Modern & Contemporary Editions

MODERN AND CONTEMPORARY

EDITIONS JUNE

MODERN AND CONTEMPORARY

E D ITI O N S JUNE 2 2009 N E W YO R K

RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)

NY0 3 0 1 0 9

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

2

2009

N E W YO R K

Alex Katz, Ada, 1994, Lot 269 (detail) Front Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)

MODERN AND CONTEMPORARY

EDITIONS JUNE

2

2009

2pm

N E W YO R K

Viewing Wednesday May 27 – Saturday May 30 10am – 6pm Sunday May 31 Noon – 6pm Monday June 1 10am – 6pm Tuesday June 2 Noon – 2pm

1

1

LARRY ZOX 1936-2006 Silkscreen from Banners (2); Untitled (broken horizontal); Untitled (2) and Untitled suite, 1970 Eleven screenprints in colors, on wove paper, the full sheets and with full margins, all signed and variously numbered in pencil, the Untitled suite published by Chiron Press, New York (with their blindstamp), Banners published

by Multiples, Inc., New York, all with varying degrees of soiling, scuffing, soft handling and other creases (occasionally with associated ink loss), occasional minor accretions, two with tears at the sheet edges, otherwise all in good condition, all unframed. various sizes

Estimate $1,200-1,800

Sarah Morris, Rock Greek [Capital] (2002) sold at Phillips de Pury & Company, February 29 2008 [lot 343]

2

3

2

AL HELD 1928-2005 Scholes I and II, 1991 Two screenprints in colors, on Arches cover paper, with full margins, both signed and numbered 16/80 and 13/80 in pencil (there were also 15 artist’s proofs), published by the Metropolitan Museum of Art, New York (with their blindstamp), both in excellent condition, both unframed. both I. 23 1/8 x 29 in. (58.7 x 73.7 cm) both S. 28 7/8 x 34 in. (73.3 x 86.4 cm)

Estimate $1,800-2,500

3

LIAM GILLICK b. 1964 Literally No Place, 2001 The complete set of five Plexiglas and three aluminium plates in colors, signed and numbered 66/70 in black ink on the accompanying certificate (there was also an edition of 25 in Roman numerals), published by Parkett Editions, Zurich and New York, a few of the Plexiglas plates with very minor scuffing, otherwise all in very good condition, contained in original foam-lined cardboard box. all 10 x 8 1/4 x 1/8 in. (25.4 x 21 x .3 cm)

Estimate $1,200-1,800 LITERATURE Edition for Parkett 61

4

4

ANNE APPLEBY b. 1954 Jasmine, 2000 Aquatint in colors with burnishing, on wove paper, with full margins, signed, dated ‘2000’, titled and numbered 5/35 in pencil (there were also 10 artist’s proofs), published by Crown Point Press, San Francisco (with their blindstamp), in excellent condition, unframed.

I. 15 7/8 x 25 7/8 in. (40.3 x 65.7 cm) S. 28 x 38 in. (71.1 x 96.5 cm)

Estimate $800-1,000

5

5

ELLSWORTH KELLY b. 1923 Blue with Yellow (Untitled), 1965 Lithograph in colors, on Arches paper, with full margins, signed and numbered 35/90 in pencil (there were no artist’s proofs), published by Galerie Adrien Maeght, Paris, the sheet slightly toned, a crescent shaped crease at the upper right margin (near the image), affixed to the support at the reverse of the upper corners (slightly showing through), otherwise in very good condition, framed.

I. 15 1/2 x 12 1/8 in. (39.4 x 30.8 cm) S. 25 1/2 x 19 in. (64.8 x 48.3 cm)

Estimate $2,500-3,500 LITERATURE Richard Axsom 31

6

7

6

ELLSWORTH KELLY b. 1923

7

ELLSWORTH KELLY b. 1923

Untitled (Green Curve, Philadelphia), 1993

Small Black Curve, 1996

Lithograph in green, on wove paper, the full sheet, signed and annotated ‘AP XI’

Lithograph, on wove paper, with full margins, signed and numbered 18/56

in pencil (an artist’s proof, the edition was 40), in excellent condition, unframed.

in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L.,

S. 21 1/2 x 18 in. (54.6 x 45.7 cm)

Los Angeles (with their blindstamps), in excellent condition, unframed.

I. 16 x 19 1/2 in. (40.6 x 49.5 cm)

Estimate $2,500-3,500

S. 22 x 25 in. (55.9 x 63.5 cm)

Estimate $2,500-3,500

8

8

ELLSWORTH KELLY b. 1923 Orange, 2004 Lithograph in orange, on wove paper, with full margins, signed and numbered ‘AP 9/44’ (an artist’s proof, the edition was 250), published by Gemini G.E.L., Los Angeles (with their blindstamps), in excellent condition, framed.

I. 11 1/2 x 7 3/4 in. (29.2 x 19.7 cm) S. 16 x 12 in. (40.6 x 30.5 cm)

Estimate $2,000-3,000

9

9

LEON POLK SMITH 1906-1996 [3 screenprints], circa 1970 Three screenprints in colors, on heavy wove paper, the full sheets, all signed and numbered 57/150, 61/150 and 57/150 respectively, all with occasional scuffing, [Blue/Black] with a few nicks at the sheet edges (with associated ink loss), otherwise all in good condition, all unframed. all S. 33 x 23 1/4 in. (83.8 x 59.1 cm)

Estimate $1,200-1,800

10

11

10

MARY HEILMANN b. 1940 Sound of White Water; Earth/Air; African and Arbor Piece, 2000 Four lithographs in colors, on wove paper, with full margins, all signed, dated ‘00’, Sound of White Water and Earth/Air numbered 18/350 and African and Arbor Piece numbered 17/350 in pencil (there were also 10 artist’s proofs), published by the Public Art Fund, New York, all in excellent condition, all framed. all I. 22 1/2 x 34 3/8 in. (57.2 x 87.3 cm) all S. 27 x 38 3/8 in. (68.6 x 97.5 cm)

Estimate $2,000-3,000

11

MARY HEILMANN b. 1940 Hip Hop, 2002 Aquatint in colors, on Arches paper, with full margins, signed, dated ‘02’ and numbered 9/25 in pencil (there were also 8 artist’s proofs), published by Pace Editions, Inc., New York, in very good condition, framed.

I. 32 5/8 x 25 3/4 in. (82.9 x 65.4 cm) S. 39 x 30 in. (99.1 x 76.2 cm)

Estimate $1,000-1,500

12

13

12

MARYLYN DINTENFASS b. 1943

13

MARYLYN DINTENFASS b. 1943

Quadrille IV, 2002

Quadrille VI, 2002

Oil on paper monotype with hand-coloring, on Arches Cover paper, with full

Oil on paper monotype with hand-coloring, on Arches Cover paper, with full

margins, signed, dated ‘2002’ and titled in pencil, with the Lisa Mackie Studio,

margins, signed, dated ‘2002’ and titled in pencil, with the Lisa Mackie Studio,

New York, blindstamp, in excellent condition, framed.

New York, blindstamp, in excellent condition, framed.

I. 31 1/2 x 32 in. (80 x 81.3 cm)

I. 23 7/8 x 23 5/8 in. (60.6 x 60 cm)

S. 23 7/8 x 23 3/4 in. (60.6 x 60.3 cm)

S. 31 1/2 x 32 in. (80 x 81.3 cm)

Estimate $2,500-3,500

Estimate $2,500-3,500

14

∆

14

SOL LE WITT 1928-2007 Horizontal Wavy Lines, 1996 Aquatint in colors, on two sheets of Japanese paper, with full margins (printed to one side of each), signed and numbered 7/36 in pencil (there were also 8 artist’s proofs), published by One Great Jones, New York, a very faint thinned spot in the right panel at bottom right, very pale mottled staining in the top right margin, otherwise in very good condition, shrink-wrapped.

I. 20 x 94 in. (50.8 x 238.8 cm) S. 32 x 103 in. (81.3 x 261.6 cm)

Estimate $6,000-9,000

15

15

SOL LE WITT 1928-2007 Arcs from sides or corners, grids and circles series: two plates, 1972 Two screenprints in colors, on wove paper, with full margins, both signed and annotated ‘AP 6’ in pencil (the edition was 100), published by Pio Monti, Macerata, Italy, both in very good condition, both unframed. both I. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm) both S. 14 7/8 x 14 7/8 in. (37.8 x 37.8 cm)

Estimate $2,500-3,500 LITERATURE Tate Gallery S11

Including: (plate) 20. Blue grid, black circles, red arcs from four sides, and yellow arcs from four corners; and (plate) 10. Yellow grid, red circles, blue arcs from four sides, and black arcs from four corners

16

16

SOL LE WITT 1928-2007 Arcs from sides or corners, grids and circles series: two plates, 1972 Two screenprints in colors, on wove paper, with full margins, both signed and annotated ‘AP 6’ in pencil (the edition was 100), published by Pio Monti, Macerata, Italy, both in very good condition, both unframed. both I. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm) both S. 14 7/8 x 14 7/8 in. (37.8 x 37.8 cm)

Estimate $2,500-3,500 LITERATURE Tate Gallery S11

Including: (plate) 4. Black grid, blue circles, red arcs from four sides, and yellow arcs from four corners; and (plate) 24. Blue grid, red circles, yellow arcs from four sides, and black arcs from four corners

17

17

SOL LE WITT 1928-2007 Arcs from sides or corners, grids and circles series: two plates, 1972 Two screenprints in colors, on wove paper, with full margins, both signed and annotated ‘AP 6’ in pencil (the edition was 100), published by Pio Monti, Macerata, Italy, both in very good condition, both unframed. both I. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm) both S. 14 7/8 x 14 7/8 in. (37.8 x 37.8 cm)

Estimate $2,500-3,500 LITERATURE Tate Gallery S11

Including: (plate) 7. Yellow grid, black circles, red arcs from four sides, and blue arcs from four corners; and (plate) 14. Red grid, black circles, blue arcs from four sides, and yellow arcs from four corners

18

18

ROBERT RYMAN b. 1930 Prints 1969-1993 (the Catalogue Raisonné by Amy Baker Sandback) including Untitled (six original etchings), 1993 The complete set of six etchings in shades of white, plus the Catalogue Raisonné of the artist’s work from 1969-1993, the prints on wove paper, the full sheets, one print signed, dated ‘93 and numbered 41/50, the catalogue raisonné printed in an edition of 250, published by Parasol Press, New York, the prints in excellent condition, all unframed, contained in original linen-covered fold-out box with the artist’s name embossed on the front.

14 1/4 x 14 1/2 in. (36.2 x 36.8 cm)

Estimate $1,800-2,500

19

BRICE MARDEN b. 1938 Etchings to Rexroth: plate 9, 1986 Etching and aquatint, on Rives BFK paper, with full margins, signed, dated ‘89’, inscribed ‘9’ and annotated ‘PP3’ in pencil (a printer’s proof, the edition was 45 and 10 artist’s proofs), published by Peter Blum Edition, New York, the palest

19

light-staining, otherwise in very good condition, unframed.

I. 8 x 6 7/8 in. (20.3 x 17.5 cm) S. 19 1/2 x 15 3/4 in. (49.5 x 40 cm)

Estimate $2,000-3,000 LITERATURE Jeremy Lewison 40/9

20

MARK DI SUVERO b. 1933 Untitled, 1972 Torch-cut steel multiple in five pieces, signed with initials, dated and numbered 184/250 (engraved on the underside of one piece), published by Gemini G.E.L., Los Angeles (with their stamps), all pieces with varying degrees of rust and oxidation, otherwise in very good condition, contained in original cardboard box.

9 7/8 x 7 7/8 in. (25.1 x 20 cm)

Estimate $3,000-4,000 LITERATURE Gemini G.E.L. 391

The configuation of this sculpture is variable and many sizes are possible. The listed dimensions represent the sculpture at its most compact arrangement, fit together like a puzzle.

20

two configurations

21

DONALD JUDD 1928-1994 Untitled (New Museum Multiple), 1986 Folded aluminum and black Plexiglas multiple, stamped ‘JUDD Bernstein Bros.

Inc’ and numbered, 7-40 on the reverse (there were also 10 artist’s proofs), published by Brooke Alexander Editions, New York, to benefit the New Museum, New York, occasional scuffing, an abrasion in the upper panel at right and a few abrasions along the edges, otherwise in good condition.

27 3/4 x 28 x 3 in. (70.5 x 71.1 x 7.6 cm)

Estimate $20,000-30,000 LITERATURE Edition Schellmann 13

22

22

DONALD JUDD 1928-1994

23

AGNES MARTIN 1912-2004

Untitled: three plates, 1980

15A, 1973

Three aquatints, on etching paper, with full margins, all signed and numbered

Screenprint in gray, on Japanese rag paper, with full margins, signed and

135/150 (Sch. 120), 135/150 (Sch. 121) and ‘A.P. 14/20’ (Sch. 122) in pencil (the

numbered 13/50 in pencil (there were also 15 artist’s proofs lettered a-o),

edition was 150 plus 20 artist’s proofs for all), published by the artist, all with

published by Parasol Press, Ltd., New York, a few very soft handling creases,

occasional soft handling creases, (Sch. 120) with minor surface soiling, (Sch.

glued to the support at the upper sheet corners (slightly showing through),

122) with a crease at the lower right image, a few minute foxmarks in the

otherwise in very good condition, unframed.

margins, otherwise all in very good condition, two framed, one unframed.

I. 6 7/8 x 8 in. (17.5 x 20.3 cm)

all I. 24 1/2 x 29 1/2 in. (62.2 x 74.9 cm)

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

all S. 29 1/2 x 34 3/8 in. (74.9 x 87.3 cm)

Estimate $2,500-3,500 Estimate $4,000-6,000

This is a separate edition than plate 15 from On a Clear Day LITERATURE Edition Schellmann 120-22

portfolio. The paper is slightly heavier and darker.

23

24

25

24

JOSEF ALBERS 1888-1976

25

JOSEF ALBERS 1888-1976

Gray Instrumentation I: Gray Instrumentation I g, 1974

The Critic and the Visual Arts, 1965

Screenprint in colors, on Arches 88 paper, with full margins, signed, titled and

Screenprint poster in colors with text, on Rives BFK paper, with full margins

numbered 8/36 in pencil (there were also 10 artist’s proofs), published by Tyler

(folded back at top), signed, dated ‘65’ and numbered 80-100 in pencil (there

Graphics Ltd., Bedford Village, New York (with their blindstamp), an area of

were also 7 artist’s proofs), published by Ives-Sillman, Inc., New Haven (with

minor soiling in the upper grey square, two minute accretions in the upper left

their blindstamp), occasional minor scuffing and soft handling creases, soiling,

margin, otherwise in very good condition, framed.

staining and creasing in the margins, folded under at the upper sheet (approx.

I. 11 x 11 in. (27.9 x 27.9 cm)

20 in.), taped to the overmat at the reverse of the upper and center edges,

S. 19 x 19 in. (48.3 x 48.3 cm)

otherwise in good condition, framed.

I. 25 x 25 in. (63.5 x 63.5 cm)

Estimate $1,000-1,500

S. 40 x 29 5/8 in. (101.6 x 75.2 cm)

LITERATURE Tyler Graphics 25; Brenda Danilowitz 225.7

Estimate $1,000-1,500 LITERATURE Brenda Danilowitz 166

26

26

JOSEF ALBERS 1888-1976 I-S e, 1970 Screenprint in colors, on German Etching paper, with full margins, signed with initials, dated ‘70’, titled and numbered 82/125 in pencil (there were no artist’s proofs), published by Ives-Sillman, Inc., New Haven (with their blindstamp), slight rippling, two minor creases at the upper center and left center margins (near the image, but not distracting), a small pale foxmark in the left margin, otherwise in good condition, framed.

I. 13 5/8 x 13 5/8 in. (34.6 x 34.6 cm) S. 21 1/2 x 21 1/2 in. (54.6 x 54.6 cm)

Estimate $1,000-1,500 LITERATURE Brenda Danilowitz 194

27

28

27

JOSEF ALBERS 1888-1976

28

JOSEF ALBERS 1888-1976

Six Variants portfolio: I-S Va 3, 1969

Six Variants portfolio: I-S Va 2, 1969

Screenprint in colors, on Arches paper, with full margins, signed, dated ‘69’,

Screenprint in colors, on Arches paper, with full margins, signed, dated ‘69’,

titled and numbered 89/150 in pencil (there were no artist’s proofs), published

titled and numbered 41/150 in pencil (there were no artist’s proofs), published

by Ives-Sillman, Inc., New Haven (with their blindstamp), light-staining, two soft

by Ives-Sillman, Inc., New Haven (with their blindstamp), pale light- and mat

handling creases and a pressure mark in the center of the bright green area, a

staining, a few very minor handling creases in the margins, a few nicks in places

scuff in the center image (mainly visible in raking light), a soft crease and mat

along the sheet edges, otherwise in good condition, framed.

staining along the extreme right sheet edge, otherwise in good condition, framed.

I. 21 1/2 x 29 7/8 in. (54.6 x 75.9 cm)

I. 24 x 27 3/4 in. (61 x 70.5 cm)

S. 27 7/8 x 35 3/8 in. (70.8 x 89.9 cm)

S. 27 7/8 x 35 5/8 in. (70.8 x 90.5 cm)

Estimate $1,000-1,500 Estimate $1,000-1,500 LITERATURE Brenda Danilowitz 192.2 LITERATURE Brenda Danilowitz 192.3

29

30

29

SEAN SCULLY b. 1945 Untitled (Working Proof for π), 1994 Unique etching and aquatint in black and gray with collage, on Somerset and wove paper, with full margins, signed, dated ‘94’, annotated ‘working proof’ and with pencil notations in pencil (a unique work, apart from the final edition of 98 and 18 artist’s proofs), published by Bernd Klüser, Munich, occasional soiling and staining in the margins, otherwise in very good condition, framed.

I. 15 7/8 x 19 3/4 in. (40.3 x 50.2 cm) S. 22 1/4 x 31 in. (56.5 x 78.7 cm)

Estimate $5,000-7,000 LITERATURE see Dominique Tonneau-Ryckelynck 94005

30

JAMES SIENA b. 1958 Shifted Lattice, 2006 Screenprint in colors, on wove paper, with full margins, signed, dated ‘06’ and numbered 4/118 in pencil (there were also 18 artist’s proofs), published

by Lincoln Center List Poster and Print Program, New York, in excellent condition, unframed.

I. 30 x 23 1/2 in. (76.2 x 59.7 cm) S. 36 1/2 x 28 3/4 in. (92.7 x 73 cm)

Estimate $900-1,200

31

31

FRANK STELLA b. 1936

32

FRANK STELLA b. 1936

Imaginary Places: Calvinia, 1995

Angriff, from Conspiracy: The Artist as Witness portfolio, 1971

Mixed media print in colors, on handmade paper, the full sheet, signed, dated

Screenprint, on Fabriano paper, with full margins, signed, dated ’71 and

‘95’ and numbered 16/50 in pencil (there were also 16 artist’s proofs), published

numbered 38/150 in pencil (there were also 25 artist’s proofs), published by David

by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), soiling

R. Godine Publishers and the Center for Constitutional Rights, New York, a small

at the left sheet edges, otherwise in very good condition, unframed.

pale white scuff in the top outermost black band of the square, a pale black

S. 20 5/8 x 52 in. (52.4 x 132.1 cm)

scuff above the square (measuring 3/8 in.), hinged to the support at the reverse of the upper corners (with slight puckering showing through on the front),

Estimate $5,000-7,000

otherwise in good condition, unframed.

I. 10 x 10 1/2 in. (25.4 x 26.7 cm) S. 18 x 24 in. (45.7 x 61 cm)

Estimate $700-900 LITERATURE Richard Axsom appendix I.C

32

33

33

HOWARD HODGKIN b. 1932 Lotus, 1980 Screenprint in colors with embossing, on Arches mould-made paper, with full margins, signed, dated ‘80’ and numbered 42/100 in pencil (there were also 15 artist’s proofs), published by Bernard Jacobson Ltd., London, in excellent condition, unframed.

I. 29 x 36 in. (73.7 x 91.4 cm) S. 31 1/2 x 42 in. (80 x 106.7 cm)

Estimate $1,200-1,800 LITERATURE Liesbeth Heenk p. 222

34

34

SAM FRANCIS 1923-1994 Blue Blood Stone, 1960 Lithograph in colors, on Rives BFK paper, the full sheet, signed and numbered 20/50 in pencil (there were also an unknown number of artist’s proofs), published

by Kornfeld and Klipstein, Bern, the sheet slightly toned, soiling along the edges, otherwise in very good condition, framed.

S. 35 5/8 x 24 7/8 in. (90.5 x 63.2 cm)

Estimate $2,000-3,000 LITERATURE Connie Lembark L7

35

35

SAM FRANCIS 1923-1994 Poèmes dans le ciel: Untitled, 1986 Lithograph in colors, on Rives BFK paper, the full sheet, signed and annotated ‘CTP’ in pencil (one of four presumably unique color trial proofs, the edition was 176), published by Philosophie des Arts and Francis Delille, Paris, in excellent condition, framed.

S. 30 x 22 1/2 in. (76.2 x 57.2 cm)

Estimate $2,000-4,000 LITERATURE Connie Lembark L 269

36

37

36

ROBERT MOTHERWELL 1915-1991

37

ROBERT MOTHERWELL 1915-1991

El General, 1980

Easter Day, 1979, 1980

Lithograph in black an cream, on Kisuki Hanga Dosa handmade paper, the full

Lithograph, on Lana paper, with full margins, signed and numbered 2/75 in pencil

sheet, signed and numbered 2/49 in pencil (there were also 16 artist’s proofs in

(there were also 18 artist’s proofs in Roman numerals), published by Tyler

Roman numerals), published by Tyler Graphics, Ltd, Bedford Village, New York

Graphics, Ltd., Bedford Village, New York (with their blindstamps), a few pale

(with their blindstamp), in very good condition, unframed.

scuffs in the margins, otherwise in very good condition, unframed.

S. 40 1/2 x 37 1/4 in. (102.9 x 94.6 cm)

I. 33 3/4 x 22 1/4 in. (85.7 x 56.5 cm) S. 39 x 30 in. (99.1 x 76.2 cm)

Estimate $1,200-1,600 Estimate $1,000-1,500 LITERATURE Siri Engberg and Joan Banach 246 LITERATURE Siri Engberg and Joan Banach 244

38

38

ROBERT MOTHERWELL 1915-1991 Untitled, from New York Portfolio, 1982 Lithograph in colors with embossing, on Arches Cover mould-made paper, the full sheet, signed and numbered 136/250 in pencil (there were also a total of 70 artist’s proofs), published by New York Graphic Society, Greenwich, Connecticut, occasional soft handling creases, creasing at the lower right corner, hinge remains on the reverse of the corners (one with associated skinning, two with associated staining slightly showing through on the front), otherwise in good condition, unframed.

S. 30 x 22 3/8 in. (76.2 x 56.8 cm)

Estimate $800-1,000 LITERATURE Siri Engberg and Joan Banach 293

39

39

VICTOR VASARELY 1908-1997

40

VICTOR VASARELY 1908-1997

Kedzi, 1990

Untitled, 1990

Wood multiple with acrylic paint in colors, annotated ‘E.A.’ in black ink

Wood multiple with acrylic paint in colors, signed and numbered 49/175 in black

(an artist’s proof, the edition was 175), a few small scuffs (some with associated

ink, a few small areas of paint loss in places along the edges, a small raised area

paint loss, primarily at the edges), minor soiling, otherwise in very good condition.

at the lower right corners of the front and back sides (with associated rubbing,

26 1/8 x 25 1/4 x 3 1/4 in. (66.4 x 64.1 x 8.3 cm)

minor paint loss and soiling), the wood grain showing through in places, otherwise in very good condition.

