EVENING & DAY EDITIONS [Catalogue] by PHILLIPS

Editions Evening & Day London / 23 January 2020

24. Howard Hodgkin

31. Gerhard Richter

35. Alex Katz

14. Andy Warhol

Evening & Day Editions London / 23 January 2020

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Auction 23 January 2020 Evening Sale Lots 1-70, 6pm Day Sale Lots 71-255, 1pm

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Evening Editions Lots 1 - 70, 6pm

60. Julian Opie

Pablo Picasso La Minotauromachie

In the Parisian studio of master printer Roger Lacourière, Pablo Picasso began on March 23rd, 1935 to engrave a large copper plate. This plate became one of the most important graphic works of the 20th Century and the pinnacle of Picasso’s printmaking oeuvre: La Minotauromachie. Technically brilliant and visually complex, La Minotauromachie is an intimate and autobiographical allegory rife with personal symbolism. It has been understood as the illustration of a private ethical battle as well as a universal parable of good and evil, violence and innocence, sufering and salvation. La Minotauromachie is the culmination of a near frenzied period of printmaking as Picasso was completing his most important group of etchings La Suite Vollard (1930-1937), comprising one hundred images. It also coincided with, or was perhaps determined by, a time of strife that the artist later described as “la pire époque de ma vie” (“the worst period of my life”). His wife, the Russian ballerina Olga Khokhlova was on the verge of leaving him afer discovering that his much younger mistress, Marie-Thérèse Walter was pregnant. The signifcant turbulence in Picasso’s personal life was the backdrop to him working directly on plates and indulging in the physical act of complex, visceral mark-making that was driven by an urgent and cathartic need to create. Through this lens of Picasso’s guilt and frustration with his personal life, the fgure of the Minotaur grew. Triggered by a commission to provide a cover illustration for the newly launched Surrealist magazine Minotaure, Picasso’s alter-ego fgure of the Minotaur appears throughout the etching series La Suite Vollard, which directly preceded La Minotauromachie. This motif represents the dark centre of man’s violent, irrational and lustful desires. A mythological beast that is at once the monster within, but also the fghting bull of Picasso’s native Spain, whose power, pride and ferocity corresponds with the artist’s own character. In La Minotauromachie almost half of the printed image is dedicated to the towering fgure of the Minotaur whose arm is fung forward, reaching towards a lit candle held alof in the hand of a young girl who holds a bouquet of fowers in the other. Between their frozen confrontation, a mare horse

and torera (female bullfghter) are paired together. The shrieking mare eyes the Minotaur in terror attempting to fee the danger he represents, but she is mortally wounded - her stomach has been gouged with her entrails fowing out. She exudes an abject fear that starkly contrasts with the serene countenance of the female bullfghter, resting placidly on the mare’s back with her breasts exposed. Her features, just as those of all four of the female fgures in the print, are those of Marie-Thérèse and her stomach appears swollen with child. Three attendant fgures observe the catastrophic scene below: two young women peering down as though from a theatre box, and a bearded Christ-like fgure with the face of Picasso who escapes via a ladder, but is unable to resist looking over his shoulder. According to legend, the Minotaur had the power to see where others could not, because his eyes were accustomed to the darkness of the labyrinth. This opposition between light and dark divides the composition of La Minotauromachie both formally and conceptually into two planes. The unbridled impulses shared by Picasso and the mythical Minotaur: desire, guilt and revenge, are sublimated before the supine fgure of Marie-Thérèse who, in her pregnancy, literally embodies the consequences of Picasso’s adultery. Minotaur and torera are halted by the young iteration of Marie-Thérèse who holds a radiating candle and bouquet of fowers as a paradigm of innocence, truth and virtue - the two visions of Picasso’s lover combine to demonstrate her past and future, irrevocably changed through the artist’s intervention. The mythical Minotaur becomes the physical embodiment of Picasso’s and by extension all of mankind’s fundamentally split personality: torn between conscience, humanity, civility and the underlying animal instinct that begets lust and violence. The imaginary Minotaur lives on the boundary of human experience. Half-man half-monster he has not yet transformed into the dehumanised bull of Guernica, Picasso’s magnum opus painted two years later in response to the Spanish Civil War and the ensuing tyranny of Fascism. In this epic political work Picasso’s iconic Minotaur motif is no longer a symbol of mortal sin, but a full rendering of the malign power of war.

Property of an Important European Collector

1. Pablo Picasso

1881-1973

La Minotauromachie, 1935 Etching and engraving with scraper, on laid Montval paper with watermark, with full margins (deckle on all sides). Baer’s seventh (fnal) state, one of the 23 impressions from the artist’s estate, printed by Roger Lacourière, Paris, in original condition, framed. I. 49.8 x 69.4 cm (19 5/8 x 27 3/8 in.) S. 57.3 x 77.4 cm (22 1/2 x 30 1/2 in.) Estimate £800,000-1,200,000 $1,070,000-1,600,000 €959,000-1,440,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance The artist Marina Picasso collection, with her oval stamp verso (Lugt 3698) Acquired directly from the above by the present owner

Literature Alfred H. Barr, Fantastic art, dada, surrealism, Museum of Modern Art, New York, 1936, pl. 261 Christian Zervos et al., Picasso 1930-1935, Cahiers d’art, 1936, p. 85 Paul Eluard, À Pablo Picasso, Geneva & Paris, 1944, pl. 102 Alfred Barr, Jr., Picasso. Fify Years of his Art, Museum of Modern Art, New York, 1946 Georges Bloch, Catalogue de l’oeuvre gravé et lithographié 1904-1967, Bern, 1968, p. 286, no. 288 André Fermigier, Picasso, Paris, 1969 Francis Ponge, Pierre Descargues and Edward Quinn, Picasso, Paris, 1974, p. 212 Timothy Hilton, Picasso, London, 1975, no. 166, p. 225 Brigitte Baer and Bernhard Geiser, Picasso PeintreGraveur, Bern, 1986, vol. III, p. 17, no. 573; and 1996, addendum to vols. I-VII, pp. 28-32 Sebastian Goeppert and Herma C. Goeppert-Frank, Minotauromachy by Pablo Picasso, Geneva, 1987 Brigitte Léal, Christine Piot and Marie-Laure Bernadac, The Ultimate Picasso, New York, 2000, no. 711, p. 292 Marie-Laure Bernadac, Minotauromachie, Gagosian Gallery: All VIII States, London, 2006 Stephen Coppel, Picasso Prints – The Vollard Suite, The British Museum, London, 2012, p. 37 Please see the online catalogue for a more extensive literature listing

*The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

The Iconography of a Masterpiece In La Minotauromachie we are faced with Picasso at his most coded and personal. If the 1930’s were the richest and most complex of Picasso’s artistic career1 then this emblematic etching is the zenith of this decade; condensing and refning ten years of images of bullfghting in all its varied aspects alongside the amorous presence of Marie-Thérèse. At 53 years old, this image is also seen as a retrospective of the artist’s career up to this point. Additionally, its great power lies in the artist’s use of symbols universal in Western Art Historical and Christian iconographies for eros, violence, death and redemption, through which we can unravel this tableau vivant of diverse characters of whom, as Emmanuel Benador describes, “everything can be seen, but nothing known, and whose presence there is inexplicable.”2 At this point in Picasso’s life, the artist’s marriage was breaking down in the face of his all-consuming attraction towards the seventeen-year-old, Marie-Thérèse Walter, whose mesmeric Grecian profle and athletic build were the antithesis of Olga Khokhlova, Picasso’s ballet-dancer wife and mother to his young son. His afair with Marie-Thérèse burst through the cage of bourgeois domesticity that he felt married life had become, and awoke in Picasso the unbridled lustful urges that led to a dangerous and illicit afair, leaving Picasso to grapple with his own moral code as well as societal traditions and expectations. Following on from the exploration of classical mythology that he had begun in the mid-1920’s, Picasso seized the Minotaur as a symbol for the terrible impulses he could not control. As explained by Deborah Wye, “the mythic Minotaur became Picasso’s alter ego…[and] gave him a vehicle for depicting sexuality and violence, and for expressing rage and guilt.”3 Picasso – not averse to literally donning a bull’s head and playing the Minotaur – knew that monstering himself was both a boast and a confession.

Above/Below: Edward Quinn, Picasso with a wicker bull mask originally intended for bullfghters' training, he becomes a living Minotaur. Beside him is a sculpture made of scrap wood with the features painted on it, La Californie, Cannes, 1959, including Femme debout, 1953, and a Teotihuacan mask © edwardquinn.com. © Succession Picasso/DACS, London 2019.

Pablo Picasso, Minotaure aveugle guidé par MarieThérèse au pigeon dans une nuit étoilée (Blind Minotaur Guided Through a Starry Night by Marie-Thérèse with a Dove), plate 97 from La Suite Vollard, 1934 © Succession Picasso/DACS, London 2019.

The adventures of the Picasso-Minotaur were well documented prior to La Minotauromachie in La Suite Vollard (1933-36), of which an entire chapter and ffeen plates were dedicated to the Minotaur’s seduction, wrangling, ofen violent coupling, drinking, and dying. Throughout the suite, the Minotaur’s actions and roles are complex: he is seen as a tender lover, and a rapist, as wounded and vulnerable, as the sculptor’s companion, but always hunted by and haunting the fgure of Marie-Thérèse. In the early 1930’s Picasso obsessively returned to the same subjects, producing numerous drawings and paintings alongside this etching suite, indicating how fxated he had become on this visual biographical metaphor. It is in La Suite Vollard that we fnd an anticipatory version of La Minotauromachie - the previous scene before the stage revolves: Minotaure aveugle guidé par une flette dans la nuit (Blind Minotaur Guided by a Little Girl in the Night), 1934. Here, the young girl wearing the face of Picasso’s lover and holding a dove of peace, gently leads the blind and impotent Minotaur through the pitch of night. He is steered away from his vessel and the sea shore, faithfully following the innocent child seemingly toward the entrance of a building or city. The artist-as-monster is led to the scene we fnd in La Minotauromachie, but the cast of characters who brought him there, and even he himself, have undergone an Ovid-like transformation.4 Here the Minotaur, monumental and archaic in his proportions, has recovered his sight and stares forward past his colossal right arm, which stretches across the centre of the image toward the hypnotic fame of the candle. His

Lef/Centre/Right: Michelangelo Buonarroti, The Fall of Man, from the Sistine Chapel Ceiling, 1510, Vatican Museums and Galleries, Vatican City/ Bridgeman Images Pablo Picasso, Woman with a Fan, 1905, National Gallery of Art, Washington, D.C., USA/Bridgeman Images © Succession Picasso/DACS, London 2019.

Jean Auguste Dominique Ingres, Venus Anadyomene, circa 19th century. Musee Conde, Chantilly, France/Bridgeman Images

bearing is hunched, with the bull’s head so disproportionate and disconnected to the human fgure that we are more aware than ever, of the man existing behind the mask. The torso and legs of the Minotaur appear to be transforming and mutating between forms as he steps forwards, not unlike the sprouting fngers of Bernini’s Daphne as she fees the grip of Apollo.5 In their basic form and structure, the fgure resembles archaic Kouros statuary from Delphi that Picasso had seen reproduced in a volume on Greek art published by his friend, Christian Zervos.6 Picasso borrows from the Kouros their walking stance and pairs it with a burly outstretched arm worthy of the musculature rendering of Michelangelo. The defensive arm and hand gesture can be found on the fgure of Adam in Michelangelo’s ceiling fresco of the Sistine Chapel (1508-1512) as he protects himself and prepares for damnation - providing a prototype to Picasso of a gesture that expresses the horror of (self-) knowledge.7 The knowledge from which the Picasso-Minotaur is trying to protect himself is revealed by the other transformed character from the previous Blind Minotaur scene: the young girl with the face of Marie-Thérèse. She stands, not unlike an archaic Kore herself, serene and steadfast with her arms held stify in a pose of ofering or announcement. Her posture, like that of the Minotaur’s, can be found in numerous art historical antecedents and has been likened to the pose and attentive sympathy8 of Primavera in Botticelli’s Birth of Venus (c. 1486). The gestures of her arms can also be read in Picasso’s painting Femme à l’éventail (Woman with a Fan) from 1905 and in a sculpture from 1933 Femme au vase (Woman with Vase), a fertility idol and another portrait of Marie-Thérèse, which was presented in 1937 with Guernica in the Spanish Republican Pavilion of the Universal Exhibition, and later placed on Picasso’s grave at Vauvenargues.9

Most importantly however, this fgure resembles depictions of the Archangel Gabriel from Christian iconography, who announces both the birth of Christ to Mary, and later, the approaching death of the Virgin. In La Minotauromachie, she holds her candle alof, with her hat as a halo, making visible and announcing to the world the result of Picasso’s indiscretions, revealed on horseback at the centre of the etching. At the heart of this composition Picasso depicts a horse in the throes of agony with its belly slit open, upon which is draped a serenely sleeping woman clothed as a Spanish torera and carrying a sword. As with all the women in this etching, she bears the facial features of Marie-Thérèse and her pose in slumber, with an arm thrown over her head, echoes that of Picasso’s etching from the previous year, Garçon et dormeuse à la chandelle, where she is similarly revealed by candlelight. Her supine fgure and arm position also echoes that of Ingres’ Venus Anadyomene, 1848 demonstrating Picasso’s amorous feelings towards the torera by casting her in the role as the goddess of Love. Her shirt is unbuttoned to reveal her stomach, swollen with child as the horse’s stomach beneath her is emptied of its contents, symbolising birth and death as one.10 The birth this coupling of characters refers to is of MarieThérèse’s illegitimate child with Picasso and the source of the artist’s conficting emotions towards his young lover. As explained by Brassaï in 1966, “…in the eyes of a man yearning for his muse, the pregnant woman – and expectant mother – loses the charm of the ‘ideal’ lover because it is clear that she will, henceforth, have to divide her attention between the child, the father of the child and the man for whom she is life’s companion. On the one hand, Picasso loved Marie-Thérèse enough to want to live with her and their child. On the other hand, doing so would have meant the end of an artistry based on restlessness, candour and repeated renewal.”11

Overlooking the torrid scene below we fnd two women watching from an arched window, reminiscent of the arcades along the upper rows of Spanish bullfghting arenas. Their bearing like melancholic putti, these women ‘read’ the symbolic dramatization as it plays out beneath them with an air of detached interest. Both girls wear the face of Marie-Thérèse and each is accompanied by a dove, a bird that Picasso had gifed to his lover and ofen painted her holding. The two women represent the duality of human character and their light and dark countenances hint at the forces of good and evil, truth and denial at play below. The faces of the women in the window look directly upon the focal candlelight, held up towards the advancing Minotaur. The once blind beast who had been led, crutch-dependent like Rembrandt’s Blind Tobit12 towards a childlike Marie-Thérèse, now puts up a beseeching hand to the light she turns upon him, warding of (as had Michelangelo’s depiction of Adam before him) the knowledge she reveals. He does not want to see what she sees, to know what she knows, that (even as an artist) his actions have consequence. No longer an innocent child, now the teenager she was when Picasso met her, and dressed in the sailor suit and beret that she wore at their frst meeting, MarieThérèse returns the artist’s sight and with it reveals the truth of his actions, which he cannot abide to admit. Past the interlocked horse and torera, beyond the unfinching stare of the girl-as-annunciation is the promise of the artist’s salvation. A Christ-like fgure wrapped in a loincloth and bearing the stigmata at his side, climbs a ladder up and out of the top lef corner of the image. The ladder has a specifc signifcance within the framework of Christian iconography and depictions of the Crucifxion, suggesting that its use here also implies the possibility of redemption through sacrifce. Of particular infuence on La Minotauramachie may have been Rembrandt’s Descent from the Cross, in which the artist portrayed himself as the man standing on the ladder, giving an art historical precedent for Picasso to take his place on the steps to freedom. Perhaps, if he can pass beyond his current confict between wife and lover, Picasso can ascend the ladder to a spiritual haven, escaping the labyrinth of his own making, his personal bullfght where the only certainty is death.

Marie-Laure Bernadac, Pablo Picasso, La Minotauromachie: all VIII states, Gagosian Gallery, London, 2006, p. 5 2 see Sebastian Goeppert and Herma C. Goeppert-Frank, Minotauromachy by Pablo Picasso, Patrick Cramer, Geneva, 1987 for a detailed iconographical analysis, as will be referenced throughout this essay as ‘Goeppert’. 3 Deborah Wye, A Picasso Portfolio: Prints from the Museum of Modern Art, The Museum of Modern Art, New York, 2010, p.46 4 The Metamorphoses is a Latin narrative poem on the themes of transformation by the Roman poet Ovid. Considered his magnum opus and containing over 250 myths, it has inspired authors and artists throughout Western culture, particularly during the Renaissance. Picasso produced a series of 30 etchings inspired by this text that were published by Albert Skira in 1931, entitled Les Métamorphoses d’Ovide.

Gian Lorenzo Bernini’s Apollo and Daphne (1622-1625) depicts the transformative climax of one of the myths from Ovid’s Metamorphoses wherein Daphne mutates into a Laurel tree to escape the amorous clutches of Apollo. 6 Goeppert, p. 47 7 Goeppert, p. 49 8 Goeppert, p. 71 9 Bernadac, p. 10 10 Goeppert, p.67 11 Brassaï, Picasso and the Minotaur, Doubleday, New York, 1966, p. 85 12 Art Historian Lisa Florman notes the resemblance between Picasso’s sightless minotaur and Rembrandt’s Biblical fgure in The Blindness of Tobit, 1651 in Myth and Metamorphosis: Picasso’s Classical Prints of the 1930s, Cambridge, MIT Press, 2000, pp. 151-2.

Above/below: Rembrandt Harmensz van Rijn, The Descent from the Cross: Second Plate, 1633. Private Collection / Bridgeman Images

Pablo Picasso, Minotaur and dead mare in front of a cave facing a young girl in the veil,1936, Musee Picasso, Paris. © PhotoJosse/Bridgeman Images © Succession Picasso/DACS, London 2019.

A Plate Re-Worked The Seven States of La Minotauromachie

Hanging in the Musée Picasso in Paris, one will fnd Picasso’s original large scale copper plate, the origin of La Minotauromachie. In just over a month Picasso worked and reworked this plate, immersing himself in Roger Lacourière’s atelier, etching each detail of the image in an acid tank too small to contain the entire plate. Dated March 23, 1935 in the plate, Lacourière printed the frst state of La Minotaurmachie only a few days afer Picasso embarked on the endeavor. His invoices document a continuous collaborative process between artist and printer, progressively printing proofs of each state on a weekly basis, as Picasso’s plate evolved through its lifetime of seven total states: the 1st-2nd states printed from 25-29 March; 3rd-5th states from 1-5 April; 6th state from 8-12 April and the 7th (fnal) state 28 April-3 May. The seven states show each stage at which Picasso refected on his masterpiece in the making. The frst state shows the basis of the composition; the second, the reworking of the building, the Minotaur’s right hand, and the female fgures elaborated. The third state sees the frst additions to detail in the brimmed hat, facial features, a remodeled man on the ladder, with the Minotaur’s arm thickened. For the fourth state the artist reworked the entire plate, deeply incising the copper, resulting in a much darker, richer impression. The ffh state sees a lightness reintroduced to the composition in the sky, horse’s main and candle surround. The sixth state is modifed by the Minotaur’s arm, with more light radiating from the candle, and the sky uniformly hatched. The seventh (fnal) state shows further work to the girls in the tower, the dove, and hair of the girl holding the candle.

Lef/Right: Edward Quinn, Picasso and Henri Matarasso, gallery owner and publisher, checking the etching ‘La Minotauromachie’, La Californie, Cannes, 1961. © edwardquinn.com © Succession Picasso/DACS, London 2019.

Pablo Picasso, La Minotauromachie (State I), 1935. © Succession Picasso/ DACS, London 2019.

Printing of the fnal state was completed by June 1936. Upon completion, and unlike his usual practice for graphic output, Picasso did not intend this particular print to be traditionally editioned, precisely organized or defnitively numbered. Selling was not the priority. The image was of utmost importance to the artist - a decision clearly demonstrating his intense personal investment in the project. Instead, Picasso kept the entire group of prints for his own use, gifing more than half of them from 1935 through the 1960’s - signing, numbering and dedicating copies as they passed through his hands to the select few closest to him, and keeping them away from his most trusted dealers. While no exact account of impressions exists, and there is no seeming rhyme or reason to the order of those few inconsistently numbered and gifed prints, numerous historians such as Brigitte Baer, and Sebastian and Herma Goeppert, alongside documents in the Musée Picasso and appearances of this image in the public marketplace combined, have identifed the existence of between 55 and 65 examples of this fnal state impression. Nearly all of these recorded impressions of La Minotauromachie are now held in public or permanent collections, such as the Musée Picasso, Paris; Bibliothèque Nationale, Paris; Museo Picasso, Barcelona; Sprengel Museum, Hanover; Stedelijk Museum, Amsterdam; Ashmolean Museum, Oxford; The Metropolitan Art Museum, Tokyo; The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; The Brooklyn Museum, Brooklyn; The Art Institute of Chicago, Chicago; Museum of Fine Arts, Boston; The Philadelphia Museum of Art, Philadelphia; The Baltimore Museum, Baltimore; The Princeton Museum, Princeton; The National Gallery, Washington, D.C.; and The National Gallery, Ottawa; not to mention those in the most important private collections. The current lot is new to the auction market. Purchased directly from Marina Picasso (Olga Khokhlova’s granddaughter), it is one of the group of unsigned impressions lef to her afer Picasso’s death and bears her collection inkstamp on the reverse.

Property of a Private Scandinavian Collector

2. Pablo Picasso

1881-1973

L’Ètreinte I (The Embrace I), 1963 Linocut rincé printed in white with China ink, on Arches paper, with full margins. Signed and numbered 15/50 in pencil (there were also approximately 20 artist’s proofs), published by Galerie Louise Leiris, Paris, framed. I. 53.3 x 63.5 cm (21 x 25 in.) S. 61.9 x 74.6 cm (24 3/8 x 29 3/8 in.) Estimate £7,000-10,000 $9,200-13,200 €8,300-11,900 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Collection of Theodor (Teto) Ahrenberg Private Collection, Sweden, aquired from Auktionsverket Stockholm Acquired directly from the above by the present owner Literature Georges Bloch 1151 Brigitte Baer 1343

3. Pablo Picasso

1881-1973

Les Deux femmes nues (Two Nude Women), 1945 Lithograph, on Arches paper, with full margins. A rare proof impression, Mourlot’s 5th state (of 18), one of 19 unsigned proofs reserved for the artist and printer (there was no edition of this state), printed by Fernand Mourlot, Paris, unframed. I. 25.6 x 34.5 cm (10 1/8 x 13 5/8 in.) S. 32.6 x 44.4 cm (12 7/8 x 17 1/2 in.)

