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THE E S TATE OF MRS. HARRY N. ABRAMS THE E S TATE OF MR S . HARRY N. ABR AMS 7 APRIL 2010 N E W YO R K NY010 310

W W W. P H I L L I P S D E P U RY.C O M

7

APRIL

2 010

NEW YORK


THE E S TATE OF MR S. HARRY N. ABRAMS 7

APRIL

2 0 10

10 a m & 2 p m

NE W YO RK

LOTS 1- 3 2 5 Viewing Saturday 27 March 10am – 6pm Sunday 28 March 12pm – 6pm Monday 29 March 10am – 6pm Tuesday 30 March 10am – 6pm Wednesday 31 March 10am – 6pm Thursday 1 April 10am – 6pm Friday 2 April 10am – 6pm Front Cover Polaroid of Nina Abrams on her 90th birthday Inside Front Cover Lucas Samaras, lot 37; Robert Indiana, lot 62 Title Page Photograph of Nina Abrams in front of Robert Rauschenberg’s Third Time Painting at the Abrams Family Collection exhibition at the Jewish Museum, 1966 Introduction Saul Steinberg, lot 127 Inside Back Cover John Wesley, lot 66 Back Cover Karel Appel, lot 143

Saturday 3 April 10am – 6pm Sunday 4 April Closed Monday 5 April 10am – 6pm Tuesday 6 April 10am – 6pm SESSION I

10am

Lots 1-185


‘If I had had my way,’ said Nina, stopping briefly in front of a Monet painting

The only real luxuries Nina did allow herself were season tickets to the ballet

of water lilies, ‘we would have bought one of these in Paris after the war. The

and opera and dinner somewhere nice afterwards. For more than 50 years

dealer had it rolled up under his bed. But Harry wanted something else. Was

she took two centre seats in the front row of the Met, one for herself and one

it,’ she mused, ‘a Soutine? Never mind, come on, there’s something I want to

for a guest, after which she would treat whoever accompanied her to supper

show you upstairs.’

at the Four Seasons, Le Cirque or, in latter years, Picholine. Even at aged 97, however, she travelled there and back by public transport.

The comment about the lost Monet, made during a high-speed tour of the National Gallery in London a couple of years before Nina’s death, was typical

It is here that I should, perhaps, explain my own relationship with Nina. When

of her asides when we went, as we often did, to look at art. ‘Did you know

my mother was still in college she took a job working for Harry at the Book

that he (Dali) did book illustrations for Harry?’ ‘We visited Picasso when he

of the Month Club and later on, since she needed the extra money, used to

was working on that picture.’ ‘I must admit that I found his (Warhol’s) parties

babysit the Abrams’ children on weekends. It was the beginning of a lifelong

slightly dull.’

friendship with both husband and wife but in particular with Nina. Even when my mother moved to England in 1959 to marry my father they remained

Generally speaking, however, Nina did not make much of a fuss about her

in constant touch. Within months Nina was visiting us in Hampstead and we,

involvement in the art world. Although she had met, entertained and even

of course, always stayed with her when we were in New York. After Harry

posed for some of the greatest artists of the 20th century she was always

died suddenly from a heart attack, my mother left her job in publishing to live

quick to say she owed these opportunities entirely to her husband, the

with Nina while she recovered, and when my mother was on her deathbed in

publisher Harry N. Abrams. It is certainly true that it was Harry who first

1988 Nina rushed to London to be by her side.

developed an interest in modern art during the 1930s, but Nina quickly followed his lead. She knew an inordinate amount about the subject,

Nina wasn’t only my mother’s best friend. She became my best friend,

sometimes chose the pieces that formed their collection and regularly

too. There may have been nearly half a century between us but Nina’s

brought artists to her husband’s attention.

exceptional zest for life meant that I viewed her as a contemporary—as, for that matter, did my children. Indeed, when Nina was already in her nineties

When Harry died in 1979 the Abrams’ Family Collection was one of the most

my eldest son, Nat, stayed with her for six months and to my horror, the two

impressive private collections of 20th-century modern art ever assembled.

of them used to go on drinking expeditions together.

Unlike other great collections, its owners were not, by today’s standards, super rich. Harry started in advertising in 1928 and went on to work for

Nina was hugely sociable and was always curious about people. In

the Book-of-the-Month Club in 1936. In 1946 he launched a greeting card

describing our friendship I feel it would be more proper to stress our shared

company, which he later sold to Hallmark. It was after this that he had

interests—art, books, politics and the environment—but to be honest we

the idea of publishing affordable art books with colour illustrations. The

spent a good deal of time together gossiping about our families, friends

business, founded in 1949, was an immediate success and as it thrived he

and acquaintances. With regard to friends and acquaintances she was in

started to collect many of the artists whose work he was publishing.

constant touch with, literally, hundreds of people of all ages and from all walks of life.

The Abrams’ two homes, a vast apartment on the Upper East Side and an estate in Putnam Valley, as well as Harry’s offices, were all packed floor to

When she turned 80 she asked me if I would look after her in her old age

ceiling with art. More was held in storage. Think of a well-known modern

and I readily agreed. However, although I offered some assistance over the

artist prior to 1979—Bacon, De Kooning, Hockney, Dine, Warhol, Moore,

years it wasn’t until the very end, and she died a few days short of her 98th

Calder, Lichtenstein, Indiana, Soyer, Soutine, Miró, Dalí, Rockwell and

birthday, that I actually had to do very much for her. One of the things she

Chagall to list some of the artists represented in their city drawing room

asked me to help with was giving away her money. She sold the major pieces

alone—and the Abrams frequently had not just one but many important

that came to her soon after Harry died and donated the money to such

examples.

causes as the Natural Resources Defense Council, Southern Poverty Law Center, Population Connection, Channel Thirteen, Long Island University,

Nina Abrams, nee Bolotoff, was born in 1910 in Brooklyn to Russian

Rhode Island School of Design, the World Land Trust and the Hudson

immigrant parents. Her father sold second-hand clothes and household

Highlands Land Trust. Not surprisingly she left the bulk of her own estate,

items from a street barrow, but by the time Nina went to school he was

including the proceeds of this sale, to these and other charities.

renting a small store and had set himself up as a news agent. One of the Nina’s earliest memories was of reading her way through the store’s stock of

What of the items in this sale? Nina retained only works with which she and

newspapers and magazines whenever it was closed. It was this experience

her husband had felt the strongest emotional ties. You will see, for instance,

to which she attributed her voracious reading habits. Sadly, because she

that several lots are inscribed by artists: ‘To Harry and Nina’. The fact that

would have enjoyed it, the Bolotoffs’ circumstances meant that there was no

she was included in such dedications says everything about her involvement

question of her being able to go to college and she started work as a sales

in the collection. Harry often acknowledged Nina’s wisdom and support and

clerk in a bookstore as soon as she left school. As far as I know, she met

theirs was a long and fruitful partnership of over 45 years dedicated to art.

Harry at an evening class about fine art organized by NYU in 1930.

As he said during a 1972 interview: ‘We love pictures, we love art and we love to live with art all around us. This has been our lifestyle.’

There can be no doubt that Nina’s early experiences of poverty shaped her whole life. Although exceptionally, one might say embarrassingly, generous with friends (for her last birthday party, aged 97, she insisted on taking 40 of us to Blue Hill at Stone Barns for a champagne lunch, and she was forever offering to lend young acquaintances money if they needed it), Nina was frugal when it came to her own needs. Visitors may have been force-fed smoked salmon and caviar but when she was home alone she ate leftovers of dubious provenance, kept the heating down and used the minimum of lights. ‘Waste not, want not’ was her motto and she lived up to it by flying coach, shopping at Syms and clipping coupons.

Jonathan Self, February 2010


1 JOSEF ALBERS 1888-1976 I-S-LXXa; I-S-LXXb; I-S-LXX1a; and I-S-LXXIb, 1970 Four screenprints in colors, on American and German Etching paper. All signed with initials, dated and numbered from the editions of 125 in pencil, all published by IvesSillman, Inc., New Haven. Two: 12 x 12 in. (30.5 x 30.5 cm); two: 15 1/8 x 15 1/8 in. (38.4 x 38.4 cm).

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Brenda Danilowitz 196,197, 205 and 206


2 RICHARD ANUSZKIEWICZ b. 1930 Untitled, 1970 Acrylic on canvas. Signed and dated “Richard Anuszkiewicz 1970” on the reverse. 48 x 48 in. (121.9 x 121.9 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0


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4

3 RICHARD ANUSZKIEWICZ b. 1930

4 RICHARD ANUSZKIEWICZ b. 1930

Untitled, 1976

Untitled, 1970

Acrylic on masonite. Signed, dated “Anuszkiewicz 1976” lower right; dedicated “To Harry

Acrylic on masonite. Initialed and dated “R.A. 70” lower right; also signed and dedicated

+ Nina” lower left.

to Harry N. Abrams on the reverse.

7 x 5 in. (17.8 x 12.7 cm).

8 1/8 x 5 1/8 in. (20.6 x 13 cm).

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

PROVENANCE Gift of the artist

PROVENANCE Gift of the artist


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6

THIS LOT IS SOLD WITH NO RESERVE

5 RICHARD ANUSZKIEWICZ b. 1930

6 RICHARD ANUSZKIEWICZ b. 1930

Untitled, 1971

Sequential portfolio: eight plates; and [Untitled], 1972

Acrylic on masonite. Signed and dated “Anuszkiewicz 71” lower right; dedicated

Nine screenprints in colors, on heavy wove paper. All signed and dated, Sequential each

“To Nina + Harry” lower left.

annotated in Roman numerals and numbered 20/200 in pencil, [Untitled] numbered 21/100

7 x 7 in. (17.8 x 17.8 cm).

in pencil, Sequential published by Sanmore Editions, New York.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

Eight: 26 1/8 x 19 1/4 in. (66.4 x 48.9 cm).

Estimate $1, 0 0 0 - 2 , 0 0 0 PROVENANCE Gift of the artist

Sequential including: plates III-X


7 LOUISE NEVELSON 1899-1988 Night Image X, 1966 Painted wood with aluminum and glass. 18 1/8 x 18 1/8 x 3 5/8 in. (46 x 46 x 9.2 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Pace Gallery, New York (1966) EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection, June 29 -

September 5, 1966, no. 98


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9

THIS LOT IS SOLD WITH NO RESERVE

8 LOUISE NEVELSON 1899-1988

9 ARNALDO POMODORO b. 1926

Façade portfolio: two plates, 1966

Untitled, 1983

Two screenprints in colors with collage, on colored wove paper. Both signed, dated and

Bronze book box.

numbered 29/150 in pencil (there were also 7 artist’s proofs), published by Harry N. Abrams,

13 x 13 x 2 1/4 in. (33 x 33 x 5.7 cm).

Inc., in collaboration with Pace Gallery, New York.

This work is unique.

Both approximately: 20 x 11 in. (50.8 x 27.9 cm).

Estimate $ 3 0 0 - 5 0 0

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Gift of the artist

LITERATURE Gene Baro 71 and 74

The bronze box holds Sam Hunter’s book, Arnaldo Pomodoro, published by Including: Plate I, The Drum; and Plate IV, Lullaby for Jumbo

Abbeville Press in 1982 with the artist’s signature across the frontispiece. This piece is one of two unique prototypes done by the artist for an edition of 60. The other is in wood. The Arnaldo Pomodoro Studio has kindly confirmed the authenticity of this work.


10

11

10 ALFRED JENSEN 1903-1981

11 ALFRED JENSEN 1903-1981

Ascending, I, 1958

Ascending, II, 1958

Oil, pastel, graphite and collage on paper in the artist’s frame. Signed “Al Jensen” lower

Oil, pastel, graphite and collage on paper in the artist’s frame. Signed “Al Jensen” lower

left; signed, titled and dated “Alfred Jensen Ascending, I 1958” on the reverse of the

left; signed and titled “Alfred Jensen Ascending, II” on the reverse of the backing board.

backing board.

25 x 25 in. (63.5 x 63.5 cm) paper size; 26 1/4 x 26 1/4 in. (66.7 x 66.7 cm) framed.

25 x 25 in. (63.5 x 63.5 cm) paper size; 26 1/4 x 26 1/4 in. (66.7 x 66.7 cm) framed.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Graham Gallery, New York (1963) PROVENANCE Graham Gallery, New York (1963)

EXHIBITED Boston, Institute of Contemporary Art, Corporations Collect, January 9 -

EXHIBITED Boston, Institute of Contemporary Art, Corporations Collect, January 9 -

February 21, 1965; New York, The Jewish Museum, The Harry N. Abrams Family Collection,

February 21, 1965; New York, The Jewish Museum, The Harry N. Abrams Family Collection,

June 29 - September 5, 1966, no. 65

June 29 - September 5, 1966, no. 64

LITERATURE I. Sandler, The New York School: The Painters and Sculptors of the Fifties,

LITERATURE I. Sandler, The New York School: The Painters and Sculptors of the Fifties,

New York, 1978 (illustrated)

New York, 1978 (illustrated)


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13

THIS LOT IS SOLD WITH NO RESERVE

12 CHARLES HINMAN b. 1932

13 ELLSWORTH KELLY b. 1923

Pizzicato, 1964

Blue/Yellow/Red (Untitled), 1970-73

Acrylic on shaped canvas with wood backing. Signed and dated “Hinman ‘64” on the

Screenprint in colors, on Strathmore Fairfield Opaque Number 8 paper. Signed and

reverse.

annotated ‘A.P.’ in pencil (one of 10 artist’s proofs, the edition was 100), published by Harry

12 1/2 x 13 1/8 x 2 7/8 in. (31.8 x 33.3 x 7.3 cm).

N. Abrams Inc., New York.

Estimate $1, 0 0 0 -1, 5 0 0

18 x 17 1/2 in. (45.7 x 44.5 cm).

Estimate $1, 5 0 0 - 2 , 5 0 0

PROVENANCE Gift of the artist LITERATURE Richard Axsom 91


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15

THIS LOT IS SOLD WITH NO RESERVE

THIS LOT IS SOLD WITH NO RESERVE

14 VICTOR VASARELY 1908-1997

Album Cinetique: two plates, 1962

Untitled, 1974

Two screenprints in black, gray and white. Both signed in pencil, numbered 26/150 in black

Agamograph in colors. Signed, dated and inscribed ‘To Harry Abram cordially’ in blue ink,

ink.

the edition size is unknown.

Both approximately: 20 x 15 in. (50.8 x 38.1 cm).

12 1/4 x 11 1/2 in. (31.1 x 29.2 cm).

Estimate $70 0 -1, 0 0 0

Estimate $ 5 0 0 -70 0

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17

THIS LOT IS SOLD WITH NO RESERVE

16 YAACOV AGAM b. 1928 Menorah Brass multiple. Incised with signature and numbered ‘A.P. 3/9’ (the edition was 47). 3 7/8 x 8 7/8 x 1 3/4 in. (9.8 x 22.5 x 4.4 cm).

Estimate $ 8 0 0 -1, 2 0 0

17 CLEMENT MEADMORE 1929-2005 Cotter, 1976 Painted resin. Inscribed “Meadmore ‘Cotter’ 1976” along the edge. 6 5/8 x 5 1/4 x 3 3/4 in. (16.8 x 13.3 x 9.5 cm).

Estimate $ 3 , 0 0 0 - 4 , 0 0 0

PROVENANCE Gift of the artist

PROVENANCE Pace Gallery, New York (1964)

15 YAACOV AGAM b. 1928


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19

THIS LOT IS SOLD WITH NO RESERVE

18 ROBERT MOTHERWELL 1915-1991

19 ROBERT MOTHERWELL 1915-1991

Three works: In Black with Yellow Ochre; Roots of Abstract Art in America Print Poster;

Red Sea I, 1976

and Untitled by K.R.H. SONDERBORG (1923-2008), 1963, 1965 & 1969

Aquatint etching in colors, on Arches Cover paper. Signed, inscribed ‘for Harry + Nina

Three lithographs (one in colors), on German Copperplate, Rives BFK and wove paper

Abrams’, and annotated ‘(trial proof)’ in pencil (the edition was 100 and 20 artist’s proofs),

respectively. The Motherwells both signed and numbered 15/21 and 50/100 in pencil,

published by Abrams Original Editions, New York.

published by Universal Limited Art Editions, Bay Shore, New York (with their blindstamp),

23 3/4 x 19 3/4 in. (60.3 x 50.2 cm).

and List Art Poster Program of the American Federation of Arts, New York respectively. The Sonderborg signed and annotated ‘H.C.’ in pencil, from the edition of unknown size. Various sizes.

Estimate $1, 0 0 0 -1, 5 0 0

LITERATURE Siri Engberg and Joan Banach 8 and 18

Estimate $7, 0 0 0 - 9 , 0 0 0 PROVENANCE Gift of the artist LITERATURE Siri Engberg and Joan Banach 193


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21

THIS LOT IS SOLD WITH NO RESERVE

20 SAM FRANCIS 1923-1994

21 WILLEM DE KOONING 1904-1997

Untitled, 1963

Three Figures; and Galerie des Arts Exhibition Poster, 1973-1975

Lithograph in colors, on Rives BFK paper. Signed and numbered 17/40 in pencil (there were

Two offset lithographs (one in colors). Three Figures with a printed signature, annotated

also 2 artist’s proofs), published by Tamarind Institute, University of New Mexico (with their

‘AP’ in pencil (an artist’s proof), the poster signed and inscribed ‘to Harry and Nina love

blindstamp).

and numbered 1/1 in blue ink.

26 x 36 in. (66 x 91.4 cm).

Various sizes

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

Estimate $ 5 0 0 -70 0

PROVENANCE Martha Jackson Gallery, New York LITERATURE Connie Lembark L21


22

22A

22 MICHAEL GOLDBERG 1924-2007

22A

SHANTI DAVE b. 1931

Untitled Abstraction, 1961

No. 2 Pilgrims, 1961

Oil on canvas. Signed and dated “M. Goldberg ‘61” on the reverse.

Ink, oil and canvas collage on canvas. Signed and dated “Shanti Dave 61” upper right;

20 x 22 1/4 in. (50.8 x 56.5 cm).

signed and titled “Shanti Dave No. 2 Pilgrims” on the reverse.

Estimate $ 5 , 0 0 0 -7, 0 0 0

34 3/8 x 43 1/8 in. (87.3 x 109.5 cm).

Estimate $ 8 , 0 0 0 -12 , 0 0 0


23 RAM KUMAR b. 1924 Ghats at Varanasi, 1963 Oil on canvas. Signed and dated “Kumar 63” upper right; also inscribed “No. 12” on the reverse. 33 1/4 x 26 in. (84.5 x 66 cm).

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 PROVENANCE Kumar Gallery, New Delhi

Then in the ‘60s came the Varanasi paintings, each a meditation frozen in colour. And each painting seems to be smeared with a sadness all its own. As Ram Kumar says, the sadness comes from his relating the city “to old age, widows, the river Ganga and death.” We watch his journey into the abstract and as the figures have sloughed off, his paintings touch both the surreal and the romantic, as Richard Bartholomew so aptly puts it. “What happens really is that the exorcised familiars, the protagonists that have been exiled, or put to sleep, disappear from the city environment merely to lurk in the shadow of the city of the mind.” All his Varanasi paintings are islands. The city, always pawing the river, seems to be emerging from a long dream. Reality is narcissistic here, looking at its face in the waters of the Ganga. Reality is diffused here, half lost on the edges of slumber. Each painting is like a dreamscape, shadowy, nocturnal, lost in its own reflections in the river. K. N. Daruwalla, “Portrait of an Artist”, Review in Outlook India, June 25, 1997


24

25

24 ADOLPH GOTTLIEB 1903-1974

25 ADOLPH GOTTLIEB 1903-1974

Chrome Green, 1972

Crimson Ground, 1972

Screenprint in colors. Signed, dated and numbered 1/150 in pencil, published

Screenprint in colors. Signed, dated and numbered 113/150 in pencil, published

by Marlborough Graphics, New York and London.

by Marlborough Graphics, New York and London.

24 x 17 3/4 in. (61 x 45.1 cm).

24 x 19 in. (61 x 48.3 cm).

Estimate $1, 5 0 0 - 2 , 5 0 0

Estimate $1, 5 0 0 - 2 , 5 0 0

LITERATURE Associated American Artists 75

LITERATURE Associated American Artists 73

26

26 ADOLPH GOTTLIEB 1903-1974 Pink Ground, 1972 Screenprint in colors. Signed, dated and numbered 1/150 in pencil, published by Marlborough Graphics, New York and London. 24 x 17 1/2 in. (61 x 44.5 cm).

Estimate $1, 5 0 0 - 2 , 5 0 0 LITERATURE Associated American Artists 77


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28

THIS LOT IS SOLD WITH NO RESERVE

27 ADOLPH GOTTLIEB 1903-1974

28 ADOLPH GOTTLIEB 1903-1974

Black Field, 1972

Green Foreground, 1972

Screenprint in colors. Signed, dated and numbered 113/150 in pencil, published

Screenprint in colors. Signed, dated and numbered 1/150 in pencil, published

by Marlborough Graphics, New York and London.

by Marlborough Graphics, New York and London.

24 x 17 1/2 in. (61 x 44.5 cm).

22 x 24 in. (55.9 x 61 cm).

Estimate $1, 0 0 0 -1, 5 0 0

Estimate $1, 5 0 0 - 2 , 5 0 0

LITERATURE Associated American Artists 76

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30

THIS LOT IS SOLD WITH NO RESERVE

29 VARIOUS ARTISTS Portraits of Adolph Gottlieb, Esther Dick Gottleib, Edgar Levy, Lucille Corcos Levy, David Smith and Dorothy Dehner Smith, 1933-74 Etching. Signed by Dorothy Dehner, Edgar Levy, Esther Gottleib and David Corcos Levy in black ink on the accompanying information sheet (David Corcos Levy is Edgar Levy’s son, who was responsible for the plate being printed 31 years after it’s creation, three participating artists survived at the time of printing), from the edition of 100. 6 x 7 7/8 in. (15.2 x 20 cm).

Estimate $ 8 0 0 -1, 2 0 0

• THIS LOT IS SOLD WITH NO RESERVE

One evening in 1933, six artists gathered at the Brooklyn Heights apartment

30 AD REINHARDT 1913-1967

of Edgar Levy and his wife Lucille Corcos at 66 Montague Street. Adolph

Untitled, from New York International Portfolio, 1966

Gottlieb was there with his wife Esther Dick and David Smith with his wife

Plexiglas sheet abraided and painted in black. Incised with initials and numbered 16/225,

Dorothy Dehner. It was decided to make an etching, each one to make a

published by Tanglewood Press, New York.

portrait of another. Who was to portray whom was determined by drawing lots. The zinc plate was divided into six parts—Top row: Lucille Corcos by Dorothy Dehner, David Smith by Lucille Corcos, Adolph Gottlieb by Edgar Levy. Bottom row: Edgar Levy by Esther Gottlieb, Dorothy Dehner by Adolph Gottlieb, Esther Gottlieb by David Smith. The animals in the borders are by Edgar Levy. The resulting plate was proofed and a few copies made in 1933, but it wasn’t until 1974 when the edition of 100 was printed.

12 x 12 in. (30.5 x 30.5 cm).

Estimate $ 8 0 0 -1, 0 0 0


31 JULES OLITSKI 1922-2007 Blue Pink, 1962 Watercolor and graphite on paper. Signed “Jules Olitski” lower right. 9 1/2 x 13 3/8 in. (24.1 x 34 cm).

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 PROVENANCE Kasmin Limited, London (1964)


32 HELEN FRANKENTHALER b. 1928 Untitled (painting for cover of book), not dated Oil on linen-covered book. Signed “Frankenthaler” along the spine. 11 x 11 3/8 x 1 1/2 in. (27.9 x 28.9 x 3.8 cm).

Estimate $7, 0 0 0 - 9 , 0 0 0

The interior of Barbara Rose’s book Frankenthaler (published by Harry N. Abrams Inc. in 1974) is signed and inscribed “Frankenthaler The cover of this book is one of a series of 62 original paintings by Helen Frankenthaler. This is copy number 31.”


33

34

Nina and Paul Jenkins, photographer unknown

THIS LOT IS SOLD WITH NO RESERVE

33 PAUL JENKINS b. 1923

THIS LOT IS SOLD WITH NO RESERVE

34 PAUL JENKINS b. 1923

Untitled, 1972

Untitled (Yellow and Blue), 1972

Lithograph in colors. Signed, dated and annotated ‘Artist Proof’ in pencil.

Lithograph in colors. Signed and inscribed ‘OK Yellow and Blue’ in pencil, a color trial

38 1/4 x 53 5/8 in. (97.2 x 136.2 cm).

proof relating to lot 33.

Estimate $ 4 0 0 - 6 0 0

38 1/4 x 53 5/8 in. (97.2 x 136.2 cm).

Estimate $ 4 0 0 - 6 0 0


35

THIS LOT IS SOLD WITH NO RESERVE

35 PAUL JENKINS b. 1923

THIS LOT IS SOLD WITH NO RESERVE

36 PAUL JENKINS b. 1923

Untitled; and Untitled, 1972 and 1973

Untitled, 1976

Two lithographs in (one in colors), on wove and Arches paper. Both signed and dated,

Bronze. Signed, dated and numbered “© Paul Jenkins 1976 1/10” lower right; also dedicated

[large] inscribed ‘For Harry and Nina Abrams to you we thank – Endless respect’ in pencil

“For the world’s greatest publisher of beautiful books, Harry N. Abrams, with love and

[in colors] inscribed ‘For Nina Whose warmth + perception I love. Paul July 4, 1975’ and

admiration from his publishing family. October 8, 1976” lower left.

annotated ‘Artist Proof’ in pencil.

