramer books 45


137. Joan Miró

1893-1983

Lapidari “Llibre de les propietats de les pedres” (Lapidary “Book of the Property of Stones”), 1981 The complete set of 24 prints including 12 etching and aquatints in colors and 12 etchings in black, on 12 sheets of Arches paper, the full sheets, folded (as issued), with colophon, title page, texts, and original linen-covered portfolio with printed spine and semi-precious stone. Signed and numbered 90/130 in pencil on the colophon (there were also 45 copies in colors with wide margins on Guarro mounted on Arches, and 15 hors commerce copies in Roman numerals), authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse of the colophon dated ‘28/I/2014’, published by Galeria Maeght, Barcelona, the 24 prints folded in 12 frames. all S. folded 35.6 x 50 cm (14 x 19 5/8 in.) all S. unfolded 35.6 x 100 cm (14 x 39 3/8 in.) portfolio 40 x 53.5 x 6.5 cm (15 3/4 x 21 1/8 x 2 1/2 in.) Estimate $8,000-10,000 Literature Jacques Dupin 1141-1164 Patrick Cramer Books 251

As Jacques Dupin wrote in the last volume of the artist’s catalogue raisonné of gravures: ‘Lapidari’ is a large book: 24 engravings respond to 12 descriptions of stones, taken from anonymous 15th-century Catalan authors, selected and prefaced by Pere Gimferrer, a major Catalan poet who has also written a number of books on Miró and Tapiès. Twelve stones chosen, the inscription of their names already an invitation to engrave: Berril, Calsedonia, Estopaci, Balays… Miró was taken by the number twelve and chose to celebrate each stone with two engravings facing each other. The lef page has thick, powerful and spare graphic quality; the right page, a drawing composed of quivering lines on a background animated by smudges and scrapes like claw marks. Vaporous disks released into the air give the illusion of a third dimension. What is retained from the stone is its simplicity, its opposition to the earth, its roughness and its weight. The book carries the subtitle ‘The Book of the Properties of Stones’, a fne defnition of Miró’s last work. Jacques Dupin, Miró Engraver IV 1976-1983, Daniel Lelong éditeur, Paris, p. 14.


138. Joan Miró

1893-1983

Llibre dels sis sentits (Book of the Six Senses): plate I, 1981 Etching and aquatint in colors, on Guarro paper watermarked Sala Gaspar, with full margins. Signed and annotated H.C. in pencil (an hors commerce impression aside from the edition of 50), authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse, dated ‘10/X/2013’, published by Sala Gaspar, Barcelona, framed. I. 28 3/8 x 21 1/2 in. (72 x 54.5 cm) S. 35 3/8 x 27 3/4 in. (90 x 70.5 cm) Estimate $4,000-6,000 Literature Jacques Dupin 1165 see Patrick Cramer books 252

139. Joan Miró

1893-1983

Chemin de ronde II (Parapet Walk II), 1966 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed and annotated ‘EA’ in pencil (an artist’s proof, the edition was 50), published by Maeght, Paris, framed. I. 13 5/8 x 10 5/8 in. (34.6 x 27 cm) S. 22 1/2 x 17 5/8 in. (57.2 x 44.8 cm) Estimate $2,500-3,500 Literature Jacques Dupin 412


140. Joan Miró

1893-1983

Poster for the exhibition ‘Peintures sur papier, dessins’ (‘Paintings on Paper, Drawings’), 1971 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 130/150 in pencil, published by Maeght, Paris, framed. S. 33 1/2 x 22 7/8 in. (85.1 x 58.1 cm) Estimate $2,000-4,000 Literature Fernand Mourlot 737

141. Joan Miró

1893-1983

Joan Miró Pintura Sa Llotja (Palma de Mallorca) (Joan Miró Paintings at Sa Llotja in Palma de Mallorca), 1978 Lithograph in colors, on Arches paper, with margins. Signed and numbered 7/60 in pencil (there was also a poster edition of 8,000 with text), published by Ajuntament de Palma, Palma de Mallorca, framed. I. 34 1/2 x 23 3/4 in. (87.6 x 60.3 cm) S. 37 7/8 x 26 5/8 in. (96.2 x 67.6 cm)

140.

Estimate $1,500-2,500 Literature Fernand Mourlot 1166

141.

142. Joan Miró

1893-1983

Album 21: one plate, 1978 Lithograph in colors, on wove paper, the full sheet. Signed and numbered 42/75 (there were also 15 artist’s proofs in Roman numerals), published by Maeght, Paris, framed. S. 19 5/8 x 25 1/2 in. (49.8 x 64.8 cm) Estimate $1,500-2,500 Literature Fernand Mourlot 1143; see Patrick Cramer books 241 142.


143. Joan Miró

1893-1983

Oda à Joan Miró (Ode to Joan Miró): plate V, 1973 Lithograph in colors, on Guarro paper, with full margins. Signed and annotated ‘H.C.’ in pencil (an hors commerce impression, the edition was 75 in Arabic numerals and 25 in Roman numerals), authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse and dated ‘10/X/2013’, published by Ediciones Polígrafa, S.A., Barcelona, framed. I. 33 7/8 x 24 in. (86 x 61 cm) S. 40 7/8 x 30 1/4 in. (103.8 x 76.8 cm) Estimate $6,000-8,000 Literature Fernand Mourlot 907 see Patrick Cramer books 175

144. Joan Miró

1893-1983

El vol de l’alosa (The Flight of the Lark), 1973 Lithograph in colors, on Guarro paper watermark Miró, the full sheet. Signed and numbered 51/90 in pencil (there were also 20 copies printed from the black state and handcolored with wax-crayon, 15 numbered in Roman numerals and 5 lettered A-E), authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse and dated ‘11/ XII/2013’, published by Mallorca Daily Bulletin, Palma de Mallorca, framed. S. 17 1/4 x 25 5/8 in. (43.7 x 65.2 cm) Estimate $2,500-3,500 Literature Fernard Mourlot 924 Patrick Cramer books 170


145. Joan Miró

1893-1983

El merma (The Diminutive), 1978 Lithograph in colors, on Arches paper, with full margins. Signed and numbered ‘H.C. XV/XXV’ in pencil (an hors commerce impression, the edition was 75 and 20 artist’s proofs), authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse and dated ‘25/VII/2014’, published by Galeria Maeght, Barcelona, framed. I. 37 1/4 x 27 1/4 in. (94.5 x 69.3 cm) S. 37 7/8 x 29 1/2 in. (96.5 x 75 cm) Estimate $4,000-6,000 Literature Fernand Mourlot 1170

146. Joan Miró

1893-1983

La Jeteuse de sorts (The Spellcaster), 1981 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 5/25 in pencil, authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse and dated ‘18/XII/2013’, published by Daniel Lelong éditeur, Paris, 1987, framed. I. 31 1/8 x 20 7/8 in. (79 x 53 cm) S. 35 3/8 x 24 3/4 in. (89.8 x 63 cm) Estimate $3,500-4,500 Literature Patrick Cramer 1254


147. Joan MirĂł

1893-1983

IntĂŠrieur et nuit (Interior and Night), 1969 Lithograph in colors, on textured wallpaper, the full sheet. Signed and numbered 42/75 in pencil, published by Maeght, Paris, unframed. S. 37 1/2 x 21 1/2 in. (95.3 x 54.6 cm) Estimate $8,000-12,000 Literature Fernand Mourlot 590


148. Sonia Delaunay

1885-1979

Poésie de Mots, Poésie de Couleurs (The Poetry of Words, The Poetry of Colors): one plate, 1961 Pochoir in colors, on Johannot paper, the full sheet. Signed, dated and numbered 80/80 in pencil, published by Galerie Denise René, Paris (with their blindstamp), unframed. S. 25 5/8 x 19 3/4 in. (65 x 50.2 cm) Estimate $2,000-4,000

149. After Piet Mondrian

1872-1944

Mondrian, 1957 The complete set of 12 screenprints in colors, on smooth wove paper, with full margins, with text by Michel Seuphor, table of contents and colophon, the sheets loose (as issued), contained in the original paper-backed portfolio with linen spine. All numbered 32/300 in pencil, further stamped-numbered ‘32’ in black ink on the colophon (the edition was 200 in Arabic numerals and 100 reserved for the publisher), published by Éditions Galerie Denise René, Paris. all I. various sizes all S. 25 5/8 x 19 3/4 in. (65.1 x 50.3 cm) Portfolio 25 7/8 x 20 1/8 in. (66 x 51 cm) Estimate $4,000-6,000

Including: l’arbe bleu - aquarelle; composition en bleu b; composition no 3 avec plans en coleurs; composition de ligne; composition avec plans de couleurs claires et lignes grises; composition dans le careau avec rouge, jaune et bleu; composition, rouge, jaune, bleu (1927); composition, rouge, jaune, bleu (1928); composition, rouge, jaune, bleu (1921); composition, bleu, jaune; composition, 1935-42, toile; and broadway boogie-woogie


150. Alexander Calder

1898-1976

Spirales (Spirals), 1969 Lithograph in colors, on Rives BFK paper, the full sheet. Signed and numbered 114/120 in pencil, framed. S. 35 x 23 5/8 in. (88.9 x 60 cm) Estimate $2,000-4,000

151. Alexander Calder

1898-1976

Les Afchistes (The Poster Artists), 1965 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 141/150 in pencil, published by the MusĂŠe National dâ&#x20AC;&#x2122;Art Moderne, Paris, framed. I. 19 7/8 x 18 in. (50.5 x 45.7 cm) S. 25 5/8 x 19 3/4 in. (65.1 x 50.2 cm) Estimate $2,000-4,000


152. Alexander Calder

1898-1976

Lune et étoile rouge (Moon and Red Star), 1970 Lithograph in colors, on Arches paper, with full margins. Signed and annotated ‘EA’ in pencil (an artist’s proof aside from the edition of 100, there was also an edition of 25 in Roman numerals on imitation Japanese paper), framed. I. 20 5/8 x 13 1/4 in. (52.4 x 33.7 cm) S. 26 1/4 x 19 1/4 in. (66.7 x 48.9 cm) Estimate $2,000-4,000

153. Alexander Calder

1898-1976

Lune rouge et soleil noir (Red Moon and Black Sun), 1970 Lithograph in colors, on Rives BFK paper, with full margins. Signed and numbered 30/100 in pencil, framed. I. 23 1/2 x 31 in. (59.7 x 78.7 cm) S. 24 5/8 x 35 1/8 in. (62.5 x 89.2 cm) Estimate $2,000-4,000


154. Alexander Calder

1898-1976

Untitled, from Magie éolienne portfolio (Wind Magic portfolio), 1972 Lithograph in colors, on Arches paper, the full sheet. Signed and annotated ‘EC’ in pencil (one of seven ‘exemplaires de collaborateurs’, the edition was 75 and 20 hors commerce), published by Société Internationale d’Art XXe Siècle, Paris, unframed. S. 25 3/8 x 19 1/2 in. (64.5 x 49.5 cm) Estimate $2,000-4,000

155. Alexander Calder

1898-1976

Untitled (Balloons), 1968 Lithograph in colors, on Arches paper, the full sheet. Signed and numbered 30/100 in pencil, framed. S. 29 7/8 x 32 in. (75.9 x 81.3 cm) Estimate $2,000-4,000


156. Alexander Calder

1898-1976

Red Nose, 1969 Lithograph in colors, on wove paper, the full sheet. Signed and numbered 25/75 in pencil, published by Maeght, Paris, unframed. S. 29 1/2 x 43 in. (74.9 x 109.2 cm) Estimate $2,000-4,000

A closely related gouache Slanting Red Nose, 1969, is in the collection of the Museum of Modern Art, New York.


157. Jean Dubufet

1901-1985

Site avec trois personnages (a) (Site with Three Characters a), 1976 Screenprint in colors, on Arches paper, with full margins. Signed with initials, dated and numbered 40/50 in pencil (there were also 4 artist’s proofs), published by Pace Editions, Inc., New York, framed. I. 21 7/8 x 35 1/4 in. (55.6 x 89.5 cm) S. 32 x 40 in. (81.3 x 101.6 cm) Estimate $5,000-7,000 Literature Sophie Webel 1175

This lot is to be Sold with No Reserve

158. Jean Dubufet

1901-1985

Algebre de l’hourloupe 52 Figures Extrapolatoires (Hourloupe’s Algebra, 52 Systematized Cards) [Playing Cards], 1968 The complete set of 52 screenprints in colors, on cardstock, with title page, the cards loose (as issued), contained in the original white paper-covered slipcase with screenprinted title on cover and spine. Published by Jeanne Bucher, Paris. 7 3/8 x 5 1/8 x 1 1/4 in. (18.7 x 13 x 3.2 cm) Estimate $700-1,000 • Literature Sophie Webel 1048-49


159. Jean Dubufet

1901-1985

Objectador, from PrĂŠsences fugaces (Objectador, from Fleeting Existences), 1973 Screenprint in colors, the beige variant, on Dutch Etching paper, with full margins. Signed with initials, dated and numbered 22/100 in pencil (there were also some printed with a pink background), published by Pace Editions, Inc., New York, framed. I. 19 3/4 x 13 1/4 in. (50.2 x 33.7 cm) S. 29 3/8 x 21 7/8 in. (74.6 x 55.6 cm) Estimate $3,000-5,000 Literature Sophie Webel 1162

160. Willem de Kooning

1904-1997

Two Figures, 1973 Ofset lithograph, on wove paper, with full margins. Signed in ink (slightly faded) and numbered 54/100 in pencil (there were also some artistâ&#x20AC;&#x2122;s proofs), published by Abrams Original Editions, New York, framed. I. 13 1/2 x 22 1/2 in. (34.3 x 57.2 cm) S. 22 x 30 in. (55.9 x 76.2 cm) Estimate $1,500-2,500


Property from a Private Collection, New York

161. Helen Frankenthaler

162. Helen Frankenthaler

1928-2011

1928-2011

Midnight, from Broome Street Series, 1987 Drypoint and aquatint in colors, on Magnani paper, with full margins. Signed, dated and numbered 54/71 in pencil (there were also 8 artist’s proofs), published by 2RC Edizioni d’Arte, Rome, framed. I. 19 1/2 x 15 3/4 in. (49.5 x 40 cm) S. 32 x 25 in. (81.3 x 63.5 cm)

La Sardana, 1987 Lithograph and aquatint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 11/60 in pencil (there were also 12 artist’s proofs), published by Ediciones Polígrafa, S.A., Barcelona, framed. I. 27 1/2 x 19 in. (69.9 x 48.3 cm) S. 35 x 25 1/8 in. (88.9 x 63.8 cm)

Estimate $3,000-5,000 Literature Pegram Harrison 123

161.