Provenance Christie's London, Old Master, Modern & Contemporary Prints, 17 Sept 2009, lot 91 Private Collection Acquired from the above by the present owner

Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Fernand Mourlot 16

137083

4. Pablo Picasso

1881-1973

Les Deux femmes nues (Two Nude Women), 1946 Lithograph with tint stone in beige, on Marais paper, with full margins. A rare proof impression, Mourlot’s 9th state (of 18), one of 19 unsigned proofs reserved for the artist and printer (there was no edition of this state), printed by Fernand Mourlot, Paris, unframed. I. 28 x 38.8 cm (11 x 15 1/4 in.) S. 32 x 45.1 cm (12 5/8 x 17 3/4 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,200 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Fernand Mourlot 16

Provenance Christie's London, Old Master, Modern & Contemporary Prints, 17 Sept 2009, lot 91 Private Collection Acquired from the above by the present owner

5. Pablo Picasso

1881-1973

Poisson de profl (Fish in profle), 1951 White earthenware dish with hand-painting in colours and glazed on the front and reverse. From the edition of 25, with the Empreinte Originale de Picasso and Madoura Plein Feu pottery stamps on the underside. 25.4 x 33 cm (10 x 13 in.) Estimate £12,000-18,000 $15,800-23,700 €14,300-21,400 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Madoura, Vallauris, 1950s by descent to the present owner Literature Alain Ramié 132 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

(reverse of present lot)

6. Henri Matisse

1869-1954

Figure endormie, châle sur les jambes (Sleeping Figure, Shawl over Legs), 1929 Lithograph, on Arches paper, with full margins (a deckle edge at right). Signed and numbered '6/10 epr. d'artiste' in pencil (an artist’s proof, the edition was 50), framed. I. 26.8 x 37.7 cm (10 1/2 x 14 7/8 in.) S. 44.8 x 55.5 cm (17 5/8 x 21 7/8 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Claude Duthuit 511

7. Henri Matisse

1869-1954

Orientale sur lit de repos, sol de carreaux rouges (Oriental Day Bed, Red Tiled Floor), 1929 Lithograph, on Arches paper, with full margins. Signed and numbered 13/50 in pencil (there were also 10 artist’s proofs), framed. I. 26 x 47.2 cm (10 1/4 x 18 5/8 in.) S. 50.2 x 66 cm (19 3/4 x 25 7/8 in.) Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Claude Duthuit 513

8. Salvador Dalí

1904-1989

Alice in Wonderland, 1977/1984 Bronze with green patina. With incised signature and numbering 278/350 (there were also 35 artist’s proofs), this edition was conceived in 1977 and frst cast in 1984, this example cast at a later date, stamped with the Perseo Mendrisio, Switzerland, foundry mark and with their accompanying Certifcate of Authenticity. 91 x 45 x 20.5 cm (35 7/8 x 17 3/4 x 8 1/8 in.) Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Robert and Nicholas Descharnes, Dalí: The Hard and The Sof, Spells for the Magic Form, Sculptures & Objects, Paris, 2004, no. 624 (another example illustrated p.243) A. Reynolds Morse, Albert Field and Robert P. Descharnes, Dali; The Sculpture Collection, Balerna, 2014, pp. 34-35 (another example illustrated)

9. Henry Moore

1898-1986

Sheep, 1972-74 The complete set of 12 etchings, on handmade Rives paper with watermark designed by the artist, with full margins, with title page, colophon, text, accompanying linen-covered portfolio and printed vellum wrappers. All signed, numbered XII/XV and each consecutively inscribed with the plate number in pencil, further signed in black ink and numbered XII (printed) on the colophon (one of 15 artist’s proof sets in Roman numerals, the edition was 80 including a deluxe edition of 15), published by Gerald Cramer, Geneva, 1975, the 12 prints and vellum wrappers each framed. all I. various sizes, largest approx. 20.5 x 24.9 cm (8 1/8 x 9 3/4 in.) all S. 30.5 x 38.5 cm (12 x 15 1/8 in.) Estimate £20,000-30,000 $26,300-39,500 €23,800-35,700 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Patrick Cramer 196-7, 199-201, and 225-232 Including Sheep in feld; Sheep with lamb I; Sheep with lamb II; Sheep with lamb IV; Fat lambs; Sheep; Head; The show sheep; Ready for shearing; Sheep back view; Shorn sheep; and Shorn sheep with lamb

10. Francis Bacon

1909-1992

11. Jim Dine

b. 1935

Triptyque Août 1972 (afer, Triptych August 1972), 1979

Printing and Dancing IX, 2002

The complete set of three lithographs in colours, on Arches paper, with full margins. All signed and annotated ‘HC’ in pencil (an hors commerce set, the edition was 180 and some artist’s proofs), published by Galerie Lelong, Paris, all unframed. all I. 65.5 x 48.6 cm (25 3/4 x 19 1/8 in.) all S. 90 x 62.5 cm (35 3/8 x 24 5/8 in.)

Unique woodcut in colours with hand-colouring in enamel and charcoal, on two sheets of Hiromi Shiramine paper (as issued), the full sheets. Signed, dated and numbered 1/1 in pencil, published by Pace Editions, New York, framed. S. 168.9 x 127 cm (66 1/2 x 50 in.)

Estimate £15,000-20,000 $19,800-26,300 €17,900-23,800 ♠

Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 plus Buyers Premium and VAT*

plus Buyers Premium and VAT, ARR applies*

Literature Bruno Sabatier 23 Alexandre Tacou 24

12. Andy Warhol

1928-1987

Green Pea, from Campbell’s Soup I, 1968 Screenprint in colours, on wove paper, with full margins. Signed in black ball-point pen and stampnumbered 5/250 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 58.5 cm (35 x 23 in.) Estimate £15,000-20,000 $19,800-26,300 €17,900-23,800 plus Buyers Premium and VAT*

Literature Frayda Feldman and Jörg Schellmann 50

13. Andy Warhol

1928-1987

Vegetarian Vegetable, from Campbell’s Soup II, 1969 Screenprint in colours, on wove paper, with full margins. Signed in black ball-point pen and stamp numbered 66/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed. I. 81.1 x 47.8 cm (31 7/8 x 18 7/8 in.) S. 88.2 x 58.4 cm (34 3/4 x 22 7/8 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 plus Buyers Premium and VAT*

Provenance Robert Funcke Gallery, Ghent Acquired directly from the above by the present owner circa 1970 Literature Frayda Feldman and Jörg Schellmann 56

Property from a Private UK Collection

14. Andy Warhol

1928-1987

Queen Elizabeth II of the United Kingdom, from Reigning Queens, 1985

15. Andy Warhol

1928-1987

Shoes, 1980

Screenprint in colours, on Lenox Museum Board, the full sheet. Signed and numbered 13/40 in pencil (there were also 10 artist’s proofs), published by George C.P. Mulder, Amsterdam, with the accompanying Reigning Queens, 1985 exhibition catalogue, numbered 2122/5000, framed. S. 100.1 x 80.1 cm (39 3/8 x 31 1/2 in.)

Screenprint in colours with diamond dust, on Arches Aquarelle Cold Pressed paper, the full sheet. Signed, inscribed and numbered ‘H.C. 1/1’ in pencil on the reverse (an hors commerce impression, the edition was 60 and 10 artist’s proofs), published by the artist (with his copyright inkstamp on the reverse), framed. S. 101 x 150.8 cm (39 3/4 x 59 3/8 in.)

Estimate £40,000-60,000 $52,700-79,000 €47,600-71,400

Estimate £60,000-80,000 $79,000-105,000 €71,400-95,300 ‡

plus Buyers Premium and VAT*

Provenance Aenigma Gallery, Amsterdam Acquired directly from the above by the present owner in 2003

Literature Frayda Feldman and Jörg Schellmann 254

Literature Frayda Feldman and Jörg Schellmann 337

16. Andy Warhol

1928-1987

Geronimo, from Cowboys and Indians, 1986 Screenprint in colours, on Lenox Museum Board, the full sheet. Signed and numbered IX/X in pencil (one of 10 impressions in Roman numerals, the edition was 250 in Arabic numerals and 50 artist’s proofs), published by Gaultney, Klineman Art, Inc., New York, framed. S. 91.5 x 91.5 cm (36 x 36 in.) Estimate £15,000-20,000 $19,800-26,300 €17,900-23,800 plus Buyers Premium and VAT*

Literature Frayda Feldman and Jörg Schellmann 384

17. 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 796/1000 in pencil (there were also 100 artist’s proofs), published by Tyler Graphics, Ltd., Mt. Kisco, New York (with their blindstamp), framed. S. 26.6 x 22.9 cm (10 1/2 x 9 in.) Estimate £12,000-18,000 $15,800-23,700 €14,300-21,400 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Tyler Graphics 269 Museum of Contemporary Art Tokyo 234

18. David Hockney

b. 1937

Snow, from Weather Series, 1973 Lithograph and screenprint in colours, on Arjomari paper, with full margins. Signed, dated and numbered 75/98 in green pencil, titled in blue pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 86.5 x 72.5 cm (34 x 28 1/2 in.) S. 101.5 x 85 cm (39 7/8 x 33 1/2 in.) Estimate £15,000-20,000 $19,700-26,300 €17,800-23,700 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Christie's Online, Contemporary Editions, 12-21 Sept 2017, lot 314 Acquired from the above by the present owner Literature Gemini G.E.L. 445 Museum of Contemporary Art Tokyo 131

137189

19. David Hockney

b. 1937

Home, from Illustrations for Six Fairy Tales from the Brothers Grimm, 1969 Etching, on Hodgkinson handmade wove paper watermarked ‘DH / PP’, with full margins. Signed in pencil on the front and dedicated ‘for P. Clement’ in sepia ink on the reverse (a rare dedicated proof to the printer aside from the edition of 100 and 15 artist’s proofs, there was also a book edition of 460 copies), co-published by Petersburg Press, New York and Kasmin Gallery, London, unframed. I. 44.5 x 32 cm (17 1/2 x 12 5/8 in.) S. 61.9 x 45.3 cm (24 3/8 x 17 7/8 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Scottish Arts Council 87 Museum of Contemporary Art Tokyo 84

20. David Hockney

b. 1937

Panama Hat, 1972 Etching and aquatint, on Crispbrook handmade paper, the full sheet. Signed, dated and numbered 35/125 in pencil (there were also 15 artist’s proofs), co-published by Brooke Alexander, Inc., New York, and Petersburg Press, London, framed. S. 41.6 x 33.9 cm (16 3/8 x 13 3/8 in.) Estimate £12,000-18,000 $15,800-23,700 €14,300-21,400 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Scottish Arts Council 127 Museum of Contemporary Art Tokyo 119

21. David Hockney

b. 1937

Snails Space, 1995 The complete set of 10 digital inkjet prints in colours, on heavy textured Somerset paper, with full margins. All signed, dated and numbered ‘#36’ in pencil, from the edition of 45, published by Nash Editions, Los Angeles (with their blindstamp), all framed. all I. approx. 83.2 x 106 cm (32 3/4 x 41 3/4 in.) all S. approx. 88.9 x 110.8 cm (35 x 43 5/8 in.) Estimate £25,000-35,000 $32,900-46,100 €29,800-41,700 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Museum of Contemporary Art Tokyo 354-363

Property from a Private UK Collection

22. David Hockney

b. 1937

Views of Hotel Well III, from Moving Focus Series, 1984-85 Lithograph in colours, on TGL handmade paper, with full margins. Signed, dated and numbered 4/80 in pencil (there were also 18 artist’s proofs), published by Tyler Graphics, Ltd., Mt. Kisco, New York (with their blindstamp), contained in the original wooden frame specifed by the artist. framed 140.5 x 113.5 cm (55 3/8 x 44 5/8 in.) Estimate £30,000-50,000 $39,500-65,900 €35,700-59,500 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Tyler Graphics 282 Museum of Contemporary Art Tokyo 274

23. David Hockney

b. 1937

Untitled No. 22, from The Yosemite Suite, 2010 iPad drawing in colours, printed on wove paper, with full margins. Signed, dated and numbered 25/25 in pencil, published by the artist (with his blindstamp), framed. I. 81.4 x 61 cm (32 x 24 in.) S. 94 x 71.1 cm (37 x 27 7/8 in.) Estimate £15,000-20,000 $19,800-26,300 €17,900-23,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

24. Howard Hodgkin

1932-2017

As Time Goes By (red), 2009 Monumental 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 6/7 in pencil (there were also 3 artist’s proofs), published by Alan Cristea Gallery, London, each panel framed. overall S. 243.8 x 609.6 cm (95 7/8 x 240 in.) Estimate £30,000-50,000 $39,500-65,800 €35,700-59,400 ♠ plus Buyers Premium and VAT, ARR applies*

25. William Kentridge

b. 1955

Dancer Twice, 1996-97 Digital print with extensive hand-colouring in watercolour, pastel and charcoal, on Arches paper, with full margins. Signed and annotated ‘D.P.I XIV 21 March 1917’ in pencil (a proof before the edition of 50), published by David Krut Fine Art, London, framed. I. 68.4 x 103 cm (26 7/8 x 40 1/2 in.) S. 86.5 x 118 cm (34 x 46 1/2 in.) Estimate £10,000-15,000 $13,200-19,700 €11,900-17,800 plus Buyers Premium and VAT*

Literature David Krut, pp. 58-59

26. Yayoi Kusama

b. 1929

Pumpkin Green (GSQ), 1998 Screenprint in colours, on Arches paper, with full margins. Signed, titled, dated and numbered 116/120 in pencil (there were also 12 artist’s proofs), printed by Okabe Tokuzo, Japan, unframed. I. 29.8 x 29.8 cm (11 3/4 x 11 3/4 in.) S. 39.7 x 38.1 cm (15 5/8 x 15 in.) Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 ‡ plus Buyers Premium and VAT*

Provenance The artist’s studio Acquired directly from the above by the present owner Literature Yayoi Kusama 243 This work has been authenticated by the Kusama Studio

27. Yayoi Kusama

b. 1929

Hello!, 1989 Screenprint in colours, on Izumi paper, with full margins. Signed, titled, dated and numbered 38/100 in pencil (there were also 8 artist’s proofs), printed by Ishida Ryoichi, Japan, framed. I. 45.4 x 52.7 cm (17 7/8 x 20 3/4 in. ) S. 53.3 x 61 cm (21 x 24 in.)

Literature Yayoi Kusama 131 This work has been authenticated by the Kusama Studio

Estimate £15,000-20,000 $19,800-26,300 €17,900-23,800 ‡ plus Buyers Premium and VAT*

28. Yayoi Kusama

b. 1929

Flowers, 1993 Screenprint in red and black, on Arches paper, with full margins. Signed, titled in Japanese, dated, and numbered 33/160 in pencil (there were also 16 artist’s proofs), printed by Okabe Tokuzo, Japan, framed. I. 27.3 x 22 cm (10 3/4 x 8 5/8 in.) S. 39 x 31.4 cm (15 3/8 x 12 3/8 in.) Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 plus Buyers Premium and VAT*

Literature Yayoi Kusama 181 This work has been authenticated by the Kusama Studio

29. Ed Ruscha

b. 1937

30. Gerhard Richter

b. 1932

Twentysix Gasoline Stations, from Book Covers, 1970

Mao, 1968

Lithograph in colours, on Arches paper, with full margins. Signed with initials, dated and numbered 11/30 in pencil (there were also 3 artist’s proofs), published by Graphicstudio, University of South Florida, Tampa, framed. I. 21.3 x 28.9 cm (8 3/8 x 11 3/8 in.) S. 40.6 x 50.8 cm (15 7/8 x 20 in.)

Collotype printed in black and purple, on white lightweight cardboard, the full sheet. Signed, dated and numbered 6/22 in pencil (there was also an edition of 478, approximately ten of which were signed), published by Galerie h. (August Haseke), Hanover (with their inkstamp on the reverse), framed. S. 84 x 59.5 cm (33 1/8 x 23 3/8 in.)

Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900

Estimate £15,000-20,000 $19,800-26,300 €17,900-23,800 ♠

plus Buyers Premium and VAT*

plus Buyers Premium and VAT, ARR applies*

Literature Siri Engberg 45

Provenance Christie’s New York, Prints and Multiples, 1 Nov 2005, lot 553 Acquired directly from the above by the present owner Literature Hubertus Butin 13

31. Gerhard Richter

b. 1932

Haut II (Skin II), 2004 Screenprint and frequency modulated ofset print in bluish grey, on stretched canvas. Signed, dated and annotated ‘Druckprobe für ‘Milk’’ in black felt-tip pen on the reverse (the unique proof on canvas aside from the regular edition of 60 and 12 artist’s proofs on paper), published by Kunstmuseum Bonn, framed. 60 x 90.2 cm (23 5/8 x 35 1/2 in.) Estimate £40,000-60,000 $52,700-79,000 €47,600-71,400 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Hubertus Butin 127

32.

32. Tomas Ruf

b. 1958

Substrates, 2003 The complete set of four digital prints (Ditone) in colours, on Satin paper fushmounted to aluminium board (as issued). All signed and numbered 5/45 in black ink on a label afxed to the reverse (there were also 10 artist’s proofs), published by Edition Schellmann, Munich and New York, all unframed. all I. 89.7 x 65 cm (35 3/8 x 25 5/8 in.) all S. 100 x 75 cm (39 3/8 x 29 1/2 in.) Estimate £12,000-18,000 $15,800-23,700 €14,300-21,400 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Jörg Schellmann 116-119 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 298-299

33. Imi Knoebel

b. 1940

Anima Mundi 38-4, 2010 Acrylic in colours, on four constructed plastic panels, each mounted to aluminium (as issued). All with printed title, date, numbering 2/5 and annotation ‘A’, ‘B’, ‘C’ and ‘D’ respectively on a label afxed to the reverse, all framed. all 46 x 35.8 cm (18 1/8 x 14 1/8 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies* 33.

34. Daniel Buren

b. 1938

Les Cent Vases (The Hundred Vases), 2010 Ten unique white earthenware vases, painted in colours and glazed. All stamp-signed, titled, dated and with the Atelier La Tuilerie du Chaillou trademark on the underside, from the series of 100 individual unique variants, created to beneft Handicap International. all various sizes smallest h. 35 cm (13 3/4 in.) largest h. 71 cm (27 7/8 in.) Estimate on request ♠ plus Buyers Premium and VAT, ARR applies*

Exhibited Terra Rossa, Salernes en Provence, 1st Biennale de la Ceramique de Salermes (Var), July-August 2011 (other examples exhibited) L'Orangerie du Sénat, Jardin du Luxembourg, Paris, Artistes du Monde pour Handicap International, 19-30 June 2013 (other examples exhibited)

Photo-souvenir: Les Cent Vases (The Hundred Vases), 2010 ÂŠDaniel Buren/ADAGP, Paris

35. Alex Katz

b. 1927

Yellow Tulips, 2014 Screenprint in colours, on museum board, the full sheet. Signed and numbered ‘P.P. 2/4’ in pencil (a printer’s proof, the edition was 50 and 15 artist’s proofs), published by Lococo Fine Art, St. Louis, Missouri, framed. S. 122.6 x 196 cm (48 1/4 x 77 1/8 in.) Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 ‡ plus Buyers Premium and VAT*

36. Alex Katz

b. 1927

Oona, from Black Dress, 2015 Screenprint in colours, on wove paper, the full sheet. Signed and numbered 15/35 in pencil, published by Lococo Fine Art, St. Louis, Missouri (with their inkstamp on the reverse), framed. S. 203.5 x 76.4 cm (80 1/8 x 30 1/8 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ‡ plus Buyers Premium and VAT*

37. Robert Longo

b. 1953

Untitled (Thunder Road), 2010 Archival pigment print, on wove paper, with full margins. Signed, dated and numbered 10/15 in pencil, published by Adamson Editions, Washington, framed. I. 76.2 x 136.5 cm (30 x 53 3/4 in.) S. 86.3 x 146.5 cm (33 7/8 x 57 5/8 in.) Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 ‡ plus Buyers Premium and VAT*

38. Bernar Venet

b. 1941

Arcs, 2017 Etching and aquatint with photoetching, burnishing and carborundum, on Somerset paper, with full margins. Signed and numbered 8/30 in pencil (there were also 5 artist’s proofs), published by World House Editions, Middlebury, Connecticut, in collaboration with Harvey Bayer, New Jersey and London, framed. I. 189.3 x 121.5 cm (74 1/2 x 47 7/8 in.) S. 202.6 x 134 cm (79 3/4 x 52 3/4 in.) Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

39. Keith Haring

1958-1990

Dog, 1986 Plywood painted in yellow enamel with screenprint in black. Signed, dated and numbered 6/10 in black felt-tip pen on the accompanying metal plaque (the total edition was 35 including 15 white on black, 10 red on black, 7 artist’s proofs and 3 unique colour variant trial proofs), published by Edition Schellmann, Munich and New York. 128 x 96 x 4 cm (50 3/8 x 37 3/4 x 1 5/8 in.) Estimate £200,000-300,000 $263,000-395,000 €238,000-357,000 plus Buyers Premium and VAT*

Literature Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, pp. 141-143

Created afer Haring was already a leading fgure in New York’s East Village cultural scene, having risen to prominence for his grafti drawings in the early 1980s, the Dog multiple arose out of a collaboration between the artist and Munich based publisher Edition Schellmann. In 1985 Haring had made a series of explicit drawings intended for inclusion in a book but struggled to fnd a publisher willing to take on the heavy sexual imagery, and so turned to Jörg Schellmann for recommendations. Schellmann ofered to publish the book himself if Haring would create an object in edition. The result was the present lot, a plywood multiple of one of the artist’s most renowned motifs, screenprinted with imagery from his unique visual lexicon. Haring’s system of expression, economy of line and idiosyncratic style coalesces distinct eras, geographies, and cultures, from the “primitive” art of the Americas to the High Renaissance. The Dog multiple betrays

his preoccupation with the semiotics of Egyptian hieroglyphics and Aztec signs. Imbued with symbols of the artist’s surroundings, appropriated art and fgures of the past transformed into signature icons such as the vibrant child and promiscuous man, the Dog’s picture plain is contained within the silhouette of the half-human half-jackal deity Anubis. While minimalist in his endeavours, Haring delves into the larger philosophical discussions presented by the God of the Underworld (of embalming and the dead) and simultaneously addresses the dichotomy between human power and the power of animal instinct. In its combination of pictorial and conceptual elements - cartoonishly humorous or gravely sincere, ardently political or art-historically referential - Dog is a testament to Haring’s ability to impregnate his works with a layer of complexity and subjectivity in homage to the pictorial systems of ancient cultures.