Estimate $3,000-5,000

20 3/4 x 24 x 3 1/8 in. (52.7 x 61 x 7.9 cm)

Estimate $2,000-3,000

40

41

Vasarely felt that art that required interpretation based on experience would not be mass art, he chose to use forms that would provide only visual sensations. He has advocated the return of art to its role as an integral part of life and has conceived of his images as infinitely multipliable in prints, sculptures, games and architectural environments. Since his imagery is modular and serial, it has the capacity for almost limitless variation. (Riva Castleman Modern Art in Prints, Museum of Modern Art, New York, 1973, p. 60)

42

41

VICTOR VASARELY 1908-1997 Sku (multiple) and [Untitled] (print), circa 1970 Wood multiple with acrylic paint in colors plus one screenprint in colors, on wove paper, the full sheet, both signed in black ink, the multiple presumably a proof apart from the numbered edition of 200, the print numbered 23/75 in black pen, the multiple with surface soiling, crushed at lower right corner (with associated minor paint loss and cracking), very minor rubbing and paint loss in places along the edges, the print with occasional soiling, a tear and split in the lower sheet, minor scuffing in places at the edges, old hinge remains in places along the reverse of the edges (a few with associated skinning), otherwise both in good condition, the print framed. multiple: 17 3/4 x 9 3/4 x 2 in. (45.1 x 24.8 x 5.1 cm) print S. 14 5/8 x 9 1/2 in. (37.1 x 24.1 cm)

Estimate $2,000-3,000

42

VICTOR VASARELY 1908-1997 Figure 8, circa 1970 Wood multiple with acrylic paint in colors, numbered 29/175 in black ink, surface soiling, several abrasions, scuffs and pressure marks (occasionally with associated paint loss), paint loss in places along the edges (several touched-in), otherwise in good condition.

26 7/8 x 13 1/4 x 2 3/8 in. (68.3 x 33.7 x 6 cm)

Estimate $1,500-2,500

43

43

HARRY BERTOIA 1915-1978 Untitled, circa 1955 Monoprint, on buff Japanese paper, the full sheet, a slight crease at the lower left sheet, otherwise in very good condition, framed.

S. 14 1/4 x 20 1/2 in. (36.2 x 52.1 cm)

Estimate $2,500-3,500

•

44

44

HARRY BERTOIA 1915-1978 Untitled, circa 1955 Monoprint, on Japanese paper, the full sheet, occasional soft handling creases, the palest mat staining, a small pale moisture stain at the lower right corner, otherwise in good condition, framed.

S. 12 7/8 x 24 1/4 in. (32.7 x 61.6 cm)

Estimate $2,500-3,500

•

Harry Bertoia, Water Sculpture for the National Penn Bank, Boyertown, Pennsylvania, 1974

45

45

HARRY BERTOIA 1915-1978 Untitled, circa 1955

In metal you have to go slowly, deliberately, you have to think out

Monoprint, on Japanese paper, with full margins, in excellent condition, framed.

I. 11 x 23 1/2 in. (27.9 x 59.7 cm) S. 13 1/4 x 24 7/8 in. (33.7 x 63.2 cm)

Estimate $2,500-3,500

The graphics are, perhaps, complimentary to the metal work.

•

most clearly what you want to do, because it’s too tough to make changes, and you try to avoid making any changes. In the graphic it is really the opposite. It’s like a dream—you go fast, you draw lines, planes, smudges, throw ink, and so forth—so it becomes some kind of somnambulistic medium—as if you were asleep and you are doing it with no effort at all—it’s a wonderful feeling.

Harry Bertoia, lecture at Virginia Museum of Fine Arts, 1961

46

HARRY BERTOIA 1915-1978 Untitled (group of 6), circa 1955 Six monoprints, on thin Japanese paper, with uneven margins or the full sheet, all with the ‘Harry Bertoia monoprint’ stamp on the reverse, all in very good condition, all unframed.

I. various sizes all S. approx. 7 1/2 x 5 1/2 in. (19.1 x 14 cm)

Estimate $3,000-4,000

•

Bertoia’s works on paper are usually classified either as drawings or monoprints. Each is a single print, not part of an edition. He often referred to graphics as ‘notes for future reference.’They are separate but parallel activity to his sculpture, serving as a font of ideas for metal pieces.The germ of each sculpture can be found somewhere within the graphics, although in some cases there is a lapse of time of up to thirty years between two- and threedimensional versions of an idea.The sureness of line throughout Bertoia graphics gives them the strength even in the most sensitive areas…In 1943, Harry Bertoia sold 100 monoprints to Hilla Rebay, director ofThe Solomon R. Guggenheim Musem of Nonobjective Paintings, New York City. (Nancy N. Schiffer and Val O. Bertoia, The World of Bertoia, Schiffer Publishing Ltd., Atglen, Pennsylvania, 2003, pp. 19 and 21) Harry Bertoia, Pod style abstract form of stainless steel bundled wire, 1967

47

Stanley William Hayter was one of the 20th century’s most influential printmakers. At Atelier 17, the studio he set up in Paris in 1927, he helped Picasso, Giacometti, Miró and others to create prints with an emphasis on experimentation in intaglio printmaking.

From 1940-50 he lived in New York, where he re-established his workshop and was part of the Surrealist and Abstract Expressionist movements. Alexander Calder, Roberto Matta, Jackson Pollock, Robert Motherwell, Adolph Gottlieb, Mark Rothko and de Kooning, among others came to work with him. …Greens, blacks, oranges, pinks, violets and yellows created offharmonies unusual in intaglio printing, or in any printing for that matter. I can remember artists and critics in the late 1940s agreeing that Hayter was a wonderful engraver but that he had ‘no colour sense’. Then, almost 20 years later, Op Art appeared with its psychedelic colors, fluorescent accents swelling moiré patterns and all-over optical dazzle. Hayter appeared as a precursor in the use of dissonant colours, though he had in mind psychological justness rather than mere ocular sensation. (Jacob Kainen The Prints of Stanley William Hayter: A Complete Catalogue, Peter Black and Désirée Moorhead, Phaidon Press Limited, London, 1992, p. 16)

48

47

STANLEY WILLIAM HAYTER 1901-1988

48

STANLEY WILLIAM HAYTER 1901-1988

Winged Figures (Personnages ailés), 1952

Octopod, 1948-49

Engraving, etching and scorper in colors, on wove paper, with full margins,

Engraving, etching and scorper, on Cranach paper, with full margins, one of

signed, dated ‘52’, titled and annotated ‘Essai de Couleurs’ in pencil (a color trial

three proofs with scorper, a rich impression, the final edition was 50 and 5

proof, the edition was 90 and 15 artist’s proofs), published by Kornfeld and

artist’s proofs, minor soiling, creasing and spots of stray printing ink in the

Klipstein, Bern, a small pale moisture stain at the upper right image corner and

margins, a pressure mark in the lower left margin, paper loss at the lower right

surrounding margin, occasional pale staining, soiling and soft rubbing in the

corner, soiling on the reverse, otherwise in good condition, unframed.

margins, two repaired tears at upper right, soiling on the reverse, otherwise in

I. 14 7/8 x 17 5/8 in. (37.8 x 44.8 cm)

good condition, framed.

S. 20 x 24 3/4 in. (50.8 x 62.9 cm)

I. 15 3/4 x 12 7/8 in. (40 x 32.7 cm) S. 23 3/4 x 19 3/4 in. (60.3 x 50.2 cm)

Estimate $1,500-2,500

Estimate $2,500-3,500

LITERATURE Peter Black and Désirée Moorhead 188

LITERATURE Peter Black and Désirée Moorhead 205

49

50

49

STANLEY WILLIAM HAYTER 1901-1988 Death by Water, 1948 Engraving and scorper with plate tone, on Lauriat paper, with full margins (the plate printed at a slight diagonal), signed, titled and numbered 21/50 in pencil (there were also 5 artist’s proofs and a second edition of 25 in Roman numerals printed in 1976), a stray printing ink and soiling in the margins (particularly at the sheet edges), paper loss at the lower right corner, a few tears, repaired tears and paper losses at the sheet edges, hinge remains on the reverse of the upper corners, otherwise in good condition, framed.

I. 14 x 23 1/4 in. (35.6 x 59.1 cm) S. 20 x 25 7/8 in. (50.8 x 65.7 cm)

Estimate $1,500-2,500 LITERATURE Peter Black and Désirée Moorhead 186

50

STANLEY WILLIAM HAYTER 1901-1988 Night Moth, from Laurels Number One portfolio, 1946 Engraving with aquatint, etching and scorper in colors, on Kochi paper, with full margins, signed and numbered 144/300 in pencil (there were also 5 artist’s proofs), published by the Laurel Gallery, New York, the palest light-staining, a spot of stray printing ink in the upper margin (at the platemark), a small foxmark at the upper left margin, minor soiling in the margins, pale mat staining along the left and right edges, adhesive remains at the upper center and reverse of the center left and right edges, otherwise in very good condition, unframed.

I. 5 7/8 x 4 1/2 in. (14.9 x 11.4 cm) S. 11 1/2 x 8 5/8 in. (29.2 x 21.9 cm)

Estimate $600-800 LITERATURE Peter Black and Désirée Moorhead 171

51

STANLEY WILLIAM HAYTER 1901-1988 Island, 1968 Engraving with etching and scorper in colors, on Rives BFK paper, with full margins, signed, dated ‘68’, titled and numbered 21/50 in pencil (there were also 5 artist’s proofs), occasional soft rubbing, surface soiling and soft handling creases in the margins, the palest time staining, taped to the support at the upper corners, otherwise in good condition, framed.

I. 16 3/4 x 17 1/4 in. (42.5 x 43.8 cm) S. 25 1/2 x 19 1/4 in. (64.8 x 48.9 cm)

Estimate $600-800 LITERATURE Peter Black and Désirée Moorhead 322

51

52

53

52

JOSEF ALBERS 1888-1976

53

GÜNTHER FÖRG b. 1952

Schwarzer Kreis/Black Circle, 1933

Untitled 1 and 2, 1990

Woodcut, on calendered wove paper, with full margins, signed, dated and titled

Two woodcuts in colors, on wove paper, with full margins, both signed, dated

in German in pencil, from the edition of probably 20, printed at Ullstein Press,

‘90’ and numbered 12/20 in pencil, published by Santa Monica Editions,

Berlin, pale light-staining, a few small accretions in places at the center left,

California, soft creasing in places along the sheet edges, otherwise in excellent

upper left image and lower margin (with associated staining surrounding),

condition, both unframed.

occasional creasing in the margins, tape remains along the reverse of the upper

both I. 95 3/4 x 48 in. (243.2 x 121.9 cm)

sheet edge, otherwise in good condition, framed.

both S. 100 x 52 in. (254 x 132.1 cm)

I. 10 1/4 x 14 1/8 in. (26 x 35.9 cm) S. 14 x 19 3/4 in. (35.6 x 50.2 cm)

Estimate $3,000-5,000 LITERATURE Brenda Danilowitz 59

Estimate $5,000-7,000

54

55

54

LOUISE NEVELSON 1899-1988 Night Leaf, 1969 Cast polyester multiple in black, signed and annotated ‘A/P’ in black ink on a label affixed to the reverse (one of 25 artist’s proofs, the edition was 150), published by Pace Editions, Inc., New York, minor surface soiling, adhesive remains on the reverse, otherwise in very good condition, framed.

12 3/4 x 12 3/4 x 2 1/4 in. (32.4 x 32.4 x 5.7 cm)

Estimate $2,000-3,000 LITERATURE Gene Baro 121

56

55

HANS (JEAN) ARP 1886-1966 Le Voilier dans la forêt: Voilier IV, 1957 Woodcut in colors, on Rives BFK paper, with full margins, signed and numbered 18/50 in pencil, a few soft handling creases at the upper sheet, mat staining at the extreme sheet edges and on the reverse, otherwise in good condition, framed.

I. 5 3/8 x 4 7/8 in. (13.7 x 12.4 cm) S. 14 7/8 x 11 in. (37.8 x 27.9 cm)

Estimate $700-900 LITERATURE Wilhelm Arntz 218

56

LEE KRASNER 1908-1984 Embrace, 1974 Screenprint in colors, on wove paper, the full sheet, signed and numbered 157/200 in pencil, occasional minor scuffing, several areas of soiling (primarily near the sheet edges), offsetting on the reverse, otherwise in very good condition, framed.

S. 39 7/8 x 24 7/8 in. (101.3 x 63.2 cm)

Estimate $900-1,200

57

57

JOAN MITCHELL 1926-1992 Arbres (Triptych), 1991 Three lithographs in colors, on Arches paper, the full sheets, all signed and numbered variously from the edition of 125 in pencil (there were also 25 artist’s proofs), published by Editions de la Différence, Paris, all with very minor soiling (primarily along the sheet edges), otherwise all in very good condition, all unframed. all S. 30 x 22 in. (76.2 x 55.9 cm)

Estimate $3,000-4,000

Including: Arbres (Black, Yellow and Blue); Arbres (Black and Yellow) and Arbres (Black and Red)

58

58

JOAN MITCHELL 1926-1992 Bedford Series: Sides of a River I, 1981 Lithograph in colors, on Arches 88 paper, with full margins, signed and numbered 66/70 in pencil (there were no artist’s proofs), published by Tyler Graphics Ltd., Bedford Village, New York (with their blindstamp), in excellent condition, framed.

I. 39 x 28 in. (99.1 x 71.1 cm) S. 42 1/2 x 32 1/2 in. (108 x 82.6 cm)

Estimate $2,000-3,000 LITERATURE Tyler Graphics 366

59

60

59

JOAN MITCHELL 1926-1992

60

JOAN MITCHELL 1925-1992

Champs (Gray, Black and Yellow), 1991

Champs (Gray, Black and Green), 1991

Lithograph in colors, on wove paper, the full sheet, signed and numbered 11/125

Lithograph in colors, on wove paper, the full sheet, signed and numbered 90/125

in pencil (there were also 25 artist’s proofs), published by Editions de la

in pencil (there were also 25 artist’s proofs), published by Editions de la

Différence, Paris, staining in areas along the left sheet edge, otherwise in very

Differénce, Paris, minor soiling, mat staining along the left sheet edge,

good condition, framed.

otherwise in very good condition, framed.

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

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

Estimate $1,200-1,500

Estimate $1,200-1,500

61

61

JAMES BROOKS 1906-1992 Concord, from America: The Third Century, 1975 Screenprint in colors, on wove paper, with full margins, signed, dated ‘75’ and numbered 184/200 in pencil (there were also 25 artist’s proofs), published by APC Editions, New York, in excellent condition, unframed.

I. 28 1/2 x 20 1/2 in. (72.4 x 52.1 cm) S. 30 x 22 in. (76.2 x 55.9 cm)

Estimate $500-700

62

WILLEM DE KOONING 1904-1997 Landing Place, 1971 Lithograph, on Akawara paper, with full margins, signed, dated ‘70’ and numbered 50/54 in pencil (there were 15 artist’s proofs), published by Knoedler, New York, in excellent condition, framed.

I. 23 3/8 x 31 1/2 in. (59.4 x 80 cm) S. 28 x 37 in. (71.1 x 94 cm)

Estimate $4,000-6,000 LITERATURE Lanier Graham 6

63

64

63

AFTER WILLEM DE KOONING 1904-1997 Guild Hall East Hampton, 1970

64

PHILIP GUSTON 1913-1980 August, from Four on Plexiglas, 1966

Offset lithograph in colors with text, on smooth wove paper, with full margins,

Screenprint, on Plexiglas, the full sheet, signed and numbered 72/125, inscised

signed and numbered 76/100 in pencil, occasional soiling and soft creasing

into the Plexiglas (there were also 16 artist’s proofs), published by Muliples, Inc.,

(primarily in the margins), two small pale blue stains at the lower right and left

New York, soft scuffing, otherwise in very good condition, framed.

edges, the palest mat staining on the reverse, taped to the overmat at the

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

reverse of the center and upper edges, otherwise in good condition, framed.

I. 27 1/8 x 37 1/8 in. (68.9 x 94.3 cm) S. 32 7/8 x 39 in. (83.5 x 99.1 cm)

Estimate $2,000-3,000

Estimate $2,000-3,000

65

CONRAD MARCA-RELLI 1913-2000 Autumn suite, 1974 The complete set of six lithographs with collage in colors, various papers and fabrics, with full margins, all signed, dated ‘70’ and variously numbered in pencil, from the edition of 50 (there were no recorded artist’s proofs), published

by Marlborough Graphics, New York, all with occasional minor creasing, the colored papers slightly attenuated, a few with soiling and the collage lifting in places, otherwise all in good condition, contained in original linen-covered portfolio with artist’s name embossed on the front.

27 7/8 x 20 3/4 in. (70.8 x 52.7 cm)

Estimate $4,000-6,000

66

67

Lucio Fontana, Concetto Spaziale, 1960, oil on canvas

66

TERRY WINTERS b. 1949

67

GÜNTHER FÖRG b. 1952

Metal Virus, 2003

Untitled (bronze), 1988

Mixograph in metallic ink, on handmade paper, with full margins, signed with

Unique bronze relief with black patina, incised with signature and dated ‘1988’,

initials, dated ‘2003’ and numbered 47/75 in pencil (there were also 7 artist’s

in excellent condition.

proofs), published by Mixografia, Los Angeles, in excellent condition, framed.

46 3/4 x 31 1/4 in. (118.7 x 79.4 cm)

I. 32 7/8 x 25 in. (83.5 x 63.5 cm) S. 37 x 28 3/4 in. (94 x 73 cm)

Estimate $2,500-3,500

Estimate $3,000-4,000

68

LEE BONTECOU b. 1931 An Untitled Print, 1981-82 Lithograph in colors, on Rives paper, with full margins, signed, dated ‘81-82’ and numbered ‘2-3 P.P.’ in pencil (a printer’s proof, the edition was 14 and 5 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with

An Untitled Print is the largest ‘worldscape’ print Lee Bontecou has produced and shows the influence of her summers spent in Nova Scotia while growing up and her fascination with nature and marine life. Her father invented the first all-aluminum canoe and her

their blindstamp), occasional creasing in the margins, an area of rubbing and

mother worked in a factory which wired submarine transmitters

skinning at the right sheet edge, otherwise in very good condition, framed.

during World War II.

I. 87 7/8 x 38 1/8 in. (223.2 x 96.8 cm) S. 93 x 42 in. (236.2 x 106.7 cm)

Estimate $9,000-12,000

Artist-critic Donald Judd, writing about Bontecou’s work in 1965, remarked on its ability to encompass “something as social as war to something as private as sex, making one an aspect of the other.”

LITERATURE Esther Sparks 34

Despite his overriding fascination with the powerful objecthood and materialty of Bontecou’s sculpture, Judd could not help but point to its allusive qualities. The distinctive sensibility and highly personal vocabulary of forms and images in Bontecou’s work have distinguished it even at points where it has coincided with directions explored by her contemporaries or resonated with the concerns and approaches of artists of a younger generation.

(Elizabeth A.T. Smith, Lee Bontecou, A Retrospective, Museum of Contemporary Art, Chicago, and UCLA Hammer Museum,

False Harbor, Yarmouth, Nova Scotia, photograph by Margaret Bontecou

Los Angeles, Harry N. Abrams, Inc., New York, 2003, p. 170)

69

69

JULIE MEHRETU b. 1970 Rogue Ascension, 2002 Lithograph in colors, on Somerset Satin white paper and Denril vellum, with full margins, signed, dated ‘02’ and numbered 13/35 in pencil (there were also 7 artist’s proofs), published by the New Museum, New York, pinned to the support at the upper corners, otherwise in very good condition, framed.

I. 20 3/4 x 28 1/4 in. (52.7 x 71.8 cm) S. 24 1/2 x 32 in. (62.2 x 81.3 cm)

Estimate $4,000-6,000

70

70

JULIE MEHRETU b. 1970 Fracture, 2007 Etching with aquatint in colors, on wove paper, with full margins, signed, dated ‘2007’ and numbered 31/45 in pencil (there were also 12 artist’s proofs), published by Burnet Editions, New York (with their blindstamp), in excellent condition, unframed.

I. 15 3/4 x 19 1/2 in. (40 x 49.5 cm) S. 23 1/4 x 28 in. (59.1 x 71.1 cm)

Estimate $4,000-6,000

71

71

JULIE MEHRETU b. 1970 Untitled, 2006 Etching, engraving and drypoint in colors, on Somerset textured white paper, with full margins, signed and numbered 22/60 in pencil (there was also an edition of 25 in Roman numerals), published by Parkett Editions, Zurich and New York, in excellent condition, unframed.

I. 16 x 19 1/2 in. (40.6 x 49.5 cm) S. 23 1/8 x 28 1/8 in. (58.7 x 71.4 cm)

Estimate $4,000-6,000 LITERATURE Edition for Parkett 76

72

72

PAT STEIR b. 1938 Burial Mound, 1976 The complete set of seven etchings in sepia, on HMP handmade paper, with full margins, all signed, dated ‘76’ and annotated ‘LP imp.’ in pencil on the reverse (a printer’s proof, the edition was 35 and 5 artist’s proofs), published by Landfall Press, Chicago, all in excellent condition, loose, contained in original linen covered portfolio box.

11 3/4 x 11 3/4 in. (29.8 x 29.8 cm)

Estimate $2,000-3,000 LITERATURE Joseph Ruzicka 23-29

Including: Space III; Little Line II; Identity 6; I Don’t Know?; Being 5; Meaning 4 and Introduction 1

73

73

JOYCE KOZLOFF b. 1942 Pictures and Borders III, 1977 Screenprint in colors, on Arches paper, with full margins, signed, titled, dated ‘1977’ and numbered 43/50 in pencil on the reverse, a spot of soiling at the upper center margin, a few soft handling creases and spots of stray printing ink in the margins, otherwise in very good condition, unframed.

I. 28 1/8 x 16 5/8 in. (71.4 x 42.2 cm) S. 30 x 22 1/2 in. (76.2 x 57.2 cm)

Estimate $600-800

74

RICHARD TUTTLE b. 1941 Censorship portfolio, 2003 The complete set of seven lithographs in colors with embossing, on Lana gravure paper, with full margins or the full sheet, all signed with initials, dated ‘03’ and numbered 25/34 in pencil (there were also 8 artist’s proofs), published

by Universal Limited Art Editions, West Islip, New York (all with their blindstamp), all in excellent condition, each enclosed in original labeled paper folder and contained in original wood veneer-covered foamcore box with title and embellishment on the front (adhesive remains on front lower right).

19 1/2 x 20 in. (49.5 x 50.8 cm)

Estimate $3,000-4,000

Including: Monday; Tuesday; Wednesday; Thursday; Friday; Saturday and Sunday

75

76

75

JOAN MIRÓ 1893-1983 Series II: blue and red, 1961

76

JOAN MIRÓ 1893-1983 International Rescue Committee, 1966

Lithograph in colors, on wove paper, the full sheet, signed and annotated ‘HC’

Lithograph in colors, on Arches vellum paper, with full margins, signed and

in pencil (an hors-commerce copy, the edition was 30), published by Maeght,

numbered 86/250 in pencil (there was also an edition of 50 on Richard de Bas

Paris, occasional soft handling creases, pale mat and time staining, the colors

paper), published by the International Rescue Committee, Washington D.C.,

slightly faded, a crease at the lower right corner, hinged to the support in

pale light-staining, a small pale stain at the center right sheet edge, otherwise

places along the reverse of the upper sheet edge (with slight puckering on the

in good condition, framed.

front), otherwise in good condition, framed.

I. 13 5/8 x 19 5/8 in. (34.6 x 49.8 cm)

S. 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm)

S. 19 1/2 x 25 1/2 in. (49.5 x 64.8 cm)

Estimate $800-1,200

Estimate $2,000-4,000

LITERATURE Maeght Editeur 293; see Patrick Cramer books 69

LITERATURE Maeght Editeur 459

77

78

77

JOAN MIRÓ 1893-1983 Ubu Roi: Untitled (plate 13), 1966

78

JOAN MIRÓ 1893-1983 Ubu aux Baléares: two plates, 1971

Lithograph in colors, on wove paper, with full margins, signed and numbered

Two lithographs in colors, on Arches paper, with margins (deckle at bottom

7/75 in pencil (there was also an edition of 205 with smaller margins),

edges), both signed and numbered 51/120 (there were also 6 hors commerce

published byTériade, Paris, a small abrasion at the upper center margin (less

in Roman numerals), published byTériade, Paris, both with a few foxmarks,

than 1/8 in.), the palest mat staining, otherwise in very good condition, framed.

otherwise both in very good condition, both unframed.