162.

Property from a Private Collection, New York

163.

Estimate $3,000-5,000 Literature Pegram Harrison 138


164.

163. Helen Frankenthaler

165.

1928-2011

What Red Lines Can Do: one plate, 1970 Screenprint in colors, on Arches handmade paper, the full sheet, adhered along the edges. Signed, dated, annotated and numbered ‘SS 53/75’ in pencil (there were also 24 artist’s proofs), published by Multiples Inc., New York, framed. S. 38 1/2 x 26 in. (97.8 x 66 cm) Estimate $2,500-3,500 Literature Pegram Harrison 23

164. Joan Mitchell

1925-1992

165. Joan Mitchell

1925-1992

Arbres (Black, Yellow and Blue), 1991 Lithograph in colors, on Arches paper, the full sheet. Signed and numbered 15/125 in pencil (there were also 25 artist’s proofs), co-published by Éditions Jean Fournier and Éditions de la Diférence, Paris, framed. S. 30 x 22 in. (76.2 x 55.9 cm)

Arbres (Black and Yellow), 1992 Lithograph in colors, on Arches paper, the full sheet. Signed and numbered 15/125 in pencil (there were also 25 artist’s proofs), co-published by Éditions Jean Fournier and Éditions de la Diférence, Paris, framed. S. 30 x 22 in. (76.2 x 55.9 cm)

Estimate $2,500-3,500

Estimate $2,500-3,500


166. Robert Motherwell

1915-1991

Abyss, 1978 Monotype and collage in colors, on Buf Fabriano paper, with full margins. Signed with initials and lettered ‘Q/Y’ in pencil (the edition of 25 was lettered A-Y, there were also 4 artist’s proofs), published by the artist (with his blindstamp), unframed. I. 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm) S. 24 x 29 3/4 in. (61 x 75.6 cm) Estimate $6,000-9,000 Literature Siri Engberg and Joan Banach 228

167. Robert Motherwell

166.

1915-1991

Untitled (state I), 1977-84 Etching and aquatint, on ochre Richard de Bas handmade paper, with full margins. Signed, annotated ‘I’ and numbered 9/30 in pencil (there were also 7 artist’s proofs), published by the artist, unframed. I. 9 3/4 x 11 3/4 in. (24.8 x 29.8 cm) S. 15 x 16 5/8 in. (38.1 x 42.2 cm) Estimate $2,500-3,500 Literature Siri Engberg and Joan Banach 323

Property from a Private Collection, New York

168. Robert Motherwell

1915-1991

St. Michael II, 1979 Lithograph and screenprint with monoprint in colors, on Arches Cover mould-made paper, the full sheet. Signed and numbered 28/46 in white pencil (there were also 14 artist’s proofs in Roman numerals), published by Tyler Graphics, Ltd., Bedford Village, New York (with their blindstamp), framed. S. 60 x 17 3/4 in. (152.4 x 45.1 cm) Estimate $2,500-3,500 Literature Tyler Graphics 397; Siri Engberg and Joan Banach 236

167.


Property from a Private Collection, New York

169. Robert Motherwell

1915-1991

America - La France Variations V, 1984 Lithograph and collage in colors, on white and blue TGL handmade paper, the full sheet. Signed and numbered 32/60 in pencil (there were also 16 artist’s proofs in Roman numerals), published by Tyler Graphics, Ltd, Bedford Village, New York (with their blindstamp), framed. S. 46 x 31 1/2 in. (116.8 x 80 cm) Estimate $2,000-3,000 Literature Tyler Graphics 447; Siri Engberg and Joan Banach 333

169.

170. Robert Motherwell

1915-1991

The Paris Review, 1991 Lithograph and photoengraving on Japanese Kozo paper with chine collé to Arches paper, with full margins. Signed and numbered 85/100 in pencil (there were also 12 artist’s proofs), published by The Paris Review, New York, framed. I. 13 3/4 x 16 3/4 in. (34.9 x 42.5 cm) S. 19 3/4 x 22 3/4 in. (50.2 x 57.8 cm) Estimate $1,000-1,500 Literature Siri Engberg and Joan Banach 518

168.

170.


171. Antoni TĂ pies

1923-2012

Pied et trait rouge (Foot and Red Line); and Relief Sable, 1982 Two etching and aquatints in colors, one with carborundum, on Arches paper, with full margins. Both signed and each numbered 61/75 and 9/75 respectively in pencil (there were also some hors commerce and some artistâ&#x20AC;&#x2122;s proofs of Pied et trait rouge), published by Galerie Lelong, Paris, both framed. both I. approx. 21 1/8 x 26 3/4 in. (53.5 x 68 cm) both S. 27 7/8 x 37 7/8 in. (70.7 x 96.5 cm) Estimate $4,000-6,000 Literature Mariuccia Galfetti 830, 831


This lot is to be Sold with No Reserve

172. Antoni Tàpies

1923-2012

Cercle rouge (Red Circle), 1976 Etching and aquatint in colors with carborundum, on Arches paper, the full sheet. Signed in white crayon and numbered IX/XV in pencil (an hors commerce impression, the edition was 50), published by Galeria Maeght, Barcelona, framed. S. 24 7/8 x 35 3/4 in. (63.3 x 90.9 cm) Estimate $2,500-3,500 • Literature Mariuccia Galfetti 596

This lot is to be Sold with No Reserve

173. Eduardo Chillida

1924-2002

Bikaina XII (Extraordinary XII), 1987 Etching and aquatint, on Rives BFK paper, with full margins. Signed and annotated ‘H.C.’ in pencil (an hors commerce impression, the edition was 50 and 10 artist’s proofs in Roman numerals), published by Galerie Lelong, Zurich, framed. I. 6 1/8 x 12 5/8 in. (15.5 x 32.2 cm) S. 25 x 16 in. (63.5 x 40.7 cm) Estimate $1,500-2,500 • Literature Martin van der Koelen 87012


174. Sam Francis

1923-1994

Untitled (SF-345), 1991 Lithograph in colors, on Waterleaf paper, the full sheet. Signed and numbered 22/50 on the front, additionally titled on the reverse in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by The Litho Shop, Inc., Santa Monica, unframed. S. 46 3/8 x 30 in. (117.8 x 76.2 cm) Estimate $2,500-3,500

175. Various Artists X + X (Ten Works by Ten Painters): three works, 1964 Three screenprints, one with die-cut and one with collage in colors, on wove paper, with full margins, two contained in the original wove paper folders. From the edition of 500 (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by Wadsworth Atheneum, Hartford, Connecticut, all unframed. all I. various sizes all S. 24 x 20 in. (61 x 50.8 cm) Estimate $1,500-2,500 Literature Sylvan Cole 27 (Davis); Siri Engberg and Joan Banach 16 (Motherwell)

Including: Stuart Davis; Robert Motherwell; and George Ortman.


176. Adolph Gottlieb

1903-1974

Orange Oval, 1972 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 133/150 in pencil, printed by Kelpra Studios, London (with their inkstamp on the reverse), unframed. I. 18 7/8 x 24 in. (47.9 x 61 cm) S. 27 3/8 x 36 in. (69.5 x 91.4 cm) Estimate $2,000-3,000

177. Various Artists Metropolitan Opera Fine Art I, 1978 The complete set of eight lithographs and screenprints in colors, on various papers, with full margins and the full sheets, with title page and colophon, all contained in the original cream colored linen-covered folio. All signed, the Masson titled, the Rivers dated and all numbered 71/250 in pencil (there were also artistâ&#x20AC;&#x2122;s proofs for each), published by the Metroplitan Opera Association, New York (with their blindstamp). I. various sizes all S. 30 1/2 x 22 3/4 in. (77.5 x 57.8 cm) Estimate $3,000-5,000

Including: Antonio ClavĂŠ; Leonor Fini; Richard Lindner; Marino Marini; AndrĂŠ Masson; Larry Rivers; Paul Wunderlich; and Jaime Wyeth.


This lot is to be Sold with No Reserve

178. Jack Youngerman

b. 1926

Felt Banner, 1965 Felt banner in colors with aluminum crossbars (as issued). From the proposed edition of 30, lacking the signed and numbered label, published by Betsy Ross Flag and Banner Co. Inc., New York. 81 x 62 in. (205.7 x 157.5 cm) Estimate $500-1,000 •

179. Frank Stella

b. 1936

River of Ponds I, 1971 Lithograph in colors, on Special Arjomari paper, with full margins. Signed, dated and numbered 61/78 in pencil (there were also 10 artist’s proofs) published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 32 x 32 in. (81.3 x 81.3 cm) S. 38 x 38 in. (96.5 x 96.5 cm) Estimate $6,000-8,000 Literature Gemini G.E.L. 270; Richard Axsom and Leah Kolb 50

180. Frank Stella

b. 1936

Sinjerli Variation IV, from Sinjerli Variations, 1977 Ofset lithograph and screenprint in colors, on Arches Cover paper, with full margins. Signed, dated and numbered 21/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, framed. I. diameter 24 3/4 in. (62.9 cm) S. 31 7/8 x 42 1/8 in. (81 x 107 cm) Estimate $6,000-8,000 Literature Richard Axsom and Leah Kolb 118


179.

180.


181. Josef Albers

1888-1976

Gray Instrumentation I d; Gray Instrumentation I e; Gray Instrumentation I h, from Gray Instrumentation I portfolio, 1974 Three screenprints in colors, on Arches 88 mouldmade paper, with full margins. All signed, titled and numbered 32/36 in pencil in pencil (there were also 10 artist’s proofs for each), published by Tyler Graphics Ltd., Bedford Village, New York (with their blindstamp), all framed. all I. 11 x 11 in. (27.9 x 27.9 cm) all S. 19 x 19 in. (48.3 x 48.3 cm) Estimate $7,000-10,000 Literature Tyler Graphics 22, 23, 26 Brenda Danilowitz 225.4, 225.5, 225.8

182. Josef Albers

1888-1976

DR-b, 1968 Screenprint in colors, on heavy wove paper, with full margins. Signed with initial ‘A’, titled and dated in pencil, an unnumbered proof (the edition was 100 and 25 artist’s proofs), published by Galerie Denise René, Paris (with their blindstamp), unframed. I. 23 5/8 x 23 5/8 in. (60 x 60 cm) S. 26 3/4 x 26 3/4 in. (68 x 68 cm) Estimate $4,000-6,000 Literature Brenda Danilowitz 181


183. Josef Albers

1888-1976

Gray Instrumentation II d; and Gray Instrumentation II h, from Gray Instrumentation II portfolio, 1975 Two screenprints in colors, on Arches 88 mouldmade paper, with full margins. Both signed, titled and numbered ‘AP 4/10’ in pencil (artist’s proofs, the edition was 36), published by Tyler Graphics Ltd., Bedford Village, New York (with their blindstamp), both framed. both I. 11 x 11 in. (27.9 x 27.9 cm) both S. 19 x 19 in. (48.3 x 48.3 cm) Estimate $5,000-7,000 Literature Tyler Graphics 35, 39 Brenda Danilowitz 228.4, 228.8

184. Josef Albers

1888-1976

I-S j, 1973 Screenprint in colors, on heavy etching paper, with full margins. Signed with initial ‘A’, titled, dated and numbered 94/100 in pencil (there were also 35 hors commerce), published by Ives-Sillman, Inc., New Haven, framed. I. 25 x 25 in. (63.5 x 63.5 cm) S. 30 x 40 in. (76.2 x 101.6 cm) Estimate $2,500-3,500 Literature Brenda Danilowitz 220


185. Josef Albers

1888-1976

SP II, 1967 Screenprint in colors, on Schöllers Hammer Board, with full margins. Signed with initial ‘A’, titled, dated and numbered 47/125 in pencil (there were also some artist’s proofs), published by Editions Domberger, Stuttgart, for Galerie der Spiegel, Cologne, unframed. I. 19 1/2 x 19 1/2 in. (49.5 x 49.5 cm) S. 24 1/4 x 24 1/4 in. (61.6 x 61.6 cm) Estimate $3,000-5,000 Literature Brenda Danilowitz 175.2

186. Josef Albers

1888-1976

Hommage au Carré: one plate, 1965 Screenprint in colors, on J. Perrugot Arches Special MBM paper (folded, as issued), with full margins. Signed with initial ‘A’, dated ‘64’ and numbered 123/125 in pencil, published by Éditions Denise René, Paris, unframed. I. 10 7/8 x 11 in. (27.9 x 28 cm) folded S. 22 1/4 x 14 7/8 in. (56.5 x 38 cm)

185.

Estimate $2,500-3,500 Literature Brenda Danilowitz 160.8

186.

187.

