EDITION & WORKS ON PAPER [Catalogue]

Editions & Works on Paper New York, 25 October 2019

23. Joan Mitchell

59. Andy Warhol

Editions & Works on Paper New York, 25 October 2019

Auction & Viewing Location 450 Park Avenue, New York 10022

Auctions 25 October 2019, 10am, 2pm & 6pm Day Sale Morning Session 10am, lots 122–285 Afernoon Session 2pm, lots 286–415 Evening Sale Auction 6pm, lots 1–121

Viewing 17 – 25 October Monday – Saturday 10am – 6pm Sunday 12pm – 6pm

Sale Designation When sending in written bids or making enquiries please refer to this sale as NY030219 or Editions.

Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

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 Associate Specialist/ Cataloguer Jason Osborne josborne@phillips.com Sale Coordinator Ana Ziegler aziegler@phillips.com Associate Researcher Audrey Bastian abastian@phillips.com Property Manager Paul Stefens pstefens@phillips.com

101. After Jean-Michel Basquiat

Our Team.

Editions New York.

Cary Leibowitz

Kelly Troester

Jason Osborne

Worldwide Co-Head, Editions

Worldwide Co-Head, Editions

Associate Specialist/ Cataloguer

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Anne Schneider-Wilson

Rebecca Tooby-Desmond

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London.

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Louisa Earl Cataloguer learl@phillips.com +44 20 7318 4069

Executives.

Senior Advisors.

Edward Dolman

David Norman

Hugues Jofre

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Arnold Lehman

Š Brigitte Lacombe

Cheyenne Westphal

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Ken Yeh Senior International Specialist +1 212 940 1257 kyeh@phillips.com

Deputy Chairmen & Chairwomen.

Svetlana Marich

Jean-Paul Engelen

Robert Manley

Jonathan Crockett

Peter Sumner

Worldwide Deputy Chairman

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art

Deputy Chairman, Asia, Head of 20th Century & Contemporary Art, Asia

Deputy Chairman, Europe, Senior International Specialist, 20th Century & Contemporary Art

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Miety Heiden

Vanessa Hallett

Vivian Pfeifer

Marianne Hoet

Elizabeth Goldberg

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+1 212 940 1243 vhallett@phillips.com

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Deputy Chairwoman, Europe, Senior Specialist, 20th Century & Contemporary Art

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145. Pablo Picasso

Business Development.

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Europe.

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Guy Vesey

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Client Advisory.

Americas.

Philae Knight

Jennifer Jones

Liz Grimm

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Director of Trusts, Estates & Valuations

Business Development Associate

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Giulia Campaner Mendes

Layla Powell

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Laurent Taevernier

Business Development Associate

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Europe.

Yassaman Ali Client Advisory Director +44 20 7318 4056 yali@phillips.com

Asia.

Iori Endo Client Advisory Manager +44 20 7318 4039 iendo@phillips.com

+32 32 573026 ltaevernier@phillips.com

International Specialists & Regional Directors.

Americas.

Cândida SodrÊ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Valentina Garcia

Regional Director, Consultant, Brazil

Regional Director, Specialist, Photographs, Chicago

Regional Representative, Chicago

Senior Specialist, 20th Century & Contemporary Art, Denver

Regional Director, Los Angeles

Specialist, Miami

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Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Sophia Kinell

Regional Director, Consultant, Mexico

Regional Director, Palm Beach

Regional Director, Seattle

Regional Representative, San Francisco

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+1 650 799 7931 sophia.kinell@phillips.com

Laurence Calmels

Clara Rivollet

Laurence Barret-Cavy

Regional Director, France

International Specialist, 20th Century & Contemporary Art, France

Specialist, 20th Century & Contemporary Art, France

+1 917 657 7193 mdekoning@phillips.com

+1 323 383 3266 bkoh@phillips.com

+1 917 583 4983 vgarcia@phillips.com

Europe.

+33 686 408 515 lcalmels@phillips.com

+33 6 42 09 97 39 crivollet@phillips.com

Maura Marvao

Kalista Fenina

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal and Spain

Specialist, 20th Century & Contemporary Art, Moscow

+351 917 564 427 mmarvao@phillips.com

+33 153 71 77 89 lbarret-cavy@phillips.com

Dr. Nathalie Monbaron Regional Director, Geneva +41 22 317 81 83 nmonbaron@phillips.com

Dr. Alice Trier

Carolina Lanfranchi

Specialist, 20th Century & Contemporary Art, Germany

Regional Director, Senior International Specialist, 20th Century & Contemporary Art, Italy

+49 173 25 111 69 atrier@phillips.com

+39 338 924 1720 clanfranchi@phillips.com

+7 905 741 15 15 kfenina@phillips.com

Asia.

Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

Alicia Zhang

Cindy Yen

Regional Director, Japan

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea

Associate Regional Representative, Korea

Regional Director, China

Associate Regional Representative, Shanghai

Senior Specialist, Watches & Jewellery, Taiwan

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+86 13911651725 wenjiazhang@phillips.com

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Meiling Lee

Christine Fernando

Sandy Ma

Vivi Yip

International Specialist, Taiwan

Associate Regional Representative, Singapore

International Specialist, South East Asia

Senior Consultant, Indonesia

+886 908 876 669 mlee@phillips.com

+65 9128 6277 christinefernando @phillips.com

+852 2318 2025 sma@phillips.com

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+86 139 1828 6589 aliciazhang@phillips.com

+886 2 2758 5505 cyen@phillips.com

32. David Hockney

Evening Editions, 6pm Lots 1–121 Day Editions morning session, 10am Lots 122–285 Day Editions afternoon session, 2pm Lots 286–415

1. Marc Chagall

1887-1985

Les Arums (The Arums), 1975 Lithograph in colors, on Arches paper, with full margins. Signed and annotated ‘Epreuve d’artiste’ in pencil (an artist’s proof, the edition was 50), framed.

I. 26 3/4 x 21 5/8 in. (67.9 x 54.9 cm) S. 33 3/8 x 25 5/8 in. (84.8 x 65.1 cm) Estimate $20,000-30,000 Literature Fernand Mourlot 748

2. Marc Chagall

1887-1985

L’âme du cirque (Spirit of the Circus), 1980 Lithograph in colors, on Arches paper, will full margins. Signed and numbered 48/50 in pencil, published by Maeght, Paris, framed.

I. 23 3/4 x 37 1/4 in. (60.3 x 94.6 cm) S. 29 7/8 x 46 in. (75.9 x 116.8 cm) Estimate $20,000-30,000 Literature Fernand Mourlot 982

3. Henri Matisse

1869-1954

Danseuse au tabouret, from Dix danseuses (Dancer on Stool, from Ten Dancers), 1925-26 Lithograph, on Arches paper, the full sheet. Signed and numbered 68/130 in pencil (there were also 5 on Chine, 15 on Japon and 8 hors commerce), published by la Galerie d’Art Contemporain, Paris, framed.

I. 17 3/4 x 11 in. (45.1 x 27.9 cm) S. 19 3/4 x 12 7/8 in. (50.2 x 32.7 cm) Estimate $8,000-12,000 Provenance Unidentifed Collector’s stamp (Fritz Lugt 4136) Literature Claude Duthuit 481

4. Henri Matisse

1869-1954

Danseuse endorme (Sleeping Dancer), 1926-27 Lithograph, on laid Japanese paper, with full margins. Signed and numbered ‘I’ in pencil (one of an unknown number of artist’s proofs, the edition was 50), framed.

I. 8 1/2 x 18 in. (21.6 x 45.7 cm) S. 17 1/4 x 22 1/8 in. (43.8 x 56.2 cm) Estimate $6,000-8,000 Provenance Henri Petiet (Fritz Lugt 5031) (faded) Belgis-Freidel Ltd., Syosett, New York Literature Claude Duthuit 479

5. Pablo Picasso

1881-1973

Femme au corsage à feurs (Woman with Flower Bodice) (Jacqueline Roque), 1957 Lithograph, on Arches paper, the full sheet.

Signed in red crayon (slightly faded) and numbered 23/50 in pencil (there were also a few artist’s proofs), the frst state (of three), published by Galerie Louise Leiris, Paris, framed.

S. 25 3/4 x 19 7/8 in. (65.4 x 50.5 cm) Estimate $30,000-50,000 Literature Fernand Mourlot 307 Georges Bloch 846 Felix Reuße 728

6. Pablo Picasso

1881-1973

Portrait de femme II (Portrait of a Woman II) (Jacqueline Roque), 1955 Lithograph, on Arches paper, the full sheet. With the ‘Collection Mourlot’ inkstamp on the reverse and also inscribed ‘M272/Portrait de femme 2/pour Eric/FM’ in green ink, one of six proofs (aside from the edition of 50), framed.

S. 26 1/8 x 19 7/8 in. (66.4 x 50.5 cm) Estimate $8,000-12,000 Provenance Fernand Mourlot (studio inkstamp on reverse) Sotheby’s New York, Picasso Lithographs from the Mourlot Collection, November 14, 1994, lot 200 Private Collection, New York, acquired from the above by the present owner Literature Fernand Mourlot 272 Georges Bloch 780 Felix Reuße 670

7. Pablo Picasso

1881-1973

Pique (rouge et jaune) (Spear, Red and Yellow), 1959 Linocut in colors, on Arches paper, with full margins.

Signed and numbered 27/50 in pencil (there were also 6 artist’s proofs), published by Galerie Louise Leiris, Paris, framed.

I. 21 x 25 1/8 in. (53.3 x 63.8 cm) S. 24 1/2 x 29 5/8 in. (62.2 x 75.2 cm) Estimate $25,000-35,000 Provenance Private Collection, New England Literature Georges Bloch 908 Brigitte Baer 1227

8. Jean Dubufet

1901-1985

L’enfÊ-chic I (The Infated Snob I), 1961-63 Lithograph in colors, on Arches paper, with full margins. Signed, dated and numbered 20/20 in pencil (there were also 5 hors commerce in Roman numerals), framed.

I. 23 x 14 1/2 in. (58.4 x 36.8 cm) S. 25 5/8 x 19 3/4 in. (65.1 x 50.2 cm) Estimate $10,000-15,000 Provenance Private Collection, Midwest Literature Sophie Webel 814

9. Odilon Redon

1840-1916

Le Coursier (The Charger), 1894 Lithograph, on Chine appliqué to heavy wove paper, with full margins. Signed in pencil, with the printed line ‘Le Coursier_25 ep.’, from the edition of 25, printed by Monrocq, Paris, unframed.

I. 9 1/2 x 7 3/4 in. (24.1 x 19.7 cm) S. 23 x 15 7/8 in. (58.4 x 40.3 cm) Estimate $7,000-10,000

Provenance Sotheby’s, New York, Property from the Estate of Lillian Rojtman Berkman, January 28, 2005, lot 828 Literature André Mellerio 129 Bulletin of the Art Institute of Chicago (19071951), vol. 15, no. 1, 1921 (another impression illustrated on the cover)

Cover of the Bulletin of the Art Institute of Chicago, January, 1921 (recent acquisitions)

The major French symbolist artist, Odilon Redon, developed a highly fnished lithographic technique and the style of these heavily contrasted black and white lithos form a backdrop to Munch’s early examples which he took up in 1895. Even Redon’s unnaturally huge eyes had some efect on Munch’s portraits.

In 1896 while in Paris, Munch made fortynine prints using all techniques and wanting to introduce fne art printmaking to Norway where it did not exist per se. He understood and embraced the diferent processes due to his friends in the literary world who used graphic techniques such as close confdant and playwright, August Strindberg.

10. Edvard Munch

1863-1944

August Strindberg, 1896 Lithograph, on cream Japanese paper, with full margins. Signed in pencil, Woll’s fourth state, printed by Auguste Clot, Paris, framed.

I. 19 3/4 x 14 3/8 in. (50.2 x 36.5 cm) S. 25 x 16 7/8 in. (63.5 x 42.9 cm) Estimate $18,000-25,000 Literature Gustav Schiefer 77 Gerd Woll 66

11. Erich Heckel

1883-1970

Zwei Frauen (Two Women), 1910 Woodcut, on laid paper, with full margins. Signed and dated in pencil, the frst state (of two), before the rework on the breasts of the lef woman, a rich impression of this rare print, framed.

I. 11 x 14 3/8 in. (27.9 x 36.5 cm) S. 16 1/4 x 21 3/8 in. (41.3 x 54.3 cm) Estimate $20,000-30,000 Provenance Private Collection, Minneapolis Literature Annemarie and Wolf-Dieter Dube H182

In 19th-century carvings by the African Mbole tribe, solutions for dramatically outlining the facial features seem almost readymade for Heckel’s tightly contoured drawing style. The heart-shaped face, slit eyes, hourglass nose and grossly exaggerated navel are borrowed from the Mbole type: the V-like rendering of the breasts, the union of hand with thigh…

Philip Larson, Brücke Primitivism: The Early Figurative Woodcuts, Print Collector’s Newsletter, vol. 6, no. 3, July–August 1975, pp. 63-64.

12. Salvador Dalí

1904-1989

Les Chants de Maldoror (Songs of Maldoror): plate 9, 1935 Etching over heliogravure, on wove paper with watermark, with full margins. Signed and dated ‘1935’ in pencil (a rare, early proof before the book edition published by A. Skira, Paris), printed by Roger Lacourière, Paris, framed.

I. 8 3/4 x 6 5/8 in. (22.2 x 16.8 cm) S. 13 x 10 in. (33 x 25.4 cm) Estimate $15,000-25,000 Provenance Sotheby Parke Bernet & Co., London, Important Nineteenth Century and Modern Prints, The Collection of the Late Sir Rex De C. Nan Kivell, C.M.G., October 4, 1977, lot 50 Private Collection, New York, acquired from the above by the present owner Literature Ralph Michler and Lutz W. Löpsinger 19

I could fll an entire second life with working on my prints.

13. M.C. Escher

1898-1972

Eye, 1946 Mezzotint, on Van Gelder Zonen laid paper, with full margins. Signed, annotated ‘eigen druk’ (hand printed), numbered ‘No 16’ in pencil, also annotated ‘zwarte kunst prent “Oog”’ (black art print ‘eye’) lower right sheet edge, framed.

I. 6 x 8 in. (15.2 x 20.3 cm) S. 10 x 11 5/8 in. (25.4 x 29.5 cm) Estimate $40,000-60,000 Provenance Private Collection, New York Literature Flip H. Bool, J.R. Kist, J.L. Locher and F. Wierda 344

Portrait of M.C. Escher © 2019 The M.C. Escher Company— The Netherlands. All rights reserved. www.mcescher.com

“. . . a last example of globular refection: an eye, which is of course my own, copied as faithfully as possible in a concave shaving glass. It was necessary and logical to portray somebody in a pupil, an observer, refected in the convex mirror of the eye. I chose the features of Good Man Bones, with whom we are all confronted whether we like it or not.”

M.C. Escher, Exploring the Infnite

In 1946 Escher became interested in mezzotint, a technique that fascinated him because of the possibility of obtaining extremely subtle graduation of light and dark. Though new to Escher, the process of mezzotint was developed in 17th century Germany and named mezzo-tinto, or “half-tone.” English artists and printmakers then found it to be a perfect medium to express their obsession with portraiture. Lasting well into the 1820’s the mezzotint spread to the United States where it found footing among graphic artists. The mezzotint is a burnishing process that uniquely captures subtle gradient tonality and works from dark to light. A highly laborious process, Escher produced only eight mezzotints during his career, a feat given the fact that so few artists embrace the demanding technique today.

He referred to mezzotint as ‘black art,’ and these prints are, undoubatly, among his most alluring.

“White and black, day and night,” said Escher, “the graphic artist lives on these.”

14. Joan Miró

1893-1983

Le Pitre rose (The Pink Clown), 1974 Etching with aquatint in colors, on wove paper watermark Maeght, with full margins. Signed and numbered ‘HC XXI/XXIV’ in pencil (an hors commerce, the edition was 50 and some artist’s proofs), authenticated by Rosa Maria Malet, director of the Fundació Joan Miró, Barcelona on the reverse and dated ‘5 Novembre 2008’, published by Maeght, Paris, framed.

I. 45 5/8 x 29 1/4 in. (115.9 x 74.3 cm) S. 54 3/8 x 37 7/8 in. (138.1 x 96.2 cm) Estimate $25,000-35,000 Provenance Sotheby’s, London, Old Master, Modern and Contemporary Prints, March 30, 2011, lot 100 Franklin Bowles Galleries, San Francisco and New York Private Collection, East Coast Literature Jacques Dupin 653

15. Joan Miró

1893-1983

Le Chef des équipages (The Crew Leader), 1973 Etching with aquatint in colors with carborundum, on Arches paper, the full sheet. Signed and annotated ‘H.C.’ in 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 3/8 x 23 3/4 in. (138 x 60.2 cm) Estimate $15,000-25,000 Literature Jacques Dupin 574

16. Joan Miró

1893-1983

Centennaire pour l’Imprimerie Mourlot (Centenary of the Mourlot Printing House), 1953 Lithograph in colors, on Arches paper, the full sheet. Signed and annotated ÔeaÕ in blue ink (one of 30 artistÕs proofs, the edition was 75), published

by Mourlot, Paris for the 100th anniversary of the Mourlot printshop, framed.

S. 20 x 26 in. (50.8 x 66 cm) Estimate $15,000-25,000 Provenance Reiss Cohen Gallery, New York Winifred Breuning Fine Arts, Oaxaca, 1975 Literature Fernand Mourlot 190

17. Joan MirĂł

1893-1983

IntĂŠrieur et nuit (Interior and Night), 1969 Lithograph in colors, on textured wallpaper, the full sheet. Signed and numbered 73/75 in pencil, published by Maeght, Paris, framed.

S. 37 1/2 x 21 1/2 in. (95.3 x 54.6 cm) Estimate $10,000-12,000 Provenance Galerie Tamenaga, Tokyo Literature Fernand Mourlot 590

18. Joan Miró

1893-1983

El Pi de Formentor (The Pine of Formentor), 1976 The set of six etchings with aquatint in colors, on Guarro paper (plate 4 watermark Sala Gaspar), with full margins and the full sheet. All signed and numbered 9/50 in pencil (there were also a few hors commerce), published by Sala Gaspar, Barcelona (with their blindstamp), all unframed. all I. various sizes all S. 41 1/4 x 35 1/2 in. (104.8 x 90.2 cm) Estimate $25,000-35,000 Literature Jacques Dupin 938-943 Patrick Cramer books 217

Miró was inspired by Costa i Llobera’s poem— an ode to the native cedar trees of Spanish Catalan island Majorca’s Formentor Peninsula.

Not it the soil sustaining his tower of living vigour, about the stubborn boulders his massy roots entwine: he greets the dews and showers, chill wind and torrid rigour; and, like the ancient prophet, the smiles of heaven transfgure his form with life divine stanza from El Pi de Formentor, Costa i Llobera, 1875

19. Antoni Tàpies

1923-2012

Collage noir (Black Collage), 1966 Paint, graphite and collage on paper collé to canvas. Signed in pencil.

25 5/8 x 19 7/8 in. (65.1 x 50.5 cm) Estimate $20,000-40,000 Provenance Martha Jackson Gallery, New York (label on reverse of frame) Private Collection, Los Angeles Exhibited Martha Jackson Gallery, New York, 1968, cat. no. 34 (reproduced) Literature Anna Agustí, Tàpies, Catalogue raisonné Volume 2. 1961-1968, no. 1542, p. 304

20. Antoni Tàpies

1923-2012

Bol (Bowl), 1996 Bronze assemblage. Incised with signature and stamp-numbered 4/7 on the underside, produced at Barberí Foneria Artística, Girona.

5 x 5 x 5 in. (12.7 x 12.7 x 12.7 cm) Estimate $6,000-9,000 Provenance acquired from the Artist PaceWildenstein, New York Private Collection, New Mexico Exhibited Waddington Galeries, London, 1996, Antoni Tàpies New Work (cast 2/7) PaceWildenstein Gallery, New York, 2000, Antoni Tàpies, Recent Work (this cast) Literature Anna Agusti, Tàpies Obra Completa, Volum 7è.

1991-1997, no. 6939, p. 450 James Hall, Antoni Tàpies: New Work, London: Waddington Galleries, 1996, no. 5, p. 19 (cast 2/7 illustrated) Dan Cameron, Antoni Tàpies: Recent Work, New York: PaceWildenstein, 2000, p. 29 (illustrated)

21. Robert Motherwell

1915-1991

Flags, 1989 Lithograph with embossing, on red Moriki appliqué to Rives BFK paper, with full margins.

Signed with initials and numbered 34/68 in pencil (there were also 12 artist’s proofs), published by Tyler Graphics Ltd., Bedford, New York (with their blindstamp), framed.

I. 28 x 25 in. (71.1 x 63.5 cm) S. 36 1/4 x 30 in. (92.1 x 76.2 cm) Estimate $7,000-10,000 Literature Siri Engberg and Joan Banach 470

22. Robert Motherwell

1915-1991

Delos, 1991 Lithograph in colors, on TGL handmade paper, with full margins. Signed and numbered 6/40 in pencil (there were also 16 artist’s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York, framed.

I. 36 1/2 x 23 1/2 in. (92.7 x 59.7 cm) S. 42 1/2 x 30 in. (108 x 76.2 cm) Estimate $8,000-12,000 Literature Siri Engberg and Joan Banach 525

23. Joan Mitchell

1925-1992

Sunfowers II, 1992 Lithograph in colors, on two sheets of wove paper (as issued), the full sheets. Signed, dated and numbered 24/34 in pencil (there were also 8 artist’s proofs), published by Tyler Graphics, Mount Kisco, New York, (with their blindstamp), framed. overall S. 57 x 82 1/2 in. (144.8 x 209.6 cm) Estimate $30,000-50,000

Belonging to the Post-War, New York School of Action painters, Joan Mitchell distinguished herself amongst her contemporaries as an accomplished printmaker.

Joan Mitchell made prints throughout almost every stage of her career up until her death. With Tyler Graphics and its founder Kenneth Tyler in the early 1990’s, Mitchell embarked on the most innovative and ambitious prints of her oeuvre. Kenneth Tyler frst persuaded Joan Mitchell to make lithographs with him in the early 1980’s, urging that her paintings could be translated beautifully into lithography. She completed her frst suite of lithographs with Tyler in 1981, titled the Bedford Series, and thereafer a fruitful relationship was born.

The lithographs of the Bedford Series (lot 210), 1981, and later Sunfower Series (lot 23), 1992, embrace the very nature of the medium. The greasiness, oiliness, and rubbings of lithographic crayon and tusche become as much the subject of these works as her gestural brushstrokes embody the emotional resonance of her paintings.

Sunfowers II, from the Sunfower Series, presents a pictorial achievement in Mitchell’s oeuvre. Here, Mitchell combined deep rich tones with gestural marks that greatly echo the ethos of her career.

Through color and line, disordered bouquets of sunfowers appear and again disappear to the viewer.

Joan Mitchell’s electric gestural prints were deliberate and considered. She worked on clear mylar sheets of color separation, revising until the composition was as she wanted. In Sunfowers II, Mitchell’s explosive mark-making meets the ethereal quality of paper, creating prints that are at once free-fowing while contained within the margins.

Tyler Graphics allowed Mitchell to work in more colors than ever before, creating richly colored works that rivaled the more subdued hues of the prints she had produced in years before. Tyler was fexible, and Mitchell precise: “Ken,” she said to him in the studio, “I want to try a color like the color of dying sunfowers.”

From an Important Chicago Collection

24. Robert Motherwell

1915-1991

Ulysses portfolio; and book, 1988 The deluxe set including the suite of 22 etchings (20 in colors), on Johannot paper, with full margins, all contained in the original blue cloth-covered clamshell portfolio with printed label, and novel by James Joyce, the suite loose and the book bound (as issued).

The loose prints signed with initials and numbered ‘PP V/V’ in pencil (a printer’s proof set, the edition was 150 and 5 artist’s proofs), the book signed and numbered by Andrew Hoyem (the designer) in pencil on the limitation page, published by Arion Press, San Francisco, the book contained in the original blue silkcovered cover with leather trim and matching slipcase, the 22 loose etchings all framed. all loose I. (20) 4 3/8 x 6 1/8 in. (11.1 x 15.6 cm) (2) 6 1/8 x 6 1/8 in. (15.6 x 15.6 cm) all S. 13 x 10 in. (33 x 25.4 cm) Portfolio 14 x 10 5/8 x 1 5/8 in. (35.6 x 27 x 4.1 cm) Book 13 1/2 x 11 x 5 in. (34.3 x 27.9 x 12.7 cm) Estimate $30,000-50,000 Literature Siri Engberg and Joan Banach 445.1-22, and 446-467

Property from an Important Private Collection

25. Helen Frankenthaler

1928-2011

26. Howard Hodgkin

1932-2017

Spring Run V, 1996 Monotype in colors, on Rives BFK mould-made paper, with full margins. Signed in pencil and dated ‘4/4/96’ and numbered ‘V’ on the reverse, published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), unframed.

I. 36 x 26 1/2 in. (91.4 x 67.3 cm) S. 40 1/2 x 31 1/2 in. (102.9 x 80 cm)

As Time Goes By (blue), 2009 Monumental aquatint in colors, with carborundum and hand-painting, on fve hand torn sheets of Moulin de Gué paper, the full sheets. Signed with initials, dated ‘MMIX’, and numbered 6/7 in pencil on the center panel (there were also 3 artist’s proofs), published by Alan Cristea Gallery, London, each panel framed. overall S. 96 x 240 in. (243.8 x 609.6 cm)

Estimate $10,000-15,000

Estimate $40,000-50,000 Provenance Lombard Fried Gallery, New York

27. Yves Klein

1928-1962

Table Rose, designed 1961 Rose pigment, glass, Plexiglas, chrome-plated metal. Designed in 1961, this work is from an edition started in 1963, under the supervision of Rotraut Klein-Moquay, afer a model by Yves Klein and is signed ‘R. KL. Moquay’ and numbered ‘BGT-UYTR’ on a label afxed to the underside.

14 1/4 x 49 1/4 x 39 3/8 in. (36.2 x 125.2 x 100 cm) Estimate $18,000-25,000

28. Beatriz Milhazes

b. 1960

O pato (The Duck), 1996-98 Screenprint in colors, on Somerset Satin paper, the full sheet. Signed, titled, dated and numbered 2/20 in pencil on the reverse (there were also 4 artist’s proofs), published by Durham Press, Durham, Pennsylvania, framed.

S. 39 3/4 x 60 in. (101 x 152.4 cm) Estimate $25,000-35,000

29. David Hockney

b. 1937

The Wave, A Lithograph, 1990 Lithograph in colors, on Arches 88 paper, the full sheet. Signed, dated and numbered ‘A.P. VII/XII’ in pencil (an artist’s proof, the edition was 50), published by Tyler Graphics Ltd., Bedford, New York (with their blindstamp), framed.

S. 27 x 38 in. (68.6 x 96.5 cm) Estimate $15,000-25,000 Literature Museum of Contemporary Art Tokyo 324

30. David Hockney

b. 1937

Lithographic Water made of lines, 1980 Lithograph in cyan blue, on TGL handmade paper, with full margins. Signed, dated ‘78’ and numbered 22/42 in pencil (there were also 12 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed.

I. 20 5/8 x 29 5/8 in. (52.5 x 75.4 cm) S. 28 7/8 x 34 3/8 in. (73.5 x 87.2 cm) Estimate $25,000-35,000 Literature Tyler Graphics 253 Museum of Contemporary Art Tokyo 210

David Hockney discovered the Hotel Romano Angeles in the small town of Acatlán, Hidalgo Province, Mexico, by accident afer his car broke down on a trip from Mexico City to Oaxaca. Arranged around a courtyard with tropical plants and a well in the center, its rustic charm and vibrant colors immediately appealed to the artist inspiring fve images at the hotel.

“It has so many diferent perspectives that you are forced to move your eye constantly…It is a totally impossible view from one point, yet there is a clarity and order about the picture. The efect of the space is extremely strong, yet it is not an illusion you want to walk into, because you are already in the picture and walking around”. David Hockney in a letter to friend R.B. Kitaj, A Walk Around the Hotel Courtyard, Acatlán, Hockney: The Biography, p. 209

31. David Hockney

b. 1937

Hotel Acatlán: Second Day, from the ‘Moving Focus’ Series, 1984-85 Lithograph in colors, on two sheets of TGL handmade paper (as issued), the full sheets. Signed, dated and numbered 91/98 in pencil (there were also 34 artist’s proofs), published by Tyler Graphics Ltd., Bedford Village, New York, framed.

S. 29 x 75 5/8 in. (73.7 x 192.1 cm) Estimate $50,000-70,000 Literature Tyler Graphics 283 Museum of Contemporary Art Tokyo 270

32. David Hockney

b. 1937

Potted Dafodils, 1980 Lithograph, on cream Rives BFK paper, the full sheet. Signed, dated and numbered 39/80 in pencil (there were also 18 artist’s proofs in Roman numerals), published by Tyler Graphics Ltd., Bedford, New York (with their blindstamp), framed.