40. Keith Haring

1958-1990

Totem, 1989 Woodcut in black and red, on three sheets of Inshu-Kozu Japanese paper, the full sheets. One sheet signed, dated and numbered ‘HC IV/X’ in pencil (one of 10 hors commerce copies, the edition was 60 and 12 artist’s proofs), published by Edition Schellmann, Munich and New York, framed. overall I. 183 x 55.5 cm (72 x 21 7/8 in.) overall S. 193.5 x 88.5 cm (76 1/8 x 34 7/8 in.) Estimate £15,000-20,000 $19,800-26,300 €17,900-23,800 plus Buyers Premium and VAT*

Literature Klaus Littmann, pp. 158-159 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 144

41. Keith Haring

1958-1990

The Blueprint Drawings: one plate, 1990 Screenprint, on Arches Cover paper, with full margins. Signed, dated and numbered 2/33 in pencil, published by Durham Press, Durham, Pennsylvania, framed. I. 97 x 120.5 cm (38 1/4 x 47 1/2 in.) S. 108 x 127 cm (42 1/2 x 50 in.) Estimate £8,000-10,000 $10,500-13,200 €9,500-11,900 † plus Buyers Premium and VAT*

Literature Klaus Littmann p. 181

42. Keith Haring

1958-1990

Pop Shop V, 1989 The complete set of four screenprints in colours, on wove paper, with full margins. All signed, dated ‘3/25/94’ and numbered 177/200 in pencil by Julia Gruen (Executor for the Keith Haring Estate) on a stamped Certifcate of Authenticity on the reverse (there were also 25 artist’s proofs), published by the artist (with an iguana blindstamp), all framed. all I. 29 x 37 cm (11 3/8 x 14 5/8 in.) all S. 34.4 x 42 cm (13 1/2 x 16 1/2 in.) Estimate £18,000-22,000 $23,700-29,000 €21,400-26,200 ‡ plus Buyers Premium and VAT*

Literature Klaus Littmann pp. 148-149

43. KAWS

b. 1974

NO REPLY, 2015 The complete set of 10 screenprints in colours, on wove paper, the full sheets, with the original blue fabric-covered portfolio with embossed title. All signed, dated and numbered 53/100 in pencil (there were also 20 artist’s proofs), published by Pace Editions, New York, all unframed. all S. 88.8 x 58.4 cm (34 7/8 x 22 7/8 in.) Estimate £40,000-60,000 $52,700-79,000 €47,600-71,400 ‡ plus Buyers Premium and VAT*

137502

44. Jonas Wood

b. 1977

45. Jonas Wood

b. 1977

Untitled, 2014

Shelf Still Life, 2018

The complete set of four lithographs with screenprint in colours, on Coventry Rag paper, with full margins. All signed, dated and numbered 10/50 in pencil, published by Cirrus Editions, Los Angeles (with their blindstamp), all framed. all I. various sizes all S. 122 x 94 cm (48 x 37 in.)

Lithograph with screenprint in colours, on wove paper, the full sheet. Signed, dated and numbered 32/80 in brown pencil, co-published by WKS Editions and Cirrus Editions, Los Angeles (with their blindstamp), framed. S. 81.5 x 65.9 cm (32 1/8 x 25 7/8 in.)

Estimate £40,000-60,000 $52,600-78,900 €47,600-71,300 plus Buyers Premium and VAT*

Literature Gagosian Gallery, New York, Jonas Wood: Prints, pp.48-55

Estimate £10,000-15,000 $13,200-19,700 €11,900-17,800 plus Buyers Premium and VAT*

46. Damien Hirst

b. 1965

Mickey (Blue Glitter), 2016 Screenprint in colours with glitter, on wove paper, the full sheet. Signed and numbered 71/150 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, framed. S. 87.4 x 70 cm (34 3/8 x 27 1/2 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ♠ plus Buyers Premium and VAT, ARR applies*

47. Damien Hirst

b. 1965

Minnie (Pink Glitter), 2016 Screenprint in colours with glitter, on wove paper, the full sheet. Signed and numbered 71/150 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, framed. S. 87.4 x 70 cm (34 3/8 x 27 1/2 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ♠ plus Buyers Premium and VAT, ARR applies*

48. Damien Hirst

b. 1965

Tetrahydrocannabinol, 2004 Etching and aquatint in colours, on Hahnemühle paper, with full margins. Signed in pencil on the front and numbered 24/115 in pencil on the reverse (there were also 30 artist’s proofs), published by The Paragon Press, London, framed. I. 86.5 x 177.6 cm (34 x 69 7/8 in.) S. 112.2 x 201.1 cm (44 1/8 x 79 1/8 in.) Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 ♠ plus Buyers Premium and VAT, ARR applies*

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

49. 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 43/115 in pencil on the reverse (there were also 30 artist’s proofs), published by The Paragon Press, London, framed. I. 177.3 x 86.4 cm (69 3/4 x 34 in.) S. 203.4 x 109.4 cm (80 1/8 x 43 1/8 in.) Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 ♠ † plus Buyers Premium and VAT, ARR applies*

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

50. Damien Hirst

b. 1965

51. Damien Hirst

b. 1965

Diacetoxyscirpenol, 2005

Oleoylsarcosine, 2008

Etching and aquatint in colours, on Hahnemühle paper, with full margins. Signed in pencil on the front and numbered 22/115 in pencil on the reverse (there were also 30 artist’s proofs), published by The Paragon Press, London, framed. I. 86 x 177.7 cm (33 7/8 x 69 7/8 in.) S. 112 x 201 cm (44 1/8 x 79 1/8 in.)

Unique etching and aquatint in colours, on Hahnemühle paper, with full margins. Signed in pencil, from the series of 100 unique variants (there were also 20 artist’s proofs), published by The Paragon Press, London, framed. I. 74.3 x 54.5 cm (29 1/4 x 21 1/2 in.) S. 85 x 62.6 cm (33 1/2 x 24 5/8 in.)

Estimate £7,000-9,000 $9,200-11,900 €8,300-10,700 ♠

Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

plus Buyers Premium and VAT, ARR applies*

Literature The Paragon Press 2001-2006, pp. 200-201

Literature see The Paragon Press 2006-2010, pp. 222-225

52. Damien Hirst

b. 1965

The Souls on Jacob’s Ladder Take Their Flight (Unique), 2007-2016 Unique etching in colours, on Velin Arches paper, with full margins. Signed and annotated ‘U.P.’ in pencil, from the series of 72 unique variants, published by The Paragon Press, London, framed. I. 93.5 x 85.7 cm (36 3/4 x 33 3/4 in.) S. 119.5 x 107.8 cm (47 x 42 1/2 in.) Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 ♠ plus Buyers Premium and VAT, ARR applies*

Literature see The Paragon Press 2006-2010, p. 82

∆ 53.

Damien Hirst

b. 1965

The Souls on Jacob’s Ladder Take Their Flight (Unique), 2007-2016 Unique etching in colours, on Velin Arches paper, with full margins. Signed and annotated ‘U.P.’ in pencil, from the series of 72 unique variants, published by The Paragon Press, London, framed. I. 93.5 x 85.9 cm (36 3/4 x 33 7/8 in.) S. 119.5 x 108.4 cm (47 x 42 5/8 in.) Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 ♠ plus Buyers Premium and VAT, ARR applies*

Literature see The Paragon Press 2006-2010, p. 82

54. Rachel Whiteread

b. 1963

12 Objects, 12 Etchings, 2010 The complete set of 12 etchings in colours, on Somerset Velvet white paper, with full margins, with title page and colophon, the sheets loose (as issued) all contained in the original grey bukram-covered portfolio with printed artist’s name and title. All signed in pencil on the front and numbered 10/42 in pencil on the reverse (there were also 6 artist’s proofs), published by The Paragon Press, London, all unframed. all I. 24.6 x 24.6 cm (9 5/8 x 9 5/8 in.) all S. 39.2 x 37.6 cm (15 3/8 x 14 3/4 in.) portfolio 45 x 42 x 3 cm (17 3/4 x 16 1/2 x 1 1/8 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature The Paragon Press 2006-2010, pp. 272-285

55. Jef Koons

b. 1955

Balloon Animals Collector’s Set, 2017 The complete set of six porcelain multiples painted in chrome, all contained in the original Styrofoam-lined boxes with silver printed signature. All with printed signature, title, date and each numbered 727/999 on the underside (this set is number 29 of 40 with all matching numbers, from the total edition of 999), published by Bernardaud, Limoges, France (with their stamp on the underside). largest 25.4 x 22.2 x 41.9 cm (10 x 8 3/4 x 16 1/2 in.) smallest 29.2 x 14 x 19.1 cm (11 1/2 x 5 1/2 x 7 1/2 in.) Estimate £50,000-70,000 $65,900-92,200 €59,500-83,400 ‡ plus Buyers Premium and VAT*

56. Mel Bochner

b. 1940

Blah, Blah, Blah, 2017 Monoprint with collage, engraving, embossing and oil paint in colours, on handmade and hand-dyed Twinrocker paper, the full sheet. Signed and dated in pencil, a unique colour variant, published by Two Palms Press, New York, framed. S. 71.8 x 56.5 cm (28 1/4 x 22 1/4 in.) Estimate £15,000-20,000 $19,800-26,300 €17,900-23,800 ‡ plus Buyers Premium and VAT*

Provenance Long-Sharp Gallery, Indianapolis Aquired from the above by the present owner in 2017 Literature see Jordan D. Schnitzer Family Foundation and Philbrook Museum of Art, Tulsa, 2019, Amazing! Mel Bochner Prints, No. 123 (another variant illustrated)

57. Mel Bochner

b. 1940

Wow, 2017 Monoprint with collage, engraving, embossing and oil paint in colours, on handmade and hand-dyed Twinrocker paper, the full sheet. Signed and dated in pencil, a unique colour variant, published by Two Palms Press, New York, framed. S. 95.6 x 43.2 cm (37 5/8 x 17 in.) Estimate £15,000-20,000 $19,800-26,300 €17,900-23,800 † plus Buyers Premium and VAT*

58. Mel Bochner

b. 1940

Amazing, 2018 Monoprint with collage, engraving, embossing and oil paint in colours, on handmade and hand-dyed Twinrocker paper, the full sheet. Signed and dated in pencil, a unique colour variant, published by Two Palms Press, New York, framed. S. 37.5 x 27.5 cm (14 3/4 x 10 7/8 in.) Estimate £7,000-10,000 $9,200-13,200 €8,300-11,900 plus Buyers Premium and VAT*

Literature see Jordan D. Schnitzer Family Foundation and Philbrook Museum of Art, Tulsa, 2019, Amazing! Mel Bochner Prints (another variant used for the frontispiece)

59. Julian Opie

b. 1958

Suzanne Walking, 2005-07 Lenticular acrylic panel comprised of a laser photo print on Fuji Crystal paper hand-mounted to 20 lpi lenticular animating lenses, back mounted with 3mm Dibond (as issued). Signed and numbered ‘AP 2/11’ in black ink on the reverse of the frame (an artist’s proof, the edition was 50), published by Alan Cristea Gallery, London, contained in the original brushed aluminium frame specifed by the artist. framed 114.5 x 71.5 x 3.8 cm (45 1/8 x 28 1/8 x 1 1/2 in.) Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Alan Cristea Gallery, London Acquired from the above by the present owner in 2009 Literature Alan Cristea 64

Property from a Private UK Collection Ж

60. Julian Opie

b. 1958

Walking in the Rain, Seoul, from Walking in the Rain, 2015 Screenprint in colours, on Somerset Satin paper, with full margins. Signed and numbered 39/50 in pencil on 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 154.7 x 223.5 cm (60 7/8 x 87 7/8 in.) Estimate £18,000-22,000 $23,700-29,000 €21,400-26,200 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alan Cristea 282

61. Julian Opie

b. 1958

Walking in Melbourne 2, from Walking in Melbourne series, 2018 Laser-cut museum board relief print, the full sheet. Signed in black ink and numbered 31/45 (printed) on a label afxed to the reverse of the frame (there were also 4 artist’s proofs), published by Alan Cristea Gallery, London, contained in the sprayed white frame specifed by the artist. framed 63.5 x 160 cm (25 x 63 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ♠ plus Buyers Premium and VAT, ARR applies*

62. Julian Opie

b. 1958

Walking in Melbourne 3, from Walking in Melbourne series, 2018 Laser-cut museum board relief print, the full sheet. Signed in black ink and numbered 31/45 (printed) on a label afxed to the reverse of the frame (there were also 4 artist’s proofs), published by Alan Cristea Gallery, London, contained in the sprayed white frame specifed by the artist. framed 63.5 x 159.4 cm (25 x 62 3/4 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ♠ plus Buyers Premium and VAT, ARR applies*

63.

63. Julian Opie

b. 1958

Architect, from Walking in London 2, 2014 Lenticular acrylic panel comprised of four inkjet prints in colours, printed directly onto 20 lpi lenticular animating lenses, back-mounted with 3mm Dibond (as issued). Signed in black ink and numbered 1/50 (printed) on a label afxed to the reverse of the frame (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London, contained in a brushed aluminium frame specifed by the artist. framed 86 x 54.5 cm (33 7/8 x 21 1/2 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alan Cristea 270

64. Julian Opie

b. 1958

Tina Walking, 2010 Lenticular acrylic panel comprised of four inkjet prints in colours, printed directly onto 20 lpi lenticular animating lenses, back mounted with 3mm Dibond (as issued). Signed in black ink and numbered 7/35 (printed) on a label afxed to the reverse of the frame (there were also 7 artist’s proofs), published by Alan Cristea Gallery, London, contained in the original brushed aluminium frame specifed by the artist. framed 83 x 42.4 cm (32 5/8 x 16 3/4 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alan Cristea 143

64.

65. Julian Opie

b. 1958

∆ 66.

Banksy

b. 1975

Dino Crawling, 2012

Toxic Mary, 2004

Lenticular acrylic panel comprised of four colour inkjet prints, printed directly onto 20 lpi lenticular animating lenses, back mounted with 3mm Dibond (as issued). Signed in black ink and numbered 33/50 (printed) on a label afxed to the reverse of the frame (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London, contained in a brushed aluminium frame specifed by the artist. framed 41.2 x 71.4 cm (16 1/4 x 28 1/8 in.)

Screenprint in colours, on wove paper, the full sheet. Signed, dated and numbered 58/150 in pencil (there was also an unsigned edition of 600), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. S. 69.7 x 49.9 cm (27 1/2 x 19 5/8 in.) Estimate £12,000-18,000 $15,800-23,700 €14,300-21,400 ♠ plus Buyers Premium and VAT, ARR applies*

Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Helium Foundation, London Private Collection, Italy

Literature Alan Cristea 170

67. Banksy

b. 1975

68. Banksy

b. 1975

Love Rat, 2004

Donuts (Chocolate), 2009

Screenprint in colours, on wove paper, with full margins. Signed and numbered 33/150 in pencil (there was also an unsigned edition of 600), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 35.6 x 29.2 cm (14 x 11 1/2 in.) S. 49.5 x 34.3 cm (19 1/2 x 13 1/2 in. )

Screenprint in colours, on Arches 88 paper, with full margins. Signed and numbered 119/299 in brown pencil, published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 34 x 58.5 cm (13 3/8 x 23 in.) S. 55.8 x 75.8 cm (21 7/8 x 29 7/8 in.)

Estimate £20,000-30,000 $26,300-39,500 €23,800-35,700 ♠

Estimate £18,000-22,000 $23,700-29,000 €21,400-26,200 ♠

plus Buyers Premium and VAT, ARR applies*

69. Banksy

b. 1975

Festival (Destroy Capitalism), 2006 Screenprint in colours, on wove paper, with full margins. Signed, dated and numbered ‘3/6 P/P’ in pencil (a printers proof, there was a signed edition of 150, an unsigned edition of 500, and 17 artist’s proofs), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 47 x 66 cm (18 1/2 x 26 in.) S. 57.8 x 76.8 cm (22 3/4 x 30 1/4 in.) Estimate £20,000-30,000 $26,300-39,500 €23,800-35,700 ♠ plus Buyers Premium and VAT, ARR applies*

70. Banksy

b. 1975

Sale Ends, 2006 Screenprint in colours, on Arches paper, with full margins. Signed, dated and numbered ‘3/6 P/P’ in pencil (a printers proof, the edition was 500), published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed. I. 47 x 67.3 cm (18 1/2 x 26 1/2 in.) S. 57.8 x 76.8 cm (22 3/4 x 30 1/4 in.) Estimate £15,000-20,000 $19,800-26,300 €17,900-23,800 ♠ plus Buyers Premium and VAT, ARR applies*

Day Editions Lots 71 - 255, 1pm

127. Gillian Ayres

This lot is sold with no reserve

71. Jean Cocteau

1889-1963

Chévre-pieds jumeaux (Twin Faced Goat), 1962 Red earthenware round dish painted in black enamel with white engobe. Signed in black enamel on the front, numbered 11/35 and inscribed ‘Edition originale de Jean Cocteau Atelier Madeline-Jolly’ in black enamel on the underside. 37 cm (14 5/8 in.) diameter Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • ♠ plus Buyers Premium and VAT, ARR applies*

Literature Annie Guédras 142

72. Pablo Picasso

1881-1973

Corrida verte (Green Bullfght), 1949 White earthenware rectangular dish painted in colours with engraving, coloured engobe, and partial brushed glaze. From the edition of 500, with the Madoura Plein Feu, Empreinte Originale de Picasso and Edition Picasso pottery stamps on the underside 30 x 37 cm (11 3/4 x 14 5/8 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alain Ramié 81

This lot is sold with no reserve

73. Pablo Picasso

1881-1973

Petite soleil (Little Sun), 1968-69 Red earthenware plaque, with painting in black. Annotated ‘J-245’ and numbered 59/200 with black paint on the reverse, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the reverse. 10 x 15.9 x 2.2 cm (3 7/8 x 6 1/4 x 0 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alain Ramié 547

74. Pablo Picasso

1881-1973

Picador et taureau (Bullfghter and Bull), 1950 Red earthenware medallion. From the edition of 100, incised Empreinte Originale de Picasso on the reverse. 8 x 8 cm (3 1/8 x 3 1/8 in.) Estimate £800-1,200 $1,100-1,600 €950-1,400 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alain Ramié 101

75. Pablo Picasso

1881-1973

Têtes (Heads), 1956 White earthenware turned pitcher painted in black, white and green, with partial brushed glaze. From the edition of 500, incised ‘EDITION PICASSO’ in black and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 13 x 14 x 13 cm (5 1/8 x 5 1/2 x 5 1/8 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alain Ramié 367

This lot is sold with no reserve

76. After Pablo Picasso

1881-1973

Portrait imaginaire (Imaginary Portraits): one plate, 1969 Ofset lithograph in colours, on Arches paper, the full sheet. Numbered ‘A 103/250’ in pencil, from the American edition (there was also a French edition of 250 marked ‘F’), published by Harry N. Abrams, New York, framed. S. 66 x 50.3 cm (25 7/8 x 19 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • ♠ plus Buyers Premium and VAT, ARR applies*

77. Pablo Picasso

1881-1973

Peintre et femme cueillant des feurs (Painter and Woman Picking Flowers), plate 56 from Séries 156, 1970 Etching, on Rives paper, with full margins. Stamp-signed in black ink and numbered 25/50 in pencil (there were also 15 artist’s proofs in Roman numerals), published by Galerie Louise Leiris, Paris, 1978, framed. I. 27.2 x 34.8 cm (10 3/4 x 13 3/4 in.) S. 41.3 x 47.8 cm (16 1/4 x 18 7/8 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Georges Bloch 1911 Brigitte Baer 1917

78. Pablo Picasso

1881-1973

Portrait d’homme (Portrait of a Man), from Notre Dame de vie, 1966 Linocut in cream and black, on Arches paper, with full margins. Signed and numbered 38/150 in pencil, published by Editions Cercle d’Art, Paris, framed. I. 34.6 x 28.6 cm (13 5/8 x 11 1/4 in.) S. 43.5 x 37.8 cm (17 1/8 x 14 7/8 in.) Estimate £3,500-4,500 $4,600-5,900 €4,200-5,400 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Georges Bloch 1230 Brigitte Baer 1848

79. Pablo Picasso

1881-1973

L’Atelier, avec un hibou et un envoyé ofciel (The Studio, With an Owl and an Ofcial Envoy), plate 65 from Series 347, 1968 Etching, on Rives paper, with full margins. Signed and numbered 32/50 in pencil (there were also 17 artist’s proofs), published by Galerie Louise Leiris, Paris, 1969, framed. I. 32.2 x 40 cm (12 5/8 x 15 3/4 in.) S. 45.1 x 54.3 cm (17 3/4 x 21 3/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Georges Bloch 1545 Brigitte Baer 1561

80. Pablo Picasso

1881-1973

Le Repos du sculpteur III (The Resting Sculptor III), plate 64 from La Suite Vollard, 1933 Etching, on Montval laid paper watermarked Picasso, with full margins. Signed in pencil, from the edition of 260 (there was also an edition of 50 with larger margins), published by Ambroise Vollard, Paris, 1939, framed. I. 19.1 x 26.4 cm (7 1/2 x 10 3/8 in.) S. 34.3 x 43.8 cm (13 1/2 x 17 1/4 in.) Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Georges Bloch 173 Brigitte Baer 326

81. Pablo Picasso

1881-1973

Repos. Deux flles nues (Two Nudes Resting), plate 97 from Séries 156, 1971 Etching, on Rives paper, with full margins. Stampsigned in black ink and numbered 28/50 in pencil (there were also 15 artist’s proofs in Roman numerals), published by Galerie Louise Leiris, Paris, 1978, framed. I. 22.9 x 30.5 cm (9 x 12 in.) S. 36.5 x 45.2 cm (14 3/8 x 17 3/4 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Georges Bloch 1953 Brigitte Baer 1962