30 x 30 x 2 in. (76.2 x 76.2 x 5.1 cm).

38 1/4 x 53 5/8 in. (97.2 x 136.2 cm); and 20 3/4 x 26 3/8 in. (52.7 x 67 cm).

Estimate $ 4 0 0 - 6 0 0

PROVENANCE Gift of the artist

36

Estimate $1, 0 0 0 -1, 5 0 0

PROVENANCE Gift of the artist


37 LUCAS SAMARAS b. 1936

...artworks must have more than one side or presence. I find high erotic content

Untitled (Double Target/Pins), 1963

in things iridescent, sparkling, fragile, sharp, oily, hairy, pimply, fluffy, dendritic,

Yarn, metal pins and wood. 11 1/4 x 16 x 2 1/2 in. (28.6 x 40.6 x 6.4 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Green Gallery, New York (1963) EXHIBITED New York, Whitney Museum of American Art, Lucas Samaras, November 18,

1972 - January 7, 1973, no. 143

elastic, pulsating. I love mirrors, shadows, vortexes, lightning, razzle-dazzle, twistedness, and nausea, but all of these things with control. Lucas Samaras: Boxes, The Museum of Contemporary Art, Chicago, 1971


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39

THIS LOT IS SOLD WITH NO RESERVE

38 LEE BONTECOU b. 1931

THIS LOT IS SOLD WITH NO RESERVE

39 MARY BAUERMEISTER b. 1934

Untitled, from Ten from Leo Castelli, 1968

Poster for Carnegie International Exhibition; and a reproduction of a drawing, 1967

Screenprint, on muslin mounted to board (as issued). Signed and numbered 12/200

Two offset lithographs in colors, on smooth wove and Kolner Malkaster Schoellers Parole

in pencil on the board, published by Tanglewood Press, New York.

paper respectively. Carnegie inscribed ‘wrong without shadows’ and numbered 4/100 in

14 x 13 in. (35.6 x 33 cm).

pencil.

Estimate $ 8 0 0 -1, 2 0 0

Carnegie: 37 1/2 x 20 in. (95.3 x 50.8 cm).

Estimate $10 0 - 2 0 0

41

40

THIS LOT IS SOLD WITH NO RESERVE

40 DIETER KRIEG b. 1937

THIS LOT IS SOLD WITH NO RESERVE

41 ROBERT MORRIS b.1931

Schwarzwald portfolio, 1969

Untitled, from Ten from Leo Castelli, 1967

The complete set of eight screenprints in colors, on heavy wove paper. All signed, dated

Molded green Plexiglas multiple. Incised with signature, dated and numbered 62/200

and numbered 18/85 in pencil on the reverse, also numbered on the colophon in white

on the underside, published by Tanglewood Press, New York.

pencil, published by Galerie der Spiegel, Köln, contained in original glossy portfolio case.

23 x 19 1/4 x 1/2 in. (58.4 x 48.9 x 1.3 cm).

All: 34 x 24 1/2 in. (86.4 x 62.2 cm).

Estimate $1, 0 0 0 -1, 5 0 0

Estimate $ 3 0 0 - 5 0 0


42 ROBERT MORRIS b. 1931 Three Rulers, 1962 Painted and incised wood. Inscribed “MORRIS 1962” on the reverse. 42 x 11 1/2 x 1 1/2 in. (106.7 x 29.2 x 3.8 cm) overall installed dimensions.

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Green Gallery, New York (1963) EXHIBITED London, Haywood Gallery, 1969; New York, Solomon R. Guggenheim Museum,

February 3-May 1, 1994; New York, Guggenheim Museum Soho, Robert Morris: The Mind/Body Problem, January 15-April 4, 1994 LITERATURE The Solomon R. Guggenheim Foundation, Robert Morris: The Mind/Body

Problem, New York, 1994, p. 134, no. 31 (illustrated)


43

44

THIS LOT IS SOLD WITH NO RESERVE

43 ROBERT MOSKOWITZ b. 1935

44 DIMITRI HADZI b. 1921

Untitled #71, 1962

Untitled, 1984

Aluminum paint and collaged envelope on canvas. Signed, titled and dated “Robert

Carved mixed stone. Inscribed “D. Hadzi 1984”.

Moskowitz #71 1962” on the overlap.

7 7/8 x 11 3/4 x 7 1/2 in. (20 x 29.8 x 19.1 cm).

14 x 12 in. (35.6 x 30.5 cm).

Estimate $ 8 0 0 -1, 2 0 0

PROVENANCE Leo Castelli, New York (1963)

Estimate $1, 5 0 0 - 2 , 0 0 0 PROVENANCE Richard Gray Gallery, Chicago (1988)


45

46

THIS LOT IS SOLD WITH NO RESERVE

45 GEORGE BRECHT b. 1925

46 ENRIQUE CASTRO-CID 1937-1992

Untitled, 1965

Robot with Flying Object Number Three, 1965

Paper cutouts, vintage found Stanley level, string and clay on felt in the artist’s frame.

Wood box with motor, metal and printed paper. Signed and dated “Castro Cid. 64.” on the

17 x 13 in. (43.2 x 33 cm).

underside.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Fischbach Gallery, New York (1965)

21 x 28 3/4 x 11 in. (53.3 x 73 x 27.9 cm).

Estimate $ 6 0 0 - 8 0 0

PROVENANCE Richard Feigen Gallery, New York (1965) EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection,

June 29 - September 5, 1966, no. 20


47

48

THIS LOT IS SOLD WITH NO RESERVE

47 JOE BRAINARD b. 1942

48 ENRICO BAJ 1924-2003

Madonna with Flowers IV, 1966

L’Ultimo dei Generali, circa 1970

Gouache, collage and embroidered flowers on paper laid on wood.

Ceramic plate with metalic glazing and printing in colors with applied ribbons, metals

20 x 15 in. (50.8 x 38.1 cm).

and beads. Numbered 1285/3000 on the reverse.

Estimate $1, 5 0 0 - 2 , 5 0 0 PROVENANCE Landau-Alan Gallery, New York (1967)

Diameter: 12 in. (30.5 cm).

Estimate $ 3 0 0 - 5 0 0


49 CHRISTO b. 1935 Wrapped Book, 1973 Book wrapped in canvas and twine. Signed and numbered VIII/X in ink (an artist’s proof, the edition was 100), published by Abrams Original Editions, New York. 12 x 11 1/4 x 1 3/8 in. (30.5 x 28.6 x 3.5 cm).

Estimate $7, 0 0 0 - 9, 0 0 0 LITERATURE Jörg Schellmann and Joséphine Benecke 68

Christo and Nina, unkown photographer


50 CHRISTO b. 1935 Corridor Store Front, Prototype for Corridor Store Front, Project edition, 1967 Graphite on paper with cutout paper construction and acetate sheets. Signed and dated “Christo 1967� lower right. 28 1/4 x 22 1/4 x 1 3/8 in. (71.8 x 56.5 x 3.5 cm).

Estimate $15 , 0 0 0 - 2 0 , 0 0 0


51

52

THIS LOT IS SOLD WITH NO RESERVE

51 CHRISTO b. 1935

52 CHRISTO b. 1935

Corridor Store Front, Project, 1967

Double Shop Window, 1972

Two part screenprint with hinges (to be opened), the front print die-cut and mounted on

Two-part aluminum and Plexiglas objects with white paint. Both numbered 2/65, one also

acetate, the rear print mounted on cardboard (as issued). Signed, dated ‘68’ and annotated

signed and dated in pencil on the reverse inside of the frame (30 copies of this version of

‘a.p.’ in pencil (one of 25 artist’s proofs, the edition was 100), published by Verlag Gerd

three were produced), published by Tanglewood Press, New York.

Hatje, Stuttgart.

24 x 36 in. (61 x 91.4 cm).

27 3/4 x 22 1/4 in. (70.5 x 56.5 cm).

Estimate $ 9 0 0 -1, 2 0 0

LITERATURE Jörg Schellmann and Joséphine Benecke 6

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Jörg Schellmann and Joséphine Benecke 48


53

54

THIS LOT IS SOLD WITH NO RESERVE

53 CHRISTO b. 1935

THIS LOT IS SOLD WITH NO RESERVE

54 CHRISTO b. 1935

Running Fences: 18 prints; Valley Curtain: 5 prints; and Running Fences: 3 prints, 1971 and 1976

Wrapped Walkway: Kansas City, Mo.: 4 prints

Twenty-six offset lithographs in colors. All Running Fences signed in black marker.

Four offset lithographs in colors. All signed in black ink.

All: 25 x 39 in. (63.5 x 99.1 cm).

All: 25 x 39 in. (63.5 x 99.1 cm).

Estimate $ 8 0 0 -1, 2 0 0

Estimate $10 0 - 2 0 0

55

56

THIS LOT IS SOLD WITH NO RESERVE

55 CHRISTO b. 1935

THIS LOT IS SOLD WITH NO RESERVE

56 CHRISTO b. 1935

Wrapped Reichstag: four prints

Packed Kunsthalle Bern, 1968

Four offset lithographs in colors. All signed in black ink.

Offset lithograph in colors. Signed, dated, inscribed ‘For Nina Abrams’ and numbered

All: 25 x 39 in. (63.5 x 99.1 cm).

173/200 in black pencil, published by Kunsthalle Bern.

Estimate $10 0 - 2 0 0

38 7/8 x 27 1/8 in. (98.7 x 68.9 cm).

Estimate $ 3 0 0 - 5 0 0

PROVENANCE Gift of the artist LITERATURE Jörg Schellmann and Joséphine Benecke 23


57 ARMAN 1928-2005 Bach 2 Violin Concerto, 1963 Smashed violins on wood panel. Signed and dated “Arman 1963” lower right; signed and titled “Arman Bach 2 Violin Concerto” on the reverse. This work is unique. 41 7/8 x 26 1/2 in. (106.4 x 67.3 cm).

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0 PROVENANCE Galerie Lawrence, Paris

This work is recorded in the Arman Studio New York Archives under number: APA# 8203.63.020

In 1961 Arman created his first “sliced” Tantrum pieces. These were organized deconstructions of which the present lot is a prime example, in which the artist slices a single object (in this case the violin) to create a new body of art whose forms mirror the lines of Bach’s score, all the while erasing any sign of the electric saw and creating a new vision of the original. The artist’s hand is quite clearly lying on the Dadaists of his past and legacy, and the Pop Artists of his contemporaries in his new terrain: As I evolved into object art, I found myself being called a Pop-Artist. But the terms isn’t exactly right. Pop-Artists redo the object. I use the real object. Marcel Duchamp, who is the obvious father of object art, might have taken a soup can and put it on a red pedestal. Warhol would repaint the soup can. Johns would cast it in bronze. I’d taken the soup can and cut it into pieces or weld hundreds of them together in order to change the state of the object from what it was when you first saw it in the supermarket. My interest is in exploring the various worlds of the object. (Arman, quoted in J. Robinson, The Mayor Gallery, 1989) After 1963, one sees a major shift in the work of Arman as the artist takes up permanent residence in New York amongst his Pop-Art contemporaries. His singular sculptures of broken down musical instruments give way to mass accumulations of industrial order- clock faces, steel bolts, and rulers become the artist’s new media. In this way the present lot represents the great body of work Arman created before his move to America, and signified a very early, important time period for the artist that remains at the core of his oeuvre.


58

(detail of place settings)

THIS LOT IS SOLD WITH NO RESERVE

58 ARMAN 1928-2005

59 ARMAN 1928-2005

Silver Service, 1971

Filtres a Air; and Éclipse D’Éclisses, 1969 and 1970

Sliced violin in lucite case with twelve nine-piece place settings and eight gold-plated

Two lithographs in colors on Rives BFK and Arches paper, respectively. Both signed, one

silver serving pieces contained in six velvet-lined drawers with lock and key. Each piece of

numbered 54/100 and one annotated ‘AP’ in pencil (one of 50 artist’s proofs, the edition was

flatware stamped with signature and numbered 44/99, the case incised with signature on

300), published by Louisiana Museum Humblebaek, Denmark and Prisunic, Paris.

the front of the Plexiglas.

Various sizes.

35 1/2 x 22 1/4 x 11 3/4 in. (90.2 x 56.5 x 29.8 cm).

Estimate $ 4 0 0 - 6 0 0 Estimate $10 , 0 0 0 -15 , 0 0 0

LITERATURE Jane Otmezguine, Marc Moreau and Corice Arman 16 and 25

This work is recorded in the Arman Studio New York Archives under number: APA# 3050.71.004

59


60

The four multiples and two screenprints on Plexiglas

60 ARMAN 1928-2005

61 ARMAN 1928-2005

Paintbox, 1970

Homage à Duchamp: three multiples, 1973

The complete set of four multiples consisting of artist’s materials (oil paint tubes,

Three accumulation multiples of cigars, chess pieces, and printed discs set in clear

watercolors, palette knives and paintbrushes) set in clear polyester resin (two with

polyester resin. All engraved with signature and annotated ‘AP’ (the edition was 90), edited

accompanying plastic stands) and four prints (two screenprints, one offset lithograph and

by Abrams Original Editions and published by The Philadelphia Museum of Art, two with

one etching), on various papers and Plexiglas. The prints on paper signed and numbered

the original plastic stand.

‘AP 5/10’ in pencil, the prints on Plexiglas and accumulations incised with signature and

Cigars: 7 5/8 x 8 x 1 3/4 in. (19.4 x 20.3 x 4.4 cm); Chess Pieces: 7 x 16 3/8 x 1 3/8 in.

numbered (the edition was 125), published by Abrams Original Editions, New York, and

(17.8 x 41.6 x 3.5 cm); Discs: 7 3/4 x 8 x 1 1/8 in. (19.7 x 20.3 x 2.9 cm).

Akira Ikeda Gallery, Tokyo, all contained in original wood box. Box: 21 x 16 1/4 x 3 1/4 in. (53.3 x 41.3 x 8.3 cm).

Estimate $ 2 , 5 0 0 - 3 , 5 0 0

Estimate $7, 0 0 0 - 9, 0 0 0 LITERATURE Jane Otmezguine, Marc Moreau and Corice Arman 244

The four prints include: Brushing Aside (screenprint on amber Plexiglas); At the Point of the Knife (screenprint on Plexiglas); Sharp Art (offset lithograph on Rives BFK paper); and Squeezing the Tube (drypoint roulette on Arches paper)

61

Including: Decumulation de cigares, [Chess Pieces] and Priere de toucher


62 ROBERT INDIANA b. 1928 LOVE, 1966 Oil on canvas. Dated and dedicated “For Nina 5 III 66” on a label adhered to the reverse of the backing board. 12 x 12 in. (30.5 x 30.5 cm).

Estimate $ 3 0 0 , 0 0 0 - 5 0 0 , 0 0 0 PROVENANCE Gift of the artist

Postcard from Robert Indiana to Harry Abrams

Postcard from Robert Indiana to Nina Abrams


63 ROBERT INDIANA b. 1928 Hug, 1963 Colored pencil on paper. Signed, dated and dedicated “Harry – Bob ‘63” on the interior. 4 x 9 in. (10.2 x 22.9 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Gift of the artist


64 JOHN WESLEY b. 1922 Paradise Lamp, 1967 Acrylic on canvas wrapped over wood in two parts with plastic interior cylinder and light bulb. Signed, titled and dated “John Wesley Paradise Lamp 1967” on shade interior. 21 1/2 x 17 x 8 in. (54.6 x 43.2 x 20.3 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Robert Elkon Gallery, New York (1967) LITERATURE G. Celant, J. Wesley, John Wesley, Milan, 2009, p. 70 (illustrated)


65 JOHN WESLEY b. 1928 3 Clean Old Ladies, 1966 Gouache on paper. Signed, titled and dated “John Wesley ‘3 Clean Old Ladies’ 1966” along lower edge. 14 3/4 x 20 1/2 in. (37.5 x 52.1 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Robert Elkon Gallery, New York (1967)


66 JOHN WESLEY b. 1928 Black Bow, 1966 Gouache on paper. Signed, titled and dated “John Wesley BLACK BOW 1966” along lower edge. 14 x 20 in. (35.6 x 50.8 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Robert Elkon Gallery, New York (1967)


67 ANDY WARHOL 1928-1987 Portraits of the Artists, from Ten from Leo Castelli, 1967 One hundred screenprints, on polystyrene boxes in ten colors. Incised with signature and numbed 12/200 on one box with Warhol’s portrait (there were also 25 copies lettered A-Y),

Harry Abrams is no patron-come-lately to the art world. He is a graduate of the Art Students league and president of a flourishing firm which publishes more than 200 books a year. It took pop a while to wend its way through the

to commemorate the 10th anniversary of the Leo Castelli Gallery, published by Tanglewood

Abrams’ apartment. It started in the guest room, spilled out into the hall,

Press, Inc., New York.

jumped over the library and finally crept into the living and dining rooms.

20 x 20 in. (50.8 x 50.8 cm).

Every potential pop purchase now gets a tryout in the living room, where it

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 LITERATURE Frayda Feldman and Jörg Schellmann 17

has to rub frames with such competition as Picasso, Chagall, Modigliani and Monet. “If it holds its own company for 10 days or so, “ says Abrams, “ I keep it.” Life Magazine, You Bought it Now Live with It – Living with Pop Art, July 16, 1965, pp. 60-61


68 ANDY WARHOL 1928-1987 Liz, 1964 Offset lithograph in colors. The colors bright, signed and dated in black ball-point pen, from the edition of approximately 300 signed and dated copies, published by Leo Castelli Gallery, New York. 22 x 22 in. (55.9 x 55.9 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 LITERATURE Frayda Feldman and Jรถrg Schellmann 7


Harry and Nina, unknown photographer

69 ANDY WARHOL 1928-1987 Mike and Bob Abrams, 1964 Acrylic and silkscreen ink on linen. 20 x 16 in. (50.8 x 40.6 cm).

Estimate $ 2 0 0 , 0 0 0 - 3 0 0 , 0 0 0 PROVENANCE Acquired directly from the artist LITERATURE R. Crone, Andy Warhol, New York, 1970, no. 296; R. Crone, Das Bildnerische

Werk Andy Warhols, Berlin, 1976, no. 408; G. Frei and N. Printz, The Andy Warhol Catalogue RaisonnĂŠ, Paintings and Sculptures 1964-1969, New York, 2004, p. 1290, no. 1240 (illustrated)

Interior Room of New York City apartment, unknown photographer


70 ANDY WARHOL 1928-1987 Self-Portrait, 1966 Offset lithograph, on silver coated paper. Signed, dated and numbered 114/300 in black ball-point pen, published by Leo Castelli Gallery, New York. 22 x 20 1/2 in. (55.9 x 52.1 cm).

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Frayda Feldman and Jรถrg Schellmann 16


actual size

71 ANDY WARHOL 1928-1987 Cooking Pot, from International Anthology of Contemporary Engraving: The International Avant-Garde, Volume. 5, America Discovered, 1962 Photo-engraving, on Rives BFK paper. From the edition of 60 and 25 artist’s proofs,

This little print is ground breaking. Considered Andy Warhol’s “first print” in his mature pop style and is no. 1 in his catalogue raisonne of prints. Here Warhol has cropped an appropriated image (a found advertisement).

with the artist’s blindstamp, published by Galleria Schwarz, Milan.

Up until this point Warhol worked on his commercial illustrations in a more

6 x 4 1/2 in. (15.2 x 11.4 cm).

fluid hands-on approach based on his ink line drawings or with rubber

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Frayda Feldman and Jörg Schellmann 1

stamps. Warhol’s desire to have his art made like a machine, by a machine— is successfully executed here as his only photoengraving. It is printed without any grandiose fanfare—very direct and mechanical which is exactly what the artist was seeking.


72 TOM WESSELMANN 1931-2004 Reclining Nude, 1970 Graphite and watercolor on paper. Signed, dated and dedicated “For Harry Tom Wesselmann 70” lower left. 3 7/8 x 7 7/8 in. (9.8 x 20 cm).

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Gift of the artist


actual size

73 TOM WESSELMANN 1931-2004 Still Life with Flowers and Fruit, 1969 Graphite on paper. Signed, dated and dedicated “For Harry – Tom Wesselmann 1969” lower right. 7 1/2 x 7 in. (19.1 x 17.8 cm).

Estimate $18 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Gift of the artist


74 TOM WESSELMANN 1931-2004 Nude, 1970 Liquitex, acrylic and collage, on oval-shaped chip board. Signed, titled, materials listed, dated and numbered ‘#3/40’ in black marker on the reverse. 6 1/8 x 8 5/8 in. (15.6 x 21.9 cm).

In 1962 the Janis Gallery organized the first major Pop Art exhibition. Part of the show was held in an empty store opposite our office on 57th Street. I remember my first feeling of skepticism and surprise when I first saw the work. On the following days I stopped by during lunch to look again, and with each succeeding visit my interest grew and I bought my first Pop Art painting before the exhibition

Estimate $ 8 , 0 0 0 -12 , 0 0 0

closed.

PROVENANCE Sidney Janis Gallery, New York (label on reverse)

Harry Abrams quoted in The Harry N. Abrams Family Collection, The Jewish

LITERATURE Institute of Contemporary Art 30

Museum, Introduction by Sam Hunter, 1966


75

76

THIS LOT IS SOLD WITH NO RESERVE

75 TOM WESSELMANN 1931-2004

76 TOM WESSELMANN 1931-2004

TV Still Life, from 11 Pop Artists, Volume III, 1965

Cut-Out Nude, from 11 Pop Artists, Volume I, 1965

Screenprint in colors. Signed and numbered 11/200 in pencil, published by Abrams Original

Screenprint in colors, on vinyl with die-cut mat. Signed and numbered 11/200 in pencil,

Editions, New York.

published by Abrams Original Editions, New York.

29 x 38 in. (73.7 x 96.5 cm).

8 x 16 in. (20.3 x 40.6 cm).

Estimate $ 9 0 0 -1, 2 0 0

•

Estimate $ 5 , 0 0 0 -7, 0 0 0


77

78

THIS LOT IS SOLD WITH NO RESERVE

77 MEL RAMOS b. 1935

THIS LOT IS SOLD WITH NO RESERVE

78 JOHN WESLEY b. 1928

Miss Comfort Crème, from 11 Pop Artists, Volume III, 1965

Dream of Unicorns, from 11 Pop Artists, Volume III, 1965

Screenprint in colors. Signed, dated and numbered 11/200 in pencil, published by Abrams

Screenprint in colors. Signed, dated and numbered 11/200 in pencil, published by Abrams

Original Editions, New York.

Original Editions, New York.

40 x 30 in. (101.6 x 76.2 cm).

28 x 38 in. (71.1 x 96.5 cm).

Estimate $ 9 0 0 -1, 2 0 0

Estimate $ 5 0 0 -70 0


80

79 NO LOT

80 ALLEN JONES b. 1937

THIS LOT IS SOLD WITH NO RESERVE

Miss America, from 11 Pop Artists, Volume I; and Janet is Wearing, from 11 Pop Artists, Volume III, 1965 Offset lithograph in colors and lithograph. Both signed, dated and numbered 11/200 in pencil, (there were also 50 artists proofs for both), published by Abrams Original Editions, New York. Both: 23 5/8 x 18 7/8 in. (60 x 47.9 cm).

Estimate $ 8 0 0 -1, 2 0 0

LITERATURE Richard Lloyd 29 and 31

81

THIS LOT IS SOLD WITH NO RESERVE

81 PETER PHILLIPS b. 1939 Custom Print No. 1, from 11 Pop Artists, Volume I, 1965 Screenprint in colors. Signed, dated and numbered 11/200 in pencil, published by Abrams Original Editions, New York. 24 x 20 in. (61 x 50.8 cm).

Estimate $ 4 0 0 - 6 0 0


82 ROY LICHTENSTEIN 1923-1997 Crying Girl, 1963 Offset lithograph in colors. Signed and inscribed ‘To Harry Abrams’ in pencil, the edition size is unknown, published by Leo Castelli Gallery, New York. 17 1/4 x 23 1/4 in. (43.8 x 59.1 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Gift of the artist LITERATURE Mary Lee Corlett II.1


83 ROY LICHTENSTEIN 1923-1997 Shipboard Girl, 1965 Offset lithograph in colors, the colors bright. Signed in pencil, the edition size is unknown, published by Leo Castelli Gallery, New York. 26 x 19 1/4 in. (66 x 48.9 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Castelli Gallery, New York LITERATURE Mary Lee Corlett II.6


84

85

84 ROY LICHTENSTEIN 1923-1997

85 ROY LICHTENSTEIN 1923-1997

Brushstrokes, 1967

Moonscape, from 11 Pop Artists portfolio, Volume I, 1965

Screenprint in colors, the colors bright. Signed and numbered 130/300 in blue ball-point

Screenprint in colors, on blue Rowlux. Signed, dated and numbered 11/200 in pencil on the

pen (there were also an unknown number of artist’s proofs), published by Leo Castelli

reverse (there were also 50 various proofs and approximately 5 artist’s proofs), published by

Gallery, New York, for the Pasadena Art Museum, California.

Abrams Original Editions, New York.

21 3/4 x 29 3/4 in. (55.2 x 75.6 cm).

20 x 24 in. (50.8 x 61 cm).

Estimate $ 8 , 0 0 0 -12 , 0 0 0

Estimate $ 6 , 0 0 0 - 9 , 0 0 0

LITERATURE Mary Lee Corlett 45

LITERATURE Mary Lee Corlett 37


86

87

86 ROY LICHTENSTEIN 1923-1997

87 ROY LICHTENSTEIN 1923-1997

Still Life with Pitcher and Flowers, from Six Still Lifes series, 1974

Foot Medication Poster, 1963

Lithograph and screenprint in colors, on Rives BFK paper. Signed, dated and numbered

Offset lithograph. Signed in pencil, from the edition of 100 without text, published by Leo

21/100 in pencil (there were also 10 artist’s proofs), co-published by Multiples, Inc., and

Castelli Gallery, New York.

