Page 1

modern and contemporary

editions 8 june 2 010 NEW YORK


M O D E R N AN D C O NT E M P O R A RY

EDITION S 8 JUNE 2 0 10 10 a m & 2 : 3 0 p m NE W YO RK

Lots 1- 4 3 0 Viewing Tuesday 1 June – Saturday 5 June, 10am – 6pm Sunday 6 June, 12pm – 6pm Monday 7 June, 10am – 6pm SESSION I

Front Cover Robert Rauschenberg, Preview, from Hoarfrost Editions series, 1974, Lot 216 Inside Front Cover Bruce Nauman, Bound to Fail, from Eleven Color Photographs, 1967-70, Lot 264 (detail); Andy Warhol, Myths: The Star, 1981, Lot 324 (detail); Andy Warhol, Myths: The Shadow, 1981, Lot 325 (detail) Title Page Richard Prince, 8 x 10 portfolio, 1999, Lot 337 (detail) Inside Back Cover Pablo Picasso, 347 series: Don Quichotte, Sancho et un ‘Mousquetaire’, regardant passer dulcinee sur une charrette tiree par un homme masque, plate 198, 1968, Lot 113 (detail) Back Cover Man Ray, Le voyeur (Peeping Tom), 1975, Lot 71 (detail)

10am

Lots 1-20 6


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2

1 VICTOR VASARELY 1908-1997

2 RICHARD ANUSZKIEWICZ b. 1930

[Untitled]: eight impressions, circa 1970

Three Untitled Christmas cards, circa 1970

Eight screenprints in colors, on Arches paper, with full margins, all signed and variously

Three screenprints in colors, on masonite boards, the full sheets, one signed, dated ‘1970’

numbered from the edition of 250 in pencil, a few with very small spots of soiling in the

and numbered 101/200 in pencil, two presumably signed on the reverse and from the

margins, a few with soiling on the reverse, otherwise all in good condition, all unframed.

editions of approximately 100, all sent as Christmas cards to friends, all with occasional

all I. 16 x 16 in. (40.6 x 40.6 cm)

scuffing, nicks at the board edges (occasionally with associated ink loss), all attached to the

all S. 24 3/8 x 19 1/2 in. (61.9 x 49.5 cm)

support, all framed.

Estimate $ 4 0 0 - 6 0 0

all S. approx. 8 x 5 in. (20.3 x 12.7 cm)

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


3

3 RICHARD ANUSZKIEWICZ b. 1930 Sequential portfolio: eight plates, 1972 Eight screenprints in colors, on Studio Bristol paper, with full margins, all signed, dated ‘1972’, annotated and numbered 195/200 (one numbered 15/200) in pencil (there were also 20 artist’s proofs in Roman numerals), published by Sanmore Editions, New York, loose, all contained in original portfolio box (tape remains, soiling), lacking three plates but including two impressions of plate VIII; also including [Rooster] by Reuven Rubin, lithograph in colors, on wove paper, the full sheet, signed and annotated ‘E.A.’ in pencil (an artist’s proof, the edition was 250), minor soiling, pale mat staining, a crease at lower left, otherwise in good condition, unframed. 29 7/8 x 22 1/2 in. (75.9 x 57.2 cm)

Estimate $1, 5 0 0 - 2 , 5 0 0 Literature Sterling and Francine Clark Institute pp. 33-35

Including: plates I, II, IV, VII, VIII (2), IX and X

4 NORMAN CARLBERG b. 1928 Quarter-Rounds, 1980 The complete set of sixteen offset lithographs, on wove paper, the full sheets, one signed, dated ‘1980’ and numbered 3/10 in pencil, all in very good condition, all framed. all S. 18 x 18 in. (45.7 x 45.7 cm)

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

Each sheet can be rotated, or moved within the larger work, to create a multitude of different designs, four combination examples are illustrated. 4


5

5 ANNI ALBERS 1899-1994 Connections portfolio, 1984 The complete set of nine screenprints in colors, on Cartiere Miliani of Fabriano Umbria Italia paper, with full margins, all signed, dated ‘1983’ and numbered 76/125 in pencil, published by Fausta Squatriti Editore, Milan, all with varying degrees of pale scattered foxing in the margins, otherwise all in very good condition, loose, contained in original paper covered portfolio with printing on the front. 28 x 20 in. (71.1 x 50.8 cm)

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

Based on the original works: Smyrna-Knüpfteppich (Bauhaus-period), 1925; Study for Unexecuted Wall Hanging (Bauhaus-period), circa 1926; With Verticals, 1946; Untitled, 1948; Study for Nylon Rug, 1959; Study for Hooked Rug, 1964; Triangulated Intaglios, 1972; Orchestra III, 1980 and Untitled, 1983

6

6 JOSEF ALBERS 1888-1976 I-S VVII, 1971 Screenprint in colors, on wove paper, with full margins, signed with initials, titled, dated ‘71’ and numbered 86/100 in pencil, published by Ives-Sillman, Inc., New Haven (with their blindstamp), very minor surface soiling, otherwise in very good condition, unframed. I. 12 3/8 x 25 5/8 in. (31.4 x 65.1 cm) S. 18 5/8 x 31 1/2 in. (47.3 x 80 cm)

Estimate $1, 2 0 0 -1, 6 0 0 Literature Brenda Danilowitz 211


7

7 JOSEF ALBERS 1888-1976 Formulation and Articulation portfolio I and II, 1972 The complete set of 127 screenprints in colors, on wove paper, with full margins, numbered 29/1000, co-published by Harry N. Abrams Inc., New York, and Ives Sillman, Inc., New Haven, all in very good condition, contained in original linen covered portfolio and slip case. 20 3/4 x 15 3/4 in. (52.7 x 40 cm).

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

8

9

8 JOSEF ALBERS 1888-1976

9 JOSEF ALBERS 1888-1976

I-S j, 1973

I-S LXXIIa, 1972

Screenprint in colors, on heavy etching paper, with full margins, an unsigned proof from

Screenprint in grays, on German Etching paper, with full margins, an unsigned proof

the edition of 35 hors commerce (aside from the signed and numbered edition of 100),

from the edition of 25 artist’s proofs (aside from the signed and numbered edition of 100),

published by Ives-Sillman, Inc., New Haven (with their estate stamp on the reverse as

published by Ives-Sillman, Inc., New Haven with their estate stamp on the reverse as

approved by the Albers foundation), very minor scuffing, a few soft handling creases, pale

approved by the Albers foundation), minor scuffing, very minor soiling in the margins,

scattered foxing in the margins, otherwise in good condition, unframed.

otherwise in very good condition, unframed.

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

I. 17 1/2 x 17 1/2 in. (44.5 x 44.5 cm)

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

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

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

Estimate $ 8 0 0 -1, 2 0 0

Literature Brenda Danilowitz 220

Literature Brenda Danilowitz 215

Published to commemorate Albers’s 84th birthday.


10

10 LARRY ZOX 1936-2006 Mostly Mozart Festival, 1971 Screenprint in colors, on wove paper, with full margins, signed and numbered 171/198 in (there were also 18 artist’s proofs), published by Lincoln Center List Poster and Print Program, New York, in good condition, framed. I. 80 3/4 x 40 in. (205.1 x 101.6 cm) S. 83 x 42 in. (210.8 x 106.7 cm)

Estimate $1, 2 0 0 -1, 8 0 0 Literature Charles A. Riley p. 135

11

11 LARRY ZOX 1936-2006 Three [Untitled] prints, circa 1978 Three screenprints in colors, on Arches paper, with full margins, all signed and numbered 24/100, 54/100 and 95/150 in pencil (there are two impressions of the top image), all with occasional soft handling creases and minor soiling, one with two repaired tears at upper right, one with pale mat staining, otherwise all in good condition, all unframed. two I. 18 x 31 in. (45.7 x 78.7 cm) two S. 24 7/8 x 35 in. (63.2 x 88.9 cm) one I. 17 1/4 x 22 1/2 in. (43.8 x 57.2 cm) one S. 22 1/4 x 29 3/4 in. (56.5 x 75.6 cm)

Estimate $ 3 0 0 - 5 0 0

12

12 LEON POLK SMITH 1906-1996 [Untitled]; and [Untitled] Two screenprints in colors, on wove paper, the full sheets, signed and numbered 55/150 and 56/150 in pencil, both with occasional scuffs, slight creases in the corners (a few with associated ink loss), otherwise both in very good condition, both unframed. both S. 33 1/4 x 23 1/2 in. (84.5 x 59.7 cm)

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


13

13 ELLSWORTH KELLY b. 1923 White Curve I (Black Curve I) and Black Curve I (White Curve I), 1973 Two lithographs with graphite additions, on Arjomari paper, with full margins, signed, numbered 9/50 and 9/49 respectively in pencil (there were also 9 artist’s proofs for both), published by Gemini G.E.L., Los Angeles (with their blindstamps), both with with a backed tear at left, occasional soft handling creases, minor soiling and a few foxmarks in the margin, pale time staining, otherwise both in good condition, both framed. both I. 26 x 26 in. (66 x 66 cm) both S. 34 x 34 in. (86.4 x 86.4 cm)

Estimate $ 5 , 0 0 0 -7, 0 0 0 Literature Gemini G.E.L. 462-63; Richard Axsom 99-100

14

14 ELLSWORTH KELLY b. 1923 Black Curve I (White Curve I), 1973 Lithograph with graphite additions, on Arjomari paper, with full margins, signed and numbered 6/50 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), occasional soft handling creases, a backed tear at right sheet edge, time staining, otherwise in good condition, framed. I. 26 x 26 in. (66 x 66 cm) S. 34 x 34 in. (86.4 x 86.4 cm)

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Literature Gemini G.E.L. 462; Richard Axsom 100


15 ELLSWORTH KELLY b. 1923 Blue over Green; Orange over Green; and Orange over Blue, 1964-65 Three lithographs in colors, on Rives BFK paper, with full margins, all signed and two numbered 19/75, Orange over Green numbered 20/75, in pencil (there were 7, 4 and 7 artist’s proofs respectively), all published by Maeght, Paris, all with the sheet slightly toned, minor surface soiling, occasional soft handling creases, a few irregularities in the inks, mat and reverse staining in places in the margins, hinge remains at the reverse of the upper corners, otherwise all in good condition, all unframed. all I. 20 3/8 x 15 3/4 in. (51.8 x 40 cm) all S. 35 1/4 x 23 3/4 in. (89.5 x 60.3 cm)

Estimate $10 , 0 0 0 -15 , 0 0 0 Literature Richard Axsom 26-28

While Ellsworth Kelly was in France in late 1964, he began two major series of lithographs for Aimé and Marguerite Maeght, who were Parisian publishers of art books and fine-art prints and co-owners of Galerie Maeght. The first set of prints, the Suite of Twenty-Seven Color Lithographs, was published in early 1965. Marcel Durassier was the noted master printer for Maeght. He had collaborated on lithographic projects with many School of Paris artists, including Georges Braque, Joan Miró, Alberto Giacometti, Marc Chagall and Henri Matisse. He worked with Kelly, supervising, proofing, and editioning the Series of Twenty-Seven Color Lithographs and the first twelve prints of the Suite of Plant Lithographs. Maeght made Miró’s luxurious apartment above the lithographic studio available to Kelly during his month-long stay in Paris (Miró resided there while he collaborated on print projects for Maeght.) Kelly worked upstairs, going back and forth to the printers below, actively involved on a full-time, daily basis with making preliminary collages and drawings, drawing with lithograhic crayon on the stones, helping to carry them, and carefully following the proofing stages. He remembers the challenge posed for Durassier by his large, plain areas and blocks of pure color. Durassier, who was accustomed to traditional lithography, with its emphasis on drawing and hand gesture, had never printed broad flats of color before. He did them to Kelly’s great satisfaction. The Maeght color lithographs were Kelly’s first serialized work of art. Previous paintings, because of similar shape, often fell into loosely knit groupings, but Kelly never conceived them as a specific set of variations to be presented together. The scale of the prints allowed this, and–along with Frank Stella, who at the time had fashioned a number of painting series–Kelly was one of the first Americans to develop serialized work, an achievement, little acknowledged, that influence his future directions and that set no small precedent for the Minimalists later in the decade. (Richard Axsom, The Prints of Ellsworth Kelly, Hudson Hills Press, 1987, pp. 19 and 39).


16 ELLSWORTH KELLY b. 1923 Four Panels, 1971 Screenprint in colors, on Arjomari paper, with full margins, signed and numbered 1/50 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), a crescent shaped crease at upper left margin, the palest time staining, otherwise in very good condition, framed. I. 28 5/8 x 53 7/8 in. (72.7 x 136.8 cm) S. 36 3/4 x 61 3/4 in. (93.3 x 156.8 cm)

Estimate $10 , 0 0 0 -15 , 0 0 0 Literature Gemini G.E.L. 263; Richard Axsom 72


17

18

17 ELLSWORTH KELLY b. 1923

18 ELLSWORTH KELLY b. 1923

Yellow/Orange, 1970

Red Yellow Blue, 2000

Lithograph in yellow and orange, on Special Arjomari paper, with full margins, signed and

Lithograph in colors, on wove paper, the full sheet, signed with initials and numbered

numbered 16/75 (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles

46/128 in pencil, printed by Gemini G.E.L., Los Angeles (with their inkstamp on the reverse),

(with their blindstamps), pale scattered pin point foxing, an area of soiling in the the

included in the deluxe book Line Form Color, the book signed and numbered 46/100 in pencil

yellow shape, occasional soft rubbing and minor soiling in the margins, pale time staining,

on the last page, published to support the Department of Modern and Contemporary Art at

otherwise in good condition, unframed.

the Fogg Art Museum, Harvard University, Cambridge, the lithograph loose and contained

I. 22 3/4 x 28 1/2 in. (57.8 x 72.4 cm)

in the book, both in very good condition, contained in original gray paper convered slip case

S. 35 x 41 3/8 in. (88.9 x 105.1 cm)

with title embossed on the front (minor scuffing).

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

8 1/8 x 8 3/8 in. (20.6 x 21.3 cm)

Estimate $1, 0 0 0 -1, 5 0 0 Literature Gemini G.E.L. 239; Richard Axsom 70


19

19 ELLSWORTH KELLY b. 1923

20 ELLSWORTH KELLY b. 1923

Concorde II (State), 1981-82

White Bar with Black, 1973

Etching and aquatint, on Arches Cover paper, with full margins, signed and annotated

Lithograph with graphite additions, on Arjomari paper, with full margins, signed and

‘SP I state’ in pencil (a special proof, the edition was 18 and 9 artist’s proofs), published by

numbered 7/50 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los

Gemini G.E.L., Los Angeles (with their blindstamps), minor surface soiling, a spot of soiling

Angeles (with their blindstamps), occasional soft handling creases and printing creases

at the left center margin, otherwise in very good condition, framed.

in the margins, a blue/gray moisture stain in places along the left sheet edge, pale time

I. 16 3/4 x 11 1/8 in. (42.5 x 28.3 cm);

staining, otherwise in good condition, framed.

S. 32 3/4 x 25 1/4 in. (83.2 x 64.1 cm)

I. 21 1/4 x 34 in. (54 x 86.4 cm) S. 29 1/4 x 42 in. (74.3 x 106.7 cm)

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

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Literature Gemini G.E.L. 1003; Richard Axsom 197a Literature Gemini G.E.L. 464; Richard Axsom 89

20


21

22

21 Al Held 1928-2005

22 AL HELD 1928-2005

Pachinko, 1989

Straits of Malacca, 1987

Woodcut in colors, on wove paper, with full margins, signed and numbered 32/125 in

Etching, on wove paper, with full margins, signed, dated and numbered 10/50 in pencil

pencil on the reverse (there were also 10 artist’s proofs), published by Crown Point Press,

(there were also 10 artist’s proofs), published by Crown Point Press, San Francisco, soiling

San Francisco (with their blindstamp), a few very minor spots of soiling in the margins,

along the upper sheet edge, otherwise in very good condition, framed.

otherwise in very good condition, framed.

I. 35 3/4 x 44 3/4 in. (90.8 x 113.7 cm)

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

S. 41 3/4 x 51 1/2 in. (106 x 130.8 cm)

S. 26 3/8 x 33 1/4 in. (67 x 84.5 cm)

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

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


23 RICHARD DIEBENKORN 1922-1993 Five Spades series: Tri-Color Spade, 1982 Aquatint and etching in colors, on Rives paper, with full margins, signed with initials, dated ‘82’ and numbered 17/50 in pencil (there were also 10 artist’s proofs), published by Crown Point Press, San Francisco (with their blindstamp), a few soft handling creases in the margins, otherwise in very good condition, framed. I. 9 7/8 x 9 in. (25.1 x 22.9 cm) S. 26 1/4 x 19 5/8 in. (66.7 x 49.8 cm)

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


24 FRANK STELLA b. 1936 Polar Co-ordinates for Ronnie Peterson series: Polar Co-ordinates VII, 1980 Offset lithograph, screenprint and letterpress in colors, on Arches Cover paper, the full sheet, signed, dated ‘80’ and numbered 88/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, in very good condition, framed. 38 x 38 1/2 in. (96.5 x 97.8 cm)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Literature Richard Axsom 125


25 FRANK STELLA b. 1936 Illustrations after El Lissitzky’s Had Gadya series: Then came a dog and bit the cat, 1984 Lithograph, linocut and screenprint in colors with hand-coloring and collage, on wove paper, the full sheet, signed, dated ‘84’ and numbered 14/60 in pencil (there were also 10 artist’s proofs), published by Waddington Graphics, London, slight rippling along the sheet edges, otherwise in very good condition, framed. S. 53 1/2 x 51 1/2 in. (135.9 x 130.8 cm)

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


26

27

26 MARYLYN DINTENFASS b. 1943

27 MARYLYN DINTENFASS b. 1943 Nonpareil 4, 2003

Oil monoprint in colors, on wove paper, with full margins, signed, titled and dated ‘2003’ in

Oil monoprint in colors, on wove paper, with full margins, signed, titled and dated ‘2003’ in

pencil, a few extremely pale spots of stray printing ink in the margins and on the reverse,

pencil, a few slight creases and very soft rubbing in the margins, otherwise in very good

otherwise in very good condition, unframed.

condition, unframed.