S. 44 1/8 x 30 in. (112.1 x 76.2 cm) Estimate $12,000-18,000 Literature Tyler Graphics 259 Museum of Contemporary Art Tokyo 237

33. David Hockney

b. 1937

Black Tulips, 1980 Lithograph, on cream Rives BFK paper, the full sheet. Signed, dated and numbered 41/100 in pencil (there were also 25 artist’s proofs), published by Tyler Graphics, Ltd., Bedford Village, New York (with their blindstamp), framed.

S. 44 1/4 x 30 in. (112.4 x 76.2 cm) Estimate $12,000-18,000 Literature Tyler Graphics 258 Museum of Contemporary Art Tokyo 236

34. David Hockney

b. 1937

Marguerites, 1973 Etching with aquatint in colors, on wove paper, with full margins. Signed, dated and numbered 94/100 in pencil (there were also some artist’s proofs), published by Petersburg Press, London and New York, framed.

I. 9 3/8 x 7 1/8 in. (23.8 x 18.1 cm) S. 16 1/4 x 12 1/2 in. (41.3 x 31.8 cm) Estimate $6,000-9,000 Literature Scottish Arts Council 157 Museum of Contemporary Art Tokyo 141

35. Marcel Duchamp

1887-1968

Mustache and Beard of L.H.O.O.Q., 1941 Pochoir in graphite (slightly smeared, as issued) on wove paper, tipped onto a single sheet of Havane de Montval laid paper, including title page, justifcation and poem by Georges Hugnet in blue letterpress, folded and scored (as issued) creating a booklet.

Signed by Marcel Duchamp in black ink, also signed

by Georges Hugnet and numbered 9/20 in red ink (from the very rare signed edition of 20, aside from the unsigned edition of 200, there were also 6 on Japanese paper), published by Georges Hugnet, Paris, framed folded. pochoir sheet 1 5/8 x 2 1/2 in. (4.1 x 6.4 cm) folded 3 7/8 x 5 3/4 in. (9.8 x 14.6 cm) unfolded 7 1/2 x 11 1/2 in. (19.1 x 29.2 cm) Estimate $6,000-9,000 Provenance Private Collection, Midwest Literature Arturo Schwarz 483 Francis Naumann, The Art of Making Art in the Age of Mechanical Reproduction, no. #5.33 Achim Moeller Fine Art, Marcel Duchamp exhibition catalogue, October 1999, Naumann, p. 13 (illustrated as fg. 6) and p. 26 as no. 40

The same metal stencil was used to apply the mustache and beard to Leonardo’s Mona Lisa in his 1940 edition of L.H.O.O.Q. in The Box in a Valise.

See phillips.com for additional images of this work.

The following three prints, like Gober’s early sculptures—his domestic world of sinks and drains and slipcovered chairs are as real as they might appear at a glance or a longer study, Duchampian (facsimiles), despite their found on a sidewalk ephemeral immediacy, they are meticulously handcrafed by the artist.

36. Robert Gober

b. 1954

Untitled (Climb Ev’ry Mountain), 2011 Potato print in red and black, on Borden and Riley Bond paper, with full margins, in the frame specifed by the artist. Signed, dated, inscribed ‘Hi Brad’ numbered 1/1 and annotated ‘printers proof’ in pencil on the reverse (the edition was 15), published by The Grenfell Press, New York.

I. 9 1/4 x 5 in. (23.5 x 12.7 cm) S. 12 x 8 1/2 in. (30.5 x 21.6 cm) Frame 19 1/2 x 16 in. (49.5 x 40.6 cm) Estimate $15,000-25,000 Literature Museum of Modern Art, New York, Robert Gober: The Heart Is Not a Metaphor, October 4, 2014–January 18, 2015, p. 233 (another example exhibited and illustrated)

37. Robert Gober

b. 1954

Urology Appointment, 2007 Wood engraving, polymer engraving and letterpress, on wove paper, the full sheet, contained in the frame specifed by the artist. Signed, dated and annotated ‘Publisher’s Proof’ (the edition was 15), published by The Grenfell Press, New York.

S. 2 x 3 1/2 in. (5.1 x 8.9 cm) Frame 12 3/8 x 11 in. (31.4 x 27.9 cm) Estimate $10,000-15,000

38. Robert Gober

b. 1954

Brokeback Mountain, 2012 Wood and polymer engraving in colors, on wove paper, the full sheet, contained in the frame specifed by the artist. Signed, dated and numbered ‘2/2 Printer’s Proof’on the reverse, (the edition was 20), published by The Grenfell Press, New York.

S. 2 x 1 5/8 in. (5.1 x 4.1 cm) Frame 11 x 9 1/4 in. (27.9 x 23.5 cm) Estimate $8,000-12,000

39. Stanley Whitney

b. 1946

Untitled, 1985 Monotype in colors, on Rives BFK paper, the full sheet. Signed and dated in pencil, printed and published by the Robert Blackburn Printmaking Workshop, New York, framed.

S. 30 1/2 x 44 3/4 in. (77.5 x 113.7 cm) Estimate $8,000-12,000

40. Jasper Johns

b. 1930

Usuyuki, 1980 Screenprint in colors, on Kurotani Kozo paper, with full margins. Signed, dated and numbered 61/90 in pencil (there were also 10 artist’s proofs), copublished by the artist and Simca Print Artists, Inc., New York (with their blindstamp), framed.

I. 45 7/8 x 14 7/8 in. (116.5 x 37.8 cm) S. 51 7/8 x 19 7/8 in. (131.8 x 50.5 cm) Estimate $10,000-15,000 Literature Universal Limited Art Editions 210

Property from a Private Japanese Collection

41. Jasper Johns

b. 1930

Flags II, 1973 Screenprint in black and grays, on J.B. Green paper, with full margins. Signed, dated and annotated ‘1/2 Printer’s Proof’ (aside from the edition of 60 and 10 artist’s proofs), co-published by the artist and Simca Print Artists, Inc., New York and Tokyo (with their blindstamp), framed.

S. 27 1/4 x 35 3/8 in. (69.2 x 89.9 cm) Estimate $25,000-35,000 Exhibited Jasper Johns Gray, Art Institute of Chicago, November 3, 2007–January 6, 2008 and The Metropolitan Museum of Art, New York February 5, 2008-May 4, 2008 (another impression exhibited) Literature Universal Limited Art Editions 129

...a density of surface characterizes the screenprint Flags II (1973; cat. no. 31), such that the print takes on an entirely new quality. It is neither a painting, drawing, nor relief sculpture, but a bit of all three. By adding varnish to some of the printing inks—notably on the right side— and using cut stencils in concert with more painterly resist stencils, Johns was able to make a surface that emulates encaustic on one side, oil paint on the other.

Mark Pascale, Conditional Sates: The Appearance of Gray in Jasper John’s Graphic Work, The Art Institute of Chicago, 2007, p. 116-7)

42. Jasper Johns

b. 1930

Two Flags, 1981 Lithograph, on Eijiro Kikuchi Nishinouchi paper, with full margins. Signed, dated and numbered 41/45 in pencil (there were also 8 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 39 1/4 x 29 in. (99.7 x 73.7 cm) S. 47 1/2 x 36 1/4 in. (120.7 x 92.1 cm) Estimate $10,000-15,000 Literature Gemini G.E.L. 914 Universal Limited Art Editions 212

43. Jasper Johns

b. 1930

6 Lithographs (afer “UNTITLED 1975”), 1976 The complete set of six lithographs in colors, on Rives BFK paper, with full margins. All signed, dated and numbered ‘AP 6/13’, ‘AP 8/15’, ‘AP 5/11’, ‘AP 6/13’, ‘AP 6/13’ and ‘AP 20/20’ in pencil respectively (all artist’s proofs, the edition was 60), published by Gemini G.E.L. Inc., Los Angeles (with their blindstamps), all framed. all I. 28 5/8 x 28 5/8 in. (72.7 x 72.7 cm) all S. 30 1/4 x 29 7/8 in. (76.8 x 75.9 cm) Estimate $50,000-70,000 Provenance Christie’s, New York, Nineteenth and Twentieth Century Prints, November 6, 2002, lot 421 Literature Gemini G.E.L. 740-745 Universal Limited Art Editions 174-179

44. Jasper Johns

b. 1930

Red, Yellow, Blue, 1963 Lithograph in black and gray, on Angoumois laid paper, with full margins. Signed, dated and numbered 4/25 in pencil (there were also 3 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed.

I. 10 1/2 x 7 3/4 in. (26.7 x 19.7 cm) S. 18 x 12 3/4 in. (45.7 x 32.4 cm) Estimate $5,000-7,000 Provenance Private Collection, Minneapolis Literature Universal Limited Art Editions 14

45. Jasper Johns

b. 1930

Land’s End, 1979 Lithograph, on Kurotani paper, the full sheet.

Signed, dated and numbered 56/70 in pencil (there were also 12 artist’s proofs), published

by Gemini G.E.L., Los Angeles (with their blindstamp), framed.

S. 52 x 36 1/4 in. (132.1 x 92.1 cm) Estimate $10,000-15,000 Literature Gemini G.E.L. 831 Universal Limited Art Editions 199

The planar surface of Lands End reveals itself through a complex overlapping of forms. Rife with motifs used by Johns throughout his work, an arm, an arrow, a target, and stenciled letters, all are defned by tones of gray. Gray tends to connote ambiguity, but in Land’s End, gray defnes surface, uncomplicated by additions of color. Created using a solid lithographic crayon and a single plate, Johns pushed the tonality of this print to its limits. The surface of the plate had to be inked with great precision in order to capture the slight variations in tone that Johns was afer. “… a long project,” said Tyler Graphics master printer, Charly Ritt, “there was something very subtle next to something very dark and you had to get that dark, dark and rich, and you had to keep that subtlety and openness of something that was light.”

46. Jasper Johns

b. 1930

Painting with Two Balls (Grays), 1971 Screenprint in black and grays, on J.B. Green paper, with full margins. Signed, dated and numbred 64/66 in pencil (there were also 9 artist’s proofs), published by Studio Heinrici, Ltd., New York, framed.

I. 29 3/8 x 24 1/2 in. (74.6 x 62.2 cm) S. 34 3/8 x 28 in. (87.3 x 71.1 cm) Estimate $6,000-8,000 Provenance Pat Caporaso, New York Private Collection, New York, 1993 Literature Universal Limited Art Editions 88

“Great colorists know how to get an efect of color with a black suit, a white necktie, and a gray background.”

Charles Baudelaire, Jasper Johns Gray, Art Institute of Chicago, 2007, p. 55

47. Jasper Johns

b. 1930

Figure 0, from Black Numeral Series, 1968 Lithograph in black and gray, on Copperplate Deluxe paper, with full margins. Signed, dated and numbered 65/70 in pencil (there were also 10 artist’s proofs), published

by Gemini G.E.L., Los Angeles (with their blindstamp), framed.

I. 28 x 22 in. (71.1 x 55.9 cm) S. 37 x 30 in. (94 x 76.2 cm) Estimate $8,000-12,000 Literature Gemini G.E.L. 87 Universal Limited Art Editions 44

From an Important Chicago Collection

48. Donald Judd

1928-1994

Untitled, 1993 The complete set of four woodcuts printed in black, orange, yellow and ultramarine blue, on Japanese paper, the full sheets, each with an oil paint stripe on the glass of the original galvanized iron frames. All with the Judd Estate inkstamp and numbered 24/25 in pencil on the reverse of the sheet, also numbered in black ink on the reverse of the frames (there were also 10 artist’s proofs), published by Edition Schellmann, Cologne and New York. all S. 23 5/8 x 31 1/2 in. (60 x 80 cm) all F. 24 x 31 7/8 x 7/8 in. (61 x 81 x 2.2 cm) Estimate $40,000-60,000 Literature Jörg Schellmann 298-301 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 178-179

Property of an Important New York Collector

49. Ellsworth Kelly

1923-2015

Colored Paper Image XVII (Green Square with Dark Grey), from Colored Paper Images, 1976 Pressed pigmented paper pulp, on TGL handmade paper, with full margins. Signed and numbered 17/22 in pencil (there were also 8 artist’s proofs), published

by Tyler Graphics Ltd., Mt. Kisco, New York (with their and the artist’s blindstamps), framed.

I. 29 x 29 in. (73.7 x 73.7 cm) S. 32 x 31 in. (81.3 x 78.7 cm) Estimate $12,000-18,000 Literature Richard Axsom 158 Tyler Graphics 314

50. Imi Knoebel

b. 1940

Anima Mundi 9-3 II Ed., 2009-10 The complete set of three acrylic and vinyl collages in colors, on vinyl, the full sheets. All titled, dated and numbered 2/3 in black ink on the reverse (one of three unique variant sets), all framed. all S. 14 5/8 x 11 3/8 in. (37.1 x 28.9 cm) Estimate $9,000-12,000

51. Sol LeWitt

1928-2007

Forms Derived from a Cubic Rectangle: eleven plates, 1990 Set of 11 aquatints in colors, on magnani paper, with full margins, lacking plate 4. All signed and numbered 1/20 in pencil (there were also 8 artist’s proofs), published by Multiples, Inc., New York, all framed. all I. 15 3/8 x 21 3/8 in. (39.1 x 54.3 cm) all S. 20 x 26 in. (50.8 x 66 cm) Estimate $18,000-25,000 Literature Barbara Krakow 1990.13

52. Sol LeWitt

1928-2007

Brushstrokes: Horizontal and Vertical, 1996 The complete set of 25 photolithographs in colors, on wove paper, the full sheets, with colophon and additional print laid to the accompanying original grey card portfolio. All signed and numbered 7/25 in pencil, further signed and numbered in pencil on the colophon (the total edition was 130), published by Marco Noire Editore, Turin, Italy, all framed. all S. 6 1/2 x 8 7/8 in. (16.5 x 22.7 cm) Estimate $15,000-25,000 Literature Barbara Krakow Gallery 1996.02

Property from an Important Chicago Collection

53. Richard Serra

b. 1938

Clara Clara I, 1985 Screenprint and Paintstick, on Japanese Kizuki Hanga Dosa paper, the full sheet. Signed, dated and numbered 19/28 in pencil on the reverse (there were also 7 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

S. 36 x 72 1/2 in. (91.4 x 184.2 cm) Estimate $7,000-10,000 Literature Gemini G.E.L. 1218 Silke von Berswordt-Wallrabe 34

54. Alberto Burri

1915-1995

Bianchi e Neri II, 1969 The complete set of six lithographs with embossing and acetate collage, on Fabriano Rosaspina paper, with full margins. All signed and numbered 32/90 in pencil (there were also 15 artist’s proofs numbered in Roman numerals), published by Stamperia 2RC (with their blindstamp), Rome, all framed. all I. various sizes all S. (three horizontal) 25 1/4 x 17 7/8 in. (64.1 x 45.4 cm) Estimate $8,000-12,000 Literature Maurizio Calvesi and Chiara Sarteanesi, pp. 58-59

55. Vija Celmins

b. 1938

Comet, from Skowhegan suite, 1992 Linocut, on Fabriano Tiepolo paper, with full margins. Signed and numbered 37/80 in pencil (there were also 12 artist’s proofs), published by The Skowhegan School of Painting and Sculpture, Maine, with Oberon Press, New York (with their blindstamp), unframed.

I. 14 1/4 x 18 3/4 in. (36.2 x 47.6 cm) S. 20 5/8 x 22 7/8 in. (52.4 x 58.1 cm) Estimate $12,000-18,000 Literature Samantha Rippner p. 52

56. Peter Doig

b. 1959

Country Rock, from 100 Years Ago, 2000-01 Etching in colors, on Hahnemßhle paper, with full margins. Signed and numbered 12/46 in pencil (there were also 6 artist’s proofs), published by Paragon Press, London, framed.

I. 27 3/4 x 39 1/8 in. (70.5 x 99.4 cm) S. 36 3/4 x 47 3/4 in. (93.3 x 121.3 cm) Estimate $9,000-12,000 Literature The Paragon Press 2001-2006, pp. 12, 14

57. Robert Rauschenberg

1925-2008

Signs, 1970 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 204/250 in pencil, published by Castelli Graphics, New York, framed.

I. 35 1/4 x 26 3/4 in. (89.5 x 67.9 cm) S. 43 x 34 in. (109.2 x 86.4 cm) Estimate $20,000-30,000

58. Robert Rauschenberg

1925-2008

Soviet/American Array I, 1988-89 Etching in colors with collage, on Saunders and Oriental rice paper, the full sheet. Signed, dated and numbered 46/55 in pencil (there were also 11 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed.

S. 88 1/4 x 53 in. (224.2 x 134.6 cm) Estimate $12,000-18,000

Known as an artist of the fabulous and the famous, Warhol created a vast oeuvre of prints unifed by his use of repetition and exploitation of the multiple. Warhol came to screenprinting in the early 1960’s, interested by the photomechanical processes of the medium.

“I’m for mechanical art,” said Warhol. “When I took up silk screening, it was to more fully exploit the preconceived image through the commercial techniques of multiple reproduction.”

In many ways Pop Art was the language of prints and multiples. It was a language of movie stills, consumer goods, cartoons, and closeups. Warhol made prints out of this very context, from his vibrant and lyrical Flowers (lot 60), sourced from a photograph of hibiscus blooms, to his Soup

59. Andy Warhol

Cans (lot 66), and images of Elizabeth Taylor and Marilyn Monroe (lots 59 and 68). All would come to proliferate society, to be consumed by the masses.

Warhol’s Electric Chair series (lot 67), are from an extensive Death and Disaster series in which Warhol investigated his theory of seriality and the multiple. “When you see a gruesome picture over and over again,” Warhol said, “it doesn’t really have any efect.” One of Warhol’s last series, Cowboys and Indians, lot 70, features popular western icons from Annie Oakley to John Wayne, as well as important Native American fgures; a frowning Geronimo (lot 71). This series, while playful, was as Warhol wanted for “grown-ups” a Warholian take on a beloved West, and all its twentieth-century allure.

1928-1987

Liz, 1964 Ofset lithograph in colors, on wove paper, with full margins. Signed and dated in black ball-point pen (from the edition of approximately 300), published by Leo Castelli, New York, framed.

I. 22 x 22 in. (55.9 x 55.9 cm) S. 23 1/8 x 23 1/8 in. (58.7 x 58.7 cm) Estimate $60,000-90,000 Provenance Acquired directly from Leo Castelli Gallery, New York, 1964 By descent to present owner, 2005 Literature Frayda Feldman and Jörg Schellmann 7

In 1964, Elizabeth Taylor was the perfect interplay of glamour and tragedy. At the height of her career and hospitalized for pneumonia, Warhol created this portrait from a blown-up publicity still of the actress. “I started those [pictures of Elizabeth Taylor] a long time ago, when she was so sick and everyone said she was going to die,” said Warhol. “Now I’m doing them all over, putting bright colors on her lips and eyes.”

“Ohhhh, Elizabeth Taylor, ohhhh. She’s so glamorous.”

Andy Warhol Interviewed by John Giorno, 1963

60. Andy Warhol

1928-1987

Flowers, 1970 Screenprint in colors, on wove paper, the full sheet.

Signed in black ball-point pen and stamp numbered 67/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $30,000-50,000 Provenance Harcus-Krakow Gallery, Boston, 1971 Literature Frayda Feldman and JĂśrg Schellmann 73

61. Andy Warhol

1928-1987

Mick Jagger, 1975 Screenprint in colors, on Arches Aquarelle paper, the full sheet. Signed in black marker and numbered 208/250 in pencil, additionally signed by Mick Jagger in black marker (there were also 50 artist’s proofs), published by Seabird Editions, London, with their inkstamp on the reverse, framed.

S. 43 3/4 x 28 7/8 in. (111.1 x 73.3 cm) Estimate $30,000-50,000 Literature Frayda Feldman and JĂśrg Schellmann 144

62. Andy Warhol

1928-1987

Mickey Mouse, from Myths, 1981 Screenprint in colors with diamond dust, on Lenox Museum Board, the full sheet. Signed and numbered 84/200 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York (with their and the artist’s copyright inkstamp on the reverse), framed.

S. 38 x 38 in. (96.5 x 96.5 cm) Estimate $90,000-120,000 Literature Frayda Feldman and Jörg Schellmann 265

Wednesday, July 22, 1981 Got up early, it was a pretty day. I was going to go walking with Interviews but I had a lunch date with Mercedes Kellog and she brought the von Bulow guy, the one who’s accused of trying to kill his wife with insulin, she’s been in a coma for months. Ala von Auersperg is her daughter from her frst husband and she and her brother are accusing him. He’s about fftyfve, I think. He told anecdotes.

At 4:00 the Walt Disney flm crew came and shot me in front of my Shoes and my Walt Disney drawings. They asked me who my favorite Disney character was and I said “Minnie Mouse, because she can get me close to Mickey”.

The Warhol Diaries, Pat Hackett editor, p. 397

63. Andy Warhol

1928-1987

Mickey Mouse, circa 1983 Graphite drawing on wove paper. Signed in pencil, framed.

7 x 5 in. (17.8 x 12.7 cm) Estimate $7,000-10,000 Provenance Private Family Collection, circa 1985

64. Andy Warhol

1928-1987

Mickey Mouse, 1983 Ink drawing on a handkercheif. Signed and dated in black ink, framed.

15 1/4 x 16 1/4 in. (38.7 x 41.3 cm) Estimate $30,000-40,000 Provenance Private Family Collection, circa 1985

65. Andy Warhol

1928-1987

The New Spirit (Donald Duck), from Ads, 1985 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered 82/190 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York, framed.

S. 37 7/8 x 37 7/8 in. (96.2 x 96.2 cm) Estimate $30,000-50,000 Literature Frayda Feldman and JĂśrg Schellmann 357

66. Andy Warhol

1928-1987

New England Clam Chowder, from Campbell’s Soup II, 1969 Screenprint in colors, on wove paper, with full margins. Signed in black ball-point pen and stamp-numbered 98/250 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 7/8 in. (81 x 47.9 cm) S. 35 x 23 in. (88.9 x 58.4 cm) Estimate $15,000-25,000 Literature Frayda Feldman and Jörg Schellmann 57

Property from a Private European Collection

67. Andy Warhol

1928-1987

Electric Chair, 1971 The complete set of 10 screenprints in colors, on wove paper, the full sheets. All signed in black ballpoint pen and stamp-numbered variously from the edition of 250 on the reverse (there were also 50 artist’s proofs in Roman numerals), published by Bruno Bischoferger, Zurich, all framed. all S. 35 3/8 x 47 7/8 in. (89.9 x 121.6 cm) Estimate $120,000-180,000 Literature Frayda Feldman and JÜrg Schellman 74-83

134504

68. Andy Warhol

1928-1987

Marilyn, 1967 Screenprint in colors, on wove paper, the full sheet.

Stamp-numbered 151/250 and with the Andy Warhol Authentication Board Inc. inkstamp on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, please contact the department for a complete condition report, framed.

S. 35 7/8 x 35 3/4 in. (91.1 x 90.8 cm) Estimate $70,000-90,000 Literature Frayda Feldman and JĂśrg Schellmann 30

69. Andy Warhol

1928-1987

Letter to the World (The Kick), from Martha Graham, 1986 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered 75/1 in pencil on the reverse (from the edition of 100, there were also 25 artist’s proofs), published by Martha Graham Center of Contemporary Dance, Inc., New York, framed.

S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $20,000-30,000 Literature Frayda Feldman and JĂśrg Schellmann 389

“I was disappointed that nobody in Dallas wears cowboy hats anymore. The cowboy look is dead, I guess.”

Andy Warhol, November 20, 1985, The Andy Warhol Dairies

70. Andy Warhol

1928-1987

Cowboys and Indians, 1986 The complete set of 10 screenprints in colors, on Lenox Museum Board, the full sheets, with justifcation. All signed in pencil, John Wayne inscribed ‘unique’ in pencil (as issued), remaining sheets numbered 23/250 in pencil (there were also 50 artist’s proofs in Roman numerals), published by Gaultney, Klineman Art, Inc., New York (with their and the artist’s copyright inkstamp on the reverse), all framed. all S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $400,000-600,000 Literature Frayda Feldmann and Jörg Schellmann 377-386

Including: John Wayne; Annie Oakley; General Custer; Northwest Coast Mask; Kachina Dolls; Plains Indian Shield; Mother and Child; Geronimo; Indian Head Nickel; and Teddy Roosevelt

71. Andy Warhol

1928-1987

Geronimo, from Cowboys and Indians, 1986 Screenprint in colors, on Lenox Museum Board, the full sheet. Signed and numbered 236/250 in pencil (there were also 50 artist’s proofs), published

by Gaultney, Klineman Art, Inc., New York (with their and the artist’s copyright inkstamp on the reverse), framed.

S. 36 x 36 in. (91.4 x 91.4 cm) Estimate $18,000-25,000 Literature Frayda Feldman and Jörg Schellmann 384

72. Andy Warhol

1928-1987

Cow, 1979 Screenprint in colors with hand-painting, on wallpaper, the full sheet. Signed and dated in black ink, from the approximate edition of 100 (aside from the unlimited edition), published by Factory Additions, New York, framed.

S. 46 1/8 x 29 1/2 in. (117.2 x 74.9 cm) Estimate $20,000-30,000 Provenance Private Family Collection, circa 1985 Literature Frayda Feldman and Jörg Schellmann 12A

Actual size

73. Tom Wesselmann

1931-2004

Still Life Collage, 1974 Acrylic and paper collage in colors, on canvas mounted to Korpine (as issued), the full sheet.

Signed, dated and numbered 4/20 in pencil, published by Sidney Janis Gallery, New York, framed.

S. 5 1/4 x 7 in. (13.3 x 17.8 cm) Estimate $18,000-25,000

74. Roy Lichtenstein

1923-1997

Crying Girl, 1963 Ofset lithograph in colors, on light-weight wove paper, laid down to board, with full margins. Signed in pencil, from an unknown edition size, published

by Leo Castelli Gallery, New York, framed.

I. 17 1/4 x 23 1/4 in. (43.8 x 59.1 cm) S. 18 x 24 in. (45.7 x 61 cm) Estimate $25,000-35,000 Literature Mary Lee Corlett 1

75. Roy Lichtenstein

1923-1997

The River, from The Landscape Series, 1985 Lithograph, woodcut and screenprint in colors, on Arches 88 paper, with full margins. Signed, dated and numbered 51/60 in pencil (there were also 11 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 37 1/4 x 52 1/2 in. (94.6 x 133.4 cm) S. 40 1/4 x 55 5/8 in. (102.2 x 141.3 cm) Estimate $60,000-80,000 Literature Gemini G.E.L. 1256 Mary Lee Corlett 214

76. Roy Lichtenstein

1923-1997

Study of Hands, 1981 Lithograph and screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 45/100 in pencil (there were also 24 artist’s proofs), published by Castelli Graphics, New York, framed.

I. 25 1/2 x 24 1/2 in. (64.8 x 62.2 cm) S. 31 3/8 x 32 5/8 in. (79.7 x 82.9 cm) Estimate $10,000-15,000 Provenance Castelli Graphics, New York Private Collection, New York, 1981 Literature Mary Lee Corlett 191

77. Roy Lichtenstein

1923-1997

Venetian School II, 1996 Screenprint in colors, on Lana Lanaquarelle watercolor paper, with full margins. Signed, dated and numbered 42/50 in pencil (there were also 10 artist’s proofs), published

by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 40 x 26 7/8 in. (101.6 x 68.3 cm) S. 47 3/8 x 33 7/8 in. (120.3 x 86 cm) Estimate $8,000-12,000 Literature Gemini G.E.L. 1666 Mary Lee Corlett 296

78. Niki de Saint Phalle

1930-2002

Elephant Vase, 1985 Ceramic and polystyrene vase, painted in colors.

Incised with signature and numbered 25/50 on a brass plaque inset on the underside (there were also 7 artist’s proofs), published by Plastiques d’art R. Haligon, PÊrigny-sur-Yerres, France (stamped).

12 x 9 1/2 x 20 in. (30.5 x 24.1 x 50.8 cm) Estimate $10,000-15,000

79. Wayne Thiebaud

b. 1920

Large Sucker, from Seven Still Lifes and a Rabbit, 1971 Lithograph in colors, on Rives BFK paper, the full sheet. Signed, dated and numbered 22/50 in pencil, published by Parasol Press, Ltd., New York, unframed.

S. 24 x 22 in. (61 x 55.9 cm) Estimate $12,000-18,000

80. Alex Katz

b. 1927

Black Dress, 2015 The complete set of nine screenprints in colors, on wove paper, the full sheets, all contained in the original yellow aluminum portfolio. All signed and numbered 12/35 in pencil, published by Lococo Fine Art, St. Louis, Missouri. all S. 80 x 30 in. (203.2 x 76.2 cm) Estimate $90,000-120,000

Including Cecily; Oona; Sharon; Ulla; Ruth; Yvonne; Yi; Carmen; and Christy

Cecily

Oona

Sharon

Ulla

Ruth

Yvonne

Yi

Carmen

Christy

81. Alex Katz

b. 1927

White Roses, 2014 Screenprint in colors, on 4-ply Museum Board, the full sheet. Signed and annotated ‘BAT’ in pencil (the good-to-print impression, the edition was 50 and 15 artist’s proofs), published by Lococo Fine Art, St. Louis, framed.