Castelli Graphics, New York, contact department for detailed condition report for this

15 5/8 x 15 3/4 in. (39.7 x 40 cm).

piece. 30 1/4 x 45 3/8 in. (76.8 x 115.3 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

LITERATURE Mary Lee Corlett App. 3

LITERATURE Mary Lee Corlett 130


88

THIS LOT IS SOLD WITH NO RESERVE

88 ALAN D’ARCANGELO 1930-1998 Untitled (Highway): three prints, from 11 Pop Artists, Volumes I, II, and III, 1965 Three screenprints in colors (one with pencil additions), one on clear acetate. All signed, dated and numbered 11/200 in pencil (the acetate print incised), published by Abrams Original Editions, New York. Various sizes.

Estimate $ 6 0 0 - 8 0 0

89

THIS LOT IS SOLD WITH NO RESERVE

89 STANLEY LANDSMAN 1930-1984 Portrait of a Man with Sunglasses; DAVID (painting); and Three of the Fab Four by ROBERT STANLEY, 1965 Two screenprints (one in colors), and one oil on canvas. Sunglasses signed, dated and numbered 3/50 in pencil, Fab signed, dated and numbered 55/95 in pencil, David titled on the overlap Various sizes.

Estimate $ 6 0 0 - 8 0 0

PROVENANCE Richard Feigen Gallery, New York (painting)


90

91

THIS LOT IS SOLD WITH NO RESERVE

90 JAMES ROSENQUIST b. 1933

THIS LOT IS SOLD WITH NO RESERVE

91 JAMES ROSENQUIST b. 1933

Forest Ranger, from Ten from Leo Castelli, 1967

F-111 Exhibition Poster, 1965

Screenprint in colors, on fringed plastic film with Plexiglas. Incised with signature,

Offset lithograph in colors. Signed and dated in pencil, from the unlimited edition,

dated and numbered 12/200, published by Tanglewood Press, New York.

published by Castelli Gallery, New York.

24 x 20 1/4 in. (61 x 51.4 cm).

28 x 22 in. (71.1 x 55.9 cm).

Estimate $ 9 0 0 -1, 2 0 0

Estimate $ 8 0 0 -1, 0 0 0


92

93

92 ROBERT RAUSCHENBERG 1925-2008 Rank; and The Divine Comedy: 31 plates, 1964 Lithograph on Angoumois a la Main, with 31 offset lithographs in colors. Rank signed, titled, dated and numbered 43/43 in pencil (there were also 2 artist’s proofs), published by Universal Limited Art Editions, Bay Shore, New York (with their blindstamp), Divine Comedy all signed by the publisher, Harry Abrams, and annotated ‘Publishers’ Proof (5) Rauschenberg’s DIVINE COMEDY’ in blue ink on the reverse. Rank: 15 5/8 x 16 in. (39.7 x 40.6 cm).

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Edward Foster 20; Esther Sparks 16

93 ROBERT RAUSCHENBERG 1925-2008 Ark; and The Divine Comedy: 33 plates, 1964 Lithograph on Angoumois a la Main paper, with 33 offset lithographs in colors. Ark signed, dated and numbered 4/42 in pencil (there were also 2 artist’s proofs), published by Universal Limited Art Editions, Bay Shore, New York (with their blindstamp), Divine Comedy all signed by the publisher, Harry Abrams, and annotated ‘Publishers’ Proof (1) Rauschenberg’s DIVINE COMEDY’ in blue ink on the reverse. Ark: 15 1/2 x 16 in. (39.4 x 40.6 cm).

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Edward Foster 18; Esther Sparks 14

94 ROBERT RAUSCHENBERG 1925-2008 Mark; and The Divine Comedy: 33 plates, 1964 Lithograph on Angoumois a la Main, with 33 offset lithographs in colors. Mark signed, titled, dated and numbered 1/42 in pencil (there were also 2 artist’s proofs), published by Universal Limited Art Editions, Bay Shore, New York (with their blindstamp), Divine Comedy all signed by the publisher, Harry Abrams, and annotated ‘Publishers’ Proof (2) Rauschenberg’s DIVINE COMEDY’ in blue ink on the reverse. Mark: 15 3/4 x 16 3/8 in. (40 x 41.6 cm).

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Edward Foster 16; Esther Sparks 12

Four plates from The Divine Comedy

94


95

96

THIS LOT IS SOLD WITH NO RESERVE

95 ROBERT RAUSCHENBERG 1925-2008 Dwan Gallery poster, 1965 Offset lithograph in colors. Signed and dated in pencil, one of only a few signed impressions, from the edition of unknown size. 23 x 25 in. (58.4 x 63.5 cm).

Estimate $70 0 - 9 0 0

PROVENANCE Castelli Gallery, New York LITERATURE Edward Foster 34

THIS LOT IS SOLD WITH NO RESERVE

96 ROBERT RAUSCHENBERG 1925-2008

97 ROBERT RAUSCHENBERG 1925-2008

Homage to Frederick Kiesler, 1966

Passport, from Ten from Leo Castelli, 1968

Offset lithograph in colors. Signed, dated and numbered 138/200 in pencil.

Screenprint in colors, on three Plexiglas discs, assembled in a rotating multiple (as issued).

34 3/8 x 22 1/2 in. (87.3 x 57.2 cm).

Incised with signature, dated and numbered 12/200, published by Leo Castelli Gallery, New

Estimate $1, 0 0 0 -1, 5 0 0

York.

21 x 20 in. (53.3 x 50.8 cm).

LITERATURE Edward Foster 32

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Edward Foster 39

97


98 JIM DINE b. 1935 Four Palettes, 1963 Watercolor and tissue paper collage on paper. Titled and dated “four palettes 1963 Oct.” lower left; signed and titled “Jim Dine New York City four palettes” lower right. 24 1/2 x 48 in. (62.2 x 121.9 cm).

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Sidney Janis Gallery, New York EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection, June 29 -

September 5, 1966, no. 38


99

100

99 JIM DINE b. 1935 Four Palettes: I, II, II, and IV, 1969 The complete set of one screenprint on Kromecote card, one etching on Fabriano paper, one lithograph in colors with collage of scissors on Fabriano paper and one wood multiple painted in colors. All signed and numbered 31/75 in pencil, published by Petersburg Press, New York and London. All: 28 x 20 in. (71.1 x 50.8 cm).

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 LITERATURE Galerie Mikro 56-59

THIS LOT IS SOLD WITH NO RESERVE

100 JIM DINE b. 1935 Calico, from 11 Pop Artists, Volume III, 1965 Screenprint in colors, on Cartridge paper. Signed and numbered 11/200 in pencil, published by Abrams Original Editions, New York. 40 x 30 in. (101.6 x 76.2 cm).

Estimate $ 6 0 0 - 8 0 0

•

LITERATURE Galerie Mikro 37


101 JIM DINE b. 1935 Drag—Johnson and Mao, 1967 Etching in colors, on Saunders mould-made paper. Signed, titled, dated and numbered 44/53 in pencil, published by Editions Alecto, London. 34 5/8 x 48 1/2 in. (87.9 x 123.2 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 LITERATURE Galerie Mikro 44

102

103

THIS LOT IS SOLD WITH NO RESERVE

102 JIM DINE b. 1935

103 JIM DINE b. 1935

Brush after Eating, 1963

Hamantashen and Rainbow, 1965

Lithograph in colors, on German Copperplate paper. Signed, dated and numbered 4/28

Etching with watercolor remarque, on Rives BFK paper. Signed, titled, dated and numbered

in pencil (there was also 1 artist’s proof), published by Universal Limited Art Editions,

22/50 in pencil.

Bay Shore, New York (with their blindstamp)

21 3/4 x 16 5/8 in. (55.2 x 42.2 cm).

30 x 42 in. (76.2 x 106.7 cm).

Estimate $1, 5 0 0 - 2 , 5 0 0

Estimate $ 4 0 0 - 6 0 0

LITERATURE Galerie Mikro 34 LITERATURE Galerie Mikro 23; Esther Sparks 12


104

104 JIM DINE b. 1935 Hearts and a Watercolor, 1969 Etching with hand-coloring, on Chrisbrook handmade paper. Signed, dated and numbered 14/50 in pencil. 13 3/4 x 21 3/8 in. (34.9 x 54.3 cm).

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 LITERATURE Galerie Mikro 60

105

105 JIM DINE b. 1935 The Picture of Dorian Gray: eight plates, 1968 Four etchings (three in colors) and four lithographs in colors. All signed in pencil, from the edition of 100 and 15 artist’s proofs (edition C), published by Petersburg Press, London. All: 17 3/8 x 12 1/4 in. (44.1 x 31.1 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 LITERATURE Galerie Mikro 47 a-c, f-j

Including: Red Design for Satin Heart; Dorian Gray with Rainbow Scarf; Hose Lamp; Imprint from Dorian Gray’s Stomach; Red Piano; Dorian Gray at Opium Den; Basil in Black Leather Suit and Study for Rings on Dorian Gray’s Hand

THIS LOT IS SOLD WITH NO RESERVE

106 JASPER JOHNS b. 1930 Leo Castelli Exhibition Poster; and Ileana Sonnabend Exhibition Poster, 1962 Two offset lithographs, on laid and wove paper respectively. Castelli numbered 5/6 in pencil, published by the respective galleries. Various sizes.

Estimate $ 2 0 0 - 3 0 0

106


107 LARRY RIVERS 1923-2002 Self Portrait, 1952 Graphite and pastel on paper. Signed and dated “Rivers 52” lower right. 13 x 10 3/4 in. (33 x 27.3 cm).

Estimate $ 8 , 0 0 0 -12 , 0 0 0


108

LARRY RIVERS 1923-2002 Face for a Lipstick Ad, 1968 Charcoal, adhesive, magazine and metal bracket collage on paper in Plexiglas box. Signed “Rivers” lower right; signed and dated “Rivers ‘68” on the reverse. 11 3/8 x 13 1/2 x 3 5/8 in. (28.9 x 34.3 x 9.2 cm).

Estimate $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Marlborough Gallery, New York (1970)


109

THIS LOT IS SOLD WITH NO RESERVE

109 LARRY RIVERS 1923-2002 Swimmer, 1970 Screenprint in colors, on plastic. Incised with signature and numbered 1/100, published by Marlborough Graphics, New York and London. 9 x 9 in. (22.9 x 22.9 cm).

Estimate $ 8 0 0 -1, 2 0 0

110

111

THIS LOT IS SOLD WITH NO RESERVE

110 LARRY RIVERS 1923-2002 Tanfastic, 1966 Offset lithograph in colors, on wove paper to Plexiglas (as issued). Signed and numbered 25/225 in black marker on the Plexiglas. 18 x 23 1/4 in. (45.7 x 59.1 cm).

Estimate $ 5 0 0 -70 0

THIS LOT IS SOLD WITH NO RESERVE

111 ALAN DAVIE b. 1920 Zurich Improvisations: two prints, 1965 Two screenprints, on Rives paper. Both signed, dated, inscribed ‘XXXIII’ and ‘IV’, and numbered 10/25 in pencil, published by Editions Alecto, London. Larger: 21 1/4 x 30 3/4 in. (54 x 78.1 cm).

Estimate $ 4 0 0 - 6 0 0

PROVENANCE Martha Jackson Gallery, New York


112

THIS LOT IS SOLD WITH NO RESERVE

112 MARISOL b. 1930 Three Figures, 1964 Fabric collage, crayon and magazine collage on paper. Signed and dated “Marisol 1964” lower right. 17 3/4 x 23 1/4 in. (45.1 x 59.1 cm).

Estimate $1, 0 0 0 -1, 5 0 0

113

THIS LOT IS SOLD WITH NO RESERVE

113 MARISOL b. 1930 Untitled, 1960 Colored pencil and molded plaster on paper in wooden shadowbox. Signed and dated “Marisol 1960” lower right. 14 3/8 x 11 1/2 x 2 in. (36.5 x 29.2 x 5.1 cm).

Estimate $1, 0 0 0 -1, 5 0 0

PROVENANCE Sidney Janis Gallery, New York

114

THIS LOT IS SOLD WITH NO RESERVE

114 MARISOL b. 1930 Face Behind a Mask, 1961 Colored pencil on cardboard with molded plaster in wooden shadow box. Signed and dated “Marisol 1961” lower right. 16 5/8 x 12 1/2 x 3 1/2 in. (42.2 x 31.8 x 8.9 cm).

Estimate $1, 0 0 0 -1, 5 0 0

PROVENANCE Sidney Janis Gallery, New York


115

THIS LOT IS SOLD WITH NO RESERVE

115 MARISOL b. 1930

116 MARISOL b. 1930

Two works: Head in Profile and Untitled (Kiss), 1960

Two works: Untitled (Aladdin’s Lamp) and Untitled (Kiss), 1960

Colored pencil on paper. Signed and dated “Marisol 1960” lower right; signed and dated

Colored pencil on paper.

“Marisol 1960” lower center.

40 x 27 in. (101.6 x 68.6 cm); 42 1/2 x 29 1/2 in. (108 x 74.9 cm).

15 1/4 x 11 3/4 in. (38.7 x 29.8 cm); 42 1/2 x 29 1/2 in. (108 x 74.9 cm).

Estimate $1, 0 0 0 -1, 5 0 0

Estimate $1, 5 0 0 - 2 , 0 0 0

PROVENANCE Sidney Janis Gallery, New York (1965) EXHIBITED Untitled (Aladdin’s Lamp): New York, The Whitney Museum of American Art,

PROVENANCE Sidney Janis Gallery, New York (1965)

A Decade of American Drawings 1955-1965, April 28 - June 6, 1965

116

117

THIS LOT IS SOLD WITH NO RESERVE

117 MARISOL b. 1930 Fishing, 1970 Cast iridescent multiple in colors. Incised with signature, dated and annotated ‘proof 2’ (the edition was 45). 14 1/2 x 17 x 6 1/4 in. (36.8 x 43.2 x 15.9 cm).

Estimate $ 5 0 0 -70 0


118

119

THIS LOT IS SOLD WITH NO RESERVE

118 BEN JOHNSON 1902-1967

THIS LOT IS SOLD WITH NO RESERVE

119 ROSALYN DREXLER b. 1926

Weary, 1966

The Connoisseur, 1963

Oil on canvas. Signed and dated “Ben Johnson © 66” upper right.

Oil and collaged photographs on board.

28 1/8 x 38 1/4 in. (71.4 x 97.2 cm).

10 1/8 x 8 in. (25.7 x 20.3 cm).

Estimate $1, 0 0 0 -1, 5 0 0

PROVENANCE Selected Artist’s Galleries, Inc., New York

Estimate $1, 0 0 0 - 2 , 0 0 0

PROVENANCE Zabriskie Gallery, New York EXHIBITED Albuquerque, University of New Mexico; Waltham, Massachusetts, The

Rose Art Museum, Brandeis University; Bloomington, Indiana University Art Museum; New Orleans, Delgado Museum of Art; Santa Barbara Museum of Art, The Painter and the Photograph, 1964


120

121

THIS LOT IS SOLD WITH NO RESERVE

120 (AFTER) ALEXANDER CALDER 1898-1976

121 ALEXANDER CALDER 1898-1976

Calder’s Circus—16 Circus Drawings portfolio, 1964

Construction, 1965

Sixteen offset lithographs based on Calder circus drawings, on wove paper. All numbered

Lithograph in colors, on wove paper. Signed and annotated ‘A.P. VIII’ in pencil (aside from

24/100 in pencil, co-published by Art in America and Perls Galleries, New York.

the edition of 100), published by Harry N. Abrams Inc., New York.

All: 12 3/4 x 17 in. (32.4 x 43.2 cm).

29 x 43 1/4 in. (73.7 x 109.9 cm).

Estimate $1, 0 0 0 -1, 5 0 0

Estimate $ 2 , 0 0 0 - 3 , 0 0 0


122 ALEXANDER CALDER 1898-1976 Le Cheval II (Horse II), 1964 Bronze. Inscribed “9.� on the reverse of rear leg. This work is from an edition of 50. 4 3/4 x 4 1/2 x 8 in. (12.1 x 11.4 x 20.3 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

This work is in the process of being authenticated by the Calder Foundation. Please contact the department at the time of sale for confirmation.


123 ALEXANDER CALDER 1898-1976 Nest with Red Sun, 1961 Gouache on paper. Initialed and dated “CA 61” lower right. 15 x 21 3/4 in. (38.1 x 55.2 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Brook Street Gallery, London (1964) EXHIBITED New York, Solomon R. Guggenheim Museum, November 6, 1964 - January 31,

1965; St. Louis, Washington University Art Gallery, February 21 - March 26, 1965; Milwaukee Art Center, February 25 - March 28, 1965; Des Moines Art Center, Alexander Calder: A Retrospective Exhibition, April 28 - May 30, 1965; London, Brook Street Gallery, Vasarely/Calder, July - September 1965

This work is in the process of being authenticated by the Calder Foundation. Please contact the department at the time of sale for confirmation.


124 ALEXANDER CALDER 1898-1976 Untitled, 1964 Gouache on paper. Signed and dated “Calder 64” lower right. 29 1/2 x 42 1/4 in. (74.9 x 107.3 cm).

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 EXHIBITED New York, Solomon R. Guggenheim Museum, November 6, 1964 - January 31,

1965; St. Louis, Washington University Art Gallery, February 21 - March 26, 1965; Milwaukee Art Center, February 25 - March 28, 1965; Des Moines Art Center, Alexander Calder: A Retrospective Exhibition, April 28 - May 30, 1965; London, Brook Street Gallery, Vasarely/ Calder, July - September 1965; New York, The Jewish Museum, The Harry N. Abrams Family Collection, June 29 - September 5, 1966, no. 19

This work is in the process of being authenticated by the Calder Foundation. Please contact the department at the time of sale for confirmation.


125 SAUL STEINBERG 1914-1999 Table Series Artist, 1972 Oil, watercolor, graphite, ink, colored pencil, paintbrushes, metal and wood on panel. Signed and dated “Steinberg 1972” lower center. 20 x 26 in. (50.8 x 66 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Sidney Janis Gallery, New York


126 SAUL STEINBERG 1914-1999 Kumming, 1972 Watercolor, oil and ink on paper. Signed and dated “Steinberg 1972” lower center. 29 1/2 x 40 1/2 in. (74.9 x 102.9 cm).

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 PROVENANCE Sidney Janis Gallery, New York


127 SAUL STEINBERG 1914-1999 Painting What He Knows, 1965 Ink, colored pencil and watercolor on paper. Signed “Steinberg” lower right. 21 x 14 1/2 in. (53.3 x 36.8 cm).

Estimate $12 , 0 0 0 -18 , 0 0 0 PROVENANCE Sidney Janis Gallery, New York (1965) EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection, June 29 -

September 5, 1966, no. 138A


128

129

THIS LOT IS SOLD WITH NO RESERVE

128 SAUL STEINBERG 1914-1999

129 CHARLES H. YOUNG

Six Drawing Tables portfolio, 1970

Illustrated Letter, 1974

Six lithographs in colors with collage. All signed, dated, and numbered ‘AP 4/12’ in

Watercolor and ink on paper. Signed and dated “Charles H. Young Aug. 1974” along the

pencil (the edition was 100), published by Abrams Original Editions, New York (with their

center of the right edge.

blindstamp).

12 5/8 x 10 3/4 in. (32.1 x 27.3 cm).

All: 22 1/2 x 30 1/8 in. (57.2 x 76.5 cm).

Estimate $ 2 0 0 - 3 0 0 Estimate $ 3 , 0 0 0 - 5 , 0 0 0

PROVENANCE Gift of the artist

Including: The Braque Post Card; The Matisse Post Card; Music and China; Millet; Airmail Still Life; and Mixed Media


130

131

THIS LOT IS SOLD WITH NO RESERVE

130 CARLOS IRIZARRY b. 1938

THIS LOT IS SOLD WITH NO RESERVE

131 RED GROOMS b. 1937

[Untitled]: seven prints, 1970

Discount Store: two prints; and Paper Bag Players Poster, 1971 and 1966

Seven screenprints in colors. All signed, titled, dated and annotated ‘artist’s proof’ in

Two screenprints in colors and one offset lithograph in colors, on Arches and wove paper

pencil.

respectively. Discount signed, dated and numbered 43/100 and 44/100 in pencil, the poster

All: 23 1/8 x 60 5/8 in. (58.7 x 154 cm).

signed, dated and numbered 29/100 in pencil, the poster commissioned by the LIST ART

Estimate $1, 0 0 0 - 2 , 0 0 0

Poster Program of the American Federation of Arts, New York. Various sizes.

Estimate $ 6 0 0 - 8 0 0

Including: Frank Stella; Anti Illusion; Rembrandt vs. New York School @ The Met; Andy Warhol; Pablo Picasso Part I; Pablo Picasso Part II; and I Had a Dream


132 RED GROOMS b. 1937 No Gas portfolio, 1971 Six lithographs in colors (including one 3-D lithograph). All signed, dated and numbered 30/75 in pencil (two signed in white, one in blue), published by Abrams Original Editions, New York (with their blindstamp). Five: 22 x 28 in. (55.9 x 71.1 cm). 3-D: 20 1/2 x 24 x 8 in. (52.1 x 61 x 20.3 cm).

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 LITERATURE Walter Knestrick 32-7

Including: Slushing; Taxi Pretzel; No Gas CafĂŠ; Rat; Local and Aarrrrrrh


133

THIS LOT IS SOLD WITH NO RESERVE

133 GEORGE SEGAL 1924-2000

134 RICHARD LINDNER 1901-1978

Back of a Woman Wearing a Black Bra

Four works: Two Men; Room for Rent; and two posters, 1969-75

Pastel on paper.

One screenprint in colors, one collotype and two offset lithographic posters in colors.

17 7/8 x 11 7/8 in. (45.4 x 30.2 cm).

Estimate $ 3 , 0 0 0 - 5 , 0 0 0

Two Men signed and inscribed ‘For Harry + Nina’ in ink (faded), Room for Rent signed and dated ‘69’ in pencil, Kunst Haus Zürich poster signed, dated and inscribed. Various sizes.

Estimate $ 3 0 0 - 5 0 0

134


135

135 CLAES OLDENBURG b. 1929 Miniature Soft Drum Set, 1969 The complete set of nine sewn screenprinted elements on canvas, some with washline, wood, plastic buttons, rope, metal eye screws and spray enamel, with wood base covered with screenrpinted paper in colors. Signed with initials and numbered 108/200 in felt tip pen on the bass drum (slightly faded), published by Multiples, New York (with their copyright stamp on the underside of the base). Dimensions variable.

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 LITERATURE Richard Axsom and David Platzker 61

136

THIS LOT IS SOLD WITH NO RESERVE

136 CLAES OLDENBURG b. 1929 Oldenburg: Chicago Show; and Proposed Colossal Monument for Battersea Park, London, Drum Set, 1969 Two offset lithographs in colors. Both signed and numbered 30/100 and 136/300 respectively in pencil (there were also 400 unsigned and unnumbered copies of Chicago and 16 artist’s proofs made for Monument), co-published by David Johnson, Minneapolis, and Richard Feigen Gallery, Chicago, and by Multiples, Inc., New York respectively. Various sizes.

Estimate $ 4 0 0 - 6 0 0

•

LITERATURE Richard Axsom and David Platzker 57 and 62


137

THIS LOT IS SOLD WITH NO RESERVE

137 ALLAN KAPROW b. 1927

138 ALEX KATZ b. 1927 Luna Park, 1965

Calling…: two prints; and Tree…: two prints, 1965

Screenprint in colors. Signed, dated and numbered 11/70 in pencil, published by Fischbach

Four lithographs in colors. All signed and annotated ‘artist’s proof’ in pencil (the edition

Gallery, New York.

was 75).

40 x 29 3/8 in. (101.6 x 74.6 cm).

All: 24 x 18 1/8 in. (61 x 46 cm).

Estimate $1, 0 0 0 - 2 , 0 0 0

Estimate $1, 2 0 0 -1, 8 0 0 PROVENANCE Fischbach Gallery, New York LITERATURE Nicholas Maravel 10

138


139

140

THIS LOT IS SOLD WITH NO RESERVE

139 ERNEST TROVA 1927-2009

THIS LOT IS SOLD WITH NO RESERVE

140 ERNEST TROVA 1927-2009

Falling Man: four prints, 1965-69

Falling Man: six plates, 1968

Four screenprints in colors, on various textured papers. Three signed, dated and variously

Six screenprints in colors, on textured wove paper. All signed, dated and numbered 54-150

numbered in pencil.

in pencil.

Various sizes.

All: 12 1/2 x 15 in. (31.8 x 38.1 cm).

Estimate $ 8 0 0 -1, 0 0 0

Estimate $ 9 0 0 -1, 2 0 0


141 KAREL APPEL 1921-2006 Portrait of Nina Abrams, 1964 Oil on canvas. 27 7/8 x 16 in. (70.8 x 40.6 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Acquired directly from the artist

The Karel Appel Foundation has kindly confirmed the authenticity of this work.

Appel puts on a series of fantastic masks, reminding us or the constantly shifting borderline between the hilarious and the serious. The world of play is inseparable from the world of affairs, and Appel’s world of play erases the border between child and adult. (M. McLuhan, Karel Appel: Works on Paper, Abbeville Press, New York, 1980, p. 9)


142

143

142 KAREL APPEL 1921-2006 Figure and Animal Oilstick on paper. Signed “appel” lower right. 21 7/8 x 30 5/8 in. (55.6 x 77.8 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

The Karel Appel Foundation has kindly confirmed the authenticity of this work.