I. 23 3/4 x 24 in. (60.3 x 61 cm)

I. 23 3/4 x 24 in. (60.3 x 61 cm)

S. 32 x 31 5/8 in. (81.3 x 80.3 cm)

S. 32 x 32 in. (81.3 x 81.3 cm).

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

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

28

Nonpareil 3, 2003

28 ANTONI TÀPIES b. 1923 U no és ningú portfolio: Paisatge, 1979 Lithograph in colors, on Guarro paper, with full margins, signed and numbered 4/75 in pencil (there was also an edition of 85 in Roman numerals and 10 artist’s proofs), published by Ediçiones Polígrafa, Barcelona, minor soiling in the margins, a scuff in the right margin, the palest mat staining, otherwise in very good condition, unframed. I. 13 1/4 x 19 5/8 in. (33.7 x 49.8 cm) S. 22 x 28 3/4 in. (55.9 x 73 cm)

Estimate $1, 0 0 0 -1, 5 0 0 Literature Ediçiones Polígrafa No. 2; Mariuccia Galfetti 723


29

29 SAM FRANCIS 1923-1994 Pasadena Box: An Other Set—X, 1966 Lithograph in colors, on Shirikawa rice paper mounted (in Tokyo) to a silk scroll (as issued), signed and numbered 80/100 in pencil (there were an unknown number of artist’s proofs), published by the Pasadena Art Museum, California, in very good condition, framed. 52 1/2 x 18 3/4 in. (133.4 x 47.6 cm)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Connie Lembark L65

30

30 SAM FRANCIS 1923-1994 Untitled, from Marginalia: Hommage to Shimizu, 1979 Lithograph in colors with debossed platemark, on Rives paper, with full margins, signed and numbered 38/100 in pencil (there were also 10 artist’s proofs), published by the Litho Shop, Inc., Santa Monica (with their blindstamp) for the Marginalia Publication Group and Natenshi Gallery, Tokyo, the palest light-staining, otherwise in very good condition, framed. I. 20 3/4 x 15 1/4 in. (52.7 x 38.7 cm) S. 22 x 17 3/4 in. (55.9 x 45.1 cm)

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Literature Connie Lembark L235


31

32

THIS LOT IS SOLD WITH NO RESERVE

31 SAM FRANCIS 1923-1994 Silver Field, 1973 Lithograph in silver-black, on Rives paper, the full sheet, signed and numbered 13/18 in pencil (there were also 3 artist’s proofs), published by The Litho Shop, Inc., Santa Monica, (with their blindstamp), very minor creasing at upper right, otherwise in very good condition, framed. S. 26 x 34 1/2 in. (66 x 87.6 cm)

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

Literature Sam Francis 182; Connie Lembark L165

THIS LOT IS SOLD WITH NO RESERVE

32 SAM FRANCIS 1923-1994 Untitled, 1973 Lithograph in blacks, on Rives paper, the full sheet, signed and numbered 7/30 in pencil (there were also 4 artist’s proofs), published by The Litho Shop, Inc., Santa Monica (with their blindstamp), in very good condition, framed. S. 27 3/8 x 41 1/2 in. (69.5 x 105.4 cm)

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

Literature Sam Francis 190; Connie Lembark L171

THIS LOT IS SOLD WITH NO RESERVE

33 SAM FRANCIS 1923-1994 Untitled, 1975 Lithograph in black, on Rives paper, the full sheet, signed and numbered 11/28 in pencil, (there were also 5 artist’s proofs), published by The Litho Shop, Inc., Santa Monica (with their blindstamp), in very good condition, framed. S. 38 3/8 x 28 1/8 in. (97.5 x 71.4 cm)

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

Literature Sam Francis 196; Connie Lembark L176

33


34

35

THIS LOT IS SOLD WITH NO RESERVE

34 SAM FRANCIS 1923-1994 Dark Plated, 1973 Lithograph in blacks, on Rives paper, the full sheet, signed and numbered 13/30 in pencil (there were also 30 artist’s proofs), published by The Litho Shop, Inc., Santa Monica (with their blindstamp), in very good condition, framed. S. 25 1/2 x 34 1/4 in. (64.8 x 87 cm)

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

Literature Sam Francis 187; Connie Lembark L167

THIS LOT IS SOLD WITH NO RESERVE

35 SAM FRANCIS 1923-1994 Untitled, 1978 Lithograph in grays and black, on Rives paper, the full sheet, signed and numbered 11/24 in pencil (there were also 4 artist’s proofs), published by The Litho Shop, Inc., Santa Monica (with their blindstamp), in very good condition, framed. S. 29 1/2 x 42 in. (74.9 x 106.7 cm)

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

Literature Sam Francis 241; Connie Lembark L232

THIS LOT IS SOLD WITH NO RESERVE

36 SAM FRANCIS 1923-1994 Untitled, 1974 Lithograph in blacks, on Rives paper, the full sheet, signed and numbered 22/30 in pencil (there were also 4 artist’s proofs), published by The Litho Shop, Inc., Santa Monica (with their blindstamp), in very good condition, framed. S. 22 3/8 x 30 in. (56.8 x 76.2 cm)

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

Literature Sam Francis 189; Connie Lembark L170

36


37

38

37 HOWARD HODGKIN b. 1932

38 HOWARD HODGKIN b. 1932

Monsoon, 1987-88

A Storm, 1977

Lithograph in colors with pochoir, on Arches Cover paper, the full sheet, signed with

Lithograph in colors with hand-coloring, on Lexington handmade paper, the full sheet,

initials, dated ‘87’ and numbered 59/85 in pencil (there were also 11 artist’s proofs),

signed, dated ‘77’ and numbered 5/100 in pencil (there were also 14 artist’s proofs),

published by Waddington Graphics, London, in very good condition, framed.

published by Petersburg Press, London, in very good condition, framed.

S. 42 1/2 x 53 1/4 in. (108 x 135.3 cm)

S. 20 3/8 x 24 1/8 in. (51.8 x 61.3 cm).

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

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

Literature Liesbeth Heenk 79

Literature Liesbeth Heenk 36


39

40

39 HOWARD HODGKIN b. 1932

40 HOWARD HODGKIN b. 1932

A Furnished Room, 1977

Nick, 1977

Etching and aquatint in colors with hand-coloring, on Arches mould-made paper, with

Etching and aquatint in colors with hand-coloring, on Crisbrook handmade paper, with

full margins, signed, dated ‘77’ and numbered 57/100 in pencil (there were also 14 artist’s

full margins, signed, dated ‘77’ and numbered 53/100 in pencil (there were also 15 artist’s

proofs), published by Petersburg Press, London, pale time staining, otherwise in very good

proofs), published by Petersburg Press, London, in very good condition, framed.

condition, framed.

I. 17 1/2 x 22 in. (44.5 x 55.9 cm)

I. 21 x 27 in. (53.3 x 68.6 cm)

S. 18 1/2 x 23 in. (47 x 58.4 cm)

S. 21 1/4 x 27 1/4 in. (54 x 69.2 cm)

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

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Literature Liesbeth Heenk 32 Literature Leisbeth Heenk 33


41

42

41 VICTOR PASMORE 1908-1998

42 Robert Motherwell 1915-1991

The Pulse, 1985

Sirens II, 1989

Aquatint and etching in colors, on Fabriano paper, with full margins, signed with initials,

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

dated ‘85’ and numbered 26/90 in pencil (there were also 15 artist’s proofs), co-published

initials and numbered ‘ap III/X’ in pencil (an artist’s proof, the edition was 69), published

by Marlborough Fine Art, London and 2RC Edizioni d’arte, Rome (with their blindstamp),

by the artist, released by Waddington Graphics Ltd., London, in very good condition,

occasional soft handling creases, minor soiling in the margins, otherwise in very good

unframed.

condition, framed.

I. 14 7/8 x 18 3/4 in. (37.8 x 47.6 cm)

I. 31 1/8 x 73 1/4 in. (79.1 x 186.1 cm)

S. 22 1/4 x 26 1/4 in. (56.5 x 66.7 cm)

S. 40 1/4 x 99 3/4 in. (102.2 x 253.4 cm)

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

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Literature Siri Engberg and Joan Banach 444 Literature Norbert Lynton G37


44

43

43 ROBERT MOTHERWELL 1915-1991

44 ROBERT MOTHERWELL 1915-1991

Gauloises Bleues (White), 1970

Art 1981 Chicago Print, 1981

Aquatint and line-cut in colors, on Auvergne à la Main Richard de Bas handmade paper,

Lithograph in colors, on Arches Cover mould-made paper, the full sheet, signed and

with full margins, signed and numbered 14/40 in pencil (there were also 4 artist’s proofs),

numbered 1/150 in pencil (there were also 25 artist’s proofs), published by the Lakeside

published by Universal Art Editions Limited, West Islip, New York (with their blindstamp),

Group for the Chicago International Art Exposition, hinged to the support at the reverse of

minor surface soiling in the margins (particularly the upper sheet), a minute foxmark at

the upper corners (slightly showing through on the front), otherwise in very good condition,

lower right margin, otherwise in very good condition, framed.

framed.

I. 7 3/4 x 4 3/4 in. (19.7 x 12.1 cm)

S. 33 3/4 x 24 7/8 in. (85.7 x 63.2 cm)

S. 22 3/4 x 15 1/2 in. (57.8 x 39.4 cm)

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

Estimate $1,4 0 0 -1, 8 0 0 Literature Siri Engberg and Joan Banach 282 Literature Siri Engberg and Joan Banach 66

45

45 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 12/250 in pencil (there were also a total of 70 artist’s proofs), published by New York Graphic Society, Greenwich, Connecticut, soiling at the corners, otherwise in very good condition, framed. S. 30 x 22 3/8 in. (76.2 x 56.8 cm)

Estimate $ 9 0 0 -1, 2 0 0 Literature Siri Engberg and Joan Banach 293


46

47

46 HELEN FRANKENTHALER b. 1928

47 HELEN FRANKENTHALER b. 1928

Parets, 1988

Flotilla, 2006

Collograph drawn with Araldite glue in light burnt sienna, on handmade paper, the full

Screenprint in colors, on Rives BFK paper, the full sheet, signed, dated ‘06’ and numbered

sheet, signed, dated ‘87’ and numbered 2/20 in pencil (there were also 6 artist’s proofs),

90/120 in pencil, published by Naples Fine Art Museum, Florida, in very good condition,

published by Editions Polígrafa, Barcelona, in very good condition, framed.

framed.

S. 51 1/4 x 37 1/4 in. (130.2 x 94.6 cm)

S. 31 x 36 3/4 in. (78.7 x 93.3 cm)

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

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

Literature Pegram Harrison 153


48

49

PROPERTY SOLD TO BENEFIT iCI (INDEPENDENT CURATOR’S INTERNATIONAL), NEW YORK

48 PAT STEIR b. 1938

Blue, 2004

Thursday, from Independent Curators 15th Anniversary portfolio, 1991

Screenprint in colors, on heavy wove paper, with full margins, signed, titled and numbered

Etching in colors, on wove paper, with full margins, signed with initials, dated ‘91’ and

‘PP 4/5’ in pencil (a printer’s proof, the edition was 35 and 8 artist’s proofs), published by

numbered 37/75 in pencil (there were also 25 artist’s proofs), published by Independent

Pace Editions, Inc., New York, in very good condition, unframed.

Curators International, New York, in excellent condition, unframed.

I. 48 x 35 in. (121.9 x 88.9 cm)

I. 11 7/8 x 10 1/8 in. (30.2 x 25.7 cm)

S. 56 5/8 x 43 in. (143.8 x 109.2 cm)

S. 19 1/8 x 15 1/4 in. (48.6 x 38.7 cm)

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

Estimate $ 6 0 0 - 9 0 0

50

49 PAT STEIR b. 1938

50 JOAN MITCHELL 1925-1992 Bedford Series: Flower II, 1981 Lithograph in colors, on wove paper, the full sheet, signed and numbered 3/70 in pencil (there were also 16 artist’s proofs), published by Tyler Graphics, Mount Kisco, New York (with their blindstamp), a few very soft creases at the sheet edges, otherwise in very good condition, unframed. S. 42 5/8 x 32 1/2 in. (108.3 x 82.6 cm)

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Literature Tyler Graphics 370


51

This lot is sold with no reserve

51 LYNDA BENGLIS b. 1941 Dual Natures (large), 1990 The complete set two lithographs with gold leaf on hand tinted paper, on wove paper, the full sheets, both signed and annotated ‘AP XIV’ in pencil on the reverse (artist’s proofs, the edition was 20), published by Solo Press, New York (with their inkstamp on the reverse), in the collection of The Whitney Museum of American Art, occasional soft rubbing, minor skinning along the reverse of the upper sheet edge, otherwise both in good condition, both unframed. both S. 47 1/2 x 31 1/2 in. (120.7 x 80 cm)

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

52

53

52 SAM GILLIAM b. 1933

53 PHILIP TAAFE b. 1955

Lincoln Center’s Festival, 2001

Great Performers at Lincoln Center, 1999

Screenprint in colors, on wove paper, with full margins, signed, dated and numbered ‘P.P.

Screenprint in colors, on wove paper, with full margins, signed, dated ‘99’ and numbered

9/9’ in pencil (a printer’s proof, the edition was 108 and 18 artist’s proofs), published by

‘P.P. 9/9’ in pencil (a printer’s proof, the edition was 108 and 18 artist’s proofs), published by

Lincoln Center List Poster and Print Program, New York, in very good condition, framed.

Lincoln Center List Poster and Print Program, New York, in very good condition, framed.

I. 35 3/8 x 28 1/8 in. (89.9 x 71.4 cm)

I. 27 1/2 x 30 in. (69.9 x 76.2 cm)

S. 35 1/4 x 40 1/2 in. (89.5 x 102.9 cm)

S. 35 5/8 x 37 in. (90.5 x 94 cm)

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

Estimate $ 6 0 0 - 8 0 0

Literature Charles A. Riley p. 192

Literature Charles A. Riley p. 186


55

54

54 TERRY WINTERS b. 1949

55 TERRY WINTERS b. 1949

Disc I, 2005

Disc II, 2005

Mixograph in silver, on handmade paper, the full sheet, signed with initials, dated ‘2005’

Mixograph in silver, on handmade paper, the full sheet, signed with initials, dated ‘2005’

and numbered 43/50 in pencil, published by Mixografia, Los Angeles, in excellent condition,

and numbered 43/50 in pencil, published by Mixografia, Los Angeles, in excellent condition,

unframed.

unframed.

S. 36 x 28 1/4 in. (91.4 x 71.8 cm)

S. 36 x 28 1/4 in. (91.4 x 71.8 cm)

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

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

56

56 TERRY WINTERS b. 1949 Wave, 2004 Lithograph in black and gray, on Somerset paper, the full sheet, signed with initials, dated ‘2004’ and numbered 17/18 in pencil (there were also 4 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), in very good condition, unframed. S. 22 x 29 3/4 in. (55.9 x 75.6 cm)

Estimate $ 6 0 0 - 8 0 0


57 BEATRIZ MILHAZES b.1960 As irmãs (The Sisters), 2003 Screenprint in colors, on Waterford 638g paper, the full sheet, signed, titled, dated ‘2003’ and numbered 12/35 in pencil on the reverse (there were also 8 artist’s proofs), published by Durham Press, Durham, Pennsylvania (with their blindstamp and copyright stamp), in excellent condition, framed. S. 52 x 60 in. (132.1 x 152.4 cm)

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


58 BEATRIZ MILHAZES b.1960 O Espelho (The Mirror), 2000 Screenprint in colors, on Coventry Rag paper, the full sheet, signed, titled, dated ‘2000’ and numbered 37/40 in pencil on the reverse, published by Durham Press, Durham, Pennsylvania (with their blindstamp), very minor soiling at lower left, four soft creases at lower right, center lower sheet, and upper and lower left sheet (all with associated minor cracking in the inks), a very slight pressure mark in places along the perimeter of the sheet (visible only in raking light), skinning in places along the reverse of the sheet edges, otherwise in good condition, unframed. S. 40 5/8 x 24 in. (103.2 x 61 cm)

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


59

60

59 ELIZABETH MURRAY 1940-2007

60 KAREL APPEL 1921-2006

Untitled series: states I-V, circa 1980

Personnages portfolio: two plates, 1969

The complete set of five lithographs (two in colors), on Arches paper, with full margins,

Two lithographs in colors, on Arches paper, with full margins, both signed, dated and

state V signed in pencil, all annotated ‘ST I-V’ respectively and numbered 27/35 in pencil,

numbered 80/100 in pencil, purple with an accretion in the lower right purple shape, minor

(there were also 8 artist’s proofs) published by Brooke Alexander, Inc. and Paula Cooper

surface soiling, both with occasional minor creasing and spots of stray printing ink in

Gallery, New York, all in very good condition, all framed.

places along the sheet edges, pale time staining, hinge remains at the reverse of the upper

I. 19 5/8 x 15 3/4 in. (49.8 x 40 cm)

corners (slightly showing through on the front), otherwise both in good condition, both

S. 22 1/8 x 17 7/8 in. (56.2 x 45.4 cm)

unframed.

Estimate $ 6 , 0 0 0 - 9, 0 0 0 Literature Barbara

Krakow Gallery 2-6

both I. 26 1/4 x 20 in. (66.7 x 50.8 cm) both S. 30 3/4 x 23 1/2 in. (78.1 x 59.7 cm)

Estimate $ 8 0 0 -1, 2 0 0


61

PROPERTY FROM A PRIVATE COLLECTION, CHICAGO

61 SONIA DELAUNAY 1885-1979 [Untitled], circa 1970 Aquatint and etching in colors, on Arches paper, with full margins, signed and numbered 17/125 in pencil, pale light-staining, otherwise in very good condition, framed. I. 19 1/2 x 15 1/2 in. (49.5 x 39.4 cm) S. 26 x 19 3/4 in. (66 x 50.2 cm)

Estimate $ 8 0 0 -1, 2 0 0

62

62 RICHARD HAMILTON b. 1922 Guggenheim (a) Black, 1970 Vacuum formed Plexiglas multiple in black (repainted), signed and numbered 45/750 in black ink on a label affixed to the reverse (106 were made in black), published by xartcollection, Zurich, scuffing, a few touched-in areas, otherwise in good condition, framed. 23 3/8 x 23 1/4 x 4 in. (59.4 x 59.1 x 10.2 cm)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Etienne Lullin M3


63

64

63 PATRICK CAULFIELD 1936-2005

64 RICHARD HAMILTON b. 1922

Some Poems from Jules La Forge portfolio, 1973

Three Studies of Bloom

The complete set of six screenprints in colors plus the accompanying book with 22

Three etchings, on one sheet of Hosho–Japanese paper, with full margins, signed, titled

reproductive illustrations and poetry by Jules La Forge, on wove paper, the full sheets, all

and numbered 10/28 in pencil (there were also 3 artist’s proofs), published by Petersburg

signed and numbered 65/200 in pencil on the reverse (there were also 20 artist’s proofs),

Press, London, splitting at the lower right sheet edge, the palest time staining, otherwise in

also signed, numbered and annotated ‘Edition A’ in pencil on the colophon of the book,

very good condition, framed.

published by Petersburg Press, London, occasional soiling and ink loss along the sheet

overall I. 5 7/8 x 13 in. (14.9 x 33 cm)

edges of the bound book, otherwise in very good condition, the prints loose, contained in

S. 13 3/4 x 18 3/8 in. (34.9 x 46.7 cm)

original grey leather binding, folder and slipcase (wear and staining on the spine and case). 14 1/4 x 16 1/2 in. (36.2 x 41.9 cm)

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

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

Literature Etienne Lullin 73.1-3


65

65 MARK LUYTEN b. 1955 Intermezzo l’allee; Divertimento IV; and Septieme lettre, 1990-92 Three lithographs with collage, on wove paper, with full margins, all signed, titled, dated and numbered 29/109, 90/133 and 3/4 respectively in pencil on the reverse, Septieme lettre also titled in pencil on the front, occasional soft handling creases and minor soiling in the margins, otherwise all in very good condition, one framed, two unframed. Various sizes.

