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Evening & Day Editions London, 25 January 2018

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56. Gerhard Richter

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Executives.

Ed Dolman

Cheyenne Westphal

Chief Executive Ofcer +1 212 940 1241 edolman@phillips.com

Chairman +44 20 7318 4044 cwestphal@phillips.com

Š Brigitte Lacombe

London.

Robert Kennan

Anne Schneider-Wilson

Ross Thomas

Rebecca Tooby-Desmond

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

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

Specialist rthomas@phillips.com +44 20 7318 4077

Associate Specialist rtooby-desmond@phillips.com +44 20 7318 4079

Cary Leibowitz

Kelly Troester

Jason Osborne

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

Worldwide Co-Head, Editions ktroester@phillips.com +1 212 940 1221

Cataloguer josborne@phillips.com +1 212 940 1332

New York.

Deputy Chairmen.

Svetlana Marich

Jean-Paul Engelen

Robert Manley

Alexander Payne

Peter Sumner

Worldwide Deputy Chairman +44 20 7318 4010 smarich@phillips.com

Deputy Chairman,

Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1390 jpengelen@phillips.com

Deputy Chairman, Worldwide Co-Head of 20th Century & Contemporary Art +1 212 940 1358 rmanley@phillips.com

Deputy Chairman, Europe, and Worldwide Head of Design +44 20 7318 4052 apayne@phillips.com

Deputy Chairman, Europe +44 20 7318 4063 psumner@phillips.com

Miety Heiden

Marianne Hoet

Vanessa Hallett

Vivian Pfeifer

Jonathan Crockett

Deputy Chairman, Americas and Worldwide Head of Photographs +1 212 940 1243 vhallett@phillips.com

Deputy Chairman, Americas and Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com

Deputy Chairman, Asia and Head of 20th Century & Contemporary Art, Asia +852 2318 2023 jcrockett@phillips.com

Deputy Chairman, Head of Private Sales +44 20 7901 7943 mheiden@phillips.com

Deputy Chairman, Europe mhoet@phillips.com

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Evening & Day Editions London, 25 January 2018, 1pm & 6pm

Auction and Viewing Location 30 Berkeley Square, London W1J 6EX

Modern and Contemporary Editions

Auctions 25 January 2018 Evening Auction Day Auction

Head of Sale Robert Kennan +44 20 7318 4075 rkennan@phillips.com

Lots 1 - 88, 6pm Lots 89 – 327, 1pm

Viewing 18 – 25 January 2018 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation In sending in written bids or making enquiries please refer to this sale as UK030118 or Editions. Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

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Senior Specialist Anne Schneider-Wilson +44 20 7318 4042 aschneider-wilson@phillips.com Specialist Ross Thomas +44 20 7318 4077 rthomas@phillips.com Associate Specialist Rebecca Tooby-Desmond +44 20 7318 4079 rtooby-desmond@phillips.com Administrator Louisa Earl +44 20 7318 4069 learl@phillips.com

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85. Yoshitomo Nara

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Evening Editions Lot 1 – 88, 6pm

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1. Pablo Picasso

1881-1973

Femmes Fleurs (Flower Women), 1947 White earthenware pitcher, painted in colours with brushed glaze. Incised ‘EDITION PICASSO’, ‘MADOURA’, ‘R.152’ and numbered 98/175, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 35 x 30 x 22 cm (13 3/4 x 11 3/4 x 8 5/8 in.) Estimate £12,000-18,000 $16,000-24,000 €13,600-20,400 ‡ ♠ Literature Alain Ramié 50 Georges Ramié 80

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2. Pablo Picasso

1881-1973

Pichet à glace (Ice Pitcher), 1952 White earthenware pitcher, painted in blue with glaze. Numbered 100/100 and inscribed ‘EDITION PICASSO’ and ‘MADOURA’ in black, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 33 x 34 x 18 cm (12 7/8 x 13 3/8 x 7 1/8 in.) Estimate £12,000-18,000 $16,000-24,000 €13,600-20,400 ‡ ♠ Literature Alain Ramié 142 Georges Ramié 695

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

3. Pablo Picasso

1881-1973

Visage (Face), 1960 White earthenware round plate, painted in colours with partial brushed glaze. Numbered 34/100 in black glaze, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. 43.2 cm (17 in.) diameter Estimate £8,000-12,000 $10,700-16,000 €9,100-13,600 ‡ ♠ Literature Alain Ramié 448 Georges Ramié 410 Georges Bloch 153

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1881-1973

Mains au poisson (Hands with Fish), 1953 Red earthenware round dish with engraving, painted in colours with partial brushed glaze. Incised 45/250 and with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. 32.1 cm (12 5/8 in.) diameter Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ‡ ♠ Provenance Galerie Badan, Geneva Acquired from the above by the family of the present owner in 1974 Literature Alain Ramié 214 Georges Ramié 276 Georges Bloch 43

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

4. Pablo Picasso

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

5. Pablo Picasso

1881-1973

Oiseau polychrome (Polychrome Bird), 1947 White earthenware rectangular dish, painted in colours with boring-rod engraving and coloured glazes. Inscribed ‘I106’ and numbered 137/200 in black, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 31.8 x 38.1 cm (12 1/2 x 15 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ‡ ♠ Provenance Galerie Badan, Geneva Acquired from the above by the family of the present owner in 1974 Literature Alain Ramié 33 Georges Ramié 756

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1881-1973

Chouette (Wood-Owl), 1969 White earthenware turned vase, painted in colours with boring-rod engraving and partial brushed glaze. Incised ‘Edition Picasso’ and numbered 242/350 with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 27.9 x 13.3 x 21.6 cm (10 7/8 x 5 1/4 x 8 1/2 in.) Estimate £8,000-12,000 $10,700-16,000 €9,100-13,600 ‡ ♠ Provenance Galerie Badan, Geneva Acquired from the above by the family of the present owner in 1974 Literature Alain Ramié 602

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

6. Pablo Picasso

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

7. Pablo Picasso

1881-1973

Tête au masque (Head with Mask), 1956 White earthenware round dish, painted in white enamel with black and ivory brushed glaze. Numbered 39/200 in black glaze, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. 31.1 cm (12 1/4 in.) diameter Estimate £8,000-12,000 $10,700-16,000 €9,100-13,600 ‡ ♠ Provenance Galerie Badan, Geneva Acquired from the above by the family of the present owner in 1974 Literature Alain Ramié 362 Georges Ramié 408 Georges Bloch 118 Va

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1881-1973

Paysage (Landscape), 1953 White earthenware round dish, painted in colours with partial brushed glaze. Inscribed ‘N.102’ and numbered 50/200 in black glaze, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 41.9 cm (16 1/2 in.) diameter Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ‡ ♠ Literature Alain Ramié 207 Georges Ramié 686

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

8. Pablo Picasso

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

9. Pablo Picasso

1881-1973

Femme du barbu (Bearded Man’s Wife), 1953 White earthenware turned pitcher, painted in colours with knife engraving and partial brushed glaze. Inscribed ‘Edition Picasso’ in black, from the edition of 500, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 37.5 x 18.4 x 25.4 cm (14 3/4 x 7 1/4 x 10 in.) Estimate £15,000-20,000 $20,000-26,700 €17,000-22,700 ‡ ♠ Provenance Garth Clark Gallery, Los Angeles Acquired from the above by the family of the present owner in 1982 Literature Alain Ramié 193 Georges Ramié 720

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

10. Henri Matisse

1869-1954

Odalisque voilée (Veiled Odalisque), 1925 Lithograph, on Japanese paper, with margins (the lower edge unevenly trimmed). Signed and numbered 35/50 in pencil (there were also 10 artist’s proofs), framed. I. 54 x 43.8 cm (21 1/4 x 17 1/4 in.) S. 74.3 x 55.9 cm (29 1/4 x 22 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ‡ ♠ Literature Claude Duthuit 464

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11. Various Artists Regards sur Paris (Glances on Paris), 1962 The complete set of 33 lithographs in colours, hors-texte, on Arches paper, the full sheets (some folded), with accompanying text in French, title and illustration pages, the sheets loose (as issued) contained in the original red fabriccovered portfolio embossed in gold on the spine and front. Signed by all of the artists and authors in ink or pencil on the reverse of the justifcation, copy 54 of 150 (there were also 30 hors commerce copies), published by André Sauret, Paris. portfolio 42.5 x 33 x 9 cm (16 3/4 x 12 7/8 x 3 1/2 in.)

Literature Fernand Mourlot 351-353, see Patrick Cramer books 45 (Chagall); Georges Bloch 1034-1036, Fernand Mourlot 353-355, see Patrick Cramer books 120 (Picasso); Colette de Ginestet and Catherine Pouillon appendix 115-117 (Villon) Including: André Beaudin, Georges Braque, Maurice Brianchon, Jean Corzou, Marc Chagall, Dunoyer de Segonzac, André Masson, Pablo Picasso, Kees Van Dongen, and Jacques Villon

Estimate £8,000-10,000 $10,700-13,400 €9,100-11,300 ♠

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12. Pablo Picasso

1881-1973

Grand nu de femme (Large Nude Woman), 1962 Linocut in colours, on Arches paper, with full margins. Signed and numbered 35/50 in pencil (there were also 20 artist’s proofs), published in 1963 by Galerie Louise Leiris, Paris, framed. I. 63.8 x 52.7 cm (25 1/8 x 20 3/4 in.) S. 74.9 x 61.9 cm (29 1/2 x 24 3/8 in.) Estimate £30,000-50,000 $40,100-66,800 €34,000-56,700 ‡ ♠ Provenance Henri Petiet, Paris, inkstamp in blue on the reverse (Lugt 5031) Literature Georges Bloch 1085 Brigitte Baer 1309

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13. Giorgio Morandi

1890-1964

Natura morta (Still Life), 1933 Etching, on buf laid paper, with wide margins (the sheet unevenly trimmed), the fourth state of fve. Signed, dated and annotated ‘prova di stampa’ in pencil (a proof print on laid paper, before the edition of 21 on wove paper), framed. I. 23.6 x 24.3 cm (9 1/4 x 9 5/8 in.) S. approx. 30.5 x 37.8 cm (12 x 14 7/8 in.) Estimate £8,000-10,000 $10,700-13,400 €9,100-11,300 ‡ ♠ Literature Lamberto Vitali 100

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‘If I was doling out medals for sitting you’d get the number 1 one.’ Lucian Freud writing to Nicola Bowery, circa 1991

The following fve lots were gifs from Lucian Freud to Nicola Bowery (Bateman) and her then husband Leigh Bowery, the legendary performance artist whose star shone brightly during the 1980s and early 90’s, before his untimely death from HIV on New Year’s Eve, 1994. The group includes four etchings; two portraits of Leigh depicted in the monumental Large Head and tender Reclining Figure. Leigh also appears in the group portrait Four Figures with Cerith Wyn Evans and Freud’s daughter Ib holding her own daughter. The fourth etching is a rare proof impression of Freud’s portrait of Bruce Bernard. Nicola sat for Freud for three years and in her emotive essay, published online at Phillips.com, she recounts the sittings with great candour and humour.

The extract below recalls the time she was gifed the fnal lot in the present group, one of Freud's palettes (lot 18). “One day as And the Bridegroom was being painted, the paint palette that Lucian had been using was discarded amongst the rags, so I asked Lucian if I could have it as to me it was a piece of art in its own right. I thought the paint palette was fantastic and I told him so; I loved the fact that it was made especially for him because Lucian was lef-handed and painted with his lef hand while holding the palette in his right. I loved that you could see the outline of his thumb. I also wanted a reminder of the time I sat for And the Bridegroom  with Leigh because I wasn’t sure if Lucian would want to paint me again afer the painting was fnished, but fortunately, he did.”

Lucian Freud And the Bridegroom, 1993 © The Lucian Freud Archive / Bridgeman Images

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14. Lucian Freud

1922-2011

Large Head, 1993 Etching, on Somerset Satin Textured paper, with full margins, the second (fnal) state (there was an unpublished trial state of 1 or 2 proofs before the lines on the sitter’s right shoulder were cleaned). Signed with initials, dedicated ‘nicola from L.F.’ and numbered ‘A/P 3/12’ in pencil (an artist’s proof, the edition was 40), published by Matthew Marks Gallery, New York, framed. I. 69.5 x 54.5 cm (27 3/8 x 21 1/2 in.) S. 78.9 x 63.5 cm (31 1/8 x 25 in.) Estimate £25,000-35,000 $33,400-46,700 €28,300-39,700 ♠

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Provenance A gif from the artist to Nicola Bowery Exhibited London, National Portrait Gallery, Lucian Freud: Portraits, 9 Feb - 27 May 2012 (another impression exhibited and illustrated p.194) Literature Catherine Lampert 75 Craig Hartley 47 Starr Figura 72 Sarah Howgate 118 Bruce Bernard and Derek Birdsall 264

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15. Lucian Freud

1922-2011

Reclining Figure, 1994 Etching with drypoint, on Arches paper, with full margins. Signed with initials and numbered ‘A.P 9/14’ (an artist’s proof, the edition was 30), published by Matthew Marks Gallery, New York, framed. I. 17 x 23.8 cm (6 3/4 x 9 3/8 in.) S. 34.9 x 41.5 cm (13 3/4 x 16 3/8 in.) Estimate £8,000-12,000 $10,700-16,000 €9,100-13,600 ♠ Provenance A gif from the artist to Leigh Bowery Exhibited New York, Museum of Modern Art, Lucian Freud: The Painter’s Etchings, 16 Dec 2007 - 10 Mar 2008 (another impression exhibited and illustrated p.105) Literature Craig Hartley 50 Starr Figura 75

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16. Lucian Freud

1922-2011

Four Figures, 1991 Etching printed with tone, on Somerset Satin paper, with full margins. Signed with initials ‘from L.F.’ and dedicated ‘Leigh B. with Love’ in pencil (a proof aside from the edition of 30 and 10 artist’s proofs), co-published by James Kirkman, London and Brooke Alexander, New York, framed. I. 59 x 85.5 cm (23 1/4 x 33 5/8 in.) S. 68.3 x 94 cm (26 7/8 x 37 in.) Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 ♠ Provenance A gif from the artist to Leigh Bowery Literature Craig Hartley 42

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17. Lucian Freud

1922-2011

Head of Bruce Bernard, 1985 A presumably unique etching, on Velin Arches cream paper, with wide margins. An unsigned, unpublished trial proof before the lines on the sitter’s lef shoulder were added (the published edition was 50 and 15 artist’s proofs), printed by Terry Wilson of Palm Tree Studios, London, framed. I. 30 x 29.2 cm (11 3/4 x 11 1/2 in.) S. 54.8 x 45.7 cm (21 5/8 x 17 7/8 in.)

18.

A wooden artist’s palette with oil paint recto and verso, used by Lucian Freud and gifed to Nicola Bowery afer completing And the Bridegroom, 1993 41 x 25 x 2 cm (16 1/8 x 9 7/8 x 3/4 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ♠ Provenance A gif from the artist to Nicola Bowery

Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠ Provenance A gif from the artist to Nicola Bowery Literature See Craig Hartley 26

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19. Francis Bacon

1909-1992

Triptyque Août 1972 (afer, Triptych August 1972), 1979 The complete set of three lithographs in colours, on Arches paper, with full margins. All signed in pencil and numbered 27/180, 18/180 and 3/180 respectively in pencil (there were also a number of artist's proofs), published by Galerie Lelong, Paris, all framed. all I. 65.5 x 48.6 cm (25 3/4 x 19 1/8 in.) all S. 89.5 x 62.4 cm (35 1/4 x 24 5/8 in.) Estimate £15,000-20,000 $20,000-26,700 €17,000-22,700 ♠ Literature Bruno Sabatier 23 Alexandre Tacou 24

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20. David Hockney

b. 1937

Lillies, from Europäische Graphik No VII, 1971 Lithograph in colours, on Japanese paper, the full sheet. Signed, dated and numbered ‘XVIII/XXXV’ in pencil (one of 35 impressions on Japanese paper, the edition was 65 and 18 artist’s proofs on Arches paper), published by Galerie Wolfgang Ketterer, Munich (with their blindstamp), unframed. S. 76 x 53 cm (29 7/8 x 20 7/8 in.) Estimate £8,000-12,000 $10,700-16,000 €9,100-13,600 ♠ † Literature Scottish Arts Council 118 Ketterer Editionsverzeichnis 101

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21. David Hockney

b. 1937

Pool Made with Paper and Blue Ink for Book, from Paper Pools, 1980 Lithograph in colours, on Arches Cover paper, the full sheet. Signed, dated and numbered 573/1000 in pencil (there were also 100 artist’s proofs), published by Tyler Graphics, Ltd., Mt. Kisco, New York (with their blindstamp), framed. S. 26.7 x 22.9 cm (10 1/2 x 9 in.) Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 ‡ ♠ Literature Museum of Contemporary Art Tokyo 234 Tyler Graphics 269

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Property from a Private Collection, Los Angeles

22. Frank Auerbach

b. 1931

Lucian Freud, from Six Etchings of Heads, 1981 Etching, on Arches paper, with full margins. Signed, titled, dated and numbered 28/50 in pencil (there were also 10 artist’s proofs), published by Bernard Jacobson Gallery, London, framed. I. 14.6 x 13.7 cm (5 3/4 x 5 3/8 in.) S. 39.7 x 33.7 cm (15 5/8 x 13 1/4 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ‡ ♠ Literature Marlborough 12

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23. Richard Hamilton

1922-2011

Self-portrait, 1980 Unique polaroid photograph in colours. Signed in black ink on the front, titled and dated ‘12.7’ in pencil and further dated ‘12.7.80’ in black ink on the reverse, framed. I. 8 x 8 cm (3 1/8 x 3 1/8 in.) S. 10.8 x 9 cm (4 1/4 x 3 1/2 in.) Estimate £8,000-10,000 $10,700-13,400 €9,100-11,300 ♠

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24. Richard Hamilton

1922-2011

Toaster: Deluxe Study IV, 2008 Unique Epson inkjet print in colours with mirror chrome laminate collage, on Somerset Satin paper, with full margins. Signed and titled in pencil, from the series of 13 unique variants, published by Gagosian Gallery, London, framed. I. 27 x 27 cm (10 5/8 x 10 5/8 in.) S. 45 x 36 cm (17 3/4 x 14 1/8 in.) Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000 ‡ ♠

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25. Richard Hamilton

1922-2011

Toaster: Deluxe Study XII, 2008 Unique Epson inkjet print in colours with mirror chrome laminate collage, on Somerset Satin paper, with full margins. Signed and titled in pencil, from the series of 13 unique variants, published by Gagosian Gallery, London, framed. I. 27 x 27 cm (10 5/8 x 10 5/8 in.) S. 45 x 36 cm (17 3/4 x 14 1/8 in.) Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000 ‡ ♠

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Property from an Important German Collection

26. Various Artists The International Anthology of Contemporary Engraving: The International Avant-Garde, Vol. 5, America Discovered, 1962/64 The complete set of 20 prints including 16 etchings (one with aquatint, one with drypoint, one with pencil additions), three photogravures (two with etching), and one relief halfone, on handmade Rives paper, with full margins, with introductory text and colophon, the sheets tacked (as issued) to the backboards of grey window-mounts, bound (as issued) with the original black binding with embossed and printed title on the front. All signed (Warhol with embossed signature), some dated and all numbered ‘XV/XXV’ in pencil or black ink (one of 25 copies in Roman numerals reserved for collaborators, the edition was 60 and 15 artist’s proofs), published by Galleria Schwarz, Milan. book 30.5 x 25 x 4.8 cm (12 x 9 7/8 x 1 7/8 in.)

Literature Gallery Mikro 17 (Dine); Walter Knestrick 13 (Grooms); Susan Sheehan 29 (Indiana); Mary Lee Corlett 32 (Lichtenstein); Richard Axsom and David Platzker 14.1 (Oldenburg); Constance Glenn 1 (Rosenquist); Frayda Feldman and Jörg Schellmann 1 (Warhol) Including George Brecht Untitled, Allan D’Arcangelo American Madonna, Jim Dine Corner Brace, Stephen Durkee Untitled, Lette Eisenhauer Untitled, Stanley Fisher Untitled, Sam Goodman Untitled, Red Grooms Untitled, Robert Indiana Err, Allan Kaprow Untitled, Roy Lichtenstein On, Boris Lurie Untitled, Claes Oldenburg Orpheum Sign, James Rosenquist Certifcate, George Segal Untitled, Richard Stankiewicz Untitled, Wayne Thiebaud Untitled, Andy Warhol Cooking Pot, Robert Watts Untitled, and Robert Whitman Untitled

Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000

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Property from an Important German Collection

27. Various Artists 11 Pop Artist’s Volume I, 1965/1966 The complete set of 11 prints in colours, including 10 screenprints (one with collage additions) and one lithograph, on various papers, with full margins and the full sheets, with text and justifcation, the sheets loose (as issued) contained in the original linen-covered portfolio with printed title. All signed (the Warhol stampsigned) and numbered ‘XXXI’ in various media, also numbered in blue ink on the justifcation (one of 50 copies in Roman numerals, the edition was 200), published by Original Editions, New York. portfolio 62.5 x 52 x 3 cm (24 5/8 x 20 1/2 x 1 1/8 in.) Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000 ♠ Literature Frayda Feldman and Jörg Schellmann 13 (Warhol); Mary Lee Corlett 37 (Lichtenstein); Constance Glenn 8 (Rosenquist); Richard Lloyd 29 (Jones) Including Andy Warhol Jacqueline Kennedy I, Roy Lichtenstein Moonscape, Tom Wesselmann Cut Out Nude, Mel Ramos Chic, Allen Jones Miss America, James Rosenquist Circles of Confusion, Jim Dine Awl, Gerald Laing Compact, Allan d’Arcangelo Landscape I, Peter Phillips Custom Print I, and John Wesley Maiden

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Property from an Important German Collection

28. Various Artists Ten from Leo Castelli, 1968 The complete set of 10 works including screenprints, lithographs and multiples in colours, on various papers and materials, all contained in the original grey fabric-covered case with the title printed on the label. All signed, some dated and all numbered 198/200 in various media (there were also 25 artist’s proofs lettered A-Y), published for the 10th anniversary of the Leo Castelli Gallery by Tanglewood Press, Inc., New York. case 64 x 54 x 22 cm (25 1/4 x 21 1/4 x 8 5/8 in.) Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000

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Literature Universal Limited Art Editions 39 (Johns); Jörg Schellmann 1 (Judd); Mary Lee Corlett 50 (Lichtenstein); Edward Foster 39 (Rauschenberg); Richard Axsom I.B (Stella); Frayda Feldman and Jörg Schellmann 17 (Warhol) Including Frank Stella Fortin de las Flores (First Version), Robert Morris Model, Robert Rauschenberg Passport, Roy Lichtenstein Fish and Sky, Andy Warhol Portraits of the Artists, Lee Bontecou Untitled, Larry Poons Untitled, Donald Judd Untitled, Jasper Johns The Critic Sees and James Rosenquist Sketch for Forest Ranger

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Property from an Important German Collection

29. Various Artists New York 10, 1965 The complete set of 10 prints including seven screenprints, one lithograph, one etching and one embossing with pencil additions, with full margins and the full sheets, with title page, colophon and introductory text, the sheets loose (as issued) contained in the original yellow fabric-covered portfolio. All signed, dated and numbered 99/200 in various media, also numbered ‘99’ in black ink on the colophon (there were also 25 artist’s proofs lettered A-Y), published by Tanglewood Press Inc., New York. portfolio 57 x 45 x 4 cm (22 1/2 x 17 3/4 x 1 5/8 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900

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Literature Galerie Mikro 26 (Dine); Pegram Harrison 6 Frankenthaler; Mary Lee Corlett 36 (Lichtenstein) Richard Axsom and David Platzker 33 (Oldenburg) Including Roy Lichtenstein Seascape I, Jim Dine Self Portrait, Richard Anuskiewicz Diamond Chroma, Nicholas Krushenick James Bond Meets Pussy Galore, Helen Frankenthaler Air Frame, George Segal Woman Brushing Her Hair, Tom Wesselmann Still Life, Mon Levinson Untitled #1, Claes Oldenburg Flying Pizza, and Robert Kulicke Dum-Dum Rose,

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30. Roy Lichtenstein

1923-1997

Crying Girl, 1963 Ofset lithograph in colours, on lightweight wove paper, trimmed to the image. Signed in pencil in the image (added by the artist ca.1991), from the edition of unknown size, published by Leo Castelli Gallery, New York, framed. S. 44 x 58.6 cm (17 3/8 x 23 1/8 in.)