I. 16 x 24 3/8 in. (40.6 x 61.9 cm)

both S. 19 3/4 x 25 7/8 in. (50.2 x 65.7 cm)

S. 21 x 29 3/8 in. (53.3 x 74.6 cm)

Estimate $2,500-3,500 Estimate $5,000-7,000 LITERATURE Maeght Editeur 773 and 786; see Patrick Cramer books 146 LITERATURE Maeght Editeur 498; see Patrick Cramer books 108

79

INKA ESSENHIGH b. 1969 Country Western; Devil on the Highway; Beachscene and Tornado, 2001 Four etchings in brown, green/black, sienna and indigo respectively, on Somerset paper, with full margins, all signed, dated ‘2001’ and numbered 8/25 in pencil (there were also 6 artist’s proofs), published by Burnet Editions, New York (with their blindstamp), all in excellent condition, all framed. all I. 8 7/8 x 6 7/8 in. (22.5 x 17.5 cm) all S. 15 3/4 x 12 3/4 in. (40 x 32.4 cm)

Estimate $5,000-7,000

80

80

POL BURY 1922-2005 Guggenheim, 1972 Lithograph in colors, on wove paper, with full margins, signed and numbered 24/250 in white pencil, published by Maeght Editions, Paris, in excellent condition, framed.

I. 24 3/4 x 34 1/2 in. (62.9 x 87.6 cm) S. 25 3/8 x 35 1/8 in. (64.5 x 89.2 cm)

Estimate $400-600

81

82

81

ANISH KAPOOR b. 1954 Les objets d’artistes: A Vase, 1993 The complete three part vase consisting of two frosted-glass vessels and one terra cotta base, incised ©ANISH KAPOOR 1993 BELGIUM on the underside of the terra cotta base, from the edition of unlimited size, published by Slegten &Toegemann, Brussels, with minor soiling, otherwise in very good condition, lacking booklet and box. configured without base: 11 x 5 1/2 x 5 1/2 in. (27.9 x 14 x 14 cm) configured with base: 5 1/2 x 9 x 8 in. (14 x 22.9 x 20.3 cm)

Estimate $4,000-6,000

82

ANISH KAPOOR b. 1954 Untitled #6, 1988 Aquatint and etching in colors, on Auvergne à la main laid paper, with full margins, signed, dated ‘1988’, annotated ‘(6)’ and numbered 4/20 in pencil (there were also 10 artist’s proofs), published by Crown Point Press, San Francisco (with their blindstamp), hinge remains on the reverse of the upper corners (showing through with rippling on the front), otherwise in very good condition, unframed.

I. 17 1/4 x 13 1/2 in. (43.8 x 34.3 cm) S. 25 3/4 x 19 3/4 in. (65.4 x 50.2 cm)

Estimate $1,500-2,000

83

83

DANIEL SENISE b. 1955 Menina/osso/cão; Flor and Levitação, 1999 Three aquatints in colors (two with embossing), on wove paper, with full

84

margins, all signed, dated ‘99’ and numbered ‘P.A V/V’ (Menina numbered ‘P.A. IV/V’) in pencil, published by Poligrafa, Barcelona, Menina with occasional creasing and soiling in the margins (particularly the left margin), a tear at the lower right margin corner, Flor with minor creasing and soiling in the margins, Levitação with soiling and creasing in the margins, particularly the lower margin, otherwise all in good condition, all unframed.

Menina I. 19 1/2 x 35 1/2 in. (49.5 x 90.2 cm) Menina S. 25 3/4 x 41 1/8 in. (65.4 x 104.5 cm) Flor I. 26 3/4 x 21 1/2 in. (67.9 x 54.6 cm) Flor S. 34 3/4 x 26 5/8 in. (88.3 x 67.6 cm) Levitação I. 22 1/2 x 30 1/4 in. (57.2 x 76.8 cm) Levitação S. 28 1/2 x 36 in. (72.4 x 91.4 cm)

Estimate $2,000-3,000

84

SERGIO HERNÁNDEZ b. 1957 [Sin título] and [Sin título], circa 1985

85

Two etching and aquatints in colors, on wove paper, with full margins, both signed and numbered 16/20 and 13/20 in pencil, occasional soft creasing, foxmarks and minor soiling in the margins, one with a crease at the upper left corner, otherwise both in very good condition, both unframed. both I. 13 1/2 x 9 5/8 in. (34.3 x 24.4 cm) both S. 20 7/8 x 15 1/4 in. (53 x 38.7 cm)

Estimate $800-1,000

85

JOSÉ BEDIA b. 1959 [Man] and [Woman], circa 1990 Two screenprints in silver ink, on watercolor paper, the full sheets, both signed and numbered 45/100 in pencil, published by Villalobos Serigrafia Artstica SL., Pontevedra, Spain (with their stamp on the reverse), both with occasional scuffing, a tear at upper right, [Man] with a small spot of white ink at lower center image, the paper splitting at upper right, otherwise both in good condition, both unframed. both S. 10 7/8 x 13 7/8 in. (27.6 x 35.2 cm)

Estimate $200-400

86

87

86

MARCO ARCE b. 1968

87

JULIÃO SARMENTO b. 1948

Circulo rojo; Tigre con conejo and [Untitled], 2006

The House with the Upstairs in it, 1996-98

Nine etchings (three triptychs) with hand-painting in colors, on wove paper, the

The complete set of eight etchings, on Somerset paper, with full margins,

full sheets, one of each three signed, two sets each annotated ‘1/3’-’3/3’

with accompanying text by Stuart Morgan, all signed, dated ‘96/98’ and

respectively in pencil on the reverse, all with minor soiling and spots of stray ink,

numbered 23/26 in pencil, also numbered on a label affixed to the folder,

otherwise all in very good condition, all unframed.

published by London Projects, London, all in excellent condition, loose,

all overall: 5 x 21 in. (12.7 x 53.3 cm)

contained in original black portfolio folder.

16 3/4 x 13 1/2 in. (42.5 x 34.3 cm)

Estimate $2,500-3,500 Estimate $1,800-2,500

88

alternate view

89

88

TAKASHI MURAKAMI b. 1962

89

TAKASHI MURAKAMI b. 1962

Oval (Peter Norton Christmas Project 2000, 2000

Jellyfish Eyes, 2002

Polychromed plastic containing a mini cd, from the edition of 3,000, published

Offset lithograph in colors, on glossy wove paper, the full sheet, with the artist’s

by the Peter Norton Family Christmas Project, in very good conditon.

swirl symbol in black ink within the image, numbered 145/250 in black ink on a

11 x 7 1/2 x 7 in. (27.9 x 19.1 x 17.8 cm)

label affixed to the reverse, published by Kaikai Kiki, Tokyo, in excellent condition, framed, contained in artist’s original circular frame and cardboard

Estimate $2,000-3,000

shipping box.

S. diameter: 22 in. (55.9 cm)

Artwork ©2000 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

Estimate $2,500-3,500 Artwork ©2002 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

90

90

TAKASHI MURAKAMI b. 1962 Tan Tan Bo and Jellyfish, 2004 Two offset lithographs in colors, on smooth wove paper, the full sheets, Tan Tan Bo signed, dated ‘04’ and numbered 20/300 in black ink, Jellyfish signed and numbered ‘87/300’ in black ink, both published by Kaikai Kiki, Tokyo, Tan Tan Bo taped to the overmat along the reverse of the center sheet edges, Jellyfish with a soft handling crease at the center left, otherwise both in very good condition, Tan Tan Bo framed, Jellyfish unframed.

Tan Tan Bo S. 25 7/8 x 39 1/4 in. (65.7 x 99.7 cm) Jellyfish S. 27 1/4 x 27 1/4 in. (69.2 x 69.2 cm)

Estimate $2,000-2,500 Artworks ©2001-2 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

91

91

TAKASHI MURAKAMI b. 1962 Reversed Double Helix Mega Power and Reversed Double Helix, 2005 Two offset lithographs in colors, on smooth wove paper, the full sheets, both signed and numbered 35/300 and 216/300 in black marker, published by Kaikai Kiki, Tokyo, (not Mega) with a repaired tear at lower right, slight creasing at the lower corners, otherwise in excellent and very good condition respectively, both framed.

Mega S. 28 1/4 x 28 1/4 in. (71.8 x 71.8 cm) (not Mega) S. 40 1/2 x 28 1/2 in. (102.9 x 72.4 cm)

Estimate $1,500-2,500 Artworks ©2005 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

92

TAKASHI MURAKAMI b. 1962 Here Comes Media and Kiki with Moss, 2001 and 2004 Two offset lithographs in colors, on smooth wove paper, the full sheets, both signed and numbered 59/300 and 38/300, published by Kaikai Kiki, Tokyo, Media with several soft handling creases and abrasions (with associated ink loss), creasing and ink loss at the lower left corner, wear along the sheet edges, Kiki with very slight wear at the lower corners, otherwise in good and very good condition respectively, both framed.

Media S. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm) Kiki S. 27 x 27 1/8 in. (68.6 x 68.9 cm)

Estimate $1,500-2,500 Artworks ©2000-2001 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

92

93

93

TAKASHI MURAKAMI b. 1962 Homage to Francis Bacon (Study of Isabel Rawsthorne), 2004 Offset lithograph in colors, on smooth wove paper, the full sheet, signed, dated ‘04’ and numbered 220/300 in silver ink, published by Kaikai Kiki, Tokyo, minor creasing in the lower right corner, otherwise in very good condition, framed.

S. 26 7/8 x 26 7/8 in. (68.3 x 68.3 cm)

Estimate $1,000-1,500 Artwork ©2002 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

94

TAKASHI MURAKAMI b. 1962 727-727, 2007

94

Offset lithograph in colors, on smooth wove paper, with full margins, signed and numbered 11/300 in silver ink, published by Kaikai Kiki, Tokyo, a tear at the lower right corner, minor creasing at the corners, minor wear in places along the sheet edges, otherwise in good condition, framed.

I. 25 1/4 x 38 3/4 in. (64.1 x 98.4 cm) S. 25 3/4 x 39 1/4 in. (65.4 x 99.7 cm)

Estimate $1,200-1,800 Artwork ©2006 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

95

96

95

TAKASHI MURAKAMI b. 1962

96

TAKASHI MURAKAMI b. 1962

Hiropon and My Lonesome Cowboy, 2001

I open wide my eyes but see no scenery. I fix my gaze upon my heart. and My arms

Two offset lithographs in colors, on smooth wove paper, the full sheets, both

and legs rot off and though my blood rushes forth, the tranquility of my heart shall

signed and numbered 116/300 and 107/300 in black marker, published by Kaikai

be prized above all., 2007

Kiki, Tokyo, Cowboy with a small mark at the upper right corner, otherwise both

Two offset lithographs in colors, on smooth wove paper, the full sheets, both

in very good conditon, framed.

signed, dated and numbered 66/330 and 65/300 in silver ink respectively,

both S. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm)

published by Kaikai Kiki, Tokyo, My arms… with scuffing at the upper right corner, a soft handling crease at the lower left, a soft crease at the upper left

Estimate $1,000-1,500

corner, otherwise both in very good condition, both unframed. both S. approx. 27 1/2 x 32 in. (69.9 x 81.3 cm.)

Artworks ©1997-1998 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

Estimate $1,500-2,500 Artworks ©2007 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

97

98

97

TAKASHI MURAKAMI b. 1962 AND THEN Ichimatsu Pattern, 2006 Offset lithograph in colors, on smooth wove paper, the full sheet, signed and numbered 227/300 in silver ink, published by Kaikai Kiki, Tokyo, compound creasing in the upper right corner, otherwise in good condition, unframed.

S. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm)

Estimate $1,000-1,500 99 Artwork ©2006 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

98

TAKASHI MURAKAMI b. 1962 Backbeard, 2004 Offset lithograph in colors, on smooth wove paper, the full sheet, signed, dated ‘04’ and numbered 178/300 in silver ink, published by Kaikai Kiki, Tokyo, in excellent condition, unframed.

S. 26 7/8 x 26 7/8 in. (68.3 x 68.3 cm)

Estimate $700-900 Artwork ©2003 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

99

TAKASHI MURAKAMI b. 1962 72727, 2001 Laser print in colors, on smooth wove paper, with full margins, signed and numbered 25/105 in pencil, published by Kaikai Kiki, Tokyo, in excellent condition, unframed.

I. 14 5/8 x 9 3/8 in. (37.1 x 23.8 cm) S. 16 1/2 x 11 5/8 in. (41.9 x 29.5 cm)

Estimate $400-600 Artworks ©2001 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

100

100

TAKASHI MURAKAMI b. 1962 Superflat Museum, 2000 Sixteen plastic shokugan figurines in colors, sealed in their original plastic packaging, published by Kaikai Kiki, Tokyo, all in excellent condition, each contained in the original printed cardboard boxes. various sizes

Estimate $600-900 Artworks ©2000 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

Including: Melting DOB/Shine; Melting DOB/Positive; Kaikai Kiki & Flower/Moss; Kaikai Kiki & Flower/Pink; Shacho; Masamune & Spica; Flower Ball/Gold; Flower Ball/Silver; Mr. DOB & Mushrooms/Light Blue; Mr. DOB & Mushroom/Indigo; Rumble-kun in a Jar; Mushrooms; Mr. Oval the Mediator; Miss Ko2 and Machikado-kun.

101

101

DAVID WOJNAROWICZ 1954-1992

102

PAUL LAFFOLEY b. 1940

Four Elements: Fire and Water, 1990-91

The Alchemy of Breathing and Geochronmechane, 1992

Lithograph in colors, on Rives BFK paper, the full sheet, signed, dated ‘1990’,

Two screenprints in colors and metallic inks, on wove paper, Alchemy signed,

titled and numbered X/XVI in pencil (there was also an edition of 24 in Arabic

dated ‘1992’ and numbered 7/75 in pencil, both with the palest mat staining,

numerals), co-published by Normal Editions Workshop and Illinois State

both with minor soiling and soft rubbing in the margins, Geochron with pale

University, Normal, Illinois, in excellent condition, framed.

scattered moisture staining in areas in the margins, a few nicks and creases

S. 22 1/2 x 29 3/4 in. (57.2 x 75.6 cm)

along the sheet edges, otherwise in good condition, both unframed.

Estimate $1,500-2,000

Alchemy S. 24 3/4 x 31 1/8 in. (62.9 x 79.1 cm)

Alchemy I. 20 3/8 x 27 1/8 in. (51.8 x 68.9 cm) Geochron I. 28 x 28 in. (71.1 x 71.1 cm) Geochron S. 32 3/8 x 32 in. (82.2 x 81.3 cm)

Estimate $500-700

102

103

104

detail of lot 103

103

DO HO SUH b. 1962 Untitled, 1998 Lithograph in blue/black, on wove paper, with full margins, signed, dated ‘98’ and annotated ‘A.P’ in pencil (one of three artist’s proofs, there was no edition), published by the artist, in excellent condition, framed.

I. 20 7/8 x 29 1/4 in. (53 x 74.3 cm) S. 22 x 30 in. (55.9 x 76.2 cm)

Estimate $2,000-3,000

104

PETER DOIG b. 1959 Untitled, 2006 Lithograph in colors, on Somerset paper, with full margins, signed, dated and annotated ‘PP1’ in pencil (the edition was 20 and 10 artist’s proofs in Roman numerals), published by Landfall Press, Santa Fe (with their copyright stamp on the reverse), a few soft handling creases, otherwise in very good condition, unframed.

I. 37 3/4 x 24 in. (95.9 x 61 cm) S. 42 x 28 1/4 in. (106.7 x 71.8 cm)

Estimate $3,000-5,000

105

105

JANE HAMMOND b. 1950 The Wonderfulness of Downtown, 1997 Lithograph and screenprint in colors with collage, on hand-torn Kasuiri, Nepalese and Cortlea Text paper, the full sheet, signed, titled, dated ‘1996’ and numbered 42/50 in black marker (there were also 10 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York, (with their blindstamp), in excellent condition, framed.

S. 59 1/4 x 62 in. (150.5 x 157.5 cm)

Estimate $4,000-6,000

106

106

AFTER RENEÉ MAGRITTE 1898-1967 Magritte III: 8 lithographies portfolio, 2003 Eight lithographs in colors, on Rives BFK paper, with full margins, signed on reverse by the publisher in pencil, numbered on the colophon and each with initial and numbered 267/300 in pencil (there were also 45 hors-commerce copies), published by Philippe Moreno, Paris, each with two Magritte Estate blindstamps, all in excellent condition, loose, contained in original textured red leather-covered folder with title, artist’s name and publisher embossed in gold on the front.

20 1/8 x 25 1/8 (51.1 x 63.8 cm)

Estimate $3,000-4,000

Based on the original gouache paintings: La bataille de l’argonne, 1964; Le château des pyrénées, 1959; La voix du sang, 1959; Le bouquet tout fait, 1957; La belle captive, 1931; Golconde, 1953; Le printemps, 1965 and La page blanche, 1967.

107

108

107

ED RUSCHA b. 1937 Pico, Flower, Figueroa, from the MoCA portfolio, 1999

108

HAMISH FULTON b. 1946 Twilight Horizon, 1988

Aquatint and etching in colors, on wove paper, with full margins, signed, dated

Woodcut in colors, on Japanese cream paper, with full margins, numbered 36/50

‘1999’ and annotated ‘P.P. 1’ in pencil (a printer’s proof, the edition was 80 and

in pencil, a few faint pressure marks in places along the lower sheet edge,

12 artist’s proofs), published by Lapis Press, Los Angeles (with their blindstamp),

otherwise in very good condition, framed.

to celebrate the twentieth anniversary of the Museum of Contemporary Art,

I. 8 1/8 x 11 1/2 in. (20.6 x 29.2 cm)

Los Angeles, in excellent condition, unframed.

S. 10 1/4 x 13 1/8 in. (26 x 33.3 cm)

I. 15 1/2 x 22 5/8 in. (39.4 x 57.5 cm) S. 22 1/4 x 30 in. (56.5 x 76.2 cm)

Estimate $1,500-2,000

Estimate $500-700

109

110

109

LAURA OWENS b. 1970 Untitled, 2004

∆

110

THOMAS RUFF b. 1958 Nacht photos: Nacht 7 I, 1993

Etching aquatint in colors with air-brush, on Somerset paper, the full sheet,

Grano-lithograph in colors, on Biber GS 300g paper, with full margins, signed

signed, dated ‘2004’, titled and numbered 2/35 in pencil on the reverse (there

and numbered 22/45 in pencil on the reverse (there were also 8 artist’s proofs),

were also 10 artist’s proofs), published by Simmelink/Sukimoto Editions,

published by Edition Schellmann, Munich and New York, a small accretion

Kingston, New York, in excellent condition, framed.

and a few pressure marks in the lower margin, otherwise in very good

S. 33 x 29 1/4 in. (83.8 x 74.3 cm)

condition, framed.

Estimate $3,500-4,500

S. 28 x 29 1/4 in. (71.1 x 74.3 cm)

I. 23 1/4 x 24 1/2 in. (59.1 x 62.2 cm)

Estimate $1,500-2,500

•

111

112

111

APRIL GORNIK b. 1953

112

APRIL GORNIK b. 1953

Rain and Dust, 1985

Cascading Waterfall, 1998

Etching and aquatint in colors, on wove paper, with full margins, signed, dated

Etching and aquatint, on wove paper watermark rooster, with full margins,

‘1985’ and numbered 10/70 in pencil (there were an unrecorded number of artist’s

signed, dated ‘1998’ and titled in pencil, published by the Print Club of Cleveland

proofs), published by Hudson River Editions, Inc., South Nyack (with their

(with their blindstamp), soft handling creases in the margins, a crescent shaped

blindstamp), commissioned by the Jane Vorhees Zimmerli Art Museum,

crease in the lower center margin, otherwise in very good condition, unframed.

occasional soft rubbing in the margins, otherwise in very good condition,

I. 14 3/4 x 23 3/4 in. (37.5 x 60.3 cm)

unframed.

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

I. 24 3/4 x 34 1/2 in. (62.9 x 87.6 cm)

Estimate $400-600

S. 31 x 42 3/8 in. (78.7 x 107.6 cm)

Estimate $700-900

113

113

VARIOUS ARTISTS Sonsbeek Portfolios: Grafiekmap 1, 2 and 3, 1993 The complete three sets of five prints in various media (fifteen total prints), on various papers and one on fabric, with full margins or the full sheets, all signed, dated and numbered 16/60 in pencil (the Ruppersberg in black ink), published by Sonsbeek, Arnhem, Netherlands, all in excellent condition, loose, contained in original cardboard folders screenprint on the front (scuffing).

21 x 26 1/2 in. (53.3 x 67.3 cm)

Estimate $1,200-1,800

Including: Grafiekmap 1: Pepe Espaliú; Christine & Irene Hohenbüchler; Mike Kelley; Mark Manders and Eran Schaerf Grafiekmap 2: Christina Assmann & Andreas Siekmann; Miroslaw Balka; Kamagurka; Juan Muñoz and Allen Ruppersberg Grafiekmap 3: Mario Airó; Alighiero e Boetti; Mark Dion; Anna Gudjónsdótter & Till Krause and RW van de Wint

114

114

GEORG BASELITZ b. 1938

115

ARNULF RAINER b. 1929

45-Dezember I & II; Grün I and Der Berg, 1989-91

Violette Furchen (Dark red); Roter Acker (Light red); Kopf Dahinter (Bright red,

Four woodcuts in green (Der Berg in green and black), on wove paper, with full

large plate); Gekaemmt Bauch (Middle red) and Untitled (Black), 1971-73

margins, all signed, dated ‘90’ or ‘91’ and numbered 11/30 (three) and 10/30 in

Five etchings in colors, on wove paper with rooster watermark, with full margins,

pencil, the three with adhesive remains at the reverse of the upper corners

each signed and numbered 32/35 (Black numbered 27/50) in pencil, published

(with associated skinning), otherwise all in very good condition, three unframed,

by Sabina Knust Maximilian Verlag Editions, Munich, all with occasional soft

one framed.

handling creases in the margins (mainly visible in raking light), Black with

Der Berg I. 39 1/2 x 27 3/8 in. (100.3 x 69.5 cm)

very minor soiling in the margins, otherwise all in very good condition, four

Der Berg S. 40 1/2 x 29 3/8 in. (102.9 x 74.6 cm)

unframed, one framed.

three I. 24 1/2 x 11 3/4 in. (62.2 x 29.8 cm)

all I. various sizes

three S. 33 7/8 x 24 in. (86 x 61 cm)

four S. 30 3/4 x 20 3/4 in. (78.1 x 52.7 cm) Black S. 25 1/2 x 19 3/4 in. (64.8 x 50.2 cm)

Estimate $3,000-5,000 Estimate $1,500-2,000

115

116

117

116

FRANZ WEST b. 1947 Untitled (Lamp), 1989 Welded iron multiple, electrical fittings, published by Metamemphis, Milan, in good condition.

23 x 74 x 1 in. (58.4 x 188 x 2.5 cm)

Estimate $5,000-7,000

117

FRANZ WEST b. 1947 Untitled (Lamp), 1989 Welded iron multiple, electrical ceiling fittings, published by Metamemphis, Milan, in good condition.

76 1/4 x 13 1/2 x 14 in. (193.7 x 34.3 x 35.6 cm)

Estimate $5,000-7,000

118

118

JORGE PARDO b. 1963 Untitled (In Honor of Scott Burton), from 1989 portfolio, 2000 Chromogenic print in colors, on Fugicolor crystal archive paper, the full sheet, signed and numbered 14/75 in black marker (there were also 12 artist’s proofs), published by the Estate Project for Artists with AIDS and Alliance for the Arts, New York, in excellent condition, unframed.