187. Josef Albers

1888-1976

I-S LXXII a, 1972 Screenprint in colors, on German Etching paper, with full margins. Signed with initial ‘A’, titled, dated and numbered 26/100 in pencil (there were also 25 artist’s proofs), published by Ives-Sillman, Inc., New Haven, to commemorate Albers’ 84th birthday, unframed. I. 17 1/2 x 17 1/2 in. (44.5 x 44.5 cm) S. 28 x 28 in. (71.1 x 71.1 cm) Estimate $2,500-3,500 Literature Brenda Danilowitz 215


188. Josef Albers

1888-1976

WLS III, from White Line Squares (Series I), 1966 Lithograph in colors, on Arches Cover paper, with full margins. Signed with initial ‘A’, titled, dated and numbered 84/125 in pencil (there were also 15 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), framed. I. 15 3/4 x 15 3/4 in. (40 x 40 cm) S. 20 3/4 x 20 3/4 in. (52.7 x 52.7 cm) Estimate $3,000-5,000 Literature Gemini G.E.L. 4 Brenda Danilowitz 171.3

This lot is to be Sold with No Reserve

189. Richard Anuszkiewicz

b. 1930

Six Squares, 1969 Screenprint in colors, on wove paper, with margins. Signed, dated and numbered 142/200 in pencil (there were also some artist’s proofs), framed. F. 24 x 35 3/4 in. (61 x 90.8 cm) Estimate $400-600 •

190. Carlos Cruz-Diez

b. 1923

Transchromies, 1965 The complete set of fve manipulable screenprints in colors, on light wove paper and on clear acetate, with full margins, in cardboard sleeves, with title page, colophon, and artist’s texts, contained in the original card portfolio box with printed title. Signed with initials in black ink and stamp-numbered ‘184’ on the colophon, from the edition of 250 (there were also 10 sets reserved for libraries), published by Éditions Denise René, Paris (with their blindstamp), all unframed. all sleeves 12 5/8 x 12 5/8 in. (32 x 32 cm) portfolio 13 1/4 x 13 1/4 x 0 7/8 in. (33.8 x 33.8 x 2.5 cm) Estimate $5,000-7,000


191. Agnes Martin

1912-2004

Paintings and Drawings 1974-1990, 1991 The complete set of 10 lithographs in colors, on frm transparency paper, with full margins, with text, the sheets loose (as issued), contained in the original gray card portfolio with printed uppers. From the edition of 2,500 published by Nemela & Lenzen GmbH, Monchengladback and Stedelijk Museum, Amsterdam for Agnes Martin’s 1991 retrospective at the Stedelijk Museum. portfolio 12 1/4 x 12 1/4 in. (31.1 x 31.1 cm) Estimate $2,000-3,000

This lot is to be Sold with No Reserve

192. Robert Mangold

b. 1937

Five Color Frame, 1985 Woodcut in colors, on Echizen Kozo paper, with full margins. Signed and numbered 13/200 in pencil, additionally signed by the printer in Japanese and with their inkstamp (there were also 20 artist’s proofs), published by Crown Point Press, Oakland (with their blindstamp), framed. I. 21 x 17 1/2 in. (53.3 x 44.5 cm) S. 25 x 21 in. (63.5 x 53.3 cm) Estimate $2,000-3,000 • Literature Amy Baker Sandback 22; Senior & Shopmaker Gallery, Inc., New York 1985.03


193. Sol LeWitt

1928-2007

Double Cubes in Grays and Colors Superimposed, 1989 Screenprint in colors, on Arches Cover paper, with full margins. Signed and annotated ‘PP 3/4’ in pencil (a printer’s proof, the edition was 150 and 10 artist’s proofs), published by Friends of the Philadelphia Museum of Art, Philadelphia, unframed. I. 16 x 28 3/8 in. (40.6 x 72.1 cm) S. 20 x 32 3/8 in. (50.8 x 82.2 cm) Estimate $1,000-1,500 Literature Barbara Krakow 1989.02

194. Sol LeWitt

1928-2007

Line Etching II; and Line Etching V, from Line Etchings, 2000 Two etchings and aquatint, on Awa Kozo paper, with full margins. Both signed and numbered 5/25 in in pencil (there were also 8 artist’s proofs), published by Pace Editions, Inc., New York, both framed. both I. 12 1/2 x 12 1/2 in. (31.8 x 31.8 cm) both S. 16 x 16 in. (40.6 x 40.6 cm) Estimate $1,000-1,500 Literature Barbara Krakow 2000.01


195. Donald Judd

1928-1994

Untitled: one plate, 1988-1990 Woodcut in colors, on Tosa Honga Japanese laid paper, the full sheet. Signed and numbered IX/XV in pencil on the reverse (there were also 10 artist’s proofs), published by Kölnischer Kunstverein, Cologne (there was also an edition of 25 in Arabic numerals published by Brooke Alexander Editions, New York), framed. S. 23 1/2 x 31 3/ 16 in. (59.7 x 79.2 cm) Estimate $3,000-5,000 Literature Jörg Schellmann 192

This lot is to be Sold with No Reserve

196. Dorothea Rockburne

b. 1932

Locus II and Locus VI, from Locus, 1975 Two aquatints, on Strathmore Rag Bristol paper, the full sheets, folded (as issued), lacking the original portfolio. Both signed, dated, annotated ‘#2’ and ‘#6’ in pencil respectively and numbered 30/42, published by Parasol Press Ltd., Portland, Oregon, both unframed. both S. 40 x 30 in. (101.6 x 76.2 cm) Estimate $3,000-5,000 •


197. Ellsworth Kelly

1923-2015

Oak I, from Series of Oak Leaves, 1992 Lithograph, on Rives BFK paper, with full margins. Signed and numbered 22/35 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 24 x 16 in. (61 x 40.6 cm) S. 36 x 30 in. (91.4 x 76.2 cm) Estimate $6,000-9,000 Literature Gemini G.E.L. 1564; Richard Axsom 259

198. Ellsworth Kelly

1923-2015

Cyclamen V, from Suite of Plant Lithographs, 1964-65 Lithograph, on Rives BFK paper, with full margins. Signed and numbered 26/75 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by Maeght, Paris, framed. I. 25 x 21 in. (63.5 x 53.3 cm) S. 35 1/2 x 24 1/8 in. (90.2 x 61.3 cm) Estimate $7,000-10,000 Literature Richard Axsom 40


199. Ellsworth Kelly

1923-2015

200. Ellsworth Kelly

1923-2015

Light Blue with Orange (Bleu clair avec orange), from Suite of Twenty-Seven Color Lithographs, 1964-65 Lithograph in colors, on Rives BFK paper, with full margins. Signed and dedicated ‘artist’s proof, for Mother & Dad’ in pencil (one of 11 artists’s proofs, the edition was 75), published by Maeght, Paris, framed. I. 18 1/2 x 14 in. (47 x 35.6 cm) S. 35 x 23 1/2 in. (88.9 x 59.7 cm)

Orange over Green (Orange sur vert), from Suite of Twenty-Seven Color Lithographs, 1964-65 Lithograph in colors, on Rives BFK paper, with full margins. Signed and dedicated ‘Artist’s Proof for Allan & Francis’ in pencil (one of 4 artist’s proofs, the edition was 75), published by Maeght, Paris, framed. I. 20 3/8 x 15 5/8 in. (51.8 x 39.7 cm) S. 35 1/8 x 23 5/8 in. (89.2 x 60 cm)

Estimate $6,000-9,000

Estimate $3,000-5,000

Provenance Gif of the artist to his mother and father By descent to the present owner

Provenance Gif of the artist to his older brother and sister-in-law By descent to the present owner

Literature Richard Axsom 14

Literature Richard Axsom 27


201. Ellsworth Kelly

1923-2015

Untitled, from Eight by Eight to Celebrate the Temporary Contemporary, 1983 Lithograph, on Arches 88 paper, with full margins. Signed and numbered ‘AP 14’ in pencil (one of 43 artist’s proofs, the edition was 250), printed by Gemini G.E.L., Los Angeles (with their blindstamps) and published by Museum of Contemporary Art Los Angeles, framed. I. 19 x 29 in. (48.3 x 73.7 cm) S. 29 x 41 in. (73.7 x 104.1 cm) Estimate $5,000-7,000 Literature Richard Axsom 201; Gemini G.E.L. 1149

202. Ellsworth Kelly

1923-2015

Red-Orange over Black, 1970 Screenprint in colors, on Special Arjomari paper, with full margins. Signed and numbered 168/250 in pencil (there were also 25 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 16 1/4 x 21 in. (41.3 x 53.3 cm) S. 25 x 30 in. (63.5 x 76.2 cm) Estimate $4,000-6,000 Provenance Gif of the artist to the present owner Literature Gemini G.E.L. 240; Richard Axsom 71

203. Ellsworth Kelly

1923-2015

Orange, from Artists Coming Together to Beneft Democratic Presidential Candidates, 2004 Lithograph in orange, on Rives BFK paper, with full margins. Signed and numbered 231/250 in pencil (there were also 44 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 11 1/2 x 7 3/4 in. (29.2 x 32.4 cm) S. 16 x 12 in. (40.6 x 30.5 cm) Estimate $3,000-4,000 Literature Gemini G.E.L. 2018; Richard Axsom 309


204. Ellsworth Kelly

1923-2015

Gray Variation, from Second Curve Series, 1973-75 Lithograph with intaglio and debossing, on Rives BFK paper, with full margins. Signed and numbered 24/27 in pencil (there were also 11 artistâ&#x20AC;&#x2122;s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed. I. 29 x 29 in. (73.7 x 73.7 cm) S. 39 3/8 x 39 in. (100 x 99.1 cm) Estimate $1,000-1,500 Literature Gemini G.E.L. 595; Richard Axsom 115

205. Richard Tuttle

b. 1941

Source of Imagery, II, No. 3, 1995-1996 Acrylic and gouache drawing on two sheets of layered wove paper. To beneft the Skowhegan 50 Years Anniversary, framed. 15 x 15 in. (38.1 x 38.1 cm) Estimate $4,000-6,000


206. Arturo Herrera

b. 1959

Tale, 1999 Lithograph, on Kitakata paper, with full margins. Signed, dated and numbered 25/30 in pencil (there were also 3 artistâ&#x20AC;&#x2122;s proofs), published by Normal Editions Workshop, Illinois State University, Normal, Illinois (with their blindstamp), framed. I. 14 x 30 in. (35.6 x 76.2 cm) S. 19 5/8 x 35 5/8 in. (49.8 x 90.5 cm) Estimate $2,000-3,000

207. Jacqueline Humphries

b. 1960

Untitled; and Untitled, 1990 Two watercolor drawings on heavy wove paper. Both signed and dated in pencil on the reverse, both framed. black 14 3/4 x 15 in. (37.5 x 38.1 cm) color 13 3/4 x 13 3/4 in. (34.9 x 34.9 cm) Estimate $1,000-2,000 Provenance John Good Gallery, New York

This lot is to be Sold with No Reserve

208. Jacqueline Humphries

b. 1960

Untitled, 1992 Ink drawing on heavy wove paper. Signed and dated in pencil on the reverse, framed. 11 x 15 in. (27.9 x 38.1 cm) Estimate $800-1,200 â&#x20AC;˘


209. Brice Marden

b. 1938

LA Muses, from MOCA portfolio, 1999-2000 Etching and lithograph in colors, on Somerset Velvet paper, with full margins. Signed, dated and numbered 54/80 in pencil (there were also 20 artistâ&#x20AC;&#x2122;s proofs), printed by Gemini G.E.L., Los Angeles (with their blindstamps) and published by the Museum of Contemporary Art Los Angeles (MOCA) as part of MOCAâ&#x20AC;&#x2122;S 20th Anniversary portfolio in 1999-2000, unframed. I. 17 1/4 x 26 1/8 in. (43.8 x 66.4 cm) S. 22 x 30 in. (55.9 x 76.2 cm) Estimate $7,000-9,000 Provenance Melva Bucksbaum Literature Gemini G.E.L. 1802


Property from the Edwin C. Cohen Family Collection

210. Brice Marden

b. 1938

Distant Muses, 2000 Screenprint in colors, on Somerset Velvet paper, with full margins. Signed, dated and numbered 217/300 in pencil (there were also 45 artistâ&#x20AC;&#x2122;s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 8 1/2 x 13 in. (21.6 x 33 cm) S. 23 3/8 x 19 in. (59.4 x 48.3 cm) Estimate $3,000-5,000 Literature Gemini G.E.L. 1881

211. Brice Marden

b. 1938

Grid I, 1971 Etching, on Arches paper, with full margins. Signed, titled, dated and numbered 32/50 in pencil (there was also at least 1 artistâ&#x20AC;&#x2122;s proof), published by Parasol Press, New York, a backed cut at the upper center sheet slightly afecting the image (measures 5 1/2-in.), unframed. I. 14 7/8 x 23 3/4 in. (37.8 x 60.3 cm) S. 22 x 29 3/4 in. (55.9 x 75.6 cm) Estimate $2,000-3,000 Literature Jeremy Lewison 17

212. Brice Marden

b. 1938

Tu Fu, 1987 Etching and aquatint, on Rives BFK paper, with full margins. Signed, dated and numbered 67/140 in pencil, published by Peter Blum Editions, New York, framed. I. 6 3/4 x 4 5/8 in. (17.1 x 11.7 cm) S. 9 1/2 x 7 in. (24.1 x 17.8 cm) Estimate $1,500-2,500 Literature Jeremy Lewison 41


213. Richard Serra

b. 1938

Junction #2; Junction #3; Junction #10; and Junction #13, 2010 Four etchings, on HahnemĂźhle copperplate paper, with full margins. All signed, dated, three numbered 17/50 and one numbered 18/50 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs of each), published by Gemini G.E.L., Los Angeles, (with their blindstamps), all framed. all I. 11 x 14 in. (27.9 x 35.6 cm) all S. 16 x 18 in. (40.6 x 45.7 cm) Estimate $7,000-9,000


214. Richard Serra

b. 1938

MOCA Print, from MOCA portfolio, 1999 Etching, on Somerset Velvet paper, the full sheet. Signed, dated and numbered 54/80 in pencil (there were also 20 artist’s proofs), printed by Gemini G.E.L., Los Angeles (with their blindstamps) and published by the Museum of Contemporary Art Los Angeles (MOCA) as part of MOCA’S 20th Anniversary portfolio in 1999-2000, unframed. S. 30 x 22 in. (76.2 x 55.9 cm) Estimate $5,000-7,000 Literature Gemini G.E.L. 1796; Silke von Berswordt-Wallrabe 134

Property from a Private West Coast Collection

215. Richard Serra

b. 1938

Eidid III, 1991 Etching, on Fabriano Murillo paper, with full margins. Signed, dated and numbered 30/54 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 17 3/4 x 23 7/8 in. (45.1 x 60.6 cm) S. 25 1/8 x 30 3/4 in. (63.8 x 78.1 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 1557; Silke von BerswordtWallrabe 90


This lot is to be Sold with No Reserve

216. Alan Shields

1944-2005

West in the Breast, from Sof and Flufy Gears, 1987 Punched, glued, sewn and assembled Handmade paper in colors, the full sheet. Signed, dated and numbered 7/15 in pencil and stamp-titled on the reverse, published by Tandem Press, Madison, Wisconsin, framed. S. 18 3/4 x 18 3/4 in. (47.6 x 47.6 cm) Estimate $400-600 •

This lot is to be Sold with No Reserve

217. Alan Shields

1944-2005

Worm with a Spur, from Sof and Flufy Gears, 1987 Punched, glued, sewn and assembled Handmade paper in colors, the full sheet. Signed, dated and numbered 4/15 in pencil and stamp-titled on the reverse, published by Tandem Press, Madison, Wisconsin, framed. S. 28 x 28 in. (71.1 x 71.1 cm) Estimate $1,000-2,000 •

This lot is to be Sold with No Reserve

218. Alan Shields

1944-2005

Synchromesh, from Sof and Flufy Gears, 1987 Punched, glued, sewn and assembled Handmade paper in colors, the full sheet. Signed, dated and numbered 4/15 in pencil and stamp-titled on the reverse, published by Tandem Press, Madison, Wisconsin, unframed. S. 21 x 18 1/2 in. (53.3 x 47 cm) Estimate $1,000-2,000 •