31. Roy Lichtenstein

1923-1997

Estimate £15,000-20,000 $20,000-26,700 €17,000-22,700

Grandpa, from Brushstrokes Figure Series, 1989 Lithograph, waxtype, woodcut and screenprint in colours, on Saunders Waterford paper, with full margins. Signed, dated and numbered 45/60 in pencil (there were also 8 artist’s proofs), co-published by Waddington Graphics, London and Graphicstudio, University of South Florida, Tampa (with their and the artist’s copyright inkstamp on the reverse), framed. I. 131 x 93 cm (51 5/8 x 36 5/8 in.) S. 144 x 104.3 cm (56 3/4 x 41 1/8 in.)

Literature Mary Lee Corlett II.1

Estimate £15,000-20,000 $20,000-26,700 €17,000-22,700 ‡

Provenance Leo Castelli Gallery, New York Susan Edmiston, San Francisco (acquired directly from the above in 1963) Christie’s, New York, First Open Editions (Online), 30 September 2016, lot 3 Private Collection, United Kingdom

Literature Mary Lee Corlett 231

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32. Roy Lichtenstein

1923-1997

Blue Floor, from Interior Series, 1991 Lithograph, woodcut and screenprint in colours, on Paper Technologies, Inc. Museum Board, with full margins. Signed, dated and numbered 10/60 in pencil (there were also 14 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 131.4 x 196.8 cm (51 3/4 x 77 1/2 in) S. 147.2 x 212.2 cm (57 7/8 x 83 1/2 in) Estimate £40,000-60,000 $53,500-80,200 €45,300-68,000 † Literature Gemini G.E.L. 1506 Mary Lee Corlett 254

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33. Roy Lichtenstein

1923-1997

Composition I, 1996 Screenprint in colours, on Lana Lanaquarelle Watercolour paper, with full margins. Signed, dated and numbered 3/50 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 100.5 x 76 cm (39 5/8 x 29 7/8 in.) S. 121 x 88 cm (47 5/8 x 34 5/8 in.) Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000 Literature Gemini G.E.L. 1668 Mary Lee Corlett 297

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34. Roy Lichtenstein

1923-1997

Wallpaper with Blue Floor Interior, 1992 Screenprint in colours, on Paper Technologies, Inc., Waterleaf paper, in fve panels, the full sheets. Signed, dated and numbered 36/300 in silver paint pen, published by Gemini G.E.L., Los Angeles (with their and the artist’s blindstamp), each panel framed. each S. approx. 260 x 77.3 cm (102 3/8 x 30 3/8 in.) overall 260 x 381 cm (102 3/8 x 150 in.) Estimate £15,000-20,000 $20,000-26,700 €17,000-22,700 Literature Gemini G.E.L. 1558 Mary Lee Corlett 260

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35. Wayne Thiebaud

b. 1920

Dark Cake, 1983 Woodcut in colours, on Tosa Koza paper, with full margins. Signed, dated and numbered ‘A/P 17’ in pencil (one of 20 artist’s proofs, the edition was 200), published by Crown Point Press, San Francisco (with their blindstamp), framed. I. 38 x 44.5 cm (14 7/8 x 17 1/2 in.) S. 51.7 x 57 cm (20 3/8 x 22 1/2 in.) Estimate £15,000-20,000 $20,000-26,700 €17,000-22,700 ‡

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Property from an Important German Collection

36. Ed Ruscha

b. 1937

News, Mews, Pews, Brews, Stews & Dues, 1970 The complete set of six organic screenprints in colours, on Silverbrook Antique Finish paper, with full margins, with title page and colophon listing the ingredients used for each print, the sheets loose (as issued) contained in the original red velvet-covered portfolio. All signed, dated and numbered 30/125 in pencil, also signed and numbered in pencil on the colophon (there were also 25 artist’s proofs), published by Editions Alecto, London (with their inkstamp on the reverse). portfolio 63 x 84 x 3.5 cm (24 3/4 x 33 1/8 x 1 3/8 in.)

Literature Siri Engberg 34-39 Editions Alecto 685-690

Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100

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Property from an Important Private European Collection

37. Louise Bourgeois

1911-2010

Yes, 2004 Sof-ground etching with unique hand-colouring in watercolour, gouache and ink, with additions in graphite and coloured pencils, on Somerset paper, the full sheet fush-mounted to heavy Twinrocker paper (as issued). Signed in pencil on the Twinrocker support and numbered ‘Study 10/15’ in pencil on the reverse (there were 15 unique variants), published by Osiris, New York, framed. S. 60.5 x 70 cm (23 7/8 x 27 1/2 in.) overall 69.5 x 77.5 cm (27 3/8 x 30 1/2 in.)

Literature Museum of Modern Art, New York, Cat. No. 1070

Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 ♠

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Property from an Important German Collection

38. Andy Warhol

1928-1987

Tomato, from Campbell’s Soup I, 1968 Screenprint in colours, on wove paper, with full margins. Signed in black ball-point pen and stamp-numbered 184/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, unframed. I. 81 x 47.5 cm (31 7/8 x 18 3/4 in.) S. 89 x 58.4 cm (35 x 22 7/8 in.)

Provenance Acquired directly from the publisher by the present owner Literature Frayda Feldman and Jörg Schellmann 46

Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000

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Property from an Important German Collection

39. Andy Warhol

1928-1987

Consommé (Beef), from Campbell’s Soup I, 1968 Screenprint in colours, on wove paper, with full margins. Signed in black ball-point pen on the reverse (an unnumbered proof aside from the edition of 250 and 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, unframed. I. 81 x 47.5 cm (31 7/8 x 18 3/4 in.) S. 89.1 x 58.7 cm (35 1/8 x 23 1/8 in.)

Provenance Acquired directly from the publisher by the present owner Literature Frayda Feldman and Jörg Schellmann 52

Estimate £8,000-10,000 $10,700-13,400 €9,100-11,300

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40. Andy Warhol

1928-1987

Onion Soup, from Campbell’s Soup I, 1968 Screenprint in colours, on wove paper, with full margins. Signed in black ball-point pen and stamp-numbered 175/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed. I. 81 x 48 cm (31 7/8 x 18 7/8 in.) S. 89 x 58.6 cm (35 x 23 1/8 in.) Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 Literature Frayda Feldman and Jörg Schellmann 47

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41. Andy Warhol

1928-1987

Black Bean, from Campbell’s Soup I, 1968 Screenprint in colours, on wove paper, with full margins. Signed in black ball-point pen and stamp-numbered 118/250 on the reverse (there were also 26 artist's proofs lettered A-Z), published by Factory Additions, New York, framed. I. 81 x 47.6 cm (31 7/8 x 18 3/4 in.) S. 89.1 x 58.6 cm (35 1/8 x 23 1/8 in.) Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 Literature Frayda Feldman and Jörg Schellmann 44

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42. Andy Warhol

1928-1987

Chicken ‘N Dumplings, from Campbell’s Soup II, 1969 Screenprint in colours, on wove paper, with full margins. Signed in black ball-point pen and stamp-numbered 123/250 on the reverse (there were also 26 artist's proofs lettered A-Z), published by Factory Additions, New York, framed. I. 81 x 47.5 cm (31 7/8 x 18 3/4 in.) S. 89 x 58.4 cm (35 x 22 7/8 in.) Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 Literature Frayda Feldman and Jörg Schellmann 58

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43. Andy Warhol

1928-1987

Marilyn, 1967 Screenprint in colours, on wove paper, the full sheet. Signed in pencil and stamp-numbered 151/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed. S. 91.4 x 91.4 cm (35 7/8 x 35 7/8 in.) Estimate £30,000-50,000 $40,100-66,800 €34,000-56,700 ‡ Literature Frayda Feldman and Jörg Schellmann 25

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Property from a Private Scandinavian Collection

44. Andy Warhol

1928-1987

Liza Minnelli, 1978 Unique screenprint in colours, on Lenox Museum Board, the full sheet. With the artist’s copyright inkstamp and the Andy Warhol Art Authentication Board Inc., inkstamp, and with the number ‘A234.009’ in pencil on the reverse, printed by Rupert Jasen Smith, New York, framed. S. 96.4 x 96.5 cm (37 7/8 x 37 7/8 in.) Estimate £40,000-60,000 $53,400-80,100 €45,300-68,000 ‡ Provenance Sotheby’s, New York, Contemporary Day Art Auction, 12 November 2009, lot 241 WG, New York Juan Ruiz Gallería, Maracaibo Private Collection, Venezuela The Collection of Tommy Hilfger Acquired directly from the above by the present owner Literature Frayda Feldman and Jörg Schellmann IIIC.34

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45. Andy Warhol

1928-1987

Cow, 1971 Screenprint in colours, on wallpaper, the full sheet. Signed, dated and numbered 77/150 in black ball-point pen on the reverse (there was also an unsigned edition of unknown size), published by Factory Additions, New York, framed. S. 116 x 75.6 cm (45 5/8 x 29 3/4 in.) Estimate £12,000-15,000 $16,000-20,000 €13,600-17,000 ‡ Literature Frayda Feldman and Jörg Schellmann 12

46. Andy Warhol

1928-1987

Mick Jagger, 1975 Screenprint in colours, on Arches Aquarelle (Rough) paper, the full sheet. Signed by the artist and Mick Jagger in pencil and black felt-tip pen respectively and numbered 21/250 in pencil (there were also 50 artist’s proofs), published by Seabird Editions, London (with their copyright inkstamp on the reverse), framed. S. 111 x 73.3 cm (43 3/4 x 28 7/8 in.) Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000 Literature Frayda Feldman and Jörg Schellmann 146

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Property from an Important Private European Collection

47. Andy Warhol

1928-1987

Skulls, 1976 The complete set of four screenprints in colours, on Strathmore Bristol paper, the full sheets. All signed and numbered 37/50 in pencil (there were also 10 artist’s proofs), published by Andy Warhol Enterprises, Inc., New York, all framed. all S. approx. 76.5 x 101.5 cm (30 1/8 x 39 7/8 in.) Estimate £60,000-80,000 $80,100-107,000 €68,000-90,700 Literature Frayda Feldman and Jörg Schellmann 157-160

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48. Andy Warhol

1928-1987

Volkswagen, from Ads, 1985 Screenprint in colours, on Lenox Museum Board, the full sheet. Signed and numbered ‘IV/X’ in pencil (one of 10 copies in Roman numerals, the edition was 190 and 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. 96.6 x 96.8 cm (38 x 38 1/8 in.) Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000 ‡ Literature Frayda Feldman and Jörg Schellmann 358

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49. Andy Warhol

1928-1987

Frolunda Hockey Player, 1986 Unique screenprint in colours, on Lenox Museum Board, the full sheet. Signed by Frederick W. Hughes (Executor of the Estate of Andy Warhol), titled, dated and numbered ‘T.P. 8/14’ in pencil on a stamped Certifcate of Authenticity on the reverse (one of 14 unique colour trial proofs, before the edition of 100 and 20 artist’s proofs), published by Art Now Gallery, Göteborg, Sweden, framed. S. 101.7 x 81.3 cm (40 x 32 in.) Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000 Literature Frayda Feldman and Jörg Schellmann IIB.366

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50. Andy Warhol

1928-1987

Paolo Uccello, St. George and the Dragon, 1460, from Details of Renaissance Paintings, 1984 Screenprint in colours, on Arches Aquarelle (Cold Pressed) paper, with full margins. Signed and numbered 31/50 in pencil (there were also 12 artist’s proofs), co-published by Editions Schellmann & Klüser, Munich and New York (with their and the artist’s copyright inkstamp verso), framed. I. 64 x 94.6 cm (25 1/4 x 37 1/4 in.) S. 81.4 x 111.9 cm (32 x 44 in.) Estimate £8,000-12,000 $10,700-16,000 €9,100-13,600 ‡

51. Andy Warhol

1928-1987

Neuschwanstein, 1987 Screenprint in colours, on Arches 88 paper, the full sheet. Signed and numbered 27/100 in pencil (there were also 25 artist’s proofs), with the artist’s copyright inkstamp on the reverse, co-published by Editions Schellmann and Sabine Knust, Munich and New York, framed. S. 85.1 x 60 cm (33 1/2 x 23 5/8 in.) Estimate £12,000-18,000 $16,000-24,000 €13,600-20,400 ‡ Literature Frayda Feldman and Jörg Schellmann 372

Literature Frayda Feldman and Jörg Schellmann 325

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52. Andy Warhol

1928-1987

Joseph Beuys in Memoriam, from For Joseph Beuys, 1986 Screenprint in colours, on Arches 88 paper, the full sheet. Signed and numbered 68/90 in pencil (there were also 30 in Roman numerals and 20 artist’s proofs), published by Galerie Bernd Klüser and Edition Schellmann, Munich and New York (with their and the artist’s copyright inkstamp verso), framed. S. 81.4 x 61 cm (32 x 24 in.) Estimate £8,000-10,000 $10,700-13,400 €9,100-11,300 Literature Frayda Feldman and Jörg Schellmann 371

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53. Andy Warhol

1928-1987

Joseph Beuys, 1980 Screenprint in colours with diamond dust, on Arches Cover Black paper, the full sheet. Signed and numbered 7/15 in pencil (an artist’s proof, the edition was 90), published by Editions Schellmann & Klüser, Munich and New York, framed. S. 112.2 x 76.5 cm (44 1/8 x 30 1/8 in.) Estimate £12,000-18,000 $16,000-24,000 €13,600-20,400 Literature Frayda Feldman and Jörg Schellmann 247

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Property from a Private Rhineland Collection

54. Joseph Beuys

1921-1986

Capri Batterie, 1985 Multiple comprising light bulb (Mazda) without the manufacturer’s inkstamp, plug socket, and exchangeable lemon, contained in the original wooden box. Signed and numbered 184/200 in pencil on the accompanying Certifcate of Authenticity (there were also some artist’s proofs), published by Edizioni Lucio Amelio, Naples. 11.7 x 6.7 x 5.7 cm (4 5/8 x 2 5/8 x 2 1/4 in.) Estimate £7,000-9,000 $9,300-12,000 €7,900-10,200 ♠ Literature Jörg Schellmann 546

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55. Gerhard Richter

b. 1932

Kerze I (Candle I), 1988 Ofset lithograph in colours, on ofset paper, the full sheet. Signed in black felt-tip pen (one of 2 trial proofs, the edition was 250), published by Verein zur Förderung moderner Kunst e.V. (at the Mönchehaus-Museum für moderne Kunst), Goslar, framed. S. 89.4 x 94.6 cm (35 1/4 x 37 1/4 in.) Estimate £15,000-20,000 $20,000-26,700 €17,000-22,700 ‡ ♠ Provenance Sotheby’s, New York, Prints, 1 May 2014, lot 284 Literature Hubertus Butin 64

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Property from a Private Collection, United Kingdom

56. Gerhard Richter

b. 1932

September, 2009 Digital inkjet print in colours, on white vinyl sheet, with grey colour printed on the reverse, mounted between two plates of glass with metal strainer on the reverse for wall-hanging (as issued), contained in the original grey wooden case. Signed and numbered 29/40 in blue felt-tip pen on a label afxed to the reverse (there were also 4 artist’s proofs and 9 unique colour variants), published by Joe Hage, London. I. 52 x 71.5 cm (20 1/2 x 28 1/8 in.) glass 66 x 90 cm (25 7/8 x 35 3/8 in.) Estimate £80,000-120,000 $107,000-160,000 €90,700-136,000 ♠ Literature Hubertus Butin 139

September is a history painting, but not in the way that we might expect. Counter to the tradition of depicting a major event in a rhetorically grandiose format, Gerhard Richter instead presents us with an intimately scaled, almost obscured image that slowly unfurls before the viewer. Taken from the 2005 painting of the same title, Richter’s print, sandwiched between planes of glass, presents a crucial moment of the attacks of September 11th 2001. The artist’s initial painted composition was delicately, realistically reproduced in colourful detail - as Gerhard Richter described it, “with the garish explosion beneath the wonderful blue sky and the fying rubble.” However, he found the painting unbearable in this form, too real and too close both pictorially and perhaps emotionally. He stated: “That couldn’t work; only when I destroyed it, so to speak, scratched it of, was it ft to be seen.” By faying the surface of the image, Richter disrupts the meticulous paintwork, rendering the trauma not only visible but palpable. The image exists at the edge of being recognisable, at the liminal point where the information it contains could assemble into a number of known narratives, and the mind must work to create coherence from the ill-defned contours of form and blurred colour. A fgment, or fraction of memory rather than a documentation of history, Richter’s September assembles the multitude of recorded and recycled mass media images from the viewer’s visual archive, with the glass plates recalling the digital and televisual mediums through which most of the world collectively witnessed this event. Yet by obscuring the image, Richter chooses to distance the viewer from this remembered visual record, deliberately opening gaps of meaning between us and the images we know so well.

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57. Gerhard Richter

b. 1932

Haut II, 2004 Screenprint and frequency modulated ofset print in bluish grey, on heavy rag paper, with full margins. Signed, titled, dated and numbered 25/60 in pencil (there were also 12 artist’s proofs), published by Kunstmuseum Bonn, contained in a pale wooden frame specifed by the artist. framed 78.2 x 105.2 cm (30 3/4 x 41 3/8 in.) Estimate £8,000-12,000 $10,700-16,000 €9,100-13,600 ♠ Literature Hubertus Butin 127

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58. Gerhard Richter

b. 1932

Abstraktes Foto, 1989 Gelatin silver print, mounted to white plastic board with white mount. Signed, dated and numbered 12/50 in black ink (there were also 7 artist’s proofs), published by Galerie Fred Jahn, Munich, framed. motif 50 x 70 cm (19 5/8 x 27 1/2 in.) overall 73.2 x 99 cm (28 7/8 x 38 7/8 in.) Estimate £8,000-12,000 $10,700-16,000 €9,100-13,600 ♠ Literature Hubertus Butin 69

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Property from a Private Rhineland Collection

59. Donald Judd

1928-1994

Untitled, 1988 The complete set of 10 woodcuts in black, on Okawara paper, the full sheets, with colophon, loose (as issued) contained in the original fabric-covered portfolio. All signed and numbered 9/25 in pencil on the reverse (there were also 10 artist’s proofs), published by Brooke Alexander Editions, New York. portfolio 86 x 6 7 x 2 cm (33 7/8 x 26 3/8 x 3/4 in.) Estimate £80,000-120,000 $107,000-160,000 €90,700-136,000 Literature Jörg Schellmann 177-186

It was with ambivalence that Donald Judd frst approached the woodcut medium in 1953. The physical, messy nature of carving the wood initially caused trepidation for an artist who did not like to work with his hands or fuss with tools. Yet the woodcut medium aforded Judd a crucial moment of artistic experimentation. His drawings and lithographs up to this point had included fowing lines and blended colours, but the hard birch woodcuts allowed only sharp, clean lines. Judd was thereby encouraged to graduate from his initial fgurative experimentations of 1953, to briefy engage with the organic, abstract shapes of 1955-1960, before reaching the clarity and power of the parallelograms of 1961. The straight lines of these shapes however, are difcult to create in wood, requiring cuts across the grain that surpassed Judd’s skills and tools, and so he turned to his woodworking father, Roy for assistance. Prior to his father’s involvement, Judd would carve the wood himself before printing one or two copies. It was a process of thinking with his hands - thinking through doing. Once he had relinquished the labour of cutting the wood, Judd was able to take a step back, to isolate the ideas in his head from the making process, which now required translation and became more deliberate. Together, father and son embarked on a collaborative printmaking venture that would free Judd from the burden of making and allow his woodcuts to evolve into the mature rectilinear forms we present in the following two lots [59 and 60].  No longer limited by his own carpentry skills, Judd worked prolifcally throughout the 1960s on a series of geometric woodcut iterations that focused on the binary. He tested various thicknesses of line and modifcation of shape, with the cut of the wood dictating an either/or situation: either wood (colour) or line (blank paper). However, it is not until 1986, with Judd’s production of four woodcuts for the portfolio For Joseph Beuys that the artist departs from the series of parallelograms, and we see a true visual predecessor to the present two lots.

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Those four woodcuts depict a single feld of coloured ink, matching the rectangular shape of the paper. The series was something of a declaration in its simple, yet uncompromising celebration of colour. As Marietta Josephus Jitta stated, “In his graphical work, [this] series is continually referred to as the basis for new research on the fat surface.” This continued reference is demonstrated with lot 60: Untitled, 1988-90, where Judd played with yellow and orange hues to create positive and negative pairs of this initial rectangle of colour. There is a vital physicality to this set of woodcuts, which can be considered analogous to Judd’s three-dimensional objects in that an inner volume and an outer frame have been transferred onto fat paper. With lot 59: Untitled, 1988 however, Judd pushed his spatial experimentations further, creating a sequence of works that elaborate upon the possibilities for dividing pictorial space. The series itself is formed of fve sets of pairs, each one the direct inverse of the other, alternating richly inked solids and paper voids. The pairs are then rhythmically subdivided into halves and thirds, creating numerous possibilities of space for the viewer to inhabit. In his 1958 book The Poetics of Space, French philosopher Gaston Bachelard described the lived experience of space, surmising that “it is better to live in a state of impermanence than in one of fnality.” Despite his choice of medium, Judd’s divisions of pictorial space are not hard-edged, prescriptive boxes confning the viewer’s eye to the paper surface and the inked borders. Instead, his meticulous divisions and subdivisions can be read as the start of pattern that hints towards endless repetition. The viewer is invited to choose which rectangle to visually inhabit, and to imagine the numerous possibilities of space created by a single colour, and just a few, elegant and precisely carved lines.

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01_UK_EDITIONS_JAN18_FO1_Judd_74-75.indd 1

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Property from a Private Rhineland Collection

60. Donald Judd

1928-1994

Untitled, 1988-90 The complete set of six woodcuts in yellows, on Tosa Hanga paper, the full sheets. All signed and numbered ‘PP 3/4’ in pencil on the reverse (a printer’s proof set, the edition was 25 in Arabic numerals, 15 in Roman numerals and 10 artist’s proofs), co-published by Brooke Alexander Editions, New York and Kölnischer Kunstverein, Cologne, all unframed. all S. 60 x 80 cm (23 5/8 x 31 1/2 in.) Estimate £40,000-60,000 $53,400-80,100 €45,300-68,000 Literature Jörg Schellmann 187-192

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61. Jasper Johns

b. 1930

Cicada, from Marginalia, 1979 Screenprint in colours, on Kurotani Hosho paper, with full margins. Signed, dated and numbered 98/100 in pencil (there were also 10 artist’s proofs), co-published by the artist and Simca Print Artists, Inc., New York, framed. I. 44.6 x 34 cm (17 1/2 x 13 3/8 in.) S. 55.8 x 46 cm (21 7/8 x 18 1/8 in.) Estimate £12,000-18,000 $16,000-24,000 €13,600-20,400 ‡ Literature Universal Limited Art Editions 204

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62. Ellsworth Kelly

1923-2015

Colored Paper Image XI (Gray Curves with Brown), from Colored Paper Images, 1976 Coloured and pressed paper pulp, with full margins. Signed and annotated ‘PP’ in pencil (one of 2 printer’s proofs, the edition was 18 and 7 artist’s proofs), published by Tyler Graphics Ltd., Mt. Kisco, New York (with their and the artist’s blindstamps), framed. I. 108 x 73.5 cm (42 1/2 x 28 7/8 in.) S. 116 x 81.5 cm (45 5/8 x 32 1/8 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ‡ Literature Richard Axsom 151 Tyler Graphics 307

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63. Howard Hodgkin

1932-2017

As Time Goes By (red), 2009 Aquatint in colours 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 2/7 in pencil (there were also 3 artist’s proofs), published by Alan Cristea Gallery, London, unframed. overall S. 243.8 x 609.6 cm (95 7/8 x 240 in.) Estimate £40,000-60,000 $53,400-80,100 €45,300-68,000 ♠

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64. Howard Hodgkin

1932-2017

As Time Goes By (blue), 2009 Aquatint in colours 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 2/7 in pencil (there were also 3 artist’s proofs), published by Alan Cristea Gallery, London, unframed. overall S. 243.8 x 609.6 cm (95 7/8 x 240 in.) Estimate £40,000-60,000 $53,400-80,100 €45,300-68,000 ♠

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65. Sean Scully

b. 1945

Seven Mirrors, 1997 The complete set of seven diptych etching and aquatints with spitbite and sugarlif in colours, on Somerset paper, with full margins. All signed (six with initials), one titled, all dated, annotated consecutively '1-7' and numbered 23/40 in pencil (there were also 5 artist's proofs), co-published by the artist and Alexander & Bonin Publishing, New York, all framed, lacking the original portfolio. all I. 23.8 x 20.1 cm (93/8 x 77/8 in.) all S. 58.2 x 48 cm (227/8 x 187/8 in.) Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 ♠ Literature Graphische Sammlung Albertina 97004

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66. Imi Knoebel

b. 1940

Anima Mundi 69-4, 2010/2015 Acrylic in colours, on four constructed plastic panels, each mounted to aluminium (as issued). Panel ‘D’ signed, all titled, dated and numbered 2/5 in black ink and annotated ‘A’, ‘B’, ‘C’, and ‘D’ respectively in pencil on the reverse, all framed. all 46 x 36 cm (18 1/8 x 14 1/8 in.) Estimate £15,000-20,000 $20,000-26,700 €17,000-22,700 ♠

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67. Imi Knoebel

b. 1940

Anima Mundi 6-3, 2009/2014 Acrylic in colours, on three constructed plastic panels, mounted to aluminium (as issued). Panel ‘C ’ signed, all titled, dated, numbered 3/5 and annotated ‘A’, ‘B’, and ‘C’ respectively in black ink on the reverse, all framed. all 45.8 x 36 cm (18 x 14 1/8 in.) Estimate £12,000-15,000 $16,000-20,000 €13,600-17,000 ♠

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68. Bridget Riley

b. 1931

Untitled, from La Lune en Rodage - Carlo Belloli, 1965 Screenprint, on wove paper, with full margins. Signed, dated and numbered 12/200 in pencil (there were also 10 artist’s proofs), published by Editions Panderma, Basel, framed. I. 29.5 x 29.3 cm (11 5/8 x 11 1/2 in.) S. 31.8 x 31.7 cm (12 1/2 x 12 1/2 in.) Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 ♠ Literature Karsten Schubert 6

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69. Anish Kapoor

b. 1954

Shadow, 2007 The complete set of nine etchings in colours, on Somerset Textured paper, the full sheets, with the original black buckram-covered wooden box. All signed and numbered 18/35 in pencil on the reverse (brown lacking signature), also numbered in pencil on the colophon (there were also 6 artist’s proofs), published by The Paragon Press, London, all framed. all S. 49 x 65 cm (19 1/4 x 25 5/8 in.) Estimate £15,000-20,000 $20,000-26,700 €17,000-22,700 ‡ ♠ Literature The Paragon Press 2006-2010 pp. 142-153

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70. Damien Hirst

b. 1965

71. Damien Hirst

b. 1965

Methamphetamine, 2004 Etching and aquatint in colours, on Hahnemühle paper, with full margins. Signed in pencil on the front and numbered 42/115 in pencil on the reverse (there were also 30 artist’s proofs), published by The Paragon Press, London, unframed. I. 177.8 x 86.4 cm (70 x 34 in.) S. 203 x 109.5 cm (79 7/8 x 43 1/8 in.)