S. 42 1/2 x 85 1/2 in. (108 x 217.2 cm) Estimate $18,000-25,000

82. Alex Katz

b. 1927

Late Summer Flowers, 2013 Screenprint in colors, on Museum board, the full sheet. Signed and numbered 16/50 in pencil (there were also 15 artist’s proofs), published by Lococo Fine Art, St. Louis (with their inkstamp on the reverse), framed.

S. 40 x 55 in. (101.6 x 139.7 cm) Estimate $10,000-15,000

83. Alex Katz

b. 1927

Small Cuts, 2008-09 The complete set of six aquatints in colors, on Cartiere Magnani Carona paper, with full margins, with six poems by John Godfrey, all contained in the original pale, light blue paper-covered portfolio case with orange printed text. All signed and numbered 41/50 in pencil, additionally numbered in pencil on the colophon (there was also a special edition of 20 in Roman numerals and 4 artist’s proofs), published

by Galleria Fabjbasaglia, Rimini, Italy.

15 1/4 x 21 in. (38.7 x 53.3 cm) Estimate $18,000-25,000 Literature Klaus Albrecht SchrĂśder 476-481

Including Red Sails 2008, Figures on Beach 2008, Sunset Cove 2008, Untitled (Flying Carpet) 2009, House and Barn 2008, and Wildfowers in Vase 2008

84. Alex Katz

b. 1927

Refection, 2010 Screenprint in colors, on Saunders Waterford paper, the full sheet. Signed and numbered 43/50 in pencil (there were also 12 artist’s proofs), published by Lococo Fine Art, St. Louis, framed.

S. 58 x 58 in. (147.3 x 147.3 cm) Estimate $7,000-9,000 Literature Klaus Albrecht SchrĂśder 475

85. Stephan Balkenhol

b. 1957

Man in White Shirt; and Woman in Orange Pants with Hand on Hip, 2001 Two painted bronze multiples. Incised with initials and numbered 12/25 and 4/25 respectively, published by Schmäke, Düsseldorf, with their foundry stamp on the underside of both. man 23 3/8 x 9 7/8 x 7 in. (59.4 x 25.1 x 17.8 cm) woman 21 3/8 x 8 x 5 1/2 in. (54.3 x 20.3 x 14 cm) Estimate $15,000-25,000

86. Chuck Close

b. 1940

Phil/Manipulated, 1982 Handmade pressed paper pulp in grays, with full margins. Singed, titled, dated and numbered 8/20 in pencil (there were also 5 artist’s proofs), published by Pace Editions, Inc., New York, framed.

I. 51 1/2 x 42 in. (130.8 x 106.7 cm) S. 69 x 54 in. (175.3 x 137.2 cm) Estimate $15,000-25,000

87. Donald Sultan

b. 1951

Red Poppies, 2015 Powder coated aluminum on polished aluminum base, contained in the original foam lined white cardboard box. Incised with initials, title, date and stamped numbered 6/25 on the underside, published by Lococo Fine Art, St. Louis, Missouri.

24 x 21 x 3 1/2 in. (61 x 53.3 x 8.9 cm) Estimate $10,000-15,000

88. Julian Opie

b. 1958

Walking in Melbourne 3; and Walking in Melbourne 6, from Walking in Melbourne series, 2018 Two laser-cut museum board relief prints, the full sheets, contained in sprayed white frames specifed by the artist. Both signed in black ink and numbered 37/45 on the publisher’s label on the reverse of the frame (there were also 4 artist’s proofs of each), published by Alan Cristea Gallery, London. both F. 25 x 62 5/8 in. (63.5 x 159.1 cm) Estimate $20,000-30,000

89. Julian Opie

b. 1958

Rod Walking, 2010 Lenticular acrylic panel, comprised of a color inkjet print, back mounted and contained in a brushed aluminium frame specifed by the artist. Signed in black ink and numbered 17/35 (printed) on a label afxed to the reverse of the frame (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London.

F. 32 5/8 x 19 1/4 in. (82.9 x 48.9 cm) Estimate $10,000-15,000 Literature Alan Cristea Gallery 144

90. Julian Opie

b. 1958

Shahnoza Dancing in White Dress, 2008 Lenticular acrylic panel, comprised of a color inkjet print, back mounted and contained in a brushed aluminium frame specifed by the artist. Signed in black ink and numbered 20/45 (printed) on a label afxed to the reverse of the frame (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London.

F: 39 x 19 3/8 in. (99.1 x 49.2 cm) Estimate $10,000-15,000 Provenance Scai The Bathouse, Tokyo Literature Alan Cristea Gallery 124

91. Robert Longo

b. 1953

Anne, from Men in the Cities, 1985 Lithograph, on wove paper, with full margins.

Signed, dated and numbered 14/38 in pencil (there were also 10 artist’s proofs), published by Brooke Alexander, New York, framed.

I. 60 x 26 1/2 in. (152.4 x 67.3 cm) S. 68 x 39 1/4 in. (172.7 x 99.7 cm) Estimate $20,000-30,000

92. Robert Longo

b. 1953

Godzilla, 2005 Archival pigment print, on Epson hot-pressed paper, with full margins. Signed, dated and numbered 22/30 in pencil (there were also 5 artist’s proofs), published

by Adamson Editions, Washington D.C., framed.

I. 40 x 68 1/2 in. (101.6 x 174 cm) S. 43 1/2 x 70 in. (110.5 x 177.8 cm) Estimate $10,000-15,000

93. David Wojnarowicz

1954-1992

Untitled, 1982 Spray paint stencil in colors with unique collage, on wove paper, with full margins. Signed, dated, annotated ‘NYC’ and numbered 8/10 in pencil, published by the artist, unframed.

I. 26 1/2 x 20 in. (67.3 x 50.8 cm) S. 28 1/2 x 22 in. (72.4 x 55.9 cm) Estimate $12,000-18,000

94. Bruce Nauman

b. 1941

Oiled Dead (State), 1975 Lithograph and screenprint in colors, on Arches paper, with full margins. Signed, dated and numbered 1/14 in pencil (there were also 7 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 41 3/4 x 45 in. (106 x 114.3 cm) S. 45 1/2 x 49 in. (115.6 x 124.5 cm) Estimate $10,000-15,000 Literature Gemini G.E.L. 608 Christopher Cordes 34

95. Christian Marclay

b. 1955

Ring Ring Ring, 2006 Archival pigment print, on Arches paper, laid to heavy board (as issued), with full margins. Signed, dated and numbered 5/5 in black marker on the reverse, published by the artist, framed.

I. 40 x 38 5/8 in. (101.6 x 98.1 cm) S. 44 1/2 x 43 3/8 in. (113 x 110.2 cm) Estimate $12,000-18,000

96. Ed Ruscha

b. 1937

City, 1969 Unique lithograph in colors, on Arches paper, the full sheet. Signed, dated and annotated ‘Color Trial Proof’ in pencil (a unique color proof, the edition was 20, and 3 artist’s proofs), published by Tamarind Lithography Workshop, Los Angeles, with their inkstamp on the reverse, framed.

S. 17 x 24 in. (43.2 x 61 cm) Estimate $12,000-18,000 Literature Siri Engberg 19

97. Ed Ruscha

b. 1937

Nine Swimming Pools, from the Book Covers series, 1970 Lithograph, on Arches paper, with full margins. Signed with initials, dated and numbered 16/30 in pencil (there were also 3 artist’s proofs), published by Graphicstudio, University of South Florida, Tampa (with their blindstamp), framed.

I. 8 1/2 x 11 1/2 in. (21.6 x 29.2 cm) S. 16 x 20 in. (40.6 x 50.8 cm) Estimate $10,000-15,000 Provenance Gagosian Gallery, Los Angeles Private Collection, Los Angeles Literature Siri Engberg 49

98. Ed Ruscha

b. 1937

Various Small Fires, from the Book Covers series, 1970 Lithograph, on Arches paper, with full margins.

Signed with initials, dated and numbered 16/30 in pencil (there were also 3 artist’s proofs), published

by Graphicstudio, University of South Florida, Tampa (with their blindstamp), framed.

I. 8 1/2 x 11 3/8 in. (21.6 x 28.9 cm) S. 16 x 20 in. (40.6 x 50.8 cm) Estimate $10,000-15,000 Literature Siri Engberg 51

99. Christopher Wool

b. 1955

My House III, 2000 Screenprint in colors, on Matt Custom Art paper, with full margins. Signed, dated and numbered 28/100 in pencil (there were also 20 artist’s proofs), published by Counter Editions, London, framed.

I. 39 x 29 in. (99.1 x 73.7 cm) S. 40 x 29 7/8 in. (101.6 x 75.9 cm) Estimate $12,000-18,000

100. Christopher Wool

b. 1955

Run Dog Run: one plate, 1991 Ofset lithograph in colors, on smooth wove paper, with full margins. Signed, dated and numbered 8/25 on the reverse (there were also 7 artist’s proofs), published by Gisela Capitain, Cologne, framed.

I. 33 7/8 x 23 7/8 in. (86 x 60.6 cm) S. 34 5/8 x 25 3/8 in. (87.9 x 64.5 cm) Estimate $8,000-12,000

101. After Jean-Michel Basquiat

1960-1988

Portfolio I, 1983-2001 The complete set of four screenprints in colors, on Saunders Watercolor paper, the full sheets. All numbered ‘A.P. 4/15’ in pencil (artist’s proofs, the edition was 85), all signed and dated ‘11-19-01’ by Gerard Basquiat (Administrator of the Estate of Jean-Michel Basquiat) in pencil with the Estate stamp on the reverse, published by De Sanctis Carr Fine Art, Los Angeles, all framed. all S. 40 x 40 in. (101.6 x 101.6 cm) Estimate $200,000-300,000

Including: Untitled (Head), Untitled (Per Capita), Untitled (Rinso), and Untitled (Ernok)

102. After Jean-Michel Basquiat

1960-1988

Jawbone of an Ass, 1982/2004 Screenprint in colors, on Saunders paper, the full sheet.

Numbered 2/85 in pencil (there were also 15 artist’s proofs), signed and dated ‘10.19.04’ by Gerard Basquiat (Administrator of the Estate of Jean-Michel Basquiat) in pencil with the Estate stamp on the reverse, published

by David DeSanctis Contemporary Art, Inc., Los Angeles, framed.

S. 42 3/4 x 60 in. (108.6 x 152.4 cm) Estimate $30,000-50,000

103. Mel Bochner

b. 1940

Complain/Kvetch, 2002 Monoprint with collage, engraving, embossing and oil paint in colors, on handmade and hand-dyed Twinrocker paper, the full sheet. Signed, titled, dated and numbered 1/1 in pencil on the reverse, published

by Two Palms Press, New York, framed.

S. 40 x 51 1/2 in. (101.6 x 130.8 cm) Estimate $30,000-40,000

104. KAWS

b. 1974

Ups and Downs, 2013 The complete set of 10 screenprints in colors, on Saunders Waterford High White paper, the full sheets, with title page, contained in the original black fabriccovered portfolio with embossed title. All signed, dated and numbered 88/100 in pencil (there were also 20 artist’s proofs), published by the artist, New York. all S. 35 x 23 in. (88.9 x 58.4 cm) Estimate $60,000-90,000

105. Keith Haring

1958-1990

The Fertility Suite, 1983 The complete set of fve screenprints in colors, on wove paper, with full margins, including the original cardboard portfolio with screenprinted image.

All signed, dated and numbered 27/100 in pencil (there were also 15 artist’s proofs), published by Tony Shafrazi Gallery, New York, all framed. all I. 41 x 47 1/4 in. (104.1 x 120 cm) all S. 42 x 50 in. (106.7 x 127 cm) Estimate $180,000-250,000 Literature Klaus Littmann pp. 31-33

A simple line drawing of a crawling infant illuminated by radiating lines symbolized, perhaps, the most pervasive icon of Keith Haring’s oeuvre: the ‘Radiant Baby.’ “The reason that the ‘baby’ has become my logo or signature,” said Haring in 1981, “is that it is the purest and most positive experience of human existence. Children are the bearers of life in its simplest and most joyous form.” A child of Pop Art, Keith Haring grew up as the older brother to three younger sisters.

The youngest, Kristen, was born when Haring was already eleven years old, and her young life would have a signifcant impact on the artist.

Haring learned to draw when he was four years old. His father would draw him simple cartoon character line drawings which Haring would copy. Greatly infuenced by the linear nature and narrative power of cartoons and comics, Haring learned by emulating both. The Fertility Suite, a set of six screenprints draws upon comics through Haring’s use of thick contours and vivid colors. Large bellied dancing pregnant women appear to worship a kind of ‘fertility god’ in one scene, and a ‘radiant baby’ in another. Extraterrestrial space ships intervene beaming down upon a pyramid as a pregnant fgure cheers on. These are images that celebrate the creation of life in all its absurdity.

Alongside the making of these prints in 1983, Haring’s close friends began to have babies. Kenny Scharf and Tereza Scharf, Haring’s contemporaries and friends had a daughter that very year, whose childhood touched Haring’s life. “I think Keith used the baby as a symbol of purity. It’s a symbol of hope,” said Kenny Scharf. “This world is so f—ked up, there’s disease and killings, but the baby is still born. Each baby embodies that hope that we all believe in and have to believe in if we’re going to keep on going. That’s so powerful.”

portfolio

106. Keith Haring

1958-1990

The Fertility Suite: one plate, 1983 Screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 30/100 in pencil (there were also 15 artist’s proofs), published

by Tony Shafrazi Gallery, New York, unframed.

I. 40 3/4 x 47 3/4 in. (103.5 x 121.3 cm) S. 42 1/8 x 49 7/8 in. (107 x 126.7 cm) Estimate $25,000-35,000 Literature Klaus Littmann p. 33

107. Keith Haring

1958-1990

Best Buddies, 1990 Screenprint in colors, on wove paper, with full margins.

Titled and numbered ‘AP 16/30’ in pencil (an artist’s proof, the edition was 200), signed and dated ‘4/25/90’ by Julia Gruen (executor of the Keith Haring Foundation) in pencil with the Estate stamp on the reverse, also signed by Anthony Shriver, founder of the Best Buddies organization, framed.

I. 22 x 27 5/8 in. (55.9 x 70.2 cm) S. 26 x 32 in. (66 x 81.3 cm) Estimate $15,000-25,000 Literature Klaus Littmann pp. 184-85

Best Buddies was Keith Haring’s last print.

108. Jonas Wood

b. 1977

Double Basketball Orchid (State II), 2017 Lithograph in colors, on Rives BFK paper, the full sheet. Signed, dated and numbered 5/15 in pencil, published by Hamilton Press, Venice, California (with their blindstamp), framed.

S. 30 5/8 x 27 1/4 in. (77.8 x 69.2 cm) Estimate $25,000-35,000 Literature Gagosian Gallery, New York, Jonas Wood: Prints, pp. 98-99

109. Jef Koons

b. 1955

Monkey Train (Dots), 2007 Screenprint and Inkjet print in colors, on Somerset paper, with full margins. Signed, dated and numbered 21/40 in pencil (there were also 10 artist’s proofs), published by the artist, framed.

I. 28 1/4 x 22 in. (71.8 x 55.9 cm) S. 32 3/4 x 26 in. (83.2 x 66 cm) Estimate $15,000-20,000

110. Jef Koons

b. 1955

Jef Koons, 1995 The complete set of seven ofset lithographs in colors, on coated Biber GS board, with full margins, with hanging mirror-polished stainless steel box and infatable plastic elephant. All lithographs signed, dated and numbered 33/50 in pencil, further signed and numbered 33/50 in pencil on the accompanying label (there were also 10 artist’s proofs), published by Edition Schellmann, Munich and New York. all I. various sizes all S. 39 3/8 x 27 1/2 in. (100 x 69.9 cm) box 40 1/2 x 28 3/4 in. (102.9 x 73 cm) elephant 35 3/4 x 17 1/2 x 28 in. (90.8 x 44.5 x 71.1 cm) Estimate $20,000-30,000 Literature JÜrg Schellmann, Forty Are Better Than One, Munich/New York, 2009, pp. 190-193

Including Infatable Flower (Tall White, Pink Bunny), 1979; New Hoover Deluxe Shampoo Polishers, 1980; One Ball Total Equilibrium Tank (Spalding Dr. J. 241 Series), 1985; Rabbit, 1986; Jim Beam - J.B. Turner Train, 1986, Michael Jackson and Bubbles, 1988; Bourgeois Bust, 1991; and Infatable Elephant, 1995

111. Jef Koons

b. 1955

Balloon Animals Collector’s Set, 2017 The complete set of six porcelain multiples painted in chrome, all contained in the original Styrofoam-lined boxes with silver printed signature. All with printed signature, title, date and each numbered 714/999 on the underside, published by Bernardaud, Limoges, France (with their stamp on the underside). largest 10 x 8 3/4 x 16 1/2 in. (25.4 x 22.2 x 41.9 cm) smallest 11 1/2 x 5 1/2 x 7 1/2 in. (29.2 x 14 x 19.1 cm) Estimate $50,000-70,000

Including Balloon Rabbit (Red); Balloon Rabbit (Purple); Balloon Monkey (Blue); Balloon Monkey (Orange); Balloon Swan (Yellow); and Balloon Swan (Pink)

112. Yayoi Kusama

b. 1929

Pumpkins (ceramics), 2002 Five glazed ceramic pumpkins in colors, all contained in the original colored, paper-covered presentation boxes with fabric lining. All stamp signed, dated and numbered 46/100 in black ink on the underside, published by Limoges, France. all 3 1/2 x 2 3/4 x 2 3/4 in. (8.9 x 7 x 7 cm) box 4 x 5 x 4 1/4 in. (10.2 x 12.7 x 10.8 cm) Estimate $15,000-25,000

113. Tom Sachs

b. 1966

Hello Kitty, 2001 Painted Bronze. Incised with signature, date and numbered 23/25 on the underside, and with the artist’s copyright stamp on the reverse of the fgure, published by Beyer Projects, New York.

6 1/2 x 5 1/2 x 4 1/2 in. (16.5 x 14 x 11.4 cm) Estimate $15,000-25,000

114. Yoshitomo Nara

b. 1959

Don’t Cry, 2012 Ukiyo-e woodcut in colors, on Japanese paper, the full sheet. Signed, dated and numbered 12/50 in pencil (there were also 12 artist’s proofs), co-published by Pace Editions, Inc. and Tomio Koyama Gallery, New York and Tokyo, unframed.

S. 16 1/2 x 11 1/2 in. (41.9 x 29.2 cm) Estimate $20,000-30,000

115. 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 34/75 in pencil, published by KIDO Press, Inc., Tokyo, framed.

I. 19 5/8 x 15 3/4 in. (49.8 x 40 cm) S. 26 x 20 in. (66 x 50.8 cm) Estimate $15,000-25,000 Literature Noriko Miyamura E-2003-004

116. Ai Weiwei

b. 1957

Study of Perspective in Glass, 2018-19 The complete set of six cast Murano colored glass multiples, all contained in the original suede lined grey cloth-covered boxes. All incised with signature and numbered 66/100 on the underside, further signed in black ink and numbered (printed) on the accompanying Certifcates of Authenticity, fabricated

by Berengo Studio, Murano. all 4 3/4 x 4 x 4 1/2 in. (12.1 x 10.2 x 11.4 cm) Estimate $30,000-40,000

Including: Cobalt Blue; Alexandrite; Deep Amber; Deep Grey; Opaline White; and Violet

117. Ai Weiwei

b. 1957

Bicycle, 2014 Stainless steel body, white tires and seat imprinted with an image of the artist’s face. Incised with signature, dated and numbered ‘015’ on a circular plate afxed to the handle bar stem (the edition was 60).

39 x 25 x 69 in. (99.1 x 63.5 x 175.3 cm) Estimate $12,000-18,000

Ai Weiwei’s custom-made, fully functioning bicycle edition—which the artist says symbolize the innate human desire for free will in expression and mobility—were frst exhibited during the Brooklyn Museum’s 2014 retrospective Ai Weiwei: According to What?

118. Damien Hirst

b. 1965

119. Damien Hirst

b. 1965

Pharmaceuticals, 2005 Inkjet print in colors, on Somerset paper, with full margins. Signed, titled, dated and numbered 12/75 in pencil (there were also 10 artist’s proofs), published by Other Criteria, Ltd., London, framed.

I. 41 5/8 x 33 1/8 in. (105.7 x 84.1 cm) S. 50 x 40 1/4 in. (127 x 102.2 cm)

Doxylamine, 2007 Etching in colors, on Hahnemühle etching paper, with full margins. Signed and numbered 6/75 in pencil on the reverse (there were also 15 artist’s proofs), published by The Paragon Press, London, framed.

I. 17 x 23 in. (43.2 x 58.4 cm) S. 32 x 37 in. (81.3 x 94 cm)

Estimate $18,000-25,000

Estimate $12,000-18,000

120. Damien Hirst

b. 1965

Exaudi, Domine, from Psalm Prints, 2009 Screenprint in colors, on Somerset Tub Sized paper, with full margins. Signed and numbered 20/50 in pencil (there were also 5 artist’s proofs), published

by Other Criteria, London (with their and the artist’s blindstamp), framed.

I. diameter 32 3/8 in. (82.2 cm) S. 42 7/8 x 42 1/4 in. (108.9 x 107.3 cm) Estimate $10,000-15,000

121. Damien Hirst

b. 1965

Big Love, 2011 Screenprint in colors, on heavy wove paper, with full margins. Signed and numbered 11/50 in pencil, published by Other Criteria, London (with their blindstamp), framed.

I. 52 1/2 x 53 in. (133.4 x 134.6 cm) S. 60 7/8 x 59 1/2 in. (154.6 x 151.1 cm) Estimate $30,000-50,000

Day Editions morning session, 10am Lots 122–285 Day Editions afternoon session, 2pm Lots 286–415

122. Winslow Homer

1836-1910

Eight Bells, 1887/1941 Etching, 1887, on imitation Japanese paper, with full margins. With the artist’s anchor and dial remarqués, printed by Charles S. White, published by the Metropolitan Museum of Art, New York and with their stamped information on the reverse, framed.

I. 18 7/8 x 24 1/2 in. (47.9 x 62.2 cm) S. 23 1/4 x 30 1/8 in. (59.1 x 76.5 cm) Estimate $2,500-3,500 Literature Lloyd Goodrich 96

123. Winslow Homer

1836-1910

Mending the Tears, 1888/1941 Etching, on imitation Japanese paper, with full margins. With the anchor remarqué and the artist’s copyright line, printed by Charles S. White, published by the Metropolitan Museum of Art, New York, framed.

I. 17 1/2 x 23 in. (44.5 x 58.4 cm) S. 22 x 27 7/8 in. (55.9 x 70.8 cm) Estimate $1,500-2,500 Literature Lloyd Goodrich 97

124. Emil Nolde

1867-1956

Ada, 1906 Woodcut, on laid paper, with full margins. Signed and dated in pencil, from the edition of at least 8, the fourth (fnal) state, framed.

I. 11 3/4 x 8 7/8 in. (29.8 x 22.5 cm) S. 13 3/8 x 11 in. (34 x 27.9 cm) Estimate $4,000-6,000 Provenance Gallery Garando, Tokyo Literature Gustav Schiefer and Christel Mosel H17

125. Heinrich Campendonk

1889-1957

Interieur mit zwei Akten, plate 1, from Die Schafenden, vol. I, no. 2 (Interior with Two Nudes, from The Creatives), 1918 Woodcut, on Japanese paper, with full margins.

Signed in pencil, one of 25 on Japanese paper (there was also an edition of 100 on buf wove paper), published by Verlag Gustav Kiepenheuer, Weimar, with the Die Schafenden blindstamp, unframed.

I. 10 1/8 x 8 5/8 in. (25.7 x 21.9 cm) S. 15 3/4 x 12 1/8 in. (40 x 30.8 cm) Estimate $1,500-2,500 Provenance Private Collection, Minneapolis Literature Nach Engels and Gerhart SĂśhn 36

126. Max Beckmann

1884-1950

Morgue (Das Leichenhaus), 1915 Drypoint, on laid paper watermark Van Gelder Zonen, with full margins. Signed and numbered 10/20 in pencil (there were also a few various proofs), the fourth (fnal) state, published by Paul Cassirer, Berlin, 1918, unframed.

I. 10 x 14 1/8 in. (25.4 x 35.9 cm) S. 15 3/4 x 23 in. (40 x 58.4 cm) Estimate $2,500-3,500 Provenance Private Collection, Minneapolis Literature James Hofmaier 83

127. Lyonel Feininger

1871-1956

Gelmeroda, from Meistermappe des Staatlichen Bauhauses (Masters’ Portfolio of the Staatliches Bauhaus), 1920 Woodcut, on thin Japanese paper, with full margins. Signed and titled in pencil, from the edition of 100 (there was also a posthumous edition of 300 published by The Print Club of Cleveland, 1958), published by Staatliches Bauhaus, Weimar, framed.

I. 13 x 9 3/8 in. (33 x 23.8 cm) S. 15 3/4 x 11 5/8 in. (40 x 29.5 cm) Estimate $3,500-4,500 Provenance La boetie inc., New York, Fine Paintings and Sculpture, 1971 Private Collection, New York Literature Leona E. Prasse W237

Florence Knoll during a meeting of the Knoll Planning Unit (1956).

Image Courtesy Knoll Archive.

Florence Knoll Bassett (1917-2019) was a celebrated architect and pioneer of modern interior design. Her career is inextricably linked with Knoll, Inc., the company she helped her husband and founder Hans Knoll bring to preeminence. Florence Knoll transformed the feld of “interior design” from a decorative practice to spatial architecture. Florence led the Knoll Planning Unit, shaping the standard aesthetic of modern corporate interiors of post-war America. Florence and the Knoll Planning Unit were responsible for the interiors of some of America’s largest corporations, including Heinz, GM, and CBS.

Art played a central role in all her interior projects. The showroom at 575 Madison Avenue was one of the frst furniture showrooms to incorporate contemporary art, contributing to Florence’s signature “Knoll look” that would epitomize the styles of the 1950s. The showroom included works such as a photomural by Max Bill, an “air wall” installation by Knoll’s creative director Herbert Matter, paintings by Angelo Testa and Jackson Pollock, sculptures by Alexander Calder—people she all had personal friendships with.

Her sculpture by Marino Marini was a centerpiece of the Knoll showroom for many years.

Florence Knoll also served as the Design Director for Knoll Inc. where drawing on her background in architecture, she introduced modern notions of spatial planning and collaborated closely with important mid-century modern architects, such as Philip Johnson, Gordon Bunshaf and Marcel Breuer, as well as designers like Eero Saarinen, Harry Bertoia, and George Nakashima. With these collaborators, she developed high-quality furniture, textiles, and graphics for Knoll, Inc.

Florence Knoll Bassett believed art should be lived with and enjoyed daily.

—Paul Makovsky, Critic and Curator Phillips Editions is pleased to ofer a selection of ceramics by Picasso (lots 128-131), Braque (lot 150) and Louise Nevelson (lot 241). Other works will be sold in our 20th Century & Contemporary Art and Design sales this fall.

128. Pablo Picasso

1881-1973

Geometric face (Visage géométrique), 1956 White earthenware oval dish. From the edition of 100, incised ‘R=D100’ and with the Empreinte Originale de Picasso and Madoura Plein Feu pottery stamps on the underside.

12 3/4 x 15 1/4 in. (32.4 x 38.7 cm) Estimate $8,000-12,000 Literature Alain Ramié 356

129. Pablo Picasso

1881-1973

Geometric face with lines (Visage géométrique aux traits), 1956 White earthenware square dish. From the edition of 100, incised ‘R=A103’ and with Madoura Plein Feu and Empreinte Original de Picasso pottery stamps on the reverse.

16 1/8 x 16 1/8 in. (41 x 41 cm) Estimate $7,000-9,000 Literature Alain Ramié 361

130. Pablo Picasso

1881-1973

Head with mask (Tête au masque), 1956 White earthenware round plate. From the edition of 100, incised ‘R=B100’ on the underside, with the Madoura Plein Feu and Empreinte Original de Picasso pottery stamps on the underside. diameter 12 3/8 in. (31.4 cm) Estimate $7,000-9,000 Literature Alain Ramié 363

131. Pablo Picasso

1881-1973

Four faces (Quatre Visages), 1959 White earthenware turned pitcher with decorations in oxides on white enamel. Inscribed ‘Edition Picasso’ and numbered 189/300 in black paint on the underside, with the Madoura Plein Feu and Edition Picasso pottery stamps on the underside.