219. Mel Bochner

b. 1940

Not Titled (17), 1995 Monoprint with engraving, embossing and handcoloring, on four sheets of Handmade Twinrocker paper (as issued), the full sheets. Signed, titled and dated on the reverse of the lower lef sheet, published by Two Palms Press Inc., New York, framed. S. 18 1/4 x 18 1/4 in. (46.4 x 46.4 cm) Estimate $1,500-2,500 Provenance Betsy Senior Gallery, New York

This lot is to be Sold with No Reserve

220. Elizabeth Murray

1940-2007

We Meet Again, 2004 Lithograph in colors, on wove paper, the full sheet. Signed, dated and numbered 67/108 in pencil (there were also 18 artist’s proofs), published by Lincoln Center List Poster and Print Program, New York, framed. S. 31 x 46 in. (78.7 x 116.8 cm) Estimate $400-600 • Literature Charles Riley p.198

221. Carroll Dunham

b. 1949

Analysis, 1991 Wood engraving in colors, on Saunders paper, with full margins. Signed, dated and numbered 34/38 in pencil (there were also 6 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed. I. 23 1/4 x 31 1/2 in. (59.1 x 80 cm) S. 31 x 38 1/2 in. (78.7 x 97.8 cm) Estimate $1,000-2,000 Literature Allison Kemmerer A24


Day Editions, afternoon session, 2pm Lots 222â&#x20AC;&#x201C;343

222. Gerhard Richter

b. 1932

Flow (P4); Flow (P5); Flow (P6); and Flow (P7), 2013/2014 Four chromogenic prints, each fush-mounted to aluminum with metal strainer on the reverse (as issued). These facsimile objects are unsigned and all numbered 427/500 in black ink on the reverse, published by Heni Productions, London. all 17 3/4 x 17 3/4 in. (45.1 x 45.1 cm) Estimate $10,000-12,000 Literature Heni Productions P4, P5, P6, P7


223. Robert Rauschenberg

1925-2008

Earth Crust, from Stoned Moon Series, 1969 Lithograph in colors, on Arches Cover paper, the full sheet. Signed, dated and numbered ‘15/’ in white pencil (the edition was 42 and 6 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. S. 34 x 25 in. (86.4 x 63.5 cm) Estimate $1,500-2,500 Literature Gemini G.E.L. 169

224. Jasper Johns

b. 1930

Untitled, 1995 Mezzotint in colors, on Lana Gravure paper, watermark J. Johns, with full margins. Signed, dated and numbered 11/37 in pencil (there were also 9 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed. I. 11 3/4 x 8 1/4 in. (29.8 x 21 cm) S. 25 3/4 x 18 5/8 in. (65.4 x 47.3 cm) Estimate $5,000-7,000


225. Jim Dine

b. 1935

Multi-Colored Robe, 1977 Ofset lithograph, etching, drypoint and intaglio with electric tools, with handcoloring, on Arches Cover paper, the full sheet. Signed, dated and annotated ‘A/P’ in pencil (one of 3 artist’s proof, the edition was 10), published by Pace Editions Inc., New York, unframed. S. 41 1/4 x 29 1/2 in. (104.8 x 74.9 cm) Estimate $3,000-5,000 Literature Ellen D’Oench and Jean Feinberg 5

226. Donald Sultan

225.

227. Donald Sultan

Black Tulips and Vase, 2014 Screenprint with tar-like texture, on 4-ply museum board, with full margins. Signed, titled, dated and numbered 27/50 in pencil (there were also 15 artist’s proofs), published by Lococo Fine Art, St. Louis (with their inkstamp on the reverse), unframed. I. 42 x 42 in. (106.7 x 106.7 cm) S. 46 x 46 in. (116.8 x 116.8 cm) Estimate $2,500-3,500

226.

b. 1951

227.

b. 1951

Black Lemon, 1987 Aquatint, on wove paper, with full margins. Signed with initials, titled, dated and numbered 43/75 (there were also 16 artist’s proofs), published by Parasol Press, New York, framed. I. 39 3/4 x 29 7/8 in. (101 x 75.9 cm) S. 47 3/4 x 36 in. (121.3 x 91.4 cm) Estimate $800-1,200


228. Donald Sultan

b. 1951

Pear, Lemon, Egg, 1985 Watercolor on Arches paper. Signed with initials, titled and dated in pencil. 22 3/4 x 22 in. (57.8 x 55.9 cm) Estimate $2,500-3,500 Provenance Joe Fawbush Editions, New York

229. Robert Cottingham

b. 1935

Untitled, 1972 Graphite drawing on vellum. Signed in pencil, framed. 16 7/8 x 13 7/8 in. (42.9 x 35.2 cm) Estimate $4,000-6,000


230. Richard Diebenkorn

1922-1993

Seated Woman in a Striped Dress, from Seated Woman series, 1965 Lithograph, on Arches paper, with full margins. Signed with initials, dated and numbered 41/100 in black ink, published by Original Press, San Francisco (with their blindstamps), framed. I. 26 1/2 x 20 1/4 in. (67.3 x 51.4 cm) S. 28 x 22 in. (71.1 x 55.9 cm) Estimate $2,500-3,500

231. Chuck Close

230.

231.

232.

b. 1940

232. Chuck Close

b. 1940

Self Portrait/Squiggle/Etching, 2000 Etching in colors, on Hahnemühle paper, with full margins. Signed, dated, and numbered 47/60 in pencil (there were also 15 artist’s proofs), published by Pace Editions Inc., New York, framed. I. 9 3/4 x 8 1/8 in. (24.8 x 20.6 cm) S. 18 1/4 x 15 1/4 in. (46.4 x 38.7 cm)

S.P. II (Self-Portrait II), 1997 Linocut, on wove paper, with full margins. Signed, titled, dated and annotated ‘Pace Proof’ in pencil (the edition was 100 and 25 artist’s proofs), published by Pace Editions Inc., New York, framed. I. 11 5/8 x 9 in. (29.5 x 22.9 cm) S. 24 x 18 in. (61 x 45.7 cm)

Estimate $1,500-2,500

Estimate $2,000-4,000


233. David Hockney

b. 1937

Dog Wall No.3, from Dog Wall, 1998 Etching, on Somerset paper, with full margins. Signed, dated and numbered 7/35 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by Pace Editions Inc., New York, framed. I. 11 7/8 x 13 7/8 in. (30.2 x 35.2 cm) S. 16 5/8 x 18 1/2 in. (42.2 x 47 cm) Estimate $6,000-9,000

234. David Hockney

b. 1937

Dog Etching No. 1, from Dog Wall, 1998 Etching, on Somerset paper, with full margins. Signed, dated and numbered 7/35 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by Pace Editions Inc., New York, framed. I. 8 5/8 x 10 5/8 in. (21.9 x 27 cm) S. 12 3/4 x 14 1/4 in. (32.4 x 36.2 cm) Estimate $6,000-9,000


This lot is to be Sold with No Reserve

235. David Hockney

b. 1937

The Blue Guitar: title page, 1976-77 Etching and aquatint, on Inveresk mould-made paper, with full margins, contained in the original cream leather-covered portfolio. Signed and numbered 68/200 in pencil (there were also 35 artist’s proofs), published by Petersburg Press, New York, including the portfolio’s justifcation page. I. 16 7/8 x 13 5/8 in. (42.9 x 34.6 cm) S. 20 5/8 x 18 in. (52.4 x 45.7 cm) Estimate $500-700 • Literature Museum of Contemporary Art Tokyo 178; Scottish Arts Council 199

236. Ken Price

1935-2012

Frog Cup; and Kauai Crab Cup, 1968 and 1972 One lithograph and one screenprint in colors, on German Etching paper and J. Green Mouldmade paper, with full margins. Frog Cup signed, titled, dated and annotated ‘Trial Proof’ in pencil on the reverse (the edition was 20 and 3 artist’s proofs), published by Tamarind Lithography Workshop, Los Angeles (with their inkstamp), Kauai Crab Cup signed, titled, dated and numbered 58/60 in pencil (there were also 15 artist’s proofs), published by Cirrus Editions, Los Angeles, both unframed. Frog Cup I. 4 3/4 x 7 3/4 in. (12.1 x 19.7 cm) S. 25 x 19 1/2 in. (63.5 x 49.5 cm) Kauai Crab Cup I. 11 5/8 x 10 7/8 in. (29.5 x 27.6 cm) S. 24 x 20 in. (61 x 50.8 cm) Estimate $2,000-4,000 Literature Frog Cup, Tamarind 2492; Kauai Crab Cup Cirrus, p. 336

237. Fernando Botero

b. 1932

La Toilette, from Botero, 1982 Ofset lithograph in colors, on wove paper, with full margins. Signed and numbered 172/200 in pencil (there were also 18 artist’s proofs), published by Harry N. Abrams Editions, New York, framed. S. 13 5/8 x 11 3/8 in. (34.6 x 28.9 cm) Estimate $4,000-6,000


This lot is to be Sold with No Reserve

238. Robert Graham

1938-2008

Mirror Drawings, 1997 The complete set of 20 lithographs, on Rives BFK paper, with full margins, with title page and colophon, the sheets loose (as issued), all contained in the original black linen-covered clamshell portfolio with printed title. All signed, dated and numbered 20/20 in pencil, published by Hamilton Press, Venice, California (with their blindstamp). all S. 12 5/8 x 16 in. (32 x 40.7 cm)

239. Joe Goode

b. 1937

Tornadoes, 1991 The complete set of 10 etchings and aquatints in colors, on handmade paper, with full margins, all contained in the original mulberry paper-covered portfolio. All signed, dated and numbered 12/25 in pencil, published by the artist. Portfolio 27 1/2 x 20 5/8 x 7/8 in. (69.9 x 52.4 x 2.2 cm) Estimate $1,500-2,500

Estimate $1,500-2,500 â&#x20AC;˘

Including: Cleveland County 1983; Snyder 1905; Bethany 1930; Oklahoma City 1942; Antlers 1945; Muskogee 1945; Woodward 1947; Shawnee to Tulsa 1960; Drumright 1974; and Lawton 1979


240. Richard Estes

b. 1932

Urban Landscapes No. 3, 1981 The complete set of eight screenprints in colors, on Fabriano Cottone paper, with full margins, all contained in the original olive green clothcovered portfolio. All signed and annotated ‘A.P.’ in pencil (one of 15 artist’s proofs, the edition was 250), published by Parasol Press, Ltd., New York. all I. 14 x 20 in. (35.6 x 50.8 cm) all S. 19 3/4 x 27 1/2 in. (50.2 x 69.9 cm) Estimate $10,000-15,000 Literature John Arthur pp. 121-123

Including: Manhattan; Flughafen (Airport); Cafeteria, Vatican; Subway; Bus Interior; Eifel Tower Restaurant; Movies; and Lakewood Mall.


241. Richard Estes

b. 1932

Qualicraf Shoes, 1974 Screenprint in colors, on Fabriano Cottone paper, laminated to Schoeller’s rag board with an aluminum inlay (as issued), the full sheet. Signed and numbered 83/100 in pencil (there were also 25 artist’s proofs), published by Parasol Press, Ltd., New York, unframed. I. 33 3/8 x 47 in. (84.8 x 119.4 cm) S. 35 3/8 x 49 1/4 in. (89.9 x 125.1 cm) Estimate $3,000-5,000 Literature John Arthur p. 115

242. Richard Estes

b. 1932

Flughafen (Airport), from Urban Landscapes No. 3, 1981 Screenprint in colors, on Fabriano Cottone paper, with full margins. Signed and annotated ‘AP’ in pencil (one of 15 artist’s proofs, the edition was 250), published by Parasol Press, Ltd., New York, unframed. I. 14 x 20 in. (35.6 x 50.8 cm) S. 19 5/8 x 27 1/2 in. (49.8 x 69.9 cm) Estimate $1,000-1,500 Literature John Arthur p. 121

243. Richard Estes

b. 1932

Cafeteria, Vatican, from Urban Landscapes No. 3, 1981 Screenprint in colors, on Fabriano Cottone paper, with full margins. Signed and numbered 162/250 in pencil (there were also 15 artist’s proofs), published by Parasol Press, Ltd., New York, framed. I. 14 x 20 in. (35.6 x 50.8 cm) S. 19 5/8 x 27 1/2 in. (49.8 x 69.9 cm) Estimate $1,000-1,500 Literature John Arthur p. 121


244. Maurizio Cattelan

b. 1960

The 1:6 Scale Wrong Gallery, 2006 Multiple comprising wood, brass, steel, aluminum, resin, plastic, glass and electric lighting, with accompanying copy of the Wrong Gallery Times, all contained in the original cardboard box. Numbered 39/2500 in black ink on the base, with the printed Cattelan copyright, published by Cerealart Multiples, Philadelphia. 18 3/8 x 11 1/2 x 6 3/4 in. (46.7 x 29.2 x 17.1 cm) Estimate $1,200-1,800

245. Ed Ruscha

b. 1937

Liberty, 2011 Lithograph in colors, on wove paper, the full sheet. Signed, dated and numbered 56/75 in pencil, published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. S. 25 3/4 x 19 3/4 in. (65.4 x 50.2 cm) Estimate $5,000-7,000


246. Ed Ruscha

b. 1937

Pico, Flower, Figueroa, from MOCA portfolio, 1999 Etching and aquatint in colors, on wove paper, with full margins. Signed, dated and numbered 54/80 in pencil (there were also 12 artist’s proofs), printed by Lapis Press, Los Angeles (with their blindstamp), published by The Museum of Contemporary Art Los Angeles (MOCA) as part of MOCA’s 20th Anniversary portfolio in 1999-2000, framed. I. 15 1/2 x 22 1/2 in. (39.4 x 57.2 cm) S. 22 x 30 in. (55.9 x 76.2 cm) Estimate $5,000-7,000

247. Ed Ruscha

b. 1937

Bowl, from Domestic Tranquility series, 1974 Lithograph in colors, on Arches Cover paper, with full margins. Signed, dated, and numbered 50/65 in pencil (there were also 24 artist’s proofs), co-published by Multiples, Inc., and Castelli Graphics, New York (with their blindstamp and inkstamp), framed. I. 12 x 15 in. (30.5 x 38.1 cm) S. 18 x 22 3/8 in. (45.7 x 56.8 cm) Estimate $1,200-1,800 Literature Cirrus Editions p. 346; Siri Engberg 74