Tetrahydrocannabinol, 2004 Etching and aquatint in colours, on Hahnemühle paper, with full margins. Signed in pencil on the front and numbered 55/115 in pencil on the reverse (there were also 25 artist’s proofs and 35 unique multiples), published by The Paragon Press, London, unframed. I. 86.3 x 177.5 cm (33 7/8 x 69 7/8 in.) S. 112.2 x 201 cm (44 1/8 x 79 1/8 in.)

Estimate £8,000-10,000 $10,700-13,400 €9,100-11,300 ♠ †

Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 ♠ †

Literature The Paragon Press 2001-2006 pp. 138-139

Literature The Paragon Press 2001-2006 pp. 140-141

This work has been authenticated by the Hirst Authentication Committee

This work has been authenticated by the Hirst Authentication Committee

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72. Damien Hirst

b. 1965

All You Need is Love Love Love, 2009 Screenprint in colours with diamond dust, on wove paper, with full margins. Signed and numbered 14/50 in pencil (there were also 10 artist’s proofs), published by Other Criteria, London (with their and the artist’s blindstamp), framed. I. 127 x 127 cm (50 x 50 in.) S. 152 x 152 cm (59 7/8 x 59 7/8 in.) Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000 ♠ This work has been authenticated by the Hirst Authentication Committee

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73. Damien Hirst

b. 1965

Mickey, 2014 Screenprint in colours with glaze, on wove paper, with full margins. Signed and numbered 47/250 in pencil (there were also 10 artist’s proofs), published by Other Criteria, London (with their and the artist's blindstamp), framed. I. 84 x 50 cm (33 1/8 x 19 5/8 in.) S. 87.4 x 70 cm (34 3/8 x 27 1/2 in.) Estimate £18,000-20,000 $24,000-26,700 €20,400-22,700 ♠ This work has been authenticated by the Hirst Authentication Committee

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74. Damien Hirst

b. 1965

Mickey (Blue Glitter), 2016 Screenprint in colours with glitter, on wove paper, the full sheet. Signed and numbered 18/50 in pencil on the reverse (there were also 10 artist’s proofs), with the artist’s copyright inkstamp on the reverse, published by Other Criteria, London, unframed. S. 152.4 x 122.5 cm (60 x 48 1/4 in.) Estimate £18,000-22,000 $24,000-29,400 €20,400-24,900 ♠ This work has been authentication by the Hirst Authentication Committee

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75. Damien Hirst

b. 1965

Minnie (Pink Glitter), 2016 Screenprint in colours with glitter, on wove paper, the full sheet. Signed and numbered 18/50 in pencil on the reverse (there were also 10 artist’s proofs), with the artist’s inkstamp on the reverse, published by Other Criteria, London, unframed. S. 152.4 x 122.5 cm (60 x 48 1/4 in.) Estimate £18,000-22,000 $24,000-29,400 €20,400-24,900 ♠ This work has been authenticated by the Hirst Authentication Committee

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76. Julian Opie

b. 1958

This is Shahnoza in 3 parts (8), 2008 Flocking adhesive screenprinted on 3mm white Plexiglas acrylic, with hand-focked black nylon, in three panels. Signed in black ink and numbered 30/30 (printed) on a label afxed to the reverse of the head panel (there were also 7 artist’s proofs), published by Alan Cristea Gallery, London, each panel contained in the original matt black aluminium frames specifed by the artist. overall 130 x 147 x 4 cm (51 1/8 x 57 7/8 x 1 5/8 in.) Estimate £12,000-18,000 $16,000-24,000 €13,600-20,400 ♠ Literature Alan Cristea 134

77. Julian Opie

b. 1958

Walking in London 1, 2014 The complete set of fve lenticular acrylic panels comprised of four inkjet prints in colours, printed directly onto 20 lpi lenticular animating lenses, back mounted with 3mm Dibond. All signed in black ink and numbered 46/50 (printed) on labels afxed to the reverse of each panel (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London, all contained in brushed aluminium frames specifed by the artist. all panels various sizes, largest 87.3 x 60.9 x 4 cm (34 3/8 x 23 7/8 x 1 5/8 in.) Estimate £25,000-35,000 $33,400-46,700 €28,300-39,700 ♠ Literature Alan Cristea 259-263 Including: Detective, Lawyer, Banker, Student, and Nurse

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78. Robert Longo

b. 1953

Men in the Cities, 1990 The complete set of fve lithographs, on Arches paper, with full margins, four contained in the original dark blue linen-covered portfolio. All signed, dated, annotated ‘I-V’ consecutively and numbered 47/48 in pencil (there were also 12 artist’s proofs), published by Seibu Department Stores Ltd., Tokyo, one framed. all I. various sizes, all S. 65.7 x 101 cm (25 7/8 x 39 3/4 in.) two vertical Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000 ‡

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79. After Jean-Michel Basquiat

1960-1988

Cabeza, from Portfolio II, 1982-4/2005 Screenprint in colours, on Saunders Hot Press watercolour paper, the full sheet. Numbered 51/85 in pencil on the front, signed and dated ‘10-19-04’ by Gerard Basquiat (Administrator of the Estate of Jean-Michel Basquiat) in pencil on a stamped Certifcate of Authenticity on the reverse (there were also 15 artist’s proofs), published by David DeSanctis Contemporary Art, New York, framed. S. 139 x 100.8 cm (54 3/4 x 39 5/8 in.) Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000

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80. After Jean-Michel Basquiat

1960-1988

Head, from Portfolio I, 1983/2001 Screenprint in colours, on wove paper, the full sheet. Numbered 4/85 in pencil on the front, signed and dated ‘11-19-01’ by Gerard Basquiat (Administrator of the Estate of Jean-Michel Basquiat) in pencil on a stamped Certifcate of Authenticity on the reverse (there were also 15 artist's proofs), published by De Sanctis Carr Fine Art, Los Angeles, framed S. 101.5 x 101.5 cm (39 7/8 x 39 7/8 in.) Estimate £30,000-50,000 $40,100-66,800 €34,000-56,700

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81. Mel Bochner

b. 1940

Blah Blah Blah, 2014 Monoprint in colours with collage, engraving and embossment, on hand-dyed Twinrocker handmade paper, the full sheet. Signed and dated in pencil, a unique colour variant, published by Two Palms Press, New York, framed. S. 30 x 44 cm (11 3/4 x 17 3/8 in.) Estimate £8,000-10,000 $10,700-13,400 €9,100-11,300 †

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82. Mel Bochner

b. 1940

Thank You!, 2014 Screenprint in colours, on heavy card paper prepared with colour shifing pigment, the full sheet. Signed, dated and numbered 30/30 in pencil (there were also 6 artist's proofs), published by Two Palms Press, New York, framed. S. 158.6 x 118 cm (62 1/2 x 46 1/2 in.) Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 ‡

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83. Yayoi Kusama

b. 1929

Pumpkin (Limoges), 2002 The complete set of fve porcelain multiples painted in colours with glaze, each contained in the original matching paper-covered, fabric-lined boxes with printed signature and date on the underside of the lid. Each multiple with printed signature and date, and numbered ‘50’ in black ink, from the edtion of 130, with the Limoges France stamp on the underside, published by FMR Trading, Hirakata, Japan. each 9 x 7 x 7 cm (3 1/2 x 2 3/4 x 2 3/4 in.) box 10.5 x 11 x 12.5 cm (4 1/8 x 4 3/8 x 4 7/8 in.) Estimate £12,000-18,000 $16,000-24,000 €13,600-20,400

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84. Yoshitomo Nara

b. 1959

Afer the Acid Rain (Day), 2010 Ukiyo-e woodcut in colours, on Japanese paper, the full sheet. Signed, dated and numbered 36/50 in pencil (there were also 12 artist’s proofs), published by Pace Editions, Inc., New York, framed. S. 55.5 x 44.5 cm (21 7/8 x 17 1/2 in.) Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 Literature N. Miyamura and S. Suzuki, eds. E-2010-002

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85. Yoshitomo Nara

b. 1959

Afer the Acid Rain (Night), 2010 Ukiyo-e woodcut in colours, on Japanese paper, the full sheet. Signed, dated and numbered 8/50 in pencil (there were also 12 artist’s proofs), published by Pace Editions, Inc., New York, framed. S. 55.5 x 44.5 cm (21 7/8 x 17 1/2 in.) Estimate £10,000-15,000 $13,400-20,000 €11,300-17,000 Literature N. Miyamura and S. Suzuki, eds. E-2010-001

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86. KAWS

b. 1974

No Reply, 2015 The complete set of 10 screenprints in colours, on wove paper, the full sheets, with the original blue fabriccovered portfolio with embossed title. All signed, dated and numbered 51/100 in pencil (there were also 20 artist’s proofs), published by Pace Editions, Inc., New York, all framed. all S. 88.8 x 58.4 cm (34 7/8 x 22 7/8 in.) Estimate £20,000-30,000 $26,700-40,100 €22,700-34,000 ‡

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87. Banksy

b. 1975

Girl with Balloon, 2004 Screenprint in colours, on wove paper, with full margins. Numbered 432/600 in pencil (from the unsigned edition, there was also a signed edition of 150), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 38.5 x 25 cm (15 1/8 x 9 7/8 in.) S. 65.7 x 49.7 cm (25 7/8 x 19 5/8 in.) Estimate £15,000-20,000 $20,000-26,700 €17,000-22,700 ♠

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88. Banksy

b. 1975

Soup Can (Original), 2005 Screenprint in colours, on wove paper, with full margins. Signed, dated and numbered 49/50 in pencil (the edition was 50 signed and 250 unsigned impressions, there were also 10 artist’s proofs), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 25.5 x 15 cm (10 x 5 7/8 in.) S. 50 x 35 cm (19 5/8 x 13 3/4 in.) Estimate £7,000-9,000 $9,300-12,000 €7,900-10,200 ♠

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306. KAWS

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Day Editions Lot 89 – 327, 1pm

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89. Pablo Picasso

1881-1973

90. Pablo Picasso

1881-1973

Visage no. 0 (Face no. 0), 1963 White earthenware plate, painted in colours with brushed glaze. Numbered 205/500 and inscribed ‘N°’, ‘EDITION PICASSO’, and ‘MADOURA’ in black on the underside, with accompanying display frame. 26 cm (10 1/4 in.) diameter

Bouquet à la pomme (Bouquet with Apple), 1956 White earthenware plate, painted in colours with black oxide, coloured engobe and partial brushed glaze. From the edition of 400, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. 25.7 cm (10 1/8 in.) diameter

Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 ‡ ♠

Estimate £2,500-3,500 $3,300-4,700 €2,800-4,000 ‡ ♠

Literature Alain Ramié 458

Literature Alain Ramié 305

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91. Pablo Picasso

1881-1973

Couple, from La Magie Quotidienne (Daily Magic), 1968 Etching, on parchment paper watermarked LB, with full margins. Signed and numbered ‘H.C. 4/7’ in pencil (an hors commerce impression, the total edition was 188 on various papers), published by Louis Broder, Paris, unframed. I. 22 x 32 cm (8 5/8 x 12 5/8 in.) S. 36.5 x 47.4 cm (14 3/8 x 18 5/8 in.) Estimate £2,500-3,500 $3,300-4,700 €2,800-4,000 ♠ Literature Georges Bloch 1460 Brigitte Baer 1505 Ba see Patrick Cramer books 144

93. Pablo Picasso

92. Pablo Picasso

1881-1973

Scène bucolique avec Amour aux Castagnettes (Bucolic Scene with Cupid and Castanettes), 1955 Etching, on pale green laid paper, with full margins. With stamped signature and numbered 17/50 in pencil (there were also 15 artist’s proofs), published in 1980 by Galerie Louise Leiris, Paris, framed. I. 25.9 x 30.7 cm (10 1/4 x 12 1/8 in.) S. 36 x 46.2 cm (14 1/8 x 18 1/4 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ‡ ♠ Literature George Bloch 772 Brigitte Baer 947

1881-1973

Le Bain, plate 12 from La Suite des Saltimbanques (The Bath, from The Acrobats Suite), 1905 Drypoint, on Van Gelder Zonen paper, with full margins. From the edition of 250 (there were also 27 or 29 proofs on Japanese paper), published in 1913 by Ambroise Vollard, Paris, framed. I. 34.2 x 28.9 cm (13 1/2 x 11 3/8 in.) S. 66.1 x 51 cm (26 x 20 1/8 in.) Estimate £3,000-4,000 $4,000-5,300 €3,400-4,500 ‡ ♠ Literature Georges Bloch 12 Brigitte Baer 14

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94. After Pablo Picasso

1881-1973

95. After Pablo Picasso

1881-1973

Portrait imaginaire (Imaginary Portraits): one plate, 1969 Ofset lithograph in colours, on Arches paper, the full sheet. Numbered ‘A 33/250’ in pencil, from the American edition (there was also a French edition of 250 marked ‘F’), published by Harry N. Abrams, New York, unframed. S. 65.7 x 50.2 cm (25 7/8 x 19 3/4 in.)

Portrait imaginaire (Imaginary Portraits): one plate, 1969 Ofset lithograph in colours, on Arches paper, the full sheet. Numbered ‘A 139/250’ in pencil, from the American edition (there was also a French edition of 250 marked ‘F’), published by Harry N. Abrams, New York, unframed. S. 65.7 x 50.3 cm (25 7/8 x 19 3/4 in.)

Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠ †

Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠ †

96. Rufno Tamayo

1899-1991

Hombre Contemplando la Luna (Man Contemplating the Moon), 1947 Etching and aquatint, on laid paper, with full margins. Signed twice and dedicated ‘To Phyllis with kind wishes’ in pencil, a proof aside from the edition of 80 (there were also 5 unsigned hors commerce impressions), published by The Quadrangle Press, New York for the artist’s deluxe edition monograph written by Robert Goldwater, unframed. I. 20 x 15 cm (7 7/8 x 5 7/8 in.) S. 30.5 x 25 cm (12 x 9 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ‡ Literature Juan Carlos Pereda 29

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97. Joan Miró

1893-1983

Feuilles éparses (Scattered Leaves): two plates, 1957 Two etching and aquatints in colours, on BFK Rives paper, with full margins. Both signed and numbered 34/50 in pencil (there were also 10 impressions on Japanese paper and 12 proofs on Rives paper touched-up by the artist), published in 1965 by Louis Broder, Paris, both unframed. both I. 20.8 x 17.3 cm (8 1/4 x 6 3/4 in.) (i) S. 38.3 x 27.8 cm (15 1/8 x 10 7/8 in.) (ii) S. 37.9 x 28.2 cm (14 7/8 x 11 1/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ‡ ♠ Literature Jacques Dupin 120-121 see Patrick Cramer books 99-100

98. Joan Miró

1893-1983

The Prints of Joan Miró: one plate, 1947 Etching and aquatint in colours, on Auvergne paper, with full margins. Signed, dated and numbered 31/100 in pencil, from the total numbered edition of 1500, published by Curt Valentin, New York, unframed. I. 12.5 x 15 cm (4 7/8 x 5 7/8 in.) S. 28 x 21.5 cm (11 x 8 1/2 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ‡ ♠ Literature Jacques Dupin 47 see Patrick Cramer books 13

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99. Joan Miró

1893-1983

Fusée (Rocket): one plate, 1959 Etching and aquatint in colours, on wove paper, with full margins. Signed and numbered ‘I/XV’ in pencil (one of 15 impressions in Roman numerals, the edition was 50 and 8 proofs on parchment paper touched-up by the artist, plus several hors commerce copies), published by Louis Broder, Paris, framed. I. 12.7 x 17.8 cm (5 x 7 in.) S. 28.6 x 37.7 cm (11 1/4 x 14 7/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ‡ ♠ Literature Jacques Dupin 252

100. Joan Miró

1893-1983

L’Invitée du Dimanche III (Sunday Guest III), 1969 Etching in colours, on Arches 80 paper, with full margins. Signed and numbered 7/75 in pencil (there were also some hors commerce copies), published by Maeght, Paris, framed. I. 59.6 x 99 cm (23 1/2 x 38 7/8 in.) S. 80 x 121.3 cm (31 1/2 x 47 3/4 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ‡ ♠ Literature Jacques Dupin 482

101. Joan Miró

1893-1983

La Guerrière de Cent Ans (The Hundred Years War), 1976 Lithograph in colours, on wove paper, the full sheet. Signed and numbered 12/30 in pencil, published by Maeght, Paris, framed. S. 232.7 x 122 cm (91 5/8 x 48 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ‡ ♠ Literature Fernand Mourlot 1027

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102. Joan Miró

103. Joan Miró

1893-1983

1893-1983

L’Homme au balancier (Man with Pendulum), 1969 Etching in colours with carborundum, on Japon nacré paper, the full sheet. Signed and annotated ‘H.C.’ in pencil (an hors commerce impression, the edition was 75), published by Maeght, Paris, unframed. S. 68.2 x 49.3 cm (26 7/8 x 19 3/8 in.)

Les Perseides: one plate, 1970 Lithograph in colours, on Japon nacré paper, the full sheet. Signed and numbered ‘X/XV’ in pencil (one of 15 impressions on Japon nacré, the edition was 75 on Rives and 10 hors commerce impressions), published by Louis Broder, Paris, unframed. S. 66 x 51 cm (25 7/8 x 20 1/8 in.)

Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ‡ ♠

Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ‡ ♠

Literature Jacques Dupin 507

Literature Fernand Mourlot 656

104. Joan Miró; and Raoul Dufy 1893-1983; and 1877-1953 Les Guetteurs (The Watchers); and Batteuse Paysage Champagne, 1964; and 1954 Two lithographs, one in colours, on wove paper, the full sheet and with full margins. Both signed, the Miró annotated ‘H.C’ in pencil (an hors commerce impression aside from the edition of 75), published by Maeght, Paris, the Dufy numbered 13/100 in pencil, both unframed. Miró S. 89.7 x 61.4 cm (35 3/8 x 24 1/8 in.) Dufy I. 44.5 x 59.4 cm (17 1/2 x 23 3/8 in.) S. 50 x 65.4 cm (19 5/8 x 25 3/4 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ‡ ♠ Literature Fernand Mourlot 339

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105. Salvador Dalí

1904-1989

Alice in Wonderland, 1969 The complete set of 13 prints comprising one etching and 12 heliogravures with woodcut remarques, all in colours, on BFK Rives paper, with full margins. Each signed and annotated ‘E.A’ in pencil (one of a few artist’s proof sets aside from the edition of 100 on larger Rives paper without accompanying text, there were also editions of 200 on smaller Rives paper and 2500 on Mandeure paper with text by Lewis Carroll), each further annotated ‘Épreuve faisant partie de notre collection Rigals’ in pencil on the reverse, published by Maecenas Press - Random House, New York, all unframed. all heliogravures I. 39.5 x 27 cm (15 1/2 x 10 5/8 in.) etching I. 39.2 x 25.3 cm (15 3/8 x 9 7/8 in.) all S. 57.5 x 45 cm (22 5/8 x 17 3/4 in.)

Provenance Ateliers Rigal, Paris Private Collection, France Literature Ralf Michler and Lutz W. Löpsinger 321-333

Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠

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106. Salvador Dalí

1904-1989

Afer 50 Years of Surrealism, 1974 The complete set of 12 drypoints with pochoir in colours, on BFK Rives paper, with full margins, with title page, colophon, original paper folders with text by André Parinaud, and original black linen-covered portfolio with title printed in silver on the spine. All signed and numbered ‘F28/195’ in pencil, also signed in pencil and numbered in ink on the colophon (from the French edition of 195 with text in French, there was also an English 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 drypoints and the title page framed. all I. 40 x 30.2 cm (15 3/4 x 11 7/8 in.) all S. 65.5 x 50 cm (25 3/4 x 19 5/8 in.) one horizontal

Provenance Private Collection, Amsterdam Literature Ralf Michler and Lutz Löpsinger 665-676

Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠

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107. Salvador Dalí

1904-1989

Le Cracking du pétrole (Cracking Petroleum), from Hommage à Leonardo da Vinci (American Inventions), 1975 Drypoint with extensive hand-colouring, on BFK Rives paper, with full margins. Signed and inscribed ‘Bon à tirer’ in pencil (the ‘good to print’ impression before the edition of 450 and 60 artist’s proofs on Arches paper, published by Editions de Francony/ Editions Graphiques Internationales), with further pencil annotations in the margins, printed by Ateliers Rigal, Paris, inscribed ‘êpreuve pour essai couleurs au BAT par Salvador Dalí. Epreuve faisant partie de notre collection’ by Denise Rigal in pencil on the reverse, unframed. I. 36 x 50.5 cm (14 1/8 x 19 7/8 in.) S. 56.5 x 75.5 cm (22 1/4 x 29 3/4 in.)

Provenance Ateliers Rigal, Paris Private Collection, France Literature see Ralf Michler and Lutz W. Löpsinger 808 This work is registered in the Archives Descharnes under number D_5761 (a certifcate has been issued and is available for purchase from the Archives Descharnes)

Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠

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108

109

108. Christo and Jeanne-Claude

b. 1935 and

109. Christo and Jeanne-Claude

b. 1935 and

1935-2009

1935-2009

Wrapped Telephone, Project, from 12 years of Galeria Joan Prats, 1976-1988, 1988 Lithograph with collage of transparent polyethylene, twine, and staples, with hand-colouring in grease pencil and paint, on Guarro paper mounted to board (as issued), the full sheet. Signed and numbered 43/100 in pencil (there were also 25 artist's proofs in Roman numerals), published by Galeria Joan Prats, Barcelona, unframed. S. 56 x 37.8 cm (22 x 14 7/8 in.)

Wrapped Walk Ways, Project for St. Stephen’s Green Park, Dublin, 1983 Lithograph in colours with collage of white cloth and card, on Arches cover paper mounted to cardboard (as issued), the full sheet. Signed and dated in pencil (the unnumbered, right-to-print proof before the edition of 100 and 20 artist’s proofs plus 25 in Roman numerals), published by Editions Schellmann & Klüser, Munich and New York, framed. S. 71.3 x 113 cm (28 1/8 x 44 1/2 in.)

Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400

Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400

Literature Jörg Schellmann 137

Literature Jörg Schellmann 11

110. Christo and Jeanne-Claude

b. 1935 and

1935-2009 Five Urban Projects, 1985 The complete set of fve prints comprising photographs with collotype and screenprint, four with collage in various materials, some with felt marker or pencil additions, mounted to Arches paper, the sheets loose (as issued) contained in the original card portfolio with printed spine. All signed and numbered 15/100 in pencil (there were also 20 artist’s proofs in Arabic numerals and 20 in Roman numerals), published by Edition Schellmann, Munich and New York. portfolio 37 x 29.5 x 4 cm (14 5/8 x 11 5/8 x 1 5/8 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 Literature Jörg Schellmann 123-127

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111. Francis Bacon

1909-1992

Afer Second Version of Painting 1946, 1971 Ofset lithograph in colours, on Arches paper, the full sheet. Signed in black felt-tip pen (faded), (an unnumbered proof aside from the edition of 150), published by Städlische Kunsthalle, Düsseldorf, unframed. S. 80.9 x 58.9 cm (31 7/8 x 23 1/4 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠ † Literature Bruno Sabatier 31 Alexandre Tacou 1

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Property from a Private Collection, Los Angeles

112. Lucian Freud

1922-2011

A Couple, 1982 Etching, on wove paper, with full margins. Signed with initials and numbered ‘A.P. IV/X’ in pencil (one of 10 artist’s proofs in Roman numerals, the edition was 25), published by Thames and Hudson, London, to accompany the deluxe edition of Lawrence Gowing’s book, Lucian Freud, framed. I. 11.4 x 11.4 cm (4 1/2 x 4 1/2 in.) S. 27 x 21.6 cm (10 5/8 x 8 1/2 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ‡ ♠ Literature Craig Hartley 7 Print Quarterly 9

Property from a Private Collection, Los Angeles

113. Lucian Freud

1922-2011

Head of a Woman, 1982 Etching, on wove paper, with full margins. Signed with initials and numbered ‘A/P VII/X’ in pencil (one of 10 artist’s proofs in Roman numerals, the edition was 25), published by Thames and Hudson, London, to accompany the deluxe edition of Lawrence Gowing’s book, Lucian Freud, framed. I. 12.4 x 12.4 cm (4 7/8 x 4 7/8 in.) S. 27.3 x 21.9 cm (10 3/4 x 8 5/8 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ‡ ♠ Literature Craig Hartley 10 Print Quarterly 12

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This lot is sold with no reserve

114. Barbara Hepworth

116.

1903-1975

115. Victor Pasmore

1908-1998

Three Forms Assembling, from Europäische Graphik VI, 1968 Lithograph in colours, on Japanese paper, with full margins. Signed and numbered ‘V/XXXV’ in pencil (one of 35 impressions in Roman numerals, the edition was 65 on Arches and 18 artist’s proofs), published by Galerie Wolfgang Ketterer, Munich (with their blindstamp), unframed. I. 58 x 46.5 cm (22 7/8 x 18 1/4 in.) S. 70 x 50 cm (27 1/2 x 19 5/8 in.)

Senze Titolo 9 (Untitled 9), 1989 Etching and aquatint in colours, on wove paper, with full margins. Signed with initials, dated and numbered 42/90 in pencil, published by Stamperia d’Arte 2RC, Rome (with their blindstamp), unframed. I. 158.5 x 98.5 cm (62 3/8 x 38 3/4 in.) S. 215.5 x 123 cm (84 7/8 x 48 3/8 in.)

Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠

Literature Norbert Lynton G61

David Hockney

Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ‡ ♠

b. 1937

Apples, Pears & Grapes, May 1986, 1986 Hand-made print in colours executed on an ofce copier, on Arches text paper, the full sheet. Signed, dated and numbered 31/50 in pencil, with the artist’s blindstamp, framed. S. 21.6 x 35.6 cm (8 1/2 x 14 in.) Estimate £2,500-3,500 $3,300-4,700 €2,800-4,000 ‡ ♠ Literature Museum of Contemporary Art Tokyo 291

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117. David Hockney

b. 1937

Cold Water about to Hit the Prince; Pleading for the Child; and He Tore Himself in Two, plates 28, 37 and 39 from, Illustrations for Six Fairy Tales from the Brothers Grimm, 1969 Three etchings, two with aquatint, on Hodgkinson handmade wove paper watermarked ‘DH / PP’, with full margins. Each signed and numbered 67/100, 24/100 and 58/100 respectively in pencil on the front and inscribed ‘Grimm Portfolio’ or ‘GP’ in sepia ink (faded) on the reverse (there were also ffeen artist’s proofs and a total book edition of 460 copies), co-published by Petersburg Press, New York and Kasmin Gallery, London, one framed. all I. various sizes all S. approx. 62 x 45.3 cm (24 3/8 x 17 7/8 in.)

Literature Museum of Contemporary Art Tokyo 94, 103, and 105 Scottish Arts Council 97, 106, and 108

Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ‡ ♠

118. David Hockney

b. 1937

Untitled no. 329, from A Bigger Book: Art Edition A, 2010/2016 iPad drawing in colours, printed on archival paper, with full margins, contained in the original blue fabric-covered portfolio. Signed, dated and numbered 211/250 in pencil, co-published by the artist (with their blindstamp) and Taschen, Berlin. I. 43.8 x 33 cm (17 1/4 x 12 7/8 in.) S. 55.8 x 43.2 cm (21 7/8 x 17 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠

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Property from an Important German Collection

119. Bridget Riley

b. 1931

Blue and Pink, 2001 Screenprint in colours, on wove paper, with full margins. Signed, titled, dated and numbered 71/90 in pencil (there were also 10 artist’s proofs), the edition donated to Kaiser Wilhelm Museum, Krefeld, unframed. I. 28 x 118.4 cm (11 x 46 5/8 in.) S. 44.9 x 134 cm (17 5/8 x 52 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠ Literature Karsten Schubert 47

120. Peter Sedgley

b. 1930

Looking Glass Suite I-IX, 1966 The complete set of nine screenprints in colours with airbrushing, on M.T. white matt board, the full sheets, with transparent title sheet, loose (as issued) contained in the original dark grey fabric-covered portfolio. All signed and numbered ‘Printer’s Proof 2/5’ in various coloured pencils (the edition was 75 and 15 artist’s proofs), published by Editions Alecto, London. portfolio 54 x 54 x 4.2 cm (21 1/4 x 21 1/4 x 1 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠ Literature Editions Alecto 310-318

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121. Richard Hamilton

1922-2011

Polaroid Portrait, Francis Bacon 14.7.69, 2010 Digital restoration in colours of a polaroid photograph, mounted to heavy-weight wove paper (as issued). The edition was 2 (one reserved for the Richard Hamilton Archive), published by the Serpentine Gallery, London, with their accompanying Certifcate of Authenticity, mounted and framed in a clear acrylic box frame, specifed by the artist. overall 18.2 x 13.1 cm (7 1/8 x 5 1/8 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠

Property from an Important German Collection

122. Allen Jones

b. 1937

Shoe Box, 1968 The complete set of eight works, including an aluminium multiple, and seven lithographs, on BFK Rives paper, with full margins, with title page and justifcation, the sheets loose inside individual plastic wallets (as issued) all contained inside the original black PVC-covered shoe box with a screenprint and embossing in colours inside the lid. The multiple scratch-signed, dated and numbered 156/200 on the base, the prints signed, dated and numbered in pencil, also signed, dated and numbered in pencil inside the lid (there were also several artist’s proofs), published by Petersburg Press, London. portfolio 40 x 32 x 10 cm (15 3/4 x 12 5/8 x 3 7/8 in.) Estimate £1,000-1,200 $1,300-1,600 €1,100-1,400 ♠ Literature Richard Lloyd 45a-h

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Property from an Important German Collection

123. Josef Albers

1888-1976

KG, 1966 Screenprint in colours, on Mohawk Superfne Bristol paper, with full margins. Signed with initial, titled, dated and numbered 29/350 in pencil, published by Ives-Sillman, Inc., New Haven, unframed. I. 28 x 28.2 cm (11 x 11 1/8 in.) S. 43.3 x 43.2 cm (17 x 17 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 Literature Brenda Danilowitz 170

124. Josef Albers

1888-1976

Gray Instrumentation IIC, from Gray Instrumentation II, 1975 Screenprint in colours, on Arches 88 paper, with full margins. Signed, titled and numbered 23/36 in pencil (there were also 10 artist’s proofs), published by Tyler Graphics Ltd., Bedford, New York (with their blindstamp), framed. I. 28 x 28 cm (11 x 11 in.) S. 48.2 x 48.2 cm (18 7/8 x 18 7/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ‡ Literature Brenda Danilowitz 228.3 Tyler Graphics 34

This lot is sold with no reserve

125. Josef Albers

1888-1976

Hommage au Carré: one plate, 1965 Screenprint in colours, on J. Perrugot Arches Special MBM paper (folded, as issued), with full margins. Signed with initials, dated and numbered 65/125 in pencil, published in 1965 by Editions Denise René, Paris, framed. I. 28 x 27.9 cm (11 x 10 7/8 in.) S. 48.4 x 38.5 cm (19 x 15 1/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • Literature Brenda Danilowitz 160.4

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126. Josef Albers

1888-1976

Formulation Articulation I & II, 1972 The complete set of 127 screenprints in colours, on 66 sheets of wove paper, folded (as issued), with full margins, with colophon, all contained in the two original grey linencovered portfolios, with printed spines. Signed and numbered ‘607’ from the edition of 1000 in black ink on the colophon, co-published by Harry N. Abrams, Inc., New York and IvesSillman, Inc., New Haven. portfolios each 51.5 x 40 x 5 cm (201/4 x 153/4 x 17/8 in.) Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 Literature Brenda Danilowitz Appendix C

127. Anni Albers

1899-1994

Connections, 1925/1983 The complete set of nine screenprints in colours, on Cartiere Miliani of Fabriano Umbria Italia and Fabriano Cotton papers, with full margins, with an introduction From the Line to the Texture by the publisher, the sheets loose (as issued), contained in original paper-covered cardboard portfolio with printed title. All signed, dated variously from 1925-1983, and numbered 58/125 in pencil, further numbered ‘58’ in pencil on the colophon, published by Fausta Squatriti, Milan. portfolio 70.5 x 51 x 1 cm (27 3/4 x 20 1/8 x 0 3/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 † Literature Nicholas Fox Weber and Brenda Danilowitz 71-79 Including: Smyrna-Knüpfeppich, Study for an Unexecuted Wall Hanging, With Verticals, Untitled, Study for Nylon Rug, Study for Hooked Rug, Triangulated Intaglio, Orchestra III, and Untitled

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128. Alberto Burri

1915-1995

Cretto Nero D, 1971 Etching and aquatint with embossing, on Fabriano card, the full sheet. Signed and numbered 64/90 in pencil (there were also 15 artist’s proofs in Roman numerals), published by Stamperia 2RC, Rome, framed. S. 66 x 95 cm (25 7/8 x 37 3/8 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠ Literature Chiara Sarteanesi 21e

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129. Lucio Fontana

1899-1968

Concetto Spaziale, 1968 Etching and embossing, on Fabriano paper, the full sheet. Signed and numbered 8/80 in pencil (there were also 15 artist’s proofs in Roman numerals), published by Galeria Marlborough, Rome, framed. S. 48.7 x 64.5 cm (19 1/8 x 25 3/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ‡ ♠ Literature Harry Ruhé and Camille Rigo E-39

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This lot is sold with no reserve

130. Günther Förg

1952-2013

This lot is sold with no reserve

131. Günther Förg

1952-2013

Untitled, 1998 Monotype in colours, on wove paper, with full margins. Signed, dated ‘3.11.98’ and numbered ‘8’ in pencil, unframed. I. 52 x 71.5 cm (20 1/2 x 28 1/8 in.) S. 56 x 76 cm (22 x 29 7/8 in.)

Untitled, 1998 Monotype in colours, on wove paper, with full margins. Signed, dated ‘2.11.98’ and numbered ‘14’ in pencil, unframed. I. 52 x 71.5 cm (20 1/2 x 28 1/8 in.) S. 56 x 76 cm (22 x 29 7/8 in.)

Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ♠

Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ♠

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This lot is sold with no reserve

132. Günther Förg

1952-2013

Untitled, 1998 Monotype in colours, on wove paper, with full margins. Signed and dated ‘12.10.98’ in pencil on the front and annotated ‘13’ in pencil on the reverse, unframed. I. 52 x 71.5 cm (20 1/2 x 28 1/8 in.) S. 56 x 76 cm (22 x 29 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ♠

UK_EDITIONS_JAN18_108-187-V2.indd 131

This lot is sold with no reserve

133. Günther Förg

1952-2013

Untitled, 1998 Monotype in colours, on wove paper, with full margins. Signed and dated ‘19.10.98’ in pencil, unframed. I. 52 x 71.5 cm (20 1/2 x 28 1/8 in.) S. 56 x 76 cm (22 x 29 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ♠

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134. Imi Knoebel

b. 1940

Face 15, 2002 Acrylic in colours, on constructed plastic panel, mounted to aluminium (as issued). Signed, titled, dated and numbered 3/5 in black ink on the reverse, framed. 36 x 36 cm (14 1/8 x 14 1/8 in.) Estimate £7,000-9,000 $9,300-12,000 €7,900-10,200 ♠

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135. Imi Knoebel

b. 1940

Face 3, 2002 Acrylic in colours, on constructed plastic panel, mounted to aluminium (as issued). Signed, titled, dated and numbered 3/5 in black ink on the reverse, framed. 36 x 36.2 cm (14 1/8 x 14 1/4 in.) Estimate £7,000-9,000 $9,300-12,000 €7,900-10,200 ♠

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Property from an Important German Collection

136. Dieter Roth

1930-1998

Surtsey, 1973-74 The complete set of 18 collotypes (six in colours), on wove paper mounted to board (as issued), the full sheets loose (as issued) contained in the original board portfolio. All signed, dated, numbered consecutively from 1-18, inscribed in pencil and stamp-numbered ‘50’ from the edition of 70, also stamp-numbered on the colophon, co-published by Frank Kicherer and Uwe Lohrer, Stuttgart and Dieter Roth Pictures, Zug. portfolio 53 x 73 x 6 cm (20 7/8 x 28 3/4 x 2 3/8 in.) Estimate £2,000-2,500 $2,700-3,300 €2,300-2,800 Literature Dirk Dobke 309

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Property from an Important German Collection

137. Dieter Roth

1930-1998

Daily Mirror; and Bok 3c; vols. 10 and 6, from Collected Works, 1973 Two artist books (bound) with sculptural covers (loose). Each book signed, dated ‘73’ and numbered 64/100 in blue paint and 80/100 in pencil respectively, Daily Mirror also signed with initials and dated ‘1970’ in black ink on the mini book on the back cover, both from the deluxe edition with sculptural covers (the standard edition without covers was 1000), published by Edition Hansjörg Mayer, Reykjavik, Dusseldorf and London. both approx. 23 x 17.5 x 10 cm (9 x 6 7/8 x 3 7/8 in.) Estimate £2,000-4,000 $2,700-5,300 €2,300-4,500 Literature Dirk Dobke pp. 159 and 156

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138. Joseph Beuys

1921-1986

Iphigenia, 1973 Screenprint, on gold-coloured vinyl, the full sheet. With faded signature and indistinct numbering in red ink, from the edition of 80 (there were also 20 copies in Roman numerals), published by Edition Staeck, Heidelberg, unframed. S. 41.5 x 55.8 cm (16 3/8 x 21 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠ Literature Jörg Schellmann 76

This lot is sold with no reserve

139. Georg Baselitz

b. 1938

Kopf (Head), 1986 Woodcut in colours, on laid paper, with full margins. Signed, dated and numbered 20/20 in pencil, framed. I. 48.8 x 31.5 cm (19 1/4 x 12 3/8 in.) S. 74.6 x 53 cm (29 3/8 x 20 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ‡ ♠

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140. Sigmar Polke

1941-2010

Doppelprofl (Double Profle); and Doppelprofl (Double Profle), 2003 Two screenprints, on red and blue fock-coated paper respectively, with full margins. Both signed and dated, the red numbered ‘II/XVIII’ and the blue numbered ‘2 II/XVIII’ in pencil and blue ball-point pen respectively (each one of 18 artist’s proofs, the editions were 30), published by Kunstmuseen Krefeld, both unframed. both I. 91.2 x 61.8 cm (35 7/8 x 24 3/8 in.) both S. 97.6 x 66 cm (38 3/8 x 25 7/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠

141. Joseph Beuys

1921-1986

Wirtschafswert (Economic Value): seven works, 1976-84 Seven works including four unique found-objects and three multiples in various media, two contained in their original cardboard and wooden boxes respectively. All signed and titled in pencil or ink, some with inkstamps in blue, Mirathen Gefrierbeutel from the unnumbered edition of 12, Speisekuchen numbered ‘V/X’ in pencil (one of 10 in Roman numerals, the edition was 40 and 12 unnumbered examples), and Signiertusche numbered 3/50 in pencil, the three multiples published by Edition Staeck, Heidelberg, fve framed. various sizes, largest 21 x 14 x 5 cm (8 1/4 x 5 1/2 x 1 7/8 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠ Literature Jörg Schellmann 230 and 469 Including: Thüringer Kräutertee (Thüringer Herbal Tea), Einkochschutz (Wax Preservation Discs), Lochverstärkungsringe (Reinforcement Rings), Mirathen Gefrierbeutel (Mirathen Freezer Bags), Speisekuchen (Food Cake), Spezialpfaster (Special Plaster), and Signiertusche (Signature Ink)

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147. Joseph Beuys

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Property from a Private Rhineland Collection Lot 142 – 178 The following thirty-six lots are from the collection of an artist, who’s highly personal, directed taste focused on a group of German artists at the forefront of Contemporary Edition making from the 1960s through the turn of the 21st century. His eclectic and innovative collecting choices centred on the work of a few key protagonists: Joseph Beuys, Imi Knoebel, and Blinky Palermo. These artists studied, lived or worked together in a constant dialogue, afording mutual infuence to each other’s work. Knoebel in particular extrapolated on Beuys’ avant-garde presentation of multiples, using found objects and common construction materials such as plywood, copper piping and Masonite. Palermo equally shared an obsession with form and colour, with his prints ofering distillations of his in-situ wall paintings and metal pictures. Also including unique works on paper by Suzan Frecon and Max Cole, as well as iconic colour-feld prints by Ellsworth Kelly, this collection ofers a window into post WWII German artistic experimentation and its pictorial legacy throughout Europe and America.

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Property from a Private Rhineland Collection

142. Joseph Beuys

1921-1986

Düsseldorf, Drakeplatz 4, 1978 Colour photograph with screenprint, on wove paper mounted to thick cardboard (as issued), the full sheet. Signed and numbered ‘a.p. 6/20’ in black ink (an artist’s proof, the edition was 50), published by Edition Dietmar Schneider, Cologne, framed. S. 17 x 25.2 cm (6 3/4 x 9 7/8 in.) Estimate £500-700 $670-930 €570-790 ♠ Literature Jörg Schellmann 287

143. Joseph Beuys

1921-1986

Hirschkuh (Hind), 1948 Woodcut hand printed in black, on wove paper, with full margins. Signed, dated and numbered 18/50 in pencil, published by Propyläen Verlag, Berlin, framed. I. 16.5 x 35.5 cm (6 1/2 x 13 7/8 in.) S. 50.2 x 65 cm (19 3/4 x 25 5/8 in.) Estimate £800-1,000 $1,100-1,300 €910-1,100 ♠ Literature Jörg Schellmann 91

144. Joseph Beuys

1921-1986

Robbe (Seal), 1981 Lithograph in colours, on white wove paper, with full margins. Signed, titled and numbered 25/150 in pencil (there were also 20 artist’s proofs), published by Galerie Klein, Bonn, framed. I. 97 x 37 cm (38 1/4 x 14 5/8 in.) S. 100 x 60.5 cm (39 3/8 x 23 7/8 in.) Estimate £1,200-1,800 $1,600-2,400 €1,400-2,000 ♠ Literature Jörg Schellmann 390

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Property from a Private Rhineland Collection

145. Joseph Beuys

1921-1986

Countdown 2000, 1981 Ofset lithograph, on machine-made wove paper, with full margins. Signed in the image and numbered 1805/2000 in pencil (there were also a few unnumbered proofs), published by Committee 2000, Hamburg/Munich, framed. I. 80 x 54.5 cm (31 1/2 x 21 1/2 in.) S. 88 x 64 cm (34 5/8 x 25 1/4 in.) Estimate £500-700 $670-930 €570-790 ♠ Literature Jörg Schellmann 377

146. Joseph Beuys

1921-1986

Untitled, from Trace II, 1977 Lithograph in brown, on white wove paper, the full sheet. Signed and numbered 22/98 in pencil (there were also 17 artist’s proofs), published by Propyläen Verlag, Berlin, framed. S. 76 x 55.7 cm (29 7/8 x 21 7/8 in.) Estimate £700-900 $930-1,200 €790-1,000 ♠ Literature Jörg Schellmann 201

147. Joseph Beuys

1921-1986

Für Blinky (For Blinky), 1980 Screenprint with handwritten pencil addition, on cardstock, the full sheet. Signed and numbered 62/140 in pencil (there were also a few unnumbered artist’s proofs), published by Galerie Klein, Bonn, framed. S. 84.5 x 59.4 cm (33 1/4 x 23 3/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ♠ Literature Jörg Schellmann 335

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Property from a Private Rhineland Collection

148. Imi Knoebel

b. 1940

Mennige (Red Lead), 1988 Two plywood boards mounted together (as issued), painted on the inside with lead teroxide in red, with a nail in each corner. Signed and dated in pencil and numbered 9/21 in orange stencil-painting on the reverse. 100 x 100 x 5 cm (39 3/8 x 39 3/8 x 1 7/8 in.) Estimate £700-900 $930-1,200 €790-1,000 ♠

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Property from a Private Rhineland Collection

149. Imi Knoebel

b. 1940

Grace Kelly, 1994 Wall-hanging multiple comprised of bent copper pipe and three loose ofset printed postcards in colours (one for installation, one spare and one as a Certifcate of Authenticity), contained in the original cardboard box with exemplar postcard adhered to the inside. Signed and numbered ‘A.P. 4/18’ in blue ink on the reverse of one of the loose postcards (an artist’s proof, the edition was 52), published by Patricia Schwarz, Stuttgart. overall 54 x 54 x 1.5 cm (21 1/4 x 21 1/4 x 0 5/8 in.)

150. Imi Knoebel

b. 1940

Untitled, 1985 Wall-hanging multiple comprised of slate and Masonite. Signed, dated and numbered 11/26 in pencil, from the series of 26 unique variants, and with a ‘K’ stencilpainted in red on the reverse of the Masonite, published for their annual edition by the Museumsverein Mönchengladbach, Germany. overall 35 x 31 x 1 cm (13 3/4 x 12 1/4 x 0 3/8 in.) Estimate £800-1,000 $1,100-1,300 €910-1,100 ♠

Estimate £800-1,000 $1,100-1,300 €910-1,100 ♠

151. Joseph Beuys

1921-1986

Intuition, 1968 Wooden box with handwritten pencil addition. Signed and dated in pencil on the reverse from the unlimited edition (approximately 1200 were made), published by Vice Versand, Remscheid (with their inkstamp on the reverse). 30 x 21 x 5.5 cm (11 3/4 x 8 1/4 x 2 1/8 in.) Estimate £400-600 $530-800 €450-680 ♠ Literature Jörg Schellmann 7

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Property from a Private Rhineland Collection

152. Imi Knoebel

b. 1940

153. Imi Knoebel

b. 1940

154. Imi Knoebel

b. 1940

Betoni, 1990 Unique concrete sculpture painted in yellow, with wire loop for wall hanging on the reverse. Inscribed and dated in the concrete on the reverse. 32 x 28 x 8 cm (12 5/8 x 11 x 3 1/8 in.)

Betoni, 1990 Unique concrete sculpture painted in white, with wire loop for wall hanging on the reverse. Inscribed and dated in the concrete on the reverse. 28 x 20 x 8 cm (11 x 7 7/8 x 3 1/8 in.)

Betoni, 1990 Unique concrete sculpture painted in grey, with wire loop for wall hanging on the reverse. Inscribed and dated in the concrete on the reverse. 49.5 x 21.5 x 7.5 cm (19 1/2 x 8 1/2 x 2 7/8 in.)

Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 ♠

Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 ♠

Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 ♠

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Property from a Private Rhineland Collection

155. Imi Knoebel

b. 1940

Weiß-Weiß-Rot (White-White-Red), 1990 Wooden multiple in three parts mounted to one another, painted in red and white acrylic. Signed, dated and numbered 10/18 on the reverse in pencil, published for their annual edition by Kunstverein, Düsseldorf. 22 x 55 x 9 cm (8 5/8 x 21 5/8 x 3 1/2 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠

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Property from a Private Rhineland Collection

156. Imi Knoebel

b. 1940

Pinguin, 1992 Wooden multiple in two parts mounted together, painted in black and white acrylic. Signed in pencil and black marker and numbered 22/30 in black marker, also numbered ‘22’ twice in pencil all on the reverse (there were also 5 artist’s proofs in Roman numerals), published by Pinguin Editions, Cologne. 40 x 15 x 7.5 cm (15 3/4 x 5 7/8 x 2 7/8 in.) Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 ♠ Exhibited Kunst-und Ausstellungshalle der Bundersrepublik Deutschland, Bonn, Germany, Arktis - Antarktis, 19 December 1997 - 19 April 1998

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Property from a Private Rhineland Collection

157. Imi Knoebel

b. 1940

158. Imi Knoebel

b. 1940

Untitled, 1974 Red watercolour and graphite drawing, on thin wove paper with punched holes, the full sheet. Signed and dated in pencil on the reverse, framed. S. 29.8 x 21 cm (11 3/4 x 8 1/4 in.)