9 x 5 1/2 x 8 in. (22.9 x 14 x 20.3 cm) Estimate $5,000-7,000 Literature Alain Ramié 436

132. Pablo Picasso

1881-1973

Jacqueline at the easel (Jacqueline au chevalet), 1956 White earthenware, round plate. Numbered 83/100 in black paint and incised ‘C119’ on the underside, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. diameter 16 5/8 in. (42.2 cm) Estimate $8,000-12,000 Literature Alain Ramié 334

133. Pablo Picasso

1881-1973

[Tête de femme], 1945 Ink drawing on the title page from André Level’s Picasso, 1928. Signed, dated, inscribed ‘Paris 24 août 1945’ and dedicated ‘pour Lord’ in ink, framed.

S. 10 3/8 x 7 1/8 in. (26.4 x 18.1 cm) Estimate $7,000-9,000 Provenance B.C. Holland Gallery, Chicago Literature see Patrick Cramer books 16

The dedication is to James Lord, an American writer and friend of Picasso’s who wrote Picasso and Dora, 1993. He also wrote a biography of Alberto Giacometti in 1985 the result of 15 years’ work.

134. Pablo Picasso

1881-1973

Goat’s head in profle (Tête de chèvre de profl), 1952 White earthenware oblong dish, painted in colors with engobes and partial brushed glaze. From the edition of 250, with the Empreinte Originale de Picasso and Madoura Plein Feu pottery stamps on the underside.

12 1/2 x 20 3/8 in. (31.8 x 51.8 cm) Estimate $8,000-12,000 Literature Alain Ramié 145

135. Pablo Picasso

1881-1973

Blue fsh (Poisson bleu), 1953 White earthenware clay plate, with decoration in engobes under partial brushed glaze. Numbered 120/200 in black paint, with the Empreinte Originale de Picasso and Madoura Plein Feu pottery stamps on the underside.

12 5/8 x 15 3/8 in. (32.1 x 39.1 cm) Estimate $6,000-8,000 Literature Alain Ramié 180

136. Pablo Picasso

1881-1973

Landscape (Paysage), 1953 White earthenware plate, with decoration in engobes and knife engraving under partial brushed glaze. Numbered 46/200 in black paint, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. diameter 16 1/4 in. (41.3 cm) Estimate $7,000-10,000 Literature Alain Ramié 208

137. Pablo Picasso

1881-1973

Bulls (Toros), 1952 White earthenware turned plate painted in white enamel, blue, green and black with oxidized parafn.

Incised ‘Edition Picasso’ with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside, from the edition of 500. diameter 8 in. (20.3 cm) Estimate $3,000-5,000 Literature Alain Ramié 161

138. Pablo Picasso

1881-1973

Toros en Vallauris, 1957 Linocut in colors, on wove paper, with margins.

Signed in red crayon and numbered 69/198 in pencil (there were also 20 artist’s proofs), published by Association des potiers de Vallauris, France, framed.

I. 25 1/4 x 21 in. (64.1 x 53.3 cm) S. 31 1/2 x 25 1/2 in. (80 x 64.8 cm) Estimate $7,000-9,000 Literature Georges Bloch 1276 Brigitte Baer 1045 Christophe Czwiklitzer 23

139. Pablo Picasso

1881-1973

Pase de muleta (Pass of the red cape), 1959 White earthenware round dish with decoration in engobes under partial brushed glaze and beige patina. Numbered 42/50 in black paint, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. diameter 16 5/8 in. (42.2 cm) Estimate $4,000-6,000 Literature Alain RamiĂŠ 420

140. Pablo Picasso

1881-1973

Face in thick relief (Visage en gros relief), 1959 White earthenware round dish, with decoration in engobes and pastel crayon under partial brushed glaze. Numbered 10/100 in black paint with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. diameter 16 5/8 in. (42.2 cm) Estimate $6,000-8,000 Literature Alain RamiĂŠ 112

141. Pablo Picasso

1881-1973

Little square with sun (Petit carré au soleil); Circle with face (Cercle au visage); and Little square with face (Petit carré au visage), 1971 Three red earthenware tiles. All from the edition of 500, inscribed ‘J.169’, ‘J.170’ and ‘J.171’ and numbered 33/500, 46/500, and 22/500 in black ink respectively, with the Poinçon Original de Picasso stamp on the reverse. all 5 1/2 x 5 1/2 in. (14 x 14 cm) Estimate $2,000-4,000 Literature Alain Ramié 631, 632 and 633

142. Pablo Picasso

1881-1973

Lozenge with face (Losange au visage); and Lozenge with bearded man (Losange au barbu), 1971 Two red earthenware tiles. Inscribed ‘J.167’ and ‘J.168’ and numbered 33/500 and 43/500 in black ink respectively, with the Poinçon Original de Picasso pottery stamp on the reverse. both approximately 5 5/8 x 5 5/8 in. (14.3 x 14.3 cm) Estimate $1,500-2,500 Literature Alain Ramié 627 and 628

143. Pablo Picasso

1881-1973

Bullfghter (Picador), 1952 Red earthenware turned pitcher, painted in black and parafn decoration From the edition of 500, incised ‘Edition Picasso’ and ‘Madoura’ on the underside.

5 1/2 x 3 1/2 x 4 1/2 in. (14 x 8.9 x 11.4 cm) Estimate $2,500-3,500 Literature Alain Ramié 162

144. Pablo Picasso

1881-1973

Toros Vallauris, 1958 Linocut in black and orange, on smooth wove paper, with full margins. Signed in red crayon, erased pencil numbering (25/195?) (the edition was 195 and approximately 22 artist’s proofs), published by the Association des potiers de Vallauris, framed.

I. 25 5/8 x 20 3/4 in. (65.1 x 52.7 cm) S. 31 5/8 x 24 1/4 in. (80.3 x 61.6 cm) Estimate $6,000-8,000 Literature Georges Bloch 1282 Brigitte Baer 1049 Christophe Czwiklitzer 28

145. Pablo Picasso

1881-1973

347 Series: plate 338, 1968 Etching, on Rives paper, with full margins. Signed and numbered 44/50 in pencil (there were also 17 artist’s proofs), published by Galerie Louise Leiris, Paris, 1969, framed.

I. 8 1/8 x 10 1/2 in. (20.6 x 26.7 cm) S. 12 7/8 x 15 7/8 in. (32.7 x 40.3 cm) Estimate $7,000-10,000 Provenance Marlborough Gallery, New York, Celebrating the Muse: Women in Picasso’s Prints 1905-1968, 2010 Private Collection (acquired from the above)

Literature Georges Bloch 1818 Brigitte Baer 1835 Marlborough Gallery, Celebrating the Muse: Women in Picasso’s Prints 1905-1968, 2010, no. 203 (this impression illustrated).

146. Pablo Picasso

1881-1973

Femme au balcon, Afche ‘Oeuvre Gravé’ (Woman on the Balcony, Poster for Engraved Artwork), 1960 Lithograph, on Arches paper, with full margins.

Signed in red crayon and numbered 126/145 in pencil (there were also 15 artists’s proofs and an unsigned poster edition), published by Galerie des Ponchettes, Nice, framed.

I. 24 x 18 3/4 in. (61 x 47.6 cm) S. 25 3/4 x 19 3/4 in. (65.4 x 50.2 cm) Estimate $4,000-6,000 Literature Georges Bloch 1289 Fernand Mourlot 335 Christophe Czwiklitzer 38

147. Pablo Picasso

1881-1973

347 Series: plate 98, 1968 Etching, on Rives paper, with full margins.

Signed in pencil, one of 17 unnumbered proofs (the edition was 50), published by Galerie Louise Leiris, Paris, 1969, framed.

I. 11 5/8 x 13 5/8 in. (29.5 x 34.6 cm) S. 17 7/8 x 20 5/8 in. (45.4 x 52.4 cm) Estimate $2,500-3,500 Provenance Marina Picasso (inkstamp on the reverse) (Fritz Lugt 3698) Literature Georges Bloch 1578 Brigitte Baer 1594

148. Pablo Picasso

1881-1973

Femme à cheval (Woman on Horseback), 1967 Etching, on wove paper, with full margins.

Stamp-signed and numbered ‘E.A. VII/ XV’ in pencil (an artist’s proof, the edition was 50), framed.

I. 11 3/4 x 13 3/4 in. (29.8 x 34.9 cm) S. 17 3/4 x 20 3/8 in. (45.1 x 51.8 cm) Estimate $2,000-3,000 Provenance Marina Picasso (inkstamp on the reverse) (Fritz Lugt 3698) Literature Georges Bloch 1455 Brigitte Baer 1490

149. Pablo Picasso

1881-1973

Nu debout et cheval (Standing Nude and Horse), 1938/1942 Drypoint, on Montval laid paper watermark Vollard, with full margins. One of 56 unsigned and unnumbered proofs, printed by Roger Lacourière in 1942, published in 1984, framed.

I. 9 5/8 x 13 1/2 in. (24.4 x 34.3 cm) S. 13 3/8 x 17 3/4 in. (34 x 45.1 cm) Estimate $1,500-2,500 Provenance Marina Picasso (inkstamp on the reverse) (Lugt 3698) Literature Georges Bloch 304 Brigitte Baer 632

150. Georges Braque

1882-1963

Astre et oiseau I (Star and Bird I), 1958-59 Lithograph in blue and black, on Arches paper, with full margins. Signed and numbered 7/75 in pencil (there was also an edition of 50 and a few hors commerce), published by Maeght, Paris, framed.

I. 10 5/8 x 12 3/4 in. (27 x 32.4 cm) S. 17 1/2 x 20 5/8 in. (44.5 x 52.4 cm) Estimate $3,000-4,000 Literature Dora Vallier 129

151. Georges Braque

1882-1963

Oiseau dans son nid, from Août (Bird in his Nest, from August), 1958 Aquatint, on laid Auvergne paper with watermark, with full margins. Signed and numbered 22/70 in pencil (the total edition was 140), published by Louis Broder, Paris, framed.

I. 5 1/2 x 8 in. (14 x 20.3 cm) S. 14 3/4 x 18 7/8 in. (37.5 x 47.9 cm) Estimate $1,200-1,800 Literature Dora Vallier 135, p. 192

152. Georges Braque

1882-1963

Pommes et feuilles (Apples and Leaves), 1958 Lithograph in colors, on Arches paper, with full margins.

Signed and numbered ‘XII/XV’ in pencil (a proof, the edition was 75 and 30 hors commerce), published by Mourlot, Paris, framed.

I. 12 x 17 5/8 in. (30.5 x 44.8 cm) S. 19 3/4 x 25 7/8 in. (50.2 x 65.7 cm) Estimate $1,200-1,800 Literature Dora Vallier 114

153. Marc Chagall

1887-1985

Der Esel ßber dem Dorf (The Donkey Above the Village), 1951 Etching and aquatint with hand-coloring, on wove paper, with full margins. Signed in pencil, from the special edition of 40 with hand-coloring (the total edition was 75), printed by Paul Haasen, Paris, for the deluxe edition of Isaac Kloomok’s Chagall, New York, 1952, framed.

I. 10 3/4 x 7 1/2 in. (27.3 x 19.1 cm) S. 12 1/8 x 9 in. (30.8 x 22.9 cm) Estimate $7,000-10,000 Literature Eberhard W. Kornfeld 100 Patrick Cramer books 20

154. Marc Chagall

1887-1985

Vision de Jacob (Jacob’s Vision), 1971 Lithograph in colors, on Arches paper, with full margins. Signed and annotated ‘Epreuve d’artiste’ in pencil (an artist’s proof, aside from the edition of 50), framed.

I. 29 5/8 x 21 in. (75.2 x 53.3 cm) S. 37 3/4 x 25 1/2 in. (95.9 x 64.8 cm) Estimate $6,000-8,000 Literature Fernand Mourlot 625

155. Marc Chagall

1887-1985

Jude mit Thora (Juif à la thora; Jew with Torah), 1922-23/1950 Woodcut, on wove paper, with full margins.

Signed and numbered 4/20 in pencil, framed.

I. 11 x 8 in. (27.9 x 20.3 cm) S. 19 x 13 in. (48.3 x 33 cm) Estimate $3,000-5,000 Literature Eberhard W. Kornfeld 35

156. Marc Chagall

1887-1985

Pierrot lunaire (Moon Pierrot), 1969 Lithograph in colors, on Arches paper, with full margins, the sheet laid to mat board. Signed and annotated ‘H.C.’ in pencil (an hors commerce, the edition was 50, plus 25 artist’s proofs in Roman numerals), published by Maeght, Paris, framed.

I. 22 3/4 x 15 1/4 in. (57.8 x 38.7 cm) S. 29 7/8 x 21 1/8 in. (75.9 x 53.7 cm) Estimate $7,000-10,000 Literature Fernand Mourlot 574

157. Marc Chagall

1887-1985

Les Amoureux au soleil rouge (The Lovers in the Red Sun), 1960 Lithograph in colors, on Arches paper, the full sheet.

Signed and numbered 3/40 in pencil, published by Mourlot, Paris, framed.

I. 15 x 10 1/2 in. (38.1 x 26.7 cm) S. 18 7/8 x 12 7/8 in. (47.9 x 32.7 cm) Estimate $6,000-8,000 Literature Fernand Mourlot 285 see Patrick Cramer books 43

158. Marc Chagall

1887-1985

Nuit d’été (Summer’s Night), 1973 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 36/50 in pencil (there were also 12 proofs in black), framed.

I. 22 x 15 in. (55.9 x 38.1 cm) S. 27 x 19 7/8 in. (68.6 x 50.5 cm) Estimate $3,000-5,000 Literature Fernand Mourlot 696

159. Marc Chagall

1887-1985

Double visage gris (Double Gray Portrait), 1975 Lithograph, on Japon nacré paper, with full margins. Signed and numbered 22/50 in pencil, published by Maeght, Paris, framed.

I. 16 5/8 x 12 1/2 in. (42.2 x 31.8 cm) S. 21 7/8 x 16 3/8 in. (55.6 x 41.6 cm) Estimate $2,500-3,500 Literature Fernand Mourlot 732

160. Salvador Dalí

1904-1989

Afer 50 Years of Surrealism, 1974 The complete set of 12 drypoints with pochoir in colors, on Rives BFK paper, with full margins, with title page, colophon and original paper folders with text by André Parinaud, all contained in the original black linen-covered portfolio. All signed and numbered ‘A193/195’ in pencil, also signed in pencil and numbered in ink on the colophon (from the English edition of 195 with text in English, there was also a French edition of 195, both editions with 35 impressions in Roman numerals including a suite on Japon nacré, plus a few artist’s proofs), published by Transworld Art, Fribourg, Switzerland (with their blindstamp). all I. 15 7/8 x 11 7/8 in. (40.3 x 30.2 cm) all S. 26 x 19 7/8 in. (66 x 50.5 cm) Estimate $7,000-9,000 Literature Ralf Michler and Lutz W. Löpsinger 665-676

Including The Laurels of Happiness; The Curse Overthrown; God, Time, Space and the Pope; Flung Out like a Fag-end by the Big-Wigs; Gala’s Godly Back; Picasso: A Ticket for Glory; The Great Inquisitor Expels the Saviour; Freud with a Snail Head; A Shattering Entrance upon the American Stage; The Divine Love of Gala; Gala’s Castle; and The Museum of Genius and Fancy

161. Salvador Dalí

1904-1989

Le Pain (The Bread), 1967 Aquatint in colors, on Arches paper, with full margins. Signed and inscribed ‘ESSAI.’ in pencil (one of a few proofs aside from the edition of 10), printed by Atelier Rigal and inscribed ‘Epreuve faisant partie de notre collection, Denise Rigal’ on the reverse, unframed.

I. 13 7/8 x 15 3/8 in. (35.2 x 39.1 cm) S. 19 3/4 x 26 in. (50.2 x 66 cm) Estimate $5,000-7,000 Literature Ralf Michler and Lutz W. Löpsinger 208

A formal edition of this print was never produced because it was too difcult for the printers to print 3-dimensionally, as Dali was envisioning. The painting of this image La Corbeille de pain is in the Teatro-Museo Dalí, Figueres, Spain

161.

162. Salvador Dalí

1904-1989

Begonia (Anacardium recordans), from Flordali® (Flora Dalinae), 1968 Etching with drypoint in colors, on Arches paper, with full margins. Signed and numbered 107/200 in pencil (there were also 200 on Japanese paper), published by Werbungs und Commerz Union Anstalt, Basel, unframed.

I. 23 1/8 x 15 1/4 in. (58.7 x 38.7 cm) S. 30 x 22 3/8 in. (76.2 x 56.8 cm) Estimate $1,500-2,500

162.

Literature Ralf Michler and Lutz W. Löpsinger 233

163. Salvador Dalí

1904-1989

La Rose (The Rose), 1976-77 Etching with drypoint and stencil in colors, on Japon nacré paper, with full margins. Signed and numbered 118/200 in pencil (there were also 300 on Arches and 50 hors commerce), published by Gelander/Monterniers and distributed by Gerschman and Editions de Francony, unframed.

I. 14 1/2 x 19 7/8 in. (36.8 x 50.5 cm) S. 22 1/2 x 30 1/4 in. (57.2 x 76.8 cm) Estimate $1,000-1,500 Literature Ralf Michler and Lutz W. Löpsinger 845 163.

164. Jean Cocteau

1889-1963

Scène d’intérieur (Interior Scene), from Le Satiricon, 1961 Red earthenware round dish, painted in colors, with touches of enamel. Signed and dated in burgundy paint on the front, inscribed ‘Edition originale de Jean Cocteau’, ‘Atelier MadeleineJolly’ and numbered 4/15 on the underside. diameter 14 in. (35.6 cm) Estimate $2,000-4,000 Literature Annie Guédras 126

165. Jean Cocteau

1889-1963

Le Mêlée des trois garçons (The Melee of the Three Boys), from Le Satiricon, 1962 Red earthenware round dish, painted in colors, with touches of enamel. Titled ‘Le Satiricon’ on the front, inscribed ‘Edition originale de Jean Cocteau’, ‘Atelier Madeleine-Jolly’ and numbered 11/15 on the underside. diameter 14 in. (35.6 cm) Estimate $2,000-4,000 Literature Annie Guédras 131

166. Jean Cocteau

1889-1963

Les Trois garçons à l’écharpe jaune (Three Boys and Yellow Scarf), from Le Satiricon, 1961 Red earthenware round dish, painted in colors, with touches of enamel. Signed, titled, and dated on the front, inscribed ‘Edition originale de Jean Cocteau’, ‘Atelier Madeleine-Jolly’ and numbered 9/15 on the underside. diameter 14 1/8 in. (35.9 cm) Estimate $2,000-4,000 Literature Annie Guédras 128

167. Man Ray

1890-1976

Les Trois nus (The Three Nudes), 1971 Screenprint in colors, on acrylic, with full margins. Incised with signature and numbered 18/35 (there were also some artist’s proofs), published by Georges Visat, Paris.

I. 17 1/4 x 21 1/4 in. (43.8 x 54 cm) S. 19 3/4 x 23 5/8 in. (50.2 x 60 cm) Estimate $2,000-3,000 Literature Luciano Anselmino 96

Property from the Collection of Diane and Marc Grainer

168. Lynn Chadwick, R.A.

1914-2003

Study for Sculpture, 1966 Pen and colored ink drawing on graph paper.

Signed and dated ‘August 66’ in black ink, framed.

29 7/8 x 22 in. (75.9 x 55.9 cm) Estimate $4,000-6,000 Provenance Thomas Agnew and Sons Ltd., London Beaux Arts, London

169. Henry Moore

1898-1986

Seated Mother and Child, 1977 Lithograph, on wove paper, with full margins. Signed and numbered 15/75 in pencil (there were also 10 artist’s proofs and 20 hors commerce), published by Ediciones Poligrafa SA, Barcelona, unframed.

I. 10 1/4 x 8 1/2 in. (26 x 21.6 cm) S. 19 3/4 x 15 3/4 in. (50.2 x 40 cm) Estimate $1,500-2,500 Literature Patrick Cramer 437

170. Jean Dubufet

1901-1985

Scénario Bref (Brief Scenario), 1979 Screenprint, on Arches crème paper, with full margins. Signed with initials, dated and numbered 50/50 in pencil (there were also 5 artist’s proofs and 5 hors commerce in Roman numerals), published by Éditions La Hune, Paris, framed.

I. 20 1/8 x 13 3/4 in. (51.1 x 34.9 cm) S. 26 1/2 x 18 3/8 in. (67.3 x 46.7 cm) Estimate $1,500-2,500 Provenance Richard Gray Gallery, Chicago Literature Sophie Webel 1265

171. Jean Dubufet

1901-1985

Evocations (Conjuring), from Fables, 1976 Screenprint, on Arches paper, with full margins.

Signed with initials, dated and numbered 7/50 in pencil (there were also 2 artist’s proofs), published

by Pace Editions, Inc., New York, framed.

I. 19 1/2 x 31 1/2 in. (49.5 x 80 cm) S. 27 5/8 x 34 5/8 in. (70.2 x 87.9 cm) Estimate $3,000-5,000 Literature Sophie Webel 1178

172. Jean Dubufet

1901-1985

Epiphanor, from PrĂŠsences Fugace (Fleeting Presences), 1973 Screenprint in colors, on Dutch Etching paper, with full margins. Signed with initials, dated and numbered 44/100 in pencil (there were also 20 hors commerce in Roman numerals), published by Pace Editions Inc., New York. framed.

I. 19 3/4 x 13 3/8 in. (50.2 x 34 cm) S. 30 x 21 7/8 in. (76.2 x 55.6 cm) Estimate $3,000-5,000 Literature Sophie Webel 1163

173. Joan Miró

1893-1983

Préparatifs d’oiseaux III (Bird Preparations III), 1963 Aquatint in colors, on Rives BFK paper, the full sheet. Signed and annotated ‘HC’ in pencil (one of a few hors commerce, aside from the edition of 75), published

by Maeght, Paris, framed.

S. 19 1/8 x 23 in. (48.6 x 58.4 cm) Estimate $3,000-5,000 Literature Jacques Dupin 365

174. Joan Miró

1893-1983

Les Géants III (The Giants III), 1960 Aquatint in black and gray with embossing, on Rives BFK paper, with full margins. Signed and annotated ‘H.C.’ in pencil (one of several hors commerce, the edition was 50), published by Maeght, Paris, framed.

I. 23 x 36 1/4 in. (58.4 x 92.1 cm) S. 29 1/2 x 41 5/8 in. (74.9 x 105.7 cm) Estimate $3,000-5,000 Literature Jacques Dupin 278

175. Joan Miró

1893-1983

La Magie quotidienne (Daily Magic), 1968 Etching and aquatint in colors, on Rives paper, with full margins. Signed, dated ‘10/XII/59.’ and annotated ‘H.C.’ in pencil (an hors commerce aside from the edition of 12 and 8 touched up by the artist, the edition was 120), published by Louis Broder, Paris, framed.

I. 6 3/8 x 16 1/2 in. (16.2 x 41.9 cm) Estimate $3,000-5,000 Literature Jacques Dupin 271

176. Joan Miró

1893-1983

Fusée (Rocket): one plate, 1959 Etching and aquatint in colors, on Rives paper, with full margins. Signed and numbered 42/50 in pencil (there were also 8 proofs on parchment paper touched-up by the artist, plus several hors commerce copies), published by Louis Broder, Paris, framed.

I. 5 x 7 in. (12.7 x 17.8 cm) S. 11 x 15 in. (27.9 x 38.1 cm) Estimate $3,000-5,000 Literature Jacques Dupin 257; see Patrick Cramer books 54

177. Joan Miró

1893-1983

Partie de campagne II (Country Party), 1967 Etching and aquatint in colors, on wove paper, with full margins. Signed and annotated ‘HC’ in pencil (one of a few hors commerce, the edition was 75), published by Maeght, Paris, framed.

I. 23 x 36 1/2 in. (58.4 x 92.7 cm) S. 29 1/2 x 41 1/4 in. (74.9 x 104.8 cm) Estimate $4,000-6,000 Literature Jacques Dupin 431

178. Joan Miró

1893-1983

Grand Duc II (Grand Duke II), 1965 Etching and aquatint in colors, on Arches paper, with full margins. Signed and numbered 38/75 in pencil (there were also some hors commerce), published by Maeght, Paris, framed.

I. 26 7/8 x 20 7/8 in. (68.3 x 53 cm) S. 35 1/4 x 24 7/8 in. (89.5 x 63.2 cm) Estimate $3,000-5,000 Literature Jacques Dupin 395

179. Joan Miró

1893-1983

L’Enfance d’Ubu (Ubu’s Childhood): three signed plates, 1975 Eight lithographs in colors, on Arches paper, with full margins, contained in the original beige linen-covered portfolio with one of the unsigned lithographs mounted to the front (as issued), with colophon and title pages. Three signed and numbered 10/120 in pencil and fve unsigned lithographs from the portfolio, published by Tériade, Paris, all unframed. all I. various sizes all S. 11 5/8 x 19 7/8 in. (29.5 x 50.5 cm) Estimate $6,000-8,000 Literature Fernand Mourlot 1000, 1002, 1005, 1007 and 1021 see Patrick Cramer books 204

180. Joan Miró

1893-1983

L’Enfance d’Ubu (Ubu’s Childhood): three signed plates, 1975 Eight lithographs in colors, on Arches paper, with full margins. Three signed and numbered 10/120 in pencil and fve unsigned lithographs from the portfolio, published by Tériade, Paris, all unframed. all I. various sizes all S. 12 3/4 x 19 3/4 in. (32.4 x 50.2 cm) Estimate $6,000-8,000 Literature Fernand Mourlot 1009-1011 see Patrick Cramer books 204

181. Joan Miró

1893-1983

182. Joan Miró

1893-1983

L’Enfance d’Ubu (Ubu’s Childhood): three signed plates, 1975 Eight lithographs in colors, on Arches paper, with full margins. Three signed and numbered 10/120 in pencil and fve unsigned lithographs from the portfolio, published by Tériade, Paris, all unframed. all I. various sizes all S. 12 7/8 x 19 7/8 in. (32.7 x 50.5 cm)

L’Enfance d’Ubu (Ubu’s Childhood): three signed plates, 1975 Eight lithographs in colors, on Arches paper, with full margins. Three signed and numbered 10/120 in pencil and fve unsigned lithographs from the portfolio, published by Tériade, Paris, all unframed. all I. various sizes all. S. 12 7/8 x 19 7/8 in. (32.7 x 50.5 cm)

Estimate $6,000-8,000

Estimate $6,000-8,000

Literature Fernand Mourlot 1013-1014 and 1016 see Patrick Cramer books 204

Literature Fernand Mourlot 1017, 1019-1020 see Patrick Cramer books 204

183. Joan Miró

1893-1983

Suites pour Ubu Roi (Suite for King Ubu): plate 12, 1966 Lithograph in colors, on Arches paper, with full margins. Signed and numbered 34/75 in pencil (from the edition with large margins), published by Tériade, Paris, unframed.

I. 16 3/8 x 24 5/8 in. (41.6 x 62.5 cm) S. 21 1/4 x 29 1/2 in. (54 x 74.9 cm) Estimate $3,500-4,500 Literature Fernand Mourlot 489 see Patrick Cramer books 108

184. After Joan Miró

1893- 1983

Et l’oiseau s’enfuit vers les pyramides..

(And the Bird Fled to the Pyramids..), 1954 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 180/300 in pencil (there were also some hors commerce), published by Galerie Maeght, Paris, framed.

I. 6 x 23 in. (15.2 x 58.4 cm) S. 12 3/8 x 30 in. (31.4 x 76.2 cm) Estimate $2,000-4,000 Literature Maeght 1707

185. Joan Miró

1893-1983

L’Eloge de la main (The Praise of the Hand), 1974 Etching and aquatint in colors, on wove paper, the full sheet. Signed and numbered ‘HC I/XXIV’ in pencil (an hors commerce, the edition was 50), with the Fundacio Joan Miró inkstamp signed by Rosa Maria Malet on the reverse, unframed.

S. 26 x 20 1/4 in. (66 x 51.4 cm) Estimate $4,000-6,000 Literature Jacques Dupin 58

186. Joan Miró

1893-1983

Les Agulles del Pastor (The Shepherd’s Hands), 1973 Lithograph in colors, on Guarro paper, the full sheet. Signed and numbered 69/75 in pencil (there were also 30 hors commerce), published by Ediciones Polígrafa, S.A., Barcelona, unframed.

S. 23 1/4 x 32 5/8 in. (59.1 x 82.9 cm) Estimate $2,500-3,500 Literature Fernand Mourlot 882

187. Joan Miró

1893-1983

Lithograph for the International Plastic Arts Association, Unesco, 1971 Lithograph in colors, on Arches paper, the full sheet.

Signed and numbered 47/75 in pencil, published by AIAP Unesco, Paris, unframed.