Estimate $70 0 -1, 0 0 0

66

66 ERIK DESMAZIÈRES b. 1948 Passages Parisiens—Projets d’Agrandissement: Galerie Vivienne, 1990 Etching, aquatint and roulette, on Tiepolo Fabriano paper, with full margins, signed, titled, dated ‘1990’ and numbered 76/90 in pencil, published by the artist, a small very pale stain at lower left corner, two very soft creases at center upper and lower sheet edges, otherwise in very good condition, unframed. I. 24 1/4 x 17 1/2 in. (61.6 x 44.5 cm) S. 29 3/4 x 22 1/4 in. (75.6 x 56.5 cm)

Estimate $1, 5 0 0 - 2 , 0 0 0 Literature Andrew Fitch 131


67

68

67 ARMAN 1928-2005

68 Arman 1928-2005

Hommage à Duchamp: To and For Rose Selavy, 1973

Untitled, 1979

The complete set of one screenprinted leather chess board and three resin accumulations

Screenprint in colors, on Arches Vellum paper, the full sheet, signed in pencil, presumably

of chess pieces, cigars and photo discs, all signed and numbered 64/90 (the chess board

a proof apart from the edition of 150 and 30 artist’s proofs, inscribed ‘western accumulation’

in black ink and the accumulations incised, there were also artist’s proofs), published by

in pencil on the reverse, published by Jackie Fine Arts, New York, a soft crease in the lower

the Philadelphia Museum of Art, the accumulations with minor scuffing, two with an area

left corner, otherwise in very good condition, unframed.

of loss at the edges, the chessboard with minor ink loss at the folded seam, otherwise all in

S. 30 x 22 1/4 in. (76.2 x 56.5 cm)

good condition, contained in original inlaid wood box with screenprinted title and lock and key closure (occasional scuffing and soiling). 9 x 18 in. (22.9 x 45.7 cm)

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

Estimate $ 4 0 0 - 6 0 0 Literature Jane Otmezguine, Marc Moreau and Corice Arman 146


69

PROPERTY FROM A PRIVATE COLLECTION, CALIFORNIA AND NEW JERSEY

69 MARCEL DUCHAMP 1887-1968 Rotoreliefs (Optical Disks), 1935-1965 The complete set of twelve offset lithographs in colors, on both sides of six cardboard disks, signed and inscribed in blue ink on image No.10 Cage-Modèle Déposé, from the total edition of 1755 (the editions were 500, 1000, 100, 5 and 150 published in 1938, 1953, 1959, 1963 and 1965 respectively), minor scuffing and soiling in places, otherwise in good condition, contained in original black plastic circular holder/viewer (detached) with the explanatory note printed on clear waxed paper (partial sheet, missing some text). all S. 8 in. (20.3 cm) diameter

Estimate $7, 0 0 0 -10 , 0 0 0 70

Provenance The actor John Davidson (1886-1968) Los Angeles; gifted to Elizabeth Wilbur

Stewart; current owner by descent. Literature Arturo Schwarz 441

PROPERTY FROM THE ESTATE OF MRS. HARRY N. ABRAMS

70 Christo b. 1935 Wrapped Book, 1973 The book Christo wrapped in canvas and twine, signed and numbered I/X in black ink (an artist’s proof, the edition was 100), published by Abrams Original Editions, New York, occasional minor soiling, pale trace staining in places, otherwise in very good condition. 13 x 12 x 1 1/2 in. (33 x 30.5 x 3.8 cm)

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

This work was re-tied with twine by Christo in April 2010.


71 Man Ray 1890-1976

72 Man Ray 1890-1976

Le voyeur (Peeping Tom), 1975

Perpetual Motif (Motif perpétuel), 1970-71

Spy hole mounted in a block of wood, signed, titled, inscribed ‘a Janus’ and annotated ‘E.A.’

Readymade wooden metronome with lenticular photograph, signed, dated and numbered

in black ink, from the series of 9 and 3 artist’s proofs, realized by Lucien Treillard, Paris,

33/40 in black pen on the bottom (there was also an edition of 100 published by Mario

after the original object made in 1972, in good condition.

Amaya for the New York Cultural Center, 1975), published by Galerie Il Fauno, Turin, 1970, in

4 3/8 x 6 5/8 x 1 3/8 in. (11.1 x 16.8 x 3.5 cm)

good condition.

Estimate $12 , 0 0 0 -18 , 0 0 0

9 1/2 x 4 1/2 x 4 1/2 in. (24.1 x 11.4 x 11.4 cm)

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature see Philippe Sers, Object de mon affection, 1983, p.157 no. 182; Architectural

Digest, 1989, p. 90; Tokyo, 1990-91, p.35 no. O-56; GLASSWAY, le stanze del vetro, 2002, p.109

Literature Janus, 1973, no. 137; Penrose, 1975, p. 110, no. 64; Philippe Sers 31; Arturo

Museo archeologico, Aosta

Schwarz, 1977, p. 218, no. 332; Architectural Digest, 1982, p. 183; Tokyo, 1990-91, p. 19, no. O-8 and p. 39, no. 36.

In this object, the viewer is required to look through the spy-hole. This is a typical example of Man Ray’s works where the viewer’s participation is

Man Ray’s celebrated object of a readymade metronome with a photographic

essential to the full appreciation of the object.

eye affixed to the swinging arm was first created in 1923 and titled Object to be Destroyed. In 1932, the artist made an ink drawing of the object with the following inscription on the reverse: ‘Cut out the eye from the photograph of one who has been loved but is seen no more. Attach the eye to the pendulum of a metronome and regulate the weight to suit the tempo desired. Keep going to the limit of endurance. With a hammer well-aimed, try to destroy the whole at a single blow.’ In the same year, Man Ray exchanged the eye on the metronome for a photograph of Lee Miller’s eye. The bitter instructions on the drawing presumably were motivated by the recent ending of Man Ray’s love affair with Lee Miller. The metronome object became an icon of Man Ray’s work and responding to demand, two further editions were authorized by the artist in 1960s and 1970s, the present object being one of a limited edition of 40 examples with a new title of Perpetual Motif.


73

74

73 CHRISTO b. 1935

74 CHRISTO b. 1935

Wrapped Champagne Bottle (Project for Happy Anniversary), 2000

Package on Handtruck, Project, 1981

Lithograph in black and gray with pencil additions and collage of cloth, plastic, masking

Lithograph in colors with collage of brown canvas, twine and staples, on Museum Board

tape and string, on wove paper, the full sheet, signed, dated ‘2000’ and numbered 18/30 in

mounted on cardboard (as issued), the full sheet, signed, dated and annotated ‘L.P. Imp. 1’

pencil, in very good condition, framed.

in pencil (a Landfall Press impression, the edition was 100 and 20 artist’s proofs), published

S. 21 3/8 x 16 5/8 in. (54.3 x 42.2 cm)

by Abrams Original Editions, New York, an abrasion at upper right corner, minor soiling at

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

right sheet near edge, otherwise in very good condition, framed. S. 28 x 22 1/4 in. (71.1 x 56.5 cm)

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Literature Jörg Schellmann and Joséphine Benecke 108


75

76

77

75 CHRISTO b. 1935 Wrapped Snoopy House, 2004 Lithograph in colors with collage of fagric, thread and masking tape, on wove paper mounted to mat board (as issued), the full sheet, signed and annotated ‘P.P’ in pencil (the edition was 250 and 50 artist’s proofs), published by Landfall Press, Santa Fe (with their inkstamp on the reverse), in very good condition, unframed. S. 24 1/2 x 21 1/8 in. (62.2 x 53.7 cm)

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

76 CHRISTO b. 1935 Wrapped Bottle and Cans Project, 2004 Offset lithograph in colors, on wove paper, the full sheet, signed and numbered ‘HC 7/30’ in pencil (a hors commerce impression, the edition was 300), published by Landfall Press, Santa Fe (with their and the artist’s copyright inkstamp on the reverse), in very good condition, unframed. S. 15 3/8 x 13 5/8 in. (39.1 x 34.6 cm)

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

78

77 CHRISTO b. 1935 Double Shop Window: one panel, 1972

THIS LOT IS SOLD WITH NO RESERVE.

78 CHRISTO b. 1935

Aluminum and Plexiglas object with white paint, signed, dated ‘1972’ and numbered 1/65 in

[Check], 1991

pencil on the reverse inside of the frame (30 copies of this version of three different colors of

Offset lithograph in colors, on thin wove paper, the full sheet with perforated edges (as

paint were produced), published by Tanglewood Press, New York, occasional minor soiling

issued), signed in blue crayon, in very good condition, framed.

and scuffing, soiling on the reverse inside of the frame, otherwise in very good condition.

S. 3 1/2 x 9 1/2 in. (8.9 x 24.1 cm)

35 3/4 x 24 in. (90.8 x 61 cm)

Estimate $ 6 0 0 - 8 0 0 Estimate $1, 0 0 0 -1, 5 0 0 Literature Jörg Shellmann and Joséphine Benecke 47


Jirí Kolár was a Czech writer/poet and artist whose later works focused on collage to create ‘visual poems’ which arose out of his writings. These works incorporate meticulously cut, spliced, crunched, reproductions of a variety of

THIS LOT IS SOLD WITH NO RESERVE

art historical works and sometimes included everyday materials such as razor

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

blades (see example in lot 79) to create new forms of collage - many using

79 JIRí KOLÁR 1914-2002

strip patterns creating Op Art effects.

Group of 6 collages, 1973-80 Six unique collages in colors, on various papers, with full margins, all signed with initials and variously dated in ink, occasional minor soiling, minor splitting at the sheet edges, a

Excerpt from the Tate Gallery on two of Kolár’s many collage techniques:

few with time staining, otherwise all generally in good condition, all unframed. various sizes

Estimate $ 4 , 5 0 0 - 6 , 5 0 0

The term ‘prollage’ derives from the Czech ‘prolinat’, meaning ‘interpenetration’. The source for the term ‘rollages’ is ‘rolety’, the retractable corrugated metal shutters on shop fronts in Prague. As techniques, rollages and prollages are closely related, but the former are made with single or

Including: Poruseny Sen, 1980; Metamorfosa Kamene, 1979; Pholhed Zpatky,

multiple reproductions of one image, while the latter combine two or more

1979; [Self-Portrait], 1979; [Untitled], 1973; and [Untitled], 1975.

discrete images Tate Gallery: Illustrated Catalogue of Acquisitions 1986-88, Jirí Kolár, London 1996


THIS LOT IS SOLD WITH NO RESERVE PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

80 JIRí KOLáR 1914-2002 Group of 6 collages, 1972-80 Six unique collages in colors, one with applied string and razor blades, on various papers, the full sheets and with full margins, each signed (some with initials) and dated ‘72-80’ in ink or pencil, all with occasional soiling, scuffing and rubbing in places, wear along the sheet edges, otherwise all in good condition, all unframed. various sizes

Estimate $ 4 , 5 0 0 - 6 , 5 0 0

Including: Slachové Pochvy, 1972; Pigeon Ramier, 1973; Sipka II, 1965; Pronikava HRA, 1979; Tanec, 1980; [Untitled, bottle], 1974. ‘When I first combined two reproductions to make one, I couldn’t believe my eyes. My mind seemed to explode at the multiple variations that appeared beneath my hands. From that time on I became penetrable, and so did the whole world. A non-illusory space could be produced and analogy could be pointed out with a finger’ Arturo Schwarz, Jirí Kolár: L’Arte come forma della libertà. L’Art comme forme de la liberté. Art as the Form of Freedom, exh. cat., Galleria Schwarz, Milan 1972, pp.84–108.


81 Francis Bacon 1909-1992 A Bullfight No. 1 (Study), 1971 Lithograph in colors, on wove paper, with margins, signed in felt-tip pen (faded), numbered 133/150 in pencil, published by Centre National d’Art Contemporain, Paris, occasional soft handling creases, a few pale foxmarks, moisture staining in places in the upper margin and corners (slightly affecting the image area), otherwise in good condition, framed. I. 50 x 45 3/8 in. (127 x 115.3 cm) S. 63 x 47 1/2 in. (160 x 120.7 cm)

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


82

82 FRANCIS BACON 1909-1992 Three Studies of the Male Back, 1987 The complete set of three lithographs in colors, on Arches paper, with full margins, all signed and annotated ‘EA’ in pencil (one of 25 aritst’s proofs, there were also 15 unnumbered hors commerce, the edition was 99), published by Arts International, Paris, occasional very minor soiling in the margins, the palest time staining, otherwise all in very good condition, all unframed. all I. 23 7/8 x 17 3/4 in. (60.6 x 45.1 cm) all S. 31 3/4 x 23 1/4 in. (80.6 x 59.1 cm)

Estimate $18 , 0 0 0 - 2 5 , 0 0 0


83 Francis Bacon 1909-1992 Metropolitan, 1975 Lithograph in colors, on wove paper, with full margins, signed in black felt pen (faded), numbered 110/170 in pencil (there were also 200 without text) published by the Metropolitan Museum of Art, New York, with their blindstamp, occasional soft handling creases, pale staining, soiling and scattered foxing in the margins, otherwise in good condition, framed. I. 45 1/8 x 34 1/8 in. (114.6 x 86.7 cm) S. 62 1/2 x 43 in. (158.8 x 109.2 cm)

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


84 David Hockney b. 1937 Moving Focus Series: Tyler Dining Room, 1985 Lithograph in colors, on TGL handmade paper, with full margins, signed, dated ‘84’ and numbered 48/98 in pencil (there were also 18 artist’s proofs), published by Tyler Graphics, Mount Kisco, New York (with their blindstamp), in very good condition, framed. I. 29 x 37 3/4 in. (73.7 x 95.9 cm) S. 32 1/8 x 40 in. (81.6 x 101.6 cm)

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Literature Tyler Graphics 278


85

86

85 GERALD LAING and PETER PHILLIPS b. 1936 and b. 1939 Hybrid Maquette, 1966 Perspex with white gouache, red and blue lacquer and polished triangular chrome wedge base, incised with title and inscribed #20 on the underside of the base, from the edition of 10 (there are no recorded artist’s proofs) published by the artists, New York, minor scuffing and soiling on the painted piece (the soiling particularly visible in the white areas), tape along the painted piece where it attaches to the base (not visible when assembled), otherwise in good condition. 7 1/2 x 9 1/4 x 2 1/2 in. (19.1 x 23.5 x 6.4 cm)

Estimate $1, 5 0 0 - 2 , 5 0 0 Provenance Kornblee Gallery, New York Literature Lyndsey Ingram and Rupert Halliwell 52

86 GERALD LAING B. 1936 Beauseant, 1966 Aluminum with black and white lacquer attached to chrome-covered brass support, mounted on polished marble base (as issued), incised with signature, dated ‘1966’ and numbered 5/25 (there are no recorded artist’s proofs) published by the artist, Aspen, scattered minute spotting on the metal, a scuff in one side of the white shape, a few minute spots of paint loss, otherwise in very good condition. 12 1/4 x 2 1/2 x 1 in. (31.1 x 6.4 x 2.5 cm)

Estimate $1, 0 0 0 -1, 5 0 0 Literature Lyndsey Ingram and Rupert Halliwell 54


87

88

87 SIR EDUARDO PAOLOZZI 1924-2005 Moonstrips Empire News portfolio, 1967 The complete set of 100 photo-lithographs and screenprints in colors plus justification, on various wove papers and acetate, the full sheets, eight signed and numbered 62/500 in pencil (there were also 50 artist’s proofs), published by Editions Alecto, London (with their inkstamp on the reverse), minor creasing in the corners, occasional wear along the sheet edges, otherwise all in very good condition, contained in original pink formed-acrylic box. 15 3/4 x 11 in. (40 x 27.9 cm)

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Literature Rosemary Miles 37

88 Friedensreich Hundertwasser 1928-2000 Good Morning City–Bleeding Town, 1969 Screenprint in colors with metal imprints and embossing, on Fabriano paper, the full sheet, numbered 6851/10,000 in black ink, with various stamps, published by Ars Viva, Zurich, occasional minor soiling and staining visible in the non-printed areas, two tears at center upper sheet (with associated minor creasing), otherwise in good condition, framed. S. 33 1/4 x 22 in. (84.5 x 55.9 cm)

Estimate $1, 0 0 0 -1, 5 0 0 Literature Walter Koschatzky 42


89

90

89 MAN RAY 1890-1976 Ballade de dames hors du temps portfolio: [Female Musicians]; and Julie, 1970-71 Two etchings with hand-coloring, on wove paper, with full margins, both signed and numbered 54/75 and 64/75 respectively in pencil, both with the sheet toned, light-staining, reverse staining at upper sheet corners, otherwise both in good condition, both framed. I. 19 3/8 x 15 5/8 in. (49.2 x 39.7 cm) S. 26 x 19 3/4 in. (66 x 50.2 cm)

Estimate $1, 2 0 0 -1, 6 0 0 Literature Luciano Anselmino 60.D and 60.I

90 (AFTER) RENE MAGRITTE 1898-1967

91 PAUL DELVAUX 1897-1994

La peinture et la philosophie de R. Magritte: Untitled, 1967

Les trios femmes, 1967

Lithograph in colors, on Rives BFK paper, with full margins, with the artist’s stamped

Lithograph, on wove paper, with full margins, signed and numbered 41/50 in pencil, light-

signature, signed by Georgette Magritte and numbered 114/200 in pencil (there was also

staining, soiling (particularly at the right and left center margins), soft rubbing in lower right

an edition of 100 in Roman numerals), published by Marcel Paquet, Paris, the palest mat

margin, otherwise in good condition, framed.

staining, soiling and minor creasing at the sheet edges (particularly the corners), otherwise

I. 21 x 29 1/4 in. (53.3 x 74.3 cm)

in good condition, unframed.