Untitled, from Kinderstern, 1989 Screenprint in red, on wove paper, with full margins. Signed and numbered 81/100 in pencil, published by Edition Domberger, Filderstadt, framed. I. 5.5 x 6 cm (2 1/8 x 2 3/8 in.) S. 76.2 x 58 cm (30 x 22 7/8 in.)

Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠

Estimate £300-500 $400-670 €340-570 ♠

159. Imi Knoebel

b. 1940

Mennige Pictures: two plates, 1990 Two aquatints, on Arches paper, with full margins. Both signed, dated and annotated ‘Probe’ in pencil (both proofs aside from the edition of 7), both framed. both I. approx. 29 x 29 cm (11 3/8 x 11 3/8 in.) both S. 76.5 x 57 cm (30 1/8 x 22 1/2 in.) Estimate £500-700 $670-930 €570-790 ♠

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Property from a Private Rhineland Collection

160. Suzan Frecon

b. 1941

Untitled (Indigo), 2010 Watercolour drawing in indigo, on handmade paper, the full sheet. Signed, annotated ‘Indigo’ and dated ‘10’ in pencil on the reverse, framed. S. 17.7 x 21.8 cm (6 7/8 x 8 5/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 Provenance Galerie Häusler, Munich Acquired directly from the above by the present owner

161. Suzan Frecon

b. 1941

Untitled, 2011 Watercolour drawing in orange and red, on handmade paper, the full sheet. Signed and dated ‘11’ in pencil on the reverse, framed. S. 17.7 x 23.5 cm (6 7/8 x 9 1/4 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 Provenance Galerie Häusler, Munich Acquired directly from the above by the present owner

162. Suzan Frecon

b. 1941

Untitled (Indigo with Strokes), circa 2010 Watercolour drawing in indigo and red, on handmade paper, the full sheet. Titled on the reverse in pencil, framed. S. 17 x 21.5 cm (6 3/4 x 8 1/2 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 Provenance Galerie Häusler, Munich Acquired directly from the above by the present owner

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1943-1977

Oliv/Silber (Olive/Silver), 1971 Screenprint in colours, on card, with full margins. Signed, dated and numbered 92/100 in pencil (there were also 10 artist’s proofs), published by the artist, framed. I. 65.7 x 57.5 cm (25 7/8 x 22 5/8 in.) S. 73.8 x 65.5 cm (29 x 25 3/4 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠ Literature Fred Jahn 25

164. Blinky Palermo

Property from a Private Rhineland Collection

163. Blinky Palermo

1943-1977

Auto, 1971 Screenprint in colours with collage, on smooth wove paper, the full sheet. Signed, titled, dated and annotated ‘ap’ in pencil (one of 30 artist’s proofs, the edition was 150), framed. S. 36.2 x 58 cm (14 1/4 x 22 7/8 in.) Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 ♠ Literature Fred Jahn 27

165. Blinky Palermo

1943-1977

Untitled, 1971 Screenprint in colours, on heavy wove paper, with full margins. Signed, dated and numbered 54/110 in pencil, published by Galerie Lüpke, Frankfurt/Main, framed. I. 45 x 55.2 cm (17 3/4 x 21 3/4 in.) S. 53 x 73 cm (20 7/8 x 28 3/4 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠ Literature Fred Jahn 19

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Property from a Private Rhineland Collection

166. Blinky Palermo

1943-1977

Siegel, 1970 Screenprint in colours, on heavy wove paper, the full sheet. Signed, dated and numbered 49/100 in pencil on the reverse (there were also 10 artist’s proofs), published by Edition Staeck, Heidelberg, framed. S. 63 x 48.5 cm (24 3/4 x 19 1/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠ Literature Fred Jahn 14

167. Blinky Palermo

1943-1977

Dreiteilige Miniatur (Three-Piece Miniature), 1972 Foil embossing in colours, on watercolour laid paper, with full margins. Signed, dated and numbered 15/100 in pencil (there were also 10 artist's proofs), published as an annual gif by the Düsseldorfer Kunstverein, Germany, framed. I. 7.3 x 11.7 cm (2 7/8 x 4 5/8 in.) S. 39.6 x 26.4 cm (15 5/8 x 10 3/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠ Literature Fred Jahn 32

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1943-1977

Projektion, from Düsseldorfer Szene, 1971 Ofset lithograph in colours, on cardboard, with full margins. Signed and numbered 77/150 in pencil (there were also 10 to 15 artist’s proofs), published by Belser Kunstverlag, Stuttgart, framed. I. 19.5 x 25.9 cm (7 5/8 x 10 1/ 4 in.) S. 40 x 40 cm (15 3/ 4 x 15 3/ 4 in.) Estimate £800-1,200 $1,100-1,600 €910-1,400 ♠ Literature Fred Jahn 24

169. Blinky Palermo

Property from a Private Rhineland Collection

168. Blinky Palermo

1943-1977

Ohne Titel mit Komma (Untitled with Comma), 1971 Screenprint in colours, on wove paper, with full margins. Signed, dated and numbered 59/100 in pencil (there were also 10 artist’s proofs), framed. I. 33.2 x 55.6 cm (13 1/8 x 21 7/8 in.) S. 48 x 70.5 cm (18 7/8 x 27 3/ 4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠ Literature Fred Jahn 18

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Property from a Private Rhineland Collection

170.

Blinky Palermo

1943-1977

Untitled, from Homage à Picasso, 1973 Grano lithograph in colours with embossing, on wove paper, with full margins. Signed and annotated ‘H.C.’ in pencil (an hors commerce copy aside from the edition of 90 and 15 artist’s proofs plus 30 impressions in Roman numerals reserved for museums), published by Propyläen Verlag, Berlin and Pantheon Presse, Rome, framed. I. 47.7 x 33.8 cm (18 3/4 x 13 1/4 in.) S. 66.4 x 50 cm (26 1/8 x 19 5/8 in.) Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 ♠ Literature Fred Jahn 35

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Property from a Private Rhineland Collection

171. Gerhard Richter and Blinky Palermo Telefon, 1971 Screenprint and letterpress in colours, on white cardboard, the full sheet. Signed by both artists and numbered ‘III/XX’ in pencil on the reverse (one of 20 copies in Roman numerals, the edition was 50 and 10 proofs), published by Krefelder Kunstverein (annual edition), Krefeld, framed. S. 60.5 x 48 cm (23 7/8 x 18 7/8 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠ Literature Hubertus Butin 42 Fred Jahn 26

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Property from a Private Rhineland Collection

172. Tony Crag

b. 1949

Extrusion, 1990 Plaster multiple. With inscribed signature, date and numbering 27/30, from the edition of unique variants, with the stamped lettering ‘KF’, published by Bonner Kunstverein, Bonn. 32 x 17 x 16 cm (12 5/8 x 6 3/4 x 6 1/4 in.) Estimate £1,200-1,800 $1,600-2,400 €1,400-2,000 ♠

173. Max Cole

b. 1937

Untitled, 1990 Drawing in ink and acrylic wash, on Arches paper, with full margins. Signed and dated in pencil, framed. I. 13.5 x 18.4 cm (5 3/8 x 7 1/4 in.) S. 33.3 x 36.7 cm (13 1/8 x 14 1/2 in.) Estimate £1,000-2,000 $1,300-2,700 €1,100-2,300

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174. Thomas Schütte

b. 1954

Sei Wachsam! (Be Vigilant!), 1988 Linocut in colours, on smooth wove paper, with full margins. Signed and dated in pencil, with printed title, from the edition of unknown size, unframed. I. 71.5 x 44.2 cm (28 1/8 x 17 3/8 in.) S. 93 x 65 cm (36 5/8 x 25 5/8 in.) Estimate £500-700 $670-930 €570-790 • ♠

175. Richard Tuttle

Property from a Private Rhineland Collection

This lot is sold with no reserve

b. 1941

A Drawing Book, 1983 The complete set of seven screenprints in colours, on thick card, the full sheets. All with complimentary signature in pencil, from the edition of 100 (the edition was unsigned), printed by Galerie Hubert Winter, Wien, all framed. all S. 14 x 21.3 cm (5 1/2 x 8 3/8 in.) Estimate £800-1,200 $1,100-1,600 €910-1,400 Literature CGAC Collection, Santiago de Compostela pp. 50 and 124

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Property from a Private Rhineland Collection

176. Ellsworth Kelly

1923-2015

177. Ellsworth Kelly

1923-2015

Tavant, from Third Curve Series, 1973-76 Lithograph and intaglio with debossing, on BFK Rives paper, with full margins. Signed and numbered 7/16 in pencil (there were also 9 artists’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 73.6 x 56 cm (28 7/8 x 22 in.) S. 103.9 x 86.3 cm (40 7/8 x 33 7/8 in.)

Untitled, from The New York Collection for Stockholm, 1973 Screenprint, on BFK Rives paper, the full sheet. Signed with initials and numbered ‘AC 15/30’ in pencil (an artist’s copy aside from the edition of 300 and 25 artist’s proofs), with the artist’s copyright inkstamp on the reverse, published by Experiments in Art and Technology, Inc., New York, framed. S. 30.6 x 23 cm (12 x 9 in.)

Estimate £2,500-3,500 $3,300-4,700 €2,800-4,000

Estimate £1,200-1,800 $1,600-2,400 €1,400-2,000

Literature Gemini G.E.L. 684 Richard H. Axsom 128

Literature Richard H. Axsom 92

178. Ellsworth Kelly

1923-2015

Untitled, from Prints for Phoenix House, 1972 Lithograph in colours, on BFK Rives paper, with full margins. Signed and numbered 85/125 in pencil (there were also 20 artist’s proofs), published by Brooke Alexander Inc., New York, framed. I. 54.8 x 36 cm (21 5/8 x 14 1/8 in.) S. 87.2 x 68.4 cm (34 3/8 x 26 7/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 Literature Richard H. Axsom 84

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Other Properties

This lot is sold with no reserve

179. Richard Serra

b. 1939

Spoleto Circle, 1972 Lithograph, on Fabriano Italia paper, the full sheet. Signed and numbered 38/65 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps and inkstamp verso), framed. S. 89 x 129.8 cm (35 x 51 1/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 • ‡ Literature Gemini G.E.L. 401 Silke von Berswordt-Wallrabe 5

181. Dan Flavin

This lot is sold with no reserve

180. Ellsworth Kelly

1923-2015

Portikus, 1990 Screenprint, on wove paper, with full margins. Signed in pencil, one of 37 impressions (the planned edition of 100 was not completed), published by Edition Portikus, Frankfurt am Main (with their and the artist’s printed copyright), unframed. I. 73.5 x 60.5 cm (28 7/8 x 23 7/8 in.) S. 84.2 x 68 cm (33 1/8 x 26 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 •

1933-1996

Guggenheim Tondo, 1992 Double-sided mezzotint in purple and green (one on each side), on handmade paper, the full sheet rolled and fastened with a single stitch (as issued). Signed, dated and numbered 5/25 in pencil on the green side, published by the Guggenheim Museum, New York. 15 x 47 x 14 cm (5 7/8 x 18 1/2 x 5 1/2 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 †

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This lot is sold with no reserve

182. Richard Diebenkorn

This lot is sold with no reserve 1922-1993

183. Richard Diebenkorn

1922-1993

Untitled, 1991 Lithograph, on Arches cover paper, with full margins. Signed, dated and numbered 25/75 in pencil (there were also 20 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their and the artist’s blindstamps), unframed. I. 25.5 x 18 cm (10 x 7 1/8 in.) S. 45.4 x 38.3 cm (17 7/8 x 15 1/8 in.)

Tulips, 1989 Sof-ground etching, on Rives paper, with full margins. Signed with initials, dated and numbered 4/25 in pencil (there were also 15 artist’s proofs), published by Crown Point Press, San Francisco (with their blindstamps), unframed. I. 20 x 15.2 cm (7 7/8 x 5 7/8 in.) S. 43.2 x 32.8 cm (17 x 12 7/8 in.)

Estimate £700-900 $930-1,200 €790-1,000 • ‡

Estimate £700-900 $930-1,200 €790-1,000 • ‡

Literature Gemini G.E.L. 1508

184. Jasper Johns

b. 1930

Leo, from Leo Castelli 90th Birthday, 1997 Etching and aquatint in colours, on Hahnemühle Copperplate paper, with full margins. Signed, dated and numbered ‘XXI/XC’ in pencil (from the edition of 90 in Roman numerals, there was also an edition of 90 in Arabic numerals and 14 artist’s proofs), published by Castelli Graphics, New York, framed. I. 45 x 30 cm (17 3/4 x 11 3/4 in.) S. 93.5 x 68.5 cm (36 3/4 x 26 7/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400

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185. Jasper Johns

b. 1930

Corpse and Mirror, 1976 Etching and aquatint in colours, on BFK Rives paper, with full margins. Signed, dated and numbered 2/50 in pencil (there were also 10 artist’s proofs in Roman numerals), published by Petersburg Press, New York and London, framed. I. 26.4 x 35.6 cm (10 3/8 x 14 in.) S. 65.5 x 50.3 cm (25 3/4 x 19 3/4 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ‡ Literature Universal Limited Art Editions 167

186. Jasper Johns

b. 1930

Land’s End, 1979 Lithograph, on Kurotani paper, the full sheet. Signed, dated and numbered 59/70 in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps and inkstamp on the reverse), framed. S. 131.8 x 92 cm (51 7/8 x 36 1/4 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 Literature Gemini G.E.L. 831 Universal Limited Art Editions 199

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Property from an Important German Collection This lot is sold with no reserve

187. Robert Mangold

b. 1937

Multiple Panel Paintings, 1973-1976: A Book of Silk Screen Prints, 1977 The complete set of nine screenprints in colours, on Fabriano paper, with full margins, with title page, the sheets hinged in concertina (as issued), contained in the original plastic holder. The last screenprint signed and numbered ‘259’ of 300 in pencil, from edition A (there was also an unrecorded number of artist’s proofs, and two further editions B and C with separated sheets) co-published by Edition Domberger, Filderstadt, West Germany and Parasol Press, New York. all I. approx. 18 x 35.5 cm (7 1/8 x 13 7/8 in.) all S. 30 x 69.4 cm (11 3/4 x 27 3/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • Literature Amy Baker Sandback 12.01-12.09A

188. Donald Judd

1928-1994

Untitled: one plate, 1978 Etching, on wove paper, with full margins. Signed, dated and numbered 35/75 in pencil (there were also 10 artist’s proofs), published by the artist, unframed. I. 56 x 68.5 cm (22 x 26 7/8 in.) S. 76.5 x 89 cm (30 1/8 x 35 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 † Literature Jörg Schellmann 108

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189. Agnes Martin

1912-2004

Paintings and Drawings 1974-1990, 1991 The complete set of 10 lithographs in colours, on frm transparency paper, with full margins, with text, the sheets loose (as issued) contained in the original grey card portfolio with printed uppers. From the edition of 2500 published by Nemela & Lenzen GmbH, Monchengladback and Stedelijk Museum, Amsterdam for Agnes Martin’s 1991 retrospective at the Stedelijk Museum. portfolio 31 x 31 x 1 cm (12 1/4 x 12 1/4 x 3/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 †

190. Frank Stella

b. 1936

Polar Coordinates VI, from Polar Co-ordinates for Ronnie Peterson, 1980 Lithograph, screenprint and letterpress in colours, on Arches Cover paper, the full sheet. Signed, dated and numbered 19/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, framed. S. 97.5 x 96.5 cm (38 3/8 x 37 7/8 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ‡ Literature Richard Axsom and Leah Kolb 124

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Property from an Important German Collection

191. Various Artists New York International, 1966 The complete set of 10 prints, including seven screenprints, two lithographs, and one ofset lithograph with objects in various media, on various materials, the full sheets, with accompanying text, title page and justifcation, the sheets loose (as issued) contained in the original blue canvas case with red and white stripes on the sides. All signed, some dated and all numbered 170/225 in various media, also numbered ‘170’ in blue ink on the justifcation (there were also 25 artist’s proofs lettered A-Y), published by Tanglewood Press, Inc., New York. portfolio 59 x 46 x 5 cm (23 1/4 x 18 1/8 x 1 7/8 in.) Estimate £1,800-2,000 $2,400-2,700 €2,000-2,300 ♠

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Literature Siri Engberg and Joan Banach 50 (Motherwell); Richard Lloyd 28 (Jones); and Constance Glenn 16 (Rosenquist)

Including: John Goodyear Two-Sided Movement, Saul Steinberg Sam’s Art, Charles Hinman Print Collage, Robert Motherwell Untitled, Öyvind Fahlström Eddie (Sylvie’s Brother) in the Desert, Ad Reinhardt Abstract Print, Allen Jones Self, Arman Boom-Boom, James Rosenquist Somewhere to Light, and Mary Bauermeister Sketch for Tanglewood Press

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Property from an Important German Collection

192. Various Artists 1¢ Life, 1964 The complete set of 62 lithographs in colours, on Rives paper, the full sheets, en- and hors-texte, the sheets loose and folded (as issued) all contained in the original paper wrappers and yellow linen-covered slipcase. Stamp-numbered ‘2100’ on the colophon (the total edition was 2000 unsigned sets and 100 deluxe signed sets), published by E.W. Kornfeld, Bern (with their copyright inkstamp). portfolio 43.5 x 30.5 x 4 cm (17 1/8 x 12 x 1 5/8 in.) Estimate £1,200-2,000 $1,600-2,700 €1,400-2,300 ♠

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Literature Connie Lembark L78-L83 (Francis); Mary Lee Corlett 33 and 34 (Lichtenstsein); Richard Axsom and David Platzker 28.1-28.3 (Oldenberg); Constance Glenn 2 (Rosenquist); Frayda Feldman and Jörg Schellmann 5 (Warhol) Including: Pierre Alechinsky, Karel Appel, Enrico Baj, Alan Davie, Jim Dine, Öyvind Fahlström, Reinhoud d’Haese, Robert Indiana, Alfred Jensen, Asger Jorn, Allan Kaprow, Kiki Kogelnik, Alfred Leslie, Roy Lichtenstein, Joan Mitchell, Claes Oldenburg, Mel Ramos, Robert Rauschenberg, Jean-Paul Riopelle, James Rosenquist, Antonio Saura, Kimber Smith, K.R.H. Sonderborg, Walasse Ting, Bram van Velde, Andy Warhol and Tom Wesselmann

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This lot is sold with no reserve

193. Roy Lichtenstein

1923-1997

Pyramid, 1968 Screenprint in yellow and black, on lightweight board folded into a three-dimensional pyramid. Signed and numbered 10/300 in pencil inside the pyramid (there were also some artist’s proofs), published by the artist. 50.8 x 50.8 x 36.2 cm (20 x 20 x 14 1/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • Literature Mary Lee Corlett 62

194. Roy Lichtenstein

1923-1997

Bull I from Bull Profle Series, 1973 Line-cut, on Arjomari paper, with wide margins. Signed, dated and numbered 57/100 in pencil (there were also 13 artist’s proofs), published by Gemini G.E.L. Los Angeles (with their blindstamps and inkstamp verso), framed. I. 51.5 x 73 cm (20 1/4 x 28 3/4 in.) S. 67.5 x 89 cm (26 5/8 x 35 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ‡ Literature Gemini G.E.L. 466 Mary Lee Corlett 116

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195. Roy Lichtenstein

1923-1997

Shipboard Girl, 1965 Ofset lithograph in colours (faded), on lightweight wove paper, with wide margins. Signed in pencil, from the edition of unknown size, published by Leo Castelli Gallery, New York, framed. I. 66.8 x 48.9 cm (26 1/4 x 19 1/4 in.) S. 68.6 x 51.1 cm (27 x 20 1/8 in.) Estimate £8,000-12,000 $10,700-16,000 €9,100-13,600 Literature Mary Lee Corlett II.6

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196. Andy Warhol

1928-1987

197. Andy Warhol

1928-1987

Flash - November 22, 1963: one plate, 1968 Screenprint in colours, on wove paper, the full sheet. Signed and numbered 147/200 in blue ball-point pen on the reverse (there was also an edition of 26 in Roman numerals), published by Racolin Press Inc., Briarclif Manor, New York, framed. S. 53.1 x 53.1 cm (20 7/8 x 20 7/8 in.)

Flash - November 22, 1963: one plate, 1968 Screenprint in colours, on wove paper, the full sheet. Signed and numbered 147/200 in blue ball-point pen on the reverse (there was also an edition of 26 in Roman numerals), published by Racolin Press, Inc., Briarclif Manor, New York, framed. S. 53 x 53 cm (20 7/8 x 20 7/8 in.)

Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400

Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400

Literature Frayda Feldman and Jörg Schellmann 34

Literature Frayda Feldman and Jörg Schellmann 35

198. Andy Warhol

1928-1987

Marilyn (Announcement), 1981 Ofset lithograph in colours, on wove paper, the full sheet, with text printed on the reverse. Signed in black marker, produced as an announcement for the Warhol: A Retrospective 1863-1981 exhibition held at Castelli Graphics, New York, 21 November 22 December, 1981, unframed. S. 30.5 x 30.5 cm (12 x 12 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900

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199. Andy Warhol

1928-1987

Ladies and Gentlemen: one plate, 1975 Screenprint in colours, on Arches paper, with full margins. Signed, dated, numbered 32/125 and annotated ‘©AWE’ in pencil on the reverse (there were also 25 artist’s proofs), published by Luciano Anselmino, Milan, framed. I. 89 x 66 cm (35 x 25 7/8 in.) S. 110 x 73.1 cm (43 1/4 x 28 3/4 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 Literature Frayda Feldman and Jörg Schellmann 136

200. Robert Indiana

b. 1928

Classic Love, 1995 Skein dyed, hand carved and hand tufed archival New Zealand woollen rug, with natural latex backing. Signed and numbered 71/100 in black ink on a fabric label on the reverse, with a further sheared signature in the lower right corner, handcrafed by Master Contemporary Original Artist Rugs, New York. 244 x 245 cm (96 1/8 x 96 1/2 in.) Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700

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Property from an Important German Collection

201. Andy Warhol

1928-1987

Birmingham Race Riot, from Ten Works by Ten Painters, 1964 Screenprint, on wove paper, the full sheet. From the unsigned edition of 500 (there were also 10 artist’s proofs), published by the Wadsworth Atheneum, Hartford, Connecticut, framed. S. 50.8 x 61 cm (20 x 24 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 Literature Frayda Feldman and Jörg Schellmann 3

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Property from an Important German Collection

202. Andy Warhol

1928-1987

Jacqueline Kennedy II (Jackie II), from 11 Pop Artists II, 1966 Screenprint in colours, on wove paper, the full sheet. Stamp-signed and annotated ‘A.P.’ in pencil on the reverse (an artist’s proof, the edition was 200 and 50 in Roman numerals), published by Original Editions, New York, framed. S. 61 x 76 cm (24 x 29 7/8 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 Provenance Purchased directly from the publisher by the present owner Literature Frayda Feldman and Jörg Schellmann 14

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203. Jean-Michel Basquiat

1960-1988

Head of the Mandible, from Anatomy, 1982 Screenprint, on Arches 88 paper, with full margins. Signed in pencil on the front and numbered ‘5/1’ in pencil on the reverse, from the edition of 18 numbered consecutively on the reverse (there were also 7 artist’s proofs in Roman numerals), published by Annina Nosei Gallery, New York, framed. I. 75.6 x 56 cm (29 3/4 x 22 in.) S. 76.6 x 57 cm (30 1/8 x 22 1/2 in.) Estimate £7,000-10,000 $9,300-13,400 €7,900-11,300

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204. Jean-Michel Basquiat

1960-1988

Ligaments of the Elbow, from Anatomy, 1982 Screenprint, on Arches 88 paper, with full margins. Signed in pencil on the front and numbered ‘16/1’ in pencil on the reverse, from the edition of 18 numbered consecutively on the reverse (there were also 7 artist’s proofs in Roman numerals), published by Annina Nosei Gallery, New York, framed. I. 75.6 x 56 cm (29 3/4 x 22 in.) S. 76.6 x 57 cm (30 1/8 x 22 1/2 in.) Estimate £7,000-10,000 $9,300-13,400 €7,900-11,300

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205. Various Artists Artists for Obama: four plates, 2008 Four prints, including two lithographs (one with screenprint), an etching and a drypoint, on various wove papers, the full sheets (one with full margins). All signed, dated and numbered 16/150 in pencil (there were also 13 artist’s proofs), published in support of the Obama Victory Fund, by Gemini G.E.L., Los Angeles (with their blindstamps and inkstamp verso), all unframed. (one) I. 20 x 25 cm (7 7/8 x 9 7/8 in.) all S. approx. 30.4 x 35.5 cm (11 7/8 x 13 7/8 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠ Including: John Baldessari Raised Eyebrows/Furrowed Foreheads (Red, White, and Blue), Julie Mehretu Untitled 1 (amulets), Ed Ruscha All Points, and Richard Serra Prominent Notebook Drawing

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206. John Baldessari

b. 1931

207. John Baldessari

b. 1931

Raised Eyebrows/Furrowed Foreheads: Two Foreheads (One Green), 2009 Screenprint in colours, on wove paper, with full margins. Signed, dated and numbered 21/30 in pencil (there were also 10 artist’s proofs), published by Freunde der Kunstmuseen Krefeld e.V., Krefeld, unframed. I. 64.7 x 60 cm (25 1/2 x 23 5/8 in.) S. 77.8 x 69.9 cm (30 5/8 x 27 1/2 in.)