82. Pablo Picasso

1881-1973

Deux femmes. III (Two Women III), 1965 Drypoint, on Richard de Bas paper, with full margins. Signed and numbered 15/50 in pencil (there were also 15 artist’s proofs), published by Galerie Louise Leiris, Paris, framed. I. 23 x 33 cm (9 x 12 7/8 in.) S. 33 x 45.4 cm (12 7/8 x 17 7/8 in.) Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Georges Bloch 1202 Brigitte Baer 1186

83. Pablo Picasso

1881-1973

Viol, avec un coq (The Rape), from Le Cocu magnifque (The Magnifcent Cuckold), 1966 Etching and aquatint, on Richard de Bas paper, with full margins. Signed and numbered 14/30 in pencil (the total edition was 200 including 18 in Roman numerals), published by Atelier Crommelynck, Paris, framed. I. 22.1 x 32 cm (8 3/4 x 12 5/8 in.) S. 37 x 48 cm (14 5/8 x 18 7/8 in.) Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Georges Bloch 1255 Brigitte Baer 1443 see Patrick Cramer books 140

84. Henri Matisse

1869-1954

Florilège des amours de Ronsard (Anthology of Ronsard's Lovers): two plates; Visages (Faces): one plate; and Poésies antillaises (Caribbean poems): one plate, 1946; 1948; and 1972 Four lithographs, on various papers, with full margins. From the total editions of 300, 250 and 250 respectively, published by Albert Skira, Paris; Les Éditions du Chêne, Paris and Fernand Mourlot Paris respectively, all framed. all I. various sizes all S. various sizes, largest S. 37.8 x 28 cm (14 7/8 x 11 in.) Estimate £1,500-1,700 $2,000-2,200 €1,800-2,000 ♠ plus Buyers Premium and VAT, ARR applies*

Literature see Claude Duthuit books 11, 25 and 37

85. Henri Matisse

1869-1954

Nu assis au collier de perles (Nude Sitting with a Pearl Necklace), 1929 Drypoint, with Chine-collé to Arches paper, with full margins. Signed and numbered 8/25 in pencil, framed. I. 14 x 10.2 cm (5 1/2 x 4 in.) S. 38.1 x 28.3 cm (15 x 11 1/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance John A. Torson Gallery, New York Aquired directly from the above by the present owner Literature Claude Duthuit 148

86. Henri Matisse

1869-1954

Torse, fond feuri (Torso, with Flowery Background), 1929 Drypoint, with Chine-collé to Arches paper, with full margins. Signed and numbered 10/25 in pencil, framed. I. 10.2 x 14 cm (4 x 5 1/2 in. ) S. 28.3 x 38.1 cm (11 1/8 x 15 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance John A. Torson Gallery, New York Aquired directly from the above by the present owner Literature Claude Duthuit 146

87. Henri Matisse

1869-1954

Nu accroupi, une cordelière nouée autour du cou (Seated Nude with Chord around the Neck), 1931 Etching, with Chine-collé to Arches paper, with full margins. Signed and numbered 7/25 in pencil, framed. I. 12.1 x 8.9 cm (4 3/4 x 3 1/2 in.) S. 36.8 x 28.3 cm (14 1/2 x 11 1/8 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Provenance John A. Torson Gallery, New York Aquired directly from the above by the present owner Literature Claude Duthuit 225

88. Salvador Dalí

1904-1989

Issun-boshi (The Inch-High Samurai), from Japanese Fairy Tales, 1974 Drypoint with pochoir in colours, on Arches paper, with full margins. Signed and annotated ‘B.A.T’ in pencil, with additional annotations ‘bleu clair de loup - ciel’, ‘bleu foncé loupterrain’ and ‘LITTLE ONE INCH’ in pencil (the bon-a-tirer or ‘good to print’ proof before the edition of 175, there was also an edition of 75 in Roman numerals on Richard de Bas), further inscribed and signed ‘Epreuve faisant partie de notre collection’ by Denise Rigal in pencil on the reverse, published by Gerschmann, Stockholm, unframed. I. 47.9 x 38.7 cm (18 7/8 x 15 1/4 in.) S. 64.8 x 49.5 cm (25 1/2 x 19 1/2 in.) Estimate £5,000-7,000 $6,600-9,200 €6,000-8,300 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Atelier Rigal, Paris Private Collection, France Literature Ralf Michler and Lutz W. Lopsinger 742

89. Marc Chagall

1887-1985

90. Marc Chagall

1887-1985

Joseph et ses frères (Joseph and his Brothers), plate 18 from La Bible, 1931-39

Le songe de Pharaon (The Pharaoh’s Dream), plate 21 from La Bible, 1931-39

Etching and aquatint with handcolouring in watercolour, on Arches paper, with full margins. Signed with initials and numbered 75/100 in pencil, from the deluxe edition (the standard edition was 295 on Montval without hand-colouring), published by Ambroise Vollard, Paris, framed. I. 29.2 x 24.1 cm (11 1/2 x 9 1/2 in.) S. 53.3 x 39.1 cm (21 x 15 3/8 in.)

Etching and aquatint with handcolouring in watercolour, on Arches paper, with full margins. Signed with initials and numbered 84/100 in pencil, from the deluxe edition (the standard edition was 295 on Montval without hand-colouring), published by Ambroise Vollard, Paris, framed. I. 28.6 x 22.9 cm (11 1/4 x 9 in. ) S. 53.3 x 38.7 cm (21 x 15 1/4 in.)

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ♠

Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ♠

plus Buyers Premium and VAT, ARR applies*

Literature Charles Sorlier 216 see Patrick Cramer books 30

Literature Charles Sorlier 219 see Patrick Cramer books 30

91. Marc Chagall

1887-1985

Vision d’Esaïe (Isaiah’s Vision), plate 91 from La Bible, 1931-39 Etching and aquatint with handcolouring in watercolour, on Arches paper, with full margins. Signed with initials and numbered 75/100 in pencil, from the deluxe edition (the standard edition was 295 on Montval without hand-colouring), published by Ambroise Vollard, Paris, framed. I. 31.8 x 25.4 cm (12 1/2 x 10 in.) S. 54 x 39.4 cm (21 1/4 x 15 1/2 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Charles Sorlier 289 see Patrick Cramer books 30

92. Marc Chagall

1887-1985

La Tour Eifel à l’Ane (The Eifel Tower and the Donkey), 1954 Lithograph in colours, on Arches paper, the full sheet. Signed and numbered 21/75 in pencil (there was also an unsigned book edition of 2500), published by Maeght, Paris, framed. S. 39 x 28 cm (15 3/8 x 11 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Fernand Mourlot 97 see Patrick Cramer books 24

93. After Marc Chagall

1887-1985

Maternité (Maternity), 1954 Lithograph in colours, on Arches paper, with full margins. Signed and annotated ‘épreuve d’artiste’ in pencil (an artist’s proof, the edition was 300), published by Maeght, Paris, framed. I. 52.1 x 67.6 cm (20 1/2 x 26 5/8 in.) S. 58.6 x 79 cm (23 1/8 x 31 1/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Fernand Mourlot and Charles Sorlier 7

94. Marc Chagall

1887-1985

Saint-Germain des Prés, 1954 Lithograph in colours, on Arches paper, the full sheet. Signed and annotated ‘HC’ in pencil (an hors commerce impression, the signed edition was 75, there was also an unsigned book edition of 2500), published by Maeght, Paris, framed. S. 39.4 x 28.2 cm (15 1/2 x 11 1/8 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Fernand Mourlot 100 see Patrick Cramer books 24

This lot is sold with no reserve

95. Jean-Paul Riopelle

1923-2002

Les Oies bleues (The Blue Geese), 1981-83 Lithograph in colours, on Japon paper, with full margins. Signed and annotated ‘HC’ in pencil (one of 4 hors commerce impressions on Japon, the edition was 75 on Arches, 30 on Japon in Roman numerals and some artist’s proofs on both papers), published by Maeght, Paris, unframed. I. 50 x 64.5 cm (19 5/8 x 25 3/8 in.) S. 64.5 x 91.8 cm (25 3/8 x 36 1/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • plus Buyers Premium and VAT*

Literature Monique Brunet-Weinmann, p. 280

96. Joan Miro

1893 - 1983

Suite La Bague d’aurore (The Ring of Dawn Suite): one plate, 1957 Etching and aquatint in colours, on BFK Rives paper, with full margins. Signed and numbered 30/60 in pencil (the total edition was 89), published by Louis Broder, Paris, framed. I. 11.4 x 14 cm (4 1/2 x 5 1/2 in.) S. 38.1 x 27.9 cm (15 x 11 in.) Estimate £2,500-3,000 $3,300-4,000 €3,000-3,600 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Jacques Dupin 131 see Patrick Cramer books 47

97. Joan Miró

1893-1983

Fusées (Rockets): one plate, 1959 Etching and aquatint in colours, on BFK Rives, with full margins. Signed and annotated ‘H.C.’ in pencil (an hors commerce impression, the edition was 50 in Arabic numerals, 15 in Roman numerals on Japanese paper and 8 proofs on parchment touchedup by the artist), published by Louis Broder, Paris, framed. I. 14.3 x 41.1 cm (5 5/8 x 16 1/8 in.) S. 32.6 x 50.2 cm (12 7/8 x 19 3/4 in.) Estimate £1,000-2,000 $1,300-2,600 €1,200-2,400 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Jacques Dupin 254 see Patrick Cramer books 54

98. Joan Miró

1893-1983

Préparatifs d’oiseaux I (Bird Preparations I), 1963 Aquatint in colours, on BFK Rives paper, with full margins. Signed and numbered 21/75 in pencil (there were also some hors commerce impressions), published by Maeght, Paris, framed. I. 20.5 x 26.5 cm (8 1/8 x 10 3/8 in.) S. 48.1 x 58.5 cm (18 7/8 x 23 in.) Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Jacques Dupin 365

99. Joan Miró

1893-1983

Le Dandy, 1969 Etching and aquatint with carborundum in colours, on Mandeure rag paper, with full margins. Signed and numbered 36/75 in pencil (there were also some hors commerce impressions), published by Maeght, Paris, framed. I. 41.6 x 43.3 cm (16 3/8 x 17 in.) S. 75.5 x 58.5 cm (29 3/4 x 23 in.) Estimate £5,000-7,000 $6,600-9,200 €6,000-8,300 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Jacques Dupin 492

100. Joan Miró

1893 - 1983

Untitled, plate 12 from Homenatge a Joan Prats (Tribute to Joan Prats), 1971 Lithograph in colours, on Guarro paper, with full margins. Signed and numbered 20/75 in pencil (there were also 25 in Roman numerals), published by Poligrafa, Barcelona, framed. I. 54.6 x 74.6 cm ( 21 1/2 x 29 3/8 in.) S. 64.8 x 84.5 cm (25 1/2 x 33 1/4 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Fernand Mourlot 727 see Patrick Cramer books 153

101. Joan Miró

1893-1983

Lithographie 1 (Lithograph I), 1930 Lithograph, on wove paper, the full sheet. Signed and numbered 54/75 in pencil, published by Zervos, Paris, framed. S. 24.6 x 32.6 cm (9 5/8 x 12 7/8 in.) Estimate £700-1,000 $920-1,300 €830-1,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Fernand Mourlot 1 This is the frst lithograph Miró ever created.

101.

102. Joan Miró

103. Joan Miró

1893-1983

L’Homme polyglot - orange (The Polyglot Man - Orange), 1969

L’Homme polyglot - sable (The Polyglot Man - Sable), 1969

Lithograph in colours, on Rives paper, the full sheet. Signed and numbered 62/75 in pencil, published by Maeght, Paris, unframed. S. 85 x 60.7 cm (33 1/2 x 23 7/8 in.)

Lithograph in colours, on Rives paper, the full sheet. Signed and numbered 65/75 in pencil, published by Maeght, Paris, unframed. S. 84.8 x 60.5 cm (33 3/8 x 23 7/8 in.)

Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ♠

plus Buyers Premium and VAT, ARR applies*

Literature Fernand Mourlot 603

Literature Fernand Mourlot 604

102.

103.

104. Joan Miró

1893-1983

Exhibition 'Terres de grand feu (Land of Great Fire), Miro-Artigas', at the Galerie Maeght, 1956 Lithograph in colours, on Arches paper, with full margins. Signed and annotated ‘HC’ in pencil (an hors commerce impression, the edition was 200 before lettering), published by Maeght, Paris, unframed. I. 68 x 51 cm (26 3/4 x 20 1/8 in.) S. 76 x 55.4 cm (29 7/8 x 21 3/4 in.)

105. Joan Miró

1893-1983

Exhibition ‘XXII Salon de Mai’, 1966 Lithograph in colours, on Arches paper, the full sheet. Signed and numbered 26/100 in pencil, published by Salon de Mai, Paris, unframed. S. 67.3 x 51.9 cm (26 1/2 x 20 3/8 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Fernand Mourlot 220

Literature Fernand Mourlot 500

106. Alexander Calder

1898-1976

Nez et oreilles très gais (Very Gay Nose and Ears), 1969 Lithograph in colours, on wove paper, the full sheet. Signed and numbered 14/75 in pencil, unframed. S. 75 x 110 cm (29 1/2 x 43 1/4 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 plus Buyers Premium and VAT*

107. Alexander Calder

1898-1976

Homage to the Sun, 1975 Lithograph in colours, on Arches paper, the full sheet. Signed and annotated ‘E.A.’ in pencil (an artist’s proof, the edition was 125), unframed. S. 67 x 97.8 cm (26 3/8 x 38 1/2 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 plus Buyers Premium and VAT*

108. Alexander Calder

1898-1976

La lune, le soleil et la terre (The Moon, the Sun and the Earth), 1974-75 Lithograph in colours, on Arches paper, with full margins. Signed and numbered 126/175 in pencil, unframed. I. 30 x 81.5 cm (11 3/4 x 32 1/8 in.) S. 58 x 90 cm (22 7/8 x 35 3/8 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 plus Buyers Premium and VAT*

109. Marcel Duchamp

1887-1968

Bouche-évier (Sink Stopper), also known as Medallic Sculpture, 1967/1981-82 Cast bronze multiple. With incised signature, date ‘64’ (the date of the original lead model from which the cast was made), and numbering 64/100 on the underside (between 1967 and 1979 the International Collectors Society, New York, issued 60 examples in bronze, 30 examples in stainless steel, 70 examples in sterling silver, and 12 artist’s proofs in each metal; with the permission of Duchamp’s widow, the edition was completed posthumously in 1981-82 to the editions of 100 each). 6.5 cm (2 1/2 in.) diameter Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ♠ plus Buyers Premium and VAT, ARR applies*

Provenance Christie’s London, First Open | Editions, 27 Oct 2016, lot 42 Acquired directly from the above by the present owner Literature Arturo Schwarz 608 The Association Marcel Duchamp has confrmed the authenticity of this artwork and will issue a certifcate to the buyer

(reverse of present lot)

110. Christo and Jeanne-Claude b. 1935 and 1935-2009 Wrapped Vespa, Project, 1963-64, 2009 Paper collage and digital pigment print in colours with hand-colouring in crayon, on Rag paper, the full sheet. Signed and numbered 180/200 in pencil (there were also 45 artist’s proofs), published by Miyanomori Art Museum, Sapporo, Japan, framed. S. 30.6 x 30.6 cm (12 x 12 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ‡ ♠ plus Buyers Premium and VAT*

Literature Jörg Schellmann 201

111. Christo and Jeanne-Claude b. 1935 and 1935-2009 Wrapped Automobile, Project for Volvo 122 S Sport Sedan, 1984 Lithograph in colours with collage of fabric and twine, on BFK Rives paper fush-mounted to museum board (as issued), the full sheet. Signed, dated and numbered 17/100 in pencil (there were also 20 in Roman numerals and 20 artist’s proofs), with the artist’s copyright inkstamp on the reverse, co-published by the artist and Edition Schellmann & Klüser, Munich and New York, framed. S. 55.9 x 71.1 cm ( 22 x 28 in.) Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 ♠ plus Buyers Premium and VAT*

Literature Jörg Schellmann 113 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 73

112. Christo and Jeanne-Claude b. 1935 and 1935-2009 The Pont Alexandre III, Wrapped, Project for Paris, 1991 Lithograph in colours with collage of cloth, thread, twine, staples, three photographs, and masking tape, on Guarro paper fush-mounted to cardboard (as issued), the full sheet. Signed and numbered 8/120 in pencil (there were also 30 in Roman numerals and 35 artist’s proofs), published by Art Front Gallery, Tokyo, framed. S. 70 x 75.3 cm (27 1/2 x 29 5/8 in.) Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 ‡ ♠ plus Buyers Premium and VAT*

Literature Jörg Schellmann 156

113. Tomas Schütte

b. 1954

Paloma; Carla; and Gisela, 2012 Three etchings with drypoint and carborundum in colours, on wove paper, with full margins. All signed, dated, one numbered 44/100 and two numbered 45/100 in pencil, published by the Serpentine Galleries, London, on the occasion of their exhibition Thomas Schütte: Faces & Figures, all unframed. all I. 42.9 x 30.2 cm (16 7/8 x 11 7/8 in.) all S. 73.7 x 53.3 cm (29 x 21 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ♠ plus Buyers Premium and VAT, ARR applies*

114. Imi Knoebel

b. 1940

Gartenbild 14 Ed. (Garden Image 14 Ed.), 2013/15 Acrylic in colours, on constructed and collaged plastic panels, mounted to aluminium (as issued). With printed title, date and numbering 3/5 on a label afxed to the reverse, framed. I. 38.2 x 50 cm (15 x 19 5/8 in.) S. 59 x 73 cm (23 1/4 x 28 3/4 in.) Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

115. Gerhard Richter

b. 1932

Ifrit (P8); Bagdad (P9); Bagdad (P10); and Aladin (P11), 2010/2014 Four chromogenic prints, each fush-mounted to aluminum with metal strainers on the reverse (as issued). These facsimile objects are unsigned and all numbered 404/500, 338/500, 316/500 and 386/500 respectively in black ink on the reverse, published by the Serpentine Galleries, London. (P8) 33 x 44 cm (12 7/8 x 17 3/8 in.) (P9) 49.7 x 39.8 cm (19 5/8 x 15 5/8 in.) (P10) 50 x 40 cm (19 5/8 x 15 3/4 in.) (P11) 37 x 49.9 cm (14 5/8 x 19 5/8 in.) Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Heni Productions P8- P11

116. M.C. Escher

1898-1972

Untitled (Man with Cuboid), 1958 Woodcut, on wove paper, with full margins. Signed in pencil, framed. I. 6.5 x 6.5 cm (2 1/2 x 2 1/2 in.) S. 13.7 x 9.1 cm (5 3/8 x 3 5/8 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Flip H. Bool 430 This vignette was printed on the invitation card for the exhibition of Escher’s work at the Insitut Néerlandais in Paris, 12-28 March, 1965

This lot is sold with no reserve

117. Wassily Kandinsky

1866-1944

Kleine Welten VIII (Small Worlds VIII), from Kleine Welten (Small Worlds), 1922 Woodcut, on Bütten paper, with full margins. Signed in pencil, from the edition of 200 (there was also an edition of 30 on Japanese paper), published by Propyläen-Verlag, Berlin, framed. I. 27.2 x 23.2 cm (10 3/4 x 9 1/8 in.) S. 34.5 x 30.4 cm (13 5/8 x 11 7/8 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ‡ • plus Buyers Premium and VAT*

Literature Hans Konrad Roethel 171

118. Josef Albers

1888-1976

Blue Reminding, 1966 Screenprint in colours, on Mohawk Superfne Bristol paper, with full margins. Signed with initial ‘A’, titled, dated and numbered ‘126-200’ in pencil, published by Ives-Sillman, Inc., New Haven, framed. I. 28 x 28.1 cm (11 x 11 1/8 in.) S. 43.2 x 43.2 cm (17 x 17 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 plus Buyers Premium and VAT*

Literature Brenda Danilowitz 168

119. 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 the original paper-covered cardboard portfolio with printed title. All signed, dated variously from 1925-1983, and numbered 65/125 in pencil, further numbered ‘65’ in pencil on the colophon, published by Fausta Squatriti, Milan, all unframed. all S. 70 x 49.2 cm (27 1/2 x 19 3/8 in.) portfolio 70.5 x 51 x 1 cm (27 3/4 x 20 1/8 x 3/8 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 † plus Buyers Premium and VAT*

Literature Nicholas Fox Weber and Brenda Danilowitz 71-79

120. Jesús Rafael Soto

1923-2005

Permutación (Permutation), from Sotomagie, 1967 Screenprint in black and white on two sheets of Plexiglas, adjoined with four metal rods. Signed in pencil and numbered 57/100 in black ink on a label afxed to the reverse, published by Éditions Denise René, Paris. 34 x 34 x 18 cm (13 3/8 x 13 3/8 x 7 1/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 plus Buyers Premium and VAT*

121. Jesús Rafael Soto

1923-2005

Incliné bleu et noir (Inclined Blue and Black), 1966 Black and white painted wood with painted metal rod and nylon string. Signed and numbered 64/100 in black ink on a label afxed to the reverse, published by Edizioni Galleria del Deposito, Genoa. 43.1 x 38 x 18.4 cm (16 7/8 x 14 7/8 x 7 1/4 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 plus Buyers Premium and VAT*

122. Victor Vasarely

1906-1997

Axo-99, 1988 Shaped wood hand-painted with acrylic in colours. Signed in black ink, presumably one of 18 artist’s proofs aside from the edition of 175, published by Circle Fine Art Corporation, Chicago. 69.4 x 34.6 x 9.8 cm (27 3/8 x 13 5/8 x 3 7/8 in.) Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 ♠ plus Buyers Premium and VAT, ARR applies*

123. Giuseppe Penone

b. 1947

Trentatré Erbe (Thirty-three Herbs), 1989 The complete set of 33 lithographs in colours, on light wove paper, the full sheets, with colophon, title page and original green fabric-covered portfolio boards with printed artist’s name and title. Signed and numbered 17/120 in pencil on one sheet, further signed, titled and dated in black ink on the title page (there were also 30 artist’s proofs in Roman numerals), published by Marco Noire Editore, Turin, Italy, all framed. all S. 42 x 29.8 cm (16 1/2 x 11 3/4 in.) portfolio boards 46.5 x 34.5 x 2.1 cm (18 1/4 x 13 5/8 x 7/8 in.) Estimate £3,000-5,000 $3,900-6,600 €3,600-5,900 ♠ plus Buyers Premium and VAT, ARR applies*