S. 22 3/4 x 31 in. (57.8 x 78.7 cm)

I. 16 3/4 x 20 1/8 in. (42.5 x 51.1 cm) S. 20 3/4 x 29 1/8 in. (52.7 x 74 cm)

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

Estimate $ 8 0 0 -1, 2 0 0

Literature Mira Jacob 14

91


92

92 BALTHUS 1908-2001 Dessins: Jeune fille dormant, 1994 Lithograph in colors, on Arches paper, with full margins, signed and numbered 123/150 in pencil (there was also an edition of 25 in Roman numerals), published by Editions de la Tempête and Enrico Navarra, Paris, occasional soft handling creases, an unobtrusive crease in the base of the lounge, very pale mat staining, otherwise in good condition, framed. I. 16 3/4 x 20 7/8 in. (42.5 x 53 cm) S. 22 x 30 in. (55.9 x 76.2 cm)

Estimate $ 6 0 0 - 8 0 0

93

93 ANTON HEYBOER 1924-2005 Komposition, 1985 Etching with hand-coloring and unique drawings in colored crayon in the margins, on wove paper with globe watermark, with full margins, signed, dated ‘1985’ and inscribed ‘epreuve d’artiste’ in pencil, several soft handling and printing creases in the margins, staining and creasing in places along the sheet edges, otherwise in good condition, framed. I. 20 x 38 in. (50.8 x 96.5 cm) S. 30 3/4 x 42 1/4 in. (78.1 x 107.3 cm)

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

94 ANDRé MASSON 1896-1987

94

[Three Nudes], circa 1950 Lithograph in colors, on Arches paper, with margins, signed and numbered 112/150 in pencil, pale light staining, minor surface soiling, staining along the upper sheet edge, otherwise in good condition, framed. I. 16 3/8 x 22 1/8 in. (41.6 x 56.2 cm) S. 22 1/8 x 29 7/8 in. (56.2 x 75.9 cm)

Estimate $ 4 0 0 - 6 0 0

95

95 JOAN MIRó 1893-1983 Suites pour Ubu Roi series: plate 8 (color plate), 1966 Lithograph in colors, on Arches Vellum paper, with margins, numbered 60/75 in pencil only (as issued), there was also an edition of 205 with smaller margins, this additional suite of 75 were printed with large margins and contained an impression with the color and black plate printed together, signed and numbered; a proof of the black plate numbered and monogrammed; and a proof of the color plates numbered in pencil (of which this example is from), published by Tériade, Paris, the palest mat staining, otherwise in very good condition, framed. I. 16 1/8 x 24 5/8 in. (41 x 62.5 cm) S. 21 1/4 x 29 1/2 in. (54 x 74.9 cm)

Estimate $1, 2 0 0 -1, 8 0 0 Literature Fernand Mourlot 482; Patrick Cramer books 108


96

97

96 JOAN MIRó 1893-1983

97 JOAN MIRó 1893-1983

Ubu aux Baléares: plates 12 and 20, 1971

Ubu aux Baléares: plates 2 and 5, 1971

Two lithographs in colors, on Arches paper, the full sheet, both signed and numbered

Two lithographs in colors, on Arches paper, the full sheets, both signed and numbered

51/120 in pencil (there were also 6 hors commerce in Roman numerals), published by

51/120 in pencil (there were also 6 hors commerce in Roman numerals), published by

Tériade, Paris, plate 12 with the palest mat staining, otherwise both in very good condition,

Tériade, Paris, both with the palest mat staining, otherwise both in very good condition,

both unframed.

both unframed.

both S. 20 x 26 1/8 in. (50.8 x 66.4 cm)

both S. 19 7/8 x 25 3/4 in. (50.5 x 65.4 cm)

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

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

Literature Maeght Éditeur 777 and 785; Patrick Cramer books 146

Literature Maeght Éditeur 767 and 770; Patrick Cramer books 146


98

98 JOAN MIR贸 1893-1983 Album 19 series: (Po猫tes, Scupteurs, Peintres), plate 17, 1961 Lithograph in colors, on Rives paper, the full sheet, signed with initial (as issued) and numbered 59/75 in pencil (there were also 15 copies in Roman numerals), published and printed by Maeght, Paris, minor surface soiling, a few soft handling creases, a short tear at upper right edge, minor creasing in places along the sheet edges, pale time staining, otherwise in good condition, framed. 26 x 20 in. (66 x 50.8 cm).

Estimate $1, 8 0 0 - 2 , 2 0 0 Literature Fernand Mourlot 328; Patrick Cramer books 70

This image was also used for the poster of an exhibition titled Poets, Painters, Sculptors at Galerie Maeght in 1960.

99

99 JOAN MIR贸 1893-1983 Album 19 series: plate 1, 1961 Lithograph in colors, on Rives paper, the full sheet, signed with initial (as issued) and numbered 43/75 in pencil (there were also 15 copies in Roman numerals), published and printed by Maeght, Paris, the colors faded, mat and time staining, otherwise in good condition, framed. S. 26 x 19 3/4 in. (66 x 50.2 cm)

Estimate $1, 0 0 0 -1, 5 0 0 Literature Fernand Mourlot 312, Patrick Cramer books 70


101

100

PROPERTY FROM A PRIVATE COLLECTION, CHICAGO 100

JOAN MIRó 1893-1983

101 JOAN MIRó 1893-1983

Le lezard aux plumes d’or: plate 6, 1967

Joan Miró Lithographs III: plate 6, 1977

Lithograph in colors, on Japanese paper, the full sheet (deckle on bottom and right),

Lithograph in colors, on wove paper, the full sheet, signed and numbered XLIV/LXXX

signed and numbered 32/50 in pencil (one of 50 proofs on Japanese paper, there were also

in pencil (from the large margin edition, aside from the edition of 150 on smaller paper),

probably 30 proofs on parchment, this suite was not published), in collaboration with Louis

published by Maeght Éditeur, Paris, in very good condition, framed.

Broder, Paris, hinge remains at the reverse of the lower right (showing through slightly on

S. 17 3/4 x 14 1/2 in. (45.1 x 36.8 cm)

the front, affecting the numbering), otherwise in very good condition, framed. S. 14 x 19 5/8 in. (35.6 x 49.8 cm)

Estimate $ 2 , 0 0 0 - 4 , 0 0 0

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

Literature Maeght Éditeur 1117; Patrick Cramer books 230

Literature Fernand Mourlot 518

102

102 JOAN MIRó 1893-1983 Variant of ‘Joan Miró and Katalonien’, 1969 Lithograph in colors, on Guarro paper, with full margins, signed with monogram and numbered 136/200 in pencil (Maeght calls for a printed signature edition of unknown size), printed by La Polígrafa, S.A., Barcelona, pale light staining, adhesive remains at the reverse of the center upper right and left sheet (with associated staining on the front), occasional soiling and offset pencil lines in the margins, framed. I. 12 1/2 x 20 in. (31.8 x 50.8 cm) S. 19 1/8 x 29 3/4 in. (48.6 x 75.6 cm)

Estimate $1, 2 0 0 -1, 8 0 0 Literature Maeght Éditeur 667a


103

104

103 FERNAND LEGER 1881-1955 Composition aux deux oiseaux, 1954 Lithograph in colors, on Arches paper, with full margins, signed in ink and numbered 25/75 in pencil, published by Galerie Louise Leiris, Paris, the colors slightly attenuated, a barely visible pressure mark in the lower image, the palest mat staining, minor creasing in the corners, a small brown stain on the reverse, otherwise in very good condition, framed. I. 15 3/8 x 21 1/2 in. (39.1 x 54.6 cm) S. 19 3/4 x 25 7/8 in. (50.2 x 65.7 cm)

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Literature Lawrence Saphire 134

104 JOAN MIRó 1893-1983 Les demeures d’hypnos, 1976 Lithograph in colors, on wove paper, the full sheet, signed and numbered XXV/L in pencil (Maeght calls for an edition of 99, 26 marked A-Z and 10 hors commerce), published by Éditions de la Diffénce, Paris, the sheet slightly toned, minor surface soiling, a soft crease at the lower corner, otherwise in good condition, framed. S. 19 5/8 x 12 3/4 in. (49.8 x 32.4 cm)

Estimate $1, 5 0 0 - 2 , 5 0 0 Literature Maeght Éditeur 1088


105

106

105 GEORGES BRAQUE 1882-1963

106

Marino Marini 1901-1980

Le tir à l’arc portfolio: page 29, 1960

Personnages du sacre du printemps portfolio: plate 7, 1974

Lithograph in colors, on Chine collé to wove paper, with full margins (deckle on two sides),

Lithograph in colors, on Arches paper, with margins (deckle on two sides), signed and

signed and numbered 3/70 in pencil (from the large margin edition, aside from the portfolio

numbered 74/75 in pencil, co-published by Société Internaitonal d’Art XXe Siécle, Paris,

edition of 165), published by Louis Broder, Paris, slight scuffing at upper right margin

and Leon Amiel, New York, light-, mat and time staining, occasional minor soiling in the

corner (visible only in raking light), pale mat staining, otherwise in very good condition,

margins, otherwise in good condition, framed.

framed.

I. 19 1/2 x 15 1/2 in. (49.5 x 39.4 cm)

I. 7 1/8 x 5 3/8 in. (18.1 x 13.7 cm)

S. 25 1/2 x 19 5/8 in. (64.8 x 49.8 cm)

S. 15 1/16 x 11 1/8 in. (38.3 x 28.3 cm)

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

Estimate $1, 0 0 0 -1, 5 0 0 Literature Guido Guastalla L120 Literature see Dora Vallier 153, p. 221


107

107 ALEXANDER CALDER 1898-1976 Puppet Man, 1960 Lithograph in colors, on Arches paper, the full sheet, signed and numbered 75/75 in pencil, minor surface soiling, pale staining in the upper sheet, otherwise in good condition, framed. S. 40 3/4 x 17 1/4 in. (103.5 x 43.8 cm)

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

108

108

ALEXANDER CALDER 1898-1976 The Circus, 1975 Lithograph in colors, on wove paper, the full sheet, signed and numbered 51/125 in pencil, the sheet toned, minor surface soiling and occasional soft handling creases, otherwise in good condition, framed. S. 26 x 38 1/8 in. (66 x 96.8 cm)

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

109

109

ALEXANDER CALDER and CARLOS FRANQUI 1898-1976 and b. 1921 Lo oscuro invade, 1970 Lithograph in colors, on wove paper, with full margins, signed by both artists (Calder with initials) and numbered 280/500 in pencil, occasional soft handling creases, pale mat and time staining, minor soiling on the reverse, otherwise in very good condition, unframed. I. 24 x 33 3/8 in. (61 x 84.8 cm) S. 28 1/4 x 41 5/8 in. (71.8 x 105.7 cm)

Estimate $70 0 -1, 0 0 0


property from a private collector, california and new jersey

110 ALEXEJ von JAWLENSKY 1864-1961 Köpfe portfolio: Kopf V, 1922 Lithograph with hand-coloring in watercolor, on laid paper, with margins, signed in pencil, from the edition of 20 with hand-coloring, published by the Nassauischer Kunstverein,

Jawlensky’s economy of line and style looks to Matisse’s nudes of the same time (see lot 193), and both knew each other as of 1905. I painted these ‘Variations’ for some years, and then I found it necessary to find

Neues Museum, Wiesbaden, the sheet slightly toned, minor creasing and rippling

form for the face, because I had come to understand that great art can only be

throughout, pale mat staining, otherwise in good condition, framed.

painted with religious feeling. And that I could only bring to the human face. I

I. 12 x 8 in. (30.5 x 20.3 cm)

understand that the artist must express through his art, in forms and colours,

S. 19 3/8 x 15 3/8 in. (49.2 x 39.1 cm)

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Literature Detlev Rosenbach 22

1922 Biographical Outline: For the next eleven years [Jawlensky] painted predominantly Abstract heads. Six lithographs printed as a portfolio by the Nassauischer Kunstverein. Success of the exhibitions organized by Emmy Scheyer. Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky Bianconi Catalogue Raisonné Volume Four, The Watercolours and Drawings 1890-1938, p. 30

the divine inside him. Therefore a work of art is God made visible, and art is ‘a longing for God’. I have painted ‘Faces’ for many years. I have sat in my studio and painted, and have not needed Nature as a prompter. I have needed only to immerse myself in myself, pray, and prepare my soul to a state of religious awareness. I have painted many, many faces. Their size too is only 32 x 42 (cm). They are technically very perfect and radiate great spirituality. Alexej von Jawlensky in letter to Pater Willibrord Verkade, June 12, 1939. Jawlensky has transposed the human head as such into a language of abstract life, raised it out of its earthly existence to manifest the soul and the spirit. Emmy Scheyer, 1919, Volume Two 1914-1933 catalogue raisonné of the oil paintings, p. 17.


PROPERTY FROM A PRIVATE COLLECTION, CHICAGO

111 JEAN DUBUFFET 1901-1985 Personnage au chapeau, 1962 Lithograph in colors, on Arches paper, with full margins (deckle on all sides), signed, dated ‘62’ and numbered 27/50 in pencil (there were also 2 artist’s proofs and 7 hors commerce in Roman numerals), very faint scuffing in places, a few soft handling creases, slight discoloration in the margins, otherwise in very good condition, framed. I. 21 3/4 x 15 in. (55.2 x 38.1 cm) S. 25 3/4 x 19 7/8 in. (65.4 x 50.5 cm).

Diego Rodríguez de Silva y Velázquez, Prince Baltazar Carlos on Horseback, 1635-36, oil on canvas, Prado Museum, Madrid

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Literature Sophie Webel 810


112

Rembrandt Harmensz van Rijn, Self portrait with Saskia (Bartsch 19), 1636, etching

113

PROPERTY FROM A PRIVATE COLLECTION, CHICAGO

112 PABLO PICASSO 1881-1973 347 Series: Le portrait, plate 66, 1968

113 PABLO PICASSO 1881-1973 347 Series: Don Quichotte, Sancho et un ‘Mousquetaire’, regardant passer dulcinée sur une

Etching, on Rives BFK paper, with full margins, signed and numbered 43/50 in pencil,

charrette tirée par un homme masqué, plate 198, 1968

published by Galerie Louise Leiris, 1969, printed by Aldo and Piero Crommelynck, Mougins,

Aquatint, on Rives paper, with full margins, signed and numbered 27/50 in pencil (there

published by Galerie Louise Leiris, Paris, pale mat staining, otherwise in good condition,

were also 17 artist’s proofs), printed by Aldo and Piero Crommelynck, Mougins, published

framed.

by Galerie Louise Leiris, Paris, the palest mat staining, very pale scattered foxing along the

I. 4 7/8 x 3 1/2 in. (12.4 x 8.9 cm)

lower sheet edge, otherwise in very good condition, framed.

S. 13 x 10 in. (33 x 25.4 cm)

I. 5 3/4 x 8 1/4 in. (14.6 x 21 cm) S. 11 x 13 5/8 in. (27.9 x 34.6 cm)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Literature Georges Bloch 1546; Brigitte Baer 1562 Literature Georges Bloch 1678; Brigitte Baer 1694

This image is based on a Rembrandt van Rijn titled Self-Portrait with Saskia (Bartsch 19), see image above.


114

Pablo Picasso, Piero à la presse, 1969, oil on canvas, Musée national Picasso, Paris Portrait of the master printer, Piero Crommelynck.

114 PABLO PICASSO 1881-1973

115 Pablo Picasso 1881-1973

347 Series: Raphaël et la Fornarina. VII: Le Pape est là assis, plate 302, 1968

347 Series: Écuyère de Cirque, Homme Rembanesque et Spectateur mal Rasé, plate 291, 1968

Etching on Rives paper, with full margins, with the artist’s stamped signature, annotated

Etching, on Rives paper, with full margins, with the artist’s stamped signature, annotated

‘epreuve-avant-acierage’ (proof before steel facing) in pencil, one of five proofs before

‘epreuve-avant-acierage’ (proof before steel facing) in pencil, one of five proofs before

steel facing, the bevelling of the plate and printed with plate tone prior to the edition of 50,

steel facing, the bevelling of the plate and printed with plate tone prior to the edition of

printed by Aldo and Piero Crommelynck, Mougins, in good condition, framed.

50, printed by Aldo and Piero Crommelynck, Mougins, occasional very minor soiling in the

I: 11 1/2 x 20 1/4 in. (29.2 x 51.6 cm)

margins, otherwise in good condition, framed.

S: 17 5/8 x 23 3/8 in. (44.8 x 59.4 cm)

I. 11 x 15 1/4 in. (27.9 x 38.7 cm)

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

S. 17 3/4 x 21 1/2 in. (45.1 x 54.6 cm)

Estimate $ 4 , 0 0 0 - 5 , 0 0 0 Provenance Marina Picasso (inkstamp on reverse) Literature Georges Bloch 1782; Brigitte Baer 1799

Provenance Marina Picasso (inkstamp on reverse) Literature Georges Bloch 1771; Brigitte Baer 1788

115


116 (AFTER) PABLO PICASSO 1881-1973 Le peintre, 1963 Collotype with pochoir in colors, on Arches paper, with margins, signed in blue crayon, numbered 313/350 in pencil, with the Guy Spitzer blindstamp, pale light-staining, glue along the sheet edges, laid down to the support, framed I. 29 3/4 x 23 3/8 in. (75.6 x 59.4 cm) S. 36 3/4 x 28 1/8 in. (93.3 x 71.4 cm)

Estimate $ 5 , 0 0 0 -7, 0 0 0 Literature Susan Greenberg Fisher, Picasso and the Allure of Language, Yale University

Art Museum, New Haven, 2009, illustrated page 230

This work is based after the oil on canvas, Le peintre, from March 30, 1963, 36 1/4 x 28 3/4 in. listed in Volume XXIII of Christian Zervos’ catalogue raisonne number 198, p. 93. It is common to use the term ‘after’ when referring to prints that were created based on an already existing painting. Picasso painted the oil on canvas referenced above and then worked with a master printmaker/publisher (Guy Spitzer) to reproduce the print in order to sell commercially. The edition sizes tend to be larger and the techniques more mechanical, but it is done with the

David Douglas Duncan, Picasso painting

artist’s involvement and final hand signature on the work.

at Villa La Californie, 1957


117

THIS LOT IS SOLD WITH NO RESERVE

117 PABLO PICASSO 1881-1973

118 ROBERT KULICKE 1924-2007

Engraved Bull, 1947

Three Fruits; and One Pear, 1978

White earthenware rectangular dish painted in yellow and brown with yellow glaze,

Two soft ground etchings with pastel additions, on brown and green laid paper, with

inscribed ‘I-107’ and numbered 163/200 in black, with the Edition Picasso and Madoura Plein

full margins, both signed, dated ‘78’ and numbered 9/40 and 2/40 respectively in pencil,

Fou pottery stamps on the underside, three minute spots without glaze on the underside,

probably printed by the artist, produced for his retrospective exhibtion at Pennsylvania

otherwise in very good condition.

State University in 1978 (April 16 - June 25), both in very good condition, framed.

12 1/2 x 15 1/2 in. (31.8 x 39.4 cm)

fruits I. 4 x 5 7/8 in. (10.2 x 14.9 cm) fruits S. 5 1/4 x 7 in. (13.3 x 17.8 cm)

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

pear I. 4 7/8 x 4 in. (12.4 x 10.2 cm) pear S. 6 x 5 in. (15.2 x 12.7 cm

Literature Alain Ramié 32

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

118


119

120

119 HENRY MOORE 1898-1986

120 HENRY MOORE 1898-1986

Mother and Child, 1976

Four Grey Ladies, 1973

Lithograph in colors, on T.H. Saunders paper, with full margins, signed and numbered

Lithograph in colors, on Rives paper, with full margins, signed, dated ‘73 and numbered

X/XV in pencil (an artist’s proof, the edition was 50), published by the Art Gallery of Ontario,

42/50 in pencil (there were also 10 artist’s proofs in Roman numerals), published by J.E.

Toronto, the palest light-staining, otherwise in very good condition, framed.

Wolfensberger, Zurich, pale mat staining, soiling at the center upper margin and in places

I. 11 3/4 x 10 1/2 in. (29.8 x 26.7 cm)

on the reverse, otherwise in good condition, unframed.