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

Estimate $500-700

119

VITO ACCONCI b. 1940 Stones for a Wall set, 1977 The complete set of ten lithographs in colors, on handmade paper, the full sheets, all signed, dated, titled and annotated ‘RTP-STONES FOR A WALL: APPROVED’ in pencil (the right-to-print proof, the edition was 10 and 1 artist’s proof), published by Landfall Press, Chicago (with their blindstamp and copyright stamp on the reverse), all with minor surface soiling and occasional stray printing ink at the sheet edges and on the reverse, otherwise all in very good condition, all unframed. all S. 30 x 23 3/8 in. (76.2 x 59.4 cm)

Estimate $3,000-4,000

120

120

VITO ACCONCI b. 1940 Red Mask; People Mask and End Mask, 1983 The complete set of three etching and aquatints in red, black and blue, on Arches cover paper, the full sheets, from the edition of 30, published by Graphicstudio, University of South Florida, Tampa, all in excellent condition, framed together. all S. 8 5/8 x 7 1/4 in. (21.9 x 18.4 cm)

121

Estimate $600-900

121

JONATHAN BOROFSKY b. 1942 Space Head, 1984 Lithograph and screenprint in colors, on Arches 88 paper, the full sheet, signed, annotated ‘A 87/ 2816013’ and numbered 7/25 in pencil (there were also 6 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), hinged to the support in places along the reverse of the upper sheet edge (with minor associated rippling on the front), otherwise in very good condition, framed.

S. 54 3/4 x 30 7/8 in. (139.1 x 78.4 cm)

Estimate $1,200-1,800 LITERATURE Gemini G.E.L. 1106

In addition to the signature and edition number, each print was numbered consecutively with a seven digit “Borofsky number,” conceived by the artist and utilized in many of his Gemini works.

122

122

LARRY BELL b. 1939

123

GUILLERMO KUITCA b. 1961

Drawings of the Solar Fountain: I and II, 1977

Cuarta Pared, 1997

The complete set of two vapor drawing multiples, on glass, the full sheets, both

Lithograph and etching in brown with embossing, on Japanese paper, with full

signed, dated ‘77’, annotated ‘Orr’ and ‘I’ and ‘II’ respectively and numbered 3/50

margins, signed, dated ‘1997’ and numbered 19/35 in pencil (there were also 4

in unknown material (only 10 sets were made), published by Multiples, Inc., New

artist’s proofs in Roman numerals), published by Ediciones Poligrafa, Barcelona,

York, I with an accretion at the lower right image, both with the coating lifting

occasional creasing (primarily in the margins), the palest mat staining,

and cracking in places along the edges (II only along the lower edge), otherwise

otherwise in good condition, unframed.

both in good condition, both unframed.

I. 14 x 20 3/8 in. (35.6 x 51.8 cm)

both S. 36 x 47 3/4 in. (91.4 x 121.3 cm)

S. 22 1/4 x 30 1/8 in. (56.5 x 76.5 cm)

Estimate $2,000-3,000

Estimate $1,000-1,500

The Solar Fountain was a glass, stainless steel, fog and light sculpture created by Larry Bell and Eric Orr. The sculpture generated steam through solar energy. In 1983 it was installed in a pond in the Denver Sculpture Park and was taken down 15 years later.

123

124

125

124

LARRY BELL b. 1939

125

Mirage Construction #3, 1988

LARRY BELL b. 1939 Mirage Construction #15, 1988

Unique mixed media work on canvas, mounted and stretched over wood

Unique mixed media work on canvas, mounted and stretched over wood

strainers (as issued), the full sheet, signed, dated ‘88’ in gray paint, annotated

strainers (as issued), the full sheet, signed and dated ‘88’ in black paint on the

#3 in pencil on the reverse (the series consisted of 22 unique works), published

side, annotated #15 in black ink on the reverse (the series consisted of 22 unique

by Gemini G.E.L., Los Angeles (with their copyright stamp on the reverse), very

works), published by Gemini G.E.L., Los Angeles (with their copyright stamp on

minor soiling, a few spots of stray printing ink on the reverse, otherwise in very

the reverse), in excellent condition, unframed.

good condition, unframed.

S. 27 x 22 x 3 in. (68.6 x 55.9 x 7.6 cm)

S. 27 x 22 x 1 1/2 in. (68.6 x 55.9 x 3.8 cm)

Estimate $1,200-1,800 Estimate $1,200-1,800 LITERATURE Gemini G.E.L. 1369 LITERATURE Gemini G.E.L. 1369

126

126

STEPHEN HOLL b. 1947 Whale House—Martha’s Vineyard, 1986 Lithograph, on wove paper, with full margins, signed, dated ‘86’ and numbered 10/75 in pencil (there was also 1 artist’s proof), published by John Nichols Printmakers and Publishers, New York, in excellent condition, unframed.

I. 13 1/4 x 42 3/8 in. (33.7 x 107.6 cm) S. 15 3/4 x 45 in. (40 x 114.3 cm)

Estimate $400-600

127

127

RACHEL WHITEREAD b. 1963 Mausoleum under Construction, from London Portfolio, 1992 Screenprint, on wove paper, with full margins, signed, titled and numbered ‘AP 19/20’ in pencil (an artist’s proof, the edition was 45), published by Paragon Press, London, an area of the palest soiling at the center lower margin, in very good condition, framed.

128

I. 21 7/8 x 31 in. (55.6 x 78.7 cm) S. 27 7/8 x 34 3/4 in. (70.8 x 88.3 cm)

Estimate $1,200-1,800

128

RACHEL WHITEREAD b. 1963 Doorknob, 2001 Technogel multiple covered with black polyurethane film, signed and numbered 146/300 in blue ink on the accompanying information card, published by Deutsche Guggenheim as Edition 17 for the exhibition Rachel Whiteread: Transient Spaces, Berlin, very minor surface soiling, otherwise in very good condition.

2 3/8 x 5 1/8 in. (6 x 13 cm)

Estimate $800-1,200

129

129

RACHEL WHITEREAD b. 1963 Secondhand, 2004 Stereolithograph of laser sintered white nylon multiple, numbered 49/400 (there were also 60 artist’s proofs), published by Counter Editions, London, in very good condition, contained in original custom fitted cardboard box (tape remains, soiling and paper loss in places).

4 x 6 x 4 1/2 in. (10.2 x 15.2 x 11.4 cm)

Estimate $600-800

130

130

131

HIROSHI SUGIMOTO b. 1948 U.A. Walker Theatre, New York, 1978 Photoetching, on Rives BFK, with full margins, signed in pencil, numbered 0420/1000 on a label affixed to the case, published by Eyestorm and Sonnabend Sundell Editions, London and New York, in excellent condition, unframed, contained in original metal hinged case.

I. 11 1/2 x 14 3/4 in. (29.2 x 37.5 cm) S. 17 x 21 in. (43.2 x 53.3 cm)

Estimate $800-1,200

131

REINHARD MUCHA b. 1950 Documenta-Edition, 1997 Aluminum, glass, screenprint and duotone offset print, signed and numbered 58/65 on a label affixed to the reverse (there were also 5 artist’s proofs), published by documenta X editions and Edition Schellmann, Munich and New York, in excellent condition.

S. 39 1/2 x 25 1/2 in. (100.3 x 64.8 cm)

Estimate $500-700

132

132

CHRISTO b. 1935 Wrapped Armchair, Project, 1977 Lithograph in colors, on Rives Couronne paper, the full sheet, signed and numbered ‘AP 14/15’ in pencil (an artist’s proof, the edition was 100), published

by Abrams Original Editions, New York, a small orange stain in the lower image, several creases in places across the lower image, otherwise in good condition, unframed.

S. 21 3/4 x 27 3/4 in. (55.2 x 70.5 cm)

Estimate $1,000-1,500 LITERATURE Jörg Schellmann and Joséphine Benecke 88

133

VARIOUS ARTISTS Indominable Spirit portfolio, 1983-89 The complete set of ten prints in various photographic and print media, on various papers, with full margins, all signed and numbered 13/50 in ink or pencil (there were also 15 artist’s proofs), published by Photographers + Friends United Against AIDS, New York to benefit the National Community AIDS Partnership and The American Foundation for AIDS Research, the Baldessari detached from the mylar, a few with occasional soft handling creases, otherwise all in very good condition, loose, contained in original black linen-covered box with embossed red text and Barbara Kruger offset print inset on the front.

32 x 23 3/4 in. (81.3 x 60.3 cm)

Estimate $12,000-18,000

Including: John Baldessari, Blue Boy (with Yellow Boy: One with Hawaiian Tie, One in Dark), 1989; Chuck Close, Sunflower, 1989; Jan Groover, Untitled, 1989; Annette Lemieux, Apparition, 1989; Duane Michals, Untitled, 1989; Richard Prince, Untitled, 1983; Robert Rauschenberg, Untitled (from the Bleacher Series), 1989; Cindy Sherman, Untitled, 1979/1989; Bruce Weber, NYC Studio, 1986 and William Wegman, Second and Third Steps, 1989.

134

135

134

CHARLES RAY b. 1953

135

VANESSA BEECROFT b. 1969

The Most Beautiful Woman in the World set, 1993

VB 08-36, 2000

The complete set of nine unique photographs in colors, on Kodak Royal paper,

Offset lithograph in colors with UV varnish and foil stamping, on wove paper,

the full sheets, all stamped on the reverse ‘Charles Ray, 1993 Edition for Parkett

the full sheet, signed, dated ‘00’ and numbered 270/300 in black marker on a

No. 37’ and numbered consecutively 73-81 in black ink, presumably numbered

label affixed to the reverse, published by Cantz Editions, New York, in very good

9/60 (there was also an edition of 23 in Roman numerals), published by Parkett

condition, framed.

Editions, Zurich and New York, all in very good condition, framed together,

S. 36 1/2 x 53 3/4 in. (92.7 x 136.5 cm)

lacking original signed and numbered envelope. all S. 6 x 4 in. (15.2 x 10.2 cm)

Estimate $1,800-2,500 LITERATURE Edition for Parkett 37

Estimate $900-1,200

136

137

136

LAURIE SIMMONS b. 1949 Untitled (Dummy in Stairwell), 1994 Cibachrome print, on glossy photo paper, the full sheet, signed, dated ‘1994’, titled and numbered 31/50 in pencil on the reverse (there were no artist’s proofs), published by Art Resources Transfer, Inc., New York, in excellent condition, framed.

S. 16 x 20 in. (40.6 x 50.8 cm)

Estimate $1,000-1,500

137

SAM SAMORE b. 1963 Situation (Man with Cigarette pack on table), 1980 Black and white photograph on photo paper, the full sheet, signed and dated ‘Sam Samore 1980s’, this work is from an edition of two, in excellent condition, framed.

S. 80 7/8 x 44 1/2 in. (205.4 x 113 cm)

Estimate $3,000-4,000

138

139

138

MAURIZIO CATTELAN b. 1960 Untitled, 2000 Digital photograph in black and white, on Uso Mano paper, with full margins, signed and numbered 35/60 in black ink on the certificate (there was also an edition of 22 in Roman numerals), published by Parkett Editions, Zurich and New York, very slight wear at the upper right corner, otherwise in very good condition, unframed, contained in original cardstock folder.

I. 12 1/2 x 9 1/2 in. (31.8 x 24.1 cm) S. 16 1/8 x 12 7/8 in. (41 x 32.7 cm)

Estimate $2,500-3,500 LITERATURE Edition for Parkett 59

139

CHRISTOPHER WOOL b. 1955 My House II, 2000 Screenprint in colors, on matte custom art paper, with full margins, signed, dated and numbered 8/100 in pencil (the series consists of three color combinations, each in an edition of 100), published by Counter Editions, London, creasing at the lower and upper right corners (with associated minor cracking in the inks), otherwise in good condition, unframed.

I. 39 x 29 in. (99.1 x 73.7 cm) S. 40 x 30 in. (101.6 x 76.2 cm)

Estimate $1,000-1,500

140

141

140

DAVID ROBBINS b. 1957 Talents, 1986 The complete set of sixteen headshots, on photo paper, the full sheets, published by the artist, all in very good condition, each contained in original artist’s frames (occasional scuffs, some with minor paint loss). all with frame: 10 5/8 x 8 1/2 in. (27 x 21.6 cm)

Estimate $2,000-3,000

141

ALLAN MCCOLLUM b. 1944 Visable Markers, 1997 The complete set of six polymerized pigmented concrete tablets, all signed, dated ‘1997’ and consecutively annotated ‘No. 1315 – No. 1320’ in black ink on the felt pad on the underside (from an unlimited edition), published by I.C. Editions, Inc., New York, all with minor scuffs and soiling, otherwise all in very good condition. all: 7 7/8 x 2 1/2 x 2 in. (20 x 6.4 x 5.1 cm)

Estimate $900-1,200

142

TOM FRIEDMAN b. 1965 Vanishing Point, 2006 Photogravure and embossing, on Somerset satin paper, the full sheet, signed and numbered ‘p/p 2/3’ in pencil on the reverse (one of three printer’s proofs, the edition was 12), published by Island Press, Washington University, St. Louis, a few soft creases at the right sheet edge, otherwise in very good condition, framed.

S. 42 x 40 1/2 in. (106.7 x 102.9 cm)

Estimate $12,000-18,000

143

TOM FRIEDMAN b. 1965 Untitled (Dollar Bill), 2000 Inkjet print in colors, on Somerset velvet paper, with full margins, signed and numbered 64/100 in pencil on the reverse (there were also 3 artist’s proofs), published by the Fabric Workdshop and Museum, Philadelphia, in very good condition, framed.

I. 13 3/8 x 33 1/2 in. (34 x 85.1 cm) S. 21 1/4 x 41 1/8 in. (54 x 104.5 cm)

Estimate $5,000-7,000

144

TOM FRIEDMAN b. 1965 Untitled, 2002 Multiple consisting of seventy-five stacked and glued styrofoam cups handpainted in colors, signed and numbered 39/75 in black ink on the underside (there was also an edition of 20 in Roman numerals), published by Parkett Editions, Zurich and New York, in excellent condition.

40 1/2 x 3 x 3 in. (102.9 x 7.6 x 7.6 cm)

Estimate $2,500-3,500 LITERATURE Edition for Parkett 64

145

146

Piero Manzoni, Merda d'Artista No. 049, 1961, mixed media

145

KEN PRICE b. 1935

146

PAUL MCCARTHY b. 1945

Lunk, 2004

Xmas Pudding, 1999

Cast bronze multiple painted in gold, inscised with initials and numbered 61/200

Glass vessel filled with red rubber multiple, signed, dated, titled, inscribed and

(there were also 13 artist’s proofs), published by the Frostig Collection, Pasadena,

numbered 10/10 in black paint, published by the artist, an area of adhesive

in excellent condition.

remains, the painted title rubbing off in places, otherwise in good condition.

4 x 4 x 4 in. (10.2 x 10.2 x 10.2 cm)

5 x 5 1/2 x 5 1/2 in. (12.7 x 14 x 14 cm)

Estimate $1,200-1,800

Estimate $600-900

147

NO LOT

148

detail of lot 148

148

149

DAVID SHRIGLEY b. 1968

149

STEVE GIANAKOS b. 1938

Map of Sculpture Project in Münster, 1997

Missing Children portfolio, 1985

Screenprint, on Hanhemühle paper, with full margins, signed, dated ‘1997’

The complete set of eight lithographs in colors, on wove paper, the full sheets,

and numbered 52/60 in pencil on the reverse (there were also 4 artist’s proofs),

all signed with initials and numbered 10/41 in pencil, published by Solo Press Inc.

published by Fine Art Printmakers, Münster, in excellent condition, folded

and Rutgers University Print Archives, New York and New Jersey, most with slight

(as issued), contained in original manila envelope with title printed on the front.

creasing at the lower right corner, otherwise all in very good condition, loose,

I. 28 1/4 x 38 3/4 in. (71.8 x 98.4 cm)

contained in original paper folder with printed text on the front and ribbon tie.

S. 30 1/4 x 41 3/4 in. (76.8 x 106 cm)

all S. 16 x 13 1/4 in. (40.6 x 33.7 cm)

Estimate $500-700

Estimate $700-900

150

150

FRED TOMASELLI b. 1956 After Echolocation #2, 2000 Digital iris print in colors, on heavy wove paper, with full margins, signed and numbered 4/100 in pencil (there were an unknown number of artist’s proofs), published by Dinaburg Arts, New York, in excellent condition, unframed.

I. 17 3/8 x 14 in. (44.1 x 35.6 cm) S. 18 1/8 x 14 7/8 in. (46 x 37.8 cm)

Estimate $600-800

151

FRED TOMASELLI b. 1956 Untitled, 2004 Digital ink jet print in colors, on wove paper, with full margins, signed and numbered 91/100 in pencil (there were also 25 artist’s proofs), published by

151

Carrie Waldman, in excellent condition, framed.

I. 9 5/8 x 6 1/4 in. (24.4 x 15.9 cm) S. 11 x 8 1/2 in. (27.9 x 21.6 cm)

Estimate $300-400

152

152

KELLEY WALKER b. 1969

Kelley Walker made a series of these edition works starting around

Maui, 2002

2001. They consist of images from advertising and news sources

CD-rom containing printable color poster, and one archival inkjet print in colors signed on the reverse, also signed in pencil on the certificate included in the cd

that have been downloaded from the internet. Walker then made

case, numbered 1 of 5, published by the artist, very slight scuffing on the

‘interventions’ to the images by the addition of sprays of toothpaste

exterior of the cd case, otherwise in very good condition.

or dots, as in this work. The concept behind the work is that the

print dimensions variable

purchaser can make further interventions to the piece through an

cd: 5 x 5 1/2 in. (12.7 x 14 cm)

application within the CD-rom. One can reprint the image at

Estimate $1,500-2,500

different sizes or even in different media. The purchaser also receives archival inkjet print signed by the artist.

153

153

EBERHARD HAVEKOST b. 1967

154

LAWRENCE WEINER b. 1942

Windmesser 1.2 and 2.2; and Flugzeng, 2002

& Across The Great Divide, 1991

Three photo-lithographs in colors, on wove paper, with full margins, Windmesser

The complete set of three baked enamel multiples in colors, on metal sheets,

1.1 and Flugzeng signed, titled, dated and numbered 12/22 and 3/5 in pencil and

all signed, dated ‘92’ and annotated ‘H.C. 3/4 A’ in black ink on a label affixed to

pen respectively, Windmesser both annotated ‘(1.2)’ and ‘(2.2)’ respectively in

the reverse (an hors-commerce copy, the edition was 45), published by Brooke

pencil, all in very good condition, all framed.

Alexander Editions, New York, all in excellent condition, contained in original box.

Windmesser both I. 13 3/4 x 9 7/8 in. (34.9 x 25.1 cm)

36 1/2 x 12 3/4 in. (92.7 x 32.4 cm)

Flugzeng I. 4 3/4 x 13 3/4 in. (12.1 x 34.9 cm) all S. 16 1/2 x 11 5/8 in. (41.9 x 29.5 cm)

Estimate $700-900

154

•

Estimate $3,000-4,000

155

156

155

ANDY WARHOL 1928-1987

156

VARIOUS ARTISTS

Space Fruit: Still Lifes: Cantaloupe II, 1979

Chanterelle Menus, 2006-08

Unique screenprint in colors, on museum board paper, the full sheet, published

Five prints in photo, screenprint and lithograph, on various papers, with full

by Grippi/Zivian, Inc., New York, with the Andy Warhol Authentication Board, Inc.

margins or the full sheets, the Lethbridge signed in black ink on the reverse,

inkstamp and numbered ‘Extra 191.177’, scuffing, occasional soiling in the upper

from the approximate editions of 100 (the editions were not signed or numbered),

and lower sheet, otherwise in good condition, framed.

published as menu covers for the restaurant Chanterelle, New York, all but the

S. 32 1/8 x 39 3/4 in. (81.6 x 101 cm)

Barney with text and menu listed on the reverse, most with occasional handling

Estimate $4,000-6,000

otherwise all in good condition, all unframed.

creases and minor soiling, the Walker with very slight ink loss at lower right, various sizes LITERATURE see Frayda Feldman and Jörg Schellmann 198

Estimate $1,400-1,800

Including: Matthew Barney; Annie Leibovitz; Kara Walker; Julian Lethbridge and Julian Schnabel

157

ALLEN RUPPERSBERG b. 1944 Siste Viator, 1993 The complete set of two WWII era bookends and 20 facsimile books with WWII era bookplates, five titles in four languages (English, Dutch, Polish, German), one book in each languge printed in its entirety, the others printed covers only, each hand inscribed by the artist with a soldier’s name, from the unnumbered edition of 50 (there were no artist’s proofs), published by the artist, very minor wear along the edges of some of the book covers, otherwise in very good condition. various sizes

Estimate $2,000-3,000

Siste Viator (Stop Traveler), a project for the Dutch city of Arnhem, revisiting the tragic World War II battle in the area that claimed the lives of eight thousand soldiers in nine days of September 1944. The project consisted of republishing twenty popular books of the time, five from the best-seller list of each of the four countries most involved in the battle: Britain, the Netherlands, Poland, and Germany. As Allan McCollum noted; “I doubt if anyone could portray his intention more beautifully than he himself did in his proposal for the project:” This work is a collection of narratives. It is about the telling of stories both fact and fiction. A memorial to individual memories and the reading of books of the private imagination combined with the public, political history. A link is established between the private experience and public memory. As this era of World War II recedes from the realm of immediate experience, I propose to create in the public mind a new personal memory that is not just another replaceable image. Dignity in a memorial is usually associated with stone and statue, with pose and gesture and with the body. I propose a similar attitude with words, as was once done with an epitaph. A comparison of words, a collision of worlds, nationalities, ideas, ideals, and kinds of literature. This work then is a reconstruction and an exhibition of history in free association to create a continuity between various narrative acts which give shape to the random acts of history.

Allen Ruppersberg

158

RICHARD ARTSCHWAGER b. 1923 Book, 1987 Formica covered wood multiple, signed and numbered 6/40 in black ink on a label affixed to the underside (there were also 8 artist’s proofs), published by Brooke Alexander Editions to benefit the New Museum, New York, minor soiling, scuffs an occasional minor nicks, moisture staining on the edges of the label on the underside, otherwise in very good condition.

5 x 20 x 12 in. (12.7 x 50.8 x 30.5 cm)

Estimate $5,000-7,000

Facsimile of the Gutenberg Bible, Paris, 1986

159

160

159

CHRIS JOHANSON b. 1968

160

ED RUSCHA b. 1937

You Should All Know Something Before We Start on the Second Half

News, Mews, Pews, Brews, Stews & Dues portfolio: News, 1970

of Today’s Session, 2002

Organic screenprint (black currant-pie filling, cherry-pie filling and unmixed raw

Aquatint in colors, on Somerset textured paper, with full margins, signed, dated

egg) in colors, on Silverbrook Snow White Antique Finish paper, with full

‘2002’ and numbered 5/25 in pencil (there were also 10 artist’s proofs), published

margins, signed, dated ‘1970’ and numbered 56/125 in pencil (there were also 25

by Paulson Press, Berkeley, California (with their blindstamp), in excellent

artist’s proofs), published by Editions Alecto, London, occasional soiling and

condition, framed.

creasing in the margins (particularly the corners), the palest time staining, hinge

I. 26 1/2 x 35 1/2 in. (67.3 x 90.2 cm)

remains on the reverse of the corners (slightly showing through), otherwise in

S. 35 x 42 3/4 in. (88.9 x 108.6 cm)

very good condition, unframed.

Estimate $1,500-2,500

S. 23 x 31 5/8 in. (58.4 x 80.3 cm)

I. 17 7/8 x 27 in. (45.4 x 68.6 cm)

Estimate $2,000-3,000 LITERATURE Walker Art Center/Siri Engberg 34

161

161

JON KESSLER b. 1957 Der Kurs (The Curse), 1989 Mechanical multiple in wood, glass, newsprint and metal, signed, dated ‘89’ and annotated ‘ap’ in black marker on the reverse (one of 3 artist’s proofs, the edition was 7), published by the artist, in excellent and working condition.

51 x 19 in. (129.5 x 48.3 cm)

Estimate $1,500-2,500

162

CHRISTIAN SCHUMANN b. 1970 Ah Geef Op!, 1996 Screenprint in colors, on wove paper, with full margins, signed, dated ‘96’ and numbered 48/60 in pencil (there were also 6 artist’s proofs), published by Alexander Heinrici, New York, a few pressure marks in the margins, stray printing ink in places on the reverse, otherwise in very good condition, unframed.