This lot is sold with no reserve

124. Mimmo Paladino

b. 1948

Safo, 1990 Etching with screenprint and carborundum in colours, on Van Gelder paper, with full margins. Signed, dated and numbered 10/40 in pencil (there were also 10 artist’s proofs), published by Waddington Graphics, London, framed. I. 140 x 200.5 cm (55 1/8 x 78 7/8 in.) S. 159.5 x 223.5 cm (62 3/4 x 87 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • ♠ plus Buyers Premium and VAT, ARR applies*

Literature Enzo Di Martino 162

125. Louise Nevelson

1899-1988

Facade, 1966 The complete set of twelve screenprints (some with collage), on various wove papers and acetate, the full sheets and with full margins, with accompanying justifcation, text and poetry by Edith Sitwell, the sheets loose (as issued) all contained in the original paper covered portfolio with printed artist’s name. All signed, dated and numbered 64/125 in pencil, further signed and numbered in pencil on the justifcation (there were also 7 artist’s proofs), published by Harry N. Abrams, Inc., in collaboration with Pace Gallery, New York, all unframed. portfolio 62.5 x 47.5 cm (24 5/8 x 18 3/4 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ‡ plus Buyers Premium and VAT*

Literature Gene Baro 71-82

This lot is sold with no reserve Ж

126. Peter Blake

b. 1932

Sergeant Pepper’s Lonely Hearts Club Band, 2007 Screenprint in colours, on Somerset paper, with full margins. Signed and numbered 57/500 in pencil (there were also 50 artist’s proofs), co-published by PierreOptique, Ltd., and Apple Corps, London (with their blindstamp), to celebrate the 40th anniversary of the artist’s Beatles album cover, with the accompanying Certifcate of Authenticity, unframed. I. 49.4 x 49.4 cm (19 1/2 x 19 1/2 in.) S. 68.1 x 66.5 cm (26 3/4 x 26 1/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • ♠ plus Buyers Premium and VAT, ARR applies*

127. Gillian Ayres

1930-2018

Bagatelle, 2014 Sugar-lif aquatint with carborundum in colours, on Moulin Du Gué paper, the full sheet. Signed, dated and numbered 11/25 in pencil (there were also 5 artist’s proofs), published by Alan Cristea Gallery, London, framed. S. 87.6 x 113.7 cm (34 1/2 x 44 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ♠ plus Buyers Premium and VAT, ARR applies*

128. Bridget Riley

b. 1931

From One to the Other, 2005 Screenprint in colours, on wove paper, with full margins. Signed, titled, dated and numbered 22/75 in pencil (there were also 10 artist’s proofs), published by the artist, unframed. I. 32.5 x 76.1 cm (12 3/4 x 29 7/8 in.) S. 49.3 x 91.5 cm (19 3/8 x 36 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ♠ plus Buyers Premium and VAT*

Literature Karsten Schubert 61

129. Richard Hamilton

1922-2011

Guggenheim (White), 1970 Vacuum formed acrylic and cellulose. Signed and numbered ‘34’ in black ink on the reverse (the edition was 117, although an edition of 750 was planned it was not fully executed), published by xartcollection, Zurich. 59.2 x 59.2 x 10 cm (23 1/4 x 23 1/4 x 3 7/8 in.) Estimate £5,000-7,000 $6,600-9,200 €6,000-8,300 ‡ ♠ plus Buyers Premium and VAT*

Literature Etienne Lullin M4

130. Richard Hamilton

1922-2011

Guggenheim (Black), 1970 Vacuum formed acrylic and cellulose. Signed and numbered ‘16’ in black ink on the reverse (the edition was 106, although an edition of 750 was planned it was not fully executed), published by xartcollection, Zurich. 59.2 x 59.2 x 10 cm (23 1/4 x 23 1/4 x 3 7/8 in.) Estimate £5,000-7,000 $6,600-9,200 €6,000-8,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Etienne Lullin M3

131. Paul Morrison

b. 1966

Hypanthium, 2008 Synthetic polymer and acrylic paint. Numbered from the edition of 15 on the reverse (there were also 5 artist’s proofs), published by Cheim & Read, New York, framed. 66 x 43.8 cm (26 x 17 1/4 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Exhibited New York, Cheim Read, Paul Morrison, 12 Feb - 21 March 2009 (another example exhibited)

132. Victor Pasmore

1908-1998

Points of Contact No. 5, 1965 Screenprint, on light wove paper, the full sheet. Signed with initials and dated in black ink (a proof aside from the edition of 70), published by Marlborough Graphics, London, unframed. S. 213.5 x 51 cm (84 x 20 1/8 in.) Estimate £700-900 $920-1,200 €830-1,100 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alan Bowness and Luigi Lambertini 6

133. Victor Pasmore

1908-1998

Senza titolo (Untitled), 1982 Etching and aquatint in colours, with Chine-collé to Magnani paper, with full margins. Signed with initials, dated and numbered 44/85 in pencil (there were also 15 artist’s proofs in Roman numerals), co-published by Marlborough Fine Art Ltd, London and 2RC Edizione d'arte, Rome (with their blindstamp), framed. I. 79 x 79 cm (31 1/8 x 31 1/8 in.) S. 119 x 120.2 cm (46 7/8 x 47 3/8 in.) Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Norbert Lynton G14

134. Victor Pasmore

1908-1998

Untitled 11, 1991 Screenprint in colours, on Arches paper, with full margins. Signed with initials, dated and numbered 13/30 in pencil (there were also 5 artist’s proofs), published by Marlborough Graphics, London, framed. I. 52.6 x 68.7 cm (20 3/4 x 27 in.) S. 76.6 x 109.4 cm (30 1/8 x 43 1/8 in.) Estimate £700-900 $920-1,200 €830-1,100 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Norbert Lynton G70

135. Victor Pasmore

1908-1998

Untitled 10, 1991 Screenprint in colours, on Arches paper, with full margins. Signed with initials, dated and numbered 68/70 in pencil (there were also 15 artist's proofs), published by Marlborough Graphics, London, framed. I. 45.8 x 64 cm (18 x 25 1/4 in.) S. 74 x 105 cm (29 1/8 x 41 3/8 in.) Estimate £700-900 $920-1,200 €830-1,100 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Norbert Lynton G69

136.

137.

138.

136. Victor Pasmore

1908-1998

137. Victor Pasmore

1908-1998

138. Victor Pasmore

1908-1998

World in Space in Time I, 1992

World in Space and Time II, 1992

Senza titolo 7 (Untitled 7), 1989

Etching and aquatint in colours, on Fabriano paper, with full margins. Signed with initials, dated and numbered 80/90 in pencil (there were also 15 artist’s proofs in Roman numerals), published by 2RC Edizioni d’arte, Rome (with their blindstamp), framed. I. 49 x 144.5 cm (19 1/4 x 56 7/8 in.) S. 64.8 x 192 cm (25 1/2 x 75 5/8 in.)

Etching and aquatint in colours, on Fabriano paper, with full margins. Signed with initials, dated and numbered 16/90 in pencil (there were also 15 artist’s proofs in Roman numerals), published by 2RC Edizioni d’arte, Rome (with their blindstamp), framed. I. 49 x 144.5 cm (19 1/4 x 56 7/8 in.) S. 65 x 192.3 cm (25 5/8 x 75 3/4 in.)

Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ♠

Aquatint in colours, on Fabriano paper, with full margins. Signed with initials, dated and numbered 62/90 in pencil (there were also 15 artist’s proofs in Roman numerals), co-published by Marlborough Graphics Ltd, London, and 2RC Edizioni d’arte, Rome (with their blindstamp), framed. I. 31.5 x 189.6 cm (12 3/8 x 74 5/8 in.) S. 61.3 x 251.2 cm (24 1/8 x 98 7/8 in.)

plus Buyers Premium and VAT, ARR applies*

Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Norbert Lynton G59 *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

139. Victor Pasmore

1908-1998

Senza titolo 3 (Untitled 3), 1989 Etching and aquatint in colours, with Chine-collé to Fabriano paper, with full margins. Signed with initials, dated and numbered 84/90 in pencil (there were also 15 artist’s proofs in Roman numerals), co-published by Marlborough Graphics Ltd, London, and 2RC Edizioni d’arte, Rome (with their blindstamp), framed. I. 56 x 95.5 cm (22 x 37 5/8 in.) S. 77 x 120 cm (30 3/8 x 47 1/4 in.) Estimate £800-1,200 $1,100-1,600 €950-1,400 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Norbert Lynton G56

140. Cornelia Parker

b. 1956

Meteorite Lands on Bagdad, Louisiana; Meteorite Misses Roswell, New Mexico; Meteorite Misses Waco, Texas; and Meteorite Misses Truth + Consequences, New Mexico, from Meteorite Lands....in the Middle of Nowhere, 2001 Four open road maps with scorch and burn marks. All signed, titled, dated and each numbered 11/20, 14/20, 14/20 and 17/20 respectively in pencil, published by The Multiple Store, London, all framed. all S. 39.4 x 57 cm (15 1/2 x 22 1/2 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ♠ plus Buyers Premium and VAT, ARR applies*

141. Allen Jones

b. 1937

142. Allen Jones

b. 1937

Polka, 1965

Chest, 1968

Screenprint in colours, on Beckett Hi-White paper, the full sheet. Signed, titled, dated and numbered 31/50 in pencil (there were also 5 artist’s proofs), published by Editions Alecto, London, framed. S. 61 x 45.7 cm. (24 x 18 in)

Vacuum formed acrylic and cellulose in colours. Signed in black ink on a label afxed to the reverse and numbered 350/2000 on the fbreglass backing, published by xartcollection, Zurich. 37 x 26 x 12 cm (14 5/8 x 10 1/4 x 4 3/4 in.)

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ♠

Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ♠

plus Buyers Premium and VAT, ARR applies*

Literature Richard Lloyd 33 Editions Alecto 511

143. Ben Nicholson

1894-1982

Still Life with Grey, 1967 Etching and aquatint, on wove paper, with full margins. Signed, dated, and numbered 17/50 in pencil, published by Marlborough Graphics, London, framed. I. 35.2 x 33.7 cm (13 7/8 x 13 1/4 in.) S. 47 x 49.5 cm (18 1/2 x 19 1/2 in.) Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature François Lafranca 83

144. Patrick Caulfeld

1936-2005

Brown Pot, 1994 Screenprint in colours, on wove paper, with full margins. Signed and numbered 75/80 in pencil (there were also 7 artist’s proofs), co-published by Advanced Graphics and Waddington Graphics, London, framed. I. 73.7 x 52.1 cm (29 x 20 1/2 in.) S. 92.1 x 69.9 cm (36 1/4 x 27 1/2 in.) Estimate £600-800 $790-1,100 €710-950 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alan Cristea Gallery 85

145. Lucian Freud

1922-2011

A Couple, 1982 Etching, on wove paper, with full margins. Signed with initials, inscribed ‘studio proof’ and ‘to Maudy’ in green coloured pencil (the edition was 25 and 10 artist’s proofs), 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. 27.3 x 21.6 cm (10 3/4 x 8 1/2 in. ) Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Craig Hartley 7 Print Quarterly 9

146. Frank Auerbach

b. 1931

JYM, from Seven Portraits, 1989-90 Etching, on Somerset paper, with full margins. Signed, titled, dated and numbered 39/50 in pencil (there were also 10 artist’s proofs), published by Marlborough Graphics, London, framed. I. 17.7 x 14.6 cm (6 7/8 x 5 3/4 in.) S. 26 x 21.4 cm (10 1/4 x 8 3/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Marlborough Graphics 18

147. Frank Auerbach

b. 1931

Julia, from Seven Portraits, 1989-90 Etching, on Somerset paper, with full margins. Signed, titled, dated and numbered 7/50 in pencil (there were also 10 artist’s proofs), published by Marlborough Graphics, London, framed. I. 17.7 x 14.6 cm (6 7/8 x 5 3/4 in.) S. 25.8 x 21.5 cm (10 1/8 x 8 1/2 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Marlborough 15

148. Frank Auerbach

b. 1931

Geofrey, from Seven Portraits, 1989-90 Etching, on Somerset paper, with full margins. Signed, titled, dated and numbered 39/50 in pencil (there were also 10 artist’s proofs), published by Marlborough Graphics, London, framed. I. 17.9 x 14.8 cm (7 x 5 7/8 in.) S. 25.7 x 21.5 cm (10 1/8 x 8 1/2 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Marlborough 20

149. Frank Auerbach

b. 1931

Catherine, from Seven Portraits, 1989-90 Etching, on Somerset paper, with full margins. Signed, titled, dated and numbered 50/50 in pencil (there were also 10 artist’s proofs), published by Marlborough Graphics, London, framed. I. 17.8 x 14.7 cm (7 x 5 3/4 in.) S. 25.7 x 21.5 cm (10 1/8 x 8 1/2 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Marlborough 17

This lot is sold with no reserve

150. David Hockney

b. 1937

The Sexton Disguised as a Ghost; and Old Rinkrank Threatens the Princess, plates 20 and 30 from Illustrations for Six Fairy Tales from the Brothers Grimm, 1969 Two etching and aquatints, on Hodgkinson handmade wove paper watermarked ‘DH / PP’, with full margins. Both signed and each numbered 92/100 and 87/100 respectively in pencil on the front, one inscribed ‘Grimm Portfolio’ in sepia ink (faded) on the reverse (there were also 15 artist’s proofs and a total book edition of 460 copies), co-published by Petersburg Press, New York and Kasmin Gallery, London, both framed. both I. various sizes both S. approx. 45 x 40.5 cm (17 3/4 x 15 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Scottish Arts Council 89 and 99 Museum of Contemporary Art Tokyo 86 and 96

151. David Hockney

b. 1937

A Bigger Book, Art Edition C, 2010/2016 iPad drawing in colours, printed on archival paper, with full margins, with the illustrated 680-page chronology book, numbered 557 (printed), original print portfolio and adjustable book stand designed by Marc Newson, contained in the original cardboard box with label stamp-numbered 0557. iPad drawing signed, dated and numbered 57/250 in pencil, the book signed in black ink on the title page (one of four editions of 250 lettered A-D, there was also an edition of 10,000 without an iPad drawing), co-published by the artist (with their blindstamp) and Taschen, Berlin, the iPad drawing unframed. I. 43.8 x 33 cm. (17 1/4 x 13 in.) S. 55.9 x 43.2 cm. (22 x 17 in. ) book 71.1 x 50.8 x 8.9 cm. (28 x 20 x 3 1/2 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

152. David Hockney

b. 1937

The Student: Homage to Picasso, 1973 Etching, on Arches paper, with full margins. Signed, dated and numbered 74/90 in pencil (there were also 30 in Roman numerals and 15 artist’s proofs), published by Propyläen Verlag, Berlin, framed. I. 57.5 x 44 cm (22 5/8 x 17 3/8 in.) S. 75.6 x 56.8 cm (29 3/4 x 22 3/8 in.) Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

Literature Scottish Arts Council 153 Museum of Contemporary Art Tokyo 143

153.

154.

153. Julian Opie

b. 1958

154. Julian Opie

b. 1958

Bijou Gets Undressed. 4, 2004

Bijou Gets Undressed. 6, 2004

Screenprint, on Fedrigoni Sirio paper, with full margins. Signed and numbered 12/30 in pencil (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, framed. I. 38.5 x 78 cm (15 1/8 x 30 3/4 in.) S. 52.5 x 97 cm (20 5/8 x 38 1/4 in.)

Screenprint, on Fedrigoni Sirio paper, with full margins. Signed and numbered 12/30 in pencil (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, framed. I. 38 x 79 cm (14 7/8 x 31 1/8 in.) S. 52.5 x 97 cm (20 5/8 x 38 1/4 in.)

Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ♠

plus Buyers Premium and VAT, ARR applies*

Literature Alan Cristea 53

Literature Alan Cristea 55

155.

156.

155. Julian Opie

b. 1958

156. Julian Opie

b. 1958

Bijou Gets Undressed. 7, 2004

Bijou Gets Undressed. 8, 2004

Screenprint, on Fedrigoni Sirio paper, with full margins. Signed and numbered 12/30 in pencil (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, framed. I. 39.5 x 79 cm (15 1/2 x 31 1/8 in.) S. 52.5 x 97 cm (20 5/8 x 38 1/4 in.)

Screenprint, on Fedrigoni Sirio paper, with full margins. Signed and numbered 12/30 in pencil (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, framed. I. 38 x 77 cm (14 7/8 x 30 3/8 in.) S. 52.5 x 97 cm (20 5/8 x 38 1/4 in.)

Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ♠

plus Buyers Premium and VAT, ARR applies*

Literature Alan Cristea 56

Literature Alan Cristea 57

157. Julian Opie

b. 1958

Luc and Ludivine Get Married (4), 2007 The pair of laser-cut Somerset Velvet black paper silhouettes, dry-mounted onto Clairefontaine Mayo paper (as issued), the full sheets. Signed in black felt-tip pen and numbered 7/10 (printed) on a label afxed to the reverse of one frame (there was also 1 artist’s proof for the pair), published by Alan Cristea Gallery, London, in original oval black wood frames, glazed with vacuum formed polycarbonate, ftted with a top fxing screw ring as specifed by the artist. each 48.7 x 40 x 7 cm (19 1/8 x 15 3/4 x 2 3/4 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alan Cristea 110

158. Julian Opie

b. 1958

Amelia, 2018 Lenticular acrylic panel comprised of four inkjet prints in colours, printed directly onto 20 lpi lenticular animating lenses, back mounted with card, contained (as issued) within an envelope in the accompanying exhibition catalogue with lenticular cover. Signed in black felt-tip pen and numbered 18/50 (printed) on the title page of the catalogue, published on the occasion of the exhibition Julian Opie at the National Gallery of Victoria, Melbourne. lenticular 27 x 15.2 cm (10 5/8 x 6 in. ) book 29.2 x 25.4 x 3.2 cm (11 1/2 x 10 x 1 1/4 in. ) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ♠ plus Buyers Premium and VAT, ARR applies*

159. Julian Opie

b. 1958

Twenty Six Portraits, 2006 The complete book of 26 prints in colours, comprised of 16 lithographs bound (as issued), fve Lambda prints and fve screenprints tipped-in (as issued), on wove paper, the full sheets, with text by the artist, bound in the original cloth cover, contained in the original navy silk-covered slipcase. Signed and numbered ‘AP XLIII/L’ in pencil on the justifcation page (one of 50 artist’s proofs, the edition was 250), published by Alan Cristea Gallery, London. 42.6 x 30.4 x 2 cm (16 3/4 x 11 7/8 x 0 3/4 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alan Cristea 95

160. Julian Opie

b. 1958

This is Shahnoza 1, 2006 Screenprint, on Somerset Satin paper, with full margins. Signed and numbered 23/40 in pencil (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, framed. I. 50.8 x 123.2 cm (20 x 48 1/2 in.) S. 57.2 x 135.9 cm (22 1/2 x 53 1/2 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Alan Cristea 58

161. Damien Hirst

b. 1965

Carvacrol, 2008 Screenprint in colours with bronze glitter, on wove paper, with full margins. Signed and numbered 142/150 in pencil (there were also 10 artist’s proofs), published by Other Criteria, London (with their blindstamp), framed. I. 76 x 56 cm (29 7/8 x 22 in.) S. 97.6 x 76 cm (38 3/8 x 29 7/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ♠ plus Buyers Premium and VAT, ARR applies*

162. Damien Hirst

b. 1965

Utopia, 2012 Inkjet, glaze, and foilblock print in colours, on Hahnemühle Photo Rag Satin paper, with full margins. Signed and numbered 9/55 in silver ink (there were also 10 artist’s proofs), co-published by Paul Stolper and Other Criteria, London, framed. I. 54.1 x 68.6 cm (21 1/4 x 27 in.) S. 69.2 x 82.7 cm (27 1/4 x 32 1/2 in.) Estimate £5,000-7,000 $6,600-9,200 €6,000-8,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*

163. Damien Hirst

b. 1965

Untitled Spot Print, 2007 Screenprint in colours with ultraviolet glaze, on wove paper, with full margins. Signed, numbered 61/500 and dedicated ‘for Simon’ in pencil, framed. I. 38 x 34 cm (14 7/8 x 13 3/8 in.) S. 57.1 x 50.8 cm (22 1/2 x 20 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ♠ plus Buyers Premium and VAT, ARR applies*

164. Damien Hirst

b. 1965

Lanatoside B, 2011 Screenprint in colours, on Somerset Satin paper, with full margins. Signed and numbered 7/100 in pencil (there were also 10 artist’s proofs), published by Other Criteria, London (with their and the artist’s blindstamps), framed. I. 48.4 x 43.1 cm (19 x 16 7/8 in.) S. 70 x 63.6 cm (27 1/2 x 25 in.) Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 ♠ plus Buyers Premium and VAT, ARR applies*

165. Damien Hirst

b. 1965

Plaza, 2018 Giclée print in colours, fush-mounted to aluminium with metal strainer on the reverse (as issued). Signed in pencil on a label afxed to the reverse and numbered 65/100 in black ink on the reverse (there were also 10 artist’s proofs), published by Heni Productions, London. 90.2 x 90.2 cm (35 1/2 x 35 1/2 in. ) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Heni Productions H5-6

166. Damien Hirst

b. 1965

Cafe Royal, 2018 Giclée print in colours, fush-mounted to aluminium with metal strainer on the reverse (as issued). Signed in pencil on a label afxed to the reverse and numbered 66/100 in black ink on the reverse (there were also 10 artist’s proofs), published by Heni Productions, London. 90.2 x 90.2 cm (35 1/2 x 35 1/2 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ♠ plus Buyers Premium and VAT, ARR applies*

Literature Heni Productions H5-7

This lot is sold with no reserve

167. Tracey Emin

b. 1963

This lot is sold with no reserve

168. Lucy McKenzie

b. 1977

Beautiful Girl II, 2011

Untitled (for Parkett No. 76), 2006

Etching, with Chine-collé to Somerset paper, with full margins. Signed, titled, dated and numbered 1/100 in pencil, published by Emin International, London, unframed. I. 18 x 14.8 cm (7 1/8 x 5 7/8 in.) S. 31.9 x 27.3 cm (12 1/2 x 10 3/4 in.)