S. 23 x 18 1/2 in. (58.4 x 47 cm)

I. 12 1/4 x 16 1/2 in. (31.1 x 41.9 cm)

Estimate $ 8 0 0 -1, 2 0 0

S. 18 1/2 x 22 1/8 in. (47 x 56.2 cm)

Estimate $ 8 0 0 -1, 2 0 0 Literature Patrick Cramer 431 Literature Patrick Cramer 281


121

122

121 MARC CHAGALL 1887-1985

122 MARC CHAGALL 1887-1985

Cirque, 1969

Fables de la Fontaine series: Le loup et al cigogne, plate 34, 1927-30

Lithograph, on Arches paper, with full margins, signed and numbered 27/40 in pencil,

Etching, on Montval paper, with full margins (deckle on all sides), signed and inscribed ‘34’

published by Fernard Mourlot, Paris, light-, mat and time staining, minor surface soiling,

in pencil (from the edition of 100, there was also an edition of 40 with hand-coloring and

hinge remains in places along the reverse of the upper, right and lower sheet edges (with

45 on Japanese paper), published by Tériade, Paris, pencil lines in the margins, adhesive

associated reverse staining visible on the front), otherwise in good condition, framed.

remains along the margins, laid down to board, framed.

I. 21 5/8 x 14 7/8 in. (54.9 x 37.8 cm)

I. 11 1/2 x 9 3/8 in. (29.2 x 23.8 cm)

S. 29 7/8 x 21 3/8 in. (75.9 x 54.3 cm)

S. 16 1/2 x 13 1/8 in. (41.9 x 33.3 cm)

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

Estimate $ 6 0 0 - 8 0 0

Literature Fernand Mourlot 563

Literature Patrick Cramer books 22


123 MARC CHAGALL 1887-1985 La joie, 1980 Lithograph in colors, on Arches paper, with full margins, signed and annotated ‘E.A.’ in pencil (an artist’s proof, the edition was 50), published by Maeght, Paris, a few areas of soiling in the margins (particularly one at upper left), pale staining and creasing at lower right margin corner, occasional soft creasing in upper margin, otherwise in very good condition, framed. I. 37 1/4 x 24 1/4 in. (94.6 x 61.6 cm) S. 45 1/2 x 29 1/2 in. (115.6 x 74.9 cm)

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0 Jean-Honoré Fragonard, The Progress of Love: Love Letters, Literature Fernand Mourlot 976

1771-1773, oil on canvas, The Frick Collection, New York


124 MARC CHAGALL 1887-1985 Maternité rouge, 1980 Lithograph in colors, on Arches paper, with full margins, signed and numbered 45/50 in pencil (there were also some artist’s proofs), published by Maeght, Paris, the palest mat staining, minor soiling and spots of stray printing ink in the margins, otherwise in very good condition, framed. S. 37 x 23 5/8 in. (94 x 60 cm) I. 45 1/2 x 29 5/8 in. (115.6 x 75.2 cm)

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 François Boucher, Virgin and Child with the Young Saint John the Baptist and Angels, 1765, oil on canvas, The Metropolitan Museum of Art, New York

Literature Fernand Mourlot 984


125 MARC CHAGALL 1887-1985 Le ciel bleu, 1964 Lithograph in colors, on Rives BFK paper, with full margins, signed and numbered 43/90 in pencil (there was also a poster edition of 1500 with text), published by Maeght, Paris, the palest mat staining, occasional minor soiling and creasing at the sheet edges, otherwise in good condition, framed. I. 26 5/8 x 20 5/8 in. (67.6 x 52.4 cm) S. 30 3/8 x 22 1/2 in. (77.2 x 57.2 cm)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Literature Fernand Mourlot 409


126 MARC CHAGALL 1887-1985 Le magicien de Paris II, 1969-70 Lithograph in colors, on Arches paper, with full margins, signed and numbered 20/50 in pencil (there were also 25 artist’s proofs) in Roman numerals, pale light-staining, minor surface soiling, hinge remains in places along the reverse of the sheet edges, otherwise in very good condition, framed. I. 34 5/8 x 26 3/4 in. (87.9 x 67.9 cm) S. 38 x 27 1/2 in. (96.5 x 69.9 cm)

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 Literature Fernand Mourlot 598


127

127 Romare Bearden 1911-1988 Out Chorus, 1979-80 Etching, aquatint and screenprint in colors with hand-coloring, on Arches paper, the full sheet, signed and numbered ‘11/12 AP’ in pencil (an artist’s proof, the edition was 60), a crease at lower left (affecting the image slightly), pale light and mat staining, otherwise in very good condition, framed. S. 22 1/4 x 30 1/8 in. (56.5 x 76.5 cm)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Literature Gail Gelburd and Alex Rosenberg 6

128

128 SALVADOR DALÍ 1904-1989 Currier & Ives series: American Yachting Scene, 1971 Lithograph in colors, with collage of offset lithograph in colors, on wove paper, the full sheet, signed and numbered 124/250 in pencil (there were also 50 in Roman numerals on Japanese paper), published by Sidney Lucas, New York (with their © inkstamp on the

A reproduction of The Great Ocean Yacht Race Between Henrietta, Fleetwing & Vesta, by Currier & Ives in 1867 is collaged to the lithograph by Dali. In New York sailing history, the year 1866 is remembered in club annals for the legendary “Transatlantic Race.” In December, the New York Yacht Club

reverse), minor rippling to the sheet, skinning on the reverse in places along the sheet

schooners Henrietta, Fleetwing and Vesta raced from Sandy Hook, New Jersey

edges, otherwise in good condition, unframed.

to the Needles, Isle of Wight for a $90,000 winner-take-all prize. The Henrietta,

S. 29 3/4 x 21 5/8 in. (75.6 x 54.9 cm)

owned by twenty-one-year old James Gordon Bennett, Jr., and skippered by

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

Captain Samuel S. Samuels, a professional, won the race in 13 days, 21 hours and 55 minutes.

Literature Ralph Michler and Lutz Löpsinger 1348


129

129 (After) MAXIMILIEN LUCE 1858-1941 by JACQUES VILLON 1875-1963 Londres, 1929 Aquatint in colors, on Arches paper, with full margins, signed by Luce and Villon and numbered ‘1/10 épreuve d’artiste’ in pencil (the edition was 100), published by Galerie

Maximilien Luce’s oil palette, Catalogue

Berneim-Jeune, Paris, the colors slightly attenuated, mat and time staining, reverse

de l’oeuvre peint-Tome I, p. 49

staining at the upper sheet corners, otherwise in good condition, unframed. I. 14 1/4 x 20 1/4 in. (36.2 x 51.4 cm) S. 19 5/8 x 26 1/4 in. (49.8 x 66.7 cm)

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Literature Jean Bouin-Luce and Denise Bazetoux 1035; Colette de Ginestet and

Catherine Pouillon E663

130

Jacques Villon collaborated with Maximilien Luce to produce this aquatint after the oil on canvas by Luce titled La Tamise à Londres, 1892 (Jean BouinLude and Denise Bazetoux 1025). In 1922 Villon was commissioned by Galerie Bernheim-Jeune to produce a series of color aquatints after 38 major 19th and 20th century paintings by artists such as Matisse, Renoir, Manet, Picasso, Cezanne, Dufy, Modigliani, Bonnard and Luce amongst others. These hand-pulled editions provided the public with access to works which otherwise would not be available.

130 CHRISTO b. 1935 Ponte Sant’ Angelo Wrapped, Project for Rome, 1989 Lithograph in colors with collage of broadcloth, thread, offset print and city map with additions of charcoal and prismacolor, on Arches Cover paper mounted to Museum Board (as issued), the full sheet, signed, dated and numbered ‘LP 19/20’ in pencil (the edition was 140 and 59 total artist’s proofs), published by Torsten Lilja, Stockholm, the sheet slightly toned, minor surface soiling, otherwise in very good condition, framed. S. 28 x 21 7/8 in. (71.1 x 55.6 cm)

Estimate $ 5 , 0 0 0 -7, 0 0 0 Literature Jörg Schellmann and Joséphine Benecke 143


131

132

131 ROY LICHTENSTEIN 1923-1997

132 ROY LICHTENSTEIN 1923-1997

Cathedral series: Cathedral #6, 1969

Haystack series: Haystack #5, 1969

Lithograph in colors, on Arjomari paper, with full margins, signed, dated ‘69’ and numbered

Lithograph in colors with screenprint, on Rives BFK paper, with full margins (the margins

40/75 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles

are screenprinted white, as issued), signed, dated ‘69’ and numbered 5/100 in pencil

(with their blindstamps), a few soft handling creases, soft creasing at upper right corner,

(there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their

mat staining on the reverse, otherwise in very good condition, framed.

blindstamps), minor soiling and scuffing in the margins, flattened creases in the lower

I. 41 3/4 x 27 in. (106 x 68.6 cm)

corners (with associated cracking in the ink), otherwise in very good condition, framed.

S. 48 1/2 x 32 1/2 in. (123.2 x 82.6 cm)

I. 13 1/2 x 23 1/2 in. (34.3 x 59.7 cm)

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

S. 20 3/4 x 30 3/4 in. (52.7 x 78.1 cm)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Literature Gemini G.E.L. 147; Mary Lee Corlett 80 Literature Gemini G.E.L. 154; Mary Lee Corlett 68


133 ROY LICHTENSTEIN 1923-1997 Les Nymphéas, 1993 Linocut, woodcut, lithograph and screenprint in colors, on Arches Cover paper, with full margins, signed, dated ‘93’ and numbered 43/100 in pencil (there were also 25 artist’s proofs), published by the artist and Éditions de la Tempête, Paris, for the benefit of Médecins du Monde, faint offset pencil lines in places in the margins, otherwise in very good condition, framed. I. 26 1/4 x 35 13/16 in. (66.7 x 91 cm) S. 31 x 40 5/16 in. (78.7 x 102.4 cm)

Estimate $12 , 0 0 0 -18 , 0 0 0 Claude Monet

Literature Mary Lee Corlett 280


134

134 ROY LICHTENSTEIN 1923-1997 Still Life with Red Jar, 1994 Screenprint in colors, on Lanaquarelle Watercolor paper, with margins, signed, dated ‘94’ and numbered 82/250 in pencil (there were also 50 artist’s proofs), published by the artist and Gemini G.E.L., Los Angeles (with their blindstamp), the palest mat staining, adhesive remains in places along the upper margin, the sheet trimmed (with blindstamp and inkstamp cut-off at lower right), otherwise in good condition, framed I. 15 x 13 1/4 in. (38.1 x 33.7 cm) S. 20 1/2 x 18 in. (52.1 x 45.7 cm)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Literature Mary Lee Corlett 291

135

136

135 ROY LICHTENSTEIN 1923-1997

136 ROY LICHTENSTEIN 1923-1997

Eight service plates (abstract), 1990

Six service plates (water lily), 1990

Eight artist designed porcelain service plates, from the edition of 3000, published by

Six artist designed porcelain service plates, from the edition of 3000, published by

Rosenthal, with occasional minor soiling, otherwise all in very good condition, each

Rosenthal, with occasional minor soiling, otherwise all in very good condition, each

contained in original foam-lined cardboard box.

contained in original foam-lined cardboard box.

diameter: 12 1/4 in. (31.1 cm)

diameter: 12 1/4 in. (31.1 cm)

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

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


137

137 ROBERT BECHTLE b. 1932

138

34th Avenue, 1987 Etching in colors, on Somerset paper, with full margins, signed and numbered 16/50 in pencil (there were also 10 artist’s proofs), published by Crown Point Press, San Francisco, the palest mat staining, otherwise in very good condition, framed. I. 23 7/8 x 28 1/4 in. (60.6 x 71.8 cm) S. 31 x 35 1/4 in. (78.7 x 89.5 cm)

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

138 RICHARD ESTES b. 1932 Urban Landscapes No. 3: Cafeteria Vatican and Flughafen, 1981 Two screenprints in colors, on Fabriano Cottone paper, with full margins, both signed and one annotated ‘AP’ in pencil (one of 15 artist’s proofs, the edition was 250), published by Parasol Press, New York, both in very good condition, both unframed. both I. 14 1/8 x 20 1/8 in. (35.9 x 51.1 cm) both S. 19 3/4 x 27 1/2 in. (50.2 x 69.9 cm)

Estimate $1, 8 0 0 - 2 ,4 0 0 Literature John Arthur pp. 120 and 123

139

THIS LOT IS SOLD WITH NO RESERVE.

139 THOMAS BAYRLE b. 1937 Telefonbau-Normalzeit (Telephone AT&T), 1970 Screenprint in colors, on wove paper, the full sheet, signed, titled, dated ‘70’ and numbered 25/25 in pencil, pale moisture staining in places along lower sheet, occasional minor creasing (particularly at the left sheet edge, with occasional associated cracking in the inks), otherwise in good condition, framed. S. 35 1/4 x 27 in. (89.5 x 68.6 cm)

Estimate $ 5 0 0 -70 0


140

140 RED GROOMS b. 1937

141

Deli, 2004 Three-dimensional lithograph in colors, on Rives BFK paper, signed, dated ‘04 and numbered 19/50 in silver ink (there were also 6 artist’s proofs), published by Shark’s Ink, Lyons, Colorado, in very good condition, contained in original Plexiglas box. 29 3/8 x 28 x 9 3/4 in. (74.6 x 71.1 x 24.8 cm)

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

141 JAMES ROSENQUIST b. 1933 Tin Roof; and The Book Disappears for the Fast Student, 1977 Two etching and aquatints in colors with pochoir and hand-coloring, on Pescia Italia paper, both with full margins, both signed, titled, dated ‘1977’ and numbered 22/78 in pencil (there were also 23 and 20 artist’s proofs respectively), published by Multiples, Inc., New York, occasional soft handling creases, soft rubbing in the margins, otherwise both in good condition, both framed. both I. 17 5/8 x 35 3/4 in. (44.8 x 90.8 cm) both S. 22 3/4 x 39 7/8 in. (57.8 x 101.3 cm)

Estimate $ 8 0 0 -1, 2 0 0 Literature Constance Glenn 114 and 124

142

142 JAMES ROSENQUIST b. 1933 Horse Blinders (West), 1972 Lithograph and screenprint in colors with silver foil collage, on Arches Custom paper, the full sheet, signed, dated, ‘1972’ and annotated ‘(west)’ and ‘5/6 printer’s proof’ in pencil (the edition was 85 and 19 artist’s proofs), co-published by Multiples, Inc., and Castelli Graphics, New York, occasional minor scuffing, mat staining at the left and right sheet, soiling along the left sheet edge, occasional creasing at the sheet edges, otherwise in good condition, framed. S. 36 1/2 x 64 in. (92.7 x 162.6 cm)

Estimate $1, 5 0 0 - 2 , 5 0 0 Literature Constance Glenn 60


143

143 JIM DINE b. 1935 The Jewish Heart, 1982 Etching, on Richard De Bas Floral paper, with full margins, signed, dated and numbered 76/100 in pencil, published by the artist for the Federation-United Jewish Appeal, in very good condition, framed. I. 11 3/4 x 8 3/4 in. (29.8 x 22.2 cm) S. 26 x 20 in. (66 x 50.8 cm)

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Literature Ellen D’Oench and Jean Feinberg 138

144 JIM DINE b. 1935 Hamantashen and Rainbow, 1965 Etching with watercolor remarque, on Rives BFK paper, with full margins, signed, titled, dated and numbered 47/50 in pencil, occasional soft handling creases and minor soiling, otherwise in very good condition, framed. I. 21 3/4 x 16 5/8 in. (55.2 x 42.2 cm) S. 30 x 22 in. (76.2 x 55.9 cm)

Estimate $1, 2 0 0 -1, 8 0 0 Literature Galerie Mikro 34

144

145 JIM DINE b. 1935 Midsummer Wall, 1965 Lithograph in colors, on Rives BFK paper, the full sheet, signed, titled, dated ‘1966’ and numbered 3/26 in pencil, occasional minor soiling and soft handling creases, otherwise in good condition, framed. S. 41 1/2 x 29 1/2 in. (105.4 x 74.9 cm)

Estimate $1, 0 0 0 -1, 5 0 0 Literature Galerie Mikro 41

145

146

146 JIM DINE b. 1935 Crash series: The Crash IV, 1960 Lithograph, on Rives BFK paper, with full margins, signed, titled and annotated ‘artist’s proof’ in pencil (the edition was 33), published by Martha Jackson Gallery, New York, surface soiling (particularly in the margins), a crease at the lower right corner, several brown stains along the left sheet edge, otherwise in good condition, framed. I. 20 1/2 x 17 1/2 in. (52.1 x 44.5 cm) S. 27 1/2 x 22 1/4 in. (69.9 x 56.5 cm)

Estimate $ 6 0 0 - 8 0 0 Literature Galerie Mikro 4


147

147 JIM DINE b. 1935 Nine Views of Winter (2), 1985 Woodcut in colors, on Arches Buff paper, the full sheet, signed, dated 1985 and numbered 14/24 in pencil (there were also 5 artist’s proofs), published by Pace Editions, Inc., New York, in very good condition, framed. S. 52 1/2 x 37 in. (133.4 x 94 cm)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Ellen D’Oench and Jean Feinberg 198

148 JIM DINE b. 1935 Nine Views of Winter (8), 1985 Woodcut in colors, on Okawara paper, the full sheet, signed, dated ‘1985’ and numbered 20/24 in pencil (there were also 5 artist’s proofs), published by Pace Editions, Inc., New York, in very good condition, framed. S. 52 1/2 x 37 in. (133.4 x 94 cm)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Ellen D’Oench and Jean Feinberg 204

148

149

149 JIM DINE b. 1935 Nine Views of Winter (1), 1985 Woodcut in colors, on Arches Buff paper, the full sheet, signed and numbered 18/24 in pencil (there were also 5 artist’s proofs), published by Pace Editions, Inc., New York, in very good condition, framed. S. 52 1/2 x 37 in. (133.4 x 94 cm)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Ellen D’Oench and Jean Feinberg 197


150 Jim Dine b. 1935 The Bezalel Woodcut, 1981 Woodcut in colors, on John Koller handmade paper, with full margins, signed, dated ‘1981’ and numbered 2/6 in pencil (there were also 3 artist’s proofs), published by Pace Editions, Inc., New York, minor soiling in the margins, otherwise in very good condition, unframed. I. 27 x 26 in. (68.6 x 66 cm) S. 40 x 29 1/4 in. (101.6 x 74.3 cm)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Literature Ellen D’Oench and Jean Fineberg 109


151

152

151 JIM DINE b. 1935

152 JIM DINE b. 1935

Called by Sake, 1993

Behind the Thicket, 1993

Woodcut, collagraph and photo-engraving in colors, on Rives Lightweight Cream paper,

Woodcut, etching and aquatint in colors with hand-coloring, on Rives BFK Gray paper, with

with full margins, signed, dated and numbered 22/36 in pencil (there were also 8 artist’s

full margins, signed, dated ‘1993’ and numbered 47/75 in pencil (there were also 16 artist’s

proofs), published by Pace Editions, Inc., New York, in excellent condition, framed.

proofs), published by Pace Editions, Inc., New York, a few spots of stray ink in the margins,

I. 22 x 18 in. (55.9 x 45.7 cm)

otherwise in very good condition, framed.