S. 29 7/8 x 22 1/8 in. (75.9 x 56.2 cm) Estimate $3,500-4,500 Literature Fernand Mourlot 834

188. Joan Miró

1893-1983

Le Marteau sans maître (The Hammer Without a Master): one plate, 1976 Etching and aquatint in colors, on Japon nacré paper, with full margins. Signed and numbered ‘L/L’ in pencil (there were also 125 in Arabic numerals and 25 hors commerce), published by Le Vent d’Arles, Paris, framed.

I. 11 1/4 x 9 1/8 in. (28.6 x 23.2 cm) S. 17 1/4 x 13 in. (43.8 x 33 cm) Estimate $1,500-2,500 Literature Jacques Dupin 949 see Patrick Cramer books 216

This lot is to be Sold with No Reserve

189. Joan Miró

1893-1983

Miró Lithographs Catalogue Raisonné, Vols. I-VI: containing 32 original lithographs, 1972-1992 The complete set of six catalogue raisonnés for lithographs by the artist bound (as issued), with 32 original lithographs in colors.

Published by Maeght, Paris. all approximately 13 x 10 x 1 5/8 in.

(33 x 25.4 x 4.1 cm) Estimate $1,500-2,500 •

This lot is to be Sold with No Reserve

190. Joan Miró

1893-1983

Miró Engraver Catalogue Raisonné, Vols. I-IV: containing 8 original woodcuts, 1984-2001 The complete set of four catalogue raisonnés for engravings by the artist bound (as issued), with 8 original woodcuts (four in colors).

Published by Daniel Lelong, Paris and Rizzoli, New York. all S. approximately 12 7/8 x 10 1/8 x 1 1/8 in.

(32.7 x 25.7 x 2.9 cm) Estimate $1,500-2,500 •

191. After Fernand Léger

1881-1955

AccordianistÕs family, from Album of 10 Serigraphs, 1954 Screenprint in colors, on Arches paper, with full margins.

Signed in blue ball-point pen (faded) and numbered 95/200 in pencil, published by Jean Bruller, Paris, framed.

I. 17 7/8 x 13 3/8 in. (45.4 x 34 cm) S. 22 x 15 in. (55.9 x 38.1 cm) Estimate $1,000-1,500 Literature Lawrence Saphire E11

192. After Fernand Léger

1881-1955

Composition mécanique, 1953 Screenprint in colors, on wove paper, with full margins.

Signed and numbered 24/300 in pencil and blue ball-point pen (faded), published by Edition Art d’aujourd’hui, Boulogne, framed.

I. 16 3/4 x 12 3/4 in. (42.5 x 32.4 cm) S. 25 1/8 x 19 1/4 in. (63.8 x 48.9 cm) Estimate $1,000-1,500 Literature Lawrence Saphire E24

This lot is to be Sold with No Reserve

193. Friedensreich Hundertwasser

1928-2000

Goodbye from Africa, 1967 Lithograph in colors, on CM Fabriano paper, the full sheet.

Signed, dated and numbered 68/90 in ink (the total edition was 160), published by Gallery La Medusa, Rome (with their blindstamp), framed.

S. 19 1/2 x 27 1/2 in. (49.5 x 69.9 cm) Estimate $1,500-2,500 • Literature Walter Koschatzky 31

This lot is to be Sold with No Reserve

194. Friedensreich Hundertwasser

1928-2000

Die Flucht des Dalai Lama (The Flight of the Dalai Lama), 1959 Lithograph in colors, on two sheets of wove paper, taped on the reverse of the seam, the full sheets. Signed and dated ‘1960’ in ink, from the edition of 150 (there were approximately 1800 with the printed signature and date only), published by Carl László, Basel, framed together vertically.

Frame: 22 3/8 x 24 1/8 in. (56.8 x 61.3 cm) Estimate $1,000-1,500 • Literature Walter Koschatzky 15

This lot is to be Sold with No Reserve

195. Friedensreich Hundertwasser

1928-2000

Die Häuser hängen unter den Wiesen (The Houses are hanging underneath the meadows), plate 9 from Look at it on a rainy day, 1971 Screenprint with metal imprints in colors, on Schoeller Parole paper, with full margins. Signed and numbered 230/300 in ink, also stamp-numbered 2299/3000, published by Edicion Lluvva, Zürich, framed.

I. 17 1/2 x 23 5/8 in. (44.5 x 60 cm) S. 19 3/8 x 26 3/8 in. (49.2 x 67 cm) Estimate $900-1,200 • Literature Walter Koschatzky 52

196.

197.

This lot is to be Sold with No Reserve

196. Le Corbusier

1887-1965

This lot is to be Sold with No Reserve

197. Le Corbusier

1887-1965

Unité, plate 14, 1963 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed and numbered 110/130 in pencil (there were also 30 in Roman numerals), printed and published by Atelier Crommelynck, Paris, unframed.

I. 16 3/8 x 12 1/2 in. (41.6 x 31.8 cm) S. 22 3/8 x 17 3/4 in. (56.8 x 45.1 cm)

Unité, plate 16, 1963 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed and numbered 62/130 in pencil (there were also 30 in Roman numerals), printed and published by Atelier Crommelynck, Paris, unframed.

I. 16 1/4 x 11 1/2 in. (41.3 x 29.2 cm) S. 22 1/2 x 17 7/8 in. (57.2 x 45.4 cm)

Estimate $1,500-2,500 •

Estimate $1,500-2,500 •

This lot is to be Sold with No Reserve

198. Le Corbusier

1887-1965

Unité, plate 11, 1963 Etching and aquatint in colors, on Rives BFK paper, with full margins. Signed and numbered 110/130 in pencil (there were also 30 in Roman numerals), printed and published by Atelier Crommelynck, Paris, unframed.

I. 16 1/2 x 12 3/8 in. (41.9 x 31.4 cm) S. 22 1/2 x 18 in. (57.2 x 45.7 cm) Estimate $1,500-2,500 • 198.

The Unité series are based on pastel drawings the artist made in 1953.

199. Le Corbusier

1887-1965

Je rêvais (I Dreamed), from Cortège (Procession); and Totem, 1960 and 1963 Two lithographs in colors, on wove and Rives BFK paper, the full sheets. Je rêvais numbered 162/300 and Totem signed and numbered 75/75 in pencil, published by Mourlot, Paris, both framed.

Je rêvais 28 x 40 1/2 in. (71.1 x 102.9 cm) Totem S. 28 x 31 5/8 in. (71.1 x 80.3 cm) Estimate $2,000-4,000

Je rêvais

200. Alexander Calder

1898-1976

Stone Age, 1969 Lithograph in colors, on wove paper, the full sheet.

Signed and numbered 49/100 in pencil, framed.

I. 28 1/4 x 21 1/4 in. (71.8 x 54 cm) S. 30 7/8 x 23 in. (78.4 x 58.4 cm)

Totem

199.

Estimate $1,500-2,500

201. Alexander Calder

1898-1976

Loops and Yin Yang, 1969 Lithograph in colors, on Arches paper the full sheet. Signed and numbered 5/90 in pencil (there were also some artist’s proofs), unframed.

S. 32 x 22 5/8 in. (81.3 x 57.5 cm) Estimate $2,000-3,000

200.

201.

Property of an Important New York Collector

202. Arman

1928-2005

Harpe de couleurs (Harp of Colors), 1975 Screenprint in colors on three sheets of Plexiglas, all framed together with standing base. Signed in the screen, incised ‘artcurial’ and numbered 137/2500, published by Artcurial, Paris.

29 x 10 3/4 x 6 in. (73.7 x 27.3 x 15.2 cm) Estimate $3,000-5,000

This work is recorded in the Arman Studio Archives New York under number: APA# 8400.76.049

203. Sonia Delaunay

1885-1979

Avec moi-même (With Myself): one plate, 1970 Etching and aquatint in colors, on Arches paper, with full margins. Signed and numbered II/XX in pencil (aside from the edition of 75), published by Société Internationale d’Art XXeme Siècle, Paris, framed.

I. 19 1/2 x 15 5/8 in. (49.5 x 39.7 cm) S. 26 x 19 7/8 in. (66 x 50.5 cm) Estimate $1,500-2,500

This lot is to be Sold with No Reserve

204. Jean Arp

1886-1966

Le Soleil recerclé (Around the Sun): plate 18, 1962-65 Woodcut in colors, on Japon nacré paper, with full margins. Signed and numbered ‘X/X’ in pencil (a proof from the book edition of 185, there was also an edition of 60 on Auvergne paper), with the artist’s blindstamp, published by Louis Broder, Paris, 1966, unframed.

I. 14 x 13 1/2 in. (35.6 x 34.3 cm) S. 19 x 15 in. (48.3 x 38.1 cm) Estimate $1,500-2,500 • Literature Wilhelm Arntz 267

This lot is to be Sold with No Reserve

205. Jean Arp

1886-1966

Le Soleil recerclé (Around the Sun): plate 13, 1962-65 Woodcut in colors, on Japon nacré paper, with full margins. Signed and numbered ‘X/X’ in pencil (a proof from the book edition of 185, there was also an edition of 60 on Auvergne paper), with the artist’s blindstamp, published by Louis Broder, Paris, 1966, unframed.

I. 10 5/8 x 8 1/2 in. (27 x 21.6 cm) S. 19 x 14 7/8 in. (48.3 x 37.8 cm) Estimate $1,500-2,500 • Literature Wilhelm Arntz 262

206. 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

207. Zao Wou-Ki

1920-2013

À la gloire de l’image et Art poétique (In honour of the picture and of poetry): plate 7, 1976 Lithograph in colors, on Arches paper, with full margins.

Signed and numbered 70/99 in pencil (there were also 15 artist’s proofs and 15 hors commerce), published by Ediciones Polígrafa, Barcelona, framed.

I. 15 7/8 x 26 1/2 in. (40.3 x 67.3 cm) S. 19 5/8 x 29 5/8 in. (49.8 x 75.2 cm) Estimate $2,000-4,000 Literature Jørgen Ågerup 277

208. Mark Tobey

1890-1976

Transitions, 1971 The complete set of seven aquatints in colors, on wove paper, with full margins, all contained in the original beige cloth-covered portfolio, with justifcation. All signed, dated and numbered 48/75 in pencil (there were also a few proofs), published by Edition de Beauclair, Frankfurt, Germany (with their blindstamp). all I. 11 3/8 x 9 1/2 in. (28.9 x 24.1 cm) all S. 21 x 16 3/4 in. (53.3 x 42.5 cm) Estimate $2,500-3,500 Literature Hanns H. Heidenheim 1-7

Including Trio; Summer Breeze; Evocation; Afer Harvest; Devoted; Movement in White; and Blossoming

209. Antoni Tàpies

1923-2012

Due mans, from Negre i roig, 1976 Etching and aquatint in colors with embossing, on Guarro paper, the full sheet. Signed and numbered 68/75 in pencil (there were also 15 aritist’s proofs), published by Ediçiones Polígrafa, Barcelona, framed.

S. 22 x 29 1/2 in. (55.9 x 74.9 cm) Estimate $1,000-1,500 Literature Mariuccia Galfetti 622

210. Joan Mitchell

1925-1992

Bedford I, from Bedford Series, 1981 Lithograph in colors, on Arches 88 mould-made paper, with full margins. Signed and numbered 13/70 in pencil (there were also 16 artist’s proofs), published by Tyler Graphics, Mount Kisco, New York (with their blindstamp), framed.

I. 40 x 29 1/2 in. (101.6 x 74.9 cm) S. 42 1/2 x 32 5/8 in. (108 x 82.9 cm) Estimate $7,000-10,000 Literature Tyler Graphics 363

211. Jackson Pollock

1912-1956

Untitled (P 29), 1951/1964 Screenprint, on Strathmore paper, with full margins. Numbered 43/50 in pencil (from the posthumous printing of 50, there was also a lifetime edition of 25), with the artist’s estate blindstamp, printed by Bernard Stefen under the authorization of Lee Krasner and supervision of Mrs. Sanford McCoy, framed.

I. 23 1/8 x 15 1/2 in. (58.7 x 39.4 cm) S. 29 x 23 in. (73.7 x 58.4 cm) Estimate $3,000-5,000 Literature Francis Valentine O’Connor and Eugene Victor Thaw 1093

212. Sam Francis

1923-1994

Untitled (SF-329), 1988 Lithograph in colors, on Waterleaf paper, the full sheet. Signed and numbered 31/50 in pencil (there were also 6 artist’s proofs), published by The Litho Shop, Inc., Santa Monica, California, framed.

S. 45 1/8 x 28 1/8 in. (114.6 x 71.4 cm) Estimate $5,000-7,000 Literature Connie Lembark L 278

213. Philip Guston

1913-1980

Untitled, from a Suite of Ten Lithographs, 1966 Lithograph, on Rives BFK paper, with full margins. Signed, dated and annotated ‘Artist’s Proof’ in pencil (one of 2 artist’s proofs, the edition was 25), published by Hollanders Workshop, Inc., New York, unframed.

I. 10 x 19 1/4 in. (25.4 x 48.9 cm) S. 22 x 29 7/8 in. (55.9 x 75.9 cm) Estimate $2,000-3,000 Literature Michael Semf 9

214. Helen Frankenthaler

1928-2011

The Red Sea, 1978-82 Lithograph in colors, on pink HMP handmade paper, with full margins. Signed, dated and numbered 43/58 in pencil (there were also 14 artist’s proofs), published

by Tyler Graphics Ltd., Bedford Village, New York (with their blindstamp), framed.

I. 15 3/4 x 20 3/4 in. (40 x 52.7 cm) S. 24 x 28 in. (61 x 71.1 cm) Estimate $4,000-6,000 Literature Tyler Graphics 200 Pegram Harrison 89

215. Helen Frankenthaler

1928-2011

Mirabelle, 1985-90 Lithograph in colors, on Arches paper, the full sheet.

Signed, dated and numbered 25/56 in white pencil (there were also 14 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed.

S. 30 x 37 in. (76.2 x 94 cm) Estimate $5,000-7,000 Literature Pegram Harrison 169

216. Helen Frankenthaler

1928-2011

SoHo Dreams, 1987 Etching, aquatint and drypoint in colors, on Magnani paper, with full margins. Signed, dated and numbered 53/71 in pencil (there were also 8 artist’s proofs), published by 2RC Edizioni d’Arte, Rome, unframed.

I. 15 3/4 x 18 3/4 in. (40 x 47.6 cm) S. 25 1/2 x 30 3/4 in. (64.8 x 78.1 cm) Estimate $2,000-3,000 Literature Pegram Harrison 124

217. Helen Frankenthaler

1928-2011

Un Poco Más, 1987 Lithograph in colors, on Arches paper, the full sheet.

Signed, dated and numbered 46/60 in white pencil, (there were also 12 artist’s proofs), published by Ediciones Polígrafa, S.A., Barcelona, framed.

S. 27 x 37 in. (68.6 x 94 cm) Estimate $2,500-3,500 Literature Pegram Harrison 140

218. Pierre Soulages

b. 1919

219. Pierre Soulages

b. 1919

Sérigraphie no. 16, 1981 Screenprint in colors, on wove paper, the full sheet.

Signed and numbered ‘EA 13/45’ in pencil (an artist’s proof, the edition was 250), published by Circle Fine Arts Inc., Chicago, unframed.

S. 41 3/8 x 29 3/8 in. (105.1 x 74.6 cm)

Sérigraphie no. 15, 1981 Screenprint in colors, on wove paper, the full sheet.

Signed and numbered ‘EA 13/45’ in pencil (an artist’s proof, the edition was 250), published by Circle Fine Arts Inc., Chicago, unframed.

S. 41 5/8 x 28 3/4 in. (105.7 x 73 cm)

Estimate $5,000-7,000

Estimate $5,000-7,000

Literature Pierre Encrevé and Marie-Cecile Miessner 108

Literature Pierre Encrevé and Marie-Cecile Miessner 107

220. Ad Reinhardt

1913-1967

Ten Screenprints portfolio: nine plates, 1966 Nine screenprints in colors, on heavy wove paper, contained in the original paper folder, title page, justifcation and each in their corresponding numbered folio, lacking plate 5.

All signed and numbered 19/250 in pencil (only the frst 20 sets were signed and numbered), each stamp numbered with the plate number on the reverse, co-published by the Wadsworth Atheneum, Hartford and Ives-Sillman, Inc., New Haven (with their blindstamp). all. I. various sizes all S. 22 x 17 in. (55.9 x 43.2 cm) Estimate $4,000-6,000

221. Josef Albers

1888-1976

Formulation and Articulation I and II, 1972 The complete set of 127 screenprints in colors, on 66 sheets of wove paper, folded (as issued), with full margins, with colophon, all contained in two original linen-covered portfolios and gray slip cases. Signed and numbered ‘786’ in black ink on the colophon (the edition was 1000), co-published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven. each portfolio 20 3/4 x 15 5/8 x 2 1/2 in. (52.7 x 39.7 x 6.4 cm) Estimate $5,000-7,000 Literature Brenda Danilowitz Appendix C

222. Josef Albers

1888-1976

SP III, 1967 Screenprint in colors, on Schöllers Hammer Board paper, with full margins. Signed with initials, titled, dated and numbered ‘68-125’ in pencil (there were also some artist’s proofs), published by Editions Domberger, Stuttgart for Galerie der Spiegel, Cologne, framed.

I. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm) S. 24 1/8 x 24 1/8 in. (61.3 x 61.3 cm) Estimate $1,500-2,500 Literature Brenda Danilowitz 175.111

223. Josef Albers

1888-1976

Silent, from “Die Oberfäche”, 1965 Screenprint in colors, on heavy wove paper, with full margins. Signed, titled, dated and numbered 85/120 in pencil, published by Ives-Sillman, Inc., New Haven, framed I. 11 x 11 in. (27.9 x 27.9 cm) S. 12 x 12 in. (30.5 x 30.5 cm) Estimate $1,000-2,000 Literature Brenda Danilowitz 167.2

224. Josef Albers

1888-1976

SP X, 1967 Screenprint in colors, on Schöllers Hammer Board, with full margins. Signed with initial ‘A’, titled, dated and numbered 12-125 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 1/8 x 24 1/8 in. (61.3 x 61.3 cm) Estimate $1,500-2,500 Literature Brenda Danilowitz 175.10

225. John McLaughlin

1898-1976

Untitled, 1963 Lithograph in colors, on Rives BFK paper, with full margins. Signed, dated and numbered 7/11 in pencil (there were also approximately 13 proofs), published

by Tamarind Institute, Los Angeles (with their inkstamps), framed.

I. 18 x 12 in. (45.7 x 30.5 cm) S. 20 x 14 3/4 in. (50.8 x 37.5 cm) Estimate $3,000-5,000 Provenance Felix Landau, Los Angeles The Corcoran Gallery of Art rental gallery, c. 1970 Literature Tamarind 781 Susan Sheehan 3

226.

226. Kenneth Noland

1924-2010

Shadow Line, 1968 Screenprint in colors, on linen laid to heavy board (as issued), the full sheet. Signed, dated and numbered 30/150 in pencil, published by Dokumenta IV, Kassel, Germany, unframed.

S. 16 3/4 x 47 1/2 in. (42.5 x 120.7 cm) Estimate $3,000-5,000

227. Richard Anuszkiewicz

Study Inner Yellow on Red (Print Collage 1); and Study Inner Orange on Blue (Print Collage 1), 1991 Two screenprints on panel mounted to screenprinted paper in colors, on wove paper, with full margins.

Both signed, dated and numbered 28/60 in pencil, both framed. both I. 22 5/8 x 28 in. (57.5 x 71.1 cm) both S. 31 5/8 x 37 in. (80.3 x 94 cm) Estimate $2,000-4,000

227.

b. 1930

228. Richard Anuszkiewicz

b. 1930

Banner #3, circa 1968 Felt banner with cotton backing. Signed and numbered 3/30 in black ink and additionaly numbered ‘Banner #3’ (printed) on a label afxed to the reverse, co-published by Betsy Ross Flag and Banner Co., and Multiples, Inc., New York and Los Angeles.

93 x 68 in. (236.2 x 172.7 cm) Estimate $2,000-3,000

This lot is to be Sold with No Reserve

229. Richard Anuszkiewicz

b. 1930

Untitled, 1970 Screenprint in colors, on wove paper, the full sheet.

Signed and numbered ‘AP 144’ in pencil (an artist’s proof, the edition was 144), unframed.

S. 39 1/8 x 30 in. (99.4 x 76.2 cm) Estimate $300-500 •

230. Frank Stella

b. 1936

Ileana Sonnabend; D.; Carl Andre; and Hollis Frampton, from Purple Series, 1972 Four lithographs in colors, on Zerkall Copperplate deluxe paper, with margins (three trimmed at the sheet edges). All signed, dated and numbered 11/100 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), all framed. all I. various sizes all S. approximately 16 x 22 in. (40.6 x 55.9 cm) Estimate $3,000-5,000 Literature Gemini G.E.L. 369, 371 and 374-75 Richard Axsom and Leah Kolb 65, 67, and 70-71

231. Frank Stella

b. 1936

York Factory I, 1972 Screenprint in colors, on Arjomari paper, with full margins. Signed, dated and numbered 47/100 in pencil (there were also 25 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), framed.

I. 13 1/2 x 40 1/4 in. (34.3 x 102.2 cm) S. 17 1/2 x 44 1/2 in. (44.5 x 113 cm) Estimate $5,000-7,000 Provenance Private Collection, Minneapolis Literature Gemini G.E.L. 303 Richard Axsom and Leah Kolb 63

Property of an Important New York Collector

232. 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 99/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, framed.

I. diameter 25 in. (63.5 cm) S. 31 7/8 x 42 1/4 in. (81 x 107.3 cm) Estimate $5,000-7,000 Literature Richard Axsom and Leah Kolb 118

233. Frank Stella

b. 1936

Sinjerli Variation III, from Sinjerli Variations, 1977 Ofset lithograph and screenprint in colors, on Arches Cover paper, with full margins. Signed, dated and numbered 82/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, framed.

I. diameter 25 in. (63.5 cm) S. 32 x 42 1/4 in. (81.3 x 107.3 cm) Estimate $4,000-6,000 Literature Richard Axsom and Leah Kolb 117

234. Frank Stella

b. 1936

Shards IV, from Shards, 1982 Ofset lithograph and screenprint in colors, on Arches Cover paper, the full sheet. Signed, dated and numbered 38/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, framed.

S. 39 3/4 x 45 1/4 in. (101 x 114.9 cm) Estimate $5,000-7,000 Literature Richard Axsom and Leah Kolb 147

Property from an Important Private Collection

235. Frank Stella

b. 1936

Juam, from Imaginary Places II, 1997 Relief, etching, aquatint, lithograph, screenprint, woodcut, and engraving in colors, on two sheets of TGL handmade paper and hand-colored paper (as issued), the full sheet. Signed, dated and numbered 6/40 in pencil (there were also 14 artist’s proofs), published by Tyler Graphics, Mount Kisco, New York (with their blindstamp), framed.

S. 79 3/4 x 60 5/8 in. (202.6 x 154 cm) Estimate $9,000-12,000 Literature Richard Axsom and Leah Kolb 248

Property of an Important New York Collector

236. Frank Stella

b. 1936

Then Came a Dog and Bit the Cat, from Illustrations Afer El Lissitzsky’s Had Gadya, 1984 Lithograph, linocut and screenprint in colors with hand-coloring and collage, on T.H. Saunders and Somerset paper, the full sheet. Signed, dated and numbered 46/60 in pencil (there were also 10 artist’s proofs), published by Waddington Graphics, London, framed.

S. 53 1/2 x 51 1/2 in. (135.9 x 130.8 cm) Estimate $7,000-10,000 Provenance The Harcus Gallery, Boston Literature Richard Axsom and Leah Kolb 173

237. Frank Stella

b. 1936

Bene come il sale, 1989 Relief-printed etching in colors, on TGL handmade paper, the full sheet. Signed, dated, and numbered 22/50 in pencil (there were also 18 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), pale foxing in places (primarily in the unprinted areas), the light orange attenuated, scattered sticking of the black inks to the plexi, framed.

S. 77 1/4 x 58 1/2 in. (196.2 x 148.6 cm) Estimate $7,000-10,000 Literature Richard Axsom and Leah Kolb 184

238. Carmen Herrera

b. 1915

Rojo y Negro (Red and Black), 1993 Screenprint in red and black, on wove paper, with full margins. Signed, titled, dated and numbered 126/200 in pencil (there were also approximately 25 artist’s proofs), published by Miami Press, Florida, framed.

I. 16 1/8 x 13 in. (41 x 33 cm) S. 22 x 19 in. (55.9 x 48.3 cm) Estimate $3,000-5,000

239. William T. Williams

b. 1974

Untitled, 1970 The complete set of four screenprints in colors, on Rives BFK paper, with full margins, all contained in the original heavy black wove paper folio with colophon.

All signed and numbered 31/144 in pencil (there were also 9 hors commerce in Roman numerals), published

by H.K.L., Ltd., Boston. all I. 16 x 11 5/8 in. (40.6 x 29.5 cm) all S. 23 3/8 x 17 5/8 in. (59.4 x 44.8 cm) Estimate $3,000-5,000

240. Ellsworth Kelly

1923-2015

Blue/Red-Orange/Green, 1970-1971 Lithograph in colors, on Arjomari paper, with full margins. Signed and numbered 32/64 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 32 x 12 in. (81.3 x 30.5 cm) S. 42 3/8 x 30 in. (107.6 x 76.2 cm) Estimate $5,000-7,000 Literature Gemini G.E.L. 266 Richard Axsom 75

241. Louise Nevelson

1899-1988

Six Pointed Star, 1980 Handmade cast paper relief, the full sheet. Signed, dated and numbered 30/90 in pencil, published by Pace Editions, Inc., New York, framed.

I. 31 x 27 1/4 in. (78.7 x 69.2 cm) S. 40 3/8 x 34 3/8 in. (102.6 x 87.3 cm) Estimate $2,500-3,500 Provenance Medici-Berenson Gallery, Bay Harbor Islands, Florida

242. Sarah Morris

b. 1967

Pegasus (Origami), 2007 Ink and gouache drawing, on paper. Signed, titled and dated in pencil, framed.

21 x 21 in. (53.3 x 53.3 cm) Estimate $2,500-3,500 Provenance Galerie Max Hetzler, Berlin, Paris, London

243. 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.

I. 9 x 9 in. (22.9 x 22.9 cm) S. 11 3/4 x 11 3/4 in. (29.8 x 29.8 cm) Estimate $2,000-3,000

244. Robert Mangold

b. 1937

IV, from Attic series I, 1991 Etching and aquatint in colors, on Somerset paper, with full margins. Signed, titled and numbered 36/60 in pencil (there were also 12 artist’s proofs), published by Parasol Press, New York, framed.

I. 23 7/8 x 20 1/2 in. (60.6 x 52.1 cm) S. 32 x 36 in. (81.3 x 91.4 cm) Estimate $1,000-2,000 Literature Amy Baker Sandback 34.01.04 Senior & Shopmaker Gallery, Inc., New York 1991.01.04

245. Sol LeWitt

1928-2007

Loopy Doopy Box, 1999 Painted wood box multiple with copper lined interior base. Signed and numbered 17/17 in pencil on the underside, published by Barbara Krakow Gallery, Boston.

7 x 7 x 3 1/2 in. (17.8 x 17.8 x 8.9 cm) Estimate $2,500-3,500

246. Jonathan Lasker

b. 1948

D-156, 2007 Ink and graphite drawing on wove paper. Signed, titled and dated on the reverse, framed.

22 x 30 in. (55.9 x 76.2 cm) Estimate $2,000-3,000 Provenance Cheim & Read, New York

Property of an Important New York Collector

247. Richmond Burton

b. 1960

Frequent Flyer, 1998 Woodcut in colors, on handmade Japanese paper, with full margins. Signed, dated and numbered 1/25 in pencil, published by K5 Editions, New Paltz, New York, framed.

I. 17 1/4 x 25 in. (43.8 x 63.5 cm) S. 24 x 31 5/8 in. (61 x 80.3 cm) Estimate $500-800

248. Jasper Johns

b. 1930

Figure 1, from 0-9, 1975 Etching with aquatint, on Barcham Green paper watermark ‘J. Johns’, with full margins. Signed, dated and numbered 95/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, London, framed.

I. 2 1/2 x 2 1/4 in. (6.4 x 5.7 cm) S. 8 3/8 x 6 in. (21.3 x 15.2 cm) Estimate $2,000-3,000 Literature Universal Limited Art Editions 157

249. Jim Dine

b. 1935

Wall Chart I, 1974 Lithograph in colors, on wove paper, with full margins. Signed and numbered 69/75 in pencil (there were also 15 artist’s proofs), published by Petersburg Press, London, framed.

I. 42 x 30 in. (106.7 x 76.2 cm) S. 48 1/4 x 35 in. (122.6 x 88.9 cm) Estimate $3,000-5,000 Literature Williams College 166

Property of an Important New York Collector

250. Jim Dine

b. 1935

Eight Hearts, 1969 Etching with hand-coloring, on Chrisbrook handmade paper, with full margins. Signed, dated and numbered 23/50 in pencil, framed.