THIS LOT IS SOLD WITH NO RESERVE

143 KAREL APPEL 1921-2006 Head and Bird, 1969 Ink, crayon, oil, postage stamps and collage on paper in two parts. Signed “Karel” center and “Appel” lower left of letter. Letter: 10 1/2 x 8 1/4 in. (26.7 x 21 cm); envelope: 7 3/4 x 9 1/4 in. (19.7 x 23.5 cm).

Estimate $ 8 0 0 -1, 2 0 0

PROVENANCE Gift of the artist

The Karel Appel Foundation has kindly confirmed the authenticity of this work.


144

144 LUCEBERT 1924-1994 Two works: Standing Figure and Figure, 1960; 1964 Watercolor and pastel on paper; ink, wash, graphite and oil stick on paper. Signed and dated “Lucebert FMaart ‘60” lower right; signed and dated “lucebert 28 mei ‘64” lower right. 12 3/4 x 9 1/2 in. (32.4 x 24.1 cm); 10 3/4 x 8 1/8 in. (27.3 x 20.6 cm).

Estimate $1, 5 0 0 - 2 , 0 0 0 145

145 LUCEBERT 1924-1994 Two Figures, 1963 Ink and ink wash on paper. Signed and dated “Lucebert 31 dec. ‘63” lower center. 39 1/4 x 29 in. (99.7 x 73.7 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0


146

147

THIS LOT IS SOLD WITH NO RESERVE

146 LUCEBERT 1924-1994

THIS LOT IS SOLD WITH NO RESERVE

147 LUCEBERT 1924-1994

Two works: Man and House and Figures Floating by a House, 1963; 1964

Two works: Two Figures and Head, 1964; 1963

Ink on paper; ink and wash on paper. Signed and dated “lucebert 3 okt. ‘63” lower right;

Ink and wash on paper; ink on paper. Signed and dated “lucebert 12 jan. ‘64” lower right;

signed and dated “lucebert 1 jan. ‘64” lower left.

signed and dated “lucebert 18 sept. ‘63” lower left.

8 1/4 x 10 5/8 in. (21 x 27 cm); 10 3/4 x 8 1/8 in. (27.3 x 20.6 cm).

10 3/4 x 8 1/8 in. (27.3 x 20.6 cm); 10 3/4 x 8 1/8 in. (27.3 x 20.6 cm).

Estimate $ 8 0 0 -1, 2 0 0

Estimate $ 8 0 0 -1, 2 0 0


148

THIS LOT IS SOLD WITH NO RESERVE

148 LUCEBERT 1924-1994 January portfolio: five plates and cover Five lithographs in colors and lithographic cover encased in plastic (as issued). All signed in pencil, from the edition of 101, published by De Bezige Bij, Amsterdam. Various sizes.

Estimate $ 5 0 0 -70 0

Including: Fantastic Animal; Three Figures; Man with Hat; Head; and Man by Headlight

149

150

THIS LOT IS SOLD WITH NO RESERVE

149 ANTONIO SAURA 1930-1998

THIS LOT IS SOLD WITH NO RESERVE

150 JAN SIERHUIS b. 1928

Amelia, plate 3 from serie Novisaurias, 1969

Untitled (Two Figures), 1967

Etching and aquatint, on Rives BFK paper. Signed and numbered 23/50 in pencil

Acrylic and crayon on paper. Signed and dated “Sierhuis 67” lower right.

(there were also 4 artist’s proofs), published by Gustavo Gili, S.A., Barcelona.

20 x 25 3/4 in. (50.8 x 65.4 cm).

26 3/4 x 20 7/8 in. (67.9 x 53 cm).

Estimate $ 3 0 0 - 4 0 0

LITERATURE Mariuccia Galfetti 80

Estimate $1, 0 0 0 -1, 5 0 0

PROVENANCE Gift of R. Landshoff


151

152

THIS LOT IS SOLD WITH NO RESERVE

151 JEAN TINGUELY 1925-1991

THIS LOT IS SOLD WITH NO RESERVE

152 JEAN TINGUELY 1925-1991

Untitled, 1964

Arrows and Airplane at Left, 1964

Graphite, ink, colored pencil and collage on paper. Signed “Tinguely” lower right.

Graphite, ink, colored pencil, felt-tip pen and collage on paper. Signed “J. Tinguely” lower

19 1/4 x 13 in. (48.9 x 33 cm).

right.

Estimate $1, 0 0 0 - 2 , 0 0 0

19 1/4 x 13 in. (48.9 x 33 cm).

Estimate $1, 0 0 0 - 2 , 0 0 0

EXHIBITED New York, The Jewish Museum, Two Kinetic Sculptors: Nicolas Schoffer and Jean

Tinguely, November 23, 1965 - January 2, 1966

PROVENANCE Iolas Gallery, New York (1966) EXHIBITED New York, The Jewish Museum, Two Kinetic Sculptors: Nicholas Schoffer and Jean

Tinguely, November 23, 1965 - January 2, 1966

153

154

THIS LOT IS SOLD WITH NO RESERVE

153 JEAN TINGUELY 1925-1991

THIS LOT IS SOLD WITH NO RESERVE

154 JEAN TINGUELY 1925-1991

Arrows and “Any Advance”, 1964

Greeting Card, 1966

Graphite, colored pencil, ink and collage on paper. Signed “Jean Tinguely” lower right.

Ink, crayon, tape, yarn and sticker collage on paper. Signed “Tinguely” lower right.

12 1/4 x 10 1/4 in. (31.1 x 26 cm).

10 7/8 x 8 1/2 in. (27.6 x 21.6 cm).

Estimate $1, 0 0 0 - 2 , 0 0 0

PROVENANCE Iolas Gallery, New York (1966) EXHIBITED New York, The Jewish Museum, Two Kinetic Sculptors: Nicholas Schoffer and Jean

Tinguely, November 23, 1965 - January 2, 1966

Estimate $1, 0 0 0 - 2 , 0 0 0

PROVENANCE Gift of the artist


155

156

THIS LOT IS SOLD WITH NO RESERVE

155 ERNESTO MUÑOZ ACOSTA

THIS LOT IS SOLD WITH NO RESERVE

156 WAYNE NOWACK 1923-2004

Jean d’Arc/Assemblance, 1973

Sanctuary Wired for Broadcast, 1962

Found objects including gold crown, chess piece, painted clay head, spools of thread, nails

Found plastic and taxidermied birds, wire, Christmas ornament, found plastic button,

and metal wire in a painted wood and Plexiglas box. Signed and dated “Muñoz Acosta

wooden box with radio transistor, vintage brooch and felt. Signed, titled and dated “Wayne

1973” on the reverse.

Nowack Sanctuary Wired for Broadcast 3.31.62” on the reverse.

16 x 8 1/4 x 8 1/4 in. (40.6 x 21 x 21 cm).

15 1/2 x 6 1/2 x 2 in. (39.4 x 16.5 x 5.1 cm).

Estimate $ 3 0 0 - 5 0 0

Estimate $ 2 0 0 - 3 0 0

PROVENANCE Allan Stone Gallery, New York (1963)

157

THIS LOT IS SOLD WITH NO RESERVE

157 NICHOLAS SCHÖFFER 1912-1992 Minieffet, 1969 Electric multiple of perforated sheets, metal and lightbulbs. Signed and numbered 182/5000 in black ink on a label affixed to the reverse, published by Éditions Denise René, Paris. 9 x 8 5/8 x 6 3/4 in. (22.9 x 21.9 x 17.1 cm).

Estimate $ 3 0 0 - 5 0 0


158

159

THIS LOT IS SOLD WITH NO RESERVE

158 JOHN WILLENBECHER b. 1936

THIS LOT IS SOLD WITH NO RESERVE

159 JOHN WILLENBECHER b. 1936

Small Play Me #2, 1964

Gold and White, 1964

Metal spheres, oil and wood in a painted wooden and glass vitrine. Signed, titled and dated

Nine white and three painted lightbulbs in a painted wooden and glass vitrine with

“John Willenbecher Small Play Me #2 9/III/1964” on the reverse.

electrical cord. Signed, titled and dated “John Willenbecher Gold and White 1964” on the

10 1/4 x 7 5/8 x 2 7/8 in. (26 x 19.4 x 7.3 cm).

reverse.

Estimate $70 0 - 9 0 0

PROVENANCE Richard Feigen Gallery, New York (1964)

25 3/8 x 19 1/2 x 6 1/4 in. (64.5 x 49.5 x 15.9 cm).

Estimate $ 8 0 0 -1, 2 0 0

PROVENANCE Richard Feigen Gallery, New York (1965)

160

THIS LOT IS SOLD WITH NO RESERVE 160

VARIOUS ARTISTS Three geometric prints, 1965 Two screenprints (one in colors) and one lithograph. Hughes signed, dated ‘65’ and numbered ‘18-50’ in black ball-point pen, Burri signed and numbered 6/90 in pencil, Willenbecher signed, dated ‘January 1965’ and inscribed ‘For Nina Abrams’ in pencil. Various sizes.

Estimate $ 4 0 0 - 6 0 0

PROVENANCE Hughes: Kornblee Gallery, New York

Including: RALPH HUGHES, [Untitled]; JOHN WILLENBECHER, [Untitled]; and ALBERTO BURRI, [Untitled];


161

THIS LOT IS SOLD WITH NO RESERVE

161 VARIOUS ARTISTS Three Print Posters Two screenprints in colors, one lithograph in black and gray. Riley signed, dated and numbered 32/100 in pencil, Stella signed, dated and numbered 12/250 in ink, published by the Metropolitain Museum, New York (with their blindstamp), Indiana signed, dated ‘4.VII.1976’ and inscribed ‘For Harry + Nina’ in black ink. Various sizes.

Estimate $ 3 0 0 - 5 0 0

Including: BRIDGET RILEY, Dedication Visual Arts Building Abion College, 1966; FRANK STELLA, Metropolitan Museum, 1970; and ROBERT INDIANA, Poster for the Santa Fe Opera, 1976

162

THIS LOT IS SOLD WITH NO RESERVE

162 DAVID HOCKNEY b. 1937 Poster for David Hockney at Andre Emmerich, 1969 Offset lithograph in colors. Signed in pencil. 20 x 20 1/4 in. (50.8 x 51.4 cm).

Estimate $ 6 0 0 - 8 0 0


163

THIS LOT IS SOLD WITH NO RESERVE

164

163 CHRYSSA b. 1933 Four works: three prints and a drawing, circa 1968 Two offset lithographs in colors, one screenprint in colors and one felt-tip pen drawing on paper. Two prints signed and variously inscribed. Various sizes.

Estimate $ 2 0 0 - 4 0 0

Prints include: Untitled; Untitled; and UCLA Art Galleries poster

THIS LOT IS SOLD WITH NO RESERVE

164 CHRYSSA b. 1933 Denise Rene Exhibition Poster, New York: nine prints, 1973 Nine screenprints in colors, on Mylar sheets. All signed, eight inscribed ‘with love from’ in pen, one inscribed ‘To Nina with many Thanks best thoughts and feelings’ and dated in black crayon. All: 36 x 26 in. (91.4 x 66 cm).

Estimate $70 0 - 9 0 0

166

165 NO LOT

THIS LOT IS SOLD WITH NO RESERVE

166 DON EDDY / MARIO YRISARRY b. 1944, b. 1933 Two works: William’s Party Special; and Repeated Signatures, 1969 Screenprint in colors and a lithograph in colors. William’s signed and numbered 188/250 in pencil, Signatures signed and dated in pencil, from the edition of unknown size. Various sizes.

Estimate $10 0 - 2 0 0


167

168

THIS LOT IS SOLD WITH NO RESERVE

167 SUSUMU SHINGU b. 1937 Two works: Untitled and Untitled, not dated Plexiglas and metal. Insigned; signed “Shingu” on the underside. 26 3/8 x 10 7/8 x 10 7/8 in. (67 x 27.6 x 27.6 cm) each.

Estimate $ 5 0 0 -70 0

PROVENANCE Gift of the artist

THIS LOT IS SOLD WITH NO RESERVE

168 SUSUMU SHINGU b. 1937 Two works: Untitled and Untitled, 1969; not dated Plexiglas, metal and painted aluminum. Signed and dated “S. Shingu 1969” on the underside; unsigned. 13 x 14 7/8 x 7 3/4 in. (33 x 37.8 x 19.7 cm) each.

Estimate $ 5 0 0 -70 0

169

THIS LOT IS SOLD WITH NO RESERVE

169 SUSUMU SHINGU b. 1937 Le Petit Cosmos Stainless steel. Inscribed “Shingu le petit cosmos 4/15” on the base. This work is from an edition of 15. 22 x 9 1/2 x 8 3/4 in. (55.9 x 24.1 x 22.2 cm).

Estimate $ 3 0 0 - 5 0 0


170

THIS LOT IS SOLD WITH NO RESERVE

171

170 MYNY Two works: Untitled and Untitled, not dated; 1971 Colored pencil, pastel and graphite on paper. Unsigned; signed and dated “Myny 71” lower right. 23 7/8 x 19 3/4 in. (60.6 x 50.2 cm); 19 3/4 x 23 7/8 in. (50.2 x 60.6 cm).

Estimate $10 0 - 2 0 0

172

THIS LOT IS SOLD WITH NO RESERVE

171 ANTON HEYBOER 1924-2005 Untitled, 1962 Monoprint etching in colors, on laid paper. Signed as part of the image. 39 3/4 x 25 in. (101 x 63.5 cm).

Estimate $ 4 0 0 - 6 0 0

PROVENANCE Gallerie Escape

THIS LOT IS SOLD WITH NO RESERVE

172 PAUL MANSOUROFF 1896-1983 Untitled: two prints Two lithographs in colors, on Rives BFK paper. Both signed and annotated ‘epreuve d’artiste’ in pencil. Both approximately: 20 x 7 in. (50.8 x 17.8 cm).

Estimate $ 3 0 0 - 5 0 0


173

174

THIS LOT IS SOLD WITH NO RESERVE

173 HENRY C. PEARSON b. 1914 Two works: Untitled and Invest in the Future (lithograph), 1965 Acrylic on Plexiglas; lithograph in colors. Print signed, dated and numbered 23/100 in pencil. Various sizes.

Estimate $ 2 0 0 - 3 0 0

THIS LOT IS SOLD WITH NO RESERVE

174 EUGENE MARKOWSKI Two works: Winter Hills and Cloudy Ranges, 1964 Oil on canvas in the artist’s canvas-wrapped frame. Each signed and dated “Markowski ‘64” on the reverse. 17 3/4 x 20 3/4 in. (45.1 x 52.7 cm) and 17 3/4 (45.1 cm) diameter.

Estimate $ 5 0 0 -70 0

PROVENANCE New School, New York (1964)

175

THIS LOT IS SOLD WITH NO RESERVE

175 MICHIKO KAGAWA Untitled, 1969 Oil on board. Signed, titled and dated “Michiko Kagawa <non-title> 1969” on the reverse of the wood backing; stamped lower right. 21 1/2 x 17 1/8 in. (54.6 x 43.5 cm).

Estimate $10 0 -15 0


176

177

178 THIS LOT IS SOLD WITH NO RESERVE

176 TOM GOLDENBERG b. 1948 Two works: Glass and Untitled (Abstraction), 1998 Oil on canvas. Signed and dated “T Goldenberg 98” lower right; signed and dated “T Goldenberg 98” on the reverse. 16 x 12 in. (40.6 x 30.5 cm); 14 1/4 x 10 1/8 in. (36.2 x 25.7 cm).

Estimate $ 2 0 0 - 3 0 0

177 JEFFREY BROSK b. 1947 Two works: Mountain Garden and Morning Mystery, 1992; 1984 Stone and wood; painted wood, plaster and painted clay tiles. Signed, titled and dated “J. Brosk ‘Mountain Garden’ 1992”; signed, titled and dated “J. Brosk ‘Morning Mystery’ 1984” on the reverse. 9 3/8 x 16 5/8 x 2 1/2 in. (23.8 x 42.2 x 6.4 cm); 24 x 37 x 8 1/8 in. (61 x 94 x 20.6 cm).

Estimate $1, 5 0 0 - 2 , 0 0 0

THIS LOT IS SOLD WITH NO RESERVE

178 J. IQBAL GEOFFREY b. 1939 Stamps (Figure of a Girl), 1966 Ink, embossing and silkscreen on paper. This work is unique. 18 x 12 1/2 in. (45.7 x 31.8 cm).

Estimate $ 5 0 0 -70 0


179

180

181

THIS LOT IS SOLD WITH NO RESERVE

179 FRANCISCO TOLEDO b. 1940 [Calf Birth]; and [Nude and Bull], circa 1970 Two lithographs in colors, on wove and Rives BFK paper respectively. Both signed and annotated ‘epreuve d’artiste’ in pencil. Various sizes.

Estimate $ 6 0 0 - 9 0 0

THIS LOT IS SOLD WITH NO RESERVE

180 FRANCISCO TOLEDO b. 1940

181 RUFINO TAMAYO 1899-1991

[Woman with Umbrella]; [Ostrich Wearing Shoes]; and La Jaiba: two prints, circa 1970

Dos caras [Two Faces], 1973

Four lithographs (three in colors). All signed, Umbrella annotated ‘epreuve d’artiste’ in

Lithograph in colors, on Rives paper. Signed and numbered ‘AP 1/10’ in pencil (the edition

pencil, Ostrich and La Jaiba annotated ‘H.C.’ in pencil (La Jaiba edition was 100),

was 100).

Various sizes.

22 x 30 in. (55.9 x 76.2 cm).

Estimate $ 9 0 0 -1, 2 0 0

Estimate $1, 5 0 0 - 2 , 5 0 0 LITERATURE Juan Carlos Pereda 155


THIS LOT IS SOLD WITH NO RESERVE

182 REYMUNDO DE LA ROSAS & UNKNOWN HUICHOL INDIAN ARTIST Two works: Untitled and Untitled, not dated Wool in beeswax on board. Signed “Reymundo de la Rosas” on the reverse of the wood backing; unsigned. 23 3/4 x 23 3/4 in. (60.3 x 60.3 cm); 47 1/2 x 96 in. (120.7 x 243.8 cm).

Estimate $1, 0 0 0 - 2 , 0 0 0

EXHIBITED MH de Young Memorial Museum, San Francisco; Field Museum, Chicago;

American Museum of Natural History, New York, The Art of Being Huichol, 1978-81


183

184

THIS LOT IS SOLD WITH NO RESERVE

183 MAQBUL FIDA HUSAIN b. 1915

THIS LOT IS SOLD WITH NO RESERVE

184 UNKNOWN ARTIST

Untitled: seven prints, 1975

Untitled, not dated

Seven offset lithographs. All signed, dated and variously inscribed to Harry Abrams in

Book and magazine collage and acrylic on paper. Signed lower right.

black ink.

6 7/8 x 9 3/4 in. (17.5 x 24.8 cm).

Various sizes.

Estimate $70 0 - 9 0 0

Including: [Legs with drawing of a nude]; [Seated nude with drawing of seated nude]; [Artist drawing]; [Kneeling Nude with painted elephant]; [Nude with painted tiger on back]; and [Female nude/Bending back]

Estimate $10 0 - 2 0 0


185 PETER BEARD b. 1938 Elephant reaching for the last branch on a tree, Kenya, 1960 Gelatin silver print. Signed, annotated ‘a towering, overwhelming structure, massive as cast iron and lithe as running water (Karen Blixen, Out of Africa)’ and inscribed ‘with best wishes (to Mr. A.)’ in ink. 18 3/4 x 13 1/2 in. (47.6 x 34.3 cm).

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Gift of the artist


The Abrams collection is unusual because it has passed through three quite distinct phases, with the profile of each remaining intact within it. Thirty years ago Harry Abrams began to acquire painters of the American social scene as well as the paintings of many individual artists whose work fit no special category. While his tastes were directed towards an art of humanist values, he also responded to new explorations. Then, twenty years ago he found himself attracted to the twentiethcentury French masters, Picasso, Matisse, Chagall, Rouault, Modigliani and others. Finally, in the sixties, vanguard American art became the dominating focus of his interests, and in this area his collection has become preeminent, both by reason of its wide representation of almost all the prevailing esthetic tendencies, and for its superior, and in many cases supreme, examples of individual artists. The Harry N. Abrams Family Collection, The Jewish Museum, Introduction by Sam Hunter, 1966

Nina and Harry, photographer unknown


Harry Abrams, Cover of Auction Magazine Vol. IV, No. 2, October 1970

SESSION II

2pm

Lots 186-325


186 SIR JACOB EPSTEIN 1880-1959 Head of Albert Einstein, conceived in 1933 Bronze. Inscribed “Epstein”. 17 x 11 x 10 1/2 in. (43.2 x 27.9 x 26.7 cm).

Estimate $15 , 0 0 0 - 2 0 , 0 0 0


187 SIR JACOB EPSTEIN 1880-1959 Second Portrait of George Bernard Shaw (Head), conceived in 1934 Bronze. Inscribed “Epstein.” 17 1/2 x 9 x 15 1/2 in. (44.5 x 22.9 x 39.4 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 LITERATURE E. Silber, The Sculpture of Epstein, London, 1986, p. 178, no. 253 (illustrated)


188

189

188

BERNARD MEADOWS 1915-2005

189 LYNN CHADWICK 1914-2003

For After the Flood, not dated

Watcher, 1961

Bronze.

Ink and watercolor on paper. Signed “Chadwick 61” lower right.

4 3/8 x 14 1/2 x 2 1/2 in. (11.1 x 36.8 x 6.4 cm).

20 1/2 x 16 in. (52.1 x 40.6 cm).

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

PROVENANCE New Vision Centre (1964)

PROVENANCE James Goodman Gallery, Buffalo


190

HENRY MOORE 1898-1986 Two Standing Figures, 1951 Ink, watercolor, charcoal and pastel on paper. Signed twice and dated â&#x20AC;&#x153;Moore 51â&#x20AC;? lower right. 15 1/2 x 11 3/8 in. (39.4 x 28.9 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0

This work is in the process of being authenticated by the Henry Moore Foundation. Please contact the department at the time of sale for confirmation.


191

191 HENRY MOORE 1898-1986 Reclining Figure; and a trial proof of Reclining Figure, 1974 Two lithographs in colors, on TH Saunders paper (the proof collaged). Both signed and inscribed ‘For Harry Abrams’, one dated ‘October 17th/75’ and annotated ‘Trial Proof’ in two places in pencil (the edition was 50 and 10 artist’s proofs), published by Harry N. Abrams Inc., New York. Both: 6 5/8 x 9 5/8 in. (16.8 x 24.4 cm).

Estimate $ 2 , 0 0 0 - 4 , 0 0 0 PROVENANCE Gift of the artist LITERATURE Patrick Cramer 346

THIS LOT IS SOLD WITH NO RESERVE

192 HENRY MOORE 1898-1986 Four Reclining Figures with Architectural Background, 1976 Lithograph in colors, on TH Saunders paper. Signed and inscribed ‘For/ Harry Abrams’ in pencil (one of 12 dedicated proofs, the edition was 50 and 10 artist’s proofs), published by Harry N. Abrams Inc., New York. 8 5/8 x 13 7/8 in. (21.9 x 35.2 cm).

Estimate $1, 0 0 0 -1, 5 0 0

PROVENANCE Gift of the artist LITERATURE Patrick Cramer 430

192


193

194

THIS LOT IS SOLD WITH NO RESERVE

193 HENRY MOORE 1898-1986 Three Reclining Figures, 1975 Lithograph in colors, on TH Saunders paper. Signed and inscribed ‘For/Harry Abrams’ in pencil (one of 10 dedicated copies, the edition was 50 and 10 artist’s proofs), published by Harry N. Abrams Inc., New York. 12 x 9 in. (30.5 x 22.9 cm).

Estimate $ 8 0 0 -1, 2 0 0

PROVENANCE Gift of the artist LITERATURE Patrick Cramer 420

THIS LOT IS SOLD WITH NO RESERVE

194 ALBERTO GIACOMETTI 1901-1966 Annette Facing Front (Annette de face), 1955 Etching, on Auvergne à la main paper. Signed and numbered 21/50 in pencil, published by Maeght, Paris. 8 1/4 x 2 1/4 in. (21 x 5.7 cm).

Estimate $ 8 0 0 -1, 2 0 0

PROVENANCE Richard Feigen Gallery, Chicago LITERATURE Herbert Lust 62


195 ALBERTO GIACOMETTI 1901-1966 Self-Portrait, 1956 Sepia ink on paper. Signed and dated “Alberto Giacometti 1956” lower right. 14 1/4 x 9 3/4 in. (36.2 x 24.8 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 PROVENANCE Brook Street Gallery, London EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection, June 29 -

September 5, 1966, no. 51 LITERATURE Y. Bonnefoy, Alberto Giacometti: A Biography of His Work, Paris, 1991, p. 488,

no. 478 (illustrated)

This work is in the process of being authenticated by the Comité Giacometti. Please contact the department at the time of sale for confirmation.