S. 30 x 23 1/2 in. (76.2 x 59.7 cm)

I. 12 1/2 x 27 in. (31.8 x 68.6 cm)

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

S. 19 3/4 x 27 in. (50.2 x 68.6 cm)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Elizabeth Carpenter 70 Literature Elizabeth Carpenter 68


153

154

153 JIM DINE b. 1935

154 JIM DINE b. 1935

Red and Black Diptych Robe, 1980

Kindergarten Robes, 1983

Lithograph in colors, on two sheets of Rives BFK newsprint gray paper, the full sheets,

Woodcut in colors, on Lenox paper, with margins, signed, dated ‘1983’ and numbered 47/75

signed, dated ‘1980’ and numbered 7/20 in (there were also 12 artist’s proofs), published by

in pencil (there were also 10 artist’s proofs), published by Pace Editions, Inc., New York,

Pace Editions, Inc., New York, in very good condition, framed.

adhesive remains on the reverse, otherwise in good condition, framed.

S. 37 5/8 x 29 1/2 in. (95.6 x 74.9 cm)

I. 54 1/2 x 71 in. (138.4 x 180.3 cm)

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

S. 59 1/2 x 73 in. (151.1 x 185.4 cm)

Estimate $ 9 , 0 0 0 -12 , 0 0 0 Literature Ellen D’Oench and Jean Feinberg 63 Literature Ellen D’Oench and Jean Feinberg 146


155

155 JIM DINE b. 1935 Nancy Outside in July: states III; IV; V; and VII, 1978-1980 Four etchings with power tool abrasion (one in red, two with handcoloring), on various papers, with full margins, all signed, dated and variously numbered in pencil, published by Crommelynck, Paris, all generally in very good condition, all unframed. various sizes

Estimate $1, 2 0 0 -1, 8 0 0 Literature Ellen D’Oench and Jean Feinberg 20, 21, 22 and 68

Including: Nancy Outside in July III, 1978; Nancy Outside in July IV, 1978; Nancy Outside in July V, 1978 and Nancy Outside in July VII, 1980

156

156 PAT STEIR b. 1938 Line Poem series, 1976 The complete set of five etchings, on Twinrocker paper, with full margins, all signed, titled and dated ‘76’ in pencil on the reverse, from the edition of 10 and 3 artist’s proofs, published by Landfall Press, Chicago (with their inkstamp on the reverse), all in very good condition, all framed. all I. 4 x 4 in. (10.2 x 10.2 cm) all S. 5 1/4 x 5 1/2 in. (13.3 x 14 cm)

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


157

South

East

West

North

157 FRANCESCO CLEMENTE b. 1952 Geography suite, 1992 The complete set of four etchings in colors, on handmade Twinrocker B. Buff paper, with full margins, all signed and numbered 5/60 in pencil (there were also 15 artist’s proofs), published by Lococo-Mulder, St. Louis, the palest mat staining, otherwise all in very good condition, framed. all I. 19 x 17 7/8 in. (48.3 x 45.4 cm) all S. 28 x 24 5/8 in. (71.1 x 62.5 cm)

Estimate $ 8 , 0 0 0 -10 , 0 0 0 158

158 FRANCESCO CLEMENTE b. 1952 Untitled (Self-Portrait), 1993 Digital inkjet print in colors, on handmade paper, the full sheet, signed and numbered 53/250 in pencil, published by Nash Editions, Manhattan Beach, California, in very good condition, framed. S. 10 1/2 x 15 3/4 in. (26.7 x 40 cm)

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


159

160

159 DONALD BAECHLER b. 1956

160

DONALD BAECHLER b. 1956

Tree, 1988

Szechuan Garden, 2003

Woodcut and stenciled handmade paper print, the full sheet, signed, dated ‘88’ and

Aquatint with etching in colors, on Hahnemühle paper, with full margins, signed, dated ‘03’

numbered 16/22 in pencil, published by Pace Editions, Inc., New York, minor surface soiling,

and numbered 2/30 in pencil (there were also 5 artist’s proofs), published by Baron/Boisanté

otherwise in very good condition, framed.

Editions, New York (with their blindstamp), in excellent condition, framed.

S. 35 x 34 1/4 in. (88.9 x 87 cm)

I. 18 x 26 in. (45.7 x 66 cm)

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

S. 27 x 34 in. (68.6 x 86.4 cm)

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


161

161 DONALD BAECHLER b. 1956 Flowers and Trees (for Klaus Wittmann): plates II, III and V, 1990 Three relief prints, on Chine collé of Japanese to Rives BFK paper, with full margins, all signed, dated ‘90’ and numbered 35/50 in pencil, published by the Spring Street Workshop, New York, all in very good condition, all unframed. all I. 17 1/4 x 12 in. (43.8 x 30.5 cm) all S. 26 x 19 3/4 in. (66 x 50.2 cm)

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

162 DONALD BAECHLER b. 1956 Onion Eater V, 1991 Screenprint in colors, on Kozo paper, the full sheet, signed, dated ‘91’ and numbered 46/50 in pencil, published by Tony Shafrazi Editions, New York, occasional soft creasing at the sheet edges, otherwise in very good conditon, framed. S. 30 x 30 in. (76.2 x 76.2 cm)

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

163 DONALD BAECHLER b. 1956 The Counterfeiters portfolio, 1991 The complete set of four woodcuts, on Somerset paper, all with full margins, all signed and numbered 24/24 in pencil (there were also 4 artist’s proofs), published by Baron/Boisanté, New York, all in very good condition, all framed, lacking original blue linen-covered portfolio. all I. 24 x 30 in. (61 x 76.2 cm) all S. 31 x 38 in. (78.7 x 96.5 cm)

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

163

162


164

165

164 VIK MUNIZ b. 1961

165 CHUCK CLOSE b. 1940

Vik, 2003

Self-Portrait/Lincoln Center, 2007

Lithograph and screenprint in colors, on Somerset Textured paper, with full margins,

Lithograph and screenprint in colors, on Somerset paper, with full margins, signed, dated

signed, dated ‘2003’ and numbered 4/50 in pencil (there were also 6 artist’s proofs),

‘2007’ and numbered 8/118 in pencil (there were also 18 artist’s proofs), published by Lincoln

published by Graphicstudio, University of South Florida, Tampa (with their blindstamp), in

Center List Poster and Print Program, New York, in very good condition, framed.

very good condition, unframed.

I. 29 3/4 x 24 in. (75.6 x 61 cm)

I. 38 1/8 x 29 1/8 in. (96.8 x 74 cm)

S. 38 x 30 in. (96.5 x 76.2 cm)

S. 49 7/8 x 40 in. (126.7 x 101.6 cm)

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

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Literature Charles A. Riley 205


166

ALEX KATZ b. 1927 Standing Ada, 1987 Screenprint in colors, on both sides of a sheet of cut aluminum, with incised signature and numbered 7/75 (there were also 12 artist’s proofs), published by Styria Studio, New York, several minute ink losses at the edges (beside her ear and sleeve), otherwise in very good condition. 64 5/8 x 10 1/8 in. (164.1 x 25.7 cm)

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


167

168

167 ALEX KATZ b. 1927

168 Alex Katz b. 1927

Night: William Dunas Dance I-IV, 1983

Boy with Branch I, 1975

The complete set of four lithographs in colors, on Arches Cover paper, the full sheets, all

Aquatint in colors, on wove paper, the full sheet, signed and numbered 49/90 in pencil

signed and numbered 41/100 in pencil (there were also 42 artist’s proofs), published by

(there were also 9 artist’s proofs), co-published by Bo Alveryd, Kavlinge, Sweden and

Jackie Fine Arts Inc., New York, occasional very minor scuffing, minor wear along the sheet

Marlborough Graphics, New York, the sheet toned, otherwise in very good condition,

edges (with associated minor ink loss and splitting in places), otherwise all in very good

framed.

condition, all unframed.

S. 24 x 40 1/8 in. (61 x 101.9 cm)

all S. 25 x 31 1/4 in. (63.5 x 79.4 cm)

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

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Literature Nicholas Maravell 77 Literature Nicholas Maravell 246-49


169

169 ALEX KATZ b. 1927 Alex and Ada the 1960s to the 1980s: Ada in a White Hat, 1990 Screenprint in colors, on wove paper, the full sheet. signed and numbered 104/150 in pencil (there were also 30 artist’s proofs), published by Gaultney-Klineman, New York, in very good condition, framed. S. 36 x 25 1/2 in. (91.4 x 64.8 cm)

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

170

170 MICHAEL MAZUR 1935-2009 Amaryllis—Calla I, 1982 Monoprint with etching, aquatint and monotype, in colors, on Arches paper, with full margins, signed, titled, dated ‘82’ and numbered 5/20 in pencil (from the variant edition), published by Pace Editions, Inc., New York, occasional minor surface soiling in the margins, otherwise in very good condition, unframed. I. 35 1/2 x 24 in. (90.2 x 61 cm) S. 47 3/4 x 31 1/2 in. (121.3 x 80 cm)

Estimate $1, 2 0 0 -1, 8 0 0 Literature Victoria Hansen 232


171 TOM WESSELMANN 1931-2004 Wild Bouquet of Flowers, 1987 Laser-cut steel multiple painted in enamel, incised with signature, dated ‘87’ and numbered 22/30 (there were also 6 artist’s proofs), published by Sidney Janis Gallery, New York, in very good condition, unframed. 38 x 24 1/2 in. (96.5 x 62.2 cm)

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


172

173

172 TOM WESSELMANN 1931-2004

173 TOM WESSELMANN 1931-2004

Nude with Bouquet and Stockings, 1992

Nude, 1980

Screenprint in colors, on Museum Board, with full margins, signed and numbered 47/100 in

Aquatint in colors, on wove paper, with full margins, signed, dated ‘80’ and numbered

pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney,

34/100 (there were also 25 artist’s proofs), published by Abbeville Press, New York (with

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

their blindstamp), the palest staining at lower left corner, minor offsetting on the reverse,

I. 20 x 68 in. (50.8 x 172.7 cm)

taped to the overmat in places along the reverse of the sheet edges, otherwise in very good

S. 45 x 80 in. (114.3 x 203.2 cm)

condition, framed.

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

I. 27 7/8 x 30 3/8 in. (70.8 x 77.2 cm) S. 35 1/4 x 37 1/4 in. (89.5 x 94.6 cm)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0


174

175

174 TOM WESSELMANN 1931-2004

175 TOM WESSELMANN 1931-2004

Monica Lying Down on Robe, 1990

Monica Nude with Matisse, 1990

Lithograph, on wove paper, with full margins, signed and numbered 4/40 in pencil (there

Etching and aquatint with embossing, on wove paper, with full margins, signed and

were also 12 artist’s proofs), published by International Images, Inc., Putney, Vermont, in

numbered 29/75 in pencil (there were also 12 artist’s proofs), published by International

very good condition, unframed

Images, Inc., Putney, Vermont, in very good condition, unframed.

I. 26 1/2 x 63 in. (67.3 x 160 cm)

I. 29 x 48 in. (73.7 x 121.9 cm)

S. 42 x 72 in. (106.7 x 182.9 cm)

S. 38 x 60 in. (96.5 x 152.4 cm)

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

Estimate $7, 0 0 0 -10 , 0 0 0


176

177

176 TOM WESSELMANN 1931-2004

177 TOM WESSELMANN 1931-2004

Portfolio 90: Claire with Robe Half Off (Vivienne), 1993

1960 Judy Trying on Clothes, 1997

Screenprint in colors, on Museum Board, with full margins, signed and numbered 31/90 in

Screenprint in colors, on wove paper, with full margins, signed and numbered 5/65 in

pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney,

pencil, published by Alliance Art Group, Saddlebrook, New Jersey, in very good condition,

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

unframed.

I. 50 1/4 x 38 in. (127.6 x 96.5 cm)

I. 33 3/8 x 45 5/8 in. (84.8 x 115.9 cm)

S. 61 x 48 1/4 in. (154.9 x 122.6 cm)

S. 41 3/8 x 53 3/8 in. (105.1 x 135.6 cm)

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

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


178

179

178 TOM WESSELMANn 1931-2004

179 TOM WESSELMANN 1931-2004

Still Life with Petunias, Lilies and Fruit, 1988

Portfolio 90: Still Life with Lichtenstein and Two Oranges, 1993

Screenprint in colors, on wove paper, with full margins, signed, dated ‘88’ and numbered

Screenprint in colors, on Museum Board, with full margins, signed and numbered 51/90 in

82/100 in pencil (there are also 12 artist’s proofs), published by International Images, Inc.,

pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney,

Putney, Vermont, in very good condition, framed.

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

I. 48 x 62 1/4 in. (121.9 x 158.1 cm)

I. 33 x 54 1/4 in. (83.8 x 137.8 cm)

S. 57 x 71 in. (144.8 x 180.3 cm)

S. 42 x 59 in. (106.7 x 149.9 cm)

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

Estimate $ 6 , 0 0 0 - 8 , 0 0 0


180

181

PROPERTY OF WILLIAMS COLLEGE ART INVESTMENT FUND

180 TOM WESSELMANn 1931-2004

181 TOM WESSELMANN 1931-2004

Fast Sketch Still Life with Abstract Painting, 1989

Thames Scene with Power Station, 1990

Screenprint in colors, on Museum Board, with full margins, signed and dated ‘89’ in

Screenprint in colors, on Museum Board, with full margins, signed and numbered ‘AP

pencil, numbered 63/100 (there were also 12 artist’s proofs), published by International

4/8’ in pencil (an artist’s proof, the edition was 600 and 12 artist’s proofs), published by

Images, Inc., Putney, Vermont, minor rippling, otherwise in very good condition,

International Images, Putney, Vermont (with their blindstamp), in very good condition,

framed.

unframed.

I. 46 3/4 x 70 1/4 in. (118.7 x 178.4 cm)

I. 44 3/8 x 89 7/8 in. (112.7 x 228.3 cm)

S. 56 3/4 x 83 7/8 in. (144.1 x 213 cm)

S. 57 x 99 1/2 in. (144.8 x 252.7 cm)

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

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


182

182 TOM WESSELMANN 1931-2004 Blonde Vivienne (six service plates), 1988-90 Six artist designed porcelain service plates, published by Rosenthal, all in very good

184

condition, each contained in original fabric-covered cardboard box. all diameter: 12 1/4 in. (31.1 cm)

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

183

THIS LOT IS SOLD WITH NO RESERVE PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

183 MEL RAMOS b. 1935

184 LUIS JIMENEZ 1940-2006

Chic, from 11 Pop Artists Volume I, 1965

Rodeo Queen, 1981

Screenprint in colors, on heavy wove paper, the full sheet, signed and numbered 134/200 in

Lithograph in colors with applied glitter, on Arches paper, the full sheet, signed, dated ‘81’

pencil (there were also 50 artist’s proofs), published by Original Editions, New York, minor

and numbered 24/50 in pencil (there were also 10 artist’s proofs), published by Landfall

scuffing (visible in raking light), a few soft creases (two with associated minor cracking in

Press, Chicago (with their blindstamp), in very good condition, framed.

the inks), otherwise in good condition, unframed.

S. 42 1/2 x 29 in. (108 x 73.7 cm)

S. 24 x 19 7/8 in. (61 x 50.5 cm)

Estimate $70 0 - 9 0 0

Estimate $1, 0 0 0 -1, 5 0 0 Literature Joseph Ruzicka 128, p. 196


185

185 William Copley (cply) 1919-1996 Man and Woman, 1978 screenprint in colors, on Somerset paper, with full margins, signed ‘CPLY’ and numbered 64/200 in pencil (there were also 30 artists proofs), minor creasing at left corners, otherwise in very good condition, unframed. I. 24 1/8 x 32 in. (61.3 x 81.3 cm) S. 26 1/8 x 34 in. (66.4 x 86.4 cm)

Estimate $ 4 0 0 - 6 0 0

186

187

186

ROBERT INDIANA b. 1928 Greenpeace Love, 1994 Screenprint in colors, on wove paper, with full margins, signed, titled, dated ‘1994’ and numbered ‘HC 12/18’ in pencil (a hors commerce impression, the edition was 170), in very good condition, unframed. I. 24 x 24 in. (61 x 61 cm) S. 32 x 29 1/2 in. (81.3 x 74.9 cm)

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

187 ROBERT INDIANA b. 1928 Love Cross, 1968 Screenprint in colors, on thin wove paper, with full margins, signed, titled, dated ‘68’ and numbered 88/100 in pencil (there were also 40 artist’s proofs in Roman numerals), published by Institute of Contemporary Art, University of Pennsylvania, Philadelphia, occasional soft handling creases, minor soiling in the margins, a scuff at upper right sheet, otherwise in very good condition, unframed. I. 19 1/8 x 19 3/8 in. (48.6 x 49.2 cm) S. 28 1/2 x 22 1/2 in. (72.4 x 57.2 cm)

Estimate $ 3 , 0 0 0 - 4 , 0 0 0 Literature Susan Sheehan 94


188

189

188

JOE TILSON b. 1928

189 MARILYN MINTER b. 1948

Vowels, 1970

Supreme Skate Decks, 2008

Screenprint in colors with collage of printed paper, wood blocks and fabric letters, on

The complete set of three printed skate deck in colors, published by Supreme, New York, all

plywood, signed, dated ‘1970’ and numbered 64/70 in pencil (there were also 10 artist’s

in very good condition, in original shrink-wrapping.

proofs), surface soiling (particularly on the letters), otherwise in good condition.

all: 31 1/4 x 8 in. (79.4 x 20.3 cm)

30 x 19 7/8 x 1 1/4 in. (76.2 x 50.5 x 3.2 cm)

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

Estimate $ 8 0 0 -1, 2 0 0


190

190

Nobuyoshi Araki b. 1940 Sexual Desire portfolio, circa 2000 The complete set of fourteen offset prints in colors, on watercolor paper, with full margins, all signed and most numbered 15/30 in pencil on the reverse, also signed and numbered on the colophon, published by Taka Ishii Editions, Tokyo, all in very good condition, contained in black portfolio box. all I. 7 1/2 x 11 1/4 in. (19.1 x 28.6 cm) all S. 9 x 12 in. (22.9 x 30.5 cm)

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

191

191 LARRY RIVERS 1923-2002 Tanfastic, 1966 Offset lithograph in colors, on wove paper to Plexiglas (as issued), the full sheet, signed and numbered 135/225 in black marker on the Plexiglas, the sheet toned, occasional suffing on the Plexiglas, otherwise in good condition, framed. S. 18 x 23 1/4 in. (45.7 x 59.1 cm)

Estimate $ 6 0 0 - 8 0 0


192

192 LISA YUSKAVAGE b. 1962 Ukranian Shirt, 2001 Lithograph, on Gampi Torinoko paper, the full sheet, signed, dated ‘2001’ and numbered 21/40 in pencil (there were also 13 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with thier blindstamp), in very good condition, unframed. S. 30 x 20 1/4 in. (76.2 x 51.4 cm)

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

193 HENRI MATISSE 1869-1954 Nu assis, chevelure foncée, 1922 Lithograph, on Japanese paper, with margins, signed and numbered 49/50 in black ink (there were also 10 artist’s proofs), occasional soft rubbing, otherwise in very good condition, framed. I. 14 3/4 x 9 3/8 in. (37.5 x 23.8 cm) S. 17 1/4 x 11 in. (43.8 x 27.9 cm)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Literature Claude Duthuit 421

193

Egon Schiele, Seated nude girl, 1910, watercolor, Albertina, Vienna


194

195

194 JULIAN SCHNABEL b. 1951

195 Eric Fischl b. 1948

I’d Rather Have a Live Woman than a Frozen Leopard, 1990

[A Woman at the Beach with her Dog], 1986

Offset lithograph with aquatint and collage in colors, on wove paper, the full sheet, signed,

Oil monoprint in colors, on Arches 88 paper, with full margins, signed, dated ‘86’ and

dated ‘90’ and numbered XLIII/XLV in pencil, published by Editions 2RC, Rome, in very good

annotated ‘monoprint’ in pencil, occasional soft rubbing in the margins, otherwise in very

condition, framed.

good condition, framed.