248. Arman

1928-2005

Accumulation, 1973 Accumulation of rubber stamps and stamped imprints on paper in wooden box with Plexiglas lid. Signed and numbered 46/100 in pencil (there were also 10 artist’s copies), co-published by Editions Schellmann and John Gibson, Munich and New York. 18 1/2 x 12 1/2 x 3 1/4 in. (47 x 31.8 x 8.3 cm) Estimate $1,000-1,500

This work is recorded in the Arman Studio Archives New York under number: APA# 8400.73.030

249. John Armleder

b. 1948

Moonlight Sonata, 1994 Wood, acrylic and 16 eighteen-note Reuge music box mechanisms, incised with song titles on the reverse, to be played. Incised with the artist’s signature and numbered 2/9 on a circular brass plaque afxed to the inside of the box. 39 x 39 x 4 5/8 in. (99.1 x 99.1 x 11.7 cm.) Estimate $3,000-5,000

Including: Menuet, Serenade; Brahms Lullaby; The Magic Flute; Mozart Lullaby; Célèbre Menuet; Till the End of Time; Polonaise; Oh Christmas Tree; Moonlight Sonata; The Trout; Pour Elise; Romance; Eine Kleine Nachtmusik; Allegro; Wedding March; Alle vögel sind schon da; Till the End of Time; and Polonaise


250. Robert Rauschenberg

1925-2008

Cardbird VII, from Cardbird series, 1971 Collage print with, tape, and photo ofset lithograph in colors, on corrugated cardboard, the full sheet, secured to the mount (as issued), lacking the original fasteners. Signed, dated and numbered 60/75 in black ink on the reverse (there were also 6 artistâ&#x20AC;&#x2122;s proofs), published by Gemini G.E.L., Los Angeles (with their inkstamp on the reverse), framed. S. 33 1/2 x 33 in. (85.1 x 83.8 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 309

Property from an Important East Coast Collection

251. Robert Rauschenberg

1925-2008

Tibetan Keys (Double Bevel), from Tibetan Keys and Locks, 1987 Steel multiple with screenprinted decals, handcoloring in screenprinting ink and polyurethane clear coat. With printed signature, date, and numbered 6/25 in green and brown ink (there were also 8 artistâ&#x20AC;&#x2122;s copies), published by Gemini G.E.L., Los Angeles (with their printed stamp and work number). 10 x 36 x 10 in. (25.4 x 91.4 x 25.4 cm) Estimate $2,000-3,000 Provenance Obelisk Gallery, Inc., Boston, c. 2009 Literature Gemini G.E.L. 1306


252. Robert Rauschenberg

1925-2008

Publicon - Station II, from Publicons, 1978 Editioned sculpture constructed of wood and 1/8 in. aluminum, coated with nitrocellulose lacquer, collaged silk, cotton fabrics and baked epoxy enamel over polished aluminum. Signed, dated and numbered 11/30 in black marker on an aluminum plaque afxed to the reverse (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles. 36 x 36 x 14 in. (91.4 x 91.4 x 35.6 cm) Estimate $3,000-5,000 Literature Gemini G.E.L. 815

253. Richard Artschwager

1923-2013

Door, 1987 Formica, wood and metal hardware. Signed and numbered ‘5’ in black ball-point pen on a label afxed to the reverse (from the edition of 25), published by Brooke Alexander Editions, New York. 17 x 25 1/8 x 3 7/8 in. (43.2 x 63.8 x 9.8 cm) (closed) Estimate $3,000-5,000


254. Richard Artschwager

1923-2013

Book, 1987 Formica and wood, with felt underside (as issued). Signed and numbered â&#x20AC;&#x2DC;34â&#x20AC;&#x2122; in black ink on a label afxed to the underside (from the edition of 40), published by Brooke Alexander, New York to beneft the New Museum, New York. 12 x 20 x 5 1/8 in. (30.5 x 50.8 x 13 cm) Estimate $4,000-6,000

255. Richard Artschwager

1923-2013

Bookends, 1990 Formica on wood in two parts. Stamped with initials, dated and numbered 7/50 on a circular bronze plaque afxed to the underside, published by Brooke Alexander Editions, New York. both 6 3/4 x 4 x 6 in. (17.1 x 10.2 x 15.2 cm) Estimate $5,000-7,000


256. Marcel Duchamp

1887-1968

“The Large Glass and Related Works”, Volume II, by Arturo Schwarz, 1969 The complete volume, comprised of the set of nine etchings, all on handmade paper watermarked The Large Glass II, with full margins, text by Arturo Schwarz, all contained in the original red clothcovered slip case. Signed by the artist and author and numbered copy 51 of 135 in pencil on the colophon (there were also 15 artist’s proofs in Roman numerals), published by Galleria Schwarz, Milan. slipcase. 17 x 10 3/8 in. (43.2 x 26.4 cm) Estimate $4,000-6,000 Literature Arturo Schwarz 645-653 and 658

Volume II including: Selected Details afer Cranach and Relâche; Après l’amour; Selected Details afer Rodin; The “Bec Auer”; Selected Details afer Ingres (I); The Bride Stripped Bare...; Selected Details afer Ingres (II); The King and the Queen; and Selected Details afer Courbet

257. Various Artists To and From Rrose Sélavy, 1968 The complete set of fve works including three screenprints in colors, a lenticular panel and one screenprint on colored acetate set into embossed and die-cut paper, the full sheets and with full margins, with the accompanying book Selected Words of Marcel Duchamp (Japanese version), all contained in the original black linen-covered portfolio and cardboard box. All signed and four dated in black ink, silver ink, ball-point pen or pencil, Rrose Sélavy in WilsonLincoln System signed by Duchamp, one inscribed ‘Marcel dechiravit pour Shuzo Takiguchi 1967’ in black ball-point pen, three numbered 9/60, IX/X and 9/65 respectively, published by Shuzo Takiguchi, Tokyo. 13 3/4 x 10 7/8 x 1 5/8 in. (34.9 x 27.6 x 4.1 cm) Estimate $6,000-8,000

Including: Jasper Johns, Summer Critic (ULAE 40); Shusaku Arakawa, Still Life; Jean Tinguely, Untitled drawing; and Shuzo Takiguchi, Rrose Sélavy in WilsonLincoln System and Marcel Self-Portrait in Profle.


258. Katharina Fritsch

b. 1956

Madonnenfgur (Madonna Figure); and Gehirn (Brain), 1982 and 1987-89 One plaster multiple with yellow pigment and one plastic multiple. Published by the artist. Madonna Figure 12 x 2 1/2 x 2 1/2 in. (30.5 x 6.4 x 6.4 cm) Brain 4 1/2 x 5 x 6 in. (11.4 x 12.7 x 15.2 cm) Estimate $1,500-2,500

259. Vik Muniz

b. 1961

Gummy Bears, 2002 The complete set of four Durafex prints in colors, on smooth photo paper, with full margins, all contained in the original black heavy paper box. One signed in blue ball-point pen on a label afxed to the reverse, all titled, dated and numbered 19/100 (printed) on a label afxed to the reverse, co-published by Brooklyn Academy of Music and Public Art Fund, New York. all I. 10 x 8 in. (25.4 x 20.3 cm) all S. 14 x 11 in. (35.6 x 27.9 cm) Estimate $3,000-5,000


260. Andy Warhol

1928-1987

Mao (wallpaper), 1974 Screenprint in colors, on wallpaper, the full sheet. Signed and bears numbering 2/300 in black ball-point pen (Feldman and Schellmann call for approximately 100 signed), published by Factory Additions, New York, for an Andy Warhol exhibition at the Musée Galliera, Paris, framed. S. 39 7/8 x 29 1/2 in. (101.3 x 74.9 cm) Estimate $6,000-8,000 Literature Frayda Feldman and Jörg Schellmann 125A

261. Andy Warhol

1928-1987

Apples, from Space Fruit: Still Lifes, 1979 Screenprint in colors, on 4-ply Lenox Museum Board, the full sheet. Signed and numbered XXI/ XXX in felt pen (slightly faded), (there was also an edition of 150 in Arabic numerals on Strathmore Bristol paper), published by Grippi/Zivian, Inc., New York, framed. S. 30 x 40 1/4 in. (76.2 x 102.2 cm) Estimate $5,000-7,000 Literature Frayda Feldman and Jörg Schellmann 200


262. Andy Warhol

1928-1987

Mao (wallpaper), two rolls, 1974 Two screenprints in colors, on two lengths of wallpaper. Both from the unlimited edition published by Factory Additions, New York for an Andy Warhol exhibition at the MusĂŠe Galliera, Paris, both unframed. one. 147 x 29 1/4 in. (373.4 x 74.3 cm) trimmed two. 122 x 29 in. (309.9 x 73.7 cm) Estimate $12,000-18,000 Literature see Frayda Feldman and JĂśrg Schellmann 125A

263. Andy Warhol

1928-1987

Rain and Flowers (Detail of construction), 1970 Lenticular print in colors, laid to heavy wove paper (as issued), the full sheet. Published by Cowles Communications and the Los Angeles County Museum of Art (with their inkstamp on the reverse) on the occasion of Osaka 70, framed. S. 11 7/8 x 10 7/8 in. (30.2 x 27.6 cm) Estimate $3,000-5,000


Including: Andy Warhol-Self Portrait; Astroboy; Shiseido-Sayoko Yamaguchi; Seiko-Sportswatch; Sony-Walkman; Issey Miyake-Ads; Kirin Beer-Label; Honda-Ads in US Campaign; Nikon-AF/N8008; and Namco-Packman

264. Rupert Jasen Smith

1953-1988

Homage to Andy Warhol, 1989 The complete set of 10 screenprints in colors, on Lenox Museum board, the full sheets, including justifcation and original portfolio. All signed and numbered 54/100 in pencil (there were also 15 artist’s proofs in Arabic numerals, 15 in Roman numerals, 10 hors commerce and 30 trial proofs), with copyright inkstamps on the reverse, published by Galerie Sho, Tokyo. all S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $10,000-15,000

“In this portfolio Warhol’s style and technique are involved: the subject here, as such, is Warhol’s art, as it is the 10 hallmarks of Japanese industry represented. Warhol’s visits to Japan and his fascination with Japanese culture is underscored by the primacy of Walkman, Hondo and Nikon among others, in American and world culture today. These images aptly parallel Warhol’s Campbell Soup Can, Brillo Box and Coca-Cola paintings. As Japanese prints spurred the importance of printmaking in the 19th and 20th century western art, this portfolio is a ftting posthumous homage to Warhol by Japan and the medium that was the fulcrum of his creative energies.” from the portfolio justifcation note


265. Andy Warhol

1928-1987

Love is a Pink Cake, 1953 The complete set of 25 ofset lithographs, on pale blue paper, the full sheets, unbound (as issued), in collaboration with Ralph Thomas Ward (Corkie) who wrote the poems. Plate IV.30 hand-inscribed in the imagery “hi Tom” and plate IV.32 with a few dashed ‘doodles’. all S. 11 x 8 1/2 in. (27.9 x 21.6 cm) Estimate $4,000-6,000 Provenance Gif of the artist to Thomas Royal, New York Private Collection, New York Literature Frayda Feldman and Jörg Schellmann IV. 27-50


266. Andy Warhol

1928-1987

Electric Chair, 1971 Screenprint in colors, on wove paper, the full sheet. Signed and dated in ink and stamp-numbered ‘A.p. ‘XXII/L’ on the reverse (one of 50 artist’s proofs, the edition was 250), published by Bruno Bischoferger, Zurich (with their copyright inkstamp on the reverse), framed. S. 35 3/8 x 47 7/8 in. (89.9 x 121.6 cm) Estimate $10,000-15,000 Literature Frayda Feldman and Jörg Schellmann 81


267. Gerard Malanga

b. 1943

Thermofax, 2008 The complete set of eight hand-pulled Thermofax prints, on thin wove paper (original 1968 paper), with full margins. All signed and one numbered 3/15 in black ink (there were also 5 artist proofs), published by Dagon James, New York, all unframed. all I. various sizes all S. 11 x 8 1/2 in. (27.9 x 21.6 cm) Estimate $3,000-5,000


268. Philippe Halsman

1906-1979

Warhol, 1968, 1989 The complete set of 8 chromogenic prints, all contained in the original brown leather portfolio with gold letter embossing on the front cover and spine. All stampsigned, dated and numbered 24/100 in black ink on the reverse, additionally stamp-signed and signed in black ink by the executor of the Estate, Yvonne Halsman, published by Nahan Gallery, New York. all I. 15 x 11 7/8 in. (38.1 x 30.2 cm) all S. 17 x 14 in. (43.2 x 35.6 cm) Estimate $3,000-5,000

269. Wayne Thiebaud

b. 1920

Lipsticks, 1970 Screenprint in colors, on Arches paper, with margins (trimmed 1/ 2 in. along the lower sheet edge). Signed, dated and numbered 4/50 in pencil (there were also some artistâ&#x20AC;&#x2122;s proofs), published by Parasol Press, Ltd., New York, framed. I. 4 5/8 x 23 in. (11.7 x 58.4 cm) S. 22 x 30 in. (55.9 x 76.2 cm) Estimate $6,000-9,000


This lot is to be Sold with No Reserve

270. John Wesley

b. 1928

Marmalade Executives, 2000 Iris print in colors, on heavy wove paper, the full sheet. Signed, dated, titled and numbered 3/50 in pencil, published by Art Resource Transfer, New York, unframed. S. 20 x 26 in. (50.8 x 66 cm) Estimate $800-1,200 â&#x20AC;˘


271. Tom Otterness

b. 1952

Lovers, 1992 Bronze multiple with silver nitrate patina. Incised with initials, dated ‘© 92’ and numbered 20/25 on the underside (there were also 10 artist’s proofs), published by Artists Space, New York. 4 3/8 x 4 x 3 1/2 in. (11.1 x 10.2 x 8.9 cm) Estimate $5,000-7,000

This lot is to be Sold with No Reserve

272. Christo

b. 1935

The Gates: Project for Central Park, New York City, 2003 Ofset Lithograph in colors, on wove paper, with full margins. Signed in pencil, published by Schumacher Edition Fils, Düsseldorf, unframed. I. 31 x 24 3/8 in. (78.7 x 61.9 cm) S. 39 3/8 x 27 3/8 in. (100 x 69.5 cm)

271.