I. 13 3/4 x 21 5/8 in. (34.9 x 54.9 cm) S. 22 1/4 x 31 in. (56.5 x 78.7 cm) Estimate $2,500-3,500 Literature Gallery Mikro 60

251. Jim Dine

b. 1935

Printing Outdoors, 1980 Etching and electric tool abrasion with handcoloring, on Copperplate Deluxe paper, with full margins. Signed, dated and numbered 13/40 in pencil (there were also 10 artist’s proofs), published

by Pace Editions, Inc., New York, framed.

I. 28 x 21 3/4 in. (71.1 x 55.2 cm) S. 38 1/8 x 30 in. (96.8 x 76.2 cm) Estimate $2,000-4,000 Literature Ellen D’Oench and Jean Feinberg 65

252. Howard Hodgkin

1932-2017

Red Listening Ear, 1986 Intaglio print with carborundum and hand-coloring, on TH Saunders paper, the full sheet. Signed with initials, dated and numbered 22/100 (there were also 9 artist’s proofs), published by Bernard Jacobson Ltd, London, framed.

S. 19 x 25 1/2 in. (48.3 x 64.8 cm) Estimate $2,000-4,000 Literature Liesbeth Heenk 74

253. Julian Schnabel

b. 1951

Harp, from the Lola series, 1984 Unique aquatint, on two panels of J.B. Martin Co. Spanish gold velvet, stretched over wood strainer.

Signed and dated in burgundy paint on the reverse fold, one of fve unique variants (there were also 5 unique variant proofs), published by Parasol Press, Ltd., New York, framed.

72 x 48 in. (182.9 x 121.9 cm) Estimate $8,000-12,000

254. Donald Sultan

b. 1951

Mimosa, April 30, 2015, 2015 Screenprint in colors with focking, on museum board, the full sheet. Signed with initials, titled, dated and numbered 22/40 in pencil, published

by Lococo Fine Art, St. Louis, framed.

S. 50 1/2 x 59 1/2 in. (128.3 x 151.1 cm) Estimate $4,000-6,000

255. Bertrand Lavier

b. 1949

Untitled, 1986 Acrylic on mirror multiple, contained in the original artist’s frame. Signed, dated and numbered 42/60 in black marker on the reverse.

F. 28 1/2 x 28 1/2 in. (72.4 x 72.4 cm) Estimate $2,000-3,000 254.

256. Elizabeth Murray

1940-2007

Untitled, 1985 Pastel drawing, on Rives BFK paper. Signed, titled and dated ‘Nov. 1985’ in pencil on the reverse, framed.

S. 44 1/2 x 30 1/4 in. (113 x 76.8 cm) Estimate $2,000-3,000 Provenance Barbara Krakow Gallery, Boston Susanne Hilberry Gallery, Brimingham, Michigan

255.

256.

257. 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 cloth-covered 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.

29 5/8 x 21 1/4 x 1 1/2 in. (75.2 x 54 x 3.8 cm) Estimate $8,000-12,000 Literature John Arthur pp. 121-123

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

258. Richard Estes

b. 1932

Holland Hotel, 1980 Screenprint in colors, on Rives BFK paper, with full margins. Signed and annotated 97/100 in gold ink (there were also 15 artist’s proofs), published by Parasol Press, Ltd., New York, unframed.

I. 45 1/2 x 72 in. (115.6 x 182.9 cm) S. 46 1/2 x 76 in. (118.1 x 193 cm) Estimate $10,000-15,000 Literature John Arthur p. 127

259.

Property of an Important New York Collector

259. Jennifer Bartlett

b. 1941

Graceland Mansion, 1979 Drypoint, aquatint, screenprint, woodcut and lithograph in colors, on fve panels of J. Green Cold Press and Rives BFK paper, the full sheets. Signed, titled, dated and numbered 17/40 in pencil on the reverse across all fve panels (there were also 8 artist’s proofs), co-published by Brooke Alexander, Inc. and Paula Cooper Gallery, New York, framed together. overall 24 x 120 in. (61 x 304.8 cm)

260. Robert Cottingham

261. Robert Cottingham

b. 1935

An American Alphabet: C, 2010 Lithograph in colors, on wove paper, with full margins. Signed and numbered 32/40 in pencil, published by Tandem Press, Madison, Wisconsin, unframed.

I. 24 x 18 1/2 in. (61 x 47 cm) S. 31 x 24 1/2 in. (78.7 x 62.2 cm)

An American Alphabet: S, 2007 Lithograph in colors, on wove paper, with full margins. Signed and numbered 39/50 in pencil, published by Tandem Press, Madison, Wisconsin, unframed.

I. 24 x 17 3/8 in. (61 x 44.1 cm) S. 30 5/8 x 23 3/8 in. (77.8 x 59.4 cm)

Estimate $1,500-2,500

Estimate $1,500-2,500

Estimate $5,000-7,000

260.

b. 1935

Property of an Important New York Collector

261.

This lot is to be Sold with No Reserve

262. Friedrich Meckseper

1936-2019

Still Life, 1974 Etching and aquatint, on wove paper, with full margins. Signed, dated and numbered 221/500 in pencil, published by Fischer Fine Art Ltd., London, framed.

I. 4 x 5 in. (10.2 x 12.7 cm) S. 10 1/2 x 7 5/8 in. (26.7 x 19.4 cm) Estimate $300-500 • Literature Pierre Crettenand 166

263. Chuck Close

264. Chuck Close

b. 1940

Phil/Fingerprint, 1981 Lithograph, on Kuratani Kozo Special Japanese paper, with full margins. Signed, titled, dated and numbered 22/36 in pencil (there were also 7 artist’s proofs), published

by Pace Editions Inc., New York (with the artist’s blindstamp), framed.

I. 43 x 31 3/4 in. (109.2 x 80.6 cm) S. 50 1/4 x 38 in. (127.6 x 96.5 cm)

b. 1940

Self Portrait I, 1997 Linocut, on wove paper, with full margins.

Signed, titled, dated and numbered 34/70 in pencil (there were also 25 artist’s proofs), published by Pace Editions Inc., New York, framed.

I. 11 3/4 x 9 in. (29.8 x 22.9 cm) S. 24 x 18 in. (61 x 45.7 cm)

262.

Estimate $1,500-2,500

Estimate $5,000-7,000

263.

264.

265. David Hockney

b. 1937

The Old Guitarist, plate 2, from The Blue Guitar, 1976-77 Etching and aquatint in colors, on Inveresk paper, with full margins. Signed and numbered 197/200 in pencil (there were also 35 artist’s proofs), published by Petersburg Press, London, framed.

I. 16 7/8 x 13 3/4 in. (42.9 x 34.9 cm) S. 20 1/2 x 17 7/8 in. (52.1 x 45.4 cm) Estimate $6,000-9,000 Literature Scottish Arts Council 200 Museum of Contemporary Art, Tokyo 179

266. David Hockney

b. 1937

Complete Prints: Galerie Mikro Berlin, 1968 Ofset lithograph, on wove paper, the full sheet. Signed in pencil, unframed.

S. 32 5/8 x 23 3/8 in. (82.9 x 59.4 cm) Estimate $600-900 265.

267. David Hockney

b. 1937

A Bigger Book, Art Edition C, 2010/2016 iPad drawing in colors, printed on archival paper, with full margins, with the illustrated 680-page chronology book, original print portfolio and adjustable book stand designed

by Marc Newson, contained in original cardboard box with label stamp-numbered ‘0542’. iPad drawing signed, dated and numbered 42/250 in pencil, the book signed in black ink on the title page (one of four editions of 250 lettered A-D, there was also an edition of 10,000 without an iPad drawing), published by the artist (with their blindstamp) and Taschen, Berlin, the iPad drawing framed.

I. 17 1/4 x 13 in. (43.8 x 33 cm) S. 22 x 17 in. (55.9 x 43.2 cm) book. 28 x 20 x 3 1/2 in. (71.1 x 50.8 x 8.9 cm) Estimate $5,000-7,000

266.

267.

268. Ed Ruscha

b. 1937

Vine/Melrose, 1999 Lithograph in colors, on Rives BFK paper, the full sheet.

Signed, dated and numbered 2/60 in pencil, published

by Parkett Editions, Zurich and New York, framed.

S. 22 1/4 x 30 1/8 in. (56.5 x 76.5 cm) Estimate $4,000-6,000 Literature Edition for Parkett 55

269. Ed Ruscha

b. 1937

Jockey, 1988 Aquatint, on Somerset paper, with full margins. Signed, dated and numbered 19/20 in pencil (there were also 10 artist’s proofs), published by Crownpoint Press, San Francisco (with their blindstamp), framed.

I. 29 5/8 x 17 3/4 in. (75.2 x 45.1 cm) S. 39 3/4 x 27 in. (101 x 68.6 cm)

268.

Estimate $3,000-5,000 Literature Siri Engberg 161

270. Ed Ruscha

b. 1937

America Whistles, 1976 Lithograph in colors, on Arches paper, the full sheet. Signed, dated and numbered 145/200 in pencil (there were also 25 artist’s proofs), published by APC Editions, New York, framed.

S. 30 x 22 1/4 in. (76.2 x 56.5 cm) Estimate $2,000-3,000 Literature Siri Engberg 84

269.

270.

271. Francis Bacon

1909-1992

Logique de la sensation (afer Study from the Human Body 1981), 1981 Lithograph in colors, on wove paper, the full sheet.

Signed and numbered 35/150 in pencil (there were also 25 in Roman numerals), printed by Arts Litho (with their blindstamp), published by Éditions de la DifÊrence, Paris, framed.

S. 17 5/8 x 12 7/8 in. (44.8 x 32.7 cm) Estimate $8,000-12,000 Literature Juan Sabatier 28

272. Cecily Brown

b. 1969

Untitled, 2002 Monoprint in colors, on wove paper, the full sheet.

Signed, dated and numbered 14/25 in pencil, framed.

S. 19 3/4 x 23 3/4 in. (50.2 x 60.3 cm) Estimate $2,000-4,000

273. John Cage

1912-1992

Variations II, 1991 Uniquely branded and smoked Roma Guido Reni paper, the full sheet. Signed, titled, dated and numbered ‘AP 16’ in pencil (one of 16 unique artist’s proofs, the edition was 36 unique variants), published by Crown Point Press, San Francisco (with their blindstamp), framed.

S. 26 x 19 in. (66 x 48.3 cm) Estimate $3,000-5,000

274. Franz West

1947-2012

Ottoman (Die Otomane), 2005 Steel rebar, foam and linen. Incised ‘FW EK’ and numbered 83/100 on one of the legs, produced by Galerie Elisabeth & Klaus Thoman, Innsbruck.

16 1/2 x 32 x 32 in. (41.9 x 81.3 x 81.3 cm) Estimate $10,000-15,000

275. Robert Rauschenberg

1925-2008

Cardbird IV, from Cardbird series, 1971 Collage print with corrugated cardboard, tape, photo ofset lithograph, and screenprint. Signed, dated and numbered 53/75 in black ink on the reverse (there were also 6 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their inkstamp on the reverse), unframed.

39 x 39 in. (99.1 x 99.1 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 306

275.

276.

277.

276. Robert Rauschenberg

1925-2008

277. Robert Rauschenberg

1925-2008

Urban; and Suburban, 1962 Two lithographs, on Rives BFK paper, with full margins. Both signed, dated, Urban numbered 12/38 and Suburban annotated ‘Artist’s Proof’ in pencil (the edition was 25), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), one framed.

Urban I. 30 x 22 1/2 in. (76.2 x 57.2 cm) S. 41 x 29 1/2 in. (104.1 x 74.9 cm) Suburban I. 29 x 19 1/2 in. (73.7 x 49.5 cm) S. 41 3/8 x 29 1/2 in. (105.1 x 74.9 cm)

Tides; Drifs; and Gulf, 1969 Three lithographs in colors, on German Copperplate paper, the fullsheets. All signed, dated and numbered 4/28, 26/35 and 24/31 respectively (there were also 5 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), all framed. all S. 42 1/8 x 30 1/8 in. (107 x 76.5 cm)

Estimate $8,000-12,000

Literature Universal Limited Art Editions 38, 39 and 40 Edward Foster 68, 69 and 70

Literature Universal Limited Art Editions 3 and 4 Edward Foster 6 and 7

Estimate $7,000-10,000

278. Robert Rauschenberg

1925-2008

Sub-Total, from Stoned Moon Series, 1970 Lithograph in colors, on Rives BFK paper, the full sheet. Signed, dated and numbered 23/500 in pencil (there were also 25 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

S. 8 3/8 x 12 1/2 in. (21.3 x 31.8 cm) Estimate $900-1,200 Provenance Private Collection, Minneapolis Literature Gemini G.E.L. 429

This lot is to be Sold with No Reserve

279. Robert Rauschenberg

1925-2008

Visual Autobiography, 1968 The complete set of three ofset lithographs, on wove paper, the full sheets. Circle of Words signed with initials and dated in pencil, all stampnumbered 125 on the reverse (from the edition of 2,000), published by Broadside Art, Inc., New York (with their inkstamp), all unframed. all S. 66 x 48 5/8 in. (167.6 x 123.5 cm) Estimate $1,000-2,000 • Literature Edward Foster 60

Including X-Ray; Circle of Words; and Dance

280. Robert Rauschenberg

1925-2008

Features 73, from Currents, 1970 Screenprint in colors, on Aqua B 844 paper, with full margins. Signed, dated and numbered 4/50 in pencil (there were also 4 artist’s proofs), copublished by Dayton Gallery 12, Minneapolis and Leo Castelli Graphics, New York, framed.

I. 35 x 35 in. (88.9 x 88.9 cm) S. 40 x 40 in. (101.6 x 101.6 cm) Estimate $800-1,200 Literature Edward Foster 144

281. Robert Rauschenberg

1925-2008

Etching I; Etching II; Etching III; and Etching VI, from The Razorback Bunch, 1980-83 Four photoetchings in colors, on various papers, the full sheet and with full margins. All signed, dated and numbered 7/24, 16/24, 16/26 and 2/24 in pencil respectively (there were also 5 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (all with their blindstamp), three framed. smallest S. 29 3/8 x 22 in. (74.6 x 55.9 cm) largest S. 47 3/4 x 31 1/2 in. (121.3 x 80 cm) Estimate $5,000-7,000 Literature Universal Limited Art Editions 106, 107 and 108

This series was created from Rauschenberg’s own photographs—some of which were used for the set of Trisha Brown Dance Company’s Glacial Decoy (1979)—largely taken in Mexico and Florida.

282. Robert Rauschenberg

1925-2008

Street Sounds West, 1993 Photogravure in colors with Chine collé, on Gampi paper, with full margins. Signed dated and numbered 17/37 in pencil, published by Universal Limited Art Editions, West Islip, New York, framed.

I. 54 3/4 x 33 1/4 in. (139.1 x 84.5 cm) S. 56 1/8 x 34 7/8 in. (142.6 x 88.6 cm) Estimate $3,000-5,000

283. Robert Rauschenberg

1925-2008

Cinema (Tribute 21), 1994 Lithograph in colors, on wove paper, the full sheet.

Signed, dated and numbered 50/50 in pencil (there were also 20 artist’s proofs), co-published by Felissimo Corporation, Tokyo and Universal Limited Art Editions, West Islip, New York, framed.

S. 41 x 27 in. (104.1 x 68.6 cm) Estimate $1,500-2,500

Provenance Private Collection, New York

“Photography has always been a major

284. Robert Rauschenberg

1925-2008

Art (Tribute 21), 1994 Ofset lithograph in colors, on Arches Infnity paper, the full sheet. Signed, dated and numbered 50/50 in pencil (there were also 20 artist’s proofs), published

by Felissimo Corporation, New York (with their blindstamp), framed.

S. 41 x 27 in. (104.1 x 68.6 cm) Estimate $1,500-2,500

285. Robert Rauschenberg

1925-2008

Untitled, from Horchow Portfolio, 1972 Ofset lithograph in colors, on Arches paper, with full margins. Signed, dated and numbered 92/150 in pencil (there were also 15 artist’s proofs), published by Styria Studio, New York (with their blindstamp), framed.

I. 38 3/4 x 28 in. (98.4 x 71.1 cm) S. 40 x 29 5/8 in. (101.6 x 75.2 cm) Estimate $1,500-2,500

part of my vision: my excuse for meddling with what the world looks like.”

286. Martin Puryear

b. 1941

Untitled, from MoCA portfolio, 1999 Etching and aquatint, with Chine collé to Rives BFK paper, with full margins. Signed and numbered 54/80 in pencil (there were also 12 artist’s proofs), co-published

by Museum of Contemporary Art, Los Angeles and Lapis Press, Culver City, California, unframed.

I. 23 7/8 x 17 3/4 in. (60.6 x 45.1 cm) S. 30 x 21 3/4 in. (76.2 x 55.2 cm) Estimate $4,000-6,000 Provenance Melva Bucksbaum

287. Robert Gober

b. 1954

Hanging Man/Sleeping Man, 1989 Screenprint in colors, on wallpaper. Framed.

S. 52 1/4 x 29 3/4 in. (132.7 x 75.6 cm) Estimate $2,000-3,000 Literature Museum of Modern Art, New York, Robert Gober: The Heart Is Not a Metaphor, October 4, 2014–January 18, 2015, p. 20 (another example exhibited and illustrated).

288. Robert Gober

b. 1954

Untitled (Special Edition for Parkett No. 27), 1991 Photolithograph on newsprint, printed on both sides, with hand-torn edges, the full sheet. Signed, dated, and numbered 1/75 in pencil (there were also 25 artist’s proofs in Roman numerals), published by Parkett Editions, New York and Zurich framed.

S. 22 1/4 x 14 in. (56.5 x 35.6 cm) Estimate $1,500-2,500 Literature Edition for Parkett 27

289. Richard Serra

b. 1938

Videy Afangar #9, 1991 Etching, on Hahnemühle German etching paper, with full margins. Signed, dated and numbered 56/75 in pencil (there were also 20 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 6 x 4 1/2 in. (15.2 x 11.4 cm) S. 10 1/2 x 13 1/2 in. (26.7 x 34.3 cm) Estimate $2,500-3,500 Literature Gemini G.E.L. 1518 Silke von Berswordt-Wallrabe 72

290. Bruce Nauman

b. 1941

Learned Helplessness In Rats: and I Learned Helplessness From Rats, 1988 One etching and one etching with drypoint, on Somerset Satin paper, with full margins. Both signed, dated and numbered 23/35 in pencil (there were also 10 artist’s proofs), published by Brooke Alexander Editions, New York, both framed. both I. 9 x 11 7/8 in. (22.9 x 30.2 cm) both S. 15 1/2 x 17 3/4 in. (39.4 x 45.1 cm) Estimate $7,000-10,000 Literature Christopher Cordes 60 and 61

291. Bruce Nauman

b. 1941

M. Ampere, 1973 Lithograph, on Rives BFK paper, with full margins.

Signed, dated and numbered 15/50 in pencil (there were also 10 artist’s proofs), published

by Cirrus Editions, Los Angeles (with their blindstamp), unframed.

I. 30 1/4 x 44 1/8 in. (76.8 x 112.1 cm) S. 31 1/8 x 45 1/8 in. (79.1 x 114.6 cm) Estimate $3,000-5,000 Literature Christopher Cordes 21

292. Bruce Nauman

b. 1941

Untitled, 1973 Aquatint and drypoint, on Rives BFK paper, with full margins. Signed, dated and annotated ‘A/P’ in pencil (one of 5 artist’s proofs, the edition was 25), published by Cirrus Editions, Los Angeles (with their blindstamp), unframed.

I. 29 1/2 x 20 7/8 in. (74.9 x 53 cm) S. 36 1/8 x 27 1/2 in. (91.8 x 69.9 cm) Estimate $1,000-1,500 Exhibited Christopher Cordes 19

293. Susan Rothenberg

b. 1945

Listening Bamboo, 1989-90 Monumental woodcut, on Japanese paper, with full margins. Signed, dated and numbered 5/23 in pencil (there were also 8 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed.

I. 42 x 65 3/4 in. (106.7 x 167 cm) S. 54 1/2 x 84 in. (138.4 x 213.4 cm) Estimate $1,000-2,000

294. Raymond Pettibon

b. 1957

Untitled (When the Ground Becomes Hard and Firm), 2002 Etching and aquatint with hand-coloring, on Rives BFK paper, with full margins. Signed, dated and annotated ‘BAT’ in pencil (the good-to-print impression, the edition was 30 without hand-coloring, there were also approximately 7 artist’s proofs), published by GEM, Museum of Contemporary Art, The Hague, unframed.

I. 15 7/8 x 12 3/8 in. (40.3 x 31.4 cm) S. 29 3/4 x 22 1/4 in. (75.6 x 56.5 cm) Estimate $5,000-7,000

295. Raymond Pettibon

b. 1957

Thinking of You, 1998 Drawing in watercolors, bound (as issued). Signed and dated in pencil, a special limited edition apart from the edition of 2000, published by The Renaissance Society at The University of Chicago on the occasion of the artist’s museum exhibition.

12 1/4 x 9 1/4 x 1 in. (31.1 x 23.5 x 2.5 cm) Estimate $2,000-3,000

296. Raymond Pettibon

b. 1957

Untitled, 1991 Ink and watercolor drawing on Cranes Distaf Linen paper. Signed and dated in black ball-point pen on the reverse, unframed.

S. 22 x 17 in. (55.9 x 43.2 cm) Estimate $8,000-12,000

297. Louise Bourgeois

1911-2010

Baby and Butterfy, State II, 2007 Drypoint, engraving and collaged cloth in colors, on smooth wove Whatman paper, with full margins.

Signed and numbered 14/15 in pencil and dated on the reverse (there were also 4 artist’s proofs), published by Harlan & Weaver, New York, framed.

I. 7 x 5 3/4 in. (17.8 x 14.6 cm) S. 12 1/8 x 9 5/8 in. (30.8 x 24.4 cm) Estimate $4,000-6,000 Literature Museum of Modern Art Cat. No 223/II

298. Louise Bourgeois

1911-2010

I Love You, 2007 Drypoint and etching in red, on gampi paper Chine collé to handmade Twinrocker paper, with full margins.

Signed with initials, dated, inscribed ‘To Paul 2007.’ and numbered 124/175 in pencil (there were also 25 artist’s proofs), published by the artist, unframed.

I. 7 x 5 in. (17.8 x 12.7 cm) S. 12 x 9 1/4 in. (30.5 x 23.5 cm) Estimate $4,000-6,000 Literature Museum of Modern Art Cat. No. 1139

299. Louise Bourgeois

1911-2010

I Do, 2010 Digital print in colors, on fabric. With stitched initials in red thread, red printed title and numbered 188/300 in pencil (there were also 35 artist’s proofs), published by the artist in support of For Freedom To Marry, New York, framed.

16 x 12 in. (40.6 x 30.5 cm) Estimate $3,000-5,000 Literature Museum of Modern Art Cat. No. 226

300. Louise Bourgeois

1911-2010

I’ve Been to Hell and Back (Pink Edition), 1996 Machine embroidery on cotton. Printed signature and numbered 513/1000 in black ink, with the artist’s copyright stamp, published by Tate, London, framed.

S. 11 3/4 x 11 1/2 in. (29.8 x 29.2 cm) Estimate $1,000-1,500

301. Louise Bourgeois

1911-2010

He Disappeared into Complete Silence: Untitled (Ceiling Floating), alternative plate, 1946-47 Unique engraving and drypoint, on smooth wove paper, with full margins. Inscribed ‘Plate’ in pencil by the artist, state V (of VI), one of six unpublished proofs printed by the artist at Atelier 17, New York, an alternative and additional plate not included in the 1947 version of the illustrated book, framed.

I. 7 x 5 in. (17.8 x 12.7 cm) S. 10 x 6 5/8 in. (25.4 x 16.8 cm) Estimate $10,000-15,000 Literature Museum of Modern Art Cat. No. 998.1/V (illustrated)

302. Nancy Spero

1926-2009

Gorgon and Runner, 1995 Unique woodcut and collage with hand-coloring, on wove paper, the full sheet. Signed, titled and dated in pencil, framed.

S. 19 5/8 x 24 1/2 in. (49.8 x 62.2 cm) Estimate $3,000-5,000

303. Kiki Smith

b. 1954

Puppet, 1993-94 Photgravure with collaged etching, aquatints and string additions in colors. Signed, dated and numbered 17/35, published by Universal Limited Art Editions, West Islip, New York, framed.

I. 54 x 23 1/2 in. (137.2 x 59.7 cm) S. 58 x 29 in. (147.3 x 73.7 cm) Estimate $4,000-6,000 Provenance Private Collection, New York

304. Andy Warhol

1928-1987

305. Andy Warhol

1928-1987

Fellatio, 1978 Screenprint, on HMP paper, the full sheet. Signed and numbered 26/30 in pencil (there were also 4 artist’s proofs), published by Andy Warhol Enterprises, Inc., New York (with their inkstamp on the reverse), framed.

S. 31 1/4 x 23 1/4 in. (79.4 x 59.1 cm)

Merce Cunningham I, from Cunningham I, 1974 Screenprint, on Japanese gif wrapping paper, the full sheet. Signed and numbered 42/100 in pencil on the reverse (there were also 30 artist’s proofs), published by Castelli Graphics and Multiples, Inc., New York, framed.

S. 30 x 20 in. (76.2 x 50.8 cm)

Estimate $5,000-7,000

Estimate $5,000-7,000

Literature Frayda Feldman and Jörg Schellmann 178

Literature Frayda Feldman and Jörg Schellmann 124

306. Andy Warhol

1928-1987

Electric Chair, 1971 Screenprint in colors, on wove paper, the full sheet.

Signed and dated in black ball-point pen and stampnumbered ‘A.p. XIV/L’ on the reverse (an artist’s proof, the edition was 250), published by Bruno Bischoferger, Zurich (with their and the printer’s copyright inkstamps on the reverse), framed.

S. 35 1/2 x 47 7/8 in. (90.2 x 121.6 cm) Estimate $8,000-12,000 Literature Frayda Feldman and Jörg Schellmann 76

307. Andy Warhol

1928-1987

Mao (wallpaper): two panels, 1974 Two sheets of wallpaper. Both from the unlimited edition (Feldman and Schellmann call for 100 signed copies), published by Factory Additions, New York for an Andy Warhol exhibition at the Musée Galliera, Paris, both unframed. one S. 59 1/2 x 29 1/2 in. (151.1 x 74.9 cm) one S. 60 1/4 x 29 1/2 in. (153 x 74.9 cm) Estimate $3,000-5,000 Literature Frayda Feldman and Jörg Schellmann 125A

308. Andy Warhol

1928-1987

Happy Butterfy Day, 1955 Ofset lithograph with hand-coloring, on laid paper, with full margins (folded as issued). With the ‘Estate of Andy Warhol’ and ‘The Andy Warhol Foundation for the Visual Arts, Inc.’ inkstamps on the reverse (slightly faded).

I. 11 x 16 1/2 in. (27.9 x 41.9 cm) S. 13 x 18 in. (33 x 45.7 cm) Estimate $6,000-8,000

309. Andy Warhol

1928-1987

25 Cats Name(d) Sam and One Blue (Pussy) book: two plates and colophon page, 1954 Three lithographs, two with extensive hand-coloring and one colophon page, on laid paper, the sheets trimmed along the lef sheet edge. The colophon and brown cat with the ‘Estate of Andy Warhol’ and the ‘Andy Warhol Foundation for the Visual Arts’ inkstamps and annotated ‘PM06.0339’ and ‘PM06.0365’ in pencil on the reverse, olive cat with the ‘Andy Warhol Art Authentication Board Inc.’ inkstamp and annotated ‘A147.111’ in pencil on the reverse, all unframed. all S. approximately 8 7/8 x 5 7/8 in. (22.5 x 14.9 cm) Estimate $5,000-7,000 Literature Frayda Feldman and Jörg Schellmann IV.66B-67B

310. Andy Warhol

1928-1987

Christmas Tree, 1957 Ofset lithograph Christmas card in gold and black, on wove paper, folded (as issued). Signed in black ink and inscribed ‘Merry Christmas’ on the inside, with the ‘The Estate of Andy Warhol’ and ‘The Andy Warhol Foundation for the Visual Arts, Inc.’ inkstamps on the reverse, framed. unfolded 12 7/8 x 19 3/8 in. (32.7 x 49.2 cm) folded 12 7/8 x 9 7/8 in. (32.7 x 25.1 cm) Estimate $5,000-7,000 Literature see Jesse Kornbluth, Pre-Pop Warhol, pp. 164-5

This Christmas Tree was used as the image for a Tifany’s Christmas card, and as Andy Warhol’s invitation to his “Golden Pictures Show” at Bodley Gallery, New York, 1957. A special edition of the lithograph was signed and has ‘Merry Christmas’ in Warhol’s signature loopy handwriting on the inside, originally copied from his beloved mother’s own hand.