Two Erect Figures/Two Skateboards, 1995 Screenprint in colours, on Fabriano Disegno paper, with full margins. Signed and numbered ‘P.P. 2/4’ in pencil (a printer’s proof, the edition was 25 and 4 artist’s proofs, Coplan Hurowitz calls for 1 printer’s proof), published by Württembergischer Kunstverein, Stuttgart, unframed. I. 71 x 59.6 cm (27 7/8 x 23 1/2 in.) S. 89.8 x 69.9 cm (35 3/8 x 27 1/2 in.)

Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300

Estimate £2,000-2,500 $2,700-3,300 €2,300-2,800 Literature Sharon Coplan Hurowitz 78

208. Robert Longo

b. 1953

Untitled I, from Men in the Cities, 1990 Lithograph, on Arches paper, with full margins. Signed, dated, annotated ‘I’ and numbered 35/48 in pencil (there were also 12 artist’s proofs), published by Seibu Department Stores Ltd., Tokyo, framed. overall I. 36 x 78 cm (141/8 x 303/ 4 in.) S. 65.6 x 101 cm (25 7/8 x 39 3/4 in.) Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 ‡

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209. Robert Longo

b. 1953

Untitled IV, from Men in the Cities, 1990 Lithograph, on Arches paper, with full margins. Signed, dated, annotated ‘IV’ and numbered 35/48 in pencil (there were also 12 artist’s proofs), published by Seibu Department Stores Ltd., Tokyo, framed. I. 85 x 50 cm (33 1/2 x 19 5/8 in.) S. 101.2 x 65.6 cm (39 7/8 x 25 7/8 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ‡

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210. Robert Longo

b. 1953

Untitled V, from Men in the Cities, 1990 Lithograph, on Arches paper, with full margins. Signed, dated, annotated ‘V’ and numbered 35/48 in pencil (there were also 12 artist’s proofs), published by Seibu Department Stores Ltd., Tokyo, framed. I. 82 x 54 cm (32 1/4 x 21 1/4 in.) S. 101.2 x 65.6 cm (39 7/8 x 25 7/8 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ‡

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211. Bruce Nauman

b. 1941

Life Fly Lifes Flies, from Leo Castelli 90th Birthday, 1997 Etching, on BFK Rives paper, with full margins. Signed, dated and numbered ‘XXI’ in pencil (from the edition of 90 in Roman numerals, there was also an edition of 90 in Arabic numerals and some artist’s proofs), published by Castelli Graphics, New York, framed. I. 75.5 x 51 cm (29 3/4 x 20 1/8 in.) S. 94.5 x 68.8 cm (37 1/4 x 27 1/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300

Property from an Important German Collection

212. Bruce Nauman

b. 1941

Doe Fawn, 1973 Lithograph in colours, on Roll Rivers paper, with full margins. Signed, dated and numbered 9/50 in pencil (there were also 10 artist’s proofs), published by Cirrus Editions, Los Angeles (with their blindstamp), unframed. I. 76 x 110 cm (29 7/8 x 43 1/4 in.) S. 81.6 x 114.2 cm (32 1/8 x 44 7/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 Literature Christopher Cordes 20

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This lot is sold with no reserve

213. Mel Bochner

b. 1940

On/Over/Under; and Range, 1979 Two screenprints in colours, on Japanese laid paper, with full margins. Both signed, dated and numbered 19/43 and 24/40 respectively in pencil, published by Simca Prints, Tokyo (with their blindstamp), both framed. both I. various sizes, (i) S. 62.4 x 49.5 cm (24 5/8 x 19 1/2 in.) (ii) 62.5 x 92 cm (24 5/8 x 36 1/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 •

214. Robert Rauschenberg

1925-2008

Intaglio Watch, 1968 Inkless intaglio with embossment, on Angoumois à la main white wove paper, with full margins. Signed, dated and numbered 10/13 in pencil, published by Universal Limited Art Editions, West Islip, New York, framed. I. 23.5 x 3.5 cm (9 1/4 x 1 3/8 in.) S. 59.5 x 19.5 cm (23 3/8 x 7 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ‡

The present lot was given to guests at a birthday celebration for the artist Maurice Grosman, husband of Tatyana Grosman, the founder of Universal Limited Art Editions.

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215. Keith Haring

1958-1990

Best Buddies, from Pop Shop I, 1987 Screenprint in colours, on Coventry rag paper, with full margins. Signed, dated and numbered 81/200 in pencil (there were also 20 artist’s proofs), published by the artist, framed. I. 26.5 x 34 cm (10 3/8 x 13 3/8 in.) S. 30.4 x 38 cm (11 7/8 x 14 7/8 in.) Estimate £7,000-9,000 $9,300-12,000 €7,900-10,200 ‡ Literature Klaus Littmann p. 82

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216. Keith Haring

1958-1990

The Story of Red and Blue: number 12, 1989 Lithograph in black and blue, on thin wove paper, with full margins. With printed signature and date in silver on the front, signed and dated ‘6/14/90’ in pencil by Julia Gruen (Executor for the Keith Haring Estate) and numbered ‘AP 7/10 - XII’ in pencil on a printed Certifcate of Authenticity on the reverse (one of 10 artist’s proofs in Roman numerals, the edition was 90), published by the Keith Haring Estate, New York, framed. I. 51 x 23 cm (20 1/8 x 9 in.) S. 55.8 x 41.8 cm (21 7/8 x 16 1/2 in.) Estimate £1,200-1,500 $1,600-2,000 €1,400-1,700 ‡ Literature Klaus Littmann p. 131

This lot is sold with no reserve

217. Francesco Clemente

This lot is sold with no reserve b. 1952

218. Francesco Clemente

b. 1952

Morning, 1982 Woodcut in colours, on Kozo paper, with full margins. Signed and annotated ‘AP’ in pencil (one of 10 artist’s proofs, the edition was 100), published by Crown Point Press, San Francisco, unframed. I. 36 x 51 cm (14 1/8 x 20 1/8 in.) S. 42.6 x 57.1 cm (16 3/4 x 22 1/2 in.)

I, 1982 Woodcut in colours, on Kozo paper, with full margins. Signed and annotated ‘AP’ in pencil (one of 10 artist’s proofs, the edition was 100), published by Crown Point Press, San Francisco, unframed. I. 36 x 51 cm (14 1/8 x 20 1/8 in.) S. 42.5 x 57.2 cm (16 3/4 x 22 1/2 in.)

Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 • ‡ ♠

Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 • ‡ ♠

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219. Alex Katz

b. 1927

Face of the Poet, 1978 The complete set of 14 aquatints in colours, on J. Green HP paper, with full margins, with title page, colophon and accompanying letterpress poems by 14 authors on Hodgkinson handmade wove paper, and with the accompanying information booklet, the sheets loose (as issued) contained in the original wooden portfolio. All signed and numbered 11/25 in pencil (there were also 9 artist’s proofs), co-published by Brooke Alexander, Inc., New York, and Marlborough Graphics, Inc., New York. portfolio 40.5 x 58.5 x 3 cm (15 7/8 x 23 x 1 1/8 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 Literature Klaus Albrecht Schröder 97-110 Including portraits of and poems by: Ted Berrigan, Kenward Elmslie, John Godfrey, Ted Greenwald, Michael Lally, Ann Lauterbach, Gerald Malanga, Alice Notley, John Perreault, Carter Ratclif, Rene Ricard, Peter Schjeldahl, Tony Towle, and Bill Zavatsky

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220. Alex Katz

b. 1927

Brisk Day, 1990 Screenprint in colours, on wove paper, the full sheet. Signed and numbered 62/150 in pencil (there were also 15 artist’s proofs), with the artist’s copyright inkstamp on the reverse, published by Gjon Inc., Kyoto, unframed. S. 91.4 x 73.6 cm (35 7/8 x 28 7/8 in.) Estimate £2,500-3,500 $3,300-4,700 €2,800-4,000 ‡ Literature Klaus Albrecht Schröder 239

This lot is sold with no reserve

221. Mimmo Rotella

1918-2006

Marilyn, 1991 Screenprint in colours with torn poster collage, on wove paper, the full sheet. Signed and numbered ‘I/XX’ in pencil (one of 20 artist’s proofs in Roman numerals, the edition was 80), framed. S. 89.6 x 74.8 cm (35 1/4 x 29 1/2 in.) Estimate £600-800 $800-1,100 €680-910 • ♠ †

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222. Edward Kienholz and Nancy Kienholz

223. Edward Kienholz and Nancy Kienholz

1927-1994 and b. 1943

1927-1994 and b. 1943

The Block Head, 1979/1981 Multiple comprising a pumice construction block, Fresnel lens system, wood, leather, transistor radio, antennae and hand-applied polyester resin. With inscribed signature and numbering 5/75 on a brass plaque afxed to the reverse (there were also 16 artist’s copies), published by Gemini G.E.L., Los Angeles. 32.5 x 22 x 31 cm (12 3/4 x 8 5/8 x 12 1/4 in.)

The Econo-Can, 1977 Multiple comprising metal tin can with a Fresnel lens system, soldered fxings, antennae and hand-applied epoxy resin. With inscribed signature and numbering 15/53 in black on a brass tag afxed to the reverse (there were also 12 artist’s copies), published by Gemini G.E.L., Los Angeles. 27 x 21 x 22 cm (10 5/8 x 8 1/4 x 8 5/8 in.)

Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300

Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300

Literature Gemini G.E.L. 896

Literature Gemini G.E.L. 750

224. Edward Kienholz and Nancy Kienholz 1927-1994 and b. 1943 The Same Old Shoe, 1984 Unique television multiple, comprising a 1950s vanity case, wooden shoe last, light bulbs, lead sheeting, plastic knobs, antennae and hand-applied polyester resin. With inscribed numbering ‘32’ on a brass plaque afxed to the reverse (the edition was 36 unique variants and 4 prototypes), published by Gemini G.E.L., Los Angeles. 27 x 24 x 42 cm (10 5/8 x 9 1/2 x 16 1/2 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 Literature Gemini G.E.L. 1150

222

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223

224

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225. Maurizio Cattelan

b. 1960

The 1:6 Scale Wrong Gallery, 2006 Multiple comprising wood, brass, steel, aluminium, resin, plastic, glass and electric lighting, with accompanying copy of the Wrong Gallery Times, all contained in the original cardboard box. Numbered 60/2500 in black ink on the base, with the printed Cattelan/Subotnick/Gioni 2005 copyright stamp, published by Cerealart Multiples, Philadelphia. 46.4 x 29.2 x 17.1 cm (18 1/4 x 11 1/2 x 6 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠ ‡

226. Tony Crag

b. 1949

Bust, 2017 Tin multiple, on Plexiglas base. Signed in black ink on the accompanying Certifcate of Authenticity, from the unnumbered edition of 75, published by the Yorkshire Sculpture Park, West Bretton. 16 x 6.5 x 6.5 cm (6 1/4 x 2 1/2 x 2 1/2 in.) Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 ♠

227. Zaha Hadid

1950-2016

Solid (Edition No. 31), 2005 Vacuum cast polyurethane resin multiple, with accompanying light-box, contained in the original plastic box. With embossed signature and numbering 171/250, published by Deutsche Guggenheim, Berlin on the occasion of their 25th anniversary. multiple 4.8 x 37 x 6.5 cm (1 7/8 x 14 5/8 x 2 1/2 in.) with lightbox 9.8 x 38.5 x 6.5 cm (3 7/8 x 15 1/8 x 2 1/2 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠ †

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‘I turn to etching, and lithography, with a sense of exuberance and relief. In printmaking you can give your imagination full-range and see the results almost immediately. So one image triggers the idea for the next one and so on.’ Paula Rego

Paula Rego is fundamentally a storyteller, and her love of children’s stories, with their strong symbolism and ofen moralising undertones, have particularly infuenced her graphic work. In series such as Nursery Rhymes, 1989 and Peter Pan, 1992, Rego explores the forbidden and confronts the bizarre, re-interpreting familiar texts with an inventive and subversive eye. She injects cruelty, fear and desire into the intimately-scaled etchings that fully explore the possibilities of intaglio printing. Her chiaroscuro approach and macabre narratives call to mind the etchings of Francisco Goya’s The Disasters of War (1810-20), but the vibrant, biting humour that underpins Rego’s works imbue her prints with an exuberant originality. Rego begins each image by freely drawing the general design with gouache onto a copper plate prepared with a wax hard ground. Next, she works into the wax with etching needles to outline and then deepen the image using line and cross-hatching. The technique allows Rego to indulge in her primary passion: drawing, and transfers her spontaneous images quickly onto the paper.

228. Paula Rego

With etching, Rego has the opportunity to continually re-work sections of the plates as she builds the fnal image, without losing any of the urgency that gives her prints their evocative directness. Rego’s explorations with lithography, from the early Dr Dog, Dr Cat and Lessons from 1982 to the Jane Eyre series of 2001-02, demonstrate the artist’s insistent curiosity and inventive approach to printmaking. Echoing the pastels she predominantly uses for works on paper, the sof lithographic lines capture the unease and ambiguity of her subject matter. The bright colours and sumptuous, almost crayon-like efect coalesce to form what Rego describes as, “the beautiful grotesque”. Printmaking ofers Rego the opportunity to pursue bold avenues of creative impulse, bringing to life works that exist in dialogue with her paintings, but are nonetheless unequivocally unique.

b. 1935

Peter Pan: eleven plates, 1992 Eleven etching and aquatints, nine in colours, on wove paper, with full margins. All signed and numbered variously from the editions of 50 and 25 in pencil (there were also 14 artist’s proofs for each edition), published by Marlborough Graphics, London, all framed. all I. various sizes, largest S. 61.9 x 51.7 cm (24 3/8 x 20 3/8 in.)

Including: Wendy and Hook, Wendy Sewing on Peter’s Shadow, Wendy and the Lost Boys, The House Under the Ground, Pirates Taking Away the Lost Boys, Boys and Pirates Fighting, Sewing on the Shadow III, Learning to Fly, Peter in the Bird’s Nest, In the Pirate’s Hold and Tootles Shoots Wendy II

Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠ † Literature T. G. Rosenthal 79, 81-82, 88-90, 96, 98-101

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229

229. Paula Rego

b. 1935

Untitled; Little Miss Mufet III; and Who Killed Cock Robin? II, from Nursery Rhymes, 1989 Three etching and aquatints, on wove paper, with full margins. Each signed and numbered 14/15, 14/50 and 14/50 respectively in pencil (numbers 1-15 were a deluxe edition, there were also 14 artist’s proofs), Untitled only included in the deluxe edition, published by Marlborough Graphics, London, all framed. all I. various sizes, all S. approx. 52 x 38 cm (20 1/2 x 14 7/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ♠ † Literature T. G. Rosenthal 35, 41 and 46

230. Paula Rego

b. 1935

Polly Put the Kettle On; Hickety, Pickety; and Sing a Song of Sixpence II, from Nursery Rhymes, 1989 Three etching and aquatints, on wove paper, with full margins. All signed and numbered 14/50 in pencil (numbers 1-15 were a deluxe edition, there were also 14 artist’s proofs), published by Marlborough Graphics, London, all framed. all I. approx. 21.3 x 22.8 cm (8 3/8 x 8 7/8 in.) all S. 51.7 x 38 cm (20 3/8 x 14 7/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ♠ † Literature T. G. Rosenthal 53, 56, and 58

230

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231

231. Paula Rego

b. 1935

232. Paula Rego

b. 1935

Little Miss Mufet I; Mary, Mary, Quite Contrary I, and Three Blind Mice I, from Nursery Rhymes, 1989 Three etching and aquatints, on wove paper, with full margins. Each signed and numbered 11/50, 14/50 and 11/50 respectively in pencil (numbers 1-15 were a deluxe edition, there were also 14 artist’s proofs), Little Miss Mufet I published individually, the remaining two published in the portfolio edition, all by Marlborough Graphics, London, all framed. all I. approx. 22.8 x 21.3 cm (8 7/8 x 8 3/8 in.) all S. approx. 52 x 38 cm (20 1/2 x 14 7/8 in.)

Goosey, goosey Gander; and Old King Cole, from Nursery Rhymes, 1989 Two etching and aquatints, on wove paper, with full margins. Both signed and numbered 14/50 in pencil (numbers 1-15 were a deluxe edition, there were also 14 artist’s proofs), published by Marlborough Graphics, London, both framed. both I. 21 x 22.6 cm (8 1/4 x 8 7/8 in.) both S. 52.4 x 38 cm (20 5/8 x 14 7/8 in.)

Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ♠ †

Literature T. G. Rosenthal 51 and 54

Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠ †

Literature T. G. Rosenthal 39, 43 and 49

232

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233

233. Paula Rego

b. 1935

Night Stories; Good Morning; Andromeda and Wild Duck, 1987; 1988; and 1990 Four etchings, three with aquatint, on Arches or Somerset paper, with full margins. Each signed and numbered 50/50, 7/50, 18/50 and 11/75 respectively in pencil (there were also some, 14, or 25 artist’s proofs for each), two published by the artist, Andromeda published by Marlborough Graphics, London, and Wild Duck published by the National Art Collections Fund, London, all framed. all I. various sizes, two S. approx. 45 x 37 cm (17 3/4 x 14 5/8 in.) one horizontal two S. approx. 61 x 50 cm (24 x 19 5/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠ † Literature T. G. Rosenthal 24, 26, 71 and 72

234. Paula Rego

b. 1935

Girl with Little Man and Dog; The Encampment; and Joseph’s Dream, 1987; 1989; and 1991 Three etching and aquatints (one in sepia), on Arches or Somerset paper, with full margins. Each signed and numbered 26/50, 14/50 and 11/50 respectively in pencil (there were also some or 14 artist’s proofs for each), Girl with Little Man and Dog published by the artist, the second and third co-published by the artist and Marlborough Graphics, London, all framed. all I. various sizes, largest S. 60.8 x 50 cm (23 7/8 x 19 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠ † Literature T. G. Rosenthal 22; 30; and 75

234

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235. Paula Rego

b. 1935

Dr Dog; Dr Cat; and Lessons, 1982 Three lithographs in colours, on wove paper, the full sheets. Each signed, titled, dated and numbered 23/50, 28/50 and 16/50 respectively in pencil (there were also 3 artist’s proofs), published by the Edward Totah Gallery, London, all framed. all S. approx. 71 x 105 cm (27 7/8 x 41 3/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ♠ † Literature T. G. Rosenthal 15-17

236. Paula Rego

b. 1935

Jane Eyre; In the Comfort of the Bonnet; and Come to Me, from Jane Eyre, 2001-2002 Three lithographs in colours, on Somerset paper, with full margins and the full sheet. Each signed and numbered 25/35, 19/35 and 27/35 respectively in pencil (there were also 14 artist’s proofs), published by Marlborough Graphics, London, all framed. all I. various sizes, largest S. 98.7 x 73.5 cm (38 7/8 x 28 7/8 in.) Estimate £2,500-3,500 $3,300-4,700 €2,800-4,000 ♠ † Literature T. G. Rosenthal 201, 204 and 209

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237. William Kentridge

b. 1955

Zeno Writing, 2002 The complete set of nine photogravures with drypoint and burnishing, on Hahnemühle paper, with full margins. All signed and numbered 19/40 in pencil, published by David Krut Fine Art, New York, all unframed. all I. 21 x 27.5 cm (8 1/4 x 10 7/8 in.) all S. 39.5 x 53.8 cm (15 1/2 x 21 1/8 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ‡ Literature David Krut pp. 125-129 Including: Chorus, I Promise my Wife to Stop Smoking Today at 2pm, Smoke, Acanthus Railing, Typewriter, Ponytail, Panther, Smoke and Building and Woman on a Sofa

238. William Kentridge

b. 1955

Living Language (Cat), 1999 Drypoint, printed from a vinyl gramophone record, on Fabriano Rosapina Avorio paper, with full margins. Signed and numbered 20/30 in pencil, published by the artist and Malcolm Christian, unframed. I. 25 cm (9 7/8 in.) diameter S. 34.8 x 36.4 cm (13 3/4 x 14 3/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ‡ Literature David Krut pp. 78-79

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239. William Kentridge

b. 1955

Receiver, 2006 The complete artist’s book, comprising 22 etchings, drypoints and photogravures, on handmade and transparent papers, the full sheets bound (as issued), with a loose photogravure, on handmade paper, with full margins, with the accompanying poems by Wislawa Szymborska, all contained in the original handmade black paper printed wrappers and fabric-covered slipcase. The book signed in pencil by artist and author and numbered ‘23’ in pencil on the justifcation, the loose photogravure signed and numbered 23/50 in pencil (there were also 25 artist’s proofs), co-published by Dieu Donné Press and Galamander Press, New York. portfolio 37.5 x 29.5 x 3 cm (14 3/4 x 11 5/8 x 1 1/8 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ‡

240. William Kentridge

b. 1955

La Cosecha and Jug, from Mrs. Beaton’s Household Management; and Self Help, 2000; and 2001 Three lithographs, one in colours, two with handcoloured red lines, on found book pages chine collé to Arches or wove paper, with full margins. Each signed and numbered 28/55, 28/55 and 21/45 respectively in pencil, La Cosecha and Jug co-published by the artist and Grape magazine, South Africa, Self Help published by the artist, all unframed. all I. various sizes, two S. 34.7 x 41.3 cm (13 5/8 x 16 1/4 in.) one S. 28.6 x 38 cm (11 1/4 x 14 7/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ‡ Literature David Krut pp. 86

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241. William Kentridge

b. 1955

Studio Portrait, 2004 Screenprint in colours, on Arches paper, with full margins. Signed and numbered ‘A.P. 1/20’ in pencil (an artist’s proof, the edition was 120), published by Kuntsammlung Nordrhein-Westfalen, Germany, unframed. I. 93.8 x 66 cm (36 7/8 x 25 7/8 in.) S. 100.2 x 70 cm (39 1/2 x 27 1/2 in.) Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 †

242. Kara Walker

b. 1969

Freedom, A Fable, 1997 Laser-cut paper pop-up book, bound in brown leather (as issued), with the accompanying Norton family Christmas card, contained in the original corrugated cardboard box. From the edition of 4000, published by The Peter Norton Family Christmas Project, New York. book 23.8 x 21.3 x 1.6 cm (9 3/8 x 8 3/8 x 0 5/8 in.) Estimate £1,200-1,800 $1,600-2,400 €1,400-2,000

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243. John Currin

b. 1962

Nude on a Table, 2002 Etching and aquatint, on handmade Kochi NB paper, with full margins. Signed, dated and numbered 40/45 in pencil, published by Sadie Coles HQ, London, framed. I. 28.5 x 22.5 cm (11 1/4 x 8 7/8 in.) S. 45.7 x 36.5 cm (17 7/8 x 14 3/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 †

244. Marlene Dumas

b. 1953

Alan Turing, 2015 Piezographic print in colours, on wove paper, the full sheet, contained in the original black card folder with printed label. Signed, titled, dated and numbered 38/100 in pencil, published by Tate, London, on the occasion of the exhibition Marlene Dumas: The Image As Burden, 2015. S. 44.6 x 35.3 cm (17 1/2 x 13 7/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ♠

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245. Jake and Dinos Chapman b. 1966 and b. 1962 Unhappy Meal, 2002 Etching, on Somerset paper, with full margins. Signed and numbered 7/125 in pencil (there were also 25 artist’s proofs), published by White Cube, London, unframed. I. 38 x 70.2 cm (14 7/8 x 27 5/8 in.) S. 55.4 x 85.6 cm (21 3/4 x 33 3/4 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ♠

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246. Antony Gormley

b. 1950

Sublimate, 2010 Etching and aquatint, on BFK Rives paper, with full margins. Signed, titled, dated and numbered 15/60 in pencil (there were also 6 artist’s proofs), published by Thumbprint Editions, London, on the occasion of the exhibition Between You and Me, Rotterdam, 2008, unframed. I. 34 x 49.5 cm (13 3/8 x 19 1/2 in.) S. 57.5 x 76.2 cm (22 5/8 x 30 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠ †

19/12/17 10:31


247. Peter Doig

b. 1959

Lapeyrouse Wall, 2004 Etching and aquatint, on wove paper, with full margins. Signed, dated and numbered 12/30 in pencil, published by the artist, unframed. I. 19.7 x 14.7 cm (7 3/4 x 5 3/4 in.) S. 53.2 x 38 cm (20 7/8 x 14 7/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠ †

248. Peter Doig

b. 1959

Rosedale House, from Ten Etchings, 1996 Etching and aquatint in colours, on wove paper, with full margins. Signed with initials and numbered 21/35 in pencil (there were also 6 artist’s proofs), published by The Paragon Press, London, framed. I. 17.2 x 27.2 cm (6 3/4 x 10 3/4 in.) S. 43.8 x 54 cm (17 1/4 x 21 1/4 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ♠ Literature The Paragon Press 1995-2000 pp. 46 and 55

249. Peter Doig

b. 1959

Canoe Island, 2000 Screenprint in colours, on Somerset paper, the full sheet. Signed and numbered 109/300 in pencil on the reverse (there were also 30 artist’s proofs), published by Counter Editions, London, framed. S. 73.4 x 100 cm (28 7/8 x 39 3/8 in.) Estimate £2,500-3,500 $3,300-4,700 €2,800-4,000 ‡ ♠

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This lot is sold with no reserve

250. Chris Ofli

b. 1968

Regal, 2004 Lithograph in colours, with screenprint in luminous ink, on Colorplan paper, with full margins. Signed, titled, dated and numbered 68/300 in pencil, published by Counter Editions, London, framed. I. 24 x 19 cm (9 1/2 x 7 1/2 in.) S. 40.3 x 29 cm (15 7/8 x 11 3/8 in.) Estimate £500-700 $670-930 €570-790 • ♠ †

This lot is sold with no reserve

251. Chris Ofli

b. 1968

Afro Lunar Lovers I, 2003 Giclée print in colours, with embossing and gold leaf, on wove paper, the full sheet. Signed, titled, dated and numbered 296/350 in gold ink (there were also 70 artist’s proofs), published by Victoria Miro Gallery, London, framed. S. 49 x 31.8 cm (19 1/4 x 12 1/2 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ♠ †

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This lot is sold with no reserve

252. Hurvin Anderson

b. 1965

Barbershop Print, 2010 Woodcut and screenprint in colours, on Lana Royal paper, with full margins. Signed and numbered 7/40 in pencil (there were also 4 artist's proofs), published by Durham Press, Durham, PA, framed. I. 72.8 x 55.8 cm (28 5/8 x 21 7/8 in.) S. 90.7 x 71 cm (35 3/4 x 27 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ♠ †

253. Hurvin Anderson

b. 1965

Sun Shade, 2013 Giclée print in colours with unique hand-colouring in acrylic, on Hahnemühle etching paper, with full margins. Signed and numbered 2/25 in pencil, published by Vital Arts, London, unframed. I. 39 x 60.8 cm (15 3/8 x 23 7/8 in.) S. 49 x 70.8 cm (19 1/4 x 27 7/8 in.) Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 ♠

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This lot is sold to contribute towards scholarship funds for students at the Slade School of Fine Art

254. Phyllida Barlow

b. 1944

Untitled: Dog Door, 2013 Monotype with linocut and screenprint, on wove paper, the full sheet. Signed, titled, dated and numbered 6/25 in pencil on the reverse, published by Slade Editions, London as the frst of their annual fundraising publications launched at the 2013 Slade Print Fair, framed. S. 56.4 x 76 cm (22 1/4 x 29 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ♠

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255. Grayson Perry

b. 1960

Love Plane, 2000 Embroidery in colours, on silver duchess satin. Signed and numbered 8/50 in black ink on a label afxed to the reverse, co-published by The Saatchi Gallery and Eyestorm Collection, London, framed. 37 x 37 cm (14 5/8 x 14 5/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 ♠

256. Grayson Perry

b. 1960

Gay Black Cats MC, 2017 Cotton fabric and embroidery appliqué handmade fag in colours, contained in the original card box with printed lid. From the edition of 150 (there were also 10 artist’s proofs), published on the occasion of their Grayson Perry exhibition, The Most Popular Art Exhibition Ever! by Serpentine Galleries, London. 97 x 148 cm (38 1/4 x 58 1/4 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠

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257. Gary Hume

b. 1962

Geranium, 2013 Screenprint and linocut in colours, on Somerset paper, with full margins. Signed, titled, dated and numbered 7/18 in pencil (there were approximately 3 or 4 artist’s proofs), published by Galerie Simpson, Swansea, framed. I. 119 x 79.5 cm (46 7/8 x 31 1/4 in.) S. 130 x 89.5 cm (51 1/8 x 35 1/4 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠

This lot is sold with no reserve

258. Gary Hume

b. 1962

Morning, 2013 Linocut in colours, on Somerset paper, with full margins. Signed, titled, dated and numbered 7/65 in pencil (there were also approximately 8 artist’s proofs), published by Galerie Simpson, Swansea, framed. I. 52 x 34.5 cm (20 1/2 x 13 5/8 in.) S. 62.8 x 44.7 cm (24 3/4 x 17 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ♠

259. Michael Craig-Martin

b. 1941

Watch, from Fragments, 2015 Screenprint in colours with protective glaze, on Somerset Satin paper, the full sheet. Signed, dated and numbered 19/35 in pencil on the reverse (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London, framed. S. 90 x 90 cm (35 3/8 x 35 3/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠

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260

260. Julian Opie

b. 1958

261. Julian Opie

b. 1958

Galloping Horse 2, 2013 Acrylic box panel with inlaid and overlaid components in colours. Signed in black ink and numbered 23/35 (printed) on a label afxed to the reverse (there were also 7 artist’s proofs), published by Alan Cristea Gallery, London. 61 x 100 cm (24 x 39 3/8 in.)

Galloping Horse 3, 2013 Acrylic box panel with inlaid and overlaid components in colours. Signed in black ink and numbered 23/35 (printed) on a label afxed to the reverse (there were also 7 artist’s proofs), published by Alan Cristea Gallery, London. 61 x 100 cm (24 x 39 3/8 in.)

Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠

Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠

Literature Alan Cristea 265

Literature Alan Cristea 266

261

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262. Julian Opie

b. 1958

Ruth with Cigarette 1, 2005-2006 Lambda print in colours on Fujicolor digital archival paper, matt-sealed and dry-mounted to Dibond, the full sheet. Signed and numbered 46/50 in black ink on the reverse of the frame (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, contained in the original brushed aluminium frame specifed by the artist. framed 103 x 71 cm (40 1/2 x 27 7/8 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠ Literature Alan Cristea 85

263. Julian Opie

b. 1958

Ruth with Cigarette 2, 2005-2006 Lambda print in colours on Fujicolor digital archival paper, matt-sealed and dry-mounted to Dibond, the full sheet. Signed and numbered 46/50 in black ink on the reverse of the frame (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, contained in the original brushed aluminium frame specifed by the artist. framed 88.7 x 67.3 cm (34 7/8 x 26 1/2 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠ Literature Alan Cristea 86

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264. Julian Opie

b. 1958

Ruth with Cigarette 3, 2005-2006 Lambda print in colours on Fujicolor digital archival paper, matt-sealed and dry-mounted to Dibond, the full sheet. Signed and numbered 46/50 in black ink on the reverse of the frame (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, contained in the original brushed aluminium frame specifed by the artist. framed 93.5 x 67 cm (36 3/4 x 26 3/8 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠ Literature Alan Cristea 87

265. Julian Opie

b. 1958

Ruth with Cigarette 4, 2005-2006 Lambda print in colours on Fujicolor digital archival paper, matt-sealed and dry-mounted to Dibond, the full sheet. Signed and numbered 46/50 in black ink on the reverse of the frame (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, contained in the original brushed aluminium frame specifed by the artist. framed 87.5 x 66.4 cm (34 1/2 x 26 1/8 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠ Literature Alan Cristea 88

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266. Julian Opie

b. 1958

Elena Rolling Her Eyes, 2015 Lenticular acrylic panel comprised of four colour inkjets, printed directly onto 20 lpi lenticular animating lenses, back mounted with 3mm Dibond. Signed in black ink and numbered 22/30 (printed) on a label afxed to the reverse (there were also 5 artist’s proofs), published by Alan Cristea Gallery, London, contained in a brushed aluminium frame specifed by the artist. framed 90.2 x 61.4 cm (35 1/2 x 24 1/8 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠

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267. Julian Opie

b. 1958

Bibi Running, 2012 Lenticular acrylic panel comprised of four colour inkjets printed directly onto 20 lpi lenticular animating lenses, back mounted with 3mm Dibond (as issued). Signed in black ink and numbered 35/50 (printed) on a label afxed to the reverse (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London, contained in a brushed aluminium frame specifed by the artist. framed 89.2 x 52.8 x 4 cm (35 1/8 x 20 3/4 x 1 5/8 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ♠ Literature Alan Cristea 172

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268

269

268. Julian Opie

b. 1958

Imagine you are driving (fast)/Jacques/helmet, 2002 Lambda print in colours, on Fujicolor photographic paper dry-mounted to PVC (as issued), the full sheet. Signed and numbered ‘AP 3/11’ in black marker on the reverse (an artist’s proof, the edition was 50), published by Alan Cristea Gallery, London, framed. S. 56 x 122 cm (22 x 48 in.) Estimate £2,500-3,500 $3,300-4,700 €2,800-4,000 ♠ Literature Alan Cristea 36

269. Chris Levine

b. 1972

Lightness of Being (Blue), 2004/2016 Archival inkjet print in colours, on wove paper, with full margins. Signed with initials and dated ‘16’ in pencil on the front, numbered 45/200 in pencil on the reverse, published by the artist (with their blindstamp), unframed. I. 30.3 x 23.7 cm (11 7/8 x 9 3/8 in.) S. 41 x 30 cm (16 1/8 x 11 3/4 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠

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This lot is sold with no reserve

270. Deborah Kass

b. 1952

Vote Hillary, 2016 Screenprint in colours, on Stonehenge paper, with full margins. Signed, dated and numbered 112/250 in pencil on the reverse, published by Brand X Editions, New York (with their blindstamp), unframed. I. 104.1 x 104.1 cm (41 x 41 in.) S. 106.7 x 106.7 cm (42 x 42 in.) Estimate £1,200-1,800 $1,600-2,400 €1,400-2,000 ‡

271. Jonathan Yeo

b. 1970

Bush, 2007 Screenprint in colours, on wove paper, with full margins. Signed and numbered 15/150 in pencil (there were also 15 artist’s proofs), published by the artist, unframed. I. 52.7 x 86.2 cm (20 3/4 x 33 7/8 in.) S. 69.5 x 102 cm (27 3/8 x 40 1/8 in.) Estimate £500-700 $670-930 €570-790 • ♠

272. Akim Monet

b. 1968

Domus Adriani (Hadrian’s Alexandrian Gardens), 2007 The complete set of eight pigment prints in colours, on Photorag Cotton Watercolour paper, with full margins, with colophon, title and text pages, the sheets loose (as issued) contained in the original brown fabric-covered portfolio with printed title. All signed and numbered 1/24 in pencil (there were also 2 artist’s proofs), published by Laumont Editions, New York. portfolio 63.5 x 49.5 x 4.5 cm (25 x 19 1/2 x 1 3/4 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ‡ Provenance Acquired directly from the artist by the present owner

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273. Damien Hirst

b. 1965

Valium, 2000 Full colour gloss fnish lambda, on Fujicolor photo paper, with full margins. Signed in black ink on the front and numbered 286/500 in black ink on the reverse (there were also 50 artist’s proofs), published by Eyestorm, London, framed. I. 122 cm (48 in.) diameter S. 127 x 127 cm (50 x 50 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠ † This work has been authenticated by the Hirst Authentication Committee

274. Damien Hirst

b. 1965

Dark Black Heaven (Nite Time), 2012 Inkjet print in colours with glaze and foilblock, on Hahnemühle photo rag ultra smooth paper, with full margins. Signed and numbered 15/55 in black ink (there were also 10 artist’s proofs), co-published by Paul Stolper and Other Criteria, London, framed. I. 55.5 x 55.5 cm (21 7/8 x 21 7/8 in.) S. 72.7 x 71 cm (28 5/8 x 27 7/8 in.) Estimate £2,500-3,500 $3,300-4,700 €2,800-4,000 ♠ This work has been authenticated by the Hirst Authentication Committee

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275. Damien Hirst

b. 1965

Lycergic Acid Diethylamide (LSD), 2000 Full colour gloss fnish lambda, on Fujicolor photo paper, the full sheet. Signed in black ink on the front and numbered 120/300 in black ink on the reverse (there were also 50 artist’s proofs), published by Eyestorm, London, framed. S. 106.5 x 127.5 cm (41 7/8 x 50 1/4 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠ † This work has been authenticated by the Hirst Authentication Committee

276. Damien Hirst

b. 1965

Corned Beef, from The Last Supper, 1999 Screenprint in colours, on Somerset paper, with full margins. Signed in pencil, from the edition of 150 (there were also 25 artist’s proofs), published by The Paragon Press, London, framed. I. 59 x 89.7 cm (23 1/4 x 35 3/8 in.) S. 153.5 x 101.5 cm (60 3/8 x 39 7/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠ Literature The Paragon Press 1995-2000 pp. 230 and 242 This work has been authenticated by the Hirst Authentication Committee

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277. Damien Hirst

b. 1965

Lanatoside B, 2011 Screenprint in colours, on Somerset Satin paper, with full margins. Signed and numbered 8/100 in pencil (there were also 10 artist’s proofs), published by Other Criteria, London (with their and the artist’s blindstamps), framed. I. 48.3 x 43.2 cm (19 x 17 in.) S. 70 x 63.5 cm (27 1/2 x 25 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ♠ ‡ This work has been authenticated by the Hirst Authentication Committee

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278. Damien Hirst

b. 1965

Ethidium Bromide Aqueous Solution, 2005 Aquatint in colours, on Hahnemühle etching paper, with full margins. Signed in pencil on the front and numbered 36/65 in pencil on the reverse (there were also 20 artist’s proofs), published by The Paragon Press, London, unframed. I. 73.7 x 58.5 cm (29 x 23 in.) S. 118.5 x 99.4 cm (46 5/8 x 39 1/8 in.) Estimate £7,000-9,000 $9,300-12,000 €7,900-10,200 ♠ † Literature The Paragon Press 2001-2006 pp. 258-261 This work has been authenticated by the Hirst Authentication Committee

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279. Damien Hirst

b. 1965

Glycine Cresol Red, 2011 Woodcut in colours, on Somerset paper, the full sheet. Signed in pencil on the front and numbered 4/55 in pencil on the reverse (there were also 10 artist’s proofs), published by The Paragon Press, London, unframed. S. 26 x 26 cm (10 1/4 x 10 1/4 in.) Estimate £2,500-3,500 $3,300-4,700 €2,800-4,000 ♠ This work has been authenticated by the Hirst Authentication Committee

280. Various Artists In the Darkest Hour There May Be Light, 2006 The incomplete set of 21 digital photographic prints, lithographs and screenprints, on various papers, the full sheets and with full margins, loose (as issued) contained in the original blue fabric-covered portfolio with printed uppers and title on spine. All signed, most dated and all numbered 32/50 in either pencil, black or silver ink, some on the reverse (there were also 29 artist’s proofs), co-published by The Serpentine Gallery and Other Criteria, London, lacking the prints by Banksy and Damien Hirst. portfolio 48 x 34 x 6 cm (18 7/8 x 13 3/8 x 2 3/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠ Including: Don Brown La Pléiade; Angela Bulloch Open Pixel Print; John Currin The Jack Ass (Clambake); Tracey Emin More Margate - more past; Angus Fairhurst Proposal for a Public Place; Steven Gregory A Nod’s as Good as a Wink; Marcus Harvey Skull; Rachel Howard Can’t Breathe Without You; John Isaacs impossible dreams; Michael Joo Consumables; Jef Koons Dolphin (Bicylcle Rack); Jim Lambie ArthurLeeLove; Sean Landers Woody; Tim Lewis page 2; Sarah Lucas Perceval; Nicholas Lumb Public Place; Tom Ormond Plan for a New Beginning; Lawrence Owen Spot the Dogging; Richard Prince Untitled (hippy drawing); Haim Steinbach Accelerate your escape; and Gavin Turk Reclining Cup

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281. Damien Hirst

b. 1965

Psilocybin, 2013 Lenticular panel comprising digital print in colours on PETG plastic. Signed and numbered 32/100 in red marker (the edition signed in various colours of ink), published by Paul Stolper, London, framed. 60 x 40 cm (23 5/8 x 15 3/4 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ♠ This work has been authenticated by the Hirst Authentication Committee

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282. Thomas Ruf

b. 1958

Star 16h 08m/-25°, 1992/2016 Chromogenic print, face-mounted to Plexiglas (as issued), with full margins. Signed, dated and numbered 15/30 in pencil on the reverse (there were also 4 artist’s proofs), published by the artist, contained in the original dark wooden frame specifed by the artist. framed 159 x 113 cm (62 5/8 x 44 1/2 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ♠

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283. Stephen Shore

b. 1947

Church St. + 2nd St., Easton, PA, 1974/1999 Chromogenic print, on Kodak Professional paper, the full sheet. Signed, titled, dated and numbered 6/20 in black ink on the reverse, published by Württembergischer Kunstverein Stuttgart in 1999, unframed. S. 25.3 x 30 cm (9 7/8 x 11 3/4 in.) Estimate £2,500-3,000 $3,300-4,000 €2,800-3,400

284. Gregory Crewdson

b. 1962

Production Still (Brightview #3), 2005 Digital c-print, on photo paper, with full margins. Signed and dated on the reverse in black ink, from the unnumbered edition of 30, published by Museum Haus Lange, Krefeld, unframed. I. 30.5 x 40.5 cm (12 x 15 7/8 in.) S. 35.5 x 45.5 cm (13 7/8 x 17 7/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300

285. Enoc Pérez

b. 1967

Hotel La Concha, 2005 Aquatint in colours, on Somerset paper, with full margins. Signed, dated and numbered 22/30 in pencil (there were also 6 artist’s proofs), published by Grimm Fine Art Editions, Amsterdam (with their blindstamp), framed. I. 43 x 60 cm (16 7/8 x 23 5/8 in.) S. 55 x 70.7 cm (21 5/8 x 27 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700

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286. Olafur Eliasson

b. 1967

Crystal Walls Series, 1998 The complete set of eight screenprints in colours, on smooth wove paper, the full sheets. Signed in black ink and numbered 14/90 (printed) on a label afxed to an accompanying backboard (there were also 10 artist’s proofs), published by neugerriemschneider, Berlin, all unframed. all S. 65 x 50 cm (25 5/8 x 19 5/8 in.) Estimate £3,000-5,000 $4,000-6,000 €3,400-5,700 ♠

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287. Jan Dibbets

b. 1941

Stones, 1976-1981/2004 The complete set of 10 archival inkjet prints in colours, on Aquarel paper, with full margins, the sheets loose (as issued) contained in the original red fabric-covered portfolio with embossed title. All signed, numbered 15/40 and annotated consecutively ‘I-X’ in pencil (there were also 5 artist’s proofs), published by Alan Cristea Gallery, London. portfolio 64 x 64 x 2 cm (25 1/4 x 25 1/4 x 0 3/4 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠

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288. Urs Fischer

b. 1973

Thinking About Störtebecker, 2005 The complete set of 36 prints including 18 bound screenprints, on transparent paper, and 18 loose chromogenic prints on Epson Enhanced Matte paper, with full margins, contained in the original white card portfolio with printed title in black. Signed and numbered 15/25 in pencil on the justifcation (there were also 5 artist’s proofs in Roman numerals), published by Galerie Eva Presenhuber, Zurich. portfolio 57 x 43 x 2 cm (22 1/2 x 16 7/8 x 0 3/4 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 Provenance Sadie Coles HQ, London Acquired from the above by the present owner

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289. Gerhard Richter

b. 1932

Flow (P4); Flow (P5); Flow (P6); and Flow (P7), 2013/2014 Four chromogenic prints, each fush-mounted to aluminium with metal strainer on the reverse (as issued). These facsimile objects are unsigned and all numbered 492/500 in black ink on the reverse, published by Heni Productions, London. all 45 x 45 cm (17 3/4 x 17 3/4 in.) Estimate £8,000-12,000 $10,700-16,000 €9,100-13,600 ♠ Literature Heni Productions P4, P5, P6 and P7

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290

290. Gerhard Richter

b. 1932

291. Gerhard Richter

b. 1932

Flow (P15), 2013/2016 Chromogenic print, fush-mounted to aluminium with metal strainer on the reverse (as issued). This facsimile object is unsigned and numbered 443/500 in black ink on the reverse (there were also 2 artist’s proofs), published by the Serpentine Gallery, London. 100 x 200 cm (39 3/8 x 78 3/4 in.)

Flow (P16), 2013/2016 Chromogenic print, fush-mounted to aluminium with metal strainer on the reverse (as issued). This facsimile object is unsigned and numbered 443/500 in black ink on the reverse (there were also 2 artist’s proofs), published by the Serpentine Gallery, London. 100 x 200 cm (39 3/8 x 78 3/4 in.)

Estimate £8,000-10,000 $10,700-13,400 €9,100-11,300 ♠ †

Estimate £8,000-10,000 $10,700-13,400 €9,100-11,300 ♠ †

Literature Heni Productions P15

Literature Heni Productions P16

291

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292. Harland Miller

b. 1964

Rags to Polyester, 2014 Giclée print in colours, on German etching paper, the full sheet. Signed and numbered 36/50 in pencil (there were also 10 artist’s proofs), published by White Cube, London, unframed. S. 95 x 74.5 cm (37 3/8 x 29 3/8 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠

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293. Harland Miller

b. 1964

Overcoming Optimism, 2014 Screenprint in colours, on wove paper, the full sheet. Signed and numbered 18/50 in pencil, published by Ingleby Gallery, London, framed. S. 137.5 x 109.5 cm (54 1/8 x 43 1/8 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠

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294. Harland Miller

b. 1964

Hate’s Outta Date, 2017 Giclée print in colours, on Somerset Satin paper, with full margins. Signed, numbered 35/50 and annotated ‘4MC.’ in pencil, published by Art on a Postcard, London, framed. I. 14.5 x 8.6 cm (5 3/4 x 3 3/8 in.) S. 16.2 x 9.8 cm (6 3/8 x 3 7/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ♠

295. Harland Miller

b. 1964

Who Cares Wins, from Artists with Liberty: Save Our Human Rights Act, 2016 Lithograph in colours, on Somerset Velvet paper, the full sheet. Signed and numbered 18/25 in pencil, published by Liberty, London, unframed. S. 58.1 x 43 cm (22 7/8 x 16 7/8 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠

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296. Banksy

b. 1975

I Fought the Law, 2005 Screenprint in colours, on wove paper, with full margins. Numbered 498/500 in pencil, an unsigned impression (there were also 150 signed and 8 artist’s proofs), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 66.2 x 66.4 cm (26 1/8 x 26 1/8 in.) S. 70.5 x 70 cm (27 3/4 x 27 1/2 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠

297. Banksy

b. 1975

Morons (Sepia), 2008 Screenprint in colours, on wove paper, with full margins. Signed, dated and numbered 285/300 in pencil, published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 50.8 x 70.8 cm (20 x 27 7/8 in.) S. 56.5 x 75.8 cm (22 1/4 x 29 7/8 in.) Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ♠

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298. Banksy

b. 1975

Weston Super Mare, 2003 Screenprint in colours, on wove paper, with full margins. Numbered 248/750 in pencil, an unsigned impression (there were also 150 signed and 8 artist’s proofs printed in lime green), published by Pictures on Walls, London, with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 21 x 94.5 cm (8 1/4 x 37 1/4 in.) S. 35 x 99.8 cm (13 3/4 x 39 1/4 in.) Estimate £3,000-5,000 $4,000-6,700 €3,400-5,700 ♠

299. Banksy

b. 1975

Soup Can (Original), 2005 Screenprint in colours, on wove paper, with full margins. Numbered 201/250 in pencil, an unsigned impression (there were also 50 signed and 10 artist’s proofs), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 25.5 x 15.3 cm (10 x 6 in.) S. 50 x 34.8 cm (19 5/8 x 13 3/4 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 ♠

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300. David Shrigley

b. 1968

Life is Fantastic, 2016 Screenprint in colours, on wove paper, the full sheet. Signed with initials, dated and numbered 39/125 in pencil, published by Counter Editions, London, framed. S. 76 x 60 cm (29 7/8 x 23 5/8 in.) Estimate £2,500-3,500 $3,300-4,700 €2,800-4,000 ♠

301. David Shrigley

b. 1968

Fucking Ace, 2016 Woodcut, on wove paper, with full margins. Signed with initials, dated and numbered 13/30 in pencil (there were also 4 artist’s proofs), framed. I. 48.5 x 33.5 cm (19 1/8 x 13 1/4 in.) S. 58 x 41.9 cm (22 7/8 x 16 1/2 in.) Estimate £1,200-1,800 $1,600-2,400 €1,400-2,000 ♠

302. David Shrigley

b. 1968

Another Task For You, 2017 Screenprint in colours, on Somerset Satin paper, the full sheet. Signed with initials, dated and numbered 27/100 in pencil on the reverse (there were also 10 artist’s proofs), further signed and numbered in black ink on the accompanying Certifcate of Authenticity, co-published by Jealous Gallery and Enitharmon Editions, London, framed. S. 75 x 56 cm (29 1/2 x 22 in.) Estimate £1,200-1,800 $1,600-2,400 €1,400-2,000 ♠

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303. Richard Prince

b. 1949

Dude Ranch Nurse, 2008 Lithograph with collage and graphite and ink additions, on wove paper, the full sheet. Signed and numbered 18/96 in pencil, published by Serpentine Gallery, London, framed. S. 48 x 60.5 cm (18 7/8 x 23 7/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300

This lot is sold with no reserve

304. Wade Guyton

b. 1972

Untitled, 2007 Black vinyl paper with circular cut-outs, folded into quarters (as issued), with the original cardboard box with screenprint on lid. Signed and numbered 19/25 in brown ink on a label afxed to the inside of the box (there were also 5 artist’s proofs), framed. S. 87.6 x 75.6 cm (34 1/2 x 29 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 •

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305. Space Invader Still Life with Pocari Can, 2014 Screenprint in colours, on wove paper, the full sheet. Signed, dated, and numbered 17/50 in pencil, published by Gallery Target Edition, Tokyo (with their inkstamp on the reverse), framed. S. 35.2 x 50 cm (13 7/8 x 19 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 ‡ ♠

306. KAWS

b. 1974

Dissected Companion, 2006 Screenprint in colours with partial glaze, on heavy wove paper, the full sheet. Signed, dated and numbered ‘PP 3/4’ in silver marker (a printer’s proof, the edition was 100), published by Kawsone, framed. S. 50.8 x 50.8 cm (20 x 20 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400

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307. Stik

b. 1979

308. Stik

b. 1979

Book (Poster Deluxe), 2015 Screenprint in colours, on wove paper, with full margins. Signed and annotated ‘RED TEST’ in pencil (a trial proof, before the edition), published by Squarity, London with the accompanying Certifcate of Authenticity, framed. I. 73.2 x 22 cm (28 7/8 x 8 5/8 in.) S. 75 x 23.9 cm (29 1/2 x 9 3/8 in.)