Screenprint in colours, on Somerset Satin paper, with full margins. Signed, dated and numbered 40/60 in pencil on the reverse (there were also 20 artist’s proofs in Roman numerals), published by Parkett Editions, New York and Zurich, framed. I. 57 x 38.5 cm (22 1/2 x 15 1/8 in.) S. 72.6 x 56 cm (28 5/8 x 22 in.)

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • ♠ plus Buyers Premium and VAT, ARR applies*

Literature Edition for Parkett 76

169. Gilbert & George b. 1943 and b. 1942 Deth Kult, 2009 Chromogenic print, on semi-matte paper fush-mounted to card (as issued), with full margins. Signed and numbered ‘19’ in black felt-tip pen, from the edition of 100, published by White Cube Editions, London, framed. I. 85.4 x 60 cm (33 5/8 x 23 5/8 in.) S. 88.3 x 62.9 cm (34 3/4 x 24 3/4 in.) Estimate £600-800 $790-1,100 €710-950 ♠ † plus Buyers Premium and VAT, ARR applies*

170. Donald Sultan

b. 1951

Red Poppies, 2015 Powder coated aluminium on polished aluminium base, contained in the original foam-lined white cardboard box. Incised with artist’s initials, title, date and stamped numbered 12/25 on the underside, published by Lococo Fine Art, St. Louis, Missouri. 61 x 53.3 x 8.9 cm 24 x 21 x 3 1/2 in. Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 ‡ plus Buyers Premium and VAT*

171. Donald Sultan

b. 1951

Fruit, Flowers and a Fish, 1989-1991 The complete set of 8 screenprints in colours, on Arches 88 paper, with full margins. All signed with initials, titled, dated and numbered 88/125 in pencil (there were also 20 artist’s proofs), published by Parasol Press, Ltd., New York, all unframed. all I. 30.5 x 30.5 cm (12 x 12 in.) all S. 58.5 x 56 cm (23 x 22 in.) Estimate £4,000-6,000 $5,300-7,900 €4,700-7,100 ‡ plus Buyers Premium and VAT*

Including Apples, Blue Flowers, Fish, Pears, Red Flowers, Red Pears, Squash, and Tulips

172. Jim Dine

b. 1935

Double Red Venus, 2002 Etching, mechanical abrasion, ofset lithography and hand-colouring, on Arches Cover paper, with full margins. Signed, dated and numbered 3/22 in pencil, published by Pace Editions, New York, framed. I. 94 x 67 cm (37 x 26 3/8 in.) S. 99.4 x 70.2 cm (39 1/8 x 27 5/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 plus Buyers Premium and VAT*

173. Jim Dine

b. 1935

Jumps Out at You, No?, 1993 Etching with hand-colouring in acrylic, on Arches Cover buf paper, with full margins. Signed, dated and numbered 37/75 in pencil (there were also 18 artist’s proofs), published by Pace Editions, New York, framed. I. 31.8 x 53.8 cm (12 1/2 x 21 1/8 in.) S. 53.3 x 70.8 cm (20 7/8 x 27 7/8 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ‡ plus Buyers Premium and VAT*

Literature Elizabeth Carpenter 73

174. Jim Dine

b. 1935

Owl, 1994 Etching and drypoint with roulette and sandpaper abrasion, on T.H. Saunders Waterford paper, with full margins. Signed, dated and numbered 6/15 in pencil (there were also 3 artist’s proofs), published by Alan Cristea Gallery, London, framed. I. 94.6 x 79.7 cm (37 1/4 x 31 3/8 in.) S. 112.4 x 83.8 cm (44 1/4 x 33 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 plus Buyers Premium and VAT*

Literature Elizabeth Carpenter 81

This lot is sold with no reserve

175. Jim Dine

b. 1935

Blue Detail from the Crommelynck Gate, 1982 Etching and aquatint with hand-colouring in watercolour and charcoal, on two sheets of Arches paper, with full margins. Signed, dated and numbered 5/30 in pencil (there was also 1 artist’s proof), published by Pace Editions, New York, framed. I. 85 x 117.5 cm (33 1/2 x 46 1/4 in.) S. 100 x 129.5 cm (39 3/8 x 50 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • plus Buyers Premium and VAT*

Literature Ellen G. D’Oench and Jean E. Feinberg 122

176. Jim Dine

b. 1935

Red Leather, 1993 Woodcut, sof-ground etching and power-tool abrasion with hand-colouring in acrylic, on Folio White paper, the full sheet. Signed, dated and numbered 11/30 in pencil (there were also 5 artist’s proofs), published by Pace Editions, New York, framed. S. 117.5 x 84.2 cm (46 1/4 x 33 1/8 in.) Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 plus Buyers Premium and VAT*

Literature Elizabeth Carpenter 72

177. Dan Flavin

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 19/25 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 £1,000-2,000 $1,300-2,600 €1,200-2,400 † plus Buyers Premium and VAT*

178. Sol LeWitt

1928-2007

Wavy Bands of Color (Triptych), 1997 Three ofset lithographs in colours, on Somerset Textured paper, the full sheets, with four accompanying paper boards with printed artist’s name. All signed in pencil on the front, dated and numbered 28/40 in pencil on the reverse (there were also 3 artist’s proofs), published by Marco Noire Editore, Turin, Italy, all framed. all S. approx. 21.9 x 241 cm (8 5/8 x 94 7/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 plus Buyers Premium and VAT*

Literature Barbara Krakow Gallery 1997.01

179. Sol LeWitt

1928-2007

Stars, 2002 The complete set of six linocuts in colours, on Somerset Satin paper, with full margins. All signed and numbered 68/100 in pencil (there were also 10 artist’s proofs), published by Parasol Press, Ltd., New York, all unframed. all I. 59 x 59 cm (23 1/4 x 23 1/4 in.) all S. 68.8 x 68.9 cm (27 1/8 x 27 1/8 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 plus Buyers Premium and VAT*

Literature Barbara Krakow 2002.02

180. Robert Indiana

1928-2018

American Dream No. 5 (The Golden Five), 1980 The complete set of fve screenprints in colours, on Fabriano paper, with full margins. All signed with initials, dated and numbered 46/100 in pencil, one titled in pencil (there were also 40 artist’s proofs), co-published by Prestige Art, Ltd., New York, and Edition Domberger, Stuttgart (with their blindstamp), all unframed. all I. 61.1 x 61 cm (24 x 24 in.) all S. 68.1 x 68 cm (26 3/4 x 26 3/4 in.) Estimate £5,000-7,000 $6,600-9,200 €5,900-8,300 ‡ plus Buyers Premium and VAT*

Literature Susan Sheehan 113

181. Robert Indiana

1928-2018

Three, from Numbers, 1968 Screenprint in colours, on Schöllers Parole paper, the full sheet, with accompanying paper folder with screenprinted poem. Signed, dated and numbered 12/125 in pencil (there were also 35 artist’s proofs in Roman numerals), co-published by Edition Domberger, Stuttgart and Galerie Schmela, Dusseldorf, unframed. S. 64.8 x 50 cm (25 1/2 x 19 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 plus Buyers Premium and VAT*

Literature Susan Sheehan 49

181.

182.

182. Robert Indiana

1928-2018

Six, from Numbers, 1968 Screenprint in colours, on Schöllers Parole paper, the full sheet, with accompanying paper folder with screenprinted poem. Signed, dated and numbered 12/125 in pencil (there were also 35 artist’s proofs in Roman numerals), co-published by Edition Domberger, Stuttgart and Galerie Schmela, Dusseldorf, unframed. S. 64.9 x 50.2 cm (25 1/2 x 19 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 plus Buyers Premium and VAT*

Literature Susan Sheehan 52

183. Robert Indiana

1928-2018

Chosen Love (Philadelphia), 1995 Skein dyed, hand carved and hand tufed archival New Zealand woolen rug, with natural latex backing. Signed and numbered 155/175 in black ink on a fabric label afxed to the reverse, with a further sheared signature in the lower right corner, handcrafed by Master Contemporary Original Artist Rugs, New York. 246.4 x 246.4 cm (97 x 97 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 plus Buyers Premium and VAT*

183. *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

184. Robert Indiana

1928-2018

The American Dream, 1997 The complete set of 30 screenprints in colours, including 6 loose and 24 bound prints (as issued), on wove paper, with full margins, with title page, text, poems by Robert Creeley, and photographic illustrations, all contained in the original black leather binding with the artist’s name in red on the front and spine. The six loose prints all signed and numbered ‘HC. 11/30’ in pencil, further numbered in pencil on the title page (an hors commerce copy, the edition was 395 and 30 artist’s proofs), published by Marco Fine Arts Contemporary Atelier, El Segundo, with the accompanying Certifcate of Authenticity. book 57 x 44.2 x 4 cm (22 1/2 x 17 3/8 x 1 5/8 in.) Estimate £7,000-9,000 $9,200-11,900 €8,300-10,700 † plus Buyers Premium and VAT*

185. Richard Serra

b. 1938

Spoleto Circle, 1972 Lithograph, on Fabriano Italia paper, with full margins. Signed and numbered 23/65 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 80.5 x 107 cm (31 3/4 x 42 1/8 in.) S. 89.1 x 130 cm (35 1/8 x 51 1/8 in.) Estimate £3,000-4,000 $4,000-5,300 €3,600-4,800 † plus Buyers Premium and VAT*

Literature Gemini G.E.L 401

186. Richard Serra

b. 1938

Untitled (Philip Glass Poster), 1972 Screenprint, on BFK Rives paper, the full sheet. Signed, dated and numbered 50/100 in pencil, published by Leo Castelli Gallery, New York, framed. S. 75.2 x 105 cm (29 5/8 x 41 3/8 in.) Estimate £1,800-2,000 $2,400-2,600 €2,100-2,400 † plus Buyers Premium and VAT*

Literature Silke von Berswordt-Wallrabe 8

187. Carmen Herrera

b. 1915

Untitled (NRW), 2017 Lithograph in red, on Arches paper, the full sheet. Signed and numbered 92/100 in pencil (there were also 10 artist’s proofs), published by Kunstsammlung Nordrhein-Westfalen, Dusseldorf, on the occasion of their exhibition Lines of Sight, 2 December 2017 - 8 April 2018, unframed. S. 100 x 67.3 cm (39 3/8 x 26 1/2 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 plus Buyers Premium and VAT*

188. Carmen Herrera

b. 1915

Red with White Triangle, 2009 Screenprint in red and white, on Somerset paper, the full sheet. Signed, dated and numbered 22/25 in black ink on a label afxed to the reverse of the mount, published by Ikon Gallery, Birmingham, framed. S. 49.8 x 68.9 cm (19 5/8 x 27 1/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 plus Buyers Premium and VAT*

189. Bruce Nauman

b. 1941

Life Fly Lifes Flies, from Leo Castelli 90th Birthday, 1997 Etching, on BFK Rives, with full margins. Signed, dated and numbered ‘XXIV’ 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, unframed. I. 75 x 50.6 cm (29 1/2 x 19 7/8 in.) S. 94 x 68.8 cm (37 x 27 1/8 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 † plus Buyers Premium and VAT*

190. Robert Ryman

1930-2019

Untitled, from On the Bowery, 1969 Screenprint in white and blue, on Schodles-Hammer paper, with full margins, with the original printed paper sleeve. Signed, dated and numbered 91/100 in pencil (there were also 20 artist’s proofs in Roman numerals), published by Edition Domberger, Stuttgart (with their blindstamp), unframed. I. 59 x 59 cm (23 1/4 x 23 1/4 in.) S. 65 x 65 cm (25 5/8 x 25 5/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 plus Buyers Premium and VAT*

Literature Amy Baker Sandback 1

191. 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 copublished by Nemela & Lenzen GmbH, Monchengladbach and Stedelijk Museum, Amsterdam for Agnes Martin’s 1991 retrospective at the Stedelijk Museum. all I. approx. 23 x 23 cm (9 x 9 in.) all S. 30 x 30 cm (11 3/4 x 11 3/4 in.) portfolio 31 x 31 x 2 cm (12 1/4 x 12 1/4 x 0 3/4 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 plus Buyers Premium and VAT*

192. Ed Ruscha

b. 1937

193. Jasper Johns

b. 1930

L.C., from Leo Castelli 90th Birthday, 1997

Leo, from Leo Castelli 90th Birthday, 1997

Screenprint in colours, on Somerset Velvet paper, the full sheet. Signed, dated and numbered XXIV/XC in pencil, from the edition of 90 in Roman numerals (there was also an edition of 90 in Arabic numerals and 15 artist’s proofs), published by Castelli Graphics, New York, unframed. S. 94.2 x 68.8 cm (37 1/8 x 27 1/8 in.)

Etching and aquatint in colours, on Hahnemühle Copperplate paper, with full margins. Signed, dated and numbered XXVI/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. 93.8 x 68.4 cm (36 7/8 x 26 7/8 in.)

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 † plus Buyers Premium and VAT*

Estimate £1,800-2,000 $2,400-2,600 €2,100-2,400 † plus Buyers Premium and VAT*

Literature Siri Engburg 260

194.

Willem de Kooning

1904-1997

Valentine, 1970 Lithograph, on Suzuki laid paper, with full margins. Signed, dated and numbered 26/47 in pencil (there were also 6 artist’s proofs), published by Knoedler, New York, framed. I. 70 x 60 cm (27 1/2 x 23 5/8 in.) S. 94 x 71.8 cm (37 x 28 1/4 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 plus Buyers Premium and VAT*

Literature Lanier Graham 16

195. Willem de Kooning

1904-1997

196. Willem de Kooning

1904-1997

High School Desk, 1970

Love to Wakako, 1971

Lithograph, on Italia paper, with full margins. Signed, dated and numbered 23/57 in pencil (there were also 7 artist’s proofs), published by Knoedler, New York, framed. I. 80.3 x 60 cm (31 5/8 x 23 5/8 in.) S. 101.7 x 70.6 cm (40 x 27 3/4 in.)

Lithograph, on Akawara paper, with full margins. Signed, dated and numbered 27/58 in pencil (there were also 18 artist’s proofs), published by Knoedler, New York, framed. I. 104.1 x 65.4 cm (40 7/8 x 25 3/4 in.) S. 114 x 71.6 cm (44 7/8 x 28 1/4 in.)

Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 plus Buyers Premium and VAT*

Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 plus Buyers Premium and VAT*

Literature Lanier Graham 15

Literature Lanier Graham 18

197. Robert Rauschenberg

1925-2008

Cardbird II, from Cardbird Series, 1971 Collage print with tape, steel staples, photo ofset lithograph, and screenprint in colours, on corrugated cardboard. Signed, dated and numbered 42/75 in black ink on the reverse (there were also 6 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their inkstamp on the reverse), lacking one card element. 137.2 x 84.5 cm (54 x 33 1/4 in.) Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 ‡ plus Buyers Premium and VAT*

Literature Gemini G.E.L. 304

198. Robert Rauschenberg

1925-2008

Cardbird IV, from Cardbird Series, 1971 Collage print with tape, photo ofset lithograph and screenprint in colours, on corrugated cardboard. Signed, dated and numbered 33/75 in black ink on the reverse (there were also 6 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their inkstamp on the reverse). 99.1 x 99.1 cm (39 x 39 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ‡ plus Buyers Premium and VAT*

Literature Gemini G.E.L. 306

This lot is sold with no reserve

199. Robert Rauschenberg

1925-2008

200. Robert Rauschenberg

1925-2008

201. Robert Rauschenberg

1925-2008

Page 4, from Pages and Fuses, 1974

Trust Zone, from Stoned Moon Series, 1969

Caucus, from Leo Castelli 90th Birthday, 1997

Two pieces of handmade paper with twine. Embossed with artist’s signature, dated and numbered 11/19 in pencil on the lower sheet (there were also 7 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their inkstamp). each sheet 39 x 49 cm (15 3/8 x 19 1/4 in.) overall 213 x 49 cm (83 7/8 x 19 1/4 in.)

Lithograph in colours, on Rives Special paper, the full sheet. Signed, dated and numbered ‘15/’ in pencil, from the edition of 65 (there were also 10 artist’s proofs), co-published by the artist and Gemini G.E.L., Los Angeles (with their blindstamps), framed. S. 102.6 x 83.4 cm (40 3/8 x 32 7/8 in.)

Ofset lithograph in colours, on Arches paper, the full sheet. Signed, dated and numbered XXIV/XC in pencil, from the edition of 90 in Roman numerals (there was also an edition of 90 in Arabic numerals and 15 artist’s proofs), published by Castelli Graphics, New York, unframed. S. 94.2 x 68.7 cm (37 1/8 x 27 in.)

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ‡

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • ‡

Estimate £1,000-1,200 $1,300-1,600 €1,200-1,400 †

plus Buyers Premium and VAT*

Literature Gemini G.E.L 517

Literature Gemini G.E.L. 160

202. Joan Mitchell

1925-1992

Untitled (for Galerie Jean Fournier et Cie): two plates, 1969 Two lithographs in colours, on wove paper, with full margins. Rare proof impressions before the edition with lettering, published by Galerie Jean Fournier et Cie, Paris, for their exhibition 13 May - 19 June 1969, both unframed. both I. 68.3 x 50 cm (26 7/8 x 19 5/8 in.) both S. 77.4 x 56.7 cm (30 1/2 x 22 3/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 plus Buyers Premium and VAT*

203. Sam Francis

1923-1994

Untitled (SF 72), 1989 Monoprint with aquatint in colours, on BFK Rives paper, with full margins. Signed and numbered 15/18 in pencil, from the edition of unique variants (there were also 6 artist’s proofs), published by The Litho Shop Inc., Santa Monica, California, unframed. I. 45.2 x 50 cm (17 3/4 x 19 5/8 in.) S. 70.6 x 75.6 cm (27 3/4 x 29 3/4 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ‡ plus Buyers Premium and VAT*

Literature Connie Lembark I106

204. Helen Frankenthaler

1928-2011

Cedar Hill, 1983 Woodcut in colours, on handmade light pink Mingei Momo paper, the full sheet. Signed, dated, numbered 18/18 and dedicated in pencil (an artist’s proof, the edition was 75), published by Crown Point Press, Oakland, California (with their blindstamp), framed. S. 51.4 x 63.5 cm (20 1/4 x 25 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ‡ plus Buyers Premium and VAT*

Literature Pegram Harrison 121

205. Frank Stella

b. 1936

Estoril Three II, from Circuits, 1982 Engraving, relief-printed etching and woodcut in colours, on dyed TGL handmade paper, the full sheet. Signed, dated and numbered 5/30 in pencil (there were also 10 artist’s proofs), published by Tyler Graphics, Mount Kisco, New York (with their blindstamp), framed. S. 168 x 131.8 cm (66 1/8 x 51 7/8 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,200 ‡ plus Buyers Premium and VAT*

Literature Tyler Graphics 563 Richard Axsom 139

206. John Baldessari

b. 1931

Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts), 1973 The complete set of 12 ofset lithographs in colours, on coated stock paper, with full margins, with title page and justifcation, the sheets loose (as issued) contained in the original blue letter-pressed paper folder with die-cut window opening. From the edition of 2000 (there was also an edition of 500 signed by the publishers and numbered), co-published by Edizioni Giampaolo Prearo and Galleria Toselli, Milan. all I. 17.8 x 26 cm (7 x 10 1/4 in.) all S. 24.4 x 32.3 cm (9 5/8 x 12 3/4 in.) portfolio 25 x 33 cm (9 7/8 x 12 7/8 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 plus Buyers Premium and VAT*

207. Robert Longo

b. 1953

Untitled (Janet, from the Men in the Cities Series), 1981/2016 Archival pigment print in colours, on Canson Platine fber paper, with full margins. Signed, dated and numbered 83/100 in black ink (there were also 20 artist’s proofs), published by Texte zur Kunst, Berlin, unframed. I. 37.5 x 25.4 cm (14 3/4 x 10 in.) S. 45.7 x 35.7 cm (17 7/8 x 14 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 plus Buyers Premium and VAT*

208. Robert Longo

b. 1953

Men in the Cities, 1981-2000 Two digital prints in colours, on photo paper mounted to Plexiglas (as issued), the full sheets. Both signed, dated and numbered 6/10 in black felt-tip pen on the reverse, both framed. both S. 62.2 x 161.9 cm (24 1/2 x 63 3/4 in.) Estimate ÂŁ6,000-8,000 $7,900-10,500 â&#x201A;Ź7,100-9,500 plus Buyers Premium and VAT*

Literature Robert Longo, Men in the Cities, Photographs, Munich, 2015, p. 105 and p. 106 (another example illustrated)

209. Roy Lichtenstein

1923-1997

Real Estate, 1969 Lithograph in blue, on Arches paper, with full margins. Signed, dated and numbered 90/100 in pencil (there were also approximately 10 artist’s proofs in Roman numerals), published by Chelsea House Publishers, New York, 1971, framed. I. 34.4 x 81.3 cm (13 1/2 x 32 in.) S. 49.7 x 96.6 cm (19 5/8 x 38 in.) Estimate £7,000-9,000 $9,200-11,900 €8,300-10,700 ‡ plus Buyers Premium and VAT*

Literature Mary Lee Corlett 88

210. Andy Warhol

1928-1987

Electric Chair, 1971 Screenprint in colours, on wove paper, the full sheet. Signed and dated in black ball-point pen on the reverse, an unnumbered proof (the edition was 250 and 50 artist’s proofs), published by Bruno Bischoferger, Zurich (with their inkstamp on the reverse), framed. S. 90 x 121.8 cm (35 3/8 x 47 7/8 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ‡ plus Buyers Premium and VAT*

Literature Frayda Feldman and Jörg Schelmann 76

211. Andy Warhol

1928-1987

Flowers, 1970 Screenprint in colours, on wove paper, the full sheet. An unsigned proof (aside from the signed and numbered edition of 250 and 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, unframed S. 91.2 x 91.1 cm (35 7/8 x 35 7/8 in.) Estimate £10,000-15,000 $13,200-19,800 €11,900-17,900

Provenance Collection of George C.P. Mulder, Amsterdam, The Netherlands Private Collection, The Netherlands Acquired from the above by the present owner, circa 2010 Literature Frayda Feldman and Jörg Schellmann 67

plus Buyers Premium and VAT*

212. Andy Warhol

1928-1987

Flowers, 1970 Screenprint in colours, on wove paper, the full sheet. An unsigned proof (aside from the signed and numbered edition of 250 and 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, unframed. S. 91.3 x 91.3 cm (35 7/8 x 35 7/8 in.) Estimate £8,000-12,000 $10,500-15,800 €9,500-14,300 † plus Buyers Premium and VAT*

213. Andy Warhol

1928-1987

214. Andy Warhol

1928-1987

Speed Skater, from Art and Sports portfolio, 1983

Saint Apollonia, 1984

Screenprint in colours, on Arches 88 paper, the full sheet. Signed and numbered XXXVI/CL in pencil (there were also 10 artist’s proofs and a deluxe edition of 50 on Arches Aquarelle paper), with the artist’s copyright inkstamp on the reverse, published by Visconti Art Spectrum, Vienna, for the XIV Olympic Winter Games, framed. S. 85.1 x 62.2 cm (33 1/2 x 24 1/2 in.)