I. 31 x 40 1/2 in. (78.7 x 102.9 cm) S. 35 1/8 x 43 7/8 in. (89.2 x 111.4 cm)

Estimate $900-1,200

162

163

MARTIN KIPPENBERGER 1953-1997 Tic-Tac-Toe, Tae-Kwon-Doe, 1990 The complete set of nine wooden stretchers by Imi Knoebel adapted by Kippenberger, wrapped in plastic with latex tape (as issued), from the edition of 30 (there were no recorded artist’s proofs), published by Santa Monica Editions, California, all nine stretchers signed with initials, dated ‘6889’ and numbered 360/1000, 451/1000, 520/1000, 626/1000, 674/1000, 719/1000, 832/1000, 897/1000 and 952/1000 by Knoebel in black marker on the reverse (Kippenberger bought a large number of Knoebel’s “multiple” and transformed them into this series), in excellent condition.

Estimate $8,000-12,000 LITERATURE Kunstverein Braunschweig e. V. and Museum van Hedendaagse

Kunst Antwerpen, Kippenberger Multiples 41, pp. 80-1

Andy Warhol, Flowers (in 9 parts), 1964

164

MARTIN KIPPENBERGER 1953-1997 Untitled (Self-Portrait), 1997 Aquatint and etching in colors, on Somerset paper, with full margins, presumably a proof apart from the stamped edition of 24, with ‘NACHLASS MARTIN KIPPENBERGER’ blindstamp, a few soft handling creases in the margins, otherwise in very good condition, framed.

I. 29 7/8 x 24 3/4 in. (75.9 x 62.9 cm) S. 37 3/4 x 30 3/8 in. (95.9 x 77.2 cm)

Estimate $8,000-12,000

Pablo Picasso, 1962, photograph

by David Douglas Duncan

165

165

MASAMI TERAOKA b. 1936 Namiyo at Hanauma Bay, 1985 Lithograph in colors, on wove paper, the full sheet, signed and numbered 149/150 in pencil on the reverse, published by Editions Press, San Francisco (with their blindstamp), hinge remains in places along the reverse of the sheet edges (with associated skinning), otherwise in very good condition, unframed.

S. 24 5/8 x 35 7/8 in. (62.5 x 91.1 cm)

Estimate $1,200-1,800

166

166

YINKA SHONIBARE, MBE b. 1962 Dreamscape, 2002 Digital photograph in colors, on Fugicolor Professional paper, with full margins, signed, dated ‘2002’ and numbered 22/40 in black ball point pen on the reverse (there were also 10 artist’s proofs), published by documenta XI editions and Edition Schellmann, Munich and New York, offset pencil lines in places along the perimeter of the image, otherwise in very good condition, framed.

I. 15 1/2 x 23 1/2 in. (39.4 x 59.7 cm) S. 16 x 24 in. (40.6 x 61 cm)

Estimate $1,200-1,800

167

167

YAYOI KUSAMA b. 1929 Shoes (pink glitter), 1999 Screenprint in colors with glitter, on wove paper, with full margins, signed, dated ‘1999’, annotated in Japanese and numbered 12/60 in pencil, with two soft creases at the lower right corner, otherwise in very good condition, framed.

I. 17 5/8 x 21 1/8 in. (44.8 x 53.7 cm) S. 23 5/8 x 26 5/8 in. (60 x 67.6 cm)

168

Estimate $1,200-1,800

168

YAYOI KUSAMA b. 1929 Shoes (green glitter), 1999 Screenprint in colors with glitter, on wove paper, with full margins, signed, dated ‘1999’, annotated in Japanese and numbered 22/60 in pencil, with one soft creases at the lower right corner, otherwise in very good condition, framed.

I. 17 5/8 x 21 1/8 in. (44.8 x 53.7 cm) S. 23 5/8 x 26 5/8 in. (60 x 67.6 cm)

Estimate $1,200-1,800

169

170

169

PETER SAUL b. 1934 Schicago Justus, from Conspiracy: The Artist as Witness portfolio, 1971 Lithograph in colors, on Arches paper, the full sheet, signed, dated ‘71’ and numbered 84/150 in pencil (there were also 25 artist’s proofs), published by David R. Godine Publishers and the Center for Constitutional Rights, New York, two minute spots of ink loss at the extreme sheet edge of the lower right corner, otherwise in very good condition, unframed.

S. 18 x 24 in. (45.7 x 61 cm)

Estimate $700-900

171

170

SAUL STEINBERG 1914-1999 The General, from Peace Portfolio 1, 1970 Lithograph, on Rives paper, the full sheet, signed and numbered 145/175 in pencil (there were also 15 artist’s proofs), published by the Academic and Professional Action Committee for a Responsible Congress, New York, occasional pressure marks, soft handling and printing creases, otherwise in very good condition, unframed.

S. 21 x 26 in. (53.3 x 66 cm)

Estimate $400-600

171

NANCY DWYER b. 1954 No Answer, 1982 Screenprint in colors, on Rives BFK paper, with full margins, signed and numbered 39/40 in pencil (there were also 5 artist’s proofs), published by Carl Solway Gallery, Cincinnati, faint scuffing (mainly visible in raking light), occasional soiling and soft handling creases in the margins, otherwise in very good condition, unframed.

I. 13 1/2 x 15 1/2 in. (34.3 x 39.4 cm) S. 30 1/8 x 22 1/8 in. (76.5 x 56.2 cm)

Estimate $200-300

172

172

RICHARD BOSMAN b. 1944 The Fall, 1983-84 Woodcut on Japanese paper, the full sheet, signed and numbered 22/32 in pencil, published by Experimental Workshop, Emeryville, California, in very good condition, framed.

S. 60 3/4 x 41 5/8 in. (154.3 x 105.7 cm).

Estimate $1,000-1,500

173

RICHARD BOSMAN b. 1944 Car Crash, 1984 Woodcut in colors, on Japanese paper, with full margins, signed and numbered 8/60 in pencil, published by Experimental Workshop, Emeryville, California, minor creasing in places along the sheet edges, otherwise in good condition, unframed.

I. 35 x 48 in. (88.9 x 121.9 cm) S. 36 1/2 x 49 1/2 in. (92.7 x 125.7 cm)

Estimate $600-800

173

174

CHERYL LAEMMLE b. 1947 Untitled, circa 1980 Lithograph, on wove paper, with full margins, signed and numbered 3/50 in pencil, in excellent condition, unframed.

I. 29 x 20 3/8 in. (73.7 x 51.8 cm) S. 35 1/2 x 25 in. (90.2 x 63.5 cm)

Estimate $200-300

175

ROBERT LONGO b. 1953 Flag, 1989 Lithograph, on wove paper, with full margins, signed, dated ‘89’, inscribed ‘for CR’ and numbered 31/50 in pencil, in excellent condition, framed.

I. 15 1/2 x 16 1/4 in. (39.4 x 41.3 cm) S. 22 x 30 in. (55.9 x 76.2 cm)

174

Estimate $800-1,200

175

176

177

176

A.R. PENCK b. 1939

177

JÖRG IMMENDORF 1945-2007

Quo vadis G.G.; Loch in der Mauer; Was sich ankundigt

Babel series: plates 4, 15 and 18, 1987

and Standard West, 1982-89

Three linocuts in colors, on wove paper, with full margins, all signed, dated ‘87’

Three aquatints and etchings in colors and one lithograph, on various papers,

and numbered 6/7 in pencil (there was also an edition of 5 in Roman numerals),

with full margins, all signed and numbered 18/25; 33/35; 33/35 and 11/25 in pencil,

published by Sabine Knust Maximilian Verlag Editions, Munich, all with hinge

published by Sabine Knust Maximilian Verlag Editions, Munich, all generally in

remains on the reverse of the upper corners, otherwise all in very good

very good condition, all framed.

condition, all unframed.

various sizes

all I. 15 7/8 x 13 7/8 in. (40.3 x 35.2 cm) all S. 19 3/4 x 17 3/4 in. (50.2 x 45.1 cm)

Estimate $1,000-1,500 Estimate $1,200-1,600 LITERATURE Beate Reifenscheid 1987.5.4, 1987.5.15 and 1987.5.18

178

KEITH HARING 1958-1990 Untitled I-VI suite, 1982 The complete set of six lithographs, on Rives BFK paper, with full margins, all signed, dated ‘3.82’ and numbered 20-40 in red crayon (there were also 8 artist’s proofs), published by Barbara Gladstone Editions, New York, all with occasional soft handling creases and varying degrees of mat staining in places in the margins and on the reverse, otherwise all in very good condition, all unframed. all I. 33 3/8 x 22 5/8 in. (84.8 x 57.5 cm) all S. 36 x 25 3/8 in. (91.4 x 64.5 cm)

Estimate $15,000-20,000 LITERATURE Edition Cantz pp. 18-21

179

179

JIM HODGES b. 1957 Really (In Honor of Felix Gonzales-Torres), from 1989 portfolio, 2000 Iris print in colors, on wove paper (with image on both sides), with full margins, signed, dated ‘2000’, titled and numbered 14/75 in pencil (there were also 12 artist’s proofs), published by the Estate Project for Artists with AIDS and Alliance for the Arts, New York, in excellent condition, unframed. both I. 5 1/4 x 7 7/8 in. (13.3 x 20 cm) S. 24 x 20 in. (61 x 50.8 cm)

Estimate $500-700

(side A)

180

180

FRANCESCO CLEMENTE b. 1952 Untitled (Couple Entwined), from BAM Portfolio and Self-Portrait in Four Parts (black), 1987 and 2004 One etching and one aquatint, on wove paper and Hiromi Shikibu Chine collé to Hahnemüle, with full margins, both signed and numbered 9/75 and 29/30 in pencil (there were also 15 and 6 artist’s proofs respectively), Couple published

by Parasol Press, New York, Self-Portrait published by the artist, both in excellent condition, one unframed, one framed.

Couple I. 23 1/2 x 47 1/2 in. (59.7 x 120.7 cm) Couple S. 27 1/2 x 55 3/8 in. (69.9 x 140.7 cm) Portrait I. 9 3/4 x 19 1/2 in. (24.8 x 49.5 cm) Portrait S. 18 1/4 x 27 3/4 in. (46.4 x 70.5 cm)

Estimate $1,000-1,500

181

ROSS BLECKNER b. 1949 [Cage], 1987 Lithograph in colors with woodcut in black and white, on thin wove paper, the full sheet, signed and numbered 51/125 in pencil, in excellent condition, unframed.

S. 20 x 16 in. (50.8 x 40.6 cm)

Estimate $400-600

181

182

182

GARY HUME b. 1962 Seahorse, 1998 Screenprint in colors, on Somerset paper, with full margins, signed titled and numbered 27/35 in pencil (there were also 10 artist’s proofs), published

by Paragon Press, London, a small pressure mark in the center left margin, two creases along the lower right margin to the corner, otherwise in good condition, framed.

I. 35 5/8 x 26 5/8 in. (90.5 x 67.6 cm) S. 42 1/2 x 32 1/2 in. (108 x 82.6 cm)

Estimate $2,000-3,000 LITERATURE White Cube/Paragon Press p. 52

183

184

183

GARY HUME b. 1962 Grey Leaves, 2004 Screenprint in colors, on Somerset paper, with full margins, signed, dated ‘04’, titled and numbered 206/250 in pencil (there were also 25 artist’s proofs), published by Counter Editions, London, in excellent condition, framed.

I. 21 3/8 x 17 1/2 in. (54.3 x 44.5 cm) S. 28 x 23 in. (71.1 x 58.4 cm)

Estimate $1,000-1,500 LITERATURE White Cube/Paragon Press p. 86

184

GARY HUME b. 1962 Fuzzy Snowman, 2000 Blue flocked ground with seven detachable white felt circles, on heavy wove paper, with full margins, signed in blue ink on the reverse, published by Momart, London, a few pale spots of stray color in the margins, two small creases at the upper right corner (not affecting the flocking), otherwise in very good condition, framed.

I. 10 1/8 x 6 7/8 in. (25.7 x 17.5 cm) S. 10 3/4 x 7 3/8 in. (27.3 x 18.7 cm)

Estimate $700-900

185

CHUCK CLOSE b. 1940 Self-Portrait, 2007 Screenprint in colors, on Saunders Waterford HP paper, with full margins, signed, dated and numbered 34/80 in pencil (there were also 18 artist’s proofs), published by Pace Editions, Inc., New York, in excellent condition, framed.

I. 68 x 52 1/4 in. (172.7 x 132.7 cm) S. 74 1/2 x 57 3/4 in. (189.2 x 146.7 cm)

Estimate $50,000-70,000

Rembrandt Peale, Self-Portrait, 1828, oil on canvas

186

Malcolm Morley, Vermeer—Portrait of the Artist in his Studio, 1968, oil on canvas

187

186

CHUCK CLOSE b. 1940 Self-Portrait (Scribble), 2007 Lithograph and screenprint in colors, on Somerset paper, with full margins, signed, dated ‘2007’ and numbered 18/118 in pencil (there were also 18 artist’s proofs), published by Pace Editions, Inc., New York, in excellent condition, unframed.

I. 29 3/4 x 24 in. (75.6 x 61 cm) S. 38 x 30 in. (96.5 x 76.2 cm)

Estimate $8,000-12,000

187

CHUCK CLOSE b. 1940 Self-Portrait/Scribble/Etching, 2000 Etching in colors, on Hahnemühle paper, with full margins, signed, dated ‘2000’ and numbered 50/60 in pencil (there were also 15 artist’s proofs), published by Pace Editions, Inc., New York, in excellent condition, framed.

I. 9 3/4 x 8 1/8 in. (24.8 x 20.6 cm) S. 18 1/4 x 15 1/4 in. (46.4 x 38.7 cm)

Estimate $5,000-7,000

188

188

CHUCK CLOSE b. 1940 Self-Portrait, 2000 Digital inkjet print from daguerreotype, on Crane Museo paper, with full margins, signed, dated ‘2000’ and numbered 56/70 in pencil (there was also an edition of 30 in Roman numerals), published by Parkett Editions, Zurich and New York, in excellent condition, framed.

I. 15 1/2 x 12 in. (39.4 x 30.5 cm) S. 22 x 16 7/8 in. (55.9 x 42.9 cm)

Estimate $1,500-2,500 LITERATURE Edition for Parkett 60

189

190

189

CHUCK CLOSE b. 1940

190

CHUCK CLOSE b. 1940

Untitled (In Honor of Peter Hujar), from 1989 portfolio, 2000

Untitled, 2001

Digital iris print in colors, on smooth wove paper, with full margins, signed,

Digital iris print, on wove paper, with full margins, signed, dated ‘2001’

dated ‘2000’ and numbered 14/75 in pencil (there were also 12 artist’s proofs),

and numbered 33/100 in pencil (there were also 5 artist’s proofs), published

published by the Estate Project for Artist’s with AIDS and Alliance for the Arts,

by Art of this Century and distributed by John Szoke Editions, New York,

New York, in excellent condition, unframed.

in excellent condition, unframed.

overall I. 12 x 20 in. (30.5 x 50.8 cm)

overall I. 14 3/4 x 24 1/4 in. (37.5 x 61.6 cm)

S. 18 x 24 in. (45.7 x 61 cm)

S. 22 x 29 1/4 in. (55.9 x 74.3 cm)

Estimate $1,000-1,500

Estimate $1,000-1,500

[Johns] came to California for a week and the weather was bad. A friend drove him to the airport and apologized for the gray and gloomy weather. “That’s all right,’ he said, ‘Gray is my favorite color.’” (Michael Crichton, Jasper Johns, Whitney Museum of American Art, Harry N. Abrams, New York, 1977, revised edition 1994, p. 16)

191

JASPER JOHNS b. 1930 The Seasons, 1989 Etching and aquatint, on Arches en tout cas paper, with full margins, signed, dated ‘89’ and numbered 30/54 in pencil (there were also 12 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), in very good condition, framed.

I. 19 1/8 x 51 5/8 in. (48.6 x 131.1 cm) S. 26 3/4 x 58 1/4 in. (67.9 x 148 cm)

Estimate $20,000-30,000 LITERATURE Universal Limited Art Editions 244

192

LUCIAN FREUD b. 1922 After Chardin (Small Plate), 2000 Etching, on Somerset paper, with full margins, signed with initials and numbered 64/80 in pencil (there were also 24 artist’s proofs), published by the Los Angeles County Museum of Art, in excellent condition, unframed.

I. 6 x 7 7/8 in. (15.2 x 20 cm) S. 15 x 20 in. (38.1 x 50.8 cm)

Estimate $5,000-7,000 Jean-Baptiste-Siméon Chardin, The Young Schoolmistress, 1736, oil painting

LITERATURE Starr Figura/The Museum of Modern Art, p. 33

193

HENRI MATISSE 1869-1954 Figure endormie, châle sur les Jambes, 1929 Lithograph, on Arches paper, with full margins, signed and numbered 46/50 in pencil, pale light-staining, pale stains and minor rubbing in the margins, a small tear at the upper left sheet corner, two small repaired tears at the lower right corner, otherwise in very good condition, framed.

I. 10 1/2 x 14 3/4 in. (26.7 x 37.5 cm) S. 17 5/8 x 21 1/2 in. (44.8 x 54.6 cm)

Estimate $14,000-18,000 LITERATURE Claude Duthuit 511

Henri Matisse in his studio, Villa Alèsia, Paris, 1939, Bibliothèque Nationale de France, Paris

194

195

194

VIJA CELMINS b. 1938 Ocean with Cross #1, 2005 Screenprint, on Rives Textured Rag paper, with full margins, signed and numbered 68/108 in pencil (there were also 18 artist’s proofs), published by Lincoln Center List Poster and Print Program, New York, in excellent condition, framed.

I. 17 1/2 x 22 1/2 in. (44.5 x 57.2 cm) S. 24 x 28 1/2 in. (61 x 72.4 cm)

Estimate $6,000-8,000

195

ELLSWORTH KELLY b. 1923 Pear I (Poire I), 1965-66 Lithograph, on Rives BFK paper, with full margins, signed and numbered 26/75 in pencil (there were also 10 artist’s proofs), published by Maeght Editeur, Paris, occasional minor soiling, an area of abrasion at the lower left sheet edge, otherwise in very good condition, framed.

I. 24 x 16 in. (61 x 40.6 cm) S. 35 3/8 x 24 in. (89.9 x 61 cm)

Estimate $5,000-7,000 LITERATURE Richard Axsom 45

196

197

196

PABLO PICASSO 1881-1973

197

PABLO PICASSO 1881-1973

Bull, 1957

Picador, 1952

Red earthenware plate painted in black and clear glaze, inscribed Edition

Partially glazed white earthenware plate painted in black, from the edition of

Picasso, Madoura, N. 107 and numbered 78/250, with the Edition Picasso and

500, inscribed Edition Picasso and with the Edition Picasso and Madoura Plein

Madoura Plein Feu pottery stamps on the underside, felt pads along the underside

Feu pottery stamps on the underside, in very good condition.

rim, two dark spots in the center underside, otherwise in very good condition.

diameter: 8 1/4 in. (21 cm)

diameter: 14 5/8 in. (37.1 cm)

Estimate $1,500-2,500 Estimate $4,000-6,000 LITERATURE Alain RamiĂŠ 160 LITERATURE Alain RamiĂŠ 392

198

198

WILLIAM BAILEY b. 1930 Still Life with Eggs, Candlestick and Bowl, from America: The Third Century, 1976 Lithograph in colors, on wove paper, the full sheet, signed and numbered 141/200 in pencil on the reverse (there were also 25 artist’s proofs), published by APC Editions, New York, a crease at the lower right corner, minute areas of ink loss in places along the sheet edges, mat staining on the reverse, otherwise in very good condition, unframed.

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

Estimate $600-800

199

CY TWOMBLY b. 1928 Natural History Part I Mushrooms: Plate No. III, 1974 Lithograph in colors with collage, hand-additions and other mixed media, on Richard de Bas paper, the full sheet, signed with initials and numbered 79/98 in pencil (there were also 17 artist’s proofs), published by Propyläen Verlag, Berlin, a few pale stains at the sheet edge, otherwise in very good condition, framed.

S. 29 1/2 x 21 3/4 in. (74.9 x 55.2 cm)

Estimate $4,000-6,000 LITERATURE Heiner Bastian 44

199

200

200

ROBERT COTTINGHAM b. 1935

201

RICHARD ESTES b. 1932

Bud, 1996

Urban Landscapes III: Cafeteria, Vatican, 1981

Lithograph in colors, on Rives BFK paper, with full margins, signed, dated ‘1996’,

Screenprint in colors, on Fabriano Cottone paper, with full margins, signed and

titled and annotated ‘RTP’ in pencil (the right-to-print proof, the edition was 60

numbered 187/250 in pencil (there were also 15 artist’s proofs), published by

and 5 artist’s proofs), published by Landfall Press, Chicago (with their stamp

Parasol Press, New York, scuffing, several small spots of ink loss (a few touched-

on the reverse), in excellent condition, unframed.

in), otherwise in good condition, unframed.

I. 42 x 41 7/8 in. (106.7 x 106.4 cm)

I. 14 1/8 x 20 in. (35.9 x 50.8 cm)

S. 46 x 46 in. (116.8 x 116.8 cm)

S. 19 3/4 x 27 1/2 in. (50.2 x 69.9 cm)

Estimate $2,500-3,500

Estimate $600-800 LITERATURE John Arthur pp.120-21

201

202

JULIA JACQUETTE b. 1964 Four Sweets, 1995 Screenprint in colors, on heavy wove paper, with full margins, signed and numbered 13/65 in pencil, published by Karen McCready Fine Art and Margarete Roeder Gallery, New York, in excellent condition, unframed.

I. 14 x 23 1/2 in. (35.6 x 59.7 cm) S. 18 1/2 x 27 1/2 in. (47 x 69.9 cm)

Estimate $1,000-1,500 Mister Softee truck, New York, photograph by Dan Carlson

203

204

203

KIKI SMITH b. 1954 Tattoo, 1995 Screenprint, on machine-made paper, with full margins, signed, dated ‘1995’ and numbered 75/100 in pencil (there were no artist’s proofs), published by the artist, occasional creasing and minor soiling particularly at the edges, otherwise in good condition, framed.

I. 17 3/4 x 27 3/4 in. (45.1 x 70.5 cm) S. 19 3/4 x 30 in. (50.2 x 76.2 cm)

Estimate $900-1,200 LITERATURE Museum of Modern Art/Wendy Weitman 76

204

JANE HAMMOND b. 1950 Body Language, 2001 Digital print in colors, on Thai Mulberry paper, with full margins, signed, dated ‘2001’ and numbered 40/100 in pencil (there were also 20 artist’s proofs), published by and to benefit Doctors of the World, New York, in excellent condition, unframed.

I. 41 x 19 in. (104.1 x 48.3 cm) S. 47 5/8 x 24 1/2 in. (121 x 62.2 cm)

Estimate $1,500-2,000

205

Man Ray, Presse-papier à Priarpe (1920)

206

205

ROBERT GOBER b. 1954 Untitled, 1991 Lithograph in green, on J.B. Green paper, with full margins, signed, dated, and numbered ‘P.P. 1/2’ in pencil (one of two printer’s proofs, the edition was 35 and 6 artist’s proofs), published by Maurice Sanchez, New York, in excellent condition, unframed.

I. 13 1/2 x 10 7/8 in. (34.3 x 27.6 cm) S. 17 7/8 x 13 3/4 in. (45.4 x 34.9 cm)

Estimate $2,000-3,000

206

JASPER JOHNS b. 1930 Untitled (Ruler), 1968 Screenprint in colors, on Rives BFK, with full margins, signed, dated ‘68’ and numbered 32/110 in pencil (there were also 10 artist’s proofs), published by the artist, the red slightly faded, minor rippling, pale time staining, otherwise in good condition, framed.