196

MARC CHAGALL 1887-1985

“Pierre Matisse, for example, was very good to us younger collectors. I was

Le cirque ambulant, 1969

in his gallery once and he showed me two wonderful Chagalls. I said the I

Lithograph in colors, on Arches paper. Signed and numbered 38/50 in pencil (there were also 25 artist’s proofs). 14 1/8 x 21 in. (35.9 x 53.3 cm).

couldn’t possibly afford them, but he insisted that I take them. I took them home without putting a penny down. I still have them” (C. Finch, Harry N. Abrams Collects, Auction, Vol. VI, No. 2, October 1970, p. 37)

Estimate $10 , 0 0 0 -15 , 0 0 0 LITERATURE Fernand Mourlot 583


THIS LOT IS SOLD WITH NO RESERVE

197 MARC CHAGALL 1887-1985 Amoureux avec cheval, 1961 Etching and aquatint, on Chine collé to Arches paper. Signed and numbered 6/20 in pencil (aside from the edition of 150 on Japanese paper), published by Kornfeld and Klipstein, Bern, 1971. 9 x 6 1/2 in. (22.9 x 16.5 cm).

Estimate $1, 0 0 0 -1, 5 0 0

LITERATURE Eberhard W. Kornfeld 118; Patrick Cramer books 85


198

199

THIS LOT IS SOLD WITH NO RESERVE

198 NATHAN HILU

199 REUVEN RUBIN 1893-1974

Five works: Exodus; Figures Surrounding the Star of David; Man with Arms Raised; Elderly Man

Figure on Horseback, 1971

and Two Children; Figure with Torah on Mount

Ink on paper. Signed “Rubin” lower right; dedicated “To Nina May 29, 1971” lower center.

Oil on paper. Signed “NAT. HILU” lower right; signed “NAT. HILU” lower center; signed

18 x 20 3/4 in. (45.7 x 52.7 cm).

“NAT. HILU” lower right; signed “NAT. HILU” lower right; signed “NAT. HILU” lower right. 22 3/8 x 30 1/2 in. (56.8 x 77.5 cm); 21 3/4 x 29 7/8 in. (55.2 x 75.9 cm); 30 x 22 1/4 in. (76.2 x 56.5 cm); 22 x 29 7/8 in. (55.9 x 75.9 cm); 29 7/8 x 21 3/4 in. (75.9 x 55.2 cm).

Estimate $ 5 0 0 -70 0

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 PROVENANCE Gift of the artist


200

201

THIS LOT IS SOLD WITH NO RESERVE 200

REUVEN RUBIN 1893-1974

THIS LOT IS SOLD WITH NO RESERVE 201

PERSIAN SCHOOL AND ASIAN SCHOOL

Four works: [Man and Horses]; [Rooster]; [Two Men on Horses]; and Holiday Greetings, 1960

Three works: Rider on Horseback; Blue Flowers; Chinese Round Print

and 1961

Oil on paper; ink and oil on paper; watercolor on paper mounted to gold cardboard.

Three lithographs in colors and one offset print with hand-coloring (Holiday Greeting). The

17 5/8 x 27 in. (44.8 x 68.6 cm); 17 3/4 x 27 5/8 in. (45.1 x 70.2 cm); 9 7/8 in. (25.1 cm) diameter.

lithographs all signed and numbered from the editions of 250 in pencil, the Greeting signed and inscribed ‘Seasons Greetings and Happy New Year 1961 Rubin-Esther Tel-Aviv’ in brown ink (faded). Various sizes.

Estimate $ 4 0 0 - 6 0 0

Estimate $ 3 0 0 - 5 0 0


actual size

202

PABLO PICASSO 1881-1973

‘Apart from the cubist still-life, the Picassos range from an early drawing

Groupe de trois femmes, 1922-23

to a recent reclining figure and Abrams, who has visited Picasso, talks with

Etching with drypoint, on Montval laid paper, Baer’s sixth (final) state. Signed and numbered 52/100 in pencil (there were also 15 artist’s proofs), published by Edition Marcel

something approaching awe of that artist’s vitality. “How old is he? Eighty-

Guiot, Paris, 1929.

nine? Well, he might make a hundred. He’s incredible. Last time we were

7 x 5 in. (17.8 x 12.7 cm).

down there he was sitting cross-legged on the floor—surrounded by dozens

Estimate $10 , 0 0 0 -15 , 0 0 0

of drawings—sorting them out. Of course, you’re not allowed to help him— he has to do everything himself. And his skin! He has the skin of a young

PROVENANCE F.A.R. Gallery, New York (label)

man! Amazing! –Harry Abrams

LITERATURE Georges Bloch 57; Brigitte Baer 102 VI(a)

(C. Finch, Harry N. Abrams Collects, Auction, Vol. IV, No. 2, October 1970, p. 38)


203

PABLO PICASSO 1881-1973 Femme assise en tailleur: Geneviève Laporte, from Recordant El Doctor Reventós, 1951 Drypoint etching, on Japanese paper, Baer’s second (final) state. Signed and numbered 53/180 in pencil (there were also 10 hors-commerce copies lettered a-j), published by Editorial Gustavo Gili, Barcelona, 1969. 5 3/4 x 4 in. (14.6 x 10.2 cm).

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE Georges Bloch 1837; Brigitte Baer 888 II(B); Patrick Cramer books 147


204

205

204

PABLO PICASSO 1881-1973 Jeune peintre à son chevalet, for Le goût du bonheur, 1970 Etching, on Arches paper. Signed in pencil, from the edition of 105, published for deluxe copies of the book by Jean Marcenac, published by Editions Cercle d’Art, Paris, Harry N. Abrams Inc., New York and Carl Schünemann, Bremen. 8 1/8 x 5 3/4 in. (20.6 x 14.6 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 LITERATURE Georges Bloch 2013; Brigitte Baer 1919Bb; Patrick Cramer books 148

THIS LOT IS SOLD WITH NO RESERVE

205 DAVID DOUGLAS DUNCAN b. 1916 Picasso, clad in a bright green terry-cloth robe, confronts the camera on front steps of Château de Vauvenargues, 1950 Color coupler print. 19 1/2 x 15 1/8 in. (49.5 x 38.4 cm).

Estimate $ 4 0 0 - 6 0 0


206

207

206

SALVADOR DALÍ 1904-1989 Untitled (Angels), 1962 Ink on paper. Signed and dated “Salvador Dalí 1962” lower right. 10 1/4 x 7 1/2 in. (26 x 19.1 cm).

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE F.A.R. Gallery, New York

THIS LOT IS SOLD WITH NO RESERVE ATTRIBUTED TO

207 SALVADOR DALÍ 1904-1989 Self-Portrait, 1969 Gelatin silver print. Signed, dated and inscribed ‘Pur mon ami Abrams’ in ink on the overmat. 9 x 7 in. (22.9 x 17.8 cm).

Estimate $ 2 0 0 - 3 0 0


208

PAUL KLEE 1879-1940 Intellectual Illumination, not dated Ink on paper. Signed “Klee” on the reverse. This work is accompanied by a photo certificate from the Paul Klee foundation in Bern, Switzerland with the artist’s stamp and dated 1963. 10 x 5 1/2 in. (25.4 x 14 cm).

Estimate $15 , 0 0 0 - 2 0 , 0 0 0 PROVENANCE Allan Stone Gallery, New York

This work is in the process of being authenticated by the Zentrum Paul Klee. Please contact the department at the time of sale for confirmation.


209

209

HANS (JEAN) ARP 1886-1966 Relief documenta III, 1964

THIS LOT IS SOLD WITH NO RESERVE

210 SONIA DELAUNAY 1885-1979

Die-cut brass and aluminum multiple. Stamped 18 on the reverse (the edition was 100),

Two works: Untitled (lithograph); and Untitled (drawing) ATTRIBUTED to SONIA DELAUNAY

published by the Documenta Foundation, Kassel, Germany.

One lithograph in colors on Arches paper, and one graphite drawing. Both signed, the print

10 x 8 1/2 in. (25.4 x 21.6 cm).

also numbered ‘H.C. 3/10’ in pencil.

Estimate $1, 5 0 0 - 2 , 5 0 0 PROVENANCE Brook Street Gallery, London LITERATURE Bernd Rau A32

210

Various sizes.

Estimate $ 8 0 0 -1, 2 0 0


211

211 JOAN MIRÓ 1893-1983 Bouquet de rêves pour Nelia: 14 plates, 1967 Fourteen lithographs in colors, on Japon Nacré paper. All signed in pencil, from the deluxe suite of 18 lithographs printed on Japon Nacré included with the 25 copies printed with text (the total edition was 200), colors slightly faded, published by Fernand Mourlot, Paris. Most: 12 3/4 x 10 in. (32.4 x 25.4 cm).

Estimate $ 8 , 0 0 0 -12 , 0 0 0 LITERATURE

Fernand Mourlot 532, 534, 537-41, 543-49; see Patrick Cramer books 115


212

213

212 JOAN MIRÓ 1893-1983

THIS LOT IS SOLD WITH NO RESERVE

Le bijou, 1969

213 JOAN MIRÓ 1893-1983

Etching, aquatint and carborundum in colors with embossing, on Mandeure rag paper.

Miro, 1970

Signed and numbered 22/75 in pencil, published by Maeght, Paris.

Lithograph in colors, on Arches paper. Signed and numbered 40/60 in pencil (aside from

6 3/4 x 7 5/8 in. (17.1 x 19.4 cm).

the numbered edition of 100), published by Fabbri Fratelli, Milan. 12 x 9 7/8 in. (30.5 x 25.1 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Estimate $ 8 0 0 -1, 2 0 0

LITERATURE Jacques Dupin 491

LITERATURE Fernand Mourlot 687; Patrick Cramer books 138

214

THIS LOT IS SOLD WITH NO RESERVE

214 JOAN MIRÓ 1893-1983 Album 19: plate 2, 1961 Lithograph in colors. Signed and annotated ‘H.C.’ in pencil (the total edition was 75 and 15 in Roman numerals), published by Maeght, Paris. 20 1/8 x 26 1/8 in. (51.1 x 66.4 cm).

Estimate $1, 0 0 0 -1, 5 0 0

LITERATURE Fernand Mourlot 313; see Patrick Cramer books 70


215 ATTRIBUTED TO ALBERT ERNEST CARRIER-BELLEUSE 1824-1887 Two works: Psyche and Cupid and Nymph with Satyr Terracotta. Inscribed “A. Carrier”; unsigned. 26 x 13 x 13 in. (66 x 33 x 33 cm); 24 x 11 1/4 x 11 1/4 in. (61 x 28.6 x 28.6 cm).

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE David Barclay, Ltd., London (1969)


216 CAMILLE BOMBOIS 1883-1970 Au bord de la rivière (At the edge of the river), not dated Oil on canvas. Signed “Bombois. C.lle” lower left. 13 1/8 x 18 3/8 in. (33.3 x 46.7 cm).

Estimate $ 8 , 0 0 0 -12 , 0 0 0 PROVENANCE James Vigeveno Galleries, Los Angeles

Olivier Lorquin has kindly confirmed the authenticity of this work.


217 JULES PASCIN 1885-1930 Jeune Femme au Plat de Fruits (Girl with Bowl of Fruit), 1928 Oil on canvas. Signed “Pascin” on the reverse. 36 3/8 x 28 3/4 in. (92.4 x 73 cm).

Estimate $10 0 , 0 0 0 -15 0 , 0 0 0 EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection,

June 29 - September 5, 1966, no. 107; University of California Berkeley, University Art Museum, November 15 - December 18, 1966; University of California Los Angeles Art Galleries, January 4 - February 5, 1967; Chapel Hill University of North Carolina, Ackland Art Center, Pascin, February 19 - March 19, 1967 LITERATURE T. Freudenheim, Pascin, San Francisco, 1996, pl. 43 (illustrated)


218 JULES PASCIN 1885-1930 Nude Reading, not dated Graphite and pastel on canvas. Signed “Pascin” upper left. 22 1/4 x 29 1/2 in. (56.5 x 74.9 cm).

Estimate $ 6 0 , 0 0 0 - 8 0 , 0 0 0 EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection, June 29 -

September 5, 1966, no. 108

Harry seated in New York City apartment with Pascin, photographer unknown


219

219 MARCEL GROMAIRE 1892-1971 Seated Female Nude, 1962 Ink on paper. Signed and dated “Gromaire 1962” lower left. 12 1/2 x 9 5/8 in. (31.8 x 24.4 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Associated American Artists, New York

220

221

220

MARCEL GROMAIRE 1892-1971

221

MARCEL GROMAIRE 1892-1971

Maison du Marin (Mariner’s House), 1946

Le Basse Cour (Feeding Fowl), 1945

Ink and watercolor on paper. Signed and dated “Gromaire 1946” lower right; titled and

Ink and watercolor on paper. Signed and dated “Gromaire 1945” lower left.

dated “Maison du Marin 1946” on the reverse.

13 1/4 x 17 1/4 in. (33.7 x 43.8 cm).

12 3/4 x 17 in. (32.4 x 43.2 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Associated American Artists, New York PROVENANCE Associated American Artists, New York

EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection,

June 29 - September 5, 1966, no. 53


222

223

THIS LOT IS SOLD WITH NO RESERVE

THIS LOT IS SOLD WITH NO RESERVE 222

JULES PASCIN 1885-1930

223

JULES PASCIN 1885-1930

Tahitian Landscape, 1928

American Bar, not dated

Ink and watercolor on canvas laid on wood. Signed “Pascin” lower right.

Ink and watercolor on paper. Signed “Pascin” lower right.

12 x 11 1/2 in. (30.5 x 29.2 cm).

15 1/4 x 12 1/4 in. (38.7 x 31.1 cm).

Estimate $ 8 0 0 -1, 2 0 0

Estimate $ 8 0 0 -1, 2 0 0

EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection, June 29 -

PROVENANCE Marlborough Fine Art Ltd., London

September 5, 1966, no. 106

LITERATURE A. Werner, Jules Pascin 1885-1930, New York, 1962, pl. 49 (illustrated)

LITERATURE A. Werner, Jules Pascin 1885-1930, New York, 1962, pl. 46 (illustrated)


224

225

THIS LOT IS SOLD WITH NO RESERVE

THIS LOT IS SOLD WITH NO RESERVE

224 JACQUES VILLON; MARCEL VERTES 1875-1963; 1895-1961

225 ATTRIBUTED TO AIMÉ JULES DALOU; JEAN PAUL DARRIAU;

Two works: Laus Veneris, 1956; and Le Cirque, from Portfolio 14

CHARLES MARION RUSSELL 1838-1902; 1929-2006; 1864-1926

One etching in sanguine and one lithograph in colors, on Arches and laid paper

Three works: Standing Man; Bandaged Hero III; Indian Head, 1957 (Bandaged Hero III)

respectively. Villon a proof apart from the edition of 170, Vertes signed and numbered

Bronze. Unsigned; inscribed “DARRIAU 57” on the base; inscribed “CMR Indian Head by

21/250 in pencil.

Charles M. Russell 1864-1926” on the reverse.

5 3/8 x 8 in. (13.7 x 20.3 cm); 22 1/4 x 17 1/2 in. (56.5 x 44.5 cm).

22 x 10 1/2 x 5 1/2 in. (55.9 x 26.7 x 14 cm); 24 x 7 1/2 x 9 1/2 in. (61 x 19.1 x 24.1 cm);

Estimate $ 4 0 0 - 6 0 0

LITERATURE Colette de Ginestet and Catherine Pouillon App. 3 (Villon)

40 x 1 1/4 x 1 1/2 in. (101.6 x 3.2 x 3.8 cm).

Estimate $1, 0 0 0 -1, 5 0 0

PROVENANCE Bandaged Hero III: Grippi Gallery, New York (1962)


226

LAWRENCE LEBDUSKA 1894-1966

Lawrence Lebduska grew up in Leipzig, after being born in Baltimore, due

Two works: Horses at the Water Hole and Panic (Prancing Horses)

to his father’s work for Fleider & Schneider, the East German stained glass

Oil on masonite; oil on canvas`. Panic: signed “Lebduska” lower right. 21 x 25 in. (53.3 x 63.5 cm); 25 1/4 x 30 in. (64.1 x 76.2 cm).

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 PROVENANCE Horses at the Water Hole purchased in 1949; Panic purchased in 1947

manufacturer. He followed a similar pursuit and attended a stained glass school his father’s company operated and where he gained his interest in the use of color and began painting. He moved to New York in 1913 and did mural commissions for Elsie de Wolfe, private stained glass commissions for New York homes and reportedly inspired Abby Aldrich Rockefeller’s folk art collecting.


227

227

LAWRENCE LEBDUSKA 1894-1966 Monkey Business Oil on masonite. Signed “Lebduska” lower left. 29 1/4 x 32 in. (74.3 x 81.3 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 PROVENANCE Acquired directly from the artist

228

229

THIS LOT IS SOLD WITH NO RESERVE 228

LAWRENCE LEBDUSKA 1894-1966

229

LAWRENCE LEBDUSKA 1894-1966

Antelope and Tigers, 1946

Farm with Horses

Oil on canvas. Signed and dated “Lebduska 46” lower left.

Oil on masonite. Signed “Lebduska” lower right.

24 5/8 x 29 1/4 in. (62.5 x 74.3 cm).

10 7/8 x 13 3/4 in. (27.6 x 34.9 cm).

Estimate $1, 8 0 0 - 2 , 5 0 0

Estimate $ 8 0 0 -1, 2 0 0


230

230

LAWRENCE LEBDUSKA 1894-1966

231 LAWRENCE LEBDUSKA 1894-1966

Leopard and Snake by a Lake, 1940

The Indians, 1963

Oil on canvas. Signed and dated “Lebduska 40” lower right.

Oil on masonite. Signed and dated “Lebduska 6-63” lower left.

28 x 36 in. (71.1 x 91.4 cm).

26 7/8 x 32 in. (68.3 x 81.3 cm).

Estimate $1, 8 0 0 - 2 , 5 0 0

Estimate $1, 5 0 0 - 2 , 5 0 0

PROVENANCE Acquired directly from the artist

A vivid color-sense, a certain folk-art quality and a kind of dream work fancy are combined in mature fashion. Howard Devree, The New York Times, 1936

231


232

THIS LOT IS SOLD WITH NO RESERVE 232

LAWRENCE LEBDUSKA 1894-1966

233 LAWRENCE LEBDUSKA 1894-1966

Two works: Still Life with Vase of Flowers and Nativity, 1956 (Still Life with Vase of Flowers)

Harmony (Three Nudes), 1964

Oil on canvas. Signed and dated “Lebduska 56” lower left; unsigned.

Oil on canvas. Signed and dated “Lebduska 64” lower left.

12 1/8 x 10 1/8 in. (30.8 x 25.7 cm); 30 1/8 x 25 in. (76.5 x 63.5 cm).

24 1/8 x 30 in. (61.3 x 76.2 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Estimate $1, 0 0 0 -1, 5 0 0

PROVENANCE Still Life with Vase of Flowers: Acquired directly from the artist

233


234

234

DAVID BURLIUK 1882-1967 Head of Harry Abrams Bronze. Inscribed “Burliuk”. 16 1/2 x 9 1/2 x 10 1/2 in. (41.9 x 24.1 x 26.7 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

235

DAVID BURLIUK 1882-1967 Portrait of Mrs. Burliuk, 1939 Oil on canvas. Signed “Burliuk” lower right. 20 x 16 in. (50.8 x 40.6 cm).

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

David Burliuk was a Ukrainian/American avant-garde artist considered ‘the father of Russian Futurism’. He was an early member of Der Blaue Reiter and showed at their first exhibition Erste Ausstellung der Redaktion Der Blaue Reiter which opened at the Heinrich Thannhauser’s Moderne Galerie in Munich, in early 1912 and comprised 43 works by 14 artists.

235


236

236

DAVID BURLIUK 1882-1967

237

DAVID BURLIUK 1882-1967

Two works: Van Gogh with l’Arlesienne and Ancient Greek Man, 1947; 1933

Eating Bread, not dated

Watercolor and graphite on paper. Signed “Burliuk” lower right; signed “Burliuk” lower left.

Oil on canvas. Signed “Burliuk” lower left.

13 x 16 in. (33 x 40.6 cm); 11 1/4 x 15 in. (28.6 x 38.1 cm).

20 x 17 in. (50.8 x 43.2 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

237


238

239

238

DAVID BURLIUK 1882-1967

239

DAVID BURLIUK 1882-1967

Fish Story, 1936

Blue Cows, 1933

Oil on canvas, not dated.

Oil on panel. Signed “D. Burliuk” lower left.

12 7/8 x 18 1/4 in. (32.7 x 46.4 cm).

15 3/4 x 19 3/4 in. (40 x 50.2 cm).

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

Estimate $15 , 0 0 0 - 2 0 , 0 0 0

PROVENANCE Boyer Galleries, New York (1947)


240 DAVID BURLIUK 1882-1967 Peasant with Chickens, 1953 Oil on canvas. Signed and dated “Burliuk. 1953” lower right. 26 1/8 x 40 1/8 in. (66.4 x 101.9 cm).

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0


241 DAVID BURLIUK 1882-1967 Woman with Horse, not dated Oil on canvas. Signed “Burliuk” lower right. 34 x 47 in. (86.4 x 119.4 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE ACA Galleries, New York


242 DAVID BURLIUK 1882-1967 Peasants at a Table (Russian Tea Party), 1933 Oil on canvas. Signed “Burliuk” lower left. 36 1/4 x 53 3/4 in. (92.1 x 136.5 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE ACA Galleries, New York


243 DAVID BURLIUK 1882-1967 Couple by a Fence, not dated Oil on canvas. Signed “Burliuk” lower left. 41 x 36 in. (104.1 x 91.4 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE ACA Galleries, New York


244 DAVID BURLIUK 1882-1967 Song of Harvest, 1936 Oil on canvas. 46 1/2 x 70 1/4 in. (118.1 x 178.4 cm).

Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0 PROVENANCE ACA Galleries, New York

In the beginning I bought the work of friends, but very soon we began to look not just for the work of friends but of artists who were more creative. As I mentioned earlier, one of the first artists that we really collected seriously was David Burliuk. Then we went on to people like Raphael Soyer, Milton Avery, Philip Evergood and others who were painting at that time. I was also aware of painters like Ben Shahn and Reginald Marsh, and others that I hadn’t collected, but I couldn’t buy them

EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection, June 29 -

all because I had a limited amount of money. I liked collecting paintings, and I

September 5, 1966, no. 15

was becoming more and more involved. And so, as I earned more money I bought art at every opportunity. I didn’t ever expect to have as large a collection as we have today. I had the bug and I couldn’t seem to stop. Oral history interview with Harry N. Abrams, March 14, 1972, Archives of American Art, Smithsonian Institution, Paul Cummings


245 DAVID BURLIUK 1882-1967 Man with Dog, circa 1949 Oil on canvas. Signed “Burliuk” lower right. 38 x 34 1/8 in. (96.5 x 86.7 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0


246 DAVID BURLIUK 1882-1967 Van Gogh Still Life, 1949 Oil on canvas. Signed and dated “Burliuk 1949” lower right. 36 1/8 x 24 in. (91.8 x 61 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE ACA Galleries, New York


247 DAVID BURLIUK 1882-1967 Nina and Michael, 1943 Oil on canvas. Signed “D. Burliuk” lower left. 34 x 28 in. (86.4 x 71.1 cm).

Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Acquired directly from the artist EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection, June 29 -

September 5, 1966, no. 16

(Raphael Soyer, Portrait of Burliuk Painting Nina and Michael, 1943, oil on canvas)


THIS LOT IS SOLD WITH NO RESERVE 248

RAPHAEL SOYER 1899-1987 Study for Burliuk at Work, not dated Ink and watercolor on paper. Signed “Raphael Soyer” center left. 11 3/4 x 9 3/8 in. (29.8 x 23.8 cm).

Estimate $ 8 0 0 -1, 2 0 0


249 RAPHAEL SOYER 1899-1987 Portrait of Nina, 1943 Oil on canvas. Signed “Raphael Soyer” lower left. 14 x 10 3/8 in. (35.6 x 26.4 cm).

Estimate $1, 8 0 0 - 2 , 5 0 0 LITERATURE L. Goodrich, ed., Raphael Soyer, New York, 1972, p. 141 (illustrated)

Interior view of New York apartment with Soyer painting, unknown photographer


250

251

THIS LOT IS SOLD WITH NO RESERVE THIS LOT IS SOLD WITH NO RESERVE 250

RAPHAEL SOYER 1899-1987

251 RAPHAEL SOYER 1899-1987 Three works: Are you not as the Children as Ethiopians (Woman with Child); Studies of

Mother and Two Children, 1965

Figures by JACK LEVINE b. 1915; and [Seated Nude with Cello and Case] by JOSEPH

Graphite and watercolor on paper. Signed “Raphael de Soyer” lower right.

HIRSCH 1910-1981

21 3/4 x 16 3/4 in. (55.2 x 42.5 cm).

Two lithographs and one etching, on Rives BFK and various papers. All signed and

Estimate $ 8 0 0 -1, 2 0 0

numbered 35/125, 70/100 and 35/100 respectively in pencil. Various sizes.

Estimate $ 5 0 0 -70 0


252

253

THIS LOT IS SOLD WITH NO RESERVE

THIS LOT IS SOLD WITH NO RESERVE

252 LOUIS MICHEL EILSHEMIUS 1864-1941

253

LOUIS MICHEL EILSHEMIUS 1864-1941

Two works: Three Nudes by a Brook and Spring Song, 1900

Two works: Mother and Child and Mystical Figures in a Battle Scene (Christ Intervening

Watercolor on paper.

with the Dragon of War), 1914; 1917

14 x 10 in. (35.6 x 25.4 cm) and 12 x 20 in. (30.5 x 50.8 cm).

Oil on masonite; oil on canvas. Signed “Eilshemius” lower left; signed “Eilshemius”

Signed and dated “Eilshemius 1900” center left; signed and dated “Eilshemius 1900” lower

lower right.

right and listed and titled “Spring Song” on the reverse.

20 7/8 x 28 1/4 in. (53 x 71.8 cm); 28 1/4 x 39 1/2 in. (71.8 x 100.3 cm).