Screenprint in colours, on Essex Ofset Kid Finish paper, the full sheet. Signed and numbered 203/250 in pencil (there were also 35 artist’s proofs), with the artist’s copyright inkstamp on the reverse, published by Dr. Frank Braun, Dusseldorf, unframed. S. 76 x 55.8 cm (29 7/8 x 21 7/8 in.)

Estimate £5,000-7,000 $6,600-9,200 €6,000-8,300

Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 plus Buyers Premium and VAT*

plus Buyers Premium and VAT*

Literature Frayda Feldman and Jörg Schellmann 303

Literature Frayda Feldman and Jörg Schellmann 330

215. Keith Haring

1958-1990

The Valley: four plates, 1989 Four etchings, on Twinrocker handmade paper, with full margins, with accompanying texts by William S. Burroughs. All signed, dated and numbered 73/80 in pencil (there were also 13 artist’s proofs), published by George Mulder Fine Arts, New York, 1990, the eight prints in four frames. all I. 25.3 x 22.8 cm (9 7/8 x 8 7/8 in.) all S. 36.2 x 32 cm (14 1/4 x 12 5/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 ‡ plus Buyers Premium and VAT*

Literature Klaus Littmann p. 137, 139, 140 and 141

216. Alex Katz

b. 1927

Tree, 1990 Woodcut in yellow, on Iyo Glazed paper, with full margins. Signed and numbered 15/30 in pencil (there were also 8 artist’s proofs), published by the artist, framed. I. 30.4 x 30.6 cm (11 7/8 x 12 in.) S. 44.8 x 42.5 cm (17 5/8 x 16 3/4 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ‡ plus Buyers Premium and VAT*

217. Jef Koons

b. 1955

Balloon Dog (Magenta), 2015 Porcelain multiple painted in chrome, contained in the original Styrofoam-lined presentation box with silver printed signature and original plastic stand. Numbered 0337/2300 in gold ink on the underside, further numbered in black ink on the accompanying Bernaudaud card, manufactured by Bernardaud, Limoges and published by the Museum of Contemporary Art, Los Angeles. 26.5 cm (10 3/8 in.) diameter Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 plus Buyers Premium and VAT*

218. Jef Koons

b. 1955

Balloon Dog (Blue), 2002 Porcelain multiple painted in chrome, contained in the original foam-lined box with printed artist’s name and original plastic stand. Numbered 2044/2300 in black ink on a label afxed to the underside, published by the Museum of Contemporary Art, Los Angeles. 26.5 cm (10 3/8 in.) diameter Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 plus Buyers Premium and VAT*

219. Ai Weiwei

b. 1957

Artist’s Hand, 2017 Cast urethane resin multiple with electroplated rhodium, contained in the original cardboard presentation box. With incised signature on the underside, from the edition of 1000, published by the Public Art Fund, USA in collaboration with eBay for Charity to beneft the exhibition Ai Weiwei: Good Fences Make Good Neighbors, New York, 12 October 2017 - 11 February 2018. 12.5 x 9.5 x 10.8 cm (4 7/8 x 3 3/4 x 4 1/4 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 plus Buyers Premium and VAT*

220. Ai Weiwei

b. 1957

Study of Perspective in Glass (Dark Violet), 2018-19 Cast Murano glass multiple, contained in the original suede lined grey cloth-covered box. Incised with signature and numbered 77/100 on the underside, further signed in black ink and numbered (printed) on the accompanying Certifcate of Authenticity, fabricated by Berengo Studio, Murano. 12 x 9.8 x 11 cm (4 3/4 x 3 7/8 x 4 3/8 in.) Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 ‡ plus Buyers Premium and VAT*

221. Ai Weiwei

b. 1957

Thin Line, 2017 Acrylic-display case with a PMMA mirror as backdrop, with glass fbre light line. With incised signature, title and numbering 34/100 on the side, further signed and numbered ‘34’ in black marker on the Certifcate of Authenticity afxed to the reverse, co-published by the artist and Amsterdam Light Festival Foundation. 50 x 50 x 25 cm (19 5/8 x 19 5/8 x 9 7/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 plus Buyers Premium and VAT*

∆ 222.

Maurizio Cattelan

b. 1960

The 1:6 Scale Wrong Gallery, 2006 Multiple comprising wood, brass, steel, aluminum, resin, plastic, glass and electric lighting, with accompanying copy of the Wrong Gallery Times, all contained in the original cardboard box. Numbered 246/2500 in black ink on the base, with the printed Cattelan copyright, published by Cerealart Multiples, Philadelphia. 46.7 x 29.2 x 17.1 cm (18 3/8 x 11 1/2 x 6 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ♠ plus Buyers Premium and VAT, ARR applies*

This lot is sold with no reserve

223. Jenny Holzer

b. 1950

Infammatory Essays: Shriek When the Pain Hits During Interrogation, 1996 Pewter multiple with engraved text. Incised with signature and numbering 56/100 on the reverse (there were also 20 artist’s proofs), published by Texte zur Kunst, Berlin. 5 x 6.7 x 1 cm (1 7/8 x 2 5/8 x 0 3/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • plus Buyers Premium and VAT*

This lot is sold with no reserve

224. Terence Koh

b. 1977

Pink Wax Cast Finger, 2007 Pink wax cast multiple, contained in the original collaged heart shaped card box. From the edition of 30, published by the artist. box 5.5 x 11.4 x 12.3 cm (2 1/8 x 4 1/2 x 4 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • plus Buyers Premium and VAT*

225. Grayson Perry

b. 1960

Piggy Bank, 2017 White ceramic piggy bank painted in blue and glazed, with rubber stopper, contained in the original cardboard box. With artist’s logo on the underside, from the edition of unknown size, published by The Serpentine Galleries, London. 9 x 21 x 9 cm (3 1/2 x 8 1/4 x 3 1/2 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ♠ plus Buyers Premium and VAT, ARR applies*

226. Grayson Perry

b. 1960

Marriage Flag, 2019 Cotton fabric and embroidery appliqué handmade fag in colours. From the edition of 45 (there were also 5 artist’s proofs), published by Victoria Miro, London. 96 x 143 cm (37 3/4 x 56 1/4 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 ♠ plus Buyers Premium and VAT, ARR applies*

227. Jonas Wood

b. 1977

Untitled, 2009 Lithograph with screenprint in colours, on Coventry vellum paper, the full sheet. Signed, dated and numbered 49/50 in blue pencil (there were also 13 artist's proofs), published by Cirrus Editions Ltd., Los Angeles (with their blindstamp), framed. S. 101.7 x 76.2 cm (40 x 30 in.) Estimate ÂŁ5,000-7,000 $6,600-9,200 â&#x201A;Ź5,900-8,300 plus Buyers Premium and VAT*

Literature Gagosian Gallery, New York, Jonas Wood: Prints, pp. 28-29

228. Te Connor Brothers

b. 1975 and b. 1978

I Drink to Make Other People More Interesting, 2017 Giclée print in colours with screenprinted varnish, on archival paper, with full margins. Signed, dated and numbered 85/95 in pencil (there were also 20 artist’s proofs), published by the artists, unframed. I. 67.2 x 42.8 cm (26 1/2 x 16 7/8 in.) S. 75 x 50.2 cm (29 1/2 x 19 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ♠ plus Buyers Premium and VAT, ARR applies*

229. Harland Miller

b. 1964

Rags to Polyester, 2014 Giclée print in colours, on German etching paper, the full sheet. Signed and numbered 48/50 in pencil (there were also 10 artist’s proofs), published by White Cube, London, unframed. S. 95.2 x 74.7 cm (37 1/2 x 29 3/8 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 ♠ plus Buyers Premium and VAT, ARR applies*

230. David Shrigley

b. 1968

Fucking Ace, 2016 Woodcut, on wove paper, with full margins. Signed with initials, dated and numbered 19/30 in pencil (there were also 4 artist’s proofs), unframed. I. 48.4 x 34 cm (19 x 13 3/8 in.) S. 58 x 41.9 cm (22 7/8 x 16 1/2 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ♠ plus Buyers Premium and VAT, ARR applies*

231. David Shrigley

b. 1968

I’m Sorry For Being Awful, 2018 Screenprint in colours, on Somerset paper, the full sheet. Signed with initials, dated and numbered 27/125 in pencil on the reverse (there were also 20 artist’s proofs), published by Counter Editions, London, unframed. S. 76 x 56 cm (29 7/8 x 22 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 ♠ plus Buyers Premium and VAT, ARR applies*

232. Elmgreen & Dragset

b. 1961 and b. 1969

... And the Moon Shines On, 2008 Screenprint in black, on Fabriano paper, with full margins. Signed with initials, dated and numbered 117/500 in pencil (there were also 25 artist’s proofs), created on the occasion of the London production of Drama Queens at The Old Vic Theatre, framed. I. 29.8 x 32.1 cm (11 3/4 x 12 5/8 in.) S. 33.7 x 35.2 cm (13 1/4 x 13 7/8 in.) Estimate £400-600 $530-790 €480-710 ‡ plus Buyers Premium and VAT*

233. Wade Guyton

b. 1972

X Poster (Untitled, 2007, Epson Ultrachrome inkjet on linen, 84 x 69 inches, WG1211), 2019 Digital print with archival UV curable inks, on wove paper, the full sheet, hand-folded (as issued), contained in the original white cardboard portfolio box. Signed and numbered 74/100 in black ink on a label afxed to the portfolio, published by Printed Matter Inc., New York, unframed. S. 213.4 x 175.3 cm (84 x 69 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 plus Buyers Premium and VAT*

234. Harold Ancart

b. 1980

Untitled (Fall), 2016 Unique screenprint in colours, on Moulin de Roy Canson paper, with full margins. Signed, titled, dated and numbered 28/45 in pencil (the edition is 45 unique colour variants), co-published by the ICA and Harold Ancart Studio, London and New York, unframed. I. 71.9 x 55.6 cm (28 1/4 x 21 7/8 in.) S. 76 x 56.1 cm (29 7/8 x 22 1/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 ♠ plus Buyers Premium and VAT, ARR applies*

234.

235. Lucien Smith

b. 1989

Cats and Dogs, 2012 Archival inkjet print in colours, on stretched canvas. Signed, dated and numbered 39/100 in black ink on the accompanying Certifcate of Authenticity, further numbered in black ink on the reverse (there were also 5 artist’s proofs), published by Exhibition A, New York. 61 x 51 cm (24 x 20 1/8 in.) Estimate £800-1,200 $1,100-1,600 €950-1,400 plus Buyers Premium and VAT*

235.

∆ 236.

RIMOWA x Daniel Arsham Eroded Attaché, 2019 Cast multiple, contained in a black satin lined aluminium RIMOWA briefcase, with accompanying Owner’s Manual and 5-year Rimowa Gurantee Certifcate. With printed signature and numbered 115/500 (printed) in the accompanying Owner’s Manual, co-published by Daniel Arsham Studio, New York, and Rimowa, Cologne. multiple 21.5 x 30 x 7.5 cm (8 1/2 x 11 3/4 x 2 7/8 in.) briefcase 13.5 x 45.5 x 37.5 cm (5 3/8 x 17 7/8 x 14 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,400-3,600 plus Buyers Premium and VAT*

236.

237. Yoshitomo Nara

b. 1959

Ocean Child, from In the Floating World, 1999 Xerox print in colours, on smooth wove paper, the full sheet. Signed, dated and numbered 18/50 in pencil, published by Tomio Koyama Gallery, Tokyo, framed. S. 42 x 29.8 cm (16 1/2 x 11 3/4 in.) Estimate £2,000-3,000 $2,600-4,000 €2,400-3,600 plus Buyers Premium and VAT*

238. KAWS

b. 1974

YOU SHOULD KNOW I KNOW, 2015 Screenprint in colours, on wove paper, the full sheet. Signed, dated and numbered 90/250 in pencil (there were also 50 artist’s proofs), published by Pace Editions, New York, unframed. S. 94.6 x 81.3 cm (37 1/4 x 32 in.) Estimate £7,000-10,000 $9,200-13,200 €8,300-11,900 plus Buyers Premium and VAT*

239. KAWS

b. 1974

SMALL LIE (BROWN); SMALL LIE (BLACK); and SMALL LIE (GREY), 2017 Three painted vinyl multiples, all contained in the original Medicom packaging. All with artist’s name, title, date and fabricator printed on the underside, from the limited edition, fabricated by Medicom Toy, China. all 27.5 x 12.9 x 12.2 cm (10 7/8 x 5 1/8 x 4 3/4 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 plus Buyers Premium and VAT*

This lot is sold with no reserve

240. Takashi Murakami

b. 1962

Kaikai-chan (BLUE eyes); and Kiki-chan (BLUE eyes), from Kaikai & Kiki, 2018 Two sof vinyl multiples with hand-printing in colours, each contained in the original printed cardboard boxes. Both from the unnumbered edition of unknown size, published by Kaikai Kiki Co., Ltd., Tokyo (incised with the artist’s and publisher’s copyright stamp on the underside), for Tonari no Zingoro (with their inkstamp on the underside). Kaikai 23.9 cm (9 3/8 in.) height Kiki 20 cm (7 7/8 in.) height boxes 28 x 18.5 x 12.5 cm (11 x 7 1/4 x 4 7/8 in.) Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • ‡ plus Buyers Premium and VAT*

This lot is sold with no reserve

241. Takashi Murakami x ComplexCon ComplexCon: Mr. Dob (Red/Blue); and ComplexCon: Mr. Dob (Gold), 2016-17 Two vinyl multiples with hand-printing in colours, each contained in the original silk-lined, printed cardboard boxes. Mr. Dob (Red/Blue) from the unnumbered edition of 750 and Mr. Dob (Gold) from the unnumbered edition of 250, manufactured by Bait x Switch Collectables, Diamond Bar, California (with their and the artist’s copyright inkstamp on the underside). both 24 x 26 x 18 cm (9 1/2 x 10 1/4 x 7 1/8 in.) Estimate £2,500-3,500 $3,300-4,600 €3,000-4,200 • ‡ plus Buyers Premium and VAT*

This lot is sold with no reserve

242. Takashi Murakami

b. 1962

Right There, The Breadth of The Human Heart; Thinking Matter (Red); Cosmic Power; and Space Show, 2013, 2016 Four ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered variously from the editions of 300 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 $2,600-4,000 €2,400-3,600 • ‡ plus Buyers Premium and VAT*

Artworks ©2013 and 2016 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved. *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

This lot is sold with no reserve

243. Takashi Murakami

b. 1962

We Are the Jocular Clan: 10 plates, 2018 Ten ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered variously from the edition of 300 in black or silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 50 cm (19 5/8 in.) diameter Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 • ‡ plus Buyers Premium and VAT*

244.

This lot is sold with no reserve

244. Takashi Murakami

This lot is sold with no reserve b. 1962

Doraemon’s Daily Life; M. Fujiko, F. Fujio and Doraemon are in the Field of Flowers; and Doraemon in the Field of Flowers, 2019 Three screenprints in colours, on smooth wove paper, with full margins. All signed, dated and each numbered 99/300, 103/300 and 32/300 respectively in pencil, all further annotated ‘Fujiko F Fujio’ in Japanese in pencil, the inventor of Doraemon, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all I. 48 x 37.5 cm (18 7/8 x 14 3/4 in.) all S. 58.2 x 50.9 cm (22 7/8 x 20 in.)

245. Takashi Murakami

b. 1962

A Field of Flowers Seen from the Stairs to Heaven; A Little Flower Painting: Yellow, White, and Purple Flowers; and A little Flower Painting: Pink, Purple, and Many Other Colors, 2017-18 Three ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and each numbered 51/300, 52/300, and 51/300 respectively in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 55 x 44.4 cm (21 5/8 x 17 1/2 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 • ‡

Estimate £6,000-8,000 $7,900-10,500 €7,100-9,500 • ‡

plus Buyers Premium and VAT*

245.

This lot is sold with no reserve

246. Takashi Murakami

b. 1962

Anywhere Door (Dokodemo Door) in the Field of Flowers; and We Came to the Field of Flowers Through Anywhere Door (Dokodemo Door), 2019 Two screenprints in colours with cold stamped gold and silver foil, on smooth wove paper, with full margins. Both signed, dated and numbered 84/300 and 146/300 respectively in pencil, further annotated ‘Fujiko F Fujio’ in Japanese in pencil, the inventor of Doraemon, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both I. 40 x 40 cm (15 3/4 x 15 3/4 in.) both S. 50 x 50 cm (19 5/8 x 19 5/8 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 • ‡ plus Buyers Premium and VAT*

This lot is sold with no reserve

247. Takashi Murakami

b. 1962

May Shower; October Story; August Joy; December Remembrance; and July Night, 2019 Five screenprints in colours, on smooth wove paper, with full margins. All signed, dated and numbered variously from the editions of 100, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all I. 37.2 x 30 cm (14 5/8 x 11 3/4 in.) all S. 46.8 x 38 cm (18 3/8 x 14 7/8 in.) Estimate £4,000-6,000 $5,300-7,900 €4,800-7,100 • ‡ plus Buyers Premium and VAT*

This lot is sold with no reserve

248. Takashi Murakami

b. 1962

Homage to Francis Bacon (Study for Head of Isabel Rawsthorne and George Dyer): two plates, 2016 Two ofset lithographs in colours, on smooth wove paper, the full sheets. Both signed and each numbered 46/300 and 49/300 respectively in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 50 x 50 cm (19 5/8 x 19 5/8 in.) Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 • ‡ plus Buyers Premium and VAT*

This lot is sold with no reserve

249. Takashi Murakami

b. 1962

We Are Destined To Meet Someday! But for Now, We Wander in Diferent Dimensions; Chaos: Primordial Life; DOB: Myxomycete; Hands Clasped; and Another Dimension Brushing Against Your Hand, 2015, 2016, 2017 Five ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered variously from the editions of 300 in black ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. three S. 68 x 68 cm (26 3/4 x 26 3/4 in.) two S. 66 x 88 cm (25 7/8 x 34 5/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 • ‡ plus Buyers Premium and VAT*

This lot is sold with no reserve

250. Takashi Murakami

This lot is sold with no reserve b. 1962

Assignation of a Spirit!; and 4 Arhats, One with Four Eyes, 2013/14 Two ofset lithographs in colours, on smooth wove paper, the full sheets. Both signed and each numbered 199/300 and 158/300 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 €1,200-1,800 • ‡

251. Takashi Murakami

b. 1962

You have all sorts of ups and downs in life. Right, Kaikai and Kiki?!; and There’s bound to be difcult times There’s bound to be sad times But we won’t lose heart; we’d rather not cry, so laugh, we will!, 2017/18 Two ofset lithographs in colours with sticker additions, on smooth wove paper, the full sheets. Both signed and each numbered 195/300 and 71/300 respectively in black and silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 72 x 72 cm (28 3/8 x 28 3/8 in.)

plus Buyers Premium and VAT*

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • ‡

plus Buyers Premium and VAT*

252.

This lot is sold with no reserve

252. Takashi Murakami

This lot is sold with no reserve 1949-1971

There Are Many Dokodemo Doors; and We Can Go Anywhere With Mr Fujiko F. Fujio And The Time Machine!, 2019 Two screenprints in colours, one with cold stamped gold and silver foil, on wove paper, with full margins. Both signed and numbered 207/300 in pencil, further annotated ‘Fujiko F Fujio’ in Japanese in pencil, the inventor of Doraemon, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both I. 50 x 50 cm (19 5/8 x 19 5/8 in.) both S. 60 x 60 cm (23 5/8 x 23 5/8 in.) Estimate £5,000-7,000 $6,600-9,200 €6,000-8,300 • ‡

253. Takashi Murakami

b. 1962

That Sounds Good, I Hope You Can Do That, 2019 Screenprint in colours with cold stamped gold foil, on wove paper, with full margins. Signed, dated and numbered 209/300 in pencil, further annotated ‘Fujiko F Fujio’ in Japanese in pencil, the inventor of Doraemon, published by Kaikai Kiki Co., Ltd., Tokyo, framed. I. 46.4 x 94 cm (18 1/4 x 37 in.) S. 56.1 x 104 cm (22 1/8 x 40 7/8 in.) Estimate £3,000-5,000 $4,000-6,600 €3,600-6,000 • ‡ plus Buyers Premium and VAT*

plus Buyers Premium and VAT*

253. *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

254.

This lot is sold with no reserve

254. Takashi Murakami

255. Mark Grotjahn and Takashi Murakami

b. 1962

b. 1968 and b. 1962

And then, and then and then and then and then / Hello; and And then, and then and then and then and then / Green Truth, 2006

Untitled (Scarlett 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 and each numbered 154/300 and 150/300 respectively in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 50 x 50 cm (19 5/8 x 19 5/8 in.)

Two ofset lithographs in colours, on smooth wove paper, the full sheets. Each signed by both artists (Mark Grotjahn in black ink and Takashi Murakami in silver ink) and numbered 117/300 and 126/300 respectively in silver ink, published by Kaikai Kiki, Co., Ltd., Tokyo, both framed. both S. 70 x 55.8 cm (27 1/2 x 21 7/8 in.)

Estimate £1,500-2,000 $2,000-2,600 €1,800-2,400 • ‡ plus Buyers Premium and VAT*

Estimate £1,000-1,500 $1,300-2,000 €1,200-1,800 • ‡ plus Buyers Premium and VAT*

255.