311. Andy Warhol

1928-1987

Burnished Kid, from the Wonderful World of Fleming-Jofe, circa 1960 Lithograph, on wove paper, the full sheet. With the Andy Warhol Authentication stamp (faded) and annotated ‘A148.1010’ in pencil on the reverse, unframed.

S. 19 3/4 x 14 1/2 in. (50.2 x 36.8 cm) Estimate $1,000-2,000 Literature Jesse Kornbluth, Pre-Pop Warhol, pp. 91-3 (not illustrated)

312. Andy Warhol

1928-1987

Campbell’s Soup Can (Tomato), 1966 Screenprint in colors, on a wove paper shopping bag, folded as issued. From the unlimited edition (an unknown number were signed), published by the Institute of Contemporary Art, Boston, framed.

I. 16 1/2 x 9 1/2 in. (41.9 x 24.1 cm) S. with handles 24 x 17 in. (61 x 43.2 cm) Estimate $1,000-2,000 Literature Frayda Feldman and JĂśrg Schellmann 4A

313. Andy Warhol

1928-1987

Marilyn (Invitation), 1981 Ofset lithograph in colors, on wove paper, the full sheet (folded as issued). Signed in black ink, published

by Castelli Gallery, New York, on the occasion of the exhibition Andy Warhol, A Print Retrospective, framed. unfolded 7 x 14 in. (17.8 x 35.6 cm) folded 7 x 7 in. (17.8 x 17.8 cm) Estimate $5,000-7,000

314. Various Artists X + X (Ten Works by Ten Painters), 1964 The set of ten screenprints in colors, one with die-cut and one with collage in colors, on Mohawk Superfne Cover paper (Lichtenstein on clear Mylar), with full margins, lacking the portfolio and nine of the paper folios with artist’s names. Numbered 386/500 in black ink on the justifcation (there were also 10 artist’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) (vertical and horizontal) Estimate $10,000-15,000 Literature Richard Axsom App. 1A (Stella); Frayda Feldman and Jörg Schellmann II.3 (Warhol); Mary Lee Corlett 35 (Lichtenstein); Richard Axsom 2 (Kelly); Joan Banach 5 (Motherwell); Susan Sheehan 33 (Indiana); and Sylvan Cole 27 (Davis)

Including Frank Stella, Untitled (Rabat); Andy Warhol, Birmingham Race Riot; Roy Lichtenstein, Sandwich and Soda; Ellsworth Kelly, Red Blue; Robert Motherwell, Untitled; Robert Indiana, Eternal Hexagon; Stuart Davis, Untitled; George Ortman, Untitled; Ad Reinhardt, Untitled; and Larry Poons, Untitled.

315. Various Artists 11 Pop Artists Vol. II: 8 plates, 1965 Eight screenprints in colors, six on wove paper, one on Plexiglas and one with diecut Mylar, the full sheets and with full margins, lacking Roy Lichtenstein Reverie, Andy Warhol Jacqueline Kennedy II, Tom Wesselmann, Nude and the original cloth-covered portfolio. All signed and numbered 49/200, fve dated, two with incised signature and number, the rest in pencil (there were also 50 artist’s proofs) published

by Original Editions, New York, all unframed. all I. various sizes all S. 30 x 24 in. (76.2 x 61 cm) Estimate $4,000-6,000

Including: Allan D’Arcangelo, Landscape II; Jim Dine, Throat; Allen Jones, For the Lips (Pour les Lèvres); Gerald Laing, Slide; Peter Phillips, Custom Print II; Mel Ramos, Tobacco Rose; James Rosenquist, Whipped Butter for Eugen Ruchin; and John Wesley, Bird Lady

316. Wayne Thiebaud

b. 1920

Triangle, from Seven Still Lifes and Silver Landscape, 1971 Aquatint in colors, on Rives BFK paper, with full margins.

Signed, dated and numbered 22/50 in pencil (there were also 10 artist’s proofs), published by Parasol Press, Ltd., New York, framed.

I. 22 x 17 5/8 in. (55.9 x 44.8 cm) S. 29 3/4 x 22 in. (75.6 x 55.9 cm) Estimate $5,000-7,000

317. Wayne Thiebaud

b. 1920

Toy Counter, from Seven Still Lifes and a Rabbit, 1971 Screenprint in colors, on Arches paper, with full margins. Signed, dated and numbered 8/50 in pencil (there were also some artist’s proofs), published by Parasol Press, New York, unframed.

I. 18 x 24 in. (45.7 x 61 cm) S. 22 1/2 x 30 in. (57.2 x 76.2 cm) Estimate $7,000-10,000

318. Wayne Thiebaud

b. 1920

Delicatessen, from Delights, 1964 Aquatint, on Rives BFK paper, with margins, trimmed at the lef sheet edge. Signed, titled, dated and numbered 59/100 in pencil (there were also some artist’s proofs), published by Crown Point Press, Berkeley, framed.

I. 4 7/8 x 4 7/8 in. (12.4 x 12.4 cm) S. 12 7/8 x 10 7/8 in. (32.7 x 27.6 cm) Estimate $2,500-3,500

319. Wayne Thiebaud

b. 1920

Olives, from Delights, 1964 Etching and aquatint, on Rives BFK paper, trimmed at the lef sheet edge. Signed, titled, dated and numbered 59/100 in pencil (there were also some artist’s proofs), published by Crown Point Press, Berkeley, framed.

I. 3 x 4 in. (7.6 x 10.2 cm) S. 12 7/8 x 10 3/4 in. (32.7 x 27.3 cm) Estimate $2,500-3,500

320. Wayne Thiebaud

b. 1920

Fish, from Delights, 1964 Drypoint, on Rives BFK paper, with margins, trimmed at the lef sheet edge. Signed, titled, dated and numbered 59/100 in pencil (there were also some artist’s proofs), published by Crown Point Press, Berkeley, framed.

I. 4 x 4 in. (10.2 x 10.2 cm) S. 12 7/8 x 10 7/8 in. (32.7 x 27.6 cm) Estimate $2,500-3,500

321. Donald Baechler

b. 1956

Chocolate Cone, 2007 Screenprint in colors, on wove paper, the full sheet.

Signed, dated, annotated ‘BAT’ in pencil (the goodto-print impression, the edition was 69 and 15 artist’s proofs) with additional annotations, published by Pace Editions, Inc., New York, framed.

S. 58 x 40 1/4 in. (147.3 x 102.2 cm) Estimate $2,800-3,500

322. Mimmo Rotella

1918-2006

Marilyn - La Storia di una delle donne piu belle, 1991 Screenprint in colors with torn paper collage, on wove paper, the full sheet. Signed and numbered ‘I/XX’ in pencil (an artist’s proof, the edition was 80), additionally signed and dated on the reverse, unframed.

S. 38 7/8 x 29 3/8 in. (98.7 x 74.6 cm) Estimate $800-1,200

323. Tom Wesselmann

1931-2004

Look at Wesselmann, Nude with Still Life, 1968 Screenprint in colors, on heavy wove paper, with full margins. Signed in pencil, published by Galerie Thomas, Munich on the occasion of the exhibition Look at Wesselmann, framed.

I. 23 x 27 1/2 in. (58.4 x 69.9 cm) S. 25 x 32 in. (63.5 x 81.3 cm) Estimate $5,000-7,000

324.

324. Mel Ramos

1935-2018

Cacciucco Coco Pazzo New York City, 1999 Six porcelain bowls with ofset lithography printing. All with printed signature and numbered 26/100, 27/100, 29/100, 30/100, 38/100 and 99/100 on the underside, published by Buon Ricordo America Inc., New York. diameter 10 in. (25.4 cm) Estimate $2,000-3,000

325. John Wesley

b. 1928

Maiden, from 11 Pop Artists, Volume I, 1965 Screenprint in colors, on wove paper, the full sheet.

Signed, dated and numbered ‘XLIII’ in pencil (one of 50 artist’s proofs, the edition was 200), published by Original Editions, New York, unframed.

S. 23 7/8 x 20 in. (60.6 x 50.8 cm)

325.

Estimate $800-1,200

326. Mario Testino

b. 1954

Kate Moss, London, 2006 Chromogenic print, on Fujifex Crystal Archive Supergloss paper, with full margins, contained in the original black cardboard portfolio. Signed and numbered 33/175 in black ink on a label afxed to the reverse (there were also 25 artist’s proofs), published

by Counter Editions, London, framed.

I. 16 1/2 x 23 in. (41.9 x 58.4 cm) S. 20 x 23 7/8 in. (50.8 x 60.6 cm) Estimate $3,000-5,000

326.

327. Roy Lichtenstein

1923-1997

Bicentennial Print, from America: The Third Century, 1975 Lithograph and screenprint in colors, on wove paper, with full margins. Signed, dated and numbered 79/200 in pencil (there were also 25 artist’s proofs), published by APC Editions, New York, framed.

I. 25 x 17 7/8 in. (63.5 x 45.4 cm) S. 30 x 22 1/4 in. (76.2 x 56.5 cm) Estimate $7,000-9,000 Literature Mary Lee Corlett 136

328. Roy Lichtenstein

1923-1997

Dancing Figures, from American Indian Theme, 1980 Etching, aquatint and engraving in colors, on Lana paper, with full margins. Signed, dated and numbered 30/32 in pencil (there were also 12 artist’s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed.

I. 11 1/2 x 10 1/2 in. (29.2 x 26.7 cm) S. 25 x 22 1/4 in. (63.5 x 56.5 cm) Estimate $7,000-9,000 Literature Tyler Graphics 356 Mary Lee Corlett 171

329. Roy Lichtenstein

1923-1997

Figure with Teepee, from American Indian Theme, 1980 Etching and engraving in colors, on Lana paper, with full margins. Signed, dated and numbered ‘AP 10/12’ in pencil (an artist’s proof, the edition was 32), published by Tyler Graphics Ltd., Bedford Village, New York, framed.

I. 10 5/8 x 9 in. (27 x 22.9 cm) S. 24 1/4 x 20 3/4 in. (61.6 x 52.7 cm) Estimate $2,500-3,500 Literature Tyler Graphics 353 Mary Lee Corlett 167

330. Jim Nutt

b. 1938

Who Chicago?; and I Have Been Waiting!, 1980 Lithograph in black and light gray, on buf wove paper, the full sheet with accompanying specially bound Who Chicago? exhibition catalogue and cloth-covered portfolio with screenprinted text.

Signed, titled and numbered 45/125 in pencil on the reverse of the print (there were also 5 artist’s proofs), published by Four Brothers Press, Chicago (with their inkstamp on the reverse).

S. 7 5/8 x 7 1/2 in. (19.4 x 19.1 cm) Portfolio 9 3/8 x 9 3/8 x 1 1/2 in. (23.8 x 23.8 x 3.8 cm) Estimate $1,500-2,500 Literature Dennis Adrian and Richard H. Born 204 and 205

331. Jim Nutt

b. 1938

Tack, 1991 Lithograph, on wove paper, with full margins. Signed, titled and numbered 9/30 in pencil, unframed.

I. 7 3/4 x 7 1/8 in. (19.7 x 18.1 cm) S. 17 1/2 x 15 1/8 in. (44.4 x 38.4 cm) Estimate $1,000-2,000

332. George Condo

b. 1957

Mental States, 2011 Graphite drawing, on a playing card with accompanying limited edition set of playing cards, all contained in the original purple paper covered box. The drawing signed and dated in pencil, published by Hayward Gallery, London, on the occasion of the artist’s exhibition George Condo: Mental States. card 3 1/2 x 2 1/2 in. (8.9 x 6.4 cm) box 5 1/2 x 8 1/4 x 2 in. (14 x 21 x 5.1 cm) Estimate $4,000-6,000

333. William Copley

1919-1996

Woman Taken in Adultery, 1964 Black marker drawing on wove paper. Signed ‘CPLY’ in black marker, additionally signed, titled, dated and inscribed ‘Bill Copley c/o David Stuart Gallery’ in pencil on the reverse, framed.

S. 10 x 14 in. (25.4 x 35.6 cm) Estimate $1,500-2,500 Exhibited CPLY, David Stuart Gallery, Los Angeles, July 7-August 1, 1964

334. William Copley

1919-1996

Untitled, circa 1965 Black marker drawing on cardboard. Signed ‘CPLY’ in black ink, framed.

S. 11 3/4 x 9 in. (29.8 x 22.9 cm) Estimate $1,500-2,500

335. Sean Landers

b. 1962

Cartoon (I’ve Got a Show Up this Month); Cartoon (I Know It’s Art); and Cartoon (Chip), 1992 three ink drawings on yellow legal pad paper. All signed and dated in pencil on the reverse, framed.

I’ve Got a Show Up this Month S. 7 x 5 1/2 in.

(17.8 x 14 cm) It’s Art S. 7 1/8 x 7 in. (18.1 x 17.8 cm) Chip S. 6 1/2 x 4 1/4 in. (16.5 x 10.8 cm) Estimate $3,000-5,000

336. Tomoo Gokita

b. 1969

Untitled; and Untitled, 2006 Two drawings with collage, one in black ink and one in white and black acrylic with black ink, on wove paper. Abstract signed and dated in pencil on the reverse, Hand signed in black ink and partially signed in pencil on the reverse, both unframed. hand 4 3/8 x 2 1/4 in. (11.1 x 5.7 cm) abstract 3 1/8 x 2 3/8 in. (7.9 x 6 cm) Estimate $1,000-2,000 Provenance Gif of the artist

both actual size

337. Willie Cole

b. 1955

American Domestic, 2016 Digital pigment print and screenprint. Signed, titled, dated and numbered 6/30 in pencil (there were also some artist’s proofs), published by the David C. Driskell Center, College Park, Maryland, unframed.

I. 33 3/4 x 27 3/4 in. (85.7 x 70.5 cm) S. 37 x 30 7/8 in. (94 x 78.4 cm) Estimate $2,000-3,000

338. Kerry James Marshall

b. 1955

Dailies, 2010 Screenprint in colors, on Rives BFK paper, with full margins. Signed, titled, dated and numbered ‘1/5 II’ in pencil, published by the artist and Hummingbird Press, Chicago, unframed.

I. 21 1/4 x 29 in. (54 x 73.7 cm) S. 22 1/4 x 30 in. (56.5 x 76.2 cm) Estimate $3,000-5,000

339. Kerry James Marshall

b. 1955

Supermodel, from the Exit Art portfolio twoandthreezeros, 2000 Woodcut in colors, on wove paper, with full margins. Signed, titled, dated and numbered 45/50 in pencil (there were also 8 artist’s proofs), published by Exit Art, New York, framed.

I. 29 3/8 x 21 in. (74.6 x 53.3 cm) S. 30 x 22 in. (76.2 x 55.9 cm) Estimate $8,000-12,000

340. Kerry James Marshall

b. 1955

Keeping the Culture, 2010 Screenprint and linocut in colors, on Arches paper, with full margins. Signed, titled, dated and numbered ‘PP 1/5’ in pencil (the edition was 100), unframed.

I. 17 1/2 x 28 1/4 in. (44.5 x 71.8 cm) S. 20 3/8 x 30 1/8 in. (51.8 x 76.5 cm) Estimate $6,000-9,000

339.

340.

341. Wadsworth Jarrell

b. 1929

Revolutionary, 1972 Screenprint in colors, on wove paper, the full sheet.

Signed, titled, dated and numbered 165/300 in pencil, published by the artist, unframed.

S. 33 x 26 1/2 in. (83.8 x 67.3 cm) Estimate $4,000-6,000

Revolutionary is based on a photograph of political activist and professor Angela Davis speaking at a rally in spring 1970, published in Life magazine on September 11 of that year in an article titled “The Making of a Fugitive.” At the time, Davis was feeing a warrant for her arrest in connection with the murder of a prison guard, a story that captured national attention.

(She was later arrested, tried, and, in 1972, found not guilty).

This screenprint was made by the artist while he was teaching at Howard University in 1972.

Jarrell changed the source image by clothing Davis in artist Jae Jarrell’s Revolutionary Suit and adding words from Davis’s speeches that radiate from her face.

341.

342. Andres Serrano

b. 1950

Ku Klux Klan, 1998 Digital print in colors, on wove paper, with full margins. Signed, dated and numbered 8/50 in pencil, co-published by Fine Art Printing, Ltd. and Laumont Photographics, New York, unframed.

I. 38 7/8 x 31 3/8 in. (98.7 x 79.7 cm) S. 47 x 35 in. (119.4 x 88.9 cm) Estimate $3,000-4,000 This lot is to be Sold with No Reserve

343. William Kentridge

b. 1955

Art in a State of Grace, from Art in a State of Siege, 1988 Screenprint in colors, on Arches crème paper, the full sheet. Signed, dated and numbered 10/13 in pencil, published by the artist, framed.

S. 64 1/2 x 38 1/2 in. (163.8 x 97.8 cm)

342.

Estimate $5,000-10,000 Literature David Krut p. 34

343.

344.

344. Jose Luis Cuevas

1934-2017

La Máscara (The Mask), plate 2 from Homage to Quevedo, 1969 Etching with lithographed mylar collage in colors, on Fabriano paper, the full sheet.

Signed and numbered ‘II’ in white pencil (the edition was 100 and 25 in Roman numerals), with the Collector’s Press blindstamp, framed.

S. 30 x 22 1/2 in. (76.2 x 57.2 cm) Estimate $2,000-3,000 •

345. Zhang Xiaogang

b. 1958

Bloodline: Big Family, from The Storyteller’s Enchantments, 2019 Lithograph in colors, on wove paper, the full sheet. Signed and numbered XLII/CXXX in pencil (the edition was 130 and 4 artist’s proofs in Roman numerals), published by Delight Editions, framed.

S. 31 1/4 x 47 in. (79.4 x 119.4 cm) Estimate $3,000-5,000

346. Yan Pei-Ming

b. 1960

Icons, 2013 The complete set of four lithographs in colors, on Rives BFK paper, with full margins, all contained in the original cream cloth-covered portfolio. All signed and numbered 29/75 in pencil. three I. 29 1/8 x 29 1/8 in. (74 x 74 cm) one I. 37 1/8 x 29 1/2 in. (94.3 x 74.9 cm) all S. 47 x 31 1/2 in. (119.4 x 80 cm) Estimate $6,000-8,000

348.

347.

347. Wade Guyton

b. 1972

X Poster (Untitled, 2007, Epson UltraChrome inkjet on linen, 84 x 69 inches, WG1209), 2013 Digital print with archival UV curable inks, the full sheet, hand-folded (as issued).

Signed in black ink and numbered 95/100 in pencil on a label afxed to the sleeve, published by Printed Matter, Inc., New York, contained in the original white cardboard sleeve, unframed.

S. 84 x 69 in. (213.4 x 175.3 cm) Estimate $1,000-2,000

349. Jordan Wolfson

b. 1980

Fresh, Love, Tea Bag, 2013 Digital print in colors, on Sunset cotton paper, the full sheet. Signed, dated and numbered 22/65 on the reverse (there were also 10 artist’s proofs), framed.

S. 23 1/4 x 16 1/2 in. (59.1 x 41.9 cm) Estimate $1,500-2,500 349.

348. Nate Lowman

b. 1979

Bullet Hole, 2010 Screenprint, on silver metallic paper, with full margins. Signed, dated and numbered 50/50 in black ink on the reverse, published by The Details Guild, New York, framed.

S. 19 x 33 in. (48.3 x 83.8 cm) Estimate $2,500-3,500

350. Various Artists Artist’s Space Annual Edition Portfolio: fve works, 2011 Five works in various mediums, all contained in the original artist’s portfolio, lacking the Trisha Donnelly. With the accompanying receipt signed by Stefan Kelmar, the Executive Director, the Guyton/Walker and Anne Collier signed and numbered in black ink on the accompanying Certifcate of Authenticity, the Dexter Sinister signed and numbered in black ink, published by and to beneft Artists Space, New York.

Portfolio 25 x 21 x 2 in. (63.5 x 53.3 x 5.1 cm) Estimate $1,000-1,500

Including Anne Collier, Tear Sheet; Wade Guyton and Kelley Walker, Fruit Stickers for Artists Space; Dexter Sinister with Nick Relph, A List of Incorrect Things; T.J. Wilcox, I Fell in Love With Vanessa Redgrave; and Dan Vo, Chevrolet Suburban.

351. Various Artists White Columns Print Portfolio, 2014 The complete set of fve screenprints and one vinyl cut-out, on wove paper, with full margins and the full sheet. All signed, two dated and all numbered 77/100 in pencil, published by White Columns, New York, all unframed. smallest S. 7 1/2 x 8 1/2 in. (19.1 x 21.6 cm) largest S. 24 1/2 x 20 in. (62.2 x 50.8 cm) Estimate $1,000-1,500

Including Carol Bove, Jacqueline Humphries, Virginia Overton, Josh Smith, Ned Vena and Michael Williams

352. Tauba Auerbach

b. 1981

50/50, Zoom In/Zoom Out; and and A Half Times A Half Times A Half (Coarse), 2008 Two etchings with aquatint (one in colors), on Somerset paper, with full margins. Both signed, dated and numbered 12/15 and 25/30 in pencil respectively, published by Paulson Bott Press, Berkeley, California (with their blindstamp), both framed.

Zoom I. 43 5/8 x 27 3/4 in. (110.8 x 70.5 cm) S. 54 1/4 x 36 3/4 in. (137.8 x 93.3 cm) A Half I. 27 5/8 x 22 in. (70.2 x 55.9 cm) S. 38 3/4 x 30 1/2 in. (98.4 x 77.5 cm) Estimate $4,000-6,000

353. Tauba Auerbach

b. 1981

Static 18, 2011 Chromogenic print, on wove paper, the full sheet.

Signed, dated and numbered 3/30 in black marker (the total edition was 60 and 20 artist’s proofs), published by Texte Zur Kunst, Berlin, framed.

S. 22 7/8 x 16 in. (58.1 x 40.6 cm) Estimate $800-1,200

354. Abdulnasser Gharem

b. 1973

In-Transit (with Diamond Dust), 2013 Screenprint in colors with diamond dust, on wove paper, with full margins. Signed, dated and numbered 11/45 in pencil, framed.

I. 45 x 62 3/4 in. (114.3 x 159.4 cm) S. 54 x 71 1/2 in. (137.2 x 181.6 cm) Estimate $5,000-7,000

This lot is to be Sold with No Reserve

355. Michael Wolf

1954-2019

tc06, from Transparent City, 2007-09 Chromogenic Print. Signed, dated and numbered 21/50 in black ink on the reverse, framed.

I. 18 x 14 in. (45.7 x 35.6 cm) S. 20 x 16 in. (50.8 x 40.6 cm) Estimate $800-1,500 •

Property from an Important Private Collection

356. Julian Opie

b. 1958

View of Moon over Manatsuru Peninsula, 2009 Lenticular acrylic panel, comprised of an inkjet print in colors, on specialist paper, mounted to twenty line 3D and iMotion lenses, contained in a white sprayed aluminium frame specifed by the artist. Signed in black ink and numbered 4/50 (printed) on a label afxed to the reverse of the frame (there were also 5 artist’s proofs), published by Alan Cristea Gallery, London.

F. 35 1/2 x 49 1/4 in. (90.2 x 125.1 cm) Estimate $3,000-5,000 Literature Alan Cristea 137

357. Spencer Finch

b. 1962

Moonlight (Luna County, New Mexico), 2003 Flourescent light fxture, nine colored flters adhered to a fourescent tube light (as issued), with accompanying extra set of flters. Signed in blue ink, titled, dated and numbered 88/100 (printed) on the accompanying Certifcate of Authenticity label, published by Cabinet magazine, New York, for their 2003 holiday beneft.

3 3/8 x 24 x 3 in. (8.6 x 61 x 7.6 cm) Estimate $3,000-5,000

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

358. Candida Hรถfer

b. 1944

Teatro Degollado Guadalajara III, 2015 Chromogenic print. Signed in black ink, titled, dated and numbered 78/100 (printed) on a label afxed to the reverse, framed.

I. 11 3/4 x 15 1/2 in. (29.8 x 39.4 cm) S. 15 x 17 5/8 in. (38.1 x 44.8 cm) Estimate $2,000-3,000

359. Thomas Struth

b. 1954

Museo del Prado, RM 12, Madrid, 2005 Chromogenic print. Signed, titled, dated and numbered ‘AP 6/20’ in pencil on the reverse (the edition was 100), framed.

I. 8 x 10 7/8 in. (20.3 x 27.6 cm) S. 9 3/4 x 11 3/8 in. (24.8 x 28.9 cm) Estimate $1,500-2,500

360. Various Artists Valley of Mist 2, 2012 The complete set of eight archival inkjet prints in colors, on wove paper, with full margins, all contained in the original gray cloth-covered portfolio. All signed and numbered 1/20 in pencil on the reverse (there were also 8 artist’s proofs) published by Friends Seminary, New York. all I. various sizes all S. 14 x 11 in. (35.6 x 27.9 cm) Portfolio 15 3/8 x 12 3/8 x 1 1/8 in. (39.1 x 31.4 x 2.9 cm) Estimate $2,500-3,500

Including John Currin; Rachel Feinstein; Liam Gillick; Jacqueline Humphries; Sean Landers; Sarah Morris; Tony Oursler; and Richard Phillips

This lot is to be Sold with No Reserve

361. Matthew Ritchie

361.

b. 1964

Sea State I-V, 2003 The complete set of fve etchings in colors, on wove paper, with full margins. All signed, titled, dated and numbered 12/28 in and pencil on the reverse, published

by Two Palms Press, New York, all framed. all I. 15 3/4 x 31 in. (40 x 78.7 cm) all S. 24 1/2 x 38 3/4 in. (62.2 x 98.4 cm) Estimate $3,000-5,000 •

This lot is to be Sold with No Reserve

362. Matthew Ritchie

362.

b. 1964

Sea State One, 2001 Relief print in colors, on Somerset paper, the full sheet, with accompanying wove paper artist’s book/Certifcate of Authenticity. Signed, dated and numbered 6/70 in pencil on the reverse, additionally signed, dated and numbered on the accompanying Certifcate of Authenticity in black ink, published by Two Palms Press, New York, framed.

S. 16 x 32 in. (40.6 x 81.3 cm) Estimate $800-1,200 •

363. Lawrence Weiner

b. 1942

The Travel of Margaret Mary, 2013 Mixografa® print in colors, on handmade paper, with full margins. Signed, dated and numbered 16/35 in pencil (there were also 5 artist’s proofs), published by Mixografa®, Los Angeles, unframed.

I. 15 1/2 x 26 1/4 in. (39.4 x 66.7 cm) S. 21 3/4 x 31 1/2 in. (55.2 x 80 cm) Estimate $800-1,200

363.

364. Martin Creed

b. 1968

CHICAGO (Work #1370), 2012 Two unique watercolors, on paper record sleeve, each with accompanying 180-gram heavyweight vinyl of four new songs recorded by Martin Creed. Both signed, dated, titled ‘Work #1370’ and numbered 196/200 and 199/200 in pencil on the reverse, also signed and titled in white pen on the vinyl record, created in collaboration with MCA Chicago, and produced by The Vinyl Factory and Telephone Records, London, both framed. both 12 1/4 x 12 1/4 in. (31.1 x 31.1 cm) Estimate $1,200-1,800

365. Matt Connors

b. 1973

Gate(s), 2014 Four screenprints with hand-coloring, on wove paper, the full sheets, each with the original accompanying vinyl record Phasing Out/Happy Burnout by Phillip Sollmann, contained in the wove paper record covers.

All signed, dated and numbered 18/25 in pencil (the total edition was 100 with 4 variants of 25 and 8 artist’s proofs), published by EN/OF Editions, Germany. all S. 12 x 10 in. (30.5 x 25.4 cm) Estimate $600-900

366.

367.

This lot is to be Sold with No Reserve

366. Christo

b. 1935

This lot is to be Sold with No Reserve

367. Christo

b. 1935

The Gates: Project for Central Park, New York City, XXIII, 2004 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. 24 1/4 x 31 1/2 in. (61.6 x 80 cm) S. 28 1/4 x 36 1/4 in. (71.8 x 92.1 cm)

The Gates, Project for Central Park, VIII, New York City, 2003 Ofset lithographs 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. 31 x 24 1/4 in. (78.7 x 61.6 cm) S. 39 1/4 x 27 1/2 in. (99.7 x 69.9 cm)

Estimate $600-900 •

Estimate $600-900 •

368. Darren Almond

b. 1971

Fullmoon @ Valley Floor, 2014 Inkjet print, on Arches digital paper, with full margins. Signed and numbered 24/100 in pencil on the reverse, published by White Cube, London, framed.

I. 13 3/4 x 13 3/4 in. (34.9 x 34.9 cm) S. 22 x 21 5/8 in. (55.9 x 54.9 cm) Estimate $500-1,000

368.

369. Bernd and Hilla Becher 1931-2007 and 1934-2015 Trier-Ehrang, from Wassertürme, 1982/2009 Gelatin silverprint. Signed and numbered 35/100 in pencil, published by Schirmer/ Mosel, Munich, framed.