Estimate $600-900 •

This lot is to be Sold with No Reserve

273. Christo

The Gates: Project for Central Park, New York City, XIX, Drawing in two parts, 2003 Ofset lithograph in colors, on wove paper, with full margins. Signed in pencil, co-published by Kunstverlag Schumacher GmbH, Dusseldorf and NYGS Nurture for New York’s Nature, unframed. I. 22 3/4 x 37 5/8 in. (57.8 x 95.6 cm) S. 28 1/8 x 39 7/8 in. (71.4 x 101.3 cm) Estimate $600-900 •

272.

273.

b. 1935


274. Roy Lichtenstein

1923-1997

Pyramid, 1968 Screenprint in yellow and black, on lightweight board folded into a three-dimensional pyramid. Signed and numbered 97/300 in pencil inside the pyramid (only approximately 50-100 were released, there were also some artist’s proofs), published by the artist. 14 1/4 x 20 x 20 in. (36.2 x 50.8 x 50.8 cm) Estimate $2,000-4,000 Literature Mary Lee Corlett 62

275. Roy Lichtenstein

1923-1997

Haystack #6, from Haystack Series, 1969 Lithograph in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 76/100 in pencil (there were also 10 artist’s proofs), printed and published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed. I. 13 1/4 x 23 3/8 in. (33.7 x 59.4 cm) S. 20 1/2 x 30 3/8 in. (52.1 x 77.2 cm) Estimate $4,000-6,000 Literature Gemini G.E.L. 155; Mary Lee Corlett 70

This lot is to be Sold with No Reserve

276. Robert Indiana

1928-2018

The American Art, 1970 Screenprint in colors, on wove paper, with full margins. Signed, titled, dated and numbered ‘X/XVII’ in pencil (one of 17 signed examples in this size apart from the edition of 2500 in Arabic numerals on smaller paper of which 125 were signed with 20 artist’s proofs), published by Edition Domberger, Filderstadt, Germany, framed. I. 12 x 12 in. (30.5 x 30.5 cm) S. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm) Estimate $400-600 • Literature Susan Sheehan 60


This lot is to be Sold with No Reserve

277. Claes Oldenburg

b. 1929

Knife Ship Superimposed on the Solomon R. Guggenheim Museum, 1986 Screenprint in colors, on Coventry Rag paper, with full margins. Signed and numbered 49/75 in pencil (there were also 15 artist’s proofs), published by Multiples Inc., New York, framed. I. 21 1/2 x 28 5/8 in. (54.6 x 72.7 cm) S. 30 1/2 x 36 5/8 in. (77.5 x 93 cm) Estimate $1,500-2,500 • Literature Richard Axsom and David Platzker 195

278. Claes Oldenburg

b. 1929

Profterole; and Profterole-Gray State, 1990 Two lithographs in colors, HMP Koller handmade paper, with full margins. Both signed and numbered 29/57 and 29/58 respectively in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), both framed. I. 22 1/2 x 30 3/4 in. (57.2 x 78.1 cm) S. 30 1/2 x 40 in. (77.5 x 101.6 cm) Estimate $1,500-2,500 Literature Gemini G.E.L. 1443, 1444; Richard Axsom and David Platzker 216, 217


This lot is to be Sold with No Reserve

279. Claes Oldenburg

b. 1929

Apple Core - Summer; Apple Core - Autumn; Apple Core - Winter; and Apple Core - Spring, 1990 Four lithographs in colors, John Koller HMP of-white paper, Arches Black Cover paper and Laurence Barker handmade green, with full margins. All signed and numbered 29/54, 29/58, 29/59 and 29/57 respectively in pencil (there were also 10 or 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), all framed. I. 27 1/2 x 21 in. (69.9 x 53.3 cm) S. 40 x 28 3/8 in. (101.6 x 72.1 cm) Estimate $4,000-6,000 Literature Gemini G.E.L. 1439-1441 and 1439; Richard Axsom and David Platzker 211 (Summer), 212 (Autumn), 209 (Winter), 210 (Spring)

280. Claes Oldenburg

b. 1929

Extinguished Match, 1990 Lithograph in colors, on HMP Koller handmade paper, with full margins. Signed and numbered 29/58 in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 27 x 17 in. (68.6 x 43.2 cm) S. 40 x 30 3/4 in. (101.6 x 78.1 cm) Estimate $700-900 • Literature Gemini G.E.L. 1442; Richard Axsom and David Platzker 215


281. Karel Appel

1921-2006

Cats, 1979 The complete set of 17 lithographs in colors, on Arches paper, with full margins, with title page and justifcation, all contained in the original silver linen-covered portfolio with color lithograph adhered to the front (as issued). All signed and numbered 119/125 in pencil (there were also 15 artistâ&#x20AC;&#x2122;s proofs), published by London Arts Inc., Detroit. all I. 22 x 30 in. (55.9 x 76.2 cm) all S. 24 3/4 x 32 1/4 in. (62.9 x 81.9 cm) Estimate $8,000-12,000

Including: Resting Cat; Walking Cat; Cat in the Night; Sad Cat; Green Cat; Pink Cat; Luminous Cat; Stalking Cat; Devil Cat; House Cat; Frightened Cat; Fighting Cat; Blue Cat; About a Cat; Innocent Cat; and Sunshine Cat


282. Katherine Bernhardt

b. 1975

Sea Turtles, 2015 Screenprint in colors, on wove paper, with full margins. Signed and annotated ‘PP 2/3’ in pencil (a printer’s proof, the edition was 30, there were also editions in two other color variants), unframed. S. 39 1/2 x 39 1/2 in. (100.3 x 100.3 cm) Estimate $3,000-5,000

283. Ann Craven

b. 1969

Heart of Gold #1, 2009 Color Xerox, on wove paper, the full sheet. Signed, titled, dated and numbered 4/50 in pencil on the reverse, additionally stamp dated on the front (there were also 10 artist’s proofs), published by White Columns, New York, unframed. S. 10 7/8 x 8 3/8 in. (27.6 x 21.3 cm) Estimate $800-1,200


284. Rashid Johnson

b. 1977

I Love Music, 2012 Cast bronze multiple. Signed and numbered 27/35 in black ink on the accompanying Certifcate of Authenticity, published by Parkett Editions, Zurich and New York. 9 3/4 x 7 3/4 in. (24.8 x 19.7 cm) Estimate $5,000-7,000 Literature Parkett 90

This lot is to be Sold to Beneft the Senator Chuck Allen III Scholarship Fund

285. Jacolby Satterwhite

b. 1986

The Robin, 2009 Digital color photograph. Signed, dated and numbered 1/5 in black ink on the reverse, unframed. I. 19 7/8 x 30 in. (50.5 x 76.2 cm) S. 22 x 32 5/8 in. (55.9 x 82.9 cm) Estimate $3,000-5,000 Provenance Gif of the artist to the present owner


286. Lorna Simpson

b. 1960

Untitled, from Portraits, 1994 Gelatin silver print. Signed, dated and numbered 3/25 in pencil on the reverse, published by Printed Matter Inc., New York, framed. I. 8 x 6 3/4 in. (20.3 x 17.1 cm) S. 13 7/8 x 11 in. (35.2 x 27.9 cm) Estimate $800-1,200

287. David Wojnarowicz

1954-1992

Untitled (Act Up Diptych), 1990 The complete set of two screenprints in colors, on wove paper, with full margins. One signed and dated, one numbered 30/100 in pencil, published by ACT UP, New York, both unframed. both I. 18 1/2 x 23 5/8 in. (47 x 60 cm) both S. 23 1/8 x 27 5/8 in. (58.7 x 70.2 cm) Estimate $6,000-9,000


288. Kara Walker

b. 1969

289. Kara Walker

Lost Mountain at Sunrise, from Harper’s Pictorial History of the Civil War (Annotated), 2005 Ofset lithograph and screenprint, on Somerset paper, with full margins. Signed, dated and numbered ‘TP 6/9’ in pencil (a trial proof, the edition was 35 and 10 artist’s proofs), published by LeRoy Neiman Center for Print Studies, Columbia University, New York, framed. I. 16 1/2 x 34 1/4 in. (41.9 x 87 cm) S. 39 x 53 in. (99.1 x 134.6 cm)

Freedom: a Fable, 1997 Laser-cut paper pop-up book, bound in brown leather (as issued), contained in the original cardboard packing box. From the edition of 4000, published by Peter Norton Family Christmas Project, Santa Monica. 9 1/4 x 8 1/4 x 3/4 in. (23.5 x 21 x 1.9 cm) Estimate $1,800-2,400

Estimate $4,000-6,000

289.

b. 1969

289.


290. Carrie Mae Weems

b. 1953

Untitled (Let the door hit ya, where the dog shoulda bit ya!!!), 1992 Woven carpet with latex backing. Signed and numbered 5/25 in black ink on the accompanying Certifcate of Authenticity (there were also 5 artist’s proofs), published by Randolph Street Gallery, Chicago for Multiples ‘92. 34 5/8 x 58 in. (87.9 x 147.3 cm) Estimate $4,000-6,000

291. Deborah Kass

b. 1952

OY / YO, 2011 Two screenprints in colors, on 4-ply Museum Board, the full sheets. Both signed, dated and numbered 50/50 in pencil on the reverse (there were also 8 artist’s proofs), published by Lococo Fine Art, St. Louis, Missouri, both framed. both S. 21 1/2 x 20 in. (54.6 x 50.8 cm) Estimate $2,500-3,500


292. Bruce Nauman

b. 1941

No Sweat, from Sundry Obras Nuevas,, 1975 Screenprint, on Arches 88 paper, with full margins. Signed, dated and numbered 17/25 in pencil (there were also 11 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed. I. 37 1/4 x 29 1/4 in. (94.6 x 74.3 cm) S. 39 5/8 x 31 7/8 in. (100.6 x 81 cm) Estimate $4,000-6,000 Literature Gemini G.E.L. 609; Christopher Cordes 35

This lot is to be Sold with No Reserve

293. Helen Chadwick

292.

1953-1996

Adore >< Abhor, from Other Men’s Flowers portfolio, 1994 Letterpress, on wove paper, the full sheet. Signed and annotated ‘A/P’ in pencil on the reverse (one of 20 artist’s proofs, the edition was 50), published by Paragon Press, London, framed. S. 18 1/2 x 24 in. (47 x 61 cm) Estimate $800-1,200 • Provenance Interim Art, London

This lot is to be Sold with No Reserve

294. Kenneth Goldsmith

b. 1961

Rap 55, 1991 Photostat mounted on foam core, contained in the original artist’s frame. Signed and dated in black marker on the reverse of the frame. 84 3/4 x 28 3/4 in. (215.3 x 73 cm) Estimate $2,000-3,000 •

293.


295.

294.

296.

This lot is to be Sold with No Reserve

295. Nam June Paik

1932-2006

This lot is to be Sold with No Reserve

296. Nam June Paik and Allen Ginsberg; Merce Cunningham

Allen in Vision, four plates, 1990 Four screenprints and inkjet in colors, on Arches paper, with full margins. All signed and numbered 87/100 in pencil (there were also 20 artist’s proofs), published by Editions Nicole Fauché, Paris, all framed. all I. 16 1/2 x 24 3/8 in. (41.9 x 61.9 cm) all S. 22 x 29 5/8 in. (55.9 x 75.2 cm) Estimate $1,000-1,500 •

1932-2006, 1926-1997; 1919-2009 Untitled, from Allen in Vision; and Untitled, from 1993 Whitney Biennial in Seoul portfolio, 1990 and 1993 One screenprint and one lithograph and screenprint in colors, on wove papers, the full sheet and with full margins. Both signed and numbered 87/100 and ‘AP VIII/VIII’ respectively in pencil (the editions were 100 and 20 artist’s proofs and 95 and 15 artist’s proofs respectively), published by Editions Nicole Fauché, Paris and co-published by Korean Friends of the 1993 Whitney Biennial and the Whitney Museum of American Art, New York, both framed. Ginsberg S. 29 3/8 x 22 in. (74.6 x 55.9 cm) Cunningham I. 10 1/2 x 17 3/4 in. (26.7 x 45.1 cm) S. 19 1/2 x 24 7/8 in. (49.5 x 63.2 cm) Estimate $500-1,000 •

296.


297.

This lot is to be Sold with No Reserve

297. Carolee Schneemann

1939-2019

Vagina Studies, 1999 Phototransfer in colors, on wove paper, with full margins. S. 11 7/8 x 47 in. (30.2 x 119.4 cm) Estimate $2,000-3,000

298. Carolee Schneemann

1939-2019

Video Rocks, 1987 Watercolor, gouache, marker and dirt on paper. Signed, titled and dated in purple marker, unframed. 23 3/4 x 30 1/4 in. (60.3 x 76.8 cm.) Estimate $1,500-2,500 â&#x20AC;˘ Provenance Acquired directly from the artist by the present owner

299. Carolee Schneemann 1939-2019 Four Kisses + Detail (Vesper); Dead Engineer-Kosovo; Hallucinatory I; and Hallucinatory II, 1999/2002 One Chromogenic print and three Iris prints, on wove papers, with full margins. All signed, titled, dated and numbered 2/4, 2/4, 2/5 and 2/5 respectively in black ink or pencil, all unframed. I. various sizes all S. 46 1/2 x 35 in. (118.1 x 88.9 cm) Estimate $6,000-9,000

298.


299.