Sale Information Evening & Day Editions

Sale Department

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

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

Auctions 23 January 2020 Evening Auction Lots 1 – 70, 6pm Day Auction Lots 71 – 255, 1pm Viewing 16 – 23 January 2020 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation In sending in written bids or making enquiries please refer to this sale as UK030120 or Editions. Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

Head of Sale, Specialist Rebecca Tooby-Desmond +44 20 7318 4079 rtooby-desmond@phillips.com Senior Specialist Anne Schneider-Wilson +44 20 7318 4042 aschneider-wilson@phillips.com Cataloguer Louisa Earl +44 20 7318 4069 learl@phillips.com Administrator Adam Rutledge +44 20 7318 4077 arutledge@phillips.com Property Manager Surya Buck +447867 430097 sbuck@phillips.com Photographers Jean Bourbon Matt Kroenig Kent Pell Charlie Sheldon Alex Braun

Front cover Lot 1, Pablo Picasso La Minotauromachie, 1935 Etching and engraving with scraper © Succession Picasso/DACS, London, 2019 Back cover Lot 39, Keith Haring Dog, 1986 Plywood painted in yellow enamel with screenprint in black © Keith Haring Foundation

Auctioneers Henry Highley, Principal Auctioneer Rebecca Tooby-Desmond Susanna Brockman Adam Clay 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 Heather Welham +44 20 7901 2982 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 Kyle Buchanan +44 20 7318 4081 Rita Matos +44 20 7901 7906 Lucia Nuñez +44 20 7901 7920 Creative Services Ben Marcus, Creative Services Manager Moira Gil, Senior Graphic Designer Steven Rubbins, Senior Graphic Designer Grace Neighbour, Graphic Designer

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UK Auction Buyer’s Guide The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you. The Conditions of Sale and Authorship Warranty published on our website at https://phillips.com also govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship between Phillips, the seller and the buyer and describe the terms upon which items are bought at auction. A) Before The Auction Catalogues & Catalogue Entries Our catalogues provide information on the lots for sale at the auction and are available on our website at www.phillips. com and in hard copy. Lot details can also be viewed on the Phillips App. If you would like to purchase a hard copy catalogue for a Phillips auction, please visit our website or contact us at catalogues@phillips.com. Catalogue entries may include the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive. In some cases we may not disclose the identity of previous owners where we are not authorised to do so. Please note that all dimensions of the property set out in the catalogue entry are approximate. Pre-auction viewings are open to the public and free of charge. The dates and times are published on our website at https://phillips.com. Our specialists are available to give advice and condition reports at viewings or by appointment. Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Pre-sale estimates do not include the buyer’s premium or VAT. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. As estimates can be subject to revision we suggest contacting us closer to the time of the auction. Estimates in non-local currencies Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in other currencies. These estimates are approximate and provided as a courtesy to our clients. The exchange rates used are those applying on the last practical date before printing the catalogue. The rates may have changed between the time of printing the catalogue and the auction. Condition Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections.

Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. 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 the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding.

∑ Endangered Species Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import.

Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Calculating the Total Purchase Price If you are the successful bidder on a Lot, the total purchase price you pay is made up of the following elements:

Symbols Used In The Catalogue You may see the following symbols referenced in the catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the financial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be significant Phillips may choose to share the burden of that financial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the thirdparty guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the thirdparty guarantor is the successful bidder Phillips will report the purchase price net of any fees paid to the third-party guarantor. ∆ 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 is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

Ж Property Subject to US Import Tarifs

Lots with this symbol indicate that the Property may be subject to additional tariffs upon importation into the United States of America. See paragraph 12 of the Conditions of Sale.

Hammer Price

Buyer’s Premium

VAT on Buyer’s Premium and/or Hammer Price (If applicable)

Artist’s Resale Royalty (ARR) (If applicable)

The Hammer Price: This is the final, highest bid which the auctioneer accepts by bringing down the auctioneer’s hammer. Buyer’s Premium: This is the commission Phillips charges the successful highest bidder and buyer of the lot. The Buyer’s premium is calculated on the hammer price of the lot at the following rates on a cumulative basis: • 25% on the portion of the hammer price up to and including £300,000; and • 20% on the portion of the hammer price above £300,000 up to and including £3,000,000 and • 13.5% on the portion of the hammer price above £3,000,000. Where VAT is payable on the Buyer’s premium the VAT inclusive Buyer’s Premium rates are 30%, 24% and 16.2% respectively. VAT Most items we sell are sold under UK Auctioneer’s Margin Scheme rules. This means that VAT is charged at 20% on the buyer’s premium and will not be shown separately on the invoice. UK Auctioneer’s Margin Scheme lots have no VAT symbol. Where the lot has a †, ‡ or Ω symbol against it, VAT may be charged on a different basis. For full details, including how to claim VAT refunds, please see the VAT & Tax Guide in this Auction Buyer’s Guide and on our website ♠ Artist’s Resale Royalty (ARR) The laws in certain countries entitle qualifying artists or their estates to a royalty when the artist’s works are resold for a hammer price of EUR 1,000 or more. Lots subject to ARR are marked with the symbol ♠. The ARR is calculated as a percentage of the hammer price on a cumulative basis as follows and is payable as part of the purchase price: Portion of the Hammer Price (in EUROS) From 0 to 50,000 From 50,000.01 to 200,000

Royalty Rate 4% 3%

From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000

1% 0.5% 0.25%

The total charge for ARR on any single lot cannot exceed Euros 12,500. To calculate the ARR, we use the pounds sterling/euro reference exchange rate quoted on the date of the auction by the European Central Bank. Example To illustrate how the purchase price is calculated, please see the below example: UK Auctioneer’s Margin Scheme lot Hammer Price: £350,000 Buyer’s Premium including VAT @20% £102,000: 25% of first £300,000 of the hammer price = £75,000 + 20% on the balance of £50,000 = £10,000 Total BP = £85,000 VAT @ 20% on the total BP of £85,000 = £17,000

By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone. Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at https://phillips.com. The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe FlashPlayer. Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders.

B) At The Auction Bidding Bids may be executed during the auction in person, by paddle or by telephone or prior to the sale in writing by absentee bid. Proof of identity in the form of governmentissued identification will be required, as will an original signature and proof of address. We may also require that you furnish us with a bank reference. For individuals, acceptable forms of government issued photo identification include a passport or photo driving licence. For companies, acceptable forms of government issued identification include a certificate of incorporation or similar as well as proof of owners and directors. Undisclosed agreements between bidders to bid or abstain from bidding on lots are illegal. Please note that Phillips monitors its sales and bidding records to ensure that bidding is transparent and fair and will take appropriate action in the event of any suspected breach of this requirement. In Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk. By Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. UK£50 to UK£1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000

by UK£50s by UK£100s by UK£200s by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000 UK£50,000 to UK£100,000 by UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s above UK£200,000 at the auctioneer’s discretion The auctioneer may vary the increments during the course of the auction at his or her own discretion. Conditions Of Sale The auction is governed by the Conditions of Sale and Authorship Warranty which are available on our website. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive And Responsive Bidding; The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. No Reserve Lots If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. C) After The Auction Payment Payment is due immediately following the auction, unless other arrangements have been agreed with Phillips in writing in advance of the sale. Interest will be charged on late payment at the rate of 12% per annum. Payments must be made by the invoiced party in pounds sterling and may be sent by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. Title to each lot will not pass until the buyer has made full payment of the Purchase Price plus any applicable Artist Resale Royalty and all applicable taxes. Collection Once Phillips has received full and cleared payment of the total purchase price for the lot and any other amounts the buyer owes to Phillips, lots will be released for collection. To collect paid for lots buyers (or their authorised representatives) must provide proof of identity. Authorised Representatives should also bring a copy of a letter signed by the buyer authorising them to collect. Smaller items may be collected from our London gallery on the day of the auction. Please check with our staff when making payment.

Important Notices After the auction, lots will be transferred to offsite fine art storage facilities. The buyer information pack you will receive after the auction will confirm details of the storage facility where your lot is held for collection. Please contact us to make arrangements for collection. Storage Charges Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to you in the buyer information pack you will receive after the auction. Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven (7) days following the auction. Transport and Shipping We will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. As a free service for buyers, Phillips will wrap purchased lots which are for hand carry only. We do not provide packing, handling or shipping services directly. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from the United Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certificates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis regarding continent of origin and confirmation the object is more than 100 years old. We have not obtained a scientific analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase

these lots at their own risk and will be responsible for the costs of obtaining any scientific analysis or other report required in connection with their proposed import of such property into the US. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the object qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species. Privacy Our Privacy Policy is available at https://phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. Phillips’ premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third-party websites and applications.

Identification of Business or Trade Buyers As of January 2010, Her Majesty’s Revenue & Customs (“HMRC”) has made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding buyer’s premium for lots with symbols for businesses outside the UK. • Where the buyer is a non-EU business, Phillips requires evidence of the business status by means of the company identification, Certificate of Incorporation, Articles of Association or government-issued documents showing that the company exists. • Where the buyer is an EU VAT registered business, Phillips requires the business’s VAT registration number. These details can be scanned and emailed to us, or alternatively they can be faxed or mailed. If these requirements are not met, we will be unable to cancel/ refund any applicable VAT. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

VAT & Tax Guide VAT Depending on the status of the lot, and your status as a buyer, VAT may be charged on the hammer price, the buyer’s premium or both. UK Auctioneer’s Margin Scheme Most items we sell are second-hand goods, so we sell them under UK Auctioneer’s Margin Scheme rules. Lots falling into this category have no VAT symbol and are treated as follows: No symbol

UK Auctioneer’s Margin Scheme sale

20% VAT charged on the buyer’s premium. (The invoiced buyer’s premium will include the VAT).

Special VAT Treatment If the Lot has one of the below symbols, the VAT treatment will be as follows: VAT Symbol

Basis

Treatment

Standard UK VAT rules

20% VAT charged on both the hammer price and buyer’s premium

Imported lot under Temporary Admission (Low rate)

5% import VAT on the hammer price and 20% VAT on the buyer’s premium

Imported lot under Temporary Admission (High rate)

20% import VAT on the hammer price and 20% VAT on the buyer’s premium

Lots sold outside the Auctioneer’s Margin Scheme If the buyer is a relevant business person in the EU (nonUK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium. Exports from the European Union The following types of VAT may be cancelled or refunded by Phillips on exports made within three months of the sale date if strict conditions are met: • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol). • The VAT on the hammer price for property sold under normal VAT rules (i.e., with a † symbol). The following type of VAT may be cancelled or refunded by Phillips on exports made within 30 days of the payment date if strict conditions are met: • The import VAT charged on the hammer price and an amount in lieu of VAT on the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a Ω symbol) under the Auctioneer’s Margin Scheme. In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or

before the time of invoicing, the buyer instructs Phillips to export the property from the EU. This will require acceptance of an export quotation provided by Phillips. If such instruction is received after payment, a refund of the VAT amount will be made. Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips will charge the VAT amount due as a deposit and refund it if the lot has been exported within the timelines specified below and either of the following conditions are met: • For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips is provided with appropriate original documentary proof of export from the EU within three months of the date of sale. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department to facilitate this process. • For lots sold under temporary admission, Phillips is provided with the original correct paperwork duly completed and stamped by HMRC which shows the property has been exported from the EU via the UK within 30 days of the payment date. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HMRC insist that the correct customs procedures are followed and Phillips will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary admission must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 (plus any applicable VAT) will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips. Phillips is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary admission and the property is exported from the EU within 30 days of the payment date. We can only process VAT refunds where the VAT to be refunded is £50 or more per shipment. There will be a processing fee of £20 (plus any applicable VAT). Buyers intending to export, repair, restore or alter lots under temporary admission should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips being unable to refund the VAT charged on deposit. VAT Refunds from HM Revenue & Customs Where VAT charged cannot be cancelled or refunded by Phillips, it may be possible to seek repayment from HMRC . Repayments in this manner are limited to businesses located outside the UK and may be considered for example for Import VAT charged on the hammer price for lots sold under temporary admission. If you are located in an EU member state other than the UK you will need to apply for a refund of UK VAT directly to your local tax authority. This is done via submission of an electronically based claim form which should be accessed through the website of your local tax authority. As a result,

your form may include VAT incurred in a number of member states. Time limits for claiming VAT refunds • If you are located in an EU member state other than the UK: Any claim must be made on a calendar year basis and submitted no later than 30 September in the following calendar year (e.g., for VAT incurred in the year 1 January to 31 December 2019 you should make a claim to your local tax authority no later than 30 September 2020). Once you have submitted the electronic form to your local tax authority it is their responsibility to ensure that payment is obtained from the relevant member states. This should be completed within four months. If this time limit is not adhered to you may receive interest on the unpaid amounts. • If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC. Claim forms are available from the HMRC website. https://www.gov.uk. You should submit claims for VAT to HMRC no later than six months from the end of the 12-month period ending 30 June (e.g., claims for the period 1 July 2019 to 30 June 2020 should be made no later than 31 December 2020). Please note that refunds of VAT will only be made where VAT has been incurred for a business purpose. Any VAT incurred on articles bought for personal use will not be refunded. Sales and Use Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of lots following purchase. Buyers should consult their own tax advisors.

Conditions of Sale The Conditions of Sale and Authorship Warranty set out below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the UK Auction Buyer’s Guide, the Important Notices, VAT & Tax Guide and the Authorship Warranty carefully before bidding. 1 Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer. 2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller; (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to

bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. Proof of identity in the form of government issued identification will be required, as will an original signature and proof of address. We may also require that you furnish us with a bank reference. For individuals, acceptable forms of government issued photo identification include a passport or photo driving licence. For companies, acceptable forms of government issued identification include a certificate of incorporation as well as proof of owners and directors.

(b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the Absentee Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

(c) Telephone bidders are required to submit bids on the Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.

(d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to

execute such bids except where such failure is caused by our willful misconduct. 5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including £300,000, 20% of the portion of the hammer price above £300,000 up to and including £3,000,000 and 13.5% of the portion of the hammer price above £3,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT. (c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artist’s collection agent. In circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the nationality of the artist, we will identify the lot with the symbol ♠ next to the lot number and will invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot, we become aware that information provided to us prior to the auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice. (d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in pounds sterling as follows: (i) Payments may be made by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. (e) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to

Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any antimoney laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or +44 (0) 207 318 4082 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. After the auction, we will transfer all lots to our offsite fine art storage facilities. Details will be included in the buyer information packs sent to buyers after the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.

(c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 Failure to Collect Purchases (a) Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to buyers in the buyer information pack they will receive after the auction. Purchased lots will not be released to the buyer until the Purchase Price and all charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s

sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all salerelated expenses and any applicable taxes thereon. 10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty

or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale. 11 Export, Import and Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from the United Kingdom or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis of continent of origin and confrmation the object is more than 100 years old. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the item qualifes as an antique. This will require the buyer to obtain an independent appraisal certify the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species. 12. US Import Tarifs Buyers intending to import property into the United States of America should note that US Customs may charge an additional import duty upon the importation of (i) products manufactured or created in mainland China and (ii) printed materials (including photographs, prints, lithographs, books and designs) printed in the UK or Germany. Phillips will mark with a symbol Ж lots which may be subject to additional US import tarifs, where this is known to us. Please note, however, that any such markings are

done by us only as a convenience to bidders. Phillips does not accept liability for errors including failing to mark lots accurately or for the absence of any marking. Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf by Phillips. Please contact the department organising the auction for further details. 13 Privacy (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our privacy policy from time to time as published at www.phillips.com or available by emailing dataprotection@phillips.com. (b) Our privacy policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. (c) Phillips premises and sale and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes and will be filmed during the auction for simultaneous live broadcast on our and third party websites and applications. By remaining in these areas, you acknowledge that you may be photographed, filmed and recorded and grant your permission for your likeness and voice to be included in such recordings. If you do not wish to be photographed or filmed or appear in such recordings, please speak to a member of Phillips staff. Your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy available at www.phillips.com. 14 Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot.

(b) Except as otherwise provided in this Paragraph 14, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions,

Authorship Warranty whether negligent or otherwise, by Phillips or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 15 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 16 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements.

(b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer.

17 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.

Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of five years from date of sale by Phillips, subject to the exclusions and limitations set forth below. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the saleroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

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 to bid 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

As a private individual On behalf of a company

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

Sale Title

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable)

• 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.

Address

City

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• Your bid must be submitted in the currency of the sale and may be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Post Code Phone

Mobile

Fax

• If we receive identical bids, the frst bid received will take precedence.

• 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.

Phone number to call at the time of sale (for Phone Bidding only) 2.

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

Brief description

In Consecutive Order

• 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 £300,000, 20% of the portion of the hammer price above £300,000 up to and including £3,000,000 and 13.5% 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)

• Company Purchases: If you are buying under a business entity, we require a copy of government-issued identifcation (such as the certifcate of incorporation) as well as proof of owners and directors 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 available online at phillips.com,. 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):

Title

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

Maximum pound sterling price* Absentee Bids Only

• 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 per calendar year), credit card (up to £30,000) 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. • 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 acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com. • Phillip’s premises and sale and exhibition venues 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.

* Excluding Buyer’s Premium and VAT

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Date

Please tick this box to receive emails about upcoming sales, exhibitions, and special events ofered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you By ticking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as may also update your email preferences or unsubscribe at any time. stated in our catalogues and on our website. *The amount of Buyer’s Premium, VAT and, if applicable, Artist’s Resale Right payable is dependent on the sale outcome. For full details see Calculating the Purchase Price in the Buyer’s Guide online or in this catalogue. Buyer’s Premium is payable at a maximum of 25%. VAT, where applicable, is payable at 20% on the Buyer’s Premium.

Editions & Works on Paper New York / 21 April 2020

Sell with us 2019 Worldwide successes: • $26,066,014 sold in 2019 • 92% sell-through rate by lot • 42% sold above high estimate • 1,361 lots sold • 7,920 visitors to Editions exhibitions • Over 1,000 online bidders each sale Record prices were set for Joan Mitchell, Joan Miro and Jean-Michel Basquiat

Auction 21 April 2020, New York Consignment deadline 1 February Enquiries editions@phillips.com +1 212 940 1220

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43. KAWS

44. Jonas Wood

Fiona Banner, Sir Peter Blake, Sir Michael Craig-Martin Martin Creed, Jeremy Deller, Anthea Hamilton, Helen Marten Haroon Mirza, Laure Prouvost, Linder Sterling Francis Upritchard, Richard Wentworth, Rose Wylie Each year, The Hepworth Wakefeld commissions leading contemporary artists to create limited edition prints for schools to encourage creativity across the curriculum. Sales of the prints support an art engagement programme with primary schools in some of the most disadvantaged areas of the UK. Limited editions are available to buy online hepworthwakefeld.org/schoolprints

ÂŁ500 each

Registered charity no. 1138117

Index Albers, A. 119

Indiana, R. 180, 181, 182, 183, 184

Albers, J. 118

Rauschenberg, R. 197, 198, 199, 200, 201

Ancart, H. 234

Johns, J. 193

Richter, G. 30, 31, 115

Auerbach, F. 146, 147, 148, 149

Jones, A. 141, 142

Riley, B. 128

Ayres, G. 127

RIMOWA x Arsham, D. 236 Kandinsky, W. 117

Riopelle, J. 95

Bacon, F. 10

Katz, A. 35, 36, 216

Ruf, T. 32

Baldessari, J. 206

KAWS 43, 238, 239

Ruscha, E. 29, 192

Banksy 66, 67, 68, 69, 70

Kentridge, W. 25

Ryman, R. 190

Blake, P. 126

Knoebel, I. 33, 114

Bochner, M. 56, 57, 58

Koh, T. 224

Schütte, T. 113

Buren, D. 34

Koons, J. 55, 217, 218

Serra, R. 185, 196

Kusama, Y. 26, 27, 28

Shrigley, D. 230, 231

Calder, A. 106, 107, 108

Smith, L. 235

Cattelan, M. 222

LeWitt, S. 178, 179

Soto, J. 120, 121

Caulfeld, P. 144

Lichtenstein, R. 209

Stella, F. 205

Chagall, Afer M. 93

Longo, R. 37, 207, 208

Sultan, D. 170, 171

Christo and Jeanne-Claude 110, 11, 112

Martin, A. 191

The Connor Brothers 228

Cocteau, J. 71

Matisse, H. 6, 7, 84, 85, 86, 87

Chagall, M. 89, 90, 91, 92, 94

McKenzie, L. 168

Vasarely, V. 122

Dalí, S. 8, 88

Miller, H. 229

Venet, B. 38

de Kooning, W. 194, 195, 196

MirÓ, J. 96, 97, 98, 99, 100, 101, 102,

Dine J. 11, 172, 173, 174, 175, 176

103, 104, 105

Warhol, A. 12, 13, 14, 15, 16, 210, 211, 212,

Duchamp, M. 109

Mitchell, J. 202

213, 214

Moore, H. 9

Weiwei, A. 219, 220, 221

Elmgreen & Dragset 232

Morrison, P. 131

Whiteread, R. 54

Emin, T. 167

Murakami, T. 240, 242, 243, 244,

Wood, J. 44, 45, 227

Escher, M. 116

245, 246, 247, 248, 249, 250, 251, 252, 253, 254

Flavin, D. 177

Murakami, T. x ComplexCon 241

Francis, S. 203 Frankenthaler, H. 204

Nara, Y. 237

Freud, L. 145

Nauman, B. 189 Nevelson, L. 125

Gilbert & George 169

Nicholson, B. 143

Grotjahn, M. and Murakami, T. 255 Guyton, W. 233

Opie, J. 59, 60, 61, 62, 63, 64, 65, 153, 154, 155, 156, 157, 158, 159, 160

Hamilton, R. 129, 130 Haring, K. 39, 40, 41, 42, 215

Paladino, M. 124

Herrera, C. 187, 188

Parker, C. 140

Hirst, D. 46, 47, 48, 49, 50, 51, 52, 53,

Pasmore, V. 132, 133, 134, 135, 136, 137,

161, 162, 163, 164, 165, 166

138, 139

Hockney, D. 17, 18, 19, 20, 21, 22, 23,

Penone, G. 123

150, 151, 152

Perry, G. 225, 226

Hodgkin, H. 24

Picasso, Afer P. 76

Holzer, J. 223

Picasso, P. 1, 2, 3, 4, 5, 6, 72, 73, 74, 75, 77, 78, 79, 80, 81, 82, 83

56. Mel Bochner

15. Andy Warhol

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