S. 36 x 25 in. (91.4 x 63.5 cm)

Estimate $1,000-1,500 LITERATURE Universal Limited Art Editions 56

207

208

207

LOUISE BOURGEOIS b. 1911 Hamlet and Ophelia, 1997

208

LOUISE BOURGEOIS b. 1911 Toi et Moi, 2006

Lithograph in colors, on Arches paper, the full sheet, signed in initials, dated ‘97’

Screenprint in red and black, on fabric, the full sheet, numbered 89/125 in black

and numbered 17/50 in black pencil (there were also 20 artist’s proofs), published

ink (there were also 25 artist’s proofs), published by the artist, in excellent

by Brooklyn Academy of Music, New York, in excellent condition, framed.

condition, framed.

S. 29 1/2 x 41 3/4 in. (74.9 x 106 cm)

S. 7 3/4 x 10 3/4 in. (19.7 x 27.3 cm)

Estimate $3,000-5,000

Estimate $1,200-1,800

209

209

SOPHIE CALLE b. 1953 The Dice, 2001 Multiple consisting of a plastic dice set in red leather box with satin lining (printed with gold text), suede and leather interior, numbered 70/250, published

by Item, Paris, a small spot of soiling on the suede, otherwise in very good condition. dice: 1/4 x 1/4 x 1/4 in. (.6 x .6 x .6 cm) box: 1 1/2 x 2 7/8 x 2 7/8 in. (3.8 x 7.3 x 7.3 cm)

Estimate $400-600

I have always liked others to make decisions for me. B. and I played a game: on even-numbered days he made the decisions, on oddnumbered days I did. When he left for the States he gave me a dice to replace him.

Sophie Calle

210

211

210

FELIX GONZALEZ-TORRES 1957-1996

211

KATE SHEPHERD b. 1961

Untitled (Oscar Wilde), 1995

Paper Bedroom, 2006

Photo-etching, on wove paper, the full sheet, signed, dated, and numbered

Cut paper collage in colors, on heavy wove paper, with full margins, signed,

206/250 in pencil on the reverse (there were also 25 artist’s proofs), published by

dated ‘06’ and numbered 4/30 in pencil (there were also 5 artist’s proofs),

the Solomon R. Guggenheim Museum, New York, in excellent condition, framed.

published by Artists Space, New York, in excellent condition, unframed.

S. 4 5/8 x 6 3/8 in. (11.7 x 16.2 cm)

I. 12 3/4 x 9 3/8 in. (32.4 x 23.8 cm) S. 13 5/8 x 10 3/8 in. (34.6 x 26.4 cm)

Estimate $1,200-1,800 Estimate $500-700 LITERATURE Dietmar Elger 273

212

KIKI SMITH b. 1954 Ballerina (Stretching Right), 2000 Etching and aquatint with collage in tissue and applied glitter, on Somerset paper with rooster watermark, with full margins, signed, dated ‘2000’ and numbered 18/24 in pencil (there were also 6 artist’s proofs), published by Pace Editions, Inc., New York, in excellent condition, framed.

I. 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm) S. 31 x 22 1/2 in. (78.7 x 57.2 cm)

Estimate $3,500-4,500

213

KIKI SMITH b. 1954 Ballerina (Stretching Left), 2000 Etching and aquatint with collage in tissue and applied glitter, on Somerset paper with rooster watermark, with full margins, signed, dated ‘2002’ and numbered 18/24 in pencil (there were also 6 artist’s proofs), published by Pace Editions, Inc., New York, in excellent condition, framed.

I. 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm) S. 31 x 22 1/2 in. (78.7 x 57.2 cm)

Estimate $3,500-4,500

214

KIKI SMITH b. 1954 Moment (C), 2006 Monotype with lithograph and hand-coloring in watercolor, gouache, stencil, graphite and pressed leaves, on Crisbrook paper, the full sheet, signed annotated ‘C’ and dated ‘2006’ in pencil (the edition was 20 lettered A – T), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), in very good condition, framed, with a CD-rom containing animation.

S. 22 1/2 x 30 5/8 in. (57.2 x 77.8 cm)

Estimate $4,000-6,000

215

215

KIKI SMITH b. 1954

216

KIKI SMITH b. 1954

BluePrints: Dorothy, 1999

Red Cap, 2001

Etching and aquatint in blue and black, on Hahnemühle paper, with full margins,

Lithograph in colors with colored pencil additions, on Lana Gravure paper, the

signed, dated ‘1999’ and numbered 2/20 in pencil (there were also 7 artist’s

full sheet, signed, dated ‘2001’ and numbered 16/36 in pencil (there were also

proofs), published by Thirteen Moons, New York, in excellent condition, unframed.

10 artist’s proofs), published by Universal Limited Art Editions, West Islip, New

I. 6 3/8 x 3 7/8 in. (16.2 x 9.8 cm)

York, in excellent condition, framed.

S. 15 x 12 in. (38.1 x 30.5 cm)

S. 20 x 28 in. (50.8 x 71.1 cm)

Estimate $1,500-2,000

Estimate $2,500-3,500

LITERATURE Wendy Weitman/Museum of Modern Art 118

LITERATURE Wendy Weitman/Museum of Modern Art 126

216

217

BRUCE NAUMAN b. 1941 Dead, 1975 Lithograph, on Arches 88 paper, with full margins, signed, dated ‘75’ and annotated ‘P.P. II’ in pencil (the only printer’s proof, the edition was 15 and 7 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), in excellent condition, framed.

I. 16 1/4 x 43 1/4 in. (41.3 x 109.9 cm) S. 33 3/4 x 48 3/4 in. (85.7 x 123.8 cm)

Estimate $7,000-9,000

Bruce Nauman, One Hundred Live and Die, 1984, neon tubing mounted on four metal monoliths

LITERATURE Christopher Cordes 30; Gemini G.E.L. 604

218

BRUCE NAUMAN b. 1941 Ah Ha, 1975 Screenprint, on Arches 88 paper, the full sheet, signed, dated ‘75’ and numbered 39/44 in pencil (there were also 11 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), pale mat staining (visible only on the left side), otherwise in very good condition, framed.

S. 29 1/2 x 41 in. (74.9 x 104.1 cm)

Estimate $3,000-5,000 Man Ray, Perpetual Motive, 1970, metronome and assemblage

LITERATURE Christopher Cordes 32; Gemini G.E.L. 606

219

219

BRUCE NAUMAN b. 1941 Partial Truth, 1997 Screenprint in colors with embossing, on Lana Gravure paper, with full margins, signed, dated ‘97’ and numbered 33/50 in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), in excellent condition, framed.

I. 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm)

221

S. 22 1/4 x 28 1/8 in. (56.5 x 71.4 cm)

Estimate $3,000-4,000 LITERATURE Gemini G.E.L. 1715

220

album cover (side A)

220

(side B)

BRUCE NAUMAN b. 1941

221

BRUCE NAUMAN b. 1941

Record, from 7 Objects/69, 1969

Untitled (New Museum Image), 1992

Multimedia object comprising black plastic LP record (soundtrack from 1st

Cibachrome photograph, on super gloss Fuji photo paper mounted to wove

Violin Film; Violin Problem No. 2 and Rhythmic Stamping) contained in an album

paper (as issued), with full margins, signed, dated ‘92’ and numbered 28/150 in

cover screenprinted with photographs of the artist from the videotape Stamping

black marker (there were also 25 artist’s proofs), published by the New Museum,

in the Studio (1968), signed, dated ‘1967’ and annotated ‘A, Proof’ in black

New York, in very good condition, unframed.

marker (one of 10 artist’s proofs, the edition was 100), published by Tanglewood

I. 19 x 19 1/8 in. (48.3 x 48.6 cm)

Press, Inc., New York, a few minor scuffs, one corner with compound creasing,

S. 20 5/8 x 20 1/8 in. (52.4 x 51.1 cm)

very minor wear along the sleeve edges, otherwise in good condition, with accompanying tag with text.

S. 12 3/8 x 12 3/8 in. (31.4 x 31.4 cm)

Estimate $300-400 LITERATURE Christopher Cordes Appendix p. 127

Estimate $1,500-2,000

222

Arman, Hommage à Jimmy Hendrix, 1970, broken electric guitar in polyester

222

BARNABY FURNAS b. 1973

223

TRACEY EMIN b. 1963

Boogie Man, 2006

Tattoos, 2002

Etching and aquatint in colors with hand-painting, on wove paper, with full

Two A4 photocopies in color, on wove paper, the full sheets and with margins,

margins, signed, titled and numbered 22/40 in pencil (there were also 5 artist’s

signed, dated ‘02’ and numbered 93/200 in pencil on the print with images

proofs), published by Artists Space, New York, a pressure mark in the left

(there were no recorded artist’s proofs), published by White Cube Editions,

margin, otherwise in excellent condition, unframed.

London, occasional soft handling creases, otherwise both in very good

I. 17 3/4 x 14 1/8 in. (45.1 x 35.9 cm)

condition, both unframed.

S. 24 7/8 x 20 7/8 in. (63.2 x 53 cm)

overall I. 8 1/2 x 7 in. (21.6 x 17.8 cm) both S. 11 3/4 x 8 1/4 in. (29.8 x 21 cm)

Estimate $1,500-2,000 Estimate $800-1,000

223

224

224

ROBERT RAUSCHENBERG 1925-2008 Suite of Nine Prints series: five plates, 1979 Five offset lithographs with screenprint and collage in colors, on Rives BFK paper, the full sheets, all signed, dated ‘79’ and variously numbered from the edition of 100 in pencil (there were also an unrecorded number of artist’s proofs), published by Multiples, Inc., New York, all with the palest time staining, otherwise all in very good condition, all unframed. all S. 30 3/4 x 22 7/8 in. (78.1 x 58.1 cm)

Estimate $12,000-16,000

Including: Why you can’t tell #1; Two Reasons Birds Sing; One More and Then we Will be Half Way There; More Distant Visible Part of the Sea and People Have Enough Trouble Without Being Intimidated by an Artichoke

225

ROBERT RAUSCHENBERG 1925-2008 Umbrellas, 1983 Offset lithograph in colors with embossing, collage and pencil additions, on wove paper, the full sheet, signed, dated ‘83’ and annotated ‘PP’ in gold marker (a printer’s proof, the edition was 125 and 13 artist’s proofs), published by PACT Institute for the Performing Arts, Clearwater, Florida, occasional soft handling creases, the palest time staining, otherwise in very good condition, unframed.

S. 28 1/4 x 20 in. (71.8 x 50.8 cm)

Estimate $1,500-2,000

225

226

227

226

227

ROBERT RAUSCHENBERG 1925-2008 Watermark, 1973

ROBERT RAUSCHENBERG 1925-2008 From the Seat of Authority, 1979

Offset lithograph in colors with screenprint in white, on Arches paper, with full

Offset lithograph in colors with collage, on wove paper, the full sheet, signed,

margins, signed, dated ‘73’ and numbered 180/250 in pencil (there was also an

dated ‘79’ and numbered ‘PP 5/6’ in pencil (a printer’s proof, the edition was 100

edition of 21 in Roman numerals), published by Brooke Alexander Editions,

and an unrecorded number of artist’s proofs), published by Multiples, Inc., New

New York, light-staining, a few spots of soiling in the margins, taped to the

York, occasional soft handling creases, minor surface soiling (particularly at the

overmat in places along tthe reverse of the sheet edges, otherwise in good

sheet edges), minor skinning at the reverse of the upper corners, otherwise in

condition, framed.

very good condition, unframed.

I. 30 x 22 1/4 in. (76.2 x 56.5 cm)

S. 30 1/2 x 23 in. (77.5 x 58.4 cm)

S. 35 x 24 3/8 in. (88.9 x 61.9 cm)

Estimate $1,800-2,500 Estimate $1,200-1,800

229

228

228

ROBERT RAUSCHENBERG 1925-2008

229

ROBERT RAUSCHENBERG 1925-2008

People Have Enough Trouble Without Being Intimidated by an Artichoke, 1979

People Have Enough Trouble Without Being Intimidated by an Artichoke, 1979

Offset lithograph in colors, on wove paper, the full sheet, signed, dated ‘79’ and

Offset lithograph in colors with collage, on wove paper, the full sheet, signed,

numbered 60/100 in pencil (there were also an unrecorded number of artist’s

dated ‘79’ and numbered 100/100 in pencil (there were also an unrecorded

proofs), published by Multiples, Inc., New York, the palest time staining,

number of artist’s proofs), published by Multiples, Inc., New York, in very good

otherwise in very good condition, unframed.

condition, unframed.

S. 30 1/2 x 23 in. (77.5 x 58.4 cm)

S. 30 1/2 x 23 in. (77.5 x 58.4 cm)

Estimate $1,000-1,500

Estimate $1,800-2,500

230

CLAES OLDENBURG b. 1929 The Store (Poster), 1961 Letterpress in red and black, on heavy wove paper, with full margins, from the edition of unknown size (most copies unsigned or uninitialed, all copies unnumbered), published by the artist in cooperation with Green Gallery, New York, pale mat staining (affecting the image), occasional minor soiling and spots of stray printing ink, occasional nicks and splits along the extreme sheet edges, a small tear at the lower left sheet corner, offset ink on the reverse, otherwise in good condition, unframed.

I. 26 3/8 x 20 1/4 in. (67 x 51.4 cm) S. 28 1/4 x 22 in. (71.8 x 55.9 cm)

Estimate $1,200-1,800 LITERATURE Richard Axsom and David Platzker 20

Claes Oldenburg painting Store works at the Ray Gun Mfg. Co., 107 East Second Street, New York, 1961

231

232

231

CLAES OLDENBURG b. 1929 Scissors as Monument, from National Collection of Fine Arts portfolio, 1967

232

ROY LICHTENSTEIN 1923-1997 Salute to Airmail, 1968

Lithograph in colors, on thick Arches paper, the full sheet, signed and numbered

Gold-plated bronze multiple, incised with initials and annotated ‘AP-6’ (an

144/144 in pencil (there were also 9 artist’s proofs), published by HKL Ltd.,

artist’s proof, the edition was 50), published by International Collectors Society,

Boston and New York, for the List Art Poster Program, New York, the sheet

New York, occasional scuffing on the base, all over even wear to patina,

toned, pale moisture staining at the upper right corner, time staining, otherwise

otherwise in very good condition.

in good condition, framed.

including base: 5 3/4 x 3 1/2 x 1 3/8 in. (14.6 x 8.9 x 3.5 cm)

S. 29 3/4 x 20 in. (75.6 x 50.8 cm)

Estimate $4,000-6,000 Estimate $900-1,200 LITERATURE Richard Axsom and David Platzker 49

233

ROY LICHTENSTEIN 1923-1997 Tea set, 1984 15 ceramic dishes, including one teapot with lid, one sugarbowl with lid, one creamer, four teacups, four saucers and four dessert plates, each with the artist’s printed signature, numbered 3/100 on the underside of the sugarbowl, creamer and teapot, published by Rosenthal Limitiere Kunstreihen, Germany (each with their stamp on the underside), several with a few areas of scuffing (particularly in the silver glaze of the plates), one cup with a spot of very pale staining in the interior, a few with very minor soiling, otherwise in very good condition, lacking two sets of teacups, saucers and plates. various sizes Roy Lichtenstein, Ceramic Sculpture 16,

Estimate $15,000-20,000

1965, glazed ceramic

234

234

LARRY RIVERS 1923-2002 Dutch Masters Cigar Box, 1970 Mixed media multiple of cardboard, canvas, aluminum foil, board and paper collage in colors, signed and numbered 33/35 in black ink and pencil respectively (there were also 5 artist’s proofs), published by Edition Schellmann, Munich and New York, soiling and minor staining, the two outside figures creased at the heads, otherwise in good condition.

10 x 13 x 16 in. (25.4 x 33 x 40.6 cm)

Estimate $2,500-3,500 LITERATURE Edition Schellmann p. 239

235

GLENN BROWN b. 1966 Untitled, 2004 Giclee print in colors, on superdry satin paper, reverse mounted to Plexiglas (as issued), with full margins, signed and numbered 101/200 in black marker on the reverse (there were no recorded artist’s proofs), published by Serpentine Gallery, London, in excellent condition, unframed.

I. 22 1/2 x 14 5/8 in. (57.2 x 37.1 cm) S. 29 x 21 in. (73.7 x 53.3 cm)

Estimate $600-800

235

236

237

236

MICHELANGELO PISTOLETTO b. 1933 Specchio de toeletta, 1975 Screenprint in colors, on mirror-finished steel, the full sheet, signed and numbered 423/450 in black ink on the reverse, minor surface soiling, occasional scuffing, otherwise in good condition, unframed.

S. 39 1/4 x 27 1/2 in. (99.7 x 69.9 cm)

Estimate $3,000-5,000

237

RICHARD HAMILTON b. 1922 Self-Portrait, 1967 Screenprint in colors, on Schollershammer paper, with full margins, signed and numbered 70/75 in pencil (there were also some artist’s proofs), published by the artist, a dark scuff at the lower left edge, minor creasing at the corners, hinge remains in places on the reverse, otherwise in very good condition, unframed.

I. 11 1/8 x 8 3/8 in. (28.3 x 21.3 cm) S. 20 3/4 x 15 3/4 in. (52.7 x 40 cm)

Estimate $2,000-3,000 LITERATURE Etienne Lullin 62

238

VARIOUS ARTISTS Early prints from Leo Castelli Gallery, 1964-65 Five offset lithographs in colors, on wove paper, with full margins, all signed in pencil or black ink (some dated), from various edition sizes, all published by Leo Castelli Gallery, New York, all with the colors faded, light- and time staining, Liz with minor rippling, two abrasions with associated ink loss in the hair (at upper and lower right), moisture staining at the lower left corner (slightly affecting the image), creases in places along the edges (particularly the lower right corner); Flowers with a foxmark at the reverse of the lower left (showing through in the yellow flower on the front), areas of scattered reverse staining in the margins; F-111 with mat staining, occasional soiling, a moisture stain along the lower center edge (affecting the image, with associated rippling), a few pale foxmarks at the lower left corner, very pale scattered reverse staining along the left sheet edge, two small losses at the lower right sheet corner; Shipboard Girl with occasional scuffs, areas of soiling and reverse scattered staining, a few small paper losses along the left sheet edge; Foot Medication with moisture staining along the lower sheet edge, one framed, four unframed. various sizes

Estimate $15,000-20,000 LITERATURE Warhols: Frayda Feldman and Jรถrg Schellmann II.6 and II.7;

Lichtensteins: Mary Lee Corlett II.6 and appendix 3

Including: Andy Warhol Flowers and Liz; Roy Lichtenstein Shipboard Girl and Foot Medication Poster; and James Rosenquist F-111 exhibition poster

239

239

TOM WESSELMANN 1931-2004

240

TOM WESSELMANN 1931-2004

New Bedroom Blonde Doodle, 1991

Country Bouquet with Blue, 1991

Screenprint in colors, on Arches 88 paper, with full margins, signed and

Screenprint in colors, on Arches 88 paper, the full sheet, signed and numbered

numbered 20/100 in pencil (there were also 12 artist’s proofs), published by

15/100 in pencil (there were also 12 artist’s proofs), published by International

International Images, Inc., Putney, Vermont (with their blindstamp), a very soft

Images, Inc., Putney, Vermont, with occasional minor scuffing, very slight ink

handling crease in the right margin, otherwise in excellent condition, unframed.

loss in places along the lower edge, otherwise in very good condition, unframed.

I. 24 3/4 x 27 in. (62.9 x 68.6 cm)

S. 38 x 30 in. (96.5 x 76.2 cm)

S. 30 x 35 in. (76.2 x 88.9 cm)

Estimate $4,000-6,000 Estimate $5,000-7,000

240

241

242

241

TOM WESSELMANN 1931-2004

242

TOM WESSELMANN 1931-2004

Monica Nude with Purple Robe, 1990

Monica Lying Down on Robe, 1990

Aquatint with embossing, on Rives BFK paper, with full margins, signed and

Lithograph, on wove paper, with full margins, signed and numbered 4/40 in

numbered 35/75 in pencil (there were also 12 artist’s proofs), published by

pencil (there were also 12 artist’s proofs), published by International Images,

International Images, Inc., Putney, Vermont, in very good condition, unframed.

Inc., Putney, Vermont, in very good condition, unframed.

I. 20 1/2 x 49 in. (52.1 x 124.5 cm)

I. 26 1/2 x 63 in. (67.3 x 160 cm)

S. 36 3/4 x 59 7/8 in. (93.3 x 152.1 cm)

S. 42 x 72 in. (106.7 x 182.9 cm)

Estimate $7,000-9,000

Estimate $3,000-4,000

243

244

PROPERTY OF WILLIAMS COLLEGE ART INVESTMENT FUND

243

TOM WESSELMANN 1931-2004

244

TOM WESSELMANN 1931-2004

Still Life with Lichtenstein and Two Oranges, from Portfolio 90, 1993

Thames Scene with Power Station, 1990

Screenprint in colors, on Museum Board, with full margins, signed and

Screenprint in colors, on wove paper, with full margins, signed and numbered

numbered 8/90 in pencil (there were also 12 artist’s proofs), published by

‘DP I/III’ in pencil (one of three dedication proofs, the edition was 60 and 12

International Images, Inc., Putney, Vermont (with their blindstamp), two pale

artist’s proofs), published by International Images, Inc., Putney, Vermont (with

scuffs in the lower right and lower center margin, otherwise in very good

their blindstamp), occasional wear along the edges, otherwise in very good

condition, unframed.

condition, unframed.

I. 33 x 54 1/4 in. (83.8 x 137.8 cm)

I. 44 3/8 x 89 7/8 in. (112.7 x 228.3 cm)

S. 42 x 59 in. (106.7 x 149.9 cm)

S. 57 x 99 1/2 in. (144.8 x 252.7 cm)

Estimate $8,000-12,000

Estimate $3,000-5,000

245

245

TOM WESSELMANN 1931-2004 Still Life with Lilies and Mixed Fruit, 1998

246

TOM WESSELMANN 1931-2004 Jeannie’s Backyard, East Hampton, 1989

Screenprint in colors, on Coventry paper, with full margins, signed and

Screenprint, on heavy wove paper, with full margins, signed and numbered 67/100

numbered 74/100 in pencil (there were also 12 artist’s proofs), published by

in pencil (there were also 12 artist’s proofs), published by International Images,

Cooper Square Prints, New York, a small crescent shaped crease at the right

Inc., Putney, Vermont (with their blindstamp), occasional soiling and scuffing in

edge, otherwise in very good condition, unframed.

the margins, nicks and abrasions in places along the edges, compound creasing

I. 23 1/2 x 29 3/4 in. (59.7 x 75.6 cm)

at the upper left corner, otherwise in good condition, unframed.

S. 31 3/4 x 38 in. (80.6 x 96.5 cm)

I. 53 7/8 x 64 in. (136.8 x 162.6 cm) S. 58 7/8 x 72 7/8 in. (149.5 x 185.1 cm)

Estimate $5,000-7,000 Estimate $2,500-3,500

246

247

247

JAMES ROSENQUIST b. 1933

248

JAMES ROSENQUIST b. 1933

Carousel; Rouge Pad, 2nd State; Black Star and Tide, 1978-79

Miles, from America: The Third Century portfolio, 1976

Four etching and aquatints in colors with pochoir, Rouge Pad also with embossing

Lithograph and screenprint in colors, on Arches paper, the full sheet, signed,

and hand-coloring, on Pescia Italia paper, with full margins, all signed, titled,

dated ‘1975’, titled and numbered 138/200 in pencil (there were also 25 artist’s

dated ‘1978’ or ‘1979’ and numbered 51/78, 2/78, ‘10/24 A.P.’ and 24/78 respectively

proofs), published by Graphicstudio, University of South Florida, Tampa, the

in pencil (the editions were 78 for all and 15 and 24 artist’s proofs for three and

palest time staining, offsetting on the reverse, otherwise in very good condition,

Black Star respectively), published by Multiples Inc., New York, all with occasional

unframed.

soft handling creases, creasing in places along the edges, Carousel with an area

S. 30 x 22 1/4 in. (76.2 x 56.5 cm)

of soiling in the right image, two faint spots of soiling at the extreme right edge,

Estimate $700-900

Rouge Pad with a small rubbed area at the lower center margin, a spot of stray printing ink at the center left sheet edge, Black Star with offset pencil lines in the

LITERATURE Constance Glenn 88

margins, otherwise all in good condition, all unframed. all I. 17 5/8 x 35 3/4 in. (44.8 x 90.8 cm) all S. 22 1/2 x 39 3/4 in. (57.2 x 101 cm)

Estimate $2,000-3,000

249

JAMES ROSENQUIST b. 1933 For Love, from 11 Pop Artists, Volume III, 1965

LITERATURE Constance Glenn 131, 134A, 139 and 171

Screenprint in colors, on heavy wove paper, with full margins, signed and numbered 155/200 in pencil (there was also an edition of 50 in Roman numerals and an unrecorded number of artist’s proofs), published by Original Editions, New York, occasional scuffing and soft handling creases, minor compound creasing at the lower left corner, a few nicks along the edges, an area of scattered brown staining on the reverse of the center left sheet, otherwise

248

in good condition, unframed.