300. Miroslaw Balka

b. 1958

Entering Paradise, 2003 The complete set of 14 etchings, on Gampi paper with chine collé to Rives de Lin paper, with justifcation and text by the artist, all bound (as issued), all contained in the original cream colored paper-covered slipcase. Signed and numbered 3/20 on the justifcation in pencil (one of six bound copies from the total edition of 20, there were also 3 artist’s proofs), published by Edition Jacob Samuel, Santa Monica. 15 3/4 x 15 1/8 x 3/4 in. (40 x 38.4 x 1.9 cm) Estimate $5,000-7,000

This lot is to be Sold with No Reserve

301. Susana Solano

b. 1946

Plaça del joc de la pilota (Ballgame in the Plaza), 1987-88 The complete set of four aquatints, on Arches paper, with full margins. All signed, dated and numbered 69/75 in pencil (there were also 10 artist’s proofs), published by Ediciones Linea, all framed. all I. 23 3/8 x 17 3/8 in. (59.4 x 44.1 cm) all S. 29 7/8 x 22 1/4 in. (75.9 x 56.5 cm) Estimate $1,000-2,000 •


302. Kiki Smith

b. 1954

Untitled (Bosoms with Black Milk), 1994 Unique lithograph collaged on Nepal paper. Signed and dated, framed. S. 31 x 20 in. (78.7 x 50.8 cm) Estimate $5,000-7,000 Provenance Kiki Smith: Drawings, The Pace Gallery, New York, October 21-November 26, 1994


303. Cindy Sherman

b. 1954

Untitled (Secretary), 1978/1993 Gelatin silver print. Signed, dated, and numbered 12/125 in pencil on the reverse, unframed. I. 11 7/8 x 9 in. (30.2 x 22.9 cm) S. 13 7/8 x 11 in. (35.2 x 27.9 cm) Estimate $4,000-6,000 Literature Gabriele Schor p. 38 The Museum of Modern Art, New York, Cindy Sherman, 2012, fg. 7, p. 18

304. Cindy Sherman

b. 1954

Untitled (Pregnant Woman), 2002/2004 Chromogenic print. Signed, dated and numbered 80/300 in black ink on the reverse (there were also 30 artistâ&#x20AC;&#x2122;s proofs), published by CHOICE ART for the Planned Parenthood Auction for Choice 2004, unframed. I. 28 3/4 x 20 in. (73 x 50.8 cm) S. 38 3/4 x 30 in. (98.4 x 76.2 cm) Estimate $1,500-2,500


This lot is to be Sold with No Reserve

305. Cindy Sherman

b. 1954

In my Garden, 1987 Chromogenic print. Signed, dated and numbered 51/125 in black ball-point pen on the reverse, framed. I. 11 3/4 x 8 in. (29.8 x 20.3 cm) S. 14 x 11 in. (35.6 x 27.9 cm) Estimate $1,000-1,500

306. Sharon Lockhart

b. 1964

Untitled, 1996 Chromogenic print, mounted to 1/ 2 -in. foamcore. From the edition of 6, framed. 61 x 48 in. (154.9 x 121.9 cm) Estimate $3,000-5,000 â&#x20AC;˘ Literature Friedrich Petzel Gallery, New York


307. Spencer Finch

b. 1962

Moonlight (Luna County, New Mexico, July 13, 2003), 2003 Fluorescent light fxture, nine colored flters adhered to a fuorescent tube light (as issued), with the accompanying holiday beneft invitation card. Signed in black ink, titled, dated and numbered 2/100 on a label afxed to the reverse, published by Cabinet magazine, New York, for their 2003 holiday beneft. 2 3/4 x 24 x 3 in. (7 x 61 x 7.6 cm)

Literature Cabinet Magazine

The glow of this fltered fuorescent light precisely replicates the light of the full moon over Luna County, New Mexico, on 13 July, 2003.

Estimate $3,000-5,000

308. Uta Barth

b. 1958

Ground #56, 1995 Chromogenic print on masonite panel. Signed, dated and numbered 1/8 in black ink on the reverse. 24 x 30 1/4 in. (61 x 76.8 cm) Estimate $1,500-2,500 Provenance Tanya Bonakdar Gallery, New York


309. Hiroshi Sugimoto

b. 1948

U.A. Walker, New York, 1978 Photagravure, on Rives BFK paper, with full margins, contained in the original aluminum presentation case. Signed in pencil and stamp-numbered 0387/1000 on a label afxed to the reverse, co-published by Eyestorm, London and Sonnabend Sundell Editions, New York. I. 11 5/8 x 14 7/8 in. (29.5 x 37.8 cm) S. 17 x 21 in. (43.2 x 53.3 cm) Estimate $1,500-2,500

310. Louise Lawler

b. 1947

Untitled (Marilyn); Untitled (three Warhols); and Untitled (Mao/Lichtenstein), 1990-91 Three chromogenic prints. Signed, dated, numbered 34/100, 33/100 and 16/100 respectively in pencil and stamped â&#x20AC;&#x2DC;Louise A. Lawler, 407 Greenwich St., New York Cityâ&#x20AC;&#x2122; on the reverse, all framed. two 7 3/8 x 9 3/8 in. (18.7 x 23.8 cm) one I. 6 x 8 in. (15.2 x 20.3 cm) all S. 8 x 10 in. (20.3 x 25.4 cm) Estimate $3,000-5,000


311. Candida Hรถfer

b. 1944

Spiegelkantine, Hamburg III, 2000 Chromogenic print, fush mounted to aluminum. Signed and numbered 60/100 in black ink and titled and dated (printed) on a label afxed to the reverse of the frame. I. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm) S. 29 x 29 in. (73.7 x 73.7 cm) Estimate $3,000-5,000

312. Robert Longo

b. 1953

Cindy and Eric, 1981/2014 Two chromogenic prints, on semi-gloss wove paper, with full margins. Both signed, dated and numbered 39/75 in pencil on the reverse, published by The Kitchen, New York, both framed. both I. 14 7/8 x 10 in. (37.8 x 25.4 cm) both S. 18 x 14 in. (45.7 x 35.6 cm) Estimate $4,000-6,000


This lot is to be Sold with No Reserve

313. Thomas Zipp

b. 1966

Black Dada, 2006 The complete set of 14 etchings in colors, on Somerset paper, with full margins, with title page and colophon, all contained in the original buckram-covered wooden presentation box. All signed, dated and titled on the front and numbered 35/42 on the reverse (there were also 10 artist’s proofs), published by The Paragon Press, London. all I. 19 5/8 x 15 3/4 in. (49.8 x 40 cm) all S. 30 x 22 3/8 in. (76.2 x 56.8 cm) Estimate $2,000-3,000 • Literature Paragon Press 2006-2010 pp.41-55

Including: apfel; sailor schweres wasser; dada; lewmorc; balloon; fw; snow; relics; achtung; broil (lise m); aggregot; o.4; s; and mens agitat molem

This lot is to be Sold with No Reserve

314. Meredyth Sparks

b. 1972

Krafwerk III, 2008 Digital scan, aluminum foil, glitter and vinyl in colors, on wove paper, the full sheet. Signed and dated in black ink on the reverse, framed. S. 43 3/8 x 65 3/8 in. (110.2 x 166.1 cm) Estimate $1,000-2,000 •


315. Sigmar Polke

1941-2010

Selbstbildnis (Self-Portrait), 1971 Ofset lithograph, on art paper, with full margins, lacking the original black linen-covered slip case. Signed and numbered 15/120 in blue ball-point pen (there were also 3 artist’s proofs), published as a contribution to the deluxe book by René Block, Grafk des Kapitalistischen Realismus, Galerie René Block, Berlin, framed. I. 7 x 7 5/8 in. (17.8 x 19.4 cm) S. 8 1/4 x 9 in. (21 x 22.9 cm) Estimate $1,000-1,500 Provenance David Nolan Gallery, New York Literature Jürgen Becker and Claus von der Osten 15

316. Xavier Veilhan

b. 1963

Les Crânes, 1999 Styrofoam and enamel. Signed, dated and numbered 5/12 in black ink on the underside, published by Hard Hat Multiples, Geneva. 23 x 20 x 29 in. (58.4 x 50.8 x 73.7 cm) Estimate $2,500-3,500


317. Erik Parker

b. 1968

(Nasty Boots) In the Company of Monks, 2006 Mixed media drawing including acrylic, colored pencil and foam paint, on black wove paper. Signed, titled and dated in peach colored pencil on the reverse, framed. 22 x 30 in. (55.9 x 76.2 cm) Estimate $2,000-3,000 Provenance Leo Koenig Inc., New York

318. Nicola Lรณpez

b. 1975

Apparition #7, 2007 Woodcut and screenprint in colors on Rives BFK paper, with woodcut and photo-lithograph on mylar collage, the full sheet. Signed, dated and numbered 5/10 in pencil, framed. S. 41 3/4 x 29 5/8 in. (106 x 75.2 cm) Estimate $3,000-5,000 Provenance Caren Golden Fine Art, New York


319. Grisha Bruskin

b. 1945

Untitled, 1990 Gouache and ink drawing on Classic Laid paper. Signed in black ink, framed. 8 1/2 x 11 in. (21.6 x 27.9 cm) Estimate $3,000-5,000 Provenance Marlborough, New York

This lot is to be Sold with No Reserve

320. Ilya Kabakov

b. 1933

The Apple, from the Readymade Boomerang Portfolio, 1990 Ofset lithograph in colors, on wove paper, with full margins. Signed, dated and numbered XLIII/ XLV in pencil, from the Readymade Boomerang Portfolio that was edited by René Block and published in conjunction with the 8th Biennale in Sydney, unframed. I. 15 5/8 x 23 3/8 in. (39.7 x 59.4 cm) S. 27 1/2 x 39 3/8 in. (69.9 x 100 cm) Estimate $400-600 •

This lot is to be Sold with No Reserve

321. Mimmo Paladino

b. 1948

Flores Seraphici, 1992-93 The complete set of 15 etchings in colors with drypoint and photóengraving, 14 with hand-coloring, on Magnani wove paper, with full margins, all contained in the original paper and cloth-covered portfolio. All signed, dated and numbered 3/25 (there were also 10 artist’s proofs), published by Waddington Graphics, London. all I. 11 x 7 1/2 in. (27.9 x 19.1 cm) all S. 27 3/8 x 19 5/8 in. (69.5 x 49.8 cm) Estimate $2,000-3,000 • Literature Enzo Di Martino 197-212


322. Rufno Tamayo

1899-1991

Tamayo 90 Aniversario (90th Anniversary Suite): 8 plates, 1989 Eight lithographs in colors, on Arches paper, with full margins. All signed and numbered 99/110 in pencil (there were also 25 artist’s proofs), published by B/M Ediciones y Arte, Mexico City, all unframed. all I. various sizes all S. approx. 40 1/4 x 29 5/8 in. (102.2 x 75.2 cm) Estimate $12,000-18,000

Literature Juan Carlos Pereda 339, 341, 343, 345, 347, 349, 350, and 353

Including: Mujer Sonriente (Smiling Woman); La Pareja (Couple); Perro Herido (Wounded Dog); Luna Llena (Full Moon); El Ermitaño (The Hermit); Adán (Adam); Eva (Eve); and La Coqueta (The Flirt)


323. Zhang Xiaogang

b. 1958

Two Sisters, from Big Family, 2003 Lithograph in colors, on wove paper, with full margins. Signed and numbered 46/199 in pencil, published by Kwai Po Collection, Hong Kong, framed. I. 20 x 25 in. (50.8 x 63.5 cm) S. 25 x 29 1/4 in. (63.5 x 74.3 cm) Estimate $2,500-3,500

324. Zeng Fanzhi

b. 1964

Mask Series: two plates (Man and Dog; and Woman and Dog), 2006 Two lithographs in colors, on Rives BFK paper, the full sheets. Both signed, dated and numbered 16/60 in pencil (there were also 9 artistâ&#x20AC;&#x2122;s proofs), published by Fang Graphic Factory (with their blindstamps), both unframed. both S. 43 3/8 x 31 5/8 in. (110.2 x 80.3 cm) Estimate $6,000-9,000 Provenance Sothebyâ&#x20AC;&#x2122;s, London, Modern and Contemporary Prints, September 24, 2009, lot 89


325. Zeng Fanzhi

b. 1964

Mask Series: two plates (Man Holding a Plane; and Plane and Flowers), 2006 Two lithographs in colors, on Rives BFK paper, the full sheets. Both signed, dated and numbered 16/60 in pencil (there were also 9 artist’s proofs), published by Fang Graphic Factory (with their blindstamps), both unframed. S. 43 1/4 x 31 1/2 in. (109.9 x 80 cm) Estimate $6,000-9,000 Provenance Sotheby’s, London, Modern and Contemporary Prints, September 24, 2009, lot 89

326. Zeng Fanzhi

b. 1964

Mask Series: two plates (Two Men; and Sitting Man), 2006 Two lithographs in colors, on Rives BFK paper, the full sheets. Both signed, dated and numbered 16/60 in pencil (there were also 9 artist’s proofs), published by Fang Graphic Factory (with their blindstamps), both unframed. both S. 43 1/4 x 31 1/2 in. (109.9 x 80 cm) Estimate $6,000-9,000 Provenance Sotheby’s, London, Modern and Contemporary Prints, September 24, 2009, lot 89


327. Banksy

b. 1975

Trolleys, 2006 Screenprint in colors, on Arches paper, with full margins. Numbered 16/500 in pencil (there was also a signed edition of 150), published by Pictures on Walls, London, with the accompanying Certifcate of Authenticity issued by Pest Control, unframed. I. 10 1/2 x 26 in. (26.7 x 66 cm) S. 22 3/8 x 30 in. (56.8 x 76.2 cm) Estimate $6,000-9,000

328. Deborah Kass

b. 1952

Vote Hillary, 2016 Screenprint in colors, on Stonehenge paper, with full margins. Signed, dated and numbered 71/250 in pencil on the reverse, published by Brand X Editions, New York (with their blindstamp), unframed. I. 40 7/8 x 40 7/8 in. (103.8 x 103.8 cm) S. 41 7/8 x 41 7/8 in. (106.4 x 106.4 cm) Estimate $1,500-2,500


329. Ai Weiwei

b. 1957

Artistâ&#x20AC;&#x2122;s Hand, 2017 Cast urethane resin multiple with electroplated rhodium, contained in the original cardboard presentation box. With inscribed signature on the underside, from the edition of 1000, published by the Public Art Fund, USA in collaboration with eBay for Charity to beneft the exhibition Ai Weiwei: Good Fences Make Good Neighbors, New York, 12 October 2017 - 11 February 2018 5 x 3 3/4 x 4 1/4 in. (12.7 x 9.5 x 10.8 cm) Estimate $2,500-3,500


â&#x2C6;&#x2020;

330. Keith Haring

1958-1990

331. Keith Haring

1958-1990

Pop Shop IV: one plate, 1989 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered, 7/200 in pencil (there were also 25 artistâ&#x20AC;&#x2122;s proofs), published by Martin Lawrence Editions Ltd., New York, framed. I. 11 1/4 x 14 3/8 in. (28.6 x 36.5 cm) S. 13 1/2 x 16 1/2 in. (34.3 x 41.9 cm)

Untitled (Ink Drawing on Semaphore Gallery card), 1984 Black ink drawing over inkstamp on index card stock. Signed in black ink. 5 x 3 in. (12.7 x 7.6 cm)

Estimate $3,000-5,000

Provenance Acquired directly from the artist at the Semaphore Gallery opening, 1984

Literature Klaus Littmann p. 142

Estimate $3,000-5,000


332. Damien Hirst

b. 1965

Lysergic Acid Diethylamide (LSD), 2000 Full color gloss fnish lambda print, on Fujicolor photo paper, the full sheet. Signed in black ink on the front (slightly faded) and numbered 278/300 in blue ball-point pen on the reverse, published by Eyestorm, London, framed. S. 42 x 50 in. (106.7 x 127 cm) Estimate $5,000-7,000