S. 35 3/4 x 26 3/8 in. (90.8 x 67 cm)

I. 10 1/8 x 14 1/4 in. (25.7 x 36.2 cm)

Estimate $ 8 0 0 -1, 2 0 0

S. 15 1/8 x 22 1/2 in. (38.4 x 57.2 cm)

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


196

196

JONATHAN SANTLOFER b. 1946 KISS portfolio (deluxe edition), 2010 The complete set of nine lithographs some with hand-coloring and collage, one flocked print in colors, and one deluxe original drawing in pencil, on Somerset paper, with full margins, all signed, dated ‘2001’ and numbered III/VIII in pencil (from the deluxe edition with original drawing, the regular edition was 40 in Arabic numerals and 6 various proofs), co-published by Kunst Editions, Jim Kempner Fine Art and Ram Studio, New York, all in excellent condition, contained in original purple cloth-covered portfolio. 21 1/2 x 16 in. (54.6 x 40.6 cm)

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

197

197 DONALD SULTAN b. 1951 Smoke Rings, 1999 Two aquatints, on Hahnemühle paper, with full margins, both signed, dated ‘Jan 31, 1999’ or ‘Feb 3, 1999’ and numbered 9/26 in pencil, published by Pace Editions, Inc., New York, both with occasional minor scuffing and soft handling creases, otherwise both in very good condition, both unframed.

198

both I. 38 1/4 x 28 1/2 in. (97.2 x 72.4 cm) both S. 43 x 32 in. (109.2 x 81.3 cm)

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

198 DONALD SULTAN b. 1951 Black Roses: two impressions, 1989 Two etchings, on Twinrocker paper, with full margins, both signed with initials, titled, dated ‘Dec 1989’ and numbered 41/53 and 20/53 in pencil (there were also 10 artist’s proofs), published by Parasol Press, New York, both in very good condition, both unframed. both I. 29 5/8 x 21 3/4 in. (75.2 x 55.2 cm); both S. 40 x 32 1/4 in. (101.6 x 81.9 cm)

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


199

200

199 Donald Sultan b. 1951

200

DONALD SULTAN b. 1951

Playing Cards portfolio: nine prints, 1990

Mimosas, 2008

Nine aquatints in black, on wove paper with watermark, with full margins, all signed with

Screenprint in colors, on wove paper, the full sheet, signed with initials, titled, dated ‘2007’

initials, titled, variously dated and numbered 26/44 in pencil, occasional soft rubbing, minor

and numbered 46/108 in pencil (there were also 18 artist’s proofs), published by Lincoln

soiling along the sheet edges, one with hinge remains at the reverse of the upper sheet,

Center List Poster and Print Program, New York, in very good condition, framed.

otherwise all in very good condition, unframed.

S. 27 1/2 x 39 1/4 in. (69.9 x 99.7 cm)

all I. 11 1/2 x 8 in. (29.2 x 20.3 cm) all S. 21 x 15 in. (53.3 x 38.1 cm)

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

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

Literature Charles A. Riley 207


201

201

Donald Sultan b. 1951

202

Japanese Pines, 2008 Mixograph in colors, on handmade paper, with full margins, signed with initials, titled, dated ‘May 26, 2008’ and numbered 11/75 in pencil, published by Mixografia, Los Angeles, minor surface soiling in the margins, otherwise in very good condition, unframed. I. 33 1/4 x 33 3/4 in. (84.5 x 85.7 cm) S. 37 x 37 in. (94 x 94 cm)

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

202

DONALD SULTAN b. 1951 Flowers in a Vase with Oranges, 1994 Etching and aquatint in colors, on Hahnemühle paper, with full margins, signed with initials, titled, dated ‘Jan 31, 1991’ and numbered 36/60 in pencil, in very good condition, unframed. I. 23 1/2 x 23 1/2 in. (59.7 x 59.7 cm) S. 31 3/8 x 29 in. (79.7 x 73.7 cm)

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


203

204

203

ALEX KATZ b. 1927

204

ALFRED LESLIE b. 1927

Maine Landscapes, 2000-01

Outside Blue Water, Again, 1991

The complete set of eight linocuts, on Stonehenge paper, with full margins, all signed and

The complete set of aquatints with embossing, on wove paper, with full margins, all signed,

numbered 37/45 in pencil, all in excellent condition, all framed.

dated ‘1991’, annotated ‘nyc’ and numbered 25/50 in pencil, all in very good condition, all

all I. various sizes

unframed.

all S. 14 x 16 3/4 in. (35.6 x 42.5 cm)

all I. 13 3/4 x 18 3/8 in. (34.9 x 46.7 cm)

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

all S. 20 3/4 x 25 1/8 in. (52.7 x 63.8 cm)

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


205

206

205

RICHARD BOSMAN b. 1944

206

KOMAR and MELAMID b. 1943 and b. 1945

Bridges set: Bridge A; and Bridge C, 1997

Sunset at Bayonne, 1988

Two woodcuts in colors, on Mulberry paper, with full margins, both signed and numbered

Aquatint with metallic leaf collage, on wove paper, with full margins, signed, titled, dated

‘AP 8/10’ in pencil (an artist’s proof, the edition was 50), published by John Szoke Graphics,

‘89’ and numbered 27/40 in pencil, published by Riverhouse Editions, Steamboat Springs,

Inc, New York (with their blindstamp), both in very good condition, both unframed

Colorado (with their blindstamp), areas of very soft rubbing in the margins, a crease at

both I. 18 x 25 in. (45.7 x 63.5 cm)

lower right corner, otherwise in very good condition, framed.

both S. 23 3/8 x 29 5/8 in. (59.4 x 75.2 cm)

I. 23 1/2 x 65 in. (59.7 x 165.1 cm)

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

S. 32 1/2 x 74 in. (82.6 x 188 cm)

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


SESSION II

207

2:3 0pm

Lots 207- 43 0

207

JOHN BALDESSARI b. 1931 Person with Guitar (Green), 2005 Screenprint in colors, laminated to Sintra and hand-cut (as issued), the full sheet, signed, dated ‘05 and numbered 19/45 in white ink (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles, in excellent condition, framed. S. 42 3/4 x 26 in. (108.6 x 66 cm)

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

Gemini G.E.L 2032; Sharon Coplan Hurowitz 154

208

208

JOHN BALDESSARI b. 1931 8 Lamps x 6 = 48: one plate, 1998 Inkjet print in colors, on Hewlett Packard Satin-Gloss Photo paper, with full margins, signed and dated ‘98’ in ink (one of 48 unique color varients, subdivided into 8 different lamp silhouettes), published by JAB Art Enterprise, Inc., Santa Monica, California, with minor creasing at lower right corner, otherwise in very good condition, framed. I. 5 3/8 x 5 in. (13.7 x 12.7 cm) S. 11 x 8 1/2 in. (27.9 x 21.6 cm)

Estimate $ 6 0 0 - 9 0 0 Literature

Sharon Coplan Hurowitz 95 Gemini G.E.L 2032


209

210

209

JOHN BALDESSARI b. 1931

210 JOHN BALDESSARI b. 1931

Life’s Balance (with Money), 1989-90

Two Hands (with Distant Figure), 1989-90

Photogravure and aquatint in colors, on Somerset paper, the full sheet, signed and

Photogravure with aquatint in colors, on Sommerset Satin paper, the full sheet, signed

numbered ‘PP 4/5’ in pencil (a printer’s proof, the edition was 45 and 11 artist’s proofs),

and numbered ‘PP 4/5’ in pencil (a printer’s proof, the edition was 45 and 11 artist’s proofs),

published by Brooke Alexander Editions, New York, in very good condition, unframed.

published by Brooke Alexander Editions, New York, in excellent condition, unframed.

S. 51 x 42 5/8 in. (129.5 x 108.3 cm)

S. 53 x 34 3/4 in. (134.6 x 88.3 cm)

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

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

Literature

Sharon Coplan Hurowitz 46

Literature

Sharon Coplan Hurowitz 45


211

212

PROPERTY SOLD TO BENEFIT iCI (INDEPENDENT CURATOR’S INTERNATIONAL), NEW YORK

211 JOHN BALDESSARI b. 1931

212 JOHN BALDESSARI b. 1931

Six Colorful Gags (Male), 1991

Heart with Pearls, from Independent Curators 15th Anniversary portfolio, 1991

Photogravure with aquatint in colors, on Somerset paper, with full margins, signed, dated

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

‘91’ and numbered 10/25 in pencil (there were also 10 artist’s proofs), published by Crown

numbered 40/75 in pencil (there were also 25 artist’s proofs), co-published by Brooke

Point Press, San Francisco (with their blindstamp), in very good condition, framed.

Alexander Editions and Independent Curators International, New York, in very good

I. 39 1/2 x 47 3/8 in. (100.3 x 120.3 cm)

condition, unframed.

S. 46 3/4 x 53 1/2 in. (118.7 x 135.9 cm)

I. 36 5/8 x 39 3/4 in. (93 x 101 cm)

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

S. 38 7/8 x 42 in. (98.7 x 106.7 cm)

Estimate $ 8 0 0 -1, 0 0 0 Literature

Sharon Coplan Hurowitz 56 Literature

Sharon Coplan Hurowitz 58


213 Robert Rauschenberg 1925-2008 Signs, 1970 Screenprint in colors, on wove paper, with full margins, signed, dated ‘70’ and numbered 181/250 in pencil, published by Castelli Graphics, New York, a few splattered stains at upper left margin, occasional soft handling creases, otherwise in good condition, unframed. I. 35 1/4 x 26 3/4 in. (89.5 x 67.9 cm) S. 43 x 34 in. (109.2 x 86.4 cm)

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature Edward Foster 155


214

214 Robert Rauschenberg 1925-2008 Reels (Bonnie and Clyde): Storyline III, 1968 Lithograph in colors, on Rives BFK paper, the full sheet, signed, dated ‘68’ and numbered 55/72 in pencil (there were also 7 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), in very good condition, framed. S. 21 1/2 x 17 1/2 in. (54.6 x 44.5 cm)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0 Literature Gemini G.E.L. 100

215

215 ROBERT RAUSCHENBERG 1925-2008 Horsefeathers Thirteen series: plates VI, VIII, XI, XII, and XIII, 1972 Five offset lithograph, screenprint and pochoirs in colors, with collage, and embossing, on handmade papers, with full margins, all signed, dated ‘72’ and numbered 45/82, 45/79, 54/85, 45/51 and 45/78 respectively in pencil (there were also 12, 9, 12, 6 and 9 artist’s proofs respectively), published by Gemini G.E.L., Los Angeles (with their blindstamps), 1976, Plate VI with minor creasing and soiling in the margins, plate VIII with the sheet slightly toned and creasing in the margins, plate XI with hinge remains on the reverse, plate XII with patterened pale staining throughout, time staining, plate XIII with an area of soiling at upper right margin, otherwise all in good condition, all framed. various sizes

Estimate $ 5 , 0 0 0 - 8 , 0 0 0 Literature Gemini G.E.L 726, 728, 729, 730 and 731


...ideas of sort of relaxed symmetry have been something for years that I have been concerned with because I think that symmetry is a neutral shape as opposed to a form of design

216 ROBERT RAUSCHENBERG 1925-2008 Hoarfrost Editions series, Preview 1974 Offset lithograph and screenprint in colors transferred to collage of paper bags and fabric, on paper bag, silk chiffon and silk taffeta, the full sheet, signed, dated ‘74’ and annotated ‘TP III’ in pencil (one of 7 trial proofs, the edition was 32 and 10 artist’s proofs), published by Gemini G.E.L., Los Angeles, the colors slightly attenuated, otherwise in very good condition, framed. S. 70 x 79 1/2 in. (177.8 x 201.9 cm)

Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0 Literature Gemini G.E.L. 572

An artist of insatiable curiosity and restless creativity, Robert Rauschenberg came to attention at a fertile juncture in American art, as Abstract Expressionism wound down and Pop art appeared. His aesthetic strategy, embracing screenprint on canvas, assemblage, set design, and performance, is based on collage and juxtaposes objects and images from the everyday world to elicit their effects on each other and to stimulate an almost poetic response in the viewer. Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004, p. 150

Jack Kerouac On the Road scroll


217

218

217 ROBERT RAUSCHENBERG 1925-2008

218 ROBERT RAUSCHENBERG 1925-2008

Suite of Nine prints; Back out, 1979

Deposit, from America: The Third Century, 1975

Offset lithograph in colors with collage, on wove paper, the full sheet, signed, dated ‘79’

Offset lithograph with pochoir in colors, on wove paper, the full sheet, signed, dated ‘75’

and numbered ‘HC 1/10’ in pencil (an hors commerce impression, the edition was 100 and

and numbered 71/200 in pencil (there were also 25 artist’s proofs), published by APC

an unrecorded number of artist’s proofs), published by Multiples Inc., New York, pale time

Editions and Chermayeff & Geismar, New York, the sheet slightly toned, minor skinning at

staining, minor creasing at the corners, otherwise in very good condition, unframed.

the reverse of the upper corners, otherwise in very good condition, unframed.

S. 30 1/2 x 23 in. (77.5 x 58.4 cm)

S. 30 x 22 1/4 in. (76.2 x 56.5 cm)

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

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

219

219 ROBERT RAUSCHENBERG 1925-2008 St. John the Divine (Cathedral Print), 1993 Lithograph in colors, on wove paper, the full sheet, signed, dated ‘93’ and numbered 90/175 in pencil, in very good condition, unframed. S. 35 3/4 x 25 3/8 in. (90.8 x 64.5 cm)

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


220

220

221

ROBERT RAUSCHENBERG 1925-2008 Support, 1973 Offset lithograph and screenprint in colors, on wove paper, the full sheet, signed, dated ‘73’ and numbered 51/250 in pencil (there were also 20 artist’s proofs), published by Pan American Development Foundation, areas of pale yellow staining (particularly the upper and right sheet), areas of skinning and splitting in places along the reverse of the sheet edges, otherwise in good condition, unframed. S. 30 x 22 in. (76.2 x 55.9 cm)

Estimate $ 9 0 0 -1, 2 0 0

221

ROBERT RAUSCHENBERG 1925-2008 Homage to Frederick Kiesler, 1966 Offset lithograph in colors, on wove paper, with margins, signed, dated ‘66’ and numbered 121/200 in pencil, the colors slightly attenuated, occasional soft handling creases, mat

222

staining along the sheet edges and on the reverse, otherwise in good condition, framed. I. 34 x 22 in. (86.4 x 55.9 cm) S. 34 3/4 x 22 7/8 in. (88.3 x 58.1 cm)

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

THIS LOT IS SOLD WITH NO RESERVE PROPERTY FROM A PRIVATE COLLECTION, NEW YORK 222

LOWELL NESBITT 1933-1993 Cape Kennedy portfolio: two portfolios, 1969 Two complete portfolios each comprising eight screenprints in colors, on mylar, acetate and various papers, the full sheets, all signed, dated ‘69’ and numbered XVI/XX and XIV/XX in pencil, published by Edition Galerie M.E. Thelen, Köln, occasional scuffing (particularly the mylar sheets), a few with minor creasing, the layered sheets with some bubbles, otherwise all generally in good condition, contained in original paper folders (wear, scuffing and tears). all S. 22 1/8 x 29 1/2 in. (56.2 x 74.9 cm).

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

Both including: Panorama; Spacesuit Checkout; Antenna; Working Platforms; Stage I and II of Saturn; Lunar Module; Simulator and Firing Room


223

223

ÖYVIND FAHLSTROM 1928-1976 Sketch for Kidnapping Kissinger, 1974 Screenprint in colors, on wove paper, with full margins, signed and numbered 44/100 in pencil (there were also 10 artist’s proofs), pale mat staining and other occasional stains in the margins, moisture staining in places along the upper sheet edge, otherwise in good condition, unframed. I. 23 1/4 x 35 1/4 in. (59.1 x 89.5 cm) S. 27 1/2 x 39 in. (69.9 x 99.1 cm) Henry Kissinger, circa 1973

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

224

224 ÖYVIND FAHLSTROM 1928-1976 Africa Model, 1974 Offset lithograph in colors, on wove paper, with full margins, signed and numbered 44/100 in pencil, irregular pale staining in the margins, very pale foxing in places along the sheet edges, pale moisture staining along the reverse of the upper sheet edge, otherwise in good condition, unframed. I. 31 1/8 x 23 5/8 in. (79.1 x 60 cm) S. 39 1/4 x 27 3/8 in. (99.7 x 69.5 cm)

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


225

226

Cold War Bomb Shelter circa 1960

225

ÖYVIND FAHLSTROM 1928-1976

226

ÖYVIND FAHLSTROM 1928-1976

Rulle (Suggestions for the Cold War), 1974

Phase 3 of sitting: Five panels, 1974

Screenprint in colors, on wove paper, with full margins, signed, dated ‘74’ and numbered

Screenprint in colors, on wove paper, with full margins, signed, dated ‘74’ and numbered

44/100 in pencil, irregular pale staining in the margins (particularly at the left and right

44/100 in pencil, irregular staining in the margins, a line of staining along the upper margin

sheet edges), staining on the reverse, otherwise in good condition, unframed.

(varying in severity), a very small pale moisture stain at the upper left margin, soiling along

I. 23 5/8 x 32 3/4 in. (60 x 83.2 cm)

the reverse of the upper sheet edge, otherwise in good condition, unframed.

S. 27 3/8 x 39 1/8 in. (69.5 x 99.4 cm)

I. 23 5/8 x 32 3/4 in. (60 x 83.2 cm)

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

S. 27 3/8 x 39 1/4 in. (69.5 x 99.7 cm)

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


227

228

227

Franz West b. 1947

228

WILLIAM KENTRIDGE b. 1955

Untitled (Hanging Lamp), 1989

Music Box Tondo, 2006

Welded iron multiple, electrical ceiling fittings, published by Metamemphis, Milan, in good

Archival pigment print in colors, on Hahnem端hle paper, with full margins, signed and

condition.

numbered 59/60 in pencil, in very good condition, unframed.