I. 35 1/8 x 26 1/8 in. (89.2 x 66.4 cm) S. 35 1/2 x 26 5/8 in. (90.2 x 67.6 cm)

Estimate $900-1,200 LITERATURE Constance Glenn 13

249

250

250

JAMES ROSENQUIST b. 1933 Ice Point, from Art and Sport portfolio, 1983 Lithograph in colors, on Arches Cover paper, the full sheet, signed, dated ‘1983’, titled and numbered 95/150 in pencil (there were also 25 artist’s proofs), published

by Visconti/Lazo Vujic for the 1984 Winter Olympic Games in Sarajevo, Yugoslavia, an area of soiling at upper right, otherwise in very good condition, unframed.

S. 33 3/8 x 24 3/8 in. (84.8 x 61.9 cm)

Estimate $1,200-1,800 LITERATURE Constance Glenn 202

James Rosenquist, Vanity Fair for Gordon Matta Clark, 1978, oil and mixed media on canvas

251

251

GEORGE SEGAL 1924-2000 Sleeping Woman, 1970 Plaster multiple, numbered 58/125 in black marker (slightly faded), published

by Pace Editions, Inc., New York, minor surface soiling, otherwise in very good condition, framed.

15 1/4 x 13 1/2 x 7 in. (38.7 x 34.3 x 17.8 cm)

Estimate $1,500-2,500

PROPERTY FROM A PRIVATE COLLECTION

252

ANDY WARHOL 1928-1987 Self-Portrait, 1966 Offset lithograph, on silver coated paper, the full sheet, signed and numbered 267/300 in black ball-point pen on the reverse, with the Andy Warhol Authentication Board, Inc., inkstamp and numbered ‘A183.032’ on the reverse, a few scuffs, nicks and creases (some with associated minor ink loss), otherwise in very good condition, framed.

S. 23 x 23 in. (58.4 x 58.4 cm)

Estimate $12,000-18,000 LITERATURE Frayda Feldman and Jörg Schellman 16

253

ANDY WARHOL 1928-1987 Mao, 1972 Screenprint in colors, on Beckett High White paper, the full sheet, signed in ball-point pen and stamp numbered 221/250 on the reverse (there were also 50 artist’s proofs), co-published by Castelli Graphics and Multiples, Inc., New York, with the Warhol copyright stamp on the reverse, mat staining along the upper sheet edge, otherwise in very good condition, unframed.

S. 36 x 36 in. (91.4 x 91.4 cm)

Estimate $20,000-30,000 LITERATURE Frayda Feldman and JĂśrg Schellmann 94

PROPERTY FROM A PRIVATE COLLECTION

254

ANDY WARHOL 1928-1987 Electric Chairs, 1971 The complete set of ten screenprints in colors, on wove paper, the full sheets, all signed and dated ‘71’ in black ball-point pen and stamp numbered 201/250 on the reverse (there were also 50 artist’s proofs in Roman numerals), published by Bruno Bischofberger, Zurich (with their copyright stamp on the reverse), all with the Andy Warhol Authentication Board, Inc. stamps on the reverse, all in excellent condition, all unframed. all S. 35 1/2 x 48 in. (90.2 x 121.9 cm)

Estimate $40,000-60,000 LITERATURE Frayda Feldman and Jörg Schellmann 74-83

Thursday, December 12, 1985 The Boston Museum returned the Electric Chair painting because they said the shade of red was off.

It was slightly different, and I told them that would make it more interesting, but they still wanted to send it back for me to think about it. If they had it next to the black panel it wouldn’t matter anyway. I think they’re just procrastinating. But it costs around $4,000 every time you ship it somewhere with the insurance and everything. And Fred was going to Atlanta.

Monday, January 20, 1986 Jean-Michel woke me up at 6:00 this morning and I went back to sleep and now my tongue can hardly move. He’s got problems because he’s trying to get Shenge out of the house, he says he’s supporting him for three years, but the main reason is that (laughs) Shenge is now painting like he is. They’re copies of his paintings. Jennifer’s away. And oh, Jean-Michel must be so hard to live with. I told him I’d had dinner with Kenny and the Chows and he wanted to know why I didn’t invite him and I said that I’d called him three days ago and he didn’t call back. Fred said that the Boston Museum people were still vague about whether they were going to buy the Big Electric Chair or not.

Andy Warhol, The Andy Warhol Diaries, edited by Pat Hackett, Warner Books, Inc., 1989, p. 699 and p. 709

PROPERTY FROM A PRIVATE COLLECTION

255

ANDY WARHOL 1928-1987 Cowboys and Indians: Indian Head Nickel, 1986 Unique screenprint in colors, on Lenox Museum Board paper, the full sheet, signed, and numbered ‘TP 12/36’ in pencil (a trial proof, the edition was 250 and 50 artist’s proofs), published by Gaultney, Klineman Art, Inc., New York, with the Andy Warhol Authentication Board Inc. inkstamp and numbered ‘A124-036’ on the reverse, a few minor scuffs, a minute abrasion at the face by the hair (with associated ink loss), a soft crease at lower right corner (with slight ink loss), otherwise in very good condition, framed.

S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $20,000-30,000 LITERATURE Frayda Feldman and Jörg Schellmann 385B

256

257

256

ANDY WARHOL 1928-1987 Ads: Volkswagen, 1985 Screenprint in colors, on Lenox Museum Board paper, the full sheet, signed and numbered 125/190 in pencil (there were also 30 artist’s proofs and an edition of 10 in Roman numerals), published by Ronald Feldman Fine Arts, Inc., New York, occasional scuffing, areas of faint moisture staining at the center image and along the sheet edges (visible in raking light), occasional ink loss in places along the sheet edges, affixed to the support, otherwise in good condition, framed.

S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $4,000-6,000 LITERATURE Frayda Feldman and Jörg Schellmann 358

257

ANDY WARHOL 1928-1987 Carter Burden, 1977 Screenprint, on Italia paper, the full sheet, signed in pencil, an unnumbered proof aside from the edition of 200, published by Andy Warhol Enterprises, Inc., New York, to raise funds for the Carter Burden campaign for president of the New York City Council, horizontal creasing throughout, occasional pale foxing, pale time staining, moisture staining along the reverse of the lower sheet edge (slightly showing through in places on the front), unframed.

S. 40 x 28 1/8 in. (101.6 x 71.4 cm)

Estimate $2,000-4,000 LITERATURE Frayda Feldman and Jörg Schellmann 156

258

PROPERTY OF BOB COLACELLO, EAST HAMPTON

258

ANDY WARHOL 1928-1987 Mao Wallpaper, 1974 Multi-image screenprint in colors, on wallpaper, the full sheet, signed in felt pen, from the unlimited edition, published by Factory Additions, New York, 1979, minor creasing in the lower sheet, zig-zag stitching along the extreme sheet edges, otherwise in very good condition, framed.

S. 74 x 29 1/2 in. (188 x 74.9 cm)

Estimate $6,000-9,000 LITERATURE Frayda Feldman and Jรถrg Schellmann 125A

259

ANDY WARHOL 1928-1987 Lincoln Center Ticket, 1967 Screenprint in colors, on wove paper, the full sheet, from the unsigned edition of 500 (there was also a signed edition of 200 on opaque acrylic), published by Lincoln Center List Poster and Print Program, New York, occasional creases and scuffs and nicks along the sheet edges (a few with associated ink loss), mat staining on the reverse, otherwise in good condition, framed.

S. 45 x 24 in. (114.3 x 61 cm)

Estimate $1,000-1,500 LITERATURE Frayda Feldman and Jรถrg Schellmann 19

260

ANDY WARHOL 1928-1987 The Philosophy of Andy Warhol (From A to B & Back Again), 1975 The first edition book by Andy Warhol in hard-cover, signed on the paper wrapper, cover page and page 92 in black ink, published by Harcourt Brace Jovanovich, New York and London, occasional foxing throughout, the signatures offsetting onto proceeding pages, minor scuffing and wear on the paper wrapper, otherwise in good condition.

8 1/2 x 5 7/8 in. (21.6 x 14.9 cm)

Estimate $500-700

259 260

261

262

261

262

JEFF KOONS b. 1955

JEFF KOONS b. 1955

Puppy, 1992

Cracked Egg, 2008

Dried flower, resin and plastic multiple, from the edition of unknown size,

Chromed-metal multiple in red, from the edition of unknown size, published by

published by TAMCB Guggenheim Museum, Bilbao, occasional minor flower

Los Angeles Contemporary Museum of Art as a gala invitation, with minor paint

loss, minor soiling on the base, otherwise in very good condition, contained

loss along the crack, otherwise in very good condition, contained in original

in original clear plastic box.

black cardboard box with accompanying cards.

7 1/2 x 4 1/2 x 8 in. (19.1 x 11.4 x 20.3 cm)

4 3/4 x 3 x 3 in. (12.1 x 7.6 x 7.6 cm)

Estimate $600-900

Estimate $600-900

263

264

263

JEFF KOONS b. 1955

264

JEFF KOONS b. 1955

Signature Plate, 1989

Puppy Plate, 1992

Porcelain plate with decal image multiple, numbered 48/80 (there was also

Porcelain plate enamelled in colors, signed and numbered VIII/XXV on the

an edition of 50 in Roman numerals), published by Parkett Editions, Zurich and

reverse (an artist’s proof, the edition was 125), published by the San Francisco

New York, surface soiling (primarily on the underside), otherwise in very good

Museum of Modern Art, in very good condition, contained in original styrofoam

condition.

box with cardboard sleeve (minor soiling).

diameter: 11 in. (27.9 cm)

11 x 15 in. (27.9 x 38.1 cm)

Estimate $1,200-1,800

Estimate $1,000-1,500

LITERATURE Edition for Parkett 19

265

JIM DINE b. 1935 Nancy Outside in July I, II, III, V, XIX, XX, XXI and XXIII, 1978-81 Eight etching and aquatints some in colors, some with roulette, hand-coloring or additions, on various papers, with full margins, all signed, dated ‘1978’ or ‘1981’ and variously numbered in pencil, there were various editions and various artist’s proofs, published by Pace Editions, Inc., New York, a few with occasional soft handling creases, one with very pale mat staining, most with hinge or adhesive remains in places on the reverse, otherwise all in very good condition, all unframed. various sizes

Estimate $9,000-12,000 LITERATURE Ellen D’Oench & Jean Feinberg 18-20, 22, 100-102 and 104

266

267

266

JIM DINE b. 1935 The Big Black and White Woodcut Tree, 1981

267

JIM DINE b. 1935 Wall Chart II, 1974

Woodcut, on Japanese Toyoshi paper, with full margins, signed, dated ‘1981’

Lithograph in colors, on Rives paper, with full margins, signed, dated ‘1974’

and numbered 2/25 in pencil (there were also 6 artist’s proofs), published by

and numbered 42/75 in pencil (there were also 15 artist’s proofs), published by

Universal Limited Art Editions, West Islip, New York, (with their blindstamp),

Petersburg Press, London, minor surface soiling, a repaired tear at upper right

in very good condition, framed.

(slightly affecting the image), adhesive remains at the reverse of the upper

I. 48 5/8 x 36 1/4 in. (123.5 x 92.1 cm)

corners, otherwise in good condition, unframed.

S. 57 3/4 x 42 in. (146.7 x 106.7 cm)

I. 41 3/4 x 30 in. (106 x 76.2 cm) S. 48 1/4 x 35 in. (122.6 x 88.9 cm)

Estimate $1,000-1,500 Estimate $2,000-3,000 LITERATURE Ellen D’Oench & Jean Feinberg 85 LITERATURE Williams College 167

268

268

MALCOLM MORLEY b. 1931 Untitled, 1965 Screenprint in colors, on Rives BFK paper, with full margins, signed and numbered 27/100 in pencil, published by Brooke Alexander Editions, New York, scuffing (particularly visible in the black inks), occasional creasing (with associated ink loss), creasing and soiling in the margins, several small holes and abrasions in the margins, a few stains in the lower margin, splitting and several tears at the sheet edges, time staining, soiling on the reverse, unframed.

I. 36 3/4 x 27 in. (93.3 x 68.6 cm) S. 46 x 35 in. (116.8 x 88.9 cm)

Estimate $300-500

269

269

ALEX KATZ b. 1927

270

ALEX KATZ b. 1927

Ada, 1994

Grey Dress, 1992

Lithograph and screenprint in colors, on wove paper, the full sheet, signed and

Screenprint in colors, on Arches paper, the full sheet, signed and numbered

numbered ‘A.P 22/40’ in pencil (an artist’s proof, the edition was 100), published

105/150 in pencil (there were also 18 artist’s proofs), published by Chalk and

by Editions de la Tempête, Paris, in excellent condition, framed.

Vermillion, Greenwich, Connecticut, in excellent condition, framed.

S. 26 x 26 1/4 in. (66 x 66.7 cm)

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

Estimate $2,500-3,500

Estimate $2,500-3,500

270

271

272

271

ALEX KATZ b. 1927

272

ALEX KATZ b. 1927

Alex and Ada the 1960’s to the 1980’s: Green Jacket, 1990

Alex and Ada the 1960’s to the 1980’s: Sweatshirt II, 1990

Screenprint in colors, on wove paper, the full sheet, signed and numbered

Screenprint in colors, on wove paper, with full margins, signed and numbered

114/150 in pencil (there were also 30 artist’s proofs), published by Gaultney,

114/150 (there were also 30 artist’s proofs), published by Gaultney, Klineman,

Klineman, New York, in very good condition, unframed.

New York, very slight creasing at the lower right corner (with the slightest ink

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

loss), otherwise in very good condition, unframed.

S. 35 7/8 x 28 5/8 in. (91.1 x 72.7 cm).

Estimate $800-1,200 Estimate $800-1,200

273

274

273

ALEX KATZ b. 1927

274

Spruce, 1994

ALEX KATZ b. 1927 Camp, from The Carnegie Hall 100th Anniversary portfolio, 1990

Aquatint in colors, on wove paper, the full sheet, signed and numbered ‘AP 8/12’

Woodcut in colors, on Japanese paper, the full sheet, signed and numbered 22/60

in pencil (an artist’s proof, the edition was 40), published by Simmelink-Sukimoto

in pencil (there were also 13 artist’s proofs), published by Carnegie Hall, New

Editions, Kingston, New York, a sticker at the reverse of the upper sheet edge,

York, minor rippling, taped to the overmat in places along the reverse of the

otherwise in very good condition, unframed.

edges, otherwise in very good condition, framed.

S. 47 x 35 3/8 in. (119.4 x 89.9 cm)

S. 59 3/4 x 40 in. (151.8 x 101.6 cm)

Estimate $3,000-4,000

Estimate $800-1,000

275

275

ALEX KATZ b. 1927 Lake Wesserunsett IV, 1972 Screenprint in colors, on American Etching paper, the full sheet, signed and numbered 6/30 in pencil, published by Brooke Alexander Editions and Marlborough Graphics, New York, minor surface soiling, two scuffs at the upper right, otherwise in very good condition, unframed.

S. 30 x 36 in. (76.2 x 91.4 cm)

Estimate $1,500-2,000 LITERATURE Nicholas Maravell 61

276

276

DONALD SULTAN b. 1951 Visual Poetics, 1998 The complete set of six screenprints, on Coventry rag paper, with full margins, plus 24 bound reproductions, with accompanying poetry by Robert Creely, each print signed with initials and dated 62/395 in pencil (there were also 25 artist’s proofs), published by Marco Fine Arts Studio, El Segundo, California, all in very good condition, the prints loose and the book bound (as issued), contained in original leather binding with artist’s name embossed on the front in red.

277

22 1/2 x 17 1/2 in. (57.2 x 44.5 cm)

Estimate $4,000-5,000

278

277

DONALD SULTAN b. 1951 Flowers and Lines, 2005

278

DONALD SULTAN b. 1951 Black and Blue, 2007

Etching, on wove paper, with full margins, signed with initials, titled, dated

Aquatint in colors, on wove paper with staff watermark, with full margins,

‘Oct 31 2005’ and numbered 6/40 in pencil, published by the artist to benefit

signed, titled, dated ‘Oct 10 2007’ and numbered 89/100 in pencil, in excellent

Friends Seminary, New York, in excellent condition, framed.

condition, unframed.

I. 8 7/8 x 10 3/8 in. (22.5 x 26.4 cm)

I. 11 7/8 x 11 7/8 in. (30.2 x 30.2 cm)

S. 14 x 15 in. (35.6 x 38.1 cm)

S. 22 3/4 x 21 1/4 in. (57.8 x 54 cm)

Estimate $500-700

Estimate $500-700

279

JENNIFER BARTLETT b. 1941 The Four Seasons, 1990-93 The complete set of four screenprints in colors, on Kurotani Hosho paper, with full margins, all signed, dated ‘93’ and annotated ‘RTP’ in pencil (the right-toprint proof, the edition was 62 and 12, 17 and 18 artist’s proofs in Roman numerals), co-published by the artist and Simca Print Artists, New York (with their blindstamp), all with occasional soft rubbing in the margins, otherwise all in very good condition, all framed. all I. 31 3/8 x 31 1/8 in. (79.7 x 79.1 cm) all S. 33 3/8 x 34 5/8 in. (84.8 x 87.9 cm)

Estimate $3,000-5,000 LITERATURE The Orlando Museum of Art 17-20

Including: Autumn; Winter; Spring and Summer

280

ERIC FISCHL b. 1948 Floating Islands, 1985 The complete set of five aquatints with drypoint in colors, on Zerkall paper, the full sheets, all signed and numbered 10/45 in pencil (there were also 10 artist’s proofs for all), published by Peter Blum Editions, New York, all with hinge remains at the reverse of the upper corners, otherwise in very good condition, loose, lacking the title, justification and green cloth-covered portfolio. yellow S. 22 5/8 x 16 5/8 in. (57.5 x 42.2 cm) other four S. 11 1/2 x 31 1/2 in. (29.2 x 80 cm)

Estimate $3,000-5,000

End of Sale Have a great summer! See you in November

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 144

INDEX

Acconci, V. 119, 120 Albers, J. 24, 25, 26, 27, 28, 52 Appleby, A. 4 Arce, M. 86 Arp, J. 55 Artschwager, R. 158

Bailey, W. 198 Bartlett, J. 279 Baselitz, G. 114

Gianakos, S. 149

Bedia, J. 85

Gillick, L. 3

Beecrof t, V. 135

Gober, R. 205

Bell, L. 122, 124, 125

Gonzalez-Torres, F. 210

Bertoia, H. 43, 44, 45, 46

Gornik, A. 111, 112

Bleckner, R. 181

Guston, P. 64

Bontecou, L. 68 Borofksy, J. 121

Hamilton, R. 237

Bosman, R. 172, 173

Hammond, J. 105, 204

Bourgeois, L. 207, 208

Haring, K. 178

Brooks, J. 61

Havekost, E. 153

Brown, G. 235

Hayter, S. W. 47, 48, 49, 50, 51

Bury, P. 80

Heilmann, M. 10, 11 Held, A. 2

Calle, S. 209

Hernandez, S. 84

Cattelan, M. 138

Hodges, J. 179

Celmins, V. 194

Hodgkin, H. 33

Christo 132

Holl, S. 126

Clemente, F. 180

Hume, G. 182, 183, 184

Close, C. 185, 186, 187, 188, 189, 190 Cottingham, R. 200

Immendorf, J. 177

Dine, J. 265, 266, 267

Jacquette, J. 202

Dintenf ass, M. 12, 13

Johanson, C. 159

Doig, P. 104

Johns, J. 191, 206

Dwyer, N. 171

Judd, D. 21, 22

Emin,T. 223

Kapoor, A. 81, 82

Essenhigh, I. 79

Katz, A. 269, 270, 271, 272, 273, 274, 275

Estes, R. 201

Kelly, E. 5, 6, 7, 8, 195 Kessler, J. 161

Fischl, E. 280

Kippenberger, M. 163, 164

Fรถrg, G. 53, 67

Kooning,W. de 62

Francis, S. 34, 35

Kooning, W. de (af ter) 63

Freud, L. 192

Koons, J. 261, 262, 263, 264

Friedman,T. 142, 143, 144

Kozloff, J. 73

Fulton, H. 108

Krasner, L. 56

Furnas, B. 222

Kuitca, G. 123 Kusama,Y. 167, 168

Laemmle, C. 174 Laffoley, P. 102 LeWitt, S. 14, 15, 16, 17 Lichtenstein, R. 232, 233 Longo, R. 175

Magritte, H. (af ter) 106

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 145

Marca-Relli, C. 65 Marden, B. 19 Martin, A. 23 Matisse, H. 193 Mc Carthy, P. 146 Mc Collum, A. 141 Mehretu, J. 69, 70, 71 Mir贸, J. 75, 76, 77, 78

Sarmento, J. 87

Mitchell, J. 57, 58, 59, 60

Saul, P. 169

Morley, M. 268

Schumann, C. 162

Motherwell, R. 36, 37, 38

Scully, S. 29

Mucha, R. 131

Segal, G. 251

Murakami,T. 88, 89, 90, 91, 92, 93, 94, 95,

Senise, D. 83

96, 97, 98, 99,100

Shepherd, K. 211 Shonibare,Y. 166

Nauman, B. 217, 218, 219, 220, 221

Shrigley, D. 148

Nevelson, L. 54

Siena, J. 30 Simmons, L. 136

Oldenburg, C. 230, 231

Smith, K. 203, 212, 213, 214, 215, 216

Owens, L. 109

Steinberg, S. 170 Steir, P. 72

Pardo, J. 118

Stella, F. 31, 32

Penck, A. R. 176

Sugimoto, H. 130

Picasso, P. 196, 197

Suh, D. H. 103

Pistoletto, M. 236

Sultan, D. 276, 277, 278

Polk Smith, L. 9

Suvero, M. di 20

Price, K. 145 Teraoka, M. 165 Rainer, A. 115

Tomaselli, F. 150, 151

Rauschenberg, R. 224, 225, 226,

Tuttle, R. 74

227, 228, 229

Twombly, C. 199

Ray, C. 134 Rivers, L. 234

Various Artists 113, 133, 156, 238

Robbins, D. 140

Vasarely, V. 39, 40, 41, 42

Rosenquist, J. 247, 248, 249, 250 Ruff,T. 110

Walker, K. 152

Ruppersburg, A. 157

Warhol, A. 155, 252, 253, 254, 255, 256,

Ruscha, E. 107, 160

257, 258, 259, 260

Ryman, R. 18

Weiner, L. 154

Samore, S. 137

244, 245, 246

Wesselmann,T. 239, 240, 241, 242, 243,

West, F. 116, 117 Whiteread, R. 127, 128, 129 Winters,T. 66 Wojnarowicz, D. 101 Wool, C. 139

Zox, L. 1

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 146

WHAT IS A PRINT?

Numbering. While the numbering of individual impressions can be found as early

An original print is a work of art on paper which has been conceived by the

as the late nineteenth century, it did not become standard practice until the mid-

artist to be realized as a print, rather than as a photographic reproduction

1960’s.Today, all limited edition prints should be numbered.The numbering is

of a work in another medium. Prints are produced by drawing or carving a

transcribed as a fraction with the first number signifying the number of the

composition on a hard surface (the MATRIX ) such as a wood block, metal plate,

individual impression and the second representing the total number of prints in the

or stone.This surface is then inked and the image is transferred to paper by the

edition.The numbering sequence is not intended to reflect the order of printing;

application of pressure, thus creating an “IMPRESSION ” or print. Unlike

prints are not numbered as they come off the press but some time later, after the ink

paintings or drawings, prints usually exist in multiple impressions, each of which

has dried.The edition number does not include proofs (see PROOFS ), but only the

is pulled from the inked surface.The total number of impressions made is called

total in the numbered edition

an edition. Artists began to sign and number each impression around the start of the 20th century.