Book (Brown), 2015 Screenprint in colours, on wove paper, with full margins. Signed and numbered ‘P.P. 2/4’ in pencil (a printer’s proof, aside from the edition), published by Squarity, London, with the accompanying Certifcate of Authenticity, framed. I. 74 x 22 cm (29 1/8 x 8 5/8 in.) S. 76 x 23.8 cm (29 7/8 x 9 3/8 in.)

Estimate £6,000-8,000 $8,000-10,700 €6,800-9,100 ♠

Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠

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309. Hiroshi Sugito and Yoshitomo Nara b. 1970 and b. 1959 Untitled, 2005 Lithograph in colours, on wove paper, with full margins. Signed by both artists, dated and numbered 24/100 in pencil, published by the artists, unframed. I. 29.6 x 22.8 cm (11 5/8 x 8 7/8 in.) S. 42.7 x 33 cm (16 3/4 x 12 7/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400

310. Stik

b. 1979

Sleeping Baby, 2015 Screenprint in colours, on grey Somerset paper, with full margins. Signed and numbered 19/25 in pencil (there were also 4 artist’s proofs), published by Squarity, London, with the accompanying Certifcate of Authenticity, unframed. I. 58.7 x 107.5 cm (23 1/8 x 42 3/8 in.) S. 65.5 x 112 cm (25 3/4 x 44 1/8 in.) Estimate £5,000-7,000 $6,700-9,300 €5,700-7,900 ♠

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311. Zhang Xiaogang

b. 1958

Tian’anmen, from Tian’anmen Series, 2007 Screenprint in colours, on wove paper, with full margins. Signed, dated and numbered 12/68 in pencil, framed. I. 55 x 78 cm (21 5/8 x 30 3/4 in.) S. 63.5 x 84.5 cm (25 x 33 1/4 in.) Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800

This lot is sold with no reserve

312. Takashi Murakami

b. 1962

Flower Ball (3-D) Sequoia sempervirens; Flower Ball (Lots of Colors); Flowerball sexual Violet No. 1 (3D); Right There, The Breadth of the Human Heart; and Flower Ball (3D) Autumn 2004, 2013 Five ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 74/300, 115/300, 32/300, 70/300 and 79/300 respectively in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 71 cm (27 7/8 in.) diameter Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 • ‡ Artworks ©2013 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

313. Takashi Murakami

b. 1962

Plush Flowerball, 2008 Polyester and cotton spherical multiple in colours with acrylic boa and polyurethane. Numbered 055/200 (printed) on a tag afxed to the work and stamp-numbered on the accompanying Certifcate of Authenticity (there were also 5 artist’s proofs), published by Kaikai Kiki Ltd., Japan. 40 cm (15 3/4 in.) diameter Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 ‡ Artworks ©2008 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

314. Takashi Murakami

b. 1962

An Homage to Yves Klein Multicolor B; An Homage to IKB 1957 B; An Homage to Monogold 1960 B; and An Homage to Monopink 1060 B, 2012 Four ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 189/300, 206/300, 185/300, and 198/300 respectively in black or silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 74 x 53 cm (29 1/8 x 20 7/8 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 • ‡ Artworks ©2012 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

315. Takashi Murakami

b. 1962

Flowerball Multicolor; Flowerball: Want to Hold You; and The Flowerball’s Painterly Challenge, 2014; and 2015 Three ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 88/300, 138/300, and 76/300 respectively in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 71 cm (27 7/8 in.) diameter Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 • ‡ Artworks ©2014 and 2015 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

Property from an Important Private European Collection This lot is sold with no reserve

316. Takashi Murakami

b. 1962

Project KO², 1998 Ofset lithograph in colours, on smooth wove paper, the full sheet. From the edition of unknown size, published by the artist and Hiropon Factory, Tokyo, framed. S. 51.3 x 36.3 cm (20 1/4 x 14 1/4 in.) Estimate £800-1,000 $1,100-1,300 €910-1,100 •

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This lot is sold with no reserve

317. Takashi Murakami

b. 1962

DEATH Flower; and Flower HOLLOW, 2015 Two ofset lithographs in colours, on smooth wove paper, the full sheets. Both signed and numbered 66/300 and 80/300 respectively in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 68 x 68 cm (26 3/4 x 26 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ‡ Artworks ©2015 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

318. Takashi Murakami

b. 1962

Shangri-La Blue; Shangri-La Pink; Bouquet of Love; and Shangri-La Shangri-La Shangri-La, 2012; and 2016 Four ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 70/300, 103/300, 125/300 and 189/300 respectively in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 68 x 68 cm (26 3/4 x 26 3/4 in.) Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 • ‡ Artworks ©2012 and 2016 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

319. Takashi Murakami

b. 1962

Flowerball (3D) - Turn Red!; Flowerball (3D) – Papyrus; Flowerball (3D) – Red, Pink, Blue; Hey! You! Do You Feel What I Feel?; Flowerball (3D) – Blue, Red; Comprehending the 51st Dimension; Letter to Picasso; Groping for the Truth; There is Nothing Eternal in this World. That is Why You are Beautiful; and Flowerball (3D) – Red Ball, 2013-2014 Ten ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered variously from the edition of 300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all unframed. all S. 71 cm (27 7/8 in.) diameter Estimate £4,000-6,000 $5,300-8,000 €4,500-6,800 • ‡ Artworks ©2013-2014 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

320. Takashi Murakami

b. 1962

772772; and 772x777, 2015; and 2016 Two ofset lithographs in colours, on smooth wove paper, with full margins. Both signed and numbered 102/300 and 88/300 in black ink respectively, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both I. 64 x 96 cm (25 1/4 x 37 3/4 in.) both S. 65.5 x 97.5 cm (25 3/4 x 38 3/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ‡ Artworks ©2015 and 2016 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

321. Mark Grotjahn and Takashi Murakami b. 1968 and b. 1962 Untitled (Scarlet Lake and Indigo Blue Butterfy 826); and Untitled (Canary Yellow and Black Butterfy 830), 2008-2010 Two ofset lithographs in colours, on smooth wove paper, the full sheets. Both signed (Mark Grotjahn in black ink and Takashi Murakami in silver ink) and numbered 120/300 and 129/300 in silver ink respectively, published by Kaikai Kiki, Co., Ltd., Tokyo, both framed. both S. 70 x 55.5 cm (27 1/2 x 21 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ‡ Artworks ©2008-2010 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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Property from an Important Private European Collection

322. Takashi Murakami

b. 1962

Jellyfsh Eyes, 2002 Screenprint in colours, on six lengths of wove wallpaper, one with margins, fve trimmed to the printed edge, with two ofcuts. Number 10 from the edition of 15, originally issued in sets of 10 rolls, published by Kaikai Kiki Co., Ltd., Tokyo, with the accompaning Certifcate of Authenticity. one 75.5 cm (29 3/4 in.) width fve 69 cm (27 1/8 in.) width all various lengths Estimate £7,000-9,000 $9,300-12,000 €7,900-10,200 ‡ Provenance Marianne Boesky Gallery, New York Aquired from the above by the present owner

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This lot is sold with no reserve

323. Takashi Murakami

b. 1962

Spiral; and Parallel Universe, 2014 Two ofset lithographs in colours, on smooth wove paper, the full sheets. Both signed and numbered 99/300 and 162/300 respectively in black ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 68 x 68 cm (26 3/4 x 26 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • ‡ Artworks ©2014 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

324. Takashi Murakami

b. 1962

And Then x6 Blue; And Then x6 Red; DOB in Pure White Robe (Pink & Blue); and DOB in Pure White Robe (Navy & Vermillion), 2013 Four ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 108/300, 108/300, 183/300 and 61/300 respectively in black ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 50 x 50 cm (19 5/8 x 19 5/8 in.) Estimate £1,500-2,000 $2,000-2,700 €1,700-2,300 • ‡ Artworks ©2013 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

325. Takashi Murakami

b. 1962

Scenery with a Rainbow in the Midst; Flowerball: Open Your Hands Wide; Awakening; and Letter to Picasso, 2014; and 2015 Four ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 114/300, 66/300, 65/300 and 95/300 respectively in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 71 cm (27 7/8 in.) diameter Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 • ‡ Artworks ©2014 and 2015 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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Property from an Important Private European Collection This lot is sold with no reserve

326. Takashi Murakami

b. 1962

My Lonesome Cowboy; Homage to Francis Bacon (Study of Isabel Rawsthorne); and Mushroom Bomb PINK, 2001; and 2003 Three ofset lithographs in colours, on smooth wove paper, the full sheets. All signed, dated and numbered 82/300, 151/300 and 115/300 respectively in silver or black ink, published by Kaikai Kiki Co. Ltd., Tokyo, all framed. two S. 50 x 50 cm (19 5/8 x 19 5/8 in.) one S. 69 x 69 cm (27 1/8 x 27 1/8 in.)

328

Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 • Artworks ©2001 and 2003 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

Property from an Important Private European Collection This lot is sold with no reserve

327. Takashi Murakami

b. 1962

And then and then and then and then and then; Jelly fsh eyes; And then and then and then and then and then; and DOB fower, 2001 Four ofset lithographs in colours, on smooth wove paper, the full sheets. All signed, dated and numbered 285/300, 46/300, 259/300 and 25/300 respectively in black ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 50 x 50 cm (19 5/8 x 19 5/8 in.)

329

Estimate £2,000-3,000 $2,700-4,000 €2,300-3,400 • Artworks ©2001 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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Sale Information Evening & Day Editions

Sale Department

Auction and Viewing Location 30 Berkeley Square, London W1J 6EX

Head of Sale Robert Kennan +44 20 7318 4075 rkennan@phillips.com

Auctions 25 January 2018 Evening Auction Lots 1 - 88, 6pm

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

Day Auction Lots 89 – 327, 1pm

Specialist Ross Thomas +44 20 7318 4077 rthomas@phillips.com

Viewing 18 – 25 January 2018 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm

Associate Specialist Rebecca Tooby-Desmond +44 20 7318 4079 rtooby-desmond@phillips.com

Sale Designation In sending in written bids or making enquiries please refer to this sale as UK030118 or Editions. Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

Administrator Louisa Earl +44 20 7318 4069 learl@phillips.com Property Manager Surya Buck +447867 430097 sbuck@phillips.com Photographers Marta Zagozdzon Charlie Sheldon Jean Bourbon Kent Pell Matt Kroenig

Auctioneers Henry Highley Adam Clay Hugues Joffre Susanna Brockman Rebecca Tooby-Desmond Ross Thomas Catalogues London +44 20 7901 7927 New York +1 212 940 1240 catalogues@phillips.com £22/€25/$35 at the gallery Client Accounting Richard Addington, Head of Client Accounting +44 20 7901 7914 Jason King, Client Accounting, Director +44 20 7318 4086 Buyer Accounts Carolyn Whitehead +44 20 7318 4020 Seller Accounts Surbjit Kaur +44 20 7318 4072 Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010 Shipping Andrew Kitt +44 20 7318 4047 Lewis Thomas +44 20 7901 7920

Front Cover Lot 35, Wayne Thiebaud Dark Cake, 1983 (detail) © Wayne Thiebaud/ DACS, London/VAGA, New York 2018 Back Cover Lot 37, Louise Bourgeois Yes, 2004 (detail) © The Easton Foundation/VAGA, New York/DACS, London 2017

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30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com

Please return this form by email to bidslondon@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one):

In-person Absentee Bidding Telephone Bidding

Paddle Number

• If you cannot attend the sale, we can execute bids confdentially on your behalf.

As a private individual On behalf of a company

Title

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable)

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £180,000, 20% of the portion of the hammer price above £180,000 up to and including £3,000,000 and 12.5% of the portion of the hammer price above £3,000,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

VAT number (if applicable) Address

City

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specifed, if less than 50% of the low estimate.

State/Country

Post Code Phone

Mobile

Email

Fax

• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. • If we receive identical bids, the frst bid received will take precedence.

Phone number to call at the time of sale (for Phone Bidding only) 1.

2.

Please complete the following section for telephone and absentee bids only Lot number

• Company Purchases: We require a copy of government-issued identifcation (such as the certifcate of incorporation) to verify the status of the company. This should be accompanied by an ofcial document confrming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

Sale Title

• Private Purchases: Proof of identity in the form of government-issued identification will be required.

Brief description

In Consecutive Order

Maximum pound sterling price* Absentee Bids Only

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confrmed by you promptly in writing or by fax. Telephone bid lines may be recorded. • Please submit your bids to the Bid Department by email to bidslondon@phillips.com or by fax at +44 20 7318 4035 at least 24 hours before the sale. You will receive confrmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045. • Absent prior payment arrangements, please provide a bank reference. Payment for lots can be made by cash (up to £5,000), credit card (up to £50,000) using Visa, American Express, Mastercard or Union Pay (for in person transactions only), UK debit cards, wire transfer, banker’s draf or personal cheque with identifcation, drawn on UK banks. Please note that credit cards are subject to a surcharge. • Lots cannot be collected until payment has cleared and all charges have been paid. • You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013. • By signing this Bid Form, you consent to our use of your personal data, including sensitive personal data, in accordance with Phillips’s Privacy Policy published on our website at www.phillips.com or available on request by emailing dataprotection@phillips.com. We may send you materials about us and our services or other information which we think you may fnd interesting. If you would prefer not to receive such information, please email us at dataprotection@phillips.com.

* Excluding Buyer’s Premium and VAT

Signature

Date

By signing this form, you accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

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• Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

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Gerhard Richter Eis 2 (Ice 2), 2003 Screenprint in colors Estimate $25,000-35,000 © Gerhard Richter 2017 (0320)

Editions Evening & Day Sales New York, 18 April 2018

To fnd out more about our upcoming New York auction or consign to the sale, please contact: editions@phillips.com +1 212 940 1220

phillips.com

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UK Guide for Prospective Buyers Each Phillips auction is governed by the applicable Conditions of Sale and Authorship Warranty. All prospective bidders should read these sections carefully. They govern the purchasing agreement under which you buy at auction from Phillips. They may be also amended by saleroom addendum or auctioneer’s announcement during the auction. The complete Conditions of Sale and Authorship Warranty applicable to this auction (Version 9/12/17) are found online at phillips.com, along with detailed information on each lot. Estimates The auction estimates indicated for each lot in this catalogue do not include Buyer’s Premium (applicable on each lot), or VAT or Artist’s Resale Right (where such charges apply). Details of these charges are given below. All Lots are Subject to ‘Buyer’s Premium’ In addition to the hammer (final bid) price, a buyer’s premium is due from all successful buyers. The buyer’s premium is a commission based on the hammer price payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £180,000; 20% of the portion of the hammer price above £180,000 up to and including £3,000,000; and 12.5% of the portion of the hammer price above £3,000,000. Condition and Condition Reports Phillips does not warrant or guarantee condition on any lot. Solely as a convenience to clients, Phillips may provide condition reports on many lots, which are also available online on the lot detail pages. If there is not a condition report available, that is not a representation that a lot is in perfect condition. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect all lots at our pre-sale exhibitions, and contact our staff with any questions. Bidding at Auction You may bid in the auction in person, online, on the phone, or by placing an absentee bid. The easiest way to arrange or register to bid at auction is to set up a client account online. Go to our homepage, phillips.com and fill out the account form. When you want to register for an auction, click Register on sale pages or lot detail pages, and you’ll confirm your account details, be asked for a credit card number for identification purposes and our Bids Department will process your request. We recommend registering at least 24 hours prior to sale to ensure that you can bid. Good luck! Some lots are sold under special conditions. Phillips uses the following symbols to designate these lots: O ◊ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ◊. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated via a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the

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remuneration may be netted against the purchase price. Where Phillips has guaranteed a minimum price on every lot in the catalogue, Phillips will not designate each lot with the symbol(s) for the guaranteed property but will state our fnancial interest at the front of the catalogue. ∆ Property in Which Phillips Has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. •No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot will not exceed the low pre-sale estimate. ♠ Property Subject to the Artist’s Resale Right Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of the hammer price (in EUR) and payable as part of the purchase price as follows: Royalty Rate: From 0 to 50,000 (4%) From 50,000.01 to 200,000 (3%) From 200,000.01 to 350,000 (1%) From 350,000.01 to 500,000 (0.5%) Exceeding 500,000 (0.25%) The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank. †, §, ‡, or Ω Property Subject to VAT Where there is no VAT symbol, Phillips is able to use the Auctioneer’s Margin Scheme and VAT will not normally be charged on the hammer price. An amount equivalent to VAT at 20% on the buyer’s premium will be included in the buyer’s premium. Property with a † symbol will be sold under normal UK VAT rules, and VAT will normally be charged at 20% on both the hammer price and buyer’s premium. Property with a § symbol and sold to buyers whose registered address is in the EU will be assumed to be remaining in the EU and will be treated as having no symbol (unless informed otherwise by a buyer). Property sold with a ‡ (5%) or Ω (20%) symbol has been imported from outside the EU to be sold at auction under temporary admission, and offered under the Auctioneer’s Margin Scheme at the respective % on the hammer price and an amount in lieu of VAT at 20% on the buyer’s premium. The foregoing is for summary purposes only. Please see the online auction catalogue and Conditions of Sale at phillips.com/ buy and specifically the section ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’ for a more detailed description of the VAT symbols used in this Buyer’s Guide, as well as any VAT refunds that you may be qualified to receive.

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Ready to go digital? Sign up. Phillips is investing in new digital services so you can explore and experience our auctions when and how you want. Create an online account today and see what’s new. Visit phillips.com/godigital to get started.

Bid anywhere. Participating in our auctions is easier than ever. Browse upcoming sales, track lots, watch our live auctions and place bids from your phone. Now available for iOS and Android. Download the app today to get started.

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Index Albers, A. 127 Albers, J. 123, 124, 125, 126 Anderson, H. 252, 253 Auerbach, F. 22 Bacon, F. 19, 111 Baldessari, J. 206, 207 Banksy 87, 88, 296, 297, 298, 299 Barlow, P. 254 Baselitz, G. 139 Basquiat, J-M. 79, 80, 203, 204 Beuys, J. 54, 138, 141, 142, 143, 144, 145, 146, 147, 151 Bochner, M. 81, 82, 213 Bourgeois, L. 37 Burri, A. 128 Cattelan, M. 225 Chapman, J. and D. 245 Christo and Jeanne-Claude 108, 109, 110 Clemente, F. 217, 218 Cole, M. 173 Cragg, T. 172, 226 Craig-Martin, M. 259 Crewdson, G. 284 Currin, J. 243 Dalí, S. 105, 106, 107 Dibbets, J. 287 Diebenkorn, R. 182, 183 Doig, P. 247, 248, 249 Dumas, M. 244 Eliasson, O. 286 Fischer, U. 288 Flavin, D. 181 Fontana, L. 129 Förg, G. 130, 131, 132, 133 Frecon, S. 160, 161, 162 Freud, L. 14, 15, 16, 17, 18, 112, 113 Gormley, A. 246 Grotjahn, M. and Murakami, T. 327 Guyton, W. 304

Hadid, Z. 227 Hamilton, R. 23, 24, 25, 121 Haring, K. 215, 216 Hepworth, B. 114 Hirst, D. 70, 71, 72, 73, 74, 75, 273, 274, 275, 276, 277, 278, 279, 281 Hockney, D. 20, 21, 116, 117, 118 Hodgkin, H. 63, 64 Hume, G. 257, 258

Palermo, B. 163, 164, 165, 166, 167, 168, 169, 170 Pasmore, V. 115 Pérez, E. 285 Perry, G. 255, 256 Picasso, P. 1, 2, 3, 4, 5, 6, 7, 8, 9, 12, 89, 90, 91, 92, 93, 94, 95 Polke, S. 140 Prince, R. 303

Indiana, R. 200

Rauschenberg, R. 214 Rego, P. 228, 229, 230, 231, 232, 233, 234, 235, 236 Richter G. 55, 56, 57, 58, 289, 290, 291 Richter, G. and Palermo, B. 171 Riley, B. 68, 119 Rotella, M. 221 Roth, D. 136, 137 Ruf, T. 282 Ruscha, E. 36

Johns, J. 61, 184, 185, 186 Jones, A. 122 Judd, D. 59, 60, 188 Kapoor, A. 69 Kass, D. 270 Katz, A. 219, 220 KAWS 86, 306 Kelly, E. 62, 176, 177, 178, 180 Kentridge, W. 237, 238, 239, 240, 241 Kienholz E. and N. 222, 223, 224 Knoebel, I. 66, 67, 134, 135, 148, 149, 150, 152, 153, 154, 155, 156, 157, 158, 159 Kusama, Y. 83 Levine, C. 269 Lichtenstein, R. 30, 31, 32, 33, 34, 193, 194, 195 Longo, R. 78, 208, 209, 210 Mangold, R. 187 Martin, A. 189 Matisse, H. 10 Miller, H. 292, 293, 294, 295 Miró, J. 97, 98, 99, 100, 101, 102, 103 Miró, J. and Dufy, R. 104 Monet, A. 272 Morandi, G. 13 Murakami, T. 312, 313, 314, 315, 316, 317, 318, 319, 320, 321, 322, 323, 324, 325, 326 Nara, Y. 84, 85 Nauman, B. 211, 212 Ofli, C. 250, 251 Opie, J. 76, 77, 260, 261, 262, 263, 264, 265, 266, 267, 268

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Schütte, T. 174 Scully, S. 65 Sedgley, P. 120 Serra, R. 179 Shore, S. 283 Shrigley, D. 300, 301, 302 Space Invader 305 Stella, F. 190 Stik 307, 308, 310 Sugito, H. and Nara, Y. 309 Tamayo, R. 96 Thiebaud, W. 35 Tuttle, R. 175 Various Artists 11, 26, 27, 28, 29, 191, 192, 205, 280 Walker, K. 242 Warhol, A. 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 196, 197, 198, 199, 201, 202 Xiaogang, Z. 311 Yeo, J. 271

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59. Donald Judd

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phillips.com

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Profile for PHILLIPS

EVENING & DAY EDITIONS [Catalogue]  

Phillips presents Evening & Day Editions on 25 January 2018 in London.

EVENING & DAY EDITIONS [Catalogue]  

Phillips presents Evening & Day Editions on 25 January 2018 in London.