333. Damien Hirst

b. 1965

Psilocybin, 2013 Lenticular panel comprising digital print in colors on PETG plastic. Signed and numbered 11/100 in white marker (the edition signed in various colors of ink), published by Paul Stolper, London, framed F. 24 x 16 in. (61 x 40.6 cm) Estimate $8,000-12,000


334. Damien Hirst

b. 1965

Curare, from 40 Woodcut Spots, 2011 Woodcut in colors, on wove paper, the full sheet. Signed in pencil on the front and numbered 20/55 on the reverse in pencil, co-published by Other Criteria and Paragon Press, London, framed. S. 18 1/8 x 18 1/8 in. (46 x 46 cm) Estimate $4,000-6,000

335. Damien Hirst

b. 1965

Proctolin, 2008 Screenprint in colors with bronze glitter, on wove paper, with full margins. Signed and numbered 89/150 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by Other Criteria, London (with their blindstamp), framed. I. 22 x 30 in. (55.9 x 76.2 cm) S. 29 3/4 x 37 3/8 in. (75.6 x 94.9 cm) Estimate $4,000-6,000

336. Damien Hirst

b. 1965

Histidyl, 2008 Screenprint in colors with metallic silver, on wove paper, with full margins. Signed and numbered 150/150 in pencil (there were also 10 artistâ&#x20AC;&#x2122;s proofs), published by Other Criteria, London, framed. I. 22 x 30 in. (55.9 x 76.2 cm) S. 29 3/4 x 37 3/8 in. (75.6 x 94.9 cm) Estimate $4,000-6,000


337. Yayoi Kusama

b. 1929

Infnity Nets, 2000 Screenprint in colors, on a mirror, contained in the original foam lined cardboard box. Signed, titled, dated and numbered 5/70 in silver ink on the reverse, published by Parkett Editions, Zurich and New York. 10 x 8 1/4 in. (25.4 x 21 cm) Estimate $5,000-7,000 Literature Parkett 59

338. Yayoi Kusama

b. 1929

Infnity Nets, 1995 Etching, on Fukui-shi paper, with full margins. Signed, titled in Japanese, dated and numbered 31/50 in pencil (there were also 8 artistâ&#x20AC;&#x2122;s proofs), framed. I. 15 5/8 x 21 1/2 in. (39.7 x 54.6 cm) S. 22 x 29 7/8 in. (55.9 x 75.9 cm) Estimate $6,000-9,000 Literature Yayoi Kusama 223


This lot is to be Sold with No Reserve

339. Takashi Murakami

b. 1962

The Golden Age. Hokkyo Takashi; Korin: Flowers; Korin: Azure River; and Korin: Stellar River in the Heavens, 2014-15 Four ofset lithographs in colors, on smooth wove paper, the full sheets. Each signed and numbered 144/300, 102/300, 55/300, and 39/300 respectively in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. diameter all S. 28 in. (71.1 cm) Estimate $3,000-5,000 • Artworks ©2014 and 2015 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is to be Sold with No Reserve

340. Takashi Murakami

b. 1962

Another Dimension Brushing Against Your Hand; and Hands Clasped, 2015 Two ofset lithographs in colors, on smooth wove paper, the full sheets. Both signed and numbered 131/300 and 184/300 respectively in sliver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 25 7/8 x 34 3/8 in. (65.7 x 87.3 cm) Estimate $2,000-3,000 • Artworks ©2015 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is to be Sold with No Reserve

341. Takashi Murakami

b. 1962

Wink, 2001 Digital print in colors, on Kodak Professional paper, the full sheet. Signed and dated in black ink, published by Metropolitan Transit Authority, New York for Takashi Murakami exhibition, Wink, Vanderbilt Hall, Grand Central Terminal, New York, framed. S. 22 x 21 in. (55.9 x 53.3 cm) Estimate $600-900 •


This lot is to be Sold with No Reserve

342. Takashi Murakami

b. 1962

The Merciless World; Signal;and Dazzling Circus: Embrace Peace and Darkness within thy Heart, 2014-18 Three ofset lithographs in colors, on smooth wove paper, the full sheets. Each signed and numbered 128/300, 80/300 and 108/300 respectively in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 27 x 20 7/8 in. (68.6 x 53 cm) Estimate $3,000-5,000 • Artworks ©2014 and 2018 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is to be Sold with No Reserve

343. Takashi Murakami

b. 1962

Time Bokan-black; Time Bokan-red; Time Bokanblue; and Lime Green-Time, 2001-08 Four ofset lithographs in colors, on smooth wove paper, the full sheets. Each signed and numbered 113/100, 110/300, 101/300 and 130/300 respectively in black or silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm) Estimate $4,000-6,000 • Artworks ©2001 and 2008 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.


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20th Century & Contemporary Art Day Sale 15 May 2019 New York Public viewing 3-14 May at 450 Park Avenue Enquiries Rebekah Bowling rbowling@phillips.com John McCord jmccord@phillips.com

Helen Frankenthaler White Rose of Sharon, 1978 acrylic on canvas Estimate $250,000-350,000 © 2019 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York

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Edition Schellmann

FIFTY ARE BETTER THAN ONE

Auction London, 6 June 2019 In celebration of the 50th anniversary of Edition Schellmann, Phillips is delighted to present a single-owner sale, ofering property from the archives of Edition Schellmann to beneft Ars Publicata. Public Viewing 30 May – 6 June 2019 30 Berkeley Square, London, W1J 6EX Monday to Saturday, 10am–6pm Sunday, 12pm–6pm

Keith Haring, Dog, 1986 Screenprint in yellow on black enamel painted plywood Keith Haring artwork @ Keith Haring Foundation

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Enquiries Anne Schneider-Wilson +44 20 7318 4042 editionslondon@phillips.com


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A Record Year. 1,623 Lots Sold. for Individual Prints 96 Records and Print Sets. $25,000,000 Editions Sales.

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Editions Evening & Day Sales 12 September, London Consignment Deadline 15 June editionslondon@phillips.com +44 20 7318 4077

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Sell-through Rate by 92% Average Lot Across 4 Global Auctions. 46% Lots Sold Above High Estimate. $6,781,984 Editions Sold Online. 43% Lots Sold Online.


Sale Information Auction & Viewing Location 450 Park Avenue New York 10022 Auctions 23 April 2019 Day Sale Morning Session 10am, lots 94–221 Afernoon Session 2pm, lots 222–343 Evening Sale Auction 6pm, lots 1–93 Viewing 15 – 23 April Monday – Saturday 10am - 6pm Sunday 12pm - 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY030119 or Editions. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Modern & Contemporary Editions Department +1 212 940 1220 editions@phillips.com Worldwide Co-Director Contemporary Editions Cary Leibowitz +1 212 940 1222 cleibowitz@phillips.com Worldwide Co-Director Modern Editions Kelly Troester +1 212 940 1221 ktroester@phillips.com Specialist Kip Eischen keischen@phillips.com Cataloguer Jason Osborne +1 212 940 1322 josborne@phillips.com Administrator Ana Ziegler +1 212 940 1238 aziegler@phillips.com Property Manager Paul Stefens +1 212 940 1351 pstefens@phillips.com Photography Jean Bourbon Kent Pell Mark Babushkin

A special thank you to our intern, Audrey Bastian.

Front cover Yayoi Kusama, Soaring Spirit, 2006, lot 88 (detail) © YAYOI KUSAMA Inside front cover Roy Lichtenstein, Thinking Nude, 1994, lot 64 (detail) © Estate of Roy Lichtenstein Helen Frankenthaler, Freefall, 1992-93, lot 41 (detail) Joan Miró, Le Sarrasin à l’étoile bleue (Saracen with Blue Star), 1973, lot 2 (detail) Pablo Picasso, Little bust of woman (Petit bust de femme), 1964, lot 7 (detail) Jasper Johns, Gray Alphabets, 1968, lot 24 (detail) Opposite index H.C. Westermann, See America First, 1968, lot 32 (detail) Inside back cover Ed Ruscha, Miracle, 1999, lot 76 (detail) © Ed Ruscha Back cover Louise Bourgeois, Together, 2004, lot 19 (detail) © 2019 The Easton Foundation/Licensed by VAGA at Artists Rights Society (ARS), NY

Auction License 2013224 Auctioneers Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Adam Clay - 2039323 Jonathan Crockett - 2056239 Samuel Mansour - 2059023 Rebecca Tooby-Desmond - 2058901 Susan Abeles - 2074459 Aurel Bacs – 2047217 Blake Koh – 2066237 Susannah Brockman – 2058779 Rebekah Bowling - 2078967 Catalogues catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200 Shipping Anaar Desai +1 212 940 1320 Daren Khan +1 212 940 1335


IPCNY Spring b enefit di nner & SILE NT AUCTION W e d n e s d ay, M ay 2 2 , 2 0 1 9 Honoring

Nicole Eisenman A r t i s t, B r o o k ly n

Richard S. Field

r e t i r e d C U R AT O R o f P R I N T S , D R AW I N G S , A N D P H O T O G R A P H S , YA L E U N I V E R S I T Y A R T G A L L E R Y

H a r l a n & W e av e r

Workshop and publisher, New york

Image: Nicole Eisenman. Picabia Filter IV, 2018. Intaglio with drypoint. Sheet: 22 x 15 inches. Printed and published by 10 Grand Press, Brooklyn. Edition: 15. Photo courtesy the artist and 10 Grand Press, Brooklyn. © 2019 Nicole Eisenman

International Print Center New York 508 West 26th Street, 5A, NYC 10001 212-989-5090 • ipcny.org

i p c n y. o r g / b e n e f i t 2 0 1 9 Silent auction powered by


Index Albers, J. 181–188

Estes, R. 240–243

Anuszkiewicz, R. 189

Malanga, G. 267

Satterwhite, J. 285

Man Ray 17, 127

Schneemann, C. 297–299

Appel, K. 281

Finch, S. 307

Mangold, R. 192

Scully, S. 34

Arakawa, S. 257

Fini, L. 177

Marden, B. 209–212

Serra, R. 35–38, 213–215

Arman 248

Ford, W. 31

Marini, M. 177

Sherman, C. 303–305

Armleder, J. 249

Förg, G. 39

Martin, A. 191

Shields, A. 216–218

Artschwager, R. 253–255

Francis, S. 47, 174

Masson, A. 177

Simpson, L. 286

Frankenthaler, H. 41–43, 161–163

Matisse, H. 13, 119

Smith, K. 302

Fritsch, K. 258

Matisse, H. (Afer) 12

Smith, R. J. 264

Matta, R. 129

Solano, S. 301

Bacon, F. 21 Balka, M. 300 Banksy 327

Giacometti, A. 120, 121

Milhazes, B. 48

Sparks, M. 314

Barth, U. 308

Goldsmith, K. 294

Miró, J. (Afer) 133

Stella, F. 179, 180

Bernhardt, K. 282

Goode, J. 239

Miró, J. 1–5, 134–147

Sugimoto, H. 309

Bochner, M. 49, 50, 219

Gottlieb, A. 176

Mitchell, J. 45, 164, 165

Sultan, D. 226–228

Botero, F. 237

Graham, R. 238

Mondrian, P. (Afer) 149 Motherwell, R. 46, 166–170, 175

Takiguchi, S. 257

Boym, C. 33

Halsman, P. 268

Muniz, V. 259

Tamayo, R. 322

Braque, G. 132

Haring, K. 89, 330, 331

Murakami, T. 339–343

Tanguy, Y. 128

Bruskin, G. 319

Herrera, A. 206

Murray, E. 220

Tàpies, A. 171, 172

Bourgeois, L. 19

Hirst, D. 91, 93, 332–336

Thiebaud, W. 269

Calder, A. 150–156

Hockney, D. 22, 23, 233–235

Nara, Y. 82, 83

Tinguely, J. 257

Cattelan, M. 244

Höfer, C. 311

Nauman, B. 292

Tuttle, R. 205

Celmins, V. 20

Höller, C. 81

Chadwick, H. 293

Humphries, J. 207, 208

Oldenburg, C. 51, 277–280

Various Artists 175, 177, 257

Opie, J. 84

Veilhan, X. 316

Chagall, M. 113, 115, 116 Chagall, M. (Afer) 117, 118

Indiana, R. 52, 276

Ortman, G. 175 Otterness, T. 271

Chillida, E. 173

Walker, K. 288, 289

Christo 272, 273

Johns, J. 24–30, 224, 257

Clavé, A. 177

Johnson, R. 284

Paik, N. 295, 296

Weems, C. M. 290

Close, C. 231, 232

Judd, D. 195

Paladino, M. 321

Weiwei, A. 329

Parker, E. 317

Wesley, J. 270

Cocteau, J. 110–112

Warhol, A. 53–63, 260–266

Cottingham, R. 229

Kabakov, I. 320

Picasso, P. 6–10, 94–109, 114

Wesselmann, T. 85

Craven, A. 283

Kandinsky, W. 16

Polke, S. 315

Westermann, H.C. 32

Cruz Diez, C. 190

Kass, D. 291, 328

Pollock, J. 44

Wojnarowicz, D. 287

Cunningham, M. 296

Kelly, E. 197–204

Price, K. 236

Wunderlich, P. 177

Klee, P. 14, 15

Wyeth, J. 177

Dalí, S. 11, 122–125

Koons, J. 90, 92

Rauschenberg, R. 18, 223, 250–252

Davis, S. 175

Kusama, Y. 86–88, 337, 338

Richter, G. 222

Xiaogang Zhang 323

Rivers, L. 177

Kooning, W. de 160 Delaunay, S. 148

Lawler, L. 310

Rockburne, D. 196

Diebenkorn, R. 230

Léger, F. 126

Ruscha, E. 74–78, 245–247

Dine, J. 225

Leon, L. 33

Zao Wou-Ki 130, 131

Dubufet, J. 157–159

LeWitt, S. 40, 193, 194

Zeng Fanzhi 324–326

Duchamp, M. 256

Lichtenstein, R. 64–73, 274, 275

Zipp, T. 313

Dunham, C. 221

Lindner, R. 177 Lockhart, S. 306 Longo, R. 79, 80, 312 López, N. 318

Youngerman, J. 178


32. H.C. Westermann


76. Ed Ruscha


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EDITIONS & WORKS ON PAPER [Catalogue]  

Phillips presents Editions & Works on Paper on 23 April in New York.

EDITIONS & WORKS ON PAPER [Catalogue]  

Phillips presents Editions & Works on Paper on 23 April in New York.