Editions POSTHUMOUS EDITION. Edition printed after the death of the artist. It has usually been authorized by the artist’s heirs or is the product of a publisher who

GLOSSARY

purchased the matrix from the artist. It should be limited in some way (though not

We thank the International Fine Print Dealers Association for use of their official

necessarily hand-numbered) or it becomes simply a limitless restrike. Posthumous

printmaking glossary.

editions of prints that were pencil signed in their original edition frequently bear stamped signatures authorized by the artist’s heirs or the publisher.

Aquatint. An intaglio process used to produce areas of tone or shadow rather than lines, it is often combined with etching.The metal plate is covered with a waxy

RESTRIKES. Later impressions that have not been authorized by the artist or the

ground or resin that is granular rather than solid (as in etching). Acid is applied

artist's heirs. While some restrikes are of good appearance, the excessive printing

which “bites” into the metal between the granules to produce areas which will catch

of the matrix tends to wear it out and many restrikes are only ghostly images of what

the ink when it is wiped across the plate.The use of different resins with grains in

the print is supposed to be. In the case of images that may be intrinsically valuable

varying densities will produce different degrees of darkness. Portions of the plate

(i.e. Rembrandt etchings), the worn-out copper plate is frequently reworked several

can be protected with varnish in order to expose the plate to multiple bitings without

centuries later so that while the restrike may be said to have come from the original

affecting the entire composition.

plate, there is hardly anything left of the original work on the plate, even the plate signature often being re-etched by someone else.

SPITBITE AQUATINT involves painting strong acid directly onto the aquatint ground of a prepared plate. Saliva, ethylene glycol or Kodak Photoflo solution is

SECOND EDITION. A second edition is a later printing, usually authorized by the

used to control the strength of the acid applied.Traditionally, a clean brush was

artist or by the heirs, from the original matrix, after an edition of declared number

coated with saliva, dipped into nitric acid and brushed onto the ground, hence the

has already been printed. It should be annotated as a second, or subsequent,

term “spitbite.”

edition. Sometimes second editions are made, many years after the first, because the artist originally printed only four or five impressions, hardly amounting to an edition at all. A photographically produced replica of the original print, whether

Chine-collé, literally translated “Chinese glue,” is a technique that allows the

printed in a limited edition or not, is not a second edition; it is a reproduction.

artist or printmaker to print with thin delicate papers, such as rice paper or linen.

Prior to printing, a water-soluble glue or paste is applied to the back of the lighter paper which is then placed against a heavier printmaking paper.The pressure of the

Engraving is an intaglio technique in which the metal plate is marked or incised

press transfers the image to the delicate surface of the paper which adheres to the

with a tool called a burin. As the burin is moved across the plate, copper shavings,

dampened heavier paper at the same time.

called “burr,” are forced to either side of the lines being created.These are usually cleaned from the plate before inking.The engraved plate is covered in ink and then wiped so that only the engraved lines contain the ink. An engraved line may be deep

Counterproofs are made by placing a dampened sheet of paper on top of a pastel

or fine, has a sharp and clean appearance, and tapers to an end.

and applying pressure to transfer the pastel image.

Wood Engravings are a form of relief printing in which the areas of the Digital Prints: Artists who use a computer to create or manipulate their works

composition that are not to receive ink are carved away with fine engraving tools.

often use a large-scale ink jet printer to print them.These complex printers use a

Ink is applied to the raised surface and the composition transferred to paper with

sophisticated print head to disperse the ink on the paper in a fine mist of minute

a press or by hand burnishing or rubbing. Incredible precision and detail is possible

droplets in order to deliver a continuous tone image.The distinction as to whether

with this technique.

a digital print is an “original print” is determined by whether the work was created by the artist to be realized as a print. A digital print of a work that originated as a painting or drawing is a reproduction and therefore is not an original print.

Etching has been a favored intaglio technique for artists for centuries because the method of inscribing the image is so similar to drawing with a pencil or pen. After a metal plate has been coated with a waxy substance called a “ground,” the artist

Drypoint prints are created by scratching a drawing into a metal plate with a

draws through the ground with a stylus to expose the metal.The plate is then

needle or sharp tool.This intaglio technique gives the artist the greatest freedom

immersed in an acid bath, which chemically dissolves or “bites” the exposed metal.

of line, from the most delicate hairline to the heaviest gash. As the artist incises

The ground is removed before the plate is inked and printed. Etched lines usually

lines into the plate, metal shavings called “burr” are pushed up to the surface of the

have blunt rather than tapering ends.

plate and sit along the lines incised. In drypoint, the burr is not scraped away before printing but stays on the surface of the plate to print a velvety cloud of ink until it is worn away by repeated printings. Drypoint plates (particularly the burr on them)

Linocut, a form of relief printing, is a variation of the woodcut technique.The

wear more quickly than etched or engraved plates and therefore allow for fewer

artist’s composition is cut into the surface of linoleum often backed by wood for

satisfactory impressions and show far greater differences from first impression

reinforcement. Areas which are not to receive ink are carved away and separate

to last.

blocks must be carved for each color used. Since the blocks possess a smooth surface rather than a woodgrain, the resulting prints are characterized by a smoother texture in the printed areas.

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 147

Lithography. Literally, “stone drawing,” the artist draws or paints the composition

HORS COMMERCE PROOF. Impressions annotated H.C. are supposedly “not

on the flat surface of a stone with a greasy crayon or liquid.The design is chemically

for sale.”These “proofs” started to appear on the market as extensions of editions

fixed on the stone with a weak solution of acid and gum arabic. In printing, the stone

printed in the late 1960’s.They may differ from the edition by being printed on a

is flooded with water which is absorbed everywhere except where repelled by the

different paper or with a variant inking; they may also not differ at all. Publishers

greasy ink. Oil-based printer’s ink is then rolled on the stone, which is repelled in

sometimes use such impressions as exhibition copies, thereby preserving the

turn by the water soaked areas and accepted only by the drawn design.The stone is

numbered impressions from rough usage.

then run through the press with paper under light pressure, the final print showing neither a raised nor embossed quality but lying entirely on the surface of the paper.

PRINTER'S PROOF. A complimentary proof given to the printer.There can be

The design may be divided among several stones, properly registered, to produce

from one to several of these proofs, depending upon the number of printers involved

through multiple printings a lithograph in more than one color. A transfer lithograph

and the generosity of the artist.

(French, autographie) employs the same technique, but the design is drawn on specially prepared transfer paper with a lithographic crayon and is later mechanically transferred to the stone.

TRIAL PROOF. An impression pulled before the edition in order to see what the print looks like at that stage of development, after which the artist may go back to the matrix and make adjustments.There can be any number of trial proofs,

A ZINCOGRAPH is the same as a lithograph, but uses a zinc plate rather than

depending upon how a particular artist works, but it is usually a small number and

a stone.

each one usually differs from the others. In French, a trial proof is called an épreuve d'essai, in German a probedruck.

Matrix. From the Latin word mater, meaning mother, the matrix is the form or surface on which the image to be printed is prepared, for example, a woodblock, a linoleum block, a metal plate, a lithographic stone or a mesh screen.

Publisher. A publisher provides the financial support to produce and market an artist’s prints. A publisher brings together artist and printer (assuming the artist does not do his own printing).The printer may also himself be a publisher.

Publishers date back to the sixteenth century and the great majority of original

Mezzotint is another intaglio technique used to create areas of tone or shadow

prints made in the nineteenth century were commissioned and brought to market

rather than lines. In this method, the entire surface of the plate is abraded by a

by publishers.

spiked tool called a rocker so that, if inked at that point, the entire plate would print in solid black.The artist then works “from black to white” by scraping or burnishing areas so that they will hold less or no ink, yielding modulated tones

Screenprints (Serigraphy). In this process, a separate screen is required for each color in the artist's composition and the same piece of paper must be printed with each of them in turn. For each screen, a pattern of fabric or paper is cut and

Monoprint/Monotype. As their names imply, monoprints and monotypes (the

attached to the mesh to block the flow of that particular color to the sheet of paper

words are often used interchangeably but shouldn’t be) are prints that have an

beneath it. A squeegee is used to force the paint through the exposed areas of the

edition of one, though sometimes a second, weaker impression can be taken from

mesh.This technique is often referred to as serigraphy, a term coined to distinguish

the matrix.

between commercial and artistic screenprinting.

A MONOPRINT is made by taking an already etched and inked plate and adding to the composition by manipulating additional ink on the surface of the plate.This

Signatures. The very earliest prints were not signed at all, although by the late

produces an impression different in appearance from a conventionally printed

fifteenth century many artists indicated their authorship of a print by incorporating

impression from the same plate. Since it is virtually impossible to manipulate the

a signature or monogram into the matrix design, what is called “signed in the plate”

additional ink in exactly the same way for each impression, every monoprint

or a “plate signature.” While some prints were pencil signed as early as the late

impression will be different.

eighteenth century, the practice of signing one's work in pencil or ink did not really become common practice until the 1880’s.Today it is customary for original prints

A MONOTYPE is made by drawing a design in printing ink on any smooth surface,

to be signed. When a print is described simply as “signed” it should mean that is

then covering that matrix with a sheet of paper and passing it through a press.The

signed in pencil, ink or crayon; a plate signature should not be described as

resulting image will be an exact reverse of the original drawing, but relatively flatter

“signed.” A stamped signature should be described as such.

because of the pressure of the press.

Woodcut is a relief technique using a side-grained plank of wood in which the nonPochoir is a direct method of adding hand-coloring to an impression through a

printing areas of the composition are cut away below the surface with a knife or

stencil.The stencil itself is usually knife-cut from thin coated paper, paperboard,

gouge. While woodcuts were first seen in ninth-century China, Western artists have

plastic, or metal and the ink or paint is applied with a brush through the stencil

made woodcut prints since the fourteenth century. In the seventeenth and

to the paper beneath.

eighteenth centuries, Japanese artists using these techniques reached an exceptional level of artistic achievement, what is known as the ukiyo-e period or style.

Proofs ARTIST'S PROOFS. This practice dates back to the era when an artist

COLOR WOODCUTS involve the use of separate blocks for each color, often

commissioned to execute a print was provided with lodging, living expenses, and

with enormous complexity using multiple blocks and overlapping.

a printing studio with workmen, supplies and paper.The artist was given a portion of the edition (to sell) as payment for his work.Today, though artists get paid for

WHITE LINE WOODCUTS were the product of a technique developed by artists

their editions, the tradition has persisted and a certain number of impressions are

in the Provincetown art colony around 1915. By cutting a groove between each color

put aside for the artist. Artist's proofs are annotated as such or as A.P., or Épreuve

in the composition, the artists were able to produce a color woodcut from a single

d'Artiste or E.A.

block.The desired colors are painted on the raised areas while the groove, which is devoid of ink, prints as a blank or “white” line delimiting each area of color.

BON À TIRER PROOF. Literally, the “ok-to-print proof.” If the artist is not printing his own edition, the bon à tirer (sometimes abbreviated as b.a.t.) is the final trial proof, the one that the artist has approved, telling the printer that this is the way they want the edition to look.There is only one of these proofs for an edition.

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 148

GUIDE FOR PROSPECTIVE BUYERS Buying at Auction The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you.

Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller.

Buyer’s Premium Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold.The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $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.

Symbol Key The following key explains the symbols you may see inside this catalogue.

O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price.The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. ∆ Property in Which Phillips de Pury & Company Has an Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

•

No Reserve Unless indicated by a , all lots in this catalogue are offered subject to a reserve.

A reserve is the confidential value established between Phillips de Pury & Company and the seller and below which a lot may not be sold.The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low presale estimate.

•

1 Prior to Auction 2 Bidding in the Sale Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success.

However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.

Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only.

Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition.The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports.

In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk.

Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-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 be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue.This service is free and confidential.

Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 149

DESIG N AUCTION

3 JUNE 2009 11am

NEW YORK

Viewing 27 May – 2 June

Phillips de Pury & Company 450 West 15 Street New York Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

LILIAN DAUBISSE Hérisson, 2004 Estimate $20,000-30,000

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 150

3 The Auction Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully.They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips 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.

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 151

PROPERTY FROM A PRIVATE COLLECTION HENRI MATISSE Nu au coussin bleu à côté d’une cheminée (Claude Duthuit 454), 1925 Lithograph on Arches MDM laid paper, with full margins (deckle on four sides) signed and annotated `epr. d'artiste 9/10' in pencil Image 25 1/8 x 18 3/4 in. (63.8 x 47.6 cm); Sheet 29 1/2 x 22 1/8 in. (74.9 x 56.2 cm) Available for sale Phillips de Pury & Company 450 West 15 Street New York Enquiries Kelly Troester +1 212 940 1221 ktroester@phillipsdepury.com www.phillipsdepury.com

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 152

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding.

1 Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

2 Phillips de Pury & Company as Agent Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise.

3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a)The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot.

Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by 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 the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. . (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 Bidding at Auction (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from

Phillips de Pury & Company. 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 use taxes.The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c)Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company.Telephone bidding is available for lots whose low pre-sale estimate is at least $1000. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer.Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips 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 that we will only look to the principal for such payment. (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 undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

5 Conduct of the Auction each lot is offered subject to a (a) Unless otherwise indicated by the symbol reserve, which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller.The reserve will not exceed the low pre-sale estimate at the time of the auction.

•

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, reoffer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c)The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d)The sale will be conducted in US dollars and payment is due in US dollars. For the 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, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 Purchase Price and Payment (a)The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”).The buyer’s premium is 25% of the hammer price up to and including $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. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 153

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 154

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000.

Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street,Third Floor, during regular weekday business hours. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is 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 transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d)Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

7 Collection of Property (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks.

As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b)The buyer must arrange for collection of a purchased lot within five days of the date of the auction. 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, Phillips de Pury & Company will upon request transfer on a bi-weekly basis 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. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in 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 responsibility, and we will not be liable for acts or omissions of third party packers or shippers.Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and 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 authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de

Pury & Company’s reasonable discretion.The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the 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) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips 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 by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in 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 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 to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer 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 payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

10 Rescission by Phillips de Pury & Company Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the 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 refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale..

11 Export, Import and Endangered Species Licenses and Permits Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot.

12 Client Information In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide 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 "sensitive," they agree that Phillips de Pury & Company and our affiliated companies may 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 consent. If you would

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 155

like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number.

13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain 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 & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 General (a)These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c)These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

16 Law and Jurisdiction (a)ThThe rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal 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 and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot.This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the 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 whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d)The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid.This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law.This means that none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 156

SPECIALIST & SERVICE DEPARTMENTS

Contemporary Art

Modern and Contemporary Editions

Michael McGinnis Worldwide Director +44 20 7318 4091

Kelly Troester Worldwide Co-Director +1 212 940 1221

Aileen Agopian Director New York +1 212 940 1255

Cary Leibowitz Worldwide Co-Director +1 212 940 1222

Jean-Michel Placent New York +1 212 940 1263

Jannah Greenblatt New York +1 212 940 1332

Timothy Malyk Head of Under the Influence New York +1 212 940 1258

Joy Deibert New York +1 212 940 1333

Chin-Chin Yap New York +1 212 940 1250 Christina Floyd New York +1 212 940 1340

Saturday@Phillips

Veronica Collins New York +1 212 940 1252

Tobias Sirtl Director +44 20 7318 4095

Sarah Mudge Head of Part II New York +1 212 940 1259

Alex W. Smith New York +1 212 940 1276

Roxana Bruno New York +1 212 940 1229

Anne Huntington New York +1 212 940 1210

Sara Davidson New York +1 212 940 1262

Arianna Jacobs London + 44 20 7318 4054

Derrick Mead New York +1 212 940 1272

George O’Dell London +44 20 7318 4040

Maria Bueno New York +1 212 940 1261

Steve Agin (Consultant) +1 908 475 1796

Peter Flores New York +1 212 940 1223

Balthasar de Pury (Consultant) Geneva +41 79 250 86 81

(Uli) Zhiheng Huang New York +1 212 940 1288 Eugenia Ballvé New York +1 212 940 1303

Chairman London

Anthony McNerney Head of Evening Sale London +44 20 7318 4067

Rodman Primack London +44 20 7318 4017

Peter Sumner Head of Day Sale London +44 20 7318 4063 Laetitia Catoir London + 44 20 7318 4064

Managing Directors

SilkeTaprogge London +44 20 7318 4012

Finn Dombernowsky London +44 20 7318 4034

Ivgenia Naiman London +44 20 7318 4071

Charlie Horne New York +1 212 940 1292

Fiona Biberstein London +44 20 7318 4013 Siobhan O’Connor London +44 20 7318 4093

Business Development

Catherine Higgs London +44 20 7318 4089

Alexander Gilkes New York +1 212 940 1398

Raphael Lepine London +44 20 7318 4078 TanyaTikhnenko London +44 20 7318 4065

Executive Assistant to Simon de Pury

Sarah Buchwald London +44 20 7318 4085

Helen Rohwedder London +44 20 7318 4042

Phillippa Willison London +44 20 7318 4070 Executive Assistant to Bernd Runge Jewelry

Johanna Frydman London +44 20 7318 4024

Nazgol Jahan Worldwide Director +1 212 940 1283 Carolin Bulgari Geneva +41 22 906 80 00

Private Sales

Carmela Manoli New York +1 212 940 1302

Christina Scheublein New York +1 212 940 1248

Heather Zises New York +1 212 940 1290 Lane Mclean London +44 20 7318 4032 Veronica Lota Geneva +41 22 906 80 05

Press and Public Relations Ariel Childs Head London +44 20 7318 4028 Cécile Demtchenko Paris +33 1 42 78 67 77

Contemporary Jewelry Rachel Mattes New York +1 212 940 1285

Exhibitions London +44 20 7318 4023 New York +1 212 940 1301

Photographs Charlie Scheips Worldwide Director +1 212 940 1244

International Specialists and Representatives

Vanessa Kramer New York +1 212 940 1243

Dr. Michaela Neumeister Munich +49 89 238 88 48 10

Caroline Shea New York +1 212 940 1247

Olivier Vrankenne Brussels & Paris +32 486 43 43 44

Sarah Krueger New York +1 212 940 1245

Leonie Moschner Paris +33 6 85 53 92 03

Kelly Padden London +44 20 7318 4018

Tamara Corm Paris & London +33 6 75 07 04 71

Ben Adams London +44 20 7318 4077

Ivgenia Naiman London +44 20 7318 4071

Alexandra Bibby London +44 20 7318 4087

Brooke de Ocampo London +44 777 551 7060

Helen Hayman London +44 20 7318 4092

Laura Garbarino Milan +39 339 478 9671 Eugenia Bertele Milan +39 02 3669 5895

Design

Florence Uchida New York +1 917 902 2714

Alexander Payne Worldwide Director +44 20 7318 4052

Nadia Breuer Sopher New York & Australia +1 917 319 4741

Marcus Tremonto New York +1 212 940 1268

Mimi Won Techentin Los Angeles +1 310 600 9192

Alex Heminway Director New York +1 212 940 1269

Maya McLaughlin Los Angeles +1 323 791 1771

Tara DeWitt New York +1 212 940 1265

Tatiana Beliaeva Moscow +7 985 969 9292

Meaghan Roddy New York +1 212 940 1266

Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804

Stephanie Abraitis New York +1 212 940 1268

Lulu Al-Sabah Dubai +44 77 9518 8878

Ben Williams London +44 20 7318 4027

Lydia Limmerick Dubai +44 79 2048 1110

Domenico Raimondo London +44 20 7318 4016 Ellen Stelter London +44 20 7318 4021 Marcus McDonald London +44 20 7318 4014

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 157

PHILLIPS de PURY & COMPANY CONTACTS

Chairman

Advisory Board

Simon de Pury

Maria Bell Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Lapo Elkann Ben Elliot

Senior Partners

Lady Elena Foster

Michael McGinnis

H.I.H. Francesca von Habsburg

Dr. Michaela Neumeister

Marc Jacobs Malcolm McLaren

Partners

Ernest Mourmans

Aileen Agopian

Aby Rosen

Sean Cleary

Christiane zu Salm

Alexander Payne

Princess Gloria von Thurn und Taxis

Rodman Primack

Jean Michel Wilmotte

Olivier Vrankenne

Anita Zabludowicz

Tiffany Wood

WORLDWIDE OFFICES

NEW YORK

MUNICH

450 West 15 Street New York NY 10011 USA

Maximiliansplatz 12a 80333 Munich Germany

+1 212 940 1200 +1 212 924 5403 fax

Shirin Kranz +49 89 238 88 48 0 +49 89 238 88 48 15 fax

LONDON

BERLIN

Howick Place London SW1P 1BB United Kingdom

Auguststrasse 19 10117 Berlin Germany

+44 20 7318 4010 +44 20 7318 4011 fax

Rolf Moritz Estermann Natalia Kazmierczak +49 30 880 018 42 +49 30 880 018 43 fax

PARIS 28, rue Michel Le Comte 75003 Paris France CĂŠcile Demtchenko +33 1 42 78 67 77 +33 1 42 78 23 07 fax

GENEVA 23, quai des Bergues 1201 Geneva Switzerland Carolin Bulgari +41 22 906 80 00 +41 22 906 80 01 fax

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Page 158

SALE INFORMATION

MODERN a nd CONTEMPORARY EDITIONS

Auction

Worldwide Directors

Tuesday June 2 2009 at 2pm

KellyTroester New York +1 212 940 1221 Cary Leibowitz New York +1 212 940 1222

Viewing & Auction Location 450 West 15 Street New York NY 10011

Cataloguer Jannah Greenblatt New York +1 212 940 1332

Viewing Wednesday May 27 – Saturday May 30 10am – 6pm

Administrator

Sunday May 31 Noon – 6pm

Joy Deibert New York +1 212 940 1220 +1 212 940 1213 f ax

Monday June 1 10am – 6pm Tuesday June 2 Noon – 2pm

Property Manager Adam Sipe New York +1 212 940 1284

Sale Designation In sending written bids or making inquiries please refer to this sale

Absentee and Telephone Bids

as NY030109 or Modern and Contemporary Editions.

Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax bids@phillipsdepury.com

Catalogues $60 at the Gallery / £30 Client Accounting Catalogue Subscriptions

Sylvia Leitao New York +1 212 940 1231

Allyson Melchor +1 212 940 1240 +44 20 7318 4039

Barbara Doupal New York +1 212 940 1232

catalogues@phillipsdepury.com

Nicole Rodriguez New York +1 212 940 1235

Client Services +1 212 940 1200

Shipping Beth Petriello New York +1 212 940 1373

E-mail Addresses All Phillips de Pury & Company e-mails are

Principal Auctioneer

first initial and last name @phillipsdepury.com

Simon de Pury 0874341

(e.g., jdeibert@phillipsdepury.com) Auctioneers www.phillipsdepury.com

Aileen Agopian 1199037 Christina L. Floyd 1238278

Front Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)

Sarah Mudge 1301805

Inside Front Cover Alex Katz, Ada, 1994, Lot 269 (detail)

Alexander Gilkes 1308958

Title Page Various printmakers

Ellen Stelter UK

Last Page Do Ho Suh, Untitled, 1998, Lot 103 (detail)

Rodman Primack UK

Inside Back Cover Kelley Walker, Maui, 2002, Lot 152 (detail) Back Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)

Photography Kent Pell Morten Smidt

e5413p144p159_ks.qxd:Clean

4/24/09

10:25 AM

Do Ho Suh, Untitled, 1998, Lot 103 (detail)

Page 159

Kelley Walker, Maui, 2002, Lot 152 (detail)

Alex Katz, Ada, 1994, Lot 269 (detail) Front Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)

MODERN AND CONTEMPORARY

EDITIONS JUNE

MODERN AND CONTEMPORARY

E D ITI O N S JUNE 2 2009 N E W YO R K

RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)

NY0 3 0 1 0 9

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

2

2009

N E W YO R K