I. 7 7/8 x 6 1/2 in. (20 x 16.5 cm) S. 9 1/2 x 7 1/4 in. (24.1 x 18.4 cm) Estimate $2,000-3,000

370. Olafur Eliasson

b. 1967

Contact is content at Seljalandsfoss, 2014 Two chromogentic prints, with the accompanying artist’s book and specially designed portfolio case. Signed in blue ink and numbered 35/100 (printed) on a label afxed to the reverse (there were also 25 artist’s proofs), published by the artist, both framed. each Print 21 x 16 1/2 in. (53.3 x 41.9 cm) Installed 44 x 17 1/2 in. (111.8 x 44.5 cm)

369.

Estimate $3,000-5,000

371. Sigmar Polke

370.

1941-2010

Die Waschung Der Lineale (The Washing of the Rulers), 1972/1999 The complete set of seven gelatin silver prints, with text by Ernst Mitzka, all contained in the original grey mat board portfolio with linen cloth back. Signed in pencil by the artist and Ernst Mitzka on the colophon, from the edition of 310, published

by Grifelkunst-Vereinigung HamburgLangenhornt e.V., Hamburg, Germany. all I. 10 x 14 in. (25.4 x 35.6 cm) all S. 12 x 16 in. (30.5 x 40.6 cm) Estimate $600-900 Literature Jürgen Becker and Claus von der Osten 139 371.

373.

372. John Baldessari

b. 1931

French Horn Player (with Three Contexts-One Uncoded), from A French Horn Player, A Square Blue Moon, and Other Subjects, 1994 Lithograph and screenprint in colors, on Arches 88 paper, the full sheet. Signed and numbered 29/60 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

S. 60 x 22 in. (152.4 x 55.9 cm) Estimate $4,000-6,000 Literature Gemini G.E.L. 1608 Sharon Coplan Hurowitz 72

373. John Baldessari 372.

b. 1931

The News: Four Ducks Standing on a Bench..., 2014 Screenprint in colors, on Lanaquarelle paper, the full sheet. Signed with initials, dated and numbered 35/50 in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), unframed.

S. 46 1/4 x 35 in. (117.5 x 88.9 cm) Estimate $3,000-5,000

374. Vija Celmins

b. 1938

Saturn Stamps, 1995 Ofset lithograph, on wove paper, the full sheet.

Signed, and numbered 154/200 in pencil (there were also 30 artist’s proofs), published by Richard Anderson Fine Art, New York, framed.

S. 12 1/4 x 9 3/8 in. (31.1 x 23.8 cm) Estimate $2,000-3,000 Literature Samantha Rippner p. 35

375. Karen Kilimnik

b. 1955

Surf & turf, Belgian Cats on the Northern Coast of Belgium, 1996-2001 Collotype with hand-coloring and applied glitter, on Fabriano Butten paper, with full margins. Signed, dated and numbered 35/80 in pencil on the reverse, published by Edition Patrick Frey, Zurich, framed.

I. 16 3/8 x 19 5/8 in. (41.6 x 49.8 cm) S. 19 3/4 x 23 1/2 in. (50.2 x 59.7 cm) Estimate $1,500-2,500

376. Iran do EspĂ­rito Santo

b. 1963

CRTN XXIV, 2004 Permanent marker drawing on wove paper. Signed, dated and titled in pencil on the reverse.

11 x 14 in. (27.9 x 35.6 cm) Estimate $2,500-3,500 Provenance Sean Kelly Gallery, New York

377.

378.

377. Robert Longo

b. 1953

378. Julian Opie

Body of a Comic (Clown Bank), 1989 Lithograph in colors, on Arches paper, with full margins. Signed, titled, dated, numbered ‘AP 5/15’ and dedicated ‘for Paul Many Thanks XXX’ in pencil (an artist’s proof, the edition was 75) published by Brand X Editions, New York, framed.

I. 29 x 21 1/2 in. (73.7 x 54.6 cm) S. 41 1/2 x 29 3/8 in. (105.4 x 74.6 cm) Estimate $2,500-3,500

This lot is to be Sold with No Reserve

379. Jessica Diamond

b. 1957

Commemorative Gold Pieces, 1990 The complete set of 15 lithographs in colors with embossing, on Rives BFK paper, with full margins, contained in the original gold wove paper covered cardboard box. Signed, dated and numbered 9/25 in pencil on the colophon, all additionally stamp-signed in gold ink on the reverse, published by Landfall Press, Inc., Chicago. all I. 2 5/8 x 4 in. (6.7 x 10.2 cm) all. S. 9 x 9 5/8 in. (22.9 x 24.4 cm) Estimate $800-1,200 • 379.

b. 1958

Vase, 2010 Ceramic vase, contained in the original cardboard box. Printed signature on the underside, published by the artist.

15 x 11 5/8 in. (38.1 x 29.5 cm) Estimate $600-900

380.

381.

380. Cindy Sherman

b. 1954

Untitled (Madonna), 1975/97 Gelatin silver print. Signed and dated ‘1975/97’ in pencil on the reverse, unframed.

I. 7 x 5 in. (17.8 x 12.7 cm) S. 10 x 8 in. (25.4 x 20.3 cm) Estimate $4,000-6,000

382. Allan McCollum

381. Cindy Sherman

b. 1954

Untitled, from The Lily Sarah Grace Portfolio, 2013 Chromogenic print. Signed and numbered 25/100 in pencil (there were also 30 artist’s proofs), published by Carolina Nitsch for the Lily Sarah Grace Fund, unframed.

I. 7 3/4 x 10 in. (19.7 x 25.4 cm) S. 11 x 14 in. (27.9 x 35.6 cm) Estimate $3,000-5,000

b. 1944

Visible Markers; one work, 2012 Reinforced fberglass resin functional sculpture, suitable for indoor or outdoor seating. Incised signature on an aluminum plaque afxed to the underside, originally fabricated in sets of 3, from the edition of 10, published

by Carl Solway Gallery, Cincinnati.

16 1/2 x 25 x 25 in. (41.9 x 63.5 x 63.5 cm) Estimate $1,200-1,800

A continuing series of multiples in diferent sizes and shapes designed for use in expressing gratitude.

382.

383.

383. Banksy

b. 1975

384. Banksy

b. 1975

Morons, 2007 Screenprint in colors, on Arches 88 paper, with full margins. Signed, dated and numbered 79/150 in pencil (there was also an unsigned edition of 500), published

by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed.

I. 20 x 28 in. (50.8 x 71.1 cm) S. 22 3/4 x 30 in. (57.8 x 76.2 cm)

Police Kids (Jack and Jill), 2005 Screenprint in colors, on wove paper, with full margins.

Signed, dated and numbered 233/350 in pencil (there was also an unsigned edition of 350 and 22 artist’s proofs), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed.

I. 17 3/4 x 25 1/2 in. (45.1 x 64.8 cm) S. 19 5/8 x 27 3/8 in. (49.8 x 69.5 cm)

Estimate $12,000-18,000

Estimate $8,000-12,000

384.

385. Robert Lazzarini

b. 1965

Brass Knuckles (iv), 2010 Brass sculpture. Signed and numbered 8/12 on the accompanying copy of the Certifcate of Authenticity (there was also 1 artist’s proof), published by the artist.

5 x 7 x 4 in. (12.7 x 17.8 x 10.2 cm) Estimate $6,000-8,000 Literature Judith Rodenbeck, Alva NoĂŤ, Jonathan T.D. Neil, Guns, Knives, Brass Knuckles: Robert Lazzarini, Los Angeles: Honor Fraser, 2012, p. 80 and 91 (illustrated)

385.

386. Keith Haring

1958-1990

Best Buddies, from Pop Shop I, 1987 Screenprint in colors, on Coventry rag paper, with full margins. Signed, dated and numbered 179/200 in pencil (there were also 20 artist’s proofs), published by the artist, framed.

I. 10 5/8 x 13 3/8 in. (27 x 34 cm) S. 12 x 15 in. (30.5 x 38.1 cm) Estimate $6,000-9,000 Literature Klaus Littmann p. 82

387. Jef Koons

b. 1955

Balloon Dog (Yellow), 2015 Porcelain multiple painted in chrome, contained in the original Styrofoam-lined presentation box with silver printed signature and original plastic stand. Stamp-numbered 0582/2300 in gold ink on the underside, further numbered in black ink on the accompanying Bernardaud card, manufactured by Bernardaud Limoges, published by the Museum of Contemporary Art, Los Angeles. diameter 10 1/2 in. (26.7 cm) Estimate $6,000-9,000

388. Jef Koons

b. 1955

Balloon Dog Magenta, 2015 Porcelain multiple painted in chrome, contained in the original Styrofoam-lined presentation box with silver printed signature and original plastic stand.

Stamp numbered 1541/2300 in gold ink on the underside, additionally numbered in black ink on the accompanying Bernardaud card, manufactured by Bernardaud Limoges, published by the Museum of Contemporary Art, Los Angeles. diameter 10 3/8 in. (26.4 cm) Estimate $4,000-6,000

389. Jef Koons

b. 1955

Tulip (Bottle Topper), 2012 Plastic and gold paint, contained in the original pink manufacturers box. Co-published by the artist and Keihl’s, beneftting The Koons Family Institute, an initiative of the International Centre for Missing and Exploited Children (ICMEC.) 2 x 2 x 2 in. (5.1 x 5.1 x 5.1 cm) Estimate $1,000-2,000

390. Erik Parker

b. 1968

Excessive Charm, 2006 Mixed media drawing including acrylic, colored pencil and foam paint, on black wove paper. Signed, titled, and dated in white pencil on the reverse.

22 x 30 in. (55.9 x 76.2 cm) Estimate $2,000-3,000 Provenance Leo Koenig Inc., New York

391. Erik Parker

b. 1968

Mind Revolution, from the Exit Art portfolio Tantra, 2005 Screenprint with hand-coloring, on shaped wove paper, the full sheet. Signed, dated and numbered 2/50 in pencil (there were also 6 artist’s proofs), published by Exit Art, New York, framed.

S. 30 x 21 1/4 in. (76.2 x 54 cm) Estimate $1,000-1,500

392. Richard Prince

b. 1949

Untitled (Hippie Drawing), from In The Darkest Hour There May Be Light, 2006 Lithograph in colors, on wove paper, the full sheet hinged to wove paper (as issued).

Signed, dated and numbered 43/50 in pencil (there were also 29 artist’s proofs) co-published by the Serpentine Gallery and Other Criteria, London, framed.

S. 11 x 8 1/2 in. (27.9 x 21.6 cm) Estimate $500-1,000

392.

Property of an Important New York Collector

393. Richard Lindner

1901-1978 393.

New York Men, from Fun City, 1971 Lithograph with collotype in colors, on wove paper, the full sheet. Signed and numbered 170/175 in pencil (there were also 15 artist’s proofs), published by Shorewood Publishers Inc., New York, framed.

S. 25 1/4 x 19 7/8 in. (64.1 x 50.5 cm) Estimate $500-700

394. Ayako Rokkaku

b. 1982

Hayaumare March, 2017 The complete set of four screenprints in colors, on cardboard, the full sheets, all contained in the original light blue paper-covered portfolio.

All signed, dated and numbered 54/66 in pencil, published by Gallery Target & contrarede, Tokyo (with their inkstamps on the reverse). all S. 17 1/2 x 23 1/2 in. (44.5 x 59.7 cm) one vertical Estimate $7,000-9,000

394.

395. Deborah Kass

b. 1952

Vote Hillary, 2016 Screenprint in colors, on Stonehenge paper, with full margins. Signed, dated and numbered 169/250 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

396. Deborah Kass

b. 1952

Enough Already, 2012 Neon and transformer. Signed and dated in black ink and numbered (printed) 10/18 on the accompanying Certifcate of Authenticity, published by Paul Kasmin Gallery, New York.

18 1/2 x 14 in. (47 x 35.6 cm) Estimate $6,000-9,000

397. Ai Weiwei

b. 1957

Artist’s Hand, 2017 Cast urethane resin multiple with electroplated rhodium, contained in the original cardboard presentation box. With incised 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

398. Mel Bochner

b. 1940

Kick Against The Pricks, 2018 Screenprint in colors, on Boutique Silk Fair Blue paper, the full sheet. Signed, dated and numbered 24/30 in pencil (there were also 5 artist’s proofs), published by Two Palms Press, New York, to beneft Downtown For Democracy, unframed.

S. 10 1/2 x 28 in. (26.7 x 71.1 cm) Estimate $2,500-3,500 Literature Barbara Krakow Gallery 2018.01 Jordan D. Schnitzer Family Foundation and Philbrook Museum of Art, Tulsa, Amazing!

Mel Bochner Prints, p. 258

399. Barbara Kruger

b. 1945

You’re Right, 2010 Lithograph in colors, on wove paper, the full sheet. Signed with initials, dated and numbered 199/200 in pencil, published by Brooke Alexander, Inc., New York, framed.

S. 9 x 23 7/8 in. (22.9 x 60.6 cm) Estimate $1,500-2,500

400. Gerhard Richter

b. 1932

Tulips, 1995/2017 Diasec-mounted giclée print, fush-mounted to aluminium with metal strainer on the reverse (as issued). This facsimile object is unsigned and numbered 276/500 in black ink on the reverse (there were also 2 artist’s proofs), published by Heni Productions, London, unframed.

14 1/8 x 16 1/8 in. (35.9 x 41 cm) Estimate $3,000-5,000 Literature Heni Productions P17

401. Damien Hirst

b. 1965

The Hours Spin Skull, 2009 Gloss enamel paint in colors, on a plastic skull, with inset watch faces, lacking ‘The Hours’ album.

Unsigned, titled in black paint on the back, one of 210 color variants, published by Other Criteria, London. Lacking The Hours album.

6 x 5 1/2 x 8 in. (15.2 x 14 x 20.3 cm) Estimate $5,000-7,000

402. Damien Hirst

b. 1965

Providence, from Butterfy Etchings, 2009 Etching and aquatint in colors, on wove paper, with full margins. All signed and numbered 27/45 in pencil, published by Other Criteria, London (with their inkstamp), framed.

I. 11 3/4 x 9 3/4 in. (29.8 x 24.8 cm) S. 18 5/8 x 15 1/2 in. (47.3 x 39.4 cm) Estimate $4,000-6,000

403. Damien Hirst

b. 1965

Andromeda (H4-2), 2017 Diasec mounted GiclÊe print on aluminum panel mounted to an aluminum strainer (as issued). Signed in pencil and stamp-numbered 52/75 (printed) on a label afxed to the reverse (there were also 10 artist’s proofs), published by Heni Productions, London.

36 3/8 x 49 5/8 in. (92.4 x 126 cm) Estimate $5,000-7,000 Literature Heni Productions H4-2

404. Damien Hirst

b. 1965

Rafes (H5-5), 2018 Diasec mounted Giclée print on aluminum panel mounted to an aluminum strainer (as issued).

Signed in pencil and stamp-numbered 65/100 (printed) on a label afxed to the reverse (there were also 10 artist’s proofs), published by Heni Productions, London.

35 3/8 x 35 3/8 in. (89.9 x 89.9 cm) Estimate $5,000-7,000 Literature Heni Productions H5-5

405. Damien Hirst

b. 1965

Claridges (H5-4), 2018 Diasec mounted Giclée print on aluminum panel mounted to an aluminum strainer (as issued).

Signed in pencil and stamp-numbered 50/100 (printed) on a label afxed to the reverse (there were also 10 artist’s proofs), published by Heni Productions, London.

35 3/8 x 35 3/8 in. (89.9 x 89.9 cm) Estimate $5,000-7,000 Literature Heni Productions H5-4

406. Damien Hirst

b. 1965

407. Damien Hirst

b. 1965

Colour Chart (Glitter), 2017 Screenprint with glitter on UV printed brushed aluminum panel, mounted to an aluminum strainer (as issued), the full sheet. Signed in black ink and numbered 190/250 (printed) on the reverse (there were also 8 artist’s proofs), published by Heni Productions, London.

35 5/8 x 73 3/4 in. (90.5 x 187.3 cm)

Colour Chart, 2017 Giclée print with UV spot varnish on aluminum panel, mounted to an aluminum strainer (as issued), the full sheet. Signed in black ink and numbered 166/250 (printed) on the reverse (there were also 8 artist’s proofs), published by Heni Productions, London.

31 1/2 x 65 1/2 in. (80 x 166.4 cm)

Estimate $5,000-7,000

Estimate $5,000-7,000

Literature Heni Productions H3

Literature Heni Productions H2

408. Takashi Murakami

b. 1962

Monogramoufage Treillis, 2008 Editioned canvas on wood and aluminum stretcher (as issued), with the accompanying Certifcate of Authenticity, contained in the original presentation box.

Signed and dated in black marker on the reverse of the aluminum stretcher and numbered 16/100 (printed) on the accompanying Certifcate of Authenticity, additionally with the artist’s copyright monogram on the reverse of the stretcher and the Certifcate of Authenticity, co-published by Louis Vuitton, New York and Paris and Kaikai Kiki Co., Ltd., Tokyo.

15 3/4 x 15 3/4 in. (40 x 40 cm) Estimate $5,000-7,000

Artwork Š 2008 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

409. Takashi Murakami

b. 1962

Oval (Peter Norton Christmas Project 2000), 2000 Polychrome plastic multiple containing a mini CD. From the edition of 2000, published by Peter Norton Family Christmas Project, Santa Monica.

10 1/4 x 7 1/4 x 7 1/4 in. (26 x 18.4 x 18.4 cm) Estimate $1,500-2,500

This lot is to be Sold with No Reserve

410. Takashi Murakami

b. 1962

Kansei: Fresh blood; Kansei: Wildfowers Glowing in the Night; Korin: Flowers; and Korin: Stellar River in the Heavens, 2014-15 Four ofset lithographs in colors, on smooth wove paper, the full sheets. All signed and numbered 182/300, 163/300, 96/300 and 172/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. diameter all S. 28 in. (71.1 cm) Estimate $5,000-7,000 •

Artworks © 2014-15 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is to be Sold with No Reserve

411. Takashi Murakami

b. 1962

Space Show; Hold me tight; and Cosmic power, 2016 Three ofset lithographs in colors, on smooth wove papers, the full sheets. All signed and numbered 189/300, 189/300 and 195/300 in silver ink, published

by Kaikai Kiki Co., Ltd., Tokyo, all framed. diameter all S. 27 3/4 in. (70.5 cm) Estimate $2,500-3,500 •

Artworks © 2016 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is to be Sold with No Reserve

412. Takashi Murakami

b. 1962

An Homage to Yves Klein, Multicolor C; An Homage to Monogold 1960 A; and An Homage to Monopink 1960 C, 2012 Three ofset lithographs in colors, on smooth wove paper, the full sheets. All signed and numbered 167/300, 203/300 and 206/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 29 x 20 7/8 in. (73.7 x 53 cm) Estimate $3,000-5,000 •

Artworks © 2012 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is to be Sold with No Reserve

413. Takashi Murakami

b. 1962

Self-Portrait of the Manifold Worries of a Manifoldly Distressed Artist; The Artist’s Agony and Ecstacy, 2012 Two ofset lithographs in colors, on smooth wove paper, the full sheets. Both signed and numbered 112/300 and 122/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 28 3/8 x 38 3/8 in. (72.1 x 97.5 cm) Estimate $2,000-3,000 •

Artworks © 2012 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is to be Sold with No Reserve

414. Takashi Murakami

b. 1962

There’s bound to be difcult times There’s bound to be sad times but we won’t lose heart; we’d rather not cry, so laugh, we will!; and Fortune Favors the Merry Home, Kaikai and Kiki, 2017 Both signed and numbered 179/300 and 178/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 28 3/8 x 20 3/8 in. (72.1 x 51.8 cm) Estimate $2,000-3,000 •

Artworks © 2017 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is to be Sold with No Reserve

415. Takashi Murakami

b. 1962

Ensō: with Tranquility; Ensō: the Heart; Agama; and Ensō: Memento Mori Boo, 2015 Four ofset lithographs, on smooth wove paper, the full sheets. All signed and numbered 70/300, 70/300, 119/300, 164/300 in sliver or black ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm) Estimate $2,500-3,500 •

Artworks © 2015 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

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20th Century & Contemporary Art Day Sale 13 November New York Public viewing 1 - 13 November at 450 Park Avenue or at phillips.com Enquiries John McCord jmccord@phillips.com Rebekah Bowling rbowling@phillips.com

Gerhard Richter Montag (detail) oil on paper 33 7/8 x 24 1/6 in. (86 x 61.4 cm) Executed in 1983. Š Gerhard Richter, 2019 (09092019)

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Roy Lichtenstein Refections on Girl, from Refections Series sold for £112,500 © Estate of Roy Lichtenstein/DACS 2019.

Damien Hirst Fluoroiodobenzene, from 12 Woodcut Spots sold for £30,000 © Damien Hirst and Science Ltd. All rights reserved, DACS 2019.

Editions Evening & Day Sales London, 23 January 2020

Louise Bourgeois Sainte Sébastienne, sold for £42,500 © The Easton Foundation/VAGA at ARS, NY and DACS, London 2019.

2019 has been an outstanding year for London Editions, realising over £10 million from three auctions of Modern and Contemporary prints and multiples. We look forward to continuing this momentum in 2020 and are now inviting consignments for our January auction.

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Sale Information Auction & Viewing Location 450 Park Avenue New York 10022 Auctions 25 October 2019, 10am, 2pm & 6pm Day Sale Morning Session 10am, lots 122–285 Afernoon Session 2pm, lots 286–415 Evening Sale Auction 6pm, lots 1–121 Viewing 17 – 25 October Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY030219 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 cleibowitz@phillips.com Worldwide Co-Director Modern Editions Kelly Troester ktroester@phillips.com Associate Specialist/ Cataloguer Jason Osborne josborne@phillips.com Sale Coordinator Ana Ziegler aziegler@phillips.com Associate Researcher Audrey Bastian abastian@phillips.com Property Manager Paul Stefens pstefens@phillips.com Photography Jean Bourbon Kent Pell Mark Babushkin

Front cover Keith Haring, The Fertility Suite, 1983, lot 105 (detail) © Keith Haring Foundation Inside front cover Joan Mitchell, Sunfowers II, 1992, lot 23 (detail) © Estate of Joan Mitchell Frontispiece Andy Warhol, Liz, 1964, lot 59 (detail) © 2019 The Andy Warhol Foundation for the Visual Arts, Inc./Licensed by Artists Rights Society (ARS), New York Afer Jean-Michel Basquiat, Portfolio I, 1983-2001, lot 101 (detail) Pablo Picasso, 347 Series: plate 338, 1968, lot 145 (detail) David Hockney, Potted Dafodils, 1980, lot 32 (detail) Raymond Pettibon, Untitled (When the Ground Becomes Hard and Firm), 2002, lot 294 (detail) Jasper Johns, Red, Yellow, Blue, 1963, lot 44 (detail) Andy Warhol, Mickey Mouse, from Myths, 1981, lot 62 (detail) Inside back cover Joan Miró, Centennaire pour l’Imprimerie Mourlot, 1953, lot 16 (detail) © Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris 2019 Back cover M.C. Escher, Eye, 1946, lot 13 © 2019 The M.C. Escher Company—The Netherlands. All rights reserved. www.mcescher.com

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 Susanna 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 Steve Orridge +1 212 940 1370 Anaar Desai +1 212 940 1320 Daren Khan +1 212 940 1335

44. Jasper Johns

Index Albers, J. 221–224

Feininger, L. 127

Man Ray 167

Sachs, T. 113

Almond, D. 368

Feinstein, R. 360

Mangold, R. 244

Saint Phalle, N. de 78

Anuszkiewicz, R. 227–229

Finch, S. 357

Marclay, C. 95

Schnabel, J. 253

Arman 202

Francis, S. 212

Marshall, K.J. 338–340

Serra, R. 53, 289

Arp, J. 204–205

Frankenthaler, H. 25, 214–217

Martin, A. 243

Serrano, A. 342

Matisse, H. 3–4

Sherman, C. 380–381

Gharem, A. 354

McCollum, A. 382

Sinister, D. 350

Bacon, F. 271

Gillick, L. 360

McLaughlin, J. 225

Smith, J. 351

Baechler, D. 321

Gober, R. 36–38, 287–288

Meckseper, F. 262

Smith, K. 303

Baldessari, J. 372–373

Gokita, T. 336

Milhazes, B. 28

Soulages, P. 218–219

Balkenhol, S. 85

Guston, P. 213

Miró, J. (Afer) 184

Spero, N. 302

Banksy 383–384

Guyton, W. 347, 350

Miró, J. 14–18, 173–183, 185–190

Stella, F. 230–237, 314

Mitchell, J. 23, 210

Struth, T. 359 Sultan, D. 87, 254

Auerbach, T. 352–353

Bartlett, J. 259 Basquiat, J. (Afer) 101–102

Haring, K. 105–107

Moore, H. 169

Beckmann, M. 126

Heckel, E. 11

Morris, S. 242, 360

Becher, B. and H. 369

Herrera, C. 238

Motherwell, R. 21–22, 24, 314

Tàpies, A. 19–20, 209

Bochner, M. 103, 398

Hirst, D. 118–121, 401–407

Munch, E. 10

Testino, M. 326

Bourgeois, L. 297–301

Hockney, D. 29–34, 265–267

Murakami, T. 408–415

Thiebaud, W. 79, 316–320

Bove, C. 351

Höfer, C. 358

Murray, E. 256

Tobey, M. 208

Braque, G. 150–152

Homer, W. 122–123

Brown, C. 272

Hugnet, G. 35

Nara, Y. 114–115

Various Artists 314–315, 350–351, 360

Burri, A. 54

Humphries, J. 351, 360

Nauman, B. 94, 290–292

Vena, N. 351

Burton, R. 247

Hundertwasser, F. 193–195

Nevelson, L. 241

Vo, D. 350

Noland, K. 226 Cage, J. 273

Indiana, R. 314

Calder, A. 200–201

Nolde, E. 124

Walker, K. 350

Nutt, J. 330–331

Warhol, A. 59–72, 304–314

Campendonk, H. 125

Jarrell, W. 341

Celmins, V. 55, 374

Johns, J. 40–47, 248

Opie, J. 88–90, 356, 378

Weiwei, A. 116–117, 399

Chadwick, L. 168

Jones, A. 315

Ortman, G. 314

Wesley, J. 315, 325

Chagall, M. 1–2, 153–159

Judd, D. 48

Oursler, T. 360

Wesselmann, T. 73, 323

Overton, V. 351

West, F. 274

Christo 366–367

Weiner, L. 363

Close, C. 263–264

Kass, D. 395–396

Cocteau, J. 165–166

Katz, A. 80–84

Parker, E. 390–391

Wilcox, T.J. 350

Cole, W. 337

Kaws 104

Pettibon, R. 294–296

Williams, M. 351

Collier, A. 350

Kelly, E. 49, 240, 314

Phillips, P. 315

Williams, W.T. 239

Condo, G. 332

Kentridge, W. 343

Phillips, R. 360

Wojnarowicz, D. 93

Connors, M. 365

Kilimnik, K. 375

Picasso, P. 5–7, 128–149

Wolf, M. 355

Copley, W. 333–334

Klein, Y. 27

Polke, S. 371

Wolfson, J. 349

Cottingham, R. 260–261

Knoebel, I. 50

Pollock, J. 211

Wood, J. 108

Creed, M. 364

Koons, J. 109–111, 387–389

Poons, L. 314

Wool, C. 99–100

Cuevas, J. 344

Kruger, B. 397

Prince, R. 392

Currin, J. 360

Kusama, Y. 112

Puryear, M. 286

Yan Pei-Ming 346

D’Arcangelo, A. 315

Laing, G. 315

Ramos, M. 315, 324

Zao Wou-Ki 206–207

Dalí, S. 12, 160–163

Landers, S. 335, 360

Rauschenberg, R. 57–58, 275–285

Zhang Xiaogang 345

Davis, S. 314

Lasker, J. 246

Redon, O. 9

Delaunay, S. 203

Lavier, B. 255

Reinhardt, A. 220, 314

Diamond, J. 379

Lazzarini, R. 385

Relph, N. 350

Dine, J. 249–251, 315

Le Corbusier 196–199

Richter, G. 400

Doig, P. 56

Léger, F. (Afer) 191–192

Ritchie, M. 361–362

Dubufet, J. 8, 170–172

LeWitt, S. 51–52

Rokkaku, A. 394

Duchamp, M. 35

Lichtenstein, R. 74–77, 314, 327–329

Rosenquist, J. 315

Lindner, R. 393

Rotella, M. 322

Eliasson, O. 370

Longo, R. 91–92, 377

Rothenberg, S. 293

Escher, M.C. 13

Lowman, N. 348

Ruscha, E. 96–98, 268–270

Espírito Santo, I. do 376 Estes, R. 257–258

Whitney, S. 39

62. Andy Warhol

16. Joan Mirรณ

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