Estimate $ 5 0 0 -70 0

Estimate $1, 0 0 0 - 2 , 0 0 0

EXHIBITED Mystical Figures in a Battle Scene: Washington D.C., The Phillips Collection,

Masterpieces of Eilshemius, May - June, 1959

254

254

LOUIS MICHEL EILSHEMIUS 1864-1941 Dreaming of Temptation, 1918 Oil on canvas. Signed and dated “Eilshemius 1918” lower right. 29 3/4 x 40 1/4 in. (75.6 x 102.2 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family Collection,

June 29 - September 5, 1966, no. 45; New York, Sidney Janis Gallery, February 1970


255

LESTER JOHNSON b. 1919 Adam and Eve After Dürer, 1965 Oil on canvas. Signed and dated “Lester Johnson 1965” on the reverse. 43 7/8 x 43 7/8 in. (111.4 x 111.4 cm).

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Martha Jackson Gallery, New York


256

ROBERT KULICKE 1924-2007 Still Life with Flowers, not dated Oil on canvas laid down on cardboard. Initialed “K” upper right. 9 7/8 x 10 5/8 in. (25.1 x 27 cm).

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Allan Stone Gallery, New York (1963)


257 ROBERT KULICKE 1924-2007 Still Life with Fruit, 1959 Oil on board. Signed and dated “Kulicke 1959” on the reverse. 7 3/8 x 10 5/8 in. (18.7 x 27 cm).

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Allan Stone Gallery, New York (1963)


258

259

THIS LOT IS SOLD WITH NO RESERVE 258

RUSSELL COWLES 1887-1979

THIS LOT IS SOLD WITH NO RESERVE

259 ISABEL BISHOP 1902-1988

Blue Tailed Rooster, not dated

Three works: [Walking Figures]; Seated Nude; Pedicure, not dated

Oil on canvas. Signed “Cowles” lower left; signed, titled, numbered and initialed “Russell

One aquatint etching and two ink drawings on paper. [Walking] signed and annotated

Cowles Blue Tailed Rooster #632 RC” on the overlap.

‘artist’s proof’ in pencil, both drawings signed and dedicated ‘Isabel Bishop Gift to Harry N.

30 x 19 7/8 in. (76.2 x 50.5 cm).

Abrams’ on the reverse of the backing board.

Estimate $ 6 0 0 - 8 0 0

PROVENANCE Kraushaar Galleries Inc., New York (1959)

Various sizes.

Estimate $ 3 0 0 - 5 0 0


260

MARSDEN HARTLEY 1878-1943 Pink Flowers, 1942-1943 Oil on canvas with a G. Alan Chidsey estate letter attached to the reverse. 30 x 15 in. (76.2 x 38.1 cm).

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 PROVENANCE Estate of the artist; Paul Rosenberg, New York; Grand Street Settlement

Exhibition, New York

Gail R. Scott has kindly confirmed the authenticity of this lot.


261 MILTON AVERY 1885-1965 Still Life (Pink Lamp), not dated Oil on board. Signed “Milton Avery” lower right. 9 1/8 x 13 1/4 in. (23.2 x 33.7 cm).

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 PROVENANCE Acquired directly from the artist

Abrams explains that to get a more complete picture of the scope of the [his] collection it will be necessary to visit his apartment, since that is where many of his earlier acquisitions are hung. Asked why he began to collect, he shrugs and suggests that it was probably because he was a frustrated painter. He points out that one did not need huge resources to collect contemporary art in the old days and recalls a visit to Milton Avery’s studio. It was just a little apartment, really— four small rooms. Joe Hirshhorn has just been there and he had picked out about forty of fifty paintings and paid for them on the spot. It is rumored that he paid something like two thousand dollars for the lot—maybe three—an incredibly small sum, anyway—but the Averys were delighted. I asked if there was anything left for me and we picked out half a dozen things that I liked. I asked how much that would cost and it came to something like four hundred dollars. “Harry N. Abrams Collects,” Auction, Vol. IV, No. 2, October 1970, p. 35.


262

MOISE KISLING 1891-1953 Portrait of a Young Woman, 1934 Oil on canvas. Signed “Kisling” upper right. 21 3/4 x 15 1/8 in. (55.2 x 38.4 cm).

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 PROVENANCE Brook Street Gallery, London (1967) LITERATURE J. Kessel and J. Kisling, Kisling, New York, 1971, p. 135, no. 156 (illustrated)


263

ALFRED HENRY MAURER 1868-1962

There will be the European Masters, of course, but also the Americans of

Two Sisters, circa 1927

the thirties. Mr. Abrams has already mentioned his interests in such artists

Oil on masonite. Signed “A.H. Maurer” upper left. 19 5/8 x 16 1/4 in. (49.8 x 41.3 cm).

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0

as Raphael Soyer, Lawrence Lebduska, Alfred Maurer, George Grosz, Philip Evergood and Jennings Tofel. He warns that they are not hung in isolation but often juxtaposed with far more contemporary works—another indication of his distrust of categorization. (C. Finch, Harry N. Abrams Collects, Auction, Vol. IV, No. 2, October 1970, p. 38)


264

265

THIS LOT IS SOLD WITH NO RESERVE

THIS LOT IS SOLD WITH NO RESERVE

264 ABRAHAM WALKOWITZ 1878-1965

265

ABRAHAM WALKOWITZ 1878-1965

Isadora Duncan (set of seven works)

Three works: Head of a Man; Bathers at the Shore; Summer Interior, 1904; not dated; not dated

Graphite and watercolor on paper. Each signed “A Walkowitz” along the lower edge.

Ink on paper; ink and watercolor on paper; watercolor and graphite on paper. Signed and

10 3/8 x 30 1/2 in. (26.4 x 77.5 cm) overall.

dated “A. Walkowitz 1904” lower left and accompanied by a letter from Joseph H. Hirshhorn

Estimate $1, 0 0 0 - 2 , 0 0 0

Because of my interest in the dance Harry had them framed like this for me. Nina Abrams

to Harry Abrams dated “April 6, 1972” and adhered to the reverse; signed “A. Walkowitz” lower center; signed “A. Walkowitz” lower left. 4 1/8 x 3 3/8 in. (10.5 x 8.6 cm); 4 7/8 x 8 in. (12.4 x 20.3 cm); 5 x 7 7/8 in. (12.7 x 20 cm).

Estimate $1, 0 0 0 - 2 , 0 0 0

PROVENANCE Bathers at the Shore and Summer Interior: Bernard Danenberg Galleries inc.,

New York


266

267

THIS LOT IS SOLD WITH NO RESERVE

266 EDWARD JOHN STEVENS JR. 1923-1988

THIS LOT IS SOLD WITH NO RESERVE 267

GANDY BRODIE 1925-1975

Village Lovers, 1944

Three works: Candelabra; Nest of Eggs on Branch; Portrait of an Elderly Woman

Ink and oil on paper. Signed, titled and dated “Village Lovers Edward John Stevens Jr 1944”

Oil on canvas.

along lower edge; signed and dated “Edward John Stevens Jr. 1944” lower right.

20 1/2 x 16 1/2 in. (52.1 x 41.9 cm); 19 5/8 x 29 5/8 in. (49.8 x 75.2 cm); 51 1/4 x 38 1/4 in. (130.2 x

23 1/4 x 19 3/8 in. (59.1 x 49.2 cm).

97.2 cm).

Estimate $1, 0 0 0 -1, 5 0 0

PROVENANCE F.A.R. Gallery, New York

Estimate $ 5 0 0 -70 0


268

269

THIS LOT IS SOLD WITH NO RESERVE

268 VARIOUS ARTISTS

THIS LOT IS SOLD WITH NO RESERVE

269 ABRAHAM RATTNER 1895-1978

Three works: Two prints and a drawing

Three works: Fire with Figures: two plates; and [Woman Holding a Rooster]

Two lithographs and one india ink with watercolor drawing, on Rives BFK, wove and

Two relief prints and a screenprint in colors. Woman signed and annotated ‘To Harry and

handmade paper. Both prints signed and numbered 35/125 and 35/100 respectively

Nina Abrams our warmest wishes Ave and Esther Rattner’ in ink, Fire both signed and

in pencil, Gropper signed and titled.

annotated ‘Artist’s proof’ in pencil, one inscribed ‘To Harry and Nina with best wishes and

Various sizes.

appreciation from both Ave and Esther’, one inscribed ‘To Harry and Nina our appreciation

Estimate $1, 0 0 0 -1, 5 0 0

and best wishes Ave and Esther’ both in pencil. Various sizes.

Estimate $ 3 0 0 - 5 0 0

Including: ROBERT GWATHMEY, 1903-1988, Sharecropper, 1969; JACQUES LIPCHITZ, 1891-1973, Standing Figure; and WILLIAM GROPPER, 1897-1977, Soviet Russia, 1929


270

271

THIS LOT IS SOLD WITH NO RESERVE

270 BEN SHAHN 1898-1969

THIS LOT IS SOLD WITH NO RESERVE

271 BEN SHAHN 1898-1969

Owl No. 1, 1968

Blind Botanist, 1963

Lithograph, on Arches paper. Signed in black crayon, with the artist’s stamp in red,

Lithograph in colors, on Arches paper. Signed in red ink, from the edition

from the edition of 250, published by Friends of Chanel 13, New York.

of approximately 200.

23 7/8 x 12 1/4 in. (60.6 x 31.1 cm).

26 x 20 in. (66 x 50.8 cm).

Estimate $70 0 - 9 0 0

LITERATURE Kenneth Prescott 83

Estimate $ 8 0 0 -1, 0 0 0

PROVENANCE George Braziller, 1964 LITERATURE Kenneth Prescott 50

272

THIS LOT IS SOLD WITH NO RESERVE

272 FRITZ EICHENBERG 1901-1990 Two works: She Became a Pillar of Salt; and [Seven Dogs] by UKNOWN ARTIST Wood engraving and a woodcut, on laid and rice paper respectively. Eichenberg signed and titled in pencil, [Dogs] signed (illegibly) and inscribed ‘To Nina Abrams with love’ in red pencil. 12 3/16 x 6 in. (31 x 15.2 cm); 9 1/2 x 4 3/4 in, (24.1 x 12.1 cm).

Estimate $ 3 0 0 - 5 0 0


273

274

THIS LOT IS SOLD WITH NO RESERVE

THIS LOT IS SOLD WITH NO RESERVE 273

BENJAMIN D. KOPMAN 1887-1965

274 BENJAMIN D. KOPMAN 1887-1965

Two works: Illustrations for Crime and Punishment, not dated

Still Life with Pitcher and Fruit, 1948

Charcoal, ink and wash on paper.

Oil on canvas. Signed “Kopman” upper left.

10 5/8 x 7 1/2 in. (27 x 19.1 cm) each.

25 7/8 x 32 in. (65.7 x 81.3 cm).

Estimate $ 3 0 0 - 4 0 0

Estimate $ 4 0 0 - 6 0 0

EXHIBITED New York, The Jewish Museum, The Harry N. Abrams Family, Collection,

June 29 - September 5, 1966, no. 70


275

276

THIS LOT IS SOLD WITH NO RESERVE

THIS LOT IS SOLD WITH NO RESERVE

275 RALPH ROSENBORG 1913-1992

276 RALPH ROSENBORG 1913-1992

Two works: Purple Tree, Blue House and Sea Island Flowers, 1944; 1959

Two works: Untitled and Untitled, 1937

Oil on canvas. Signed and dated “Rosenborg 44” upper left and signed and dated

Ink and watercolor on paper. Signed and dated “Rosenborg 37” upper center; signed and

“Rosenborg 1944” on the reverse; signed and dated “Rosenborg 1959” lower left.

dated “Rosenborg 37” lower left.

25 1/8 x 10 in. (63.8 x 25.4 cm); 27 x 36 in. (68.6 x 91.4 cm).

11 3/8 x 10 1/4 in. (28.9 x 26 cm); 8 3/4 x 8 1/2 in. (22.2 x 21.6 cm).

Estimate $ 6 0 0 - 8 0 0

Estimate $ 2 0 0 - 3 0 0

277

THIS LOT IS SOLD WITH NO RESERVE

277 SUSANNA BERTGOLD; UNKNOWN ARTIST; MICHÈLE SOUTER b. 1956 Three works: A Family of Lions; Still Life; and Emotional Fish, 1990 Ink, watercolor and oil on paper; watercolor on paper; oil on paper. Unsigned; unsigned; signed and dated “Michèle Souter/1990” lower left and titled and dated “’Emotional Fish’ painted Temple Bar Dublin 1990 Ireland” on the reverse. 6 1/2 x 6 7/8 in. (16.5 x 17.5 cm); 5 x 3 1/2 in. (12.7 x 8.9 cm); 12 x 16 in. (30.5 x 40.6 cm).

Estimate $ 5 0 0 -70 0

PROVENANCE A Family of Lions: Forum Gallery, New York


278

THIS LOT IS SOLD WITH NO RESERVE 278

JANICE GARNETT FAULKNER; GIUSEPPE MEO; J. PRESCOTT Three works: Orlando Recovers His Senses; Still Life with Bottles; Untitled, 1988; 1959; 1964 Collaged paper; oil, gold and silver foil and paper collage on burlap; ink and watercolor on printed board laid on masonite. Signed, titled and dated “Janice Garnett Faulkner Dec 1988 ‘Orlando Covers His Senses’” on the reverse; signed and dated “G.N. Meo 59” lower right; signed and dated “J. Prescott LXIV” lower right. 18 x 15 in. (45.7 x 38.1 cm); 20 x 24 in. (50.8 x 61 cm); 14 7/8 x 19 7/8 in. (37.8 x 50.5 cm).

Estimate $ 5 0 0 -70 0

PROVENANCE Orlando Recovers His Senses: Roy Boyd Gallery, Chicago

279

THIS LOT IS SOLD WITH NO RESERVE 279

SALVATORE MEO 1914-2004 Three works: Big City; Prima e Dopo; Prima e Dopo, not dated; 1954; 1960 Oil and wood collage on panel; metal wire, paper and stone dust collage on fiberboard; ink and wash on cardboard. Unsigned; signed “Meo” lower right; signed, dated and dedicated “S. Meo April 1960 To My Friends the Abrams” lower right. 18 1/2 x 27 1/2 in. (47 x 69.9 cm); 29 1/4 x 39 1/4 in. (74.3 x 99.7 cm); 17 1/2 x 19 1/2 in. (44.5 x 49.5 cm).

Estimate $ 5 0 0 -70 0

PROVENANCE Prima e Dopo collage: Gift of the artist, 1960 EXHIBITED Prima e Dopo collage: Venice, XXVIII Esposizione Biennale Internazionale d’Arte—

Venezia, June - October, 1956; Venice, XXIX Biennale Internazionale d’Arte di Venezia, June - October, 1958, no. 233


280

281

THIS LOT IS SOLD WITH NO RESERVE 280

PHILIP REISMAN; UNKNOWN ARTIST

THIS LOT IS SOLD WITH NO RESERVE

1904-1992

281 BIANCA ROSOFF

Two works: Female Nude and Head of a Woman, 1938

Two works: Portait of Michael Abrams and Portait of Robert Abrams, not dated

Ink on paper; plaster. Signed, dated and dedicated “Philip Reisman 1938 – To Harry

Bronze.

Abrams” lower right.

10 x 6 1/4 x 7 in. (25.4 x 15.9 x 17.8 cm) each.

10 1/4 x 8 1/4 in. (26 x 21 cm); 19 x 9 1/2 x 11 in. (48.3 x 24.1 x 27.9 cm).

Estimate $ 2 0 0 - 3 0 0

Estimate $ 6 0 0 - 8 0 0


282

283

282

CHAIM GROSS 1904-1991

283

CHAIM GROSS 1904-1991

Mothers, 1969

Mother and Child, 1973

Bronze. Inscribed “Chaim Gross”.

Bronze. Inscribed “Chaim Gross”; also stamped with foundry mark. This work is an artist’s

17 x 5 3/4 x 7 in. (43.2 x 14.6 x 17.8 cm).

proof from an edition of 47 plus 10 artist’s proofs and was part of an Abrams Limited Edition

Estimate $ 4 , 0 0 0 - 6 , 0 0 0

in conjunction with Frank Getlein’s monograph “Chaim Gross” published in 1974. 10 3/4 x 3 3/4 x 4 1/2 in. (27.3 x 9.5 x 11.4 cm).

PROVENANCE Acquired directly from the artist

Estimate $ 2 , 0 0 0 - 3 , 0 0 0

The Renee and Chaim Gross Foundation have kindly confirmed

PROVENANCE Acquired directly from the artist

the authenticity of all of the Chaim Gross works.


284

284

CHAIM GROSS 1904-1991 Three works: Dancer; Mother Balancing Baby on Hand; Baby Balancing, 1970, 1970, 1970 Bronze. Inscribed “Chaim Gross 6/7”; inscribed “Chaim Gross 5/7”; inscribed “Chaim Gross 7/7”. These works are each from an edition of seven. 8 1/4 x 5 x 3 1/2 in. (21 x 12.7 x 8.9 cm); 4 3/4 x 4 1/2 x 3 1/2 in. (12.1 x 11.4 x 8.9 cm); 6 1/4 x 5 1/2 x 4 in. (15.9 x 14 x 10.2 cm).

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 PROVENANCE Acquired directly from the artist


285

286

THIS LOT IS SOLD WITH NO RESERVE 285

MARK TOBEY 1890-1976 Two works: On a Holy Day; and Claudia, 1970 One aquatint in colors and one offset print, on handmade and coated paper respectively. Both signed, dated and numbered 1/12 and 9/20 respectively in pencil, Holy Day published by Edition de Beauclair, Frankfurt am Main (with their blindstamp). Various sizes.

Estimate $ 3 0 0 - 5 0 0

LITERATURE Hanns H. Heidenhein 20 (Holy Day)

THIS LOT IS SOLD WITH NO RESERVE 286

IRENE RICE PEREIRA 1907-1971 Exercise in Space I, 1960 Watercolor on paper. Signed “I. Rice Pereira” lower right. 9 x 4 1/2 in. (22.9 x 11.4 cm).

Estimate $ 6 0 0 - 8 0 0

PROVENANCE Lee Nordness Galleries, New York


THIS LOT IS SOLD WITH NO RESERVE

287 SEYMOUR LIPTON 1903-1986 Oracle, 1970 Charcoal on paper. Signed, dated and dedicated “Lipton ‘70 For Harry” lower right. 26 1/4 x 20 3/4 in. (66.7 x 52.7 cm).

Estimate $1, 0 0 0 - 2 , 0 0 0

PROVENANCE Gift of the artist


288

289

THIS LOT IS SOLD WITH NO RESERVE

288 ROMARE BEARDEN 1911-1988

THIS LOT IS SOLD WITH NO RESERVE 289

RALPH GIBB

Dreams of Exile (Green Snake), 1973

Flying Fish and Shark Call, not dated

Lithograph in colors. Signed, titled and annotated ‘AP/1’ in pencil (the edition was 100).

Oil on canvas. Signed “By. Ralph Gibb” lower right and titled “Flying Fish and Shark Call”

22 x 16 5/8 in. (55.9 x 42.2 cm).

on the reverse.

Estimate $1, 0 0 0 -1, 5 0 0

LITERATURE Gail Gelburd and Alex Rosenberg 69

15 x 24 3/8 in. (38.1 x 61.9 cm).

Estimate $1, 0 0 0 -1, 5 0 0


290

HAYWOOD (BILL) RIVERS 1922-2001 Untitled (Church), not dated Oil on canvas. Signed “H. Rivers” on the reverse. 31 3/4 x 15 7/8 in. (80.6 x 40.3 cm).

Estimate $ 2 , 0 0 0 - 3 , 0 0 0


291

THIS LOT IS SOLD WITH NO RESERVE

291 MARGUERITE STIX 1908-1975 Three works: Seated Man with Child; Woman Seated at a Table; Boy with Bent Leg Bronze. 15 1/4 x 8 1/2 x 12 1/8 in. (38.7 x 21.6 x 30.8 cm); 14 x 12 1/4 x 4 in. (35.6 x 31.1 x 10.2 cm); 22 1/2 x 7 x 6 1/2 in. (57.2 x 17.8 x 16.5 cm).

Estimate $1, 0 0 0 -1, 5 0 0

292

THIS LOT IS SOLD WITH NO RESERVE

292 MARGUERITE STIX 1908-1975 Three works: Nina Walking up Stairs; Bust of Nina Abrams; Couple with Plant Bronze. 11 3/4 x 3 3/4 x 2 1/4 in. (29.8 x 9.5 x 5.7 cm); 24 1/2 x 18 1/4 x 12 in. (62.2 x 46.4 x 30.5 cm); 16 3/4 x 10 x 6 3/4 in. (42.5 x 25.4 x 17.1 cm).

Estimate $1, 0 0 0 -1, 5 0 0

PROVENANCE Nina Walking up Stairs: Gift of the artist


293

THIS LOT IS SOLD WITH NO RESERVE 293

UNKNOWN ARTISTS & WILLIAM KING b. 1925 (King) Four works: Untitled; Figure on a Bicycle; Standing Figure with Hat; Standing Figure with Yoke, not dated Clock parts, decals and mirror in resin; painted and deconstructed tin can; bronze; bronze. 5 1/4 x 11 1/4 x 1 1/4 in. (13.3 x 28.6 x 3.2 cm); 11 x 11 x 9 3/4 in. (27.9 x 27.9 x 24.8 cm); 3 1/8 x 1 1/8 x 1 in. (7.9 x 2.9 x 2.5 cm); 4 1/4 x 4 x 1 1/2 in. (10.8 x 10.2 x 3.8 cm).

Estimate $ 3 0 0 - 5 0 0

294

THIS LOT IS SOLD WITH NO RESERVE 294

UNKNOWN ARTISTS Two works: Untitled (Pitcher) and Figure with Pike, not dated Bronze; found metal objects. Inscribed “4419/A.L.M”; unsigned. 17 1/8 x 14 1/2 x 6 in. (43.5 x 36.8 x 15.2 cm); 23 1/4 x 6 3/4 x 6 in. (59.1 x 17.1 x 15.2 cm).

Estimate $ 4 0 0 - 6 0 0


295

295

JENNINGS TOFEL 1891-1959 Five works: Death Among the Survivors; Avenger in Jeopardy; Jacob and the Angel; Moses and Joshua; Two Women and One Man, 1949 (Jacob and the Angel) Oil on canvas. Signed “Tofel” lower right; signed “Tofel” lower left; unsigned; signed “Tofel” lower right; signed “Tofel” lower left. 30 x 36 in. (76.2 x 91.4 cm); 30 1/8 x 24 in. (76.5 x 61 cm); 30 x 25 in. (76.2 x 63.5 cm); 34 7/8 x 42 in. (88.6 x 106.7 cm); 30 x 24 in. (76.2 x 61 cm).

Estimate $1, 5 0 0 - 2 , 0 0 0

Painter, poet, and essayist, Jennings Tofel (1891-1959) first exhibited his intense, powerful Expressionist canvases, with their vibrant colors and haunting figures, in the New York of the twenties. He was part of the talented circle of immigrant artists (he had come to America from a little town in Poland in 1905) that included Max Weber, Ben Shahn, William Zorach, Moses and Raphael Soyer. He was protégé of Alfred Stieglitz. His last one-man exhibition was held in New York in 1958; a memorial retrospective was held in 1964. (A. Granick, Jennings Tofel, 1976, Harry N. Abrams, Inc., New York, 1976, introduction)

296

296

JENNINGS TOFEL 1891-1959 Five works: Woman Enticing Man Away from his Mother; Victor and the Vanquished; The Child Abandoned; Allegory; A Dream, 1953 (The Child Abandoned); 1943 (Allegory); 1957 (A Dream) Oil on canvas. Signed “Tofel” lower left; signed “Tofel” lower left; signed “Tofel” lower right; signed “Tofel” lower right; unsigned. 30 x 24 in. (76.2 x 61 cm); 30 x 24 in. (76.2 x 61 cm); 30 x 24 in. (76.2 x 61 cm); 33 1/8 x 39 3/4 in. (84.1 x 101 cm); 32 1/2 x 39 1/2 in. (82.6 x 100.3 cm).

Estimate $1, 5 0 0 - 2 , 0 0 0


297

THIS LOT IS SOLD WITH NO RESERVE 297

JENNINGS TOFEL 1891-1959 Four works: Group of Figures; Portrait of Nina; Portraif of Pearl. Tofel; Six Figures, 1951-1952 (Portrait of Nina); 1948 (Portrait of Mrs. Tofel) All oil on canvas except for Group of Figures which is a reproduction. Signed “Tofel” on the reverse; signed “Tofel” lower right; signed “Tofel” lower left; unsigned. 12 1/8 x 9 5/8 in. (30.8 x 24.4 cm); 24 x 18 in. (61 x 45.7 cm); 24 x 18 in. (61 x 45.7 cm); 16 x 20 in. (40.6 x 50.8 cm).

Estimate $1, 0 0 0 -1, 5 0 0

298

298

JENNINGS TOFEL 1891-1959 Six works: Standing Man, Idyll; Group of Figures; The Horse Man; Flight; A Ride in the Park; Moses and the Burning Bush, 1958 (Standing Man, Idyll); 1946 (Flight); 1947 (Moses and the Burning Bush) All oil on canvas except Group of Figures which is a reproduction. Unsigned; signed “Tofel” lower right; signed “Tofel” lower left; signed “Tofel” lower left; signed “Tofel” lower left; signed “Tofel” lower right. 14 1/8 x 18 1/8 in. (35.9 x 46 cm); 12 1/8 x 9 5/8 in. (30.8 x 24.4 cm); 24 7/8 x 30 in. (63.2 x 76.2 cm); 30 x 24 1/8 in. (76.2 x 61.3 cm); 16 1/8 x 12 1/8 in. (41 x 30.8 cm); 40 1/8 x 33 in. (101.9 x 83.8 cm).