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

diameter I. 42 1/8 in. (107 cm)

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

S. 43 3/4 x 43 3/4 in. (111.1 x 111.1 cm)

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


229

WILLIAM KENTRIDGE b. 1955 Typewriter Suite; and Typewriter, 2003 The complete set of eight plus one etchings, on Somerset Velvet paper, with full margins, all signed and numbered ‘PP 1/1’ in pencil (printer’s proofs, the edition was 40 for all), all in very good condition, all framed. all I. 6 x 8 in. (15.2 x 20.3 cm) all S. 9 1/2 x 11 1/2 in. (24.1 x 29.2 cm)

Estimate $15 , 0 0 0 - 2 5 , 0 0 0


230

231

230

WILLIAM KENTRIDGE b. 1955

231 WILLIAM KENTRIDGE b. 1955

[Tree], 2003

[Globe], 2003

Etching, on Somerset Velvet paper, with full margins, signed and numbered ‘PP 1/1’ in

Etching, on Somerset Velvet paper, with full margins, signed and numbered ‘PP 1/1’ in

pencil (a printer’s proof, the edition was 40), in very good condition, framed.

pencil (a printer’s proof, the edition was 40), in very good condition, framed.

I. 6 x 8 in. (15.2 x 20.3 cm)

I. 6 x 8 in. (15.2 x 20.3 cm)

S. 9 1/2 x 11 1/2 in. (24.1 x 29.2 cm)

S. 9 1/2 x 11 1/2 in. (24.1 x 29.2 cm)

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

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

232

233

232

WILLIAM KENTRIDGE b. 1955

233

WILLIAM KENTRIDGE b. 1955

Skeleton of a Moose, 2003

An Iris, 2003

Etching, on Somerset Velvet paper, with full margins, signed and numbered ‘PP 1/1’ in

Etching, on Somerset Velvet paper, with full margins, signed and numbered ‘PP 1/1’ in

pencil (a printer’s proof, the edition was 40), in very good condition, framed.

pencil (a printer’s proof, the edition was 40), in very good condition, framed.

I. 6 x 8 in. (15.2 x 20.3 cm)

I. 8 x 6 in. (20.3 x 15.2 cm)

S. 9 1/2 x 11 1/2 in. (24.1 x 29.2 cm)

S. 11 1/2 x 9 1/2 in. (29.2 x 24.1 cm)

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

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


234

234

DIETER ROTH 1930-1998 2 times 5 Dogs portfolio, 1979 Twelve offset lithographs in colors plus one original speedy drawing in charcoal, on various papers, the full sheets, all signed, dated ‘79’ and numbered 47/100 in pencil (there were also 25 artist’s proofs), published by Edition Hansjörg Mayer, Stuttgart and London, occasional minor splitting at the sheet edges (particularly at the corners), a few with the palest time staining, otherwise all in very good condition, loose, contained in original cardboard folder with signed, dated and numbered cover (the cover lifting in places, time and mat staining). 20 x 14 1/4 in. (50.8 x 36.2 cm)

Estimate $1, 5 0 0 - 2 , 5 0 0 Literature Dirk Dobke 361

235

235

Dieter Roth 1930-1998 Artist’s Books, 1971-1979 Eight books, including Collected Works Vol. 1, 5, 17 and 20, Bastel Novella No. 1 and 3, Pictures Zug (Switzerland) and Collaboration of Ch. Rotham (with Richard Hamilton), plus five Hansjörg Mayer catalogues, some signed in pencil or ink, all from the first editions of 1500-8000, all published by Hansjörg Mayer, Stuttgart, London, Reykjavík, all with varying degrees of soiling, staining and scuffing on the covers, minor splitting and time staining at the sheet edges, otherwise all generally in good condition. various sizes

Estimate $1, 0 0 0 -1, 5 0 0 Literature Dirk Dobke pp. 147-48, 155, 193, 216-17, 221 and 232

Including: Gesmmelte Werke Band 1, 2 Bilderbücher (Collected Works, volume 1, 2 picture books), 1976; Gesammelte Werke Band 5 (Collected Works, Volume 5), 1971; Gesammelte Werke Band 17 (Collected Works, Volume 17), 1976; BastelNouvelle, No. 1, The ORIGINAL (part 1) by Max Plunderbaum (Junktree), 1974; Bastel-Nouvelle, No. 3, DAS FATAL-ORIGINAL (Fatal Original) by Jerk Foames, poems by Ratz Hundefutter (Rats Dogfood), 1978; Collaborations of Ch. Rotham (with Richard Hamilton), 1977; Bücher + Grafik (books and Graphics (part I) 19471971) (Collected Works, volume 20), with nine dust jackets, 1972; Pictures, Zug (Switzerland), 1973; Edition Hansjörg Mayer catalogues with offset printed covers by Emmett Williams (and original inner print by Dieter Roth), 1975; Richard Hamilton, 1976; Andre Thomkins, 1977; Richard Hamilton, 1978 and Mark Boyle, 1979

THIS LOT IS SOLD WITH NO RESERVE PROPERTY FROM A PRIVATE COLLECTION, NEW YORK 236

WALLASE TING b. 1929 My Shit and My Love, 1961 The complete set of three lithographs in colors (including lithographic cover), printed on two sides of wove paper, the full sheets, bound and folded at the center sheet (as issued), with accompanying text and reproductive images, signed, inscribed ‘to Udo Kultermann’ and dated ‘62’ in pencil (the edition was 99), published by Galerie Smith, Bruxelles, occasional minor creasing, soiling and pale staining (particularly the cover), pale offsetting on the adjacent text pages, otherwise in good condition. 15 x 10 5/8 in. (38.1 x 27 cm)

Estimate $ 3 0 0 - 5 0 0

236


238

237

237

Joseph Beuys 1921-1986

238

Joseph Beuys 1921-1986

Fingernagelabdruck aus gehärteter Butter, 1971

Rhein Water Polluted, 1981

Butter and wax in plastic box mounted to gray cardboard, signed and numbered 141/150

Rhein river water contained in glass bottle, signed in pencil, numbered 20/24 and inscribed

in pencil, published by Edition Schellmann, New York and Munich, a loss in the lower left

(illegibly) in ink (both faded) on a label affixed to the bottle, adhesive remains in places,

corner of the glass in frame, otherwise in very good condition, contained in artist’s original

otherwise in very good condition, lacking wooden box.

frame.

11 1/8 x 3 1/2 x 3 1/2 in. (28.3 x 8.9 x 8.9 cm)

10 x 8 3/4 x 2 1/2 in. (25.4 x 22.2 x 6.4 cm)

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

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

Heiner Bastian 27

239

239

JOSEPH BEUYS 1921-1986 from 3 Tonnen-Edition, 1973 Four screenprints (one with red), on both sides of two sheets of PVC soft-foil, the full sheets, one side of each sheet signed, one with small drawing, one numbered 186/3t in ink (signature and numbering faded, the edition was 479), occasional minor soiling and scuffing, one with moisture staining, otherwise both in good condition, framed. all S. 17 7/8 x 17 7/8 in. (45.4 x 45.4 cm)

Estimate $ 6 0 0 - 8 0 0 Literature

Heiner Bastian 68

Heiner Bastian 372


240

240 Jonathan Monk b. 1969 Complete Ilford Works, 1990-2007 Artist’s book, from the edition of 600, published by Christoph Keller Editions/ JRP Ringier, Zurich, in very good condition. 17 3/8 x 13 1/4 x 1 3/8 in. (44.1 x 33.7 x 3.5 cm)

Estimate $ 6 0 0 - 8 0 0

241

242

241 RIRKIRT TIRAVANIJA b. 1961 Atlas I, 1995 Photographs and photocopies collaged to linen, annotated ‘I’ and numbered 15/30 in ink, stamped with title, date, artist’s name and publisher, published by Helga Maria Klosterfelde Edition, Hamburg, in excellent condition, folded (as issued) and contained in original handmade gray cardboard slipcase. 6 1/2 x 5 in. (16.5 x 12.7 cm)

Estimate $ 6 0 0 - 9 0 0

242 RIRKIRT TIRAVANIJA b. 1961 Atlas III, 1997 Photographs and photocopies collaged to linen with two brass eyelets, annotated ‘III’ and numbered 5/30 in ink, stamped with title, date, artist’s name and publisher, published by Helga Maria Klosterfelde Edition, Hamburg, minor soiling on the reverse, otherwise in very good condition, folded (as issued) and contained in original handmade gray cardboard slipcase. 6 1/2 x 5 in. (16.5 x 12.7 cm)

Estimate $ 6 0 0 - 9 0 0


243

PROPERTY SOLD TO BENEFIT iCI (INDEPENDENT CURATOR’S INTERNATIONAL), NEW YORK 243

BERND AND HILLA BECHER 1931-2007 and b. 1934 Pipe Detail: Coal Mine, from Independent Curators 15th Anniversary portfolio, 1990-91 Duotone offset lithograph, on Praxiedelmatt paper, with full margins, signed and numbered 56/75 in pencil (there were also 25 artist’s proofs), published by Independent Curators International, New York, pale mat staining, otherwise in very good condition, unframed. I. 15 3/4 x 12 in. (40 x 30.5 cm) S. 30 3/8 x 22 7/8 in. (77.2 x 58.1 cm)

Estimate $ 8 0 0 -1, 0 0 0

244

244 GILLIAN WEARING b. 1963 My Man, 2000 Screenprint in colors, on Somerset paper, the full sheet, signed, dated ‘2000’ and numbered 90/300 in pencil, published by Counter Editions, London, minor splitting in the corners, soft creasing at lower right corner, otherwise in very good condition, unframed. S. 39 x 29 in. (99.1 x 73.7 cm)

Estimate $ 3 0 0 - 5 0 0

245

THIS LOT IS SOLD WITH NO RESERVE PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

245 URS LÜTHI, DAVID WEISS and WILLY SPILLER b. 1947, b. 1946 and b. 1947 Sketches portfolio; and The Urs Lüthi (After Modern Masters) portfolio, 1970 Two portfolios comprising eight and seven offset lithographs respectively, on wove paper, the full sheets, both signed, sketches numbered 11/100 and Urs numbered 37/100 in pencil, sketches also signed on the colophon, one urs also illegibly inscribed and dated in blue ink, published by Edition Toni Gerber, Bern, sketches all with occasional minor wear along the sheet edges (particularly the corners), very soft creasing at upper left corner, urs all with minor splitting at corners, otherwise both in good condition, each contained in their original folders (both with wear, soiling, creasing and one with splitting at the spine). 16 1/8 x 11 3/8 in. (41 x 28.9 cm); and 16 5/8 x 11 3/4 in. (42.2 x 29.8 cm)

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


247

246

246 LUC TUYMANS b. 1958

The Worshipper, 2005

Screenprint in colors, on wove paper, with full margins, plus Illusuion and Memory Book

Screenprint in colors, on wove paper, with full margins, signed, titled, dated ‘2005’ and

by Christopher Caudwell and printed bookplate, the print and bookplate both signed and

numbered 31/100 in pencil, in very good condition, unframed.

numbered 18/50 in pencil, published by Salon Verlag, Cologne, all in excellent condition,

I. 32 1/4 x 24 7/8 in. (81.9 x 63.2 cm)

contained in original portfolio with book inset.

S. 41 3/8 x 29 1/8 in. (105.1 x 74 cm)

19 1/8 x 15 in. (48.6 x 38.1 cm)

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

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

248

248

247 LUC TUYMANS b. 1958

Illusion and Reality, 2005

GERHARD RICHTER b. 1932 Blattecke (Sheet Corner), 1967 Offset print in colors, on light-weight cardboard with granulated texture, the full sheet, signed, dated ‘6.2.67’ and numbered 719 in pencil (the total edition was 739), published by Galerie h (August Haseke), Hanover, two pale blue scuffmarks at lower right, pale time staining, very soft creasing at upper right, otherwise in good condition, unframed. S. 9 1/4 x 7 in. (23.5 x 17.8 cm)

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Literature Hubertus Butin 11


249

250

249 GERHARD RICHTER b. 1932

250

GERHARD RICHTER b. 1932

Wolken (Clouds), 1969

Seestück (Seascape II), 1970

Offset print, on lightweight cardboard, with full margins, signed and dated ‘96’ in pencil,

Offset print in colors with black tinted ground, on lightweight cardboard with granulated

from the edition of 300, published by Griffelkunst-Vereinigung Hamburg-Langenhorn e.v.,

texture, the full sheet, signed and dated ‘1970’ in pencil, from the edition of 100, published

occasional soft handling creases, adhesive remains and soiling on the reverse, otherwise in

by Kirschbaum K.G., Düsseldorf, a crease at lower right corner, an area of soiling at lower

good condition, unframed.

left corner, minor wear along the sheet edges (with associated minor ink loss), otherwise in

I. 17 7/8 x 15 5/8 in. (45.4 x 39.7 cm)

very good condition, unframed.

S. 21 3/4 x 19 5/8 in. (55.2 x 49.8 cm)

S. 23 5/8 x 17 3/4 in. (60 x 45.1 cm)

Estimate $ 4 , 0 0 0 - 5 , 0 0 0

Estimate $ 2 , 0 0 0 - 4 , 0 0 0

Literature Hubertus Butin 24

Literature Hubertus Butin 31


251

251 CHRISTOPHER WOOL b. 1955 My House I, II and III, 2000 The complete series of three screenprints in colors, on Matte Custom Art paper, with full margins, all signed, dated ‘2000’ and numbered 80/100, 13/100, and 67/100 respectively in pencil, published by Counter Editions, London, all in very good condition, all framed. all I. 39 x 29 in. (99.1 x 73.7 cm) all S. 40 x 29 7/8 in. (101.6 x 75.9 cm)

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

252

252

CHRISTOPHER WOOL b. 1955 Supreme Skate Decks, 2008 The complete set of three printed skate deck in colors, published by Supreme, New York, all in very good condition. all: 31 1/4 x 8 in. (79.4 x 20.3 cm)

Estimate $ 6 0 0 - 8 0 0


253

ED RUSCHA b. 1937 America, Her Best Product, from Spirit of Independence: Kent Bicentennial portfolio, 1974 Lithograph in colors, on Rives BFK paper, the full sheet, signed, dated and numbered 73/125 in pencil on the reverse (there were also 5 artist’s proofs), published by Lorillard Co., New York, a few soft handling creases, a tear at upper right, minor creasing in the corners, hinge remains and minor skinning at the reverse of the upper corners, otherwise in good condition, framed. S. 31 7/8 x 23 1/2 in. (81 x 59.7 cm)

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Literature Walker Art Center/Siri Engberg 78

In 1974 Lorillard, a division of Loews Theaters (and makers of Kent Cigarettes) commissioned twelve artist’s to create prints for a portfolio to celebrate the Bicentennial of American independence. Completed in 1975, and extensively toured through 1976, Lorillard then gifted over 100 portfolios to museums and institutions across the country. Each artist was answering the question “What does independence mean to me?” Ruscha wrote “somewhere there should be a stamp or impression (I get the impression) that America has made herself. And isn’t she her best product?”

Grant Wood, American Gothic, 1930, oil on beaverboard, All rights reserved by The Art Institute of Chicago and VAGA, New York, NY


254

255

254

ED RUSCHA b. 1937

255

ED RUSCHA b. 1937

Sin, 1970

Just An Average Guy, 1979

Screenprint in colors, on Louvain Opaque Cover paper, with full margins, signed, dated and

Etching in colors, on Rives BFK paper, with full margins, signed, titled, dated ‘79’ and

numbered 131/150 in pencil (there were also 5 artist’s proofs), published by Cirrus Editions,

annotated ‘B.A.T.’ in pencil (the bon-a-tirer impression, the edition was 45, and 12 artist’s

Los Angeles (with their blindstamp), faint patterning on the printed surface at upper right,

proofs in Roman numerals), published by Multiples, Inc., New York, splitting along the

left and to the right of the olive (unobtrusive), a pale moisture stain at lower left margin

platemark, surface soiling in the margins (particularly at right), a stain along the lower right

corner, a minute stain at upper right margin corner, otherwise in very good condition,

sheet edge, otherwise in very good condition, unframed.

framed.

I. 8 7/8 x 35 3/4 in. (22.5 x 90.8 cm)

I. 13 1/8 x 21 3/4 in. (33.3 x 55.2 cm)

S. 15 1/4 x 43 3/8 in. (38.7 x 110.2 cm)

S. 19 1/8 x 26 1/2 in. (48.6 x 67.3 cm)

Estimate $ 2 , 0 0 0 - 4 , 0 0 0

Estimate $ 6 , 0 0 0 - 9, 0 0 0 Literature Walker Art Center/Siri Engberg 104 Literature Walker Art Center/Siri Engberg 41


256

Ed Ruscha b. 1937 News, Mews, Pews, Brews, Stews and Dues portfolio, 1970 The complete set of six organic screenprints in colors, on Silverbrook Snow White Antique Finish paper, with full margins, all signed, dated ‘1970’ and numbered 81/125 in pencil (there were also 25 artist’s proofs), also signed and numbered in pencil on the colophon, published by Editions Alecto, London (with their inkstamps on the reverse), all with occasional soft handling creases, occasional very pale staining in the lower margin, otherwise all in good condition, unframed, contained in original red velvet-covered portolio box (soiling and staining). all I. 18 x 27 in. (45.7 x 68.6 cm) all S. 23 x 31 3/4 in. (58.4 x 80.6 cm)

Estimate $7, 0 0 0 - 9, 0 0 0 Literature Walker Art Center/Siri Engberg 34-39


257

258

257 Ed Ruscha b. 1937

258

ED RUSCHA b. 1937

Western Vertical, 1986

Various Cheeses: Eleven Pieces of Cheese, 1976

Lithograph in colors, on Arches 88 paper, with full margins, signed, dated ‘86’ and

Lithograph in colors, on Arches 88 paper, the full sheet, signed and numbered 33/50 in

numbered 7/35 in pencil (there were also 10 artist’s proofs), published by Cirrus Editions,

pencil on the reverse (there were also 11 artist’s proofs), published by Gemini G.E.L., Los

Los Angeles (with their blindstamp), a few pale foxmarks in the margins, time staining,

Angeles (with their blindstamps), time staining, otherwise in very good condition, framed.

otherwise in good condition, unframed.

S. 14 7/8 x 20 3/4 in. (37.8 x 52.7 cm)

I. 42 5/8 x 28 in. (108.3 x 71.1 cm) S. 53 3/4 x 36 3/4 in. (136.5 x 93.3 cm)

Estimate $ 9 0 0 -1, 2 0 0

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

Literature Gemini G.E.L. 721; Walker Art Center/Siri Engberg 91

Literature Walker Art Center/Siri Engberg 147


259

260

259

Ed Ruscha b. 1937

260

ED RUSCHA b. 1937

The World Series: It’s Recreational, 1982

Any Town in the U.S.A, 1981

Lithograph in colors, on Arches 88 paper, the full sheet, signed, dated ‘82’ and numbered

Screenprint in colors, on Stonehenge paper, with full margins, signed, dated ‘1981’ and

28/40 in pencil (there were also 11 artist’s proofs), published by Gemini G.E.L., Los Angeles

numbered 147/150 in pencil (there were also 