Estimate $1, 5 0 0 - 2 , 0 0 0 EXHIBITED Moses and the Burning Bush: New York, The Jewish Museum, The Harry N.

Abrams Family Collection, June 29 - September 5, 1966, no. 146


299

300

THIS LOT IS SOLD WITH NO RESERVE 299

JAMES N. ROSENBERG 1874-1970

THIS LOT IS SOLD WITH NO RESERVE 300

JAMES N. ROSENBERG 1874-1970

Two works: Mt. Ste. Victoire and Landscape #2, 1959; 1957

Three works: Mt Ste. Victoire and the Blue Hill; Mount St. Victoire; Landscape with Red Sun,

Lithographic crayon on paper; pastel on paper. Initialed and dated “JNR Mrch 15 59” lower

1960; 1956; 1957

left and signed twice, titled, dated three times and dedicated “Mt Ste Victoire 1959 May

Pastel on cardboard; watercolor on paper; crayon and graphite on paper mounted to board.

29 1960 For Harry. The first present for the new Adirondack house JNR 1959 April JNR St.

Initialed, titled and dated “JNR 60 Mt Ste Victoire” lower left and signed, titled and dated

Victoire” on the reverse; initialed “JNR” lower left.

“Mt Ste Victoire and the Blue Hill JNR 1960” on the reverse; inscribed, signed and dated

16 3/4 x 18 1/2 in. (42.5 x 47 cm); 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm).

“For Mr. & Mrs. Harry Abrams to Harry and Nina Merry Xmas 1956 James N. Rosenberg”

Estimate $ 5 0 0 -70 0

James Rosenberg was a lawyer turned artist and founded the New Gallery in New York which specialized in showing foreign and American little-known artists. His lithograph Dies Irae (Day of Wrath) was made on the day of the Wall Street crash of 1929 and appeared on the front page of The New York Times Sunday Magazine.

on the reverse; initialed and dated “JNR 57” lower left and signed and dated “James N. Rosenberg 1957” lower right along mat. 19 7/8 x 25 7/8 in. (50.5 x 65.7 cm); 19 1/4 x 23 in. (48.9 x 58.4 cm); 18 1/2 x 20 in. (47 x 50.8 cm).

Estimate $ 6 0 0 - 8 0 0


301

302

THIS LOT IS SOLD WITH NO RESERVE 301

JAMES N. ROSENBERG 1874-1970

THIS LOT IS SOLD WITH NO RESERVE 302

JAMES N. ROSENBERG 1874-1970

Two works: Rain Adirondacks and Mt. Hurricane, 1953; 1962

Two works: Mt St. Victoire and Landscape with Trees, 1960; 1954

Oil on canvas; oil on fiberboard. Initialed “R 53” lower left and titled “Rain Adirondacks” on

Pastel on board. Signed and dated “JNR 60” lower left and inscribed, signed and dated

the reverse of the backing board; signed and dated “JNR 62” lower right and initialed, titled

“Dec 8 1960 Dear Nina: Here’s my beloved Mt Ste Victoire. Merry Xmas to all the Abrams

and dated “JNR Mt. Hurricane 62 Jan 7 ‘63” on the reverse.

James N. Rosenberg” on the reverse; initialed and dated “JNR 54” lower right.

12 x 15 7/8 in. (30.5 x 40.3 cm); 23 3/8 x 28 1/8 in. (59.4 x 71.4 cm).

19 5/8 x 25 7/8 in. (49.8 x 65.7 cm); 10 1/8 x 13 in. (25.7 x 33 cm).

Estimate $ 3 0 0 - 4 0 0

PROVENANCE Rain Adirondacks: Galerie St. Etienne, New York

Estimate $ 2 0 0 - 3 0 0


303

304

THIS LOT IS SOLD WITH NO RESERVE 303

THIS LOT IS SOLD WITH NO RESERVE

DESMOND O’NEILL

304 VARIOUS ARTISTS

Doors and Windows, not dated

Three photographs

Oil on board. Signed “Desmond O’Neill” lower right.

Two gelatin silver prints and one color photograph in artist’s frame. Litwin with printed title

14 x 31 3/4 in. (35.6 x 80.6 cm).

and annotated ‘photographed at the Institute for Advanced Studies at Princeton, N.J. Six

Estimate $ 2 0 0 - 3 0 0

months before ? death’ on an artist’s label affixed to the reverse, Haas signed and dated in

pencil and with the subject’s signature in paint on the mount. Various sizes.

Estimate $ 3 0 0 - 5 0 0

Including: WALLACE LITWIN, Portrait of Albert Einstein, 1954; ROBERT HAAS, Portrait of Arturo Toscanini, 1943; and UNKNOWN ARTIST, Camera 305 306

THIS LOT IS SOLD WITH NO RESERVE

305 VARIOUS ARTISTS Three works: Three photographs

THIS LOT IS SOLD WITH NO RESERVE

306 NORMAN ROCKWELL 1894-1978 Three works: Dinner; and two photographs of Norman and Molly Rockwell

Three black and white photographs. Soames signed, [Dancer] with ‘Thor Smith’ credit

Collotype and two color photographs. Dinner signed and inscribed ‘My dear friend, Harry

stamp on the reverse, inscribed ‘For Nina from Philip, July 9, 80’ in ink on the reverse of

Abrams Molly and I and our whole family send you our gratitude and very best wishes.

the frame, [Streetlamps] with ‘Thor Smith’ credit stamp in the margin, signed, dated and

Cordially, Norman Rockwell’ in black ink, the photographs both inscribed ‘very best wishes

numbered 3/15 in unknown hand.

to Harry and Nina, Sincerely Molly and Norman Rockwell’ in ink.

Various sizes.

Various sizes.

Estimate $10 0 - 2 0 0

Including: SALLY SOAMES, Wailing Wall; UNKNOWN ARTIST, [Dancer]; and UNKNOWN ARTIST, [Streetlamps]

Estimate $10 0 - 2 0 0


307

308

THIS LOT IS SOLD WITH NO RESERVE

THIS LOT IS SOLD WITH NO RESERVE

307 NORMAN ROCKWELL 1894-1978

308 NORMAN ROCKWELL 1894-1978

A Time For Greatness, circa 1960

Two works: Children Lined Up; and Harness Shop

Collotype. Signed and annotated ‘trial proof’ in pencil.

Two lithographs in colors, on Arches paper. Both signed and numbered 7/200 and 3/200

25 1/2 x 20 1/2 in. (64.8 x 52.1 cm).

respectively in pencil.

Estimate $ 3 0 0 - 5 0 0

Both approximately: 8 x 26 in. (20.3 x 66 cm).

Estimate $ 8 0 0 -1, 2 0 0

PROVENANCE Circle Gallery, Ltd. (1971)


THIS LOT IS SOLD WITH NO RESERVE 309

MAYBELLE STAMPER 1907-1995 Captiva Portfolio: ten works, 1947-1957 Watercolor and ink on paper. Signed, titled and dated “love Maybelle Stamper TWO ONES SLEEPING ON THE BEACH HAPPILY Captiva Aug 5 1957” lower edge; signed, titled and dated “Maybelle Stamper SWIMMING May 18 1952” lower right edge; signed, titled and dated “Stamper EVEN THE FLESH IS I. Captiva May 2, 3, April 16 1949” lower edge; signed, titled and dated “Maybelle Stamper O LOVELY DAY Captiva 1947” lower edge; signed, titled and dated “Maybelle Stamper I OPEN THE SKIES WITH MY HANDS AND ENTER WITH MY WHOLE BODY. WE ARE ONE. WE ARE ONE. Feb 19 1948 N.Y.” lower left; signed, titled and dated “Maybelle Stamper THAT WHICH WE HAD TOGETHER WHICH CAN ONLY EXIST AS A TOGETHERNESS THING IN ACTUALITY. I TAKE IT FOR MY OWN SOLITUDE IN ITS REALITY Captiva March 23 1948” lower edge; signed, titled and dated “Maybelle Stamper TWO FIGURES AT EDGE OF SEA Captiva 1947” lower edge; signed and dated “Maybelle Stamper 1948” lower right and titled “GIRL RUNNING” lower left; signed and dated “Maybelle Stamper Captiva September 22 1956” lower left edge; unsigned. 6 1/2 x 10 1/4 in. (16.5 x 26 cm) to 15 5/8 x 10 1/4 in. (39.7 x 26 cm).

Estimate $1, 0 0 0 -1, 5 0 0


310

THIS LOT IS SOLD WITH NO RESERVE

311

310 BETTY GUY Three works: House in Putnam Valley; Side Door; Wooded Landscape Watercolor and ink on paper. Signed and dated “Betty Guy in Putnam Valley New York ‘1769’ July 13th – 1983” lower right; signed and dated “Betty Guy in Putnam Valley New York ‘1969’ July 14th – 1983: lower right; signed, dated and dedicated “For Nina! Love – Betty Guy July 13th – 1983” lower center. 12 1/2 x 9 in. (31.8 x 22.9 cm); 12 3/4 x 9 3/8 in. (32.4 x 23.8 cm); 15 x 9 1/2 in. (38.1 x 24.1 cm).

Estimate $ 2 0 0 - 3 0 0

THIS LOT IS SOLD WITH NO RESERVE

311 UNKNOWN ARTIST AND PAUL HARRIS b. 1925 (Harris) Two works: With All his Bonus Points… and Woman in Pink Chair Ink, felt tip pen and gold metallic paint on board; upholstered foam figure and chair. With All his Bonus Points: inscribed “WITH ALL HIS BONUS POINTS, WE FELT IT WAS CHEAPER TO GET HIM HIS OWN PLANE” lower center. 20 x 16 in. (50.8 x 40.6 cm); 47 x 29 x 33 in. (119.4 x 73.7 x 83.8 cm).

Estimate $ 5 0 0 -70 0

312

THIS LOT IS SOLD WITH NO RESERVE

312 NIGEL VAN WIECK AND UNKNOWN ARTIST b. 1947 Two works: Castles In The Sand (Good Morning America) and Man By Window, 1991 Oil and pastel on paper; oil on canvas. Signed “Van Wieck” lower right and signed and titled “Van Wieck Castles In The Sand” on the reverse. 23 1/2 x 36 3/4 in. (59.7 x 93.3 cm); 18 1/8 x 23 7/8 in. (46 x 60.6 cm).

Estimate $ 6 0 0 - 8 0 0

PROVENANCE Castles In The Sand (Good Morning America): Tatistcheff & Company Inc.,

New York


313

314

THIS LOT IS SOLD WITH NO RESERVE

313 UNKNOWN ARTIST Untitled, not dated Rusted car hood. 48 1/2 x 39 1/2 x 18 3/4 in. (123.2 x 100.3 x 47.6 cm).

Estimate $ 2 0 0 - 3 0 0

315

THIS LOT IS SOLD WITH NO RESERVE

314 UNKNOWN ARTIST

THIS LOT IS SOLD WITH NO RESERVE

315 UNKNOWN ARTISTS

Eight works, 1967-1969

Three Untitled works

Ink, crayon, brown paper collage, gouache and watercolor on paper. Unsigned; dated “4 x

Two offset lithographs and one oil painting with electrical tape on foam board. The unique

1 1969” left edge; unsigned; dated “12 VIII 1969” center; dated “OKTOBER 1969 67” center;

work signed (illegibly) and dated ‘Feb. 28, 1965’ on the reverse.

dated “4 III 68” center; unsigned; dated “Feb. 1967” center.

Various sizes.

17 1/4 x 13 1/2 in. (43.8 x 34.3 cm) each.

Estimate $70 0 - 9 0 0

Estimate $ 3 0 0 - 5 0 0


316

317

THIS LOT IS SOLD WITH NO RESERVE

316 A.Z.; M.E.; UNKNOWN ARTIST; WILLIAM SHARP 1900-1961 (Sharp)

THIS LOT IS SOLD WITH NO RESERVE

317 GLAUCO RODRIGUES; CLEO JOHNSON; UNKNOWN ARTIST

Four works: Landscape with House; Figures in a Kitchen; Head with Machine Parts; Portrait of

1929-2004 (Rodrigues)

George Bernard Shaw, 1974 (Landscape with House); 1931 (Portrait of George Bernard Shaw)

Three works: Verão; Still Life with Flowers; Tree, 1967; 1991; not dated

Colored pencil on paper; ink and graphite on paper mounted to board; graphite on paper;

Oil on masonite; oil and paper collage on canvasboard; crewel-work on fabric. Signed

charcoal on paper laid on cardboard. Signed and dated “A.Z. 74” lower right; signed “M.E.”

and dated “Glauco Rodrigues 1967” lower center and signed, titled and dated “Glauco

lower right; inscribed “For Harry & Nina Abrams” on the reverse; signed, titled and dated

Rodrigues Verão 1967” on the reverse; signed and dated “Cleo Johnson Dec 1991” lower

“Sharp G. Bernard Shaw 31” center and lower left.

right; unsigned.

8 1/8 x 5 1/8 in. (20.6 x 13 cm); 5 3/4 x 8 1/2 in. (14.6 x 21.6 cm) paper size; 18 3/4 x 23 1/4 in. (47.6

15 3/4 x 15 3/4 in. (40 x 40 cm); 20 x 15 7/8 in. (50.8 x 40.3 cm); 25 1/8 x 24 3/8 in. (63.8 x 61.9 cm).

x 59.1 cm); 14 1/2 x 11 in. (36.8 x 27.9 cm).

Estimate $ 3 0 0 - 5 0 0

PROVENANCE William Sharp: F.A.R. Gallery, New York

Estimate $ 3 0 0 - 5 0 0


318

319

THIS LOT IS SOLD WITH NO RESERVE

THIS LOT IS SOLD WITH NO RESERVE

318 ROBERT REID 1862-1929

320

REUVEN RUBIN 1893-1974

Portrait of Harry Abrams

Portrait of Harry Abrams, 1971

Oil on canvas. Signed “Bob Reid” lower left.

Ink on paper. Signed, dated and dedicated “Rubin 1971 For Harry” lower right.

20 1/8 x 16 in. (51.1 x 40.6 cm).

17 7/8 x 23 7/8 in. (45.4 x 60.6 cm).

Estimate $10 0 -15 0

320

Estimate $ 5 0 0 -70 0

321

THIS LOT IS SOLD WITH NO RESERVE

319 MIMMO ROTELLA 1918-2006

THIS LOT IS SOLD WITH NO RESERVE 321

YAACOV AGAM b. 1928

Portrait of Harry Abrams, 1968

Three works: Portrait of Nina; Portrait of Harry; Portrait of Harry, 1975; 1974; not dated

Synthetic polymer paint and silkscreen inks on canvas. Signed and dated “Rotella/68” lower

Ink and felt tip pen on paper; ink on porcelain plate; ink on paper. Signed “Agam” center

right.

and signed, dated and dedicated “For Nina with Love Agam Box Free Restaurant 975” along

31 7/8 x 25 1/4 in. (81 x 64.1 cm).

left edge; signed and dedicated “Yaacov Agam Harry Abrams with Friendship”; dedicated

Estimate $ 8 0 0 -1, 2 0 0

“To Harry Abrams” lower left. 8 7/8 x 7 3/8 in. (22.5 x 18.7 cm); diameter 7 in. (17.8 cm); 11 x 8 1/2 in. (27.9 x 21.6 cm).

Estimate $ 6 0 0 - 8 0 0


322

THIS LOT IS SOLD WITH NO RESERVE

322 VARIOUS ARTISTS Three works: Three dedicated reproductions, circa 1970 Two offset lithographs in colors, and one screenprint on canvas. All signed and variously inscribed to Harry Abrams in ink, the Hirschfield also inscribed with a small original drawing. Various sizes.

Estimate $10 0 - 2 0 0

Including: (After) AL HIRSCHFIELD, Art of Walt Disney; (After) THOMAS HART BENTON, Self-Portrait; and PETER MAX, Woman in Profile

THIS LOT IS SOLD WITH NO RESERVE 323

VARIOUS ARTISTS Thirteen works: Various decorative prints and posters, Three lithographs (two in colors), one woodcut, five offset lithographs in colors, on various papers and four reproductive paintings in various media, on canvas and board. All signed

323

(some illegibly) and variously numbered in pencil, the painting reproductions all from the editions of 300 and signed by the producer, Gunter Dietz in ink on the reverse. Various sizes.

Estimate $ 2 0 0 - 4 0 0

Including: MARTE RÖLING, Naked Pride, 1964; YUKIHISA ISOBE, Untitled, 1965; and Classical and Contemporary Japan poster; UNKNOWN ARTIST, The Bird in Art; RAFAEL TUFINO, Colonial Arts of Latin America; UNKNOWN ARTIST, Fifty-Seven Thirty-One; (After) ROY LICHTENSTEIN, Stepping Out; (After) GEORGE SEGAL, Exhibition Poster; (After) AMADEO MODIGLIANI, Exhibition Poster; (After) PAUL KLEE, The Goldfish (painting reproduction); (After) JOAN MIRÓ, Personnages et chien devant le soleil (painting reproduction); (After) MARINO MARINI, Rider in Red; and Rider in Blue and Green (two painting reproductions)

324

325

THIS LOT IS SOLD WITH NO RESERVE

324 VARIOUS ARTISTS

THIS LOT IS SOLD WITH NO RESERVE 325

UNKNOWN ARTISTS

Three works: Two original drawings and one reproduction by animators/cartoonists

Three works: Dinosaur Diner (4 drawings); Horse in a Landscape; Birthday Greetings

One drawing in felt-tip pen on paper, one reproduction of an original drawing, and one

from Michael and Susan, no date; 1962; 1966

ink with wash drawing on paper. Mickey Mouse signed, dedicated “Vince J. Head for

Watercolor, gouache and pastel on paper; felt tip pen on paper; ink, watercolor

Home Harry” and inscribed “I’m sorry Dr. Whitmore, but Mr. Abrams insisted on his own

and newsprint collage on paper. unsigned; signed twice, dated and dedicated

attending surgeon”, Peace signed and inscribed ‘To my dear friend Harry’.

“To Harry From Jenny 62” lower left; inscribed and dated “Happy Birthday! from

Various sizes.

Michael and Susan, 1966”.

Estimate $10 0 - 2 0 0

13 3/4 x 59 3/4 in. (34.9 x 151.8 cm) overall; 8 1/2 x 10 7/8 in. (21.6 x 27.6 cm); 13 x 10 3/4 in. (33 x 27.3 cm).

Estimate $ 2 0 0 - 3 0 0

Including: VINCENT JEFFERDS, Cartoon of Mickey Mouse (Get Well Card (with Mickey); and Portrait of Harry Abrams (reproduction); and KEN ANDERSON, Peace


INDEX Acosta, E. Muñoz 155

Nevelson, L. 7, 8

Agam, Y. 15, 16, 321

Nowack, W. 156

Albers, J. 1 Anderson, K. 324

Oldenburg, C. 135, 136

Anuszkiewicz, R. 2, 3, 4, 5, 6

Olitski, J. 31

Appel, K. 141, 142, 143

O’Neill, D. 303

Arman 57, 58, 59, 60, 61 Arp, H. 209 Asian School 201

Pascin, J. 217, 218, 222, 223

Avery, M. 261

Haas, R. 304

Baj, E. 48

Harris, P. 311

Bauermeister, M. 39 Beard, P. 185 Bearden, R. 288 Benton, T. H. (After) 322 Bertgold, S. 277 Bishop, I. 259 Bombois, C. 216 Bontecou, L. 38 Brainard, J. 47 Brecht, G. 45 Brodie, G. 267 Brosk, J. 177 Burliuk, D. 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244, 245, 246, 247 Burri, A. 160 Calder, A. 120, 121, 122, 123, 124 Carrier-Belleuse, A. E. Attributed to 215 Chadwick, L. 189 Chagall, M. 196, 197 Christo 49, 50, 51, 52, 53, 54, 55, 56 Chryssa 163, 164, 165 Cid, E. 46 Cowles, R. 258 Dalí, S. 206, 207 Dalou, A. J. 225 D’Arcangelo, A. 88 Darriau, J. P. 225 Dave, S. 22A Davie, A. 111 Delaunay, S. 210 Dine, J. 98, 99, 100, 101, 102, 103, 104, 105 Drexler, R. 119

Hadzi, D. 44 Hartley, M. 260 Heyboer, A. 171 Hilu, N. 198 Hinman, C. 12 Hirsch, J. 251 Hirschfield, A. 322 Hockney, D. 162 Hughes, R. 160 Huichol Indian 182 Husain, M. F. 183 Indiana, R. 62, 63, 161 Irizarry, C. 130 Isobe, Y. 323 Jefferds, V. 324 Jenkins, P. 33, 34, 35, 36 Jensen, A. 10, 11 Johns, J. 106 Johnson, B. 118 Johnson, C. 317 Johnson, L. 255 Jones, A. 80 Kagawa, M. 175 Kaprow, A. 137 Katz, A. 138 Kelly, E. 13 King, W. 294 Kisling, M. 262 Klee, P. 208 Klee, P. (After) 323 Kooning, W. de 21 Kopman, B. 273, 274

Duncan, D. D. 205

Krieg, D. 40

Eddy, D. 166

Kumar, R. 23

Eichenberg, F. 272 Eilshemius, L. M. 252, 253, 254

Kulicke, R. 256, 257

Landsman, S. 89

Epstein, J. 186, 187

Lebduska, L. 226, 227, 228, 229, 230, 231, 232, 233

Faulkner, J.G. 278

Levy, E. 29

Francis, S. 20

Levine, J. 251 Levy, L. 29

Frankenthaler, H. 32

Lichtenstein, R. 82, 83, 84, 85, 86, 87

Geoffrey, J. I. 178

Lindner, R. 134

Giacometti, A. 194, 195 Gibb, R. 289 Goldberg, M. 22 Goldenberg, T. 176 Gottlieb, A. 24, 25, 26, 27, 28, 29 Gottlieb, E. 29 Gromaire, M. 219, 220, 221 Grooms, R. 131, 132 Gropper, W. 268 Gross, C. 282, 283, 284 Guy, B. 310 Gwathmey, R. 268

Lichtenstein, R. (After) 323 Lipchitz, J. 268 Lipton, S. 287 Litwin, W. 304 Lucebert 144, 145, 146, 147, 148 Mansouroff, P. 172 Marini, M. (After) 323 Marisol 112, 113, 114, 115, 116, 117 Markowski, E. 174 Maurer, A. H. 263 Max, P. 322 Meadmore, C. 17 Meadows, B. 188 Meo, G. 278 Meo, S. 279 Miró, J. 211, 212, 213, 214 Miró, J. (After) 323 Modigliani, A. (After) 323 Moore, H. 190, 191, 192, 193 Morris, R. 41, 42 Moskowitz, R. 43 Motherwell, R. 18, 19 Myny 170

Pearson, H. C. 173 Pereira, I. R. 286 Persian School 201 Phillips, P. 81 Picasso, P. 202, 203, 204 Pomodoro, A. 9 Ramos, M. 77 Rattner, A. 269 Rauschenberg, R. 92, 93, 94, 95, 96, 97 Reid, R. 318 Reinhardt, A. 30 Reisman, P. 280 Riley, B. 161 Rivers, H. 290 Rivers, L. 107, 108, 109, 110 Rockwell, N. 306, 307, 308 Rodrigues, G. 317 Röling, M. 323 Rosas, R. de la 182 Rosenberg, J. N. 299, 300, 301, 302 Rosenborg, R. 275, 276 Rosenquist, J. 90, 91 Rosoff, B. 281 Rotella, M. 319 Rubin, R. 199, 200, 320 Russell, C.M. 225 Soames, S. 305 Samaras, L. 37 Saura, A. 149 Schöffer, N. 157 Segal, G. 133 Segal, G. (After) 323 Shahn, B. 270, 271 Sharp, W. 316 Shingu, S. 167, 168, 169 Sierhuis, J. 150 Smith, D. 29 Sonderborg, K.R.H. 18 Souter, M. 277 Soyer, R. 248, 249, 250, 251 Stamper, M. 309 Stanley, R. 89 Steinberg, S. 125, 126, 127, 128 Stella, F. 161 Stevens Jr., E. J. 266 Stix, M. 291, 292 Tamayo, R. 181 Tinguely, J. 151, 152, 153, 154 Tobey, M. 285 Tofel, J. 295, 296, 297, 298 Toledo, F. 179, 180 Trova, E. 139, 140 Tufino, R. 323 Vasarely, V. 14 Vertes, M. 244 Villon, J. 224 Walkowitz, A. 264, 265 Warhol, A. 67, 68, 69, 70, 71 Wesley, J. 64, 65, 66, 78 Wesselmann, T. 72, 73, 74, 75, 76 Willenbecher, J. 158, 159, 160 Young, C. H. 129 Yrisarry, M. 166


PHOTOGRAPHS AUCTION 16 APRIL 2010 10am & 2pm Viewing 10 – 15 April

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1245 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

HORST P. HORST Odalisque I, New York, 1943 Estimate $12,000-18,000


GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION

∆ Property In Which Phillips de Pury & Company Has An Ownership Interest

The following pages are designed to offer you information on how to buy at auction at Phillips

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part

de Pury & Company. Our staff will be happy to assist you.

or has an economic interest in the lot equivalent to an ownership interest.

CONDITIONS OF SALE

No Reserve

The Conditions of Sale and Authorship Warranty which appear later in this catalogue

Unless indicated by a

govern the auction. Bidders are strongly encouraged to read them as they outline the legal

is the confidential value established between Phillips de Pury & Company and the seller and

relationship among Phillips, the seller and the buyer and describe the terms upon which

below which a lot may not be sold. The reserve for each lot is generally set at a percentage of

property is bought at auction. Please be advised that Phillips de Pury & Company generally

the low estimate and will not exceed the low pre-sale estimate.

, all lots in this catalogue are offered subject to a reserve. A reserve

acts as agent for the seller. 2 BIDDING IN THE SALE BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium,

Bidding At Auction

on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of

Bids may be executed during the auction in person by paddle or by telephone or prior to the

the total purchase price at the following rates: 25% of the hammer price up to and including

sale in writing by absentee bid.

$50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

BIDDING IN PERSON To bid in person, you will need to register for and collect a paddle before the auction begins.

1 PRIOR TO AUCTION

Proof of identity in the form of government issued identification will be required, as will an

Catalogue Subscriptions

original signature. We may also require that you furnish us with a bank reference. New clients

If you would like to purchase a catalogue for this auction or any other Phillips de Pury &

are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us

Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

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.

Pre-Sale Estimates

Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury &

Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high

Company staff member immediately. At the end of the auction, please return your paddle to the

and low estimate range should, in our opinion, offer a chance of success. However, many lots

registration desk.

achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us

Bidding By Telephone

closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do

If you cannot attend the auction, you may bid live on the telephone with one of our multi-

not include the buyer’s premium or any applicable taxes.

lingual 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 $1000. Telephone bids may

Pre-Sale Estimates In Pounds Sterling And Euros

be recorded. By bidding on the telephone, you consent to the recording of your conversation.

Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues

We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable

may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time

taxes, which we can execute on your behalf in the event we are unable to reach you by

of catalogue production and not at the date of auction, you should treat estimates in pounds

telephone.

sterling or euros as a guide only. Absentee Bids Catalogue Entries

If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury

Phillips may print in the catalogue entry the history of ownership of a work of art, as well as

& Company will be happy to execute written bids on your behalf. A bidding form can be found

the exhibition history of the property and references to the work in art publications. While we

at the back of this catalogue. This service is free and confidential. Bids must be placed in the

are careful in the cataloguing process, provenance, exhibition and literature references may

currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible

not be exhaustive and in some cases we may intentionally refrain from disclosing the identity

price taking into account the reserve and other bidders. Always indicate a maximum bid,

of previous owners. Please note that all dimensions of the property set forth in the catalogue

excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted.

entry are approximate.

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.

Condition Of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g.,

Employee Bidding

prints). Such references, though, do not amount to a full description of condition. The absence

Employees of Phillips de Pury & Company and our affiliated companies, including the

of reference to the condition of a lot in the catalogue entry does not imply that the lot is free

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company

reserve when submitting their absentee bids and otherwise comply with our employee bidding

may provide condition reports. In preparing such reports, our specialists assess the condition

procedures.

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

Bidding Increments

are not professional restorers or trained conservators. We therefore encourage all prospective

Bidding generally opens below the low estimate and advances in increments of up to 10%,

buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in

subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments

the case of any lot of significant value, that you retain your own restorer or professional

set below may be lowered to the next bidding increment.

advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property

$50 to $1,000

by $50s

is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed,

$1,000 to $2,000

by $100s

Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot

$2,000 to $3,000

by $200s

unframed, we will be pleased to refer the purchaser to a professional framer.

$3,000 to $5,000

by $200s, 500, 800

(i.e. $4,200, 4,500, 4,800)

Pre-Auction Viewing

$5,000 to $10,000

by $500s

Pre-auction viewings are open to the public and free of charge. Our specialists are available to

$10,000 to $20,000

by $1,000s

give advice and condition reports at viewings or by appointment.

$20,000 to $30,000

by $2,000s

$30,000 to $50,000

by $2,000s, 5,000, 8,000

Electrical And Mechanical Lots

$50,000 to $100,000

by $5,000s

All lots with electrical and/or mechanical features are sold on the basis of their decorative

$100,000 to $200,000

by $10,000s

value only and should not be assumed to be operative. It is essential that, prior to any intended

above $200,000

auctioneer’s discretion

use, the electrical system is verified and approved by a qualified electrician. The auctioneer may vary the increments during the course of the auction at his or her own Symbol Key

discretion.

The following key explains the symbols you may see inside this catalogue. 3 THE AUCTION O Guaranteed Property

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may

Conditions of Sale

be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party.

As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty.

Phillips de Pury & Company and third parties providing or participating in a guarantee may

All prospective bidders should read them carefully. They may be amended by saleroom

benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not

addendum or auctioneer’s announcement.

successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration against the final purchase price if such party is the successful

Interested Parties Announcement

bidder.

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


CONTEMPORARY ART AUCTIONS NEW YORK PART I 13 MAY 2010 7pm PART II Viewing 7 – 13 May

14 MAY 2010 10am & 2pm

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

MARK TANSEY Redeployment, 1995 (detail) Estimate $1,500,000-2,500,000


a party providing or participating in a guarantee on the lot, Phillips de Pury & Company 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. 4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States 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 licenses or permits. The denial of any required license 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, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license 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 licenses or certificates as well as any other required documentation. The denial of any required license or certificate 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.


MODERN & CONTEMPORARY EDITIONS AUCTION 6 JUNE 2010 NEW YORK Viewing 30 March â&#x20AC;&#x201C; 6 June

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1220 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

TOM WESSELMANN Nude with Bouquet and Stockings, 1992 Screenprint in colors, edition of 100 Estimate $10,000-15,000


CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship

(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which

between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on

is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone

the other hand. All prospective buyers should read these Conditions of Sale and Authorship

bidding is available for lots whose low pre-sale estimate is at least $1000. Phillips de Pury

Warranty carefully

& Company reserves the right to require written confirmation of a successful bid from a

before bidding.

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

1 INTRODUCTION

recording of the conversation.

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

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue

accepts personal liability to pay the purchase price, as described more fully in Paragraph 6

or other written material posted by Phillips de Pury & Company in the saleroom, in each case

(a) below, plus all other applicable charges unless it has been explicitly agreed in writing with

as amended by any addendum or announcement by the auctioneer prior to the auction.

Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and

By bidding at the auction, whether in person, through an agent, by written bid, by telephone

that we will only look to the principal for such payment.

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

undertaking such activity, we cannot accept liability for failure to execute such bids except

all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

where such failure is caused by our willful misconduct.

2 PHILLIPS de PURY & COMPANY AS AGENT

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in

reserve when submitting their absentee bids and otherwise comply with our employee bidding

which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or

procedures.

financial interest in a lot as a secured creditor or otherwise. 5 CONDUCT OF THE AUCTION

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

(a) Unless otherwise indicated by the symbol

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

is the confidential minimum selling price agreed by Phillips de Pury & Company with the

such description is changed or supplemented, as provided in Paragraph 1 above) and in the

seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

each lot is offered subject to a reserve, which

condition that they are in at the time of the sale on the following basis. (b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent

lot for sale (including after the fall of the hammer) if he or she believes there may be error or

on information provided to us by the seller, and Phillips de Pury & Company is not able to

dispute and take such other action as he or she deems reasonably appropriate.

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

(c) The auctioneer will commence and advance the bidding at levels and in increments he or

themselves as to the lots in which they may be interested. Notwithstanding the foregoing,

she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place

we shall exercise such reasonable care when making express statements in catalogue

one or more bids on behalf of the seller up to the reserve without indicating he or she is doing

descriptions or condition reports as is consistent with our role as auctioneer of lots in

so, either by placing consecutive bids or bids in response to other bidders.

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

(d) The sale will be conducted in US dollars and payment is due in US dollars. For the

at the time any such express statement is made.

benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly,

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

estimates in pounds sterling or euros should be treated only as a guide.

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and

its description.

responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,”

they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may

“returned to owner” or “bought-in.”

prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale

imperfections of a lot, but bidders should note that lots may have other faults not expressly

and Authorship Warranty as if sold in the auction.

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

6 PURCHASE PRICE AND PAYMENT

convey full information as to the actual condition of lots.

(a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to

estimate, whether written or oral, and information in any catalogue, condition or other report,

and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of

(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable

the selling price or value of the lot and may be revised from time to time by Phillips de Pury

law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted

& Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our

exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale

affiliated companies shall be liable for any difference between the pre-sale estimates for any

certificates from US dealers as proof of exemption from sales tax. All foreign buyers should

lot and the actual price achieved at auction or upon resale.

contact the Client Accounting Department about tax matters.

4 BIDDING AT AUCTION

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or

following the auction regardless of any intention to obtain an export or import license or other

participation in the sale. All bidders must register for a paddle prior to bidding, supplying such

permit for such lot. Payments must be made by the invoiced party in US dollars either by cash,

information and references as required by Phillips de Pury & Company.

check drawn on a US bank or wire transfer, as follows:

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid

& Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so

behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of

in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

weekday business hours.

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 any applicable sales or

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer

use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does

provides to us acceptable government issued identification. Checks and banker’s drafts

not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest

should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail,

possible price taking into account the reserve and other bidders. Any absentee bid must be

please send the check or banker’s draft to the attention of the Client Accounting Department

received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid

at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is

received will take precedence.

written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.


(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank

shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to

transfer details:

recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable

Citibank

the seller to commence legal proceedings to recover the amounts due and legal costs.

322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33

(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips

ABA Routing: 021 000 089

de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and

For the account of Phillips de Pury & Company LLC

the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in

Account no.: 58347736

any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as

Please reference the relevant sale and lot number.

the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default

(d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

to one of our affiliated companies, we will so notify the buyer. Our security interest in any

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.

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

(c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer

unconditional obligation to pay the Purchase Price.

also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the

7 COLLECTION OF PROPERTY

payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

buyer’s property has been delivered to an affiliated company by way of pledge.

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including

10 RESCISSION BY PHILLIPS de PURY & COMPANY

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

other terms as we in our sole discretion shall require, including completing any anti-money

without notice to the buyer if we reasonably believe that there is a material breach of the

laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

+1 212 940 1373 to arrange for collection of purchased property.

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the

(b) The buyer must arrange for collection of a purchased lot within five days of the date of

refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury &

the auction. Promptly after the auction, we will transfer all lots to our warehouse located

Company and the seller with respect to such rescinded sale..

at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients,

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS

Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots

Before bidding for any property, prospective buyers are advised to make their own inquiries

suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for

as to whether a license is required to export a lot from the United States or to import it into

collection within 30 days following the date of the auction. Purchased lots are at the buyer’s

another country. Prospective buyers are advised that some countries prohibit the import

risk, including the responsibility for insurance, from the earlier to occur of (i) the date of

of property made of or incorporating plant or animal material, such as coral, crocodile,

collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company

ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.

will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the

Accordingly, prior to bidding, prospective buyers considering export of purchased lots should

Purchase Price paid, subject to our usual exclusions for loss or damage to property.

familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased

export, import and endangered species licenses or permits. Failure to obtain a license or

lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling,

permit or delay in so doing will not justify the cancellation of the sale or any delay in making

insurance and shipping services or coordinate with shipping agents instructed by the buyer in

full payment for the lot.

order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and

12 CLIENT INFORMATION

responsibility, and we will not be liable for acts or omissions of third party packers or shippers.

In connection with the management and operation of our business and the marketing and

Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924

supply of auction related services, or as required by law, we may ask clients to provide

6477 at least 24 hours in advance of collection in order to schedule pickup.

personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as

(d) Phillips de Pury & Company will require presentation of government issued identification

“sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may

prior to release of a lot to the buyer or the buyer’s authorized representative.

use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express

8 FAILURE TO COLLECT PURCHASES

consent. If you would like further information on our policies on personal data or wish to make

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of

corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to

the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and

receive details of future events please call the above number.

pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer

13 LIMITATION OF LIABILITY

authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction

(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our

or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable

affiliated companies and the seller to the buyer in connection with the sale of a lot shall be

discretion. The proceeds of such sale will be applied to pay for storage charges and any other

limited to the Purchase Price actually paid by the buyer for the lot.

outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any

two years of the original auction.

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 de Pury & Company or

9 REMEDIES FOR NON-PAYMENT

any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement

or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our

fails to make payment of the Purchase Price for a lot in cleared funds within five days of the

affiliated companies in connection with the conduct of the auction or for any other matter

auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the

relating to the sale of any lot.

following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii)

(c) All warranties other than the Authorship Warranty, express or implied, including any

cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated

warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de

damages; (iii) reject future bids from the buyer or render such bids subject to payment of a

Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law.

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,

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our

exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury

affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

& Company and instruct our affiliated companies to exercise a lien over any of the buyer’s

the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss

property which is in their possession and, in each case, no earlier than 30 days from the date

or damage is characterized as direct, indirect, special, incidental or consequential, or for the

of such notice, arrange the sale of such property and apply the proceeds to the amount owed

payment of interest on the Purchase Price to the fullest extent permitted by law.

to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of

by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s

Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any

reasonable discretion, it being understood that in the event such resale is for less than the

fraud or fraudulent misrepresentation made by any of us or in respect of death or personal

original hammer price and buyer’s premium for that lot, the buyer will remain liable for the

injury caused by our negligent acts or omissions.


AUTHORSHIP WARRANTY 14 COPYRIGHT

Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a

The copyright in all images, illustrations and written materials produced by or for Phillips de

period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions

Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain

and limitations set forth below.

at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of

& Company and the seller make no representations or warranties that the buyer of a lot will

record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not

acquire any copyright or other reproduction rights in it.

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 created

15 GENERAL

prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above,

less than 50 years ago with an intent to deceive) and has a value at the date of the claim under

and Authorship Warranty set out the entire agreement between the parties with respect to the

this warranty which is materially less than the Purchase Price paid; (iii) property where the

transactions contemplated herein and supersede all prior and contemporaneous written, oral

description in the catalogue states that there is a conflict of opinion on the authorship of the

or implied understandings, representations and agreements.

property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department

whose description or dating is proved inaccurate by means of scientific methods or tests not

in charge of the sale, quoting the reference number specified at the beginning of the sale

generally accepted for use at the time of the publication of the catalogue or which were at

catalogue. Notices to clients shall be addressed to the last address notified by them in writing

such time deemed unreasonably expensive or impractical to use.

to Phillips de Pury & Company. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves (c) These Conditions of Sale are not assignable by any buyer without our prior written consent

the right, as a condition to rescinding any sale under this warranty, to require the buyer to

but are binding on the buyerâ&#x20AC;&#x2122;s successors, assigns and representatives.

provide to us at the buyerâ&#x20AC;&#x2122;s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable

produced by the buyer and reserve the right to consult our own experts at our expense. If

for any reason, the remaining provisions shall remain in full force and effect. No failure by any

Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall

party to exercise, nor any delay in exercising, any right or remedy under these Conditions of

refund to the buyer the reasonable costs charged by the experts commissioned by the buyer

Sale shall act as a waiver or release thereof in whole or in part.

and approved in advance by us.

16 LAW AND JURISDICTION

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim

(a) ThThe rights and obligations of the parties with respect to these Conditions of Sale

for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury

and Authorship Warranty, the conduct of the auction and any matters related to any of the

& Company in writing within three months of receiving any information which causes the

foregoing shall be governed by and interpreted in accordance with laws of the State of New

buyer to question the authorship of the lot, specifying the auction in which the property was

York, excluding its conflicts of law rules.

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 de Pury & Company in the

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction

same condition as at the time of its auction and is able to transfer good and marketable title in

of the (i) state courts of the State of New York located in New York City and (ii) the federal

the lot free from any third party claim arising after the date of the auction.

courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

and Authorship Warranty relate or apply.

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

(c) All bidders and sellers irrevocably consent to service of process or any other documents in

de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other

connection with proceedings in any court by facsimile transmission, personal service, delivery

remedy available as a matter of law. This means that none of Phillips de Pury & Company, any

by mail or in any other manner permitted by New York law or the law of the place of service, at

of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy

the last address of the bidder or seller known to Phillips de Pury & Company.

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.


PHILLIPS de PURY & COMPANY

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Finn Dombernowsky

Janna Bullock

Patty Hambrecht

Lisa Eisner

Charlie Horne

Lapo Elkann

Thierry Nataf

Ben Elliot

Alexander Payne

Lady Elena Foster

Rodman Primack

H.I.H. Francesca von Habsburg

Olivier Vrankrenne

Marc Jacobs

Chief Executive Officer Bernd Runge

Senior Directors

Malcolm McLaren

Michael McGinnis

Ernest Mourmans

Dr. Michaela de Pury

Aby Rosen Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

INTERNATIONAL SPECIALISTS

Berlin Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44

Buenos Aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000 Los Angeles Maya McLaughlin, International Specialist, Contemporary Art +1 323 791 1771

London Leonie Moschner, International Senior Specialist +44 7815 050 461

Milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671

Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22

Paris Edouard de Moussac, International Specialist, Contemporary Art +33 6 64 23 27 81

Johanna Frydman, Specialist, Design +33 142 78 67 77

Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805

Hong Kong/Singapore Chin-Chin Yap, International Specialist, Contemporary Art +1 347 784 6916

Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86/32

MARKETING

GENERAL COUNSEL

MANAGING DIRECTORS

Thierry Nataf, Senior Vice President

Patty Hambrecht

Charlie Horne, New York/Americas Finn Dombernowsky, London/Europe

WORLDWIDE OFFICES NEW YORK

PARIS

BERLIN

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +49 30 8800 1842 fax +49 30 8800 1843

LONDON

ZURICH

GENEVA

Howick Place, London SW1P 1BB, United Kingdom

Fraum端nsterstrasse 21, Postfach 2520, CH-8022

23 quai des Bergues, 1201 Geneva, Switzerland

tel +44 20 7318 4010 fax +44 20 7318 4011

Zurich, Switzerland

tel +41 22 906 80 00 fax +41 22 906 80 01

tel +41 43 344 86 32


SPECIALISTS AND DEPARTMENTS

CONTEMPORARY ART

MODERN AND CONTEMPORARY EDITIONS

Michael McGinnis, Senior Director +1 212 940 1254

and Worldwide Head, Contemporary Art

Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

Kelly Troester, Worldwide Co-Director +1 212 940 1221

Jannah Greenblatt +1 212 940 1332

Joy Deibert +1 212 940 1333

LONDON

NEW YORK

Peter Sumner, Head of Sales, London +44 20 7318 4063

Henry Allsopp +44 20 7318 4060

Laetitia Catoir +44 20 7318 4064

Judith Hess +44 20 7318 4705

Leonie Moschner +44 20 7318 4074

Lou Proud +44 20 7318 4018

Ivgenia Naiman +44 20 7318 4071

Sebastien Montabonel +44 20 7318 4025

Sarah Buchwald +44 20 7318 4085

Alexandra Bibby +44 20 7318 4087

Catherine Higgs +44 20 7318 4089

Emma Lewis +44 20 7318 4092

Raphael Lepine +44 20 7318 4078

Siobhan O’Connor +44 20 7318 4093

Tanya Tikhnenko +44 20 7318 4065

Phillippa Willison +44 20 7318 4070

Shlomi Rabi +1 212 940 1246

Caroline Shea +1 212 940 1247

Sarah Krueger +1 212 940 1245 Carol Ehlers, Consultant +1 212 940 1245

NEW YORK

Aileen Agopian, New York Director +1 212 940 1255

Roxana Bruno +1 212 940 1229

Timothy Malyk +1 212 940 1258

Sarah Mudge, Head of Part II Sales +1 212 940 1259

Jean-Michel Placent +1 212 940 1263

Rodman Primack +1 212 940 1256

Jeremy Goldsmith +1 212 940 1253

Maria Bueno +1 212 940 1261

Sara Davidson +1 212 940 1262

Alexandra Leive +1 212 940 1252

LONDON

NEW YORK Vanessa Kramer, New York Director +1 212 940 1243

JEWELRY Nazgol Jahan, Worldwide Director +1 212 940 1283

NEW YORK

Carmela Manoli +1 212 940 1302

Heather Zises +1 212 940 1290

Emily Bangert +1 212 940 1365

GENEVA

Carolin Bulgari +41 22 906 80 00

Peter Flores +1 212 940 1223

PHOTOGRAPHS

(Uli) Zhiheng Huang +1 212 940 1288

DESIGN Alexander Payne, Worldwide Director +44 20 7318 4052

LONDON

LONDON Lane McLean +44 20 7318 4032

THEME SALES

Domenico Raimondo +44 20 7318 4016

Ellen Stelter +44 20 7318 4021

Tobias Sirtl, London Manager +44 20 7318 4095

LONDON

Ben Williams +44 20 7318 4027

Arianna Jacobs +44 20 7318 4054

Marcus McDonald +44 20 7318 4014

George O’Dell +44 20 7318 4040

Marine Hartogs +44 20 7318 4021

NEW YORK Alex Heminway, New York Director +1 212 940 1269

Tara DeWitt +1 212 940 1265

Meaghan Roddy +1 212 940 1266

Marcus Tremonto +1 212 940 1268

Alexandra Gilbert +1 212 940 1268

Corey Barr, New York Manager +1 212 940 1234

Anne Huntington +1 212 940 1210

Stephanie Max +1 212 940 1301

PRIVATE SALES

PARIS Johanna Frydman +33 1 42 78 67 77

NEW YORK

NEW YORK Andrea Hill +1 212 940 1238 BERLIN Christina Scheublein +49 30 886 250 57


SALE INFORMATION

AUCTIONS

CATALOGUERS

Wednesday 7 April 2010 at 10am & 2pm

Maria Bueno, Paintings and Sculpture

+1 212 940 1261

Alexandra Leive, Paintings and Sculpture +1 212 940 1252 VIEWING

Jannah Greenblatt, Editions +1 212 940 1332

Saturday 27 March 10am – 6pm Sunday 28 March 12pm – 6pm

ADMINISTRATORS

Monday 29 March 10am – 6pm

(Uli) Zhiheng Huang, Paintings and Sculpture +1 212 940 1288

Tuesday 30 March 10am – 6pm

Joy Deibert, Editions +1 212 940 1220 +1 212 940 1213 fax

Wednesday 31 March 10am – 6pm Thursday 1 April 10am – 6pm

PROPERTY MANAGERS

Friday 2 April 10am – 6pm

Barrett Langlinais, Paintings and Sculpture +1 212 940 1362

Saturday 3 April 10am – 6pm

Hannah Ault, Editions +1 212 940 1284

Sunday 4 April Closed Monday 5 April 10am – 6pm

PHOTOGRAPHY

Tuesday 6 April 10am – 6pm

Kent Pell, Morten Smidt, Clint Blowers

VIEWING & AUCTION LOCATION

CATALOGUES

450 West 15 Street New York NY 10011

+1 212 940 1240

SALE DESIGNATION

catalogues@phillipsdepury.com

In sending written bids or making inquiries please refer to this

Catalogues $60/£30 at the Gallery

sale as NY010310 or The Estate of Mrs. Harry N. Abrams.

ABSENTEE AND TELEPHONE BIDS

SPECIALISTS FOR THIS SALE Sarah Mudge, Paintings and Sculpture +1 212 940 1259 Kelly Troester, Modern Editions +1 212 940 1221

bids@phillipsdepury.com

Cary Leibowitz, Contemporary Editions +1 212 940 1222

Sylvia Leitao +1 212 940 1231

Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax

CLIENT ACCOUNTING Buyers Accounts

SPECIALISTS

Nicole Rodriguez +1 212 940 1235

Rodman Primack +1 212 940 1256

Seller Accounts

Roxana Bruno +1 212 940 1229

Barbara Doupal +1 212 940 1232

Timothy Malyk +1 212 940 1258

Nadia Somwaru +1 212 940 1280

Sarah Mudge Head of Part II +1 212 940 1259 Jean-Michel Placent +1 212 940 1263

CLIENT SERVICES

Dr. Michaela de Pury Berlin +49 17 289 73611

+1 212 940 1200

Olivier Vrankenne Brussels & Paris +32 486 43 43 44 Peter Sumner Head of Day Sales London +44 20 7318 4063 Henry Allsopp London +44 20 7318 4060 Laetitia Catoir London +44 20 7318 4064

SHIPPING Beth Petriello +1 212 940 1373 Jennifer Brennan +1 212 940 1372

Judith Hess London +44 20 7318 4705 Leonie Moschner London +44 7815 050 461 Ivgenia Naiman London +44 20 7318 4071 Brooke de Ocampo London +44 777 551 7060 Fiona Biberstein Zurich +41 43 344 86 32 Katie Kennedy Perez Geneva +41 22 906 8000 Svetlana Marich Moscow +7 495 225 88 22 Maya McLaughlin Los Angeles +1 323 791 1771 Chin-Chin Yap Hong Kong/Singapore +1 212 940 1250 Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804

Front Cover Polaroid of Nina Abrams on her 90th birthday Inside Front Cover Lucas Samaras, lot 37; Robert Indiana, lot 62 Title Page Photograph of Nina Abrams in front of Robert Rauschenberg’s Third Time Painting at the Abrams Family Collection exhibition at the Jewish Museum, 1966 Introduction Saul Steinberg, lot 127 Inside Back Cover John Wesley, lot 66 Back Cover Karel Appel, lot 143


THE E S TATE OF MRS. HARRY N. ABRAMS THE E S TATE OF MR S . HARRY N. ABR AMS 7 APRIL 2010 N E W YO R K NY010 310

W W W. P H I L L I P S D E P U RY.C O M

7

APRIL

2 010

NEW YORK

The Estate of Mrs. Harry N. Abrams  
The Estate of Mrs. Harry N. Abrams  

Auction 7 April 2010 10am & 2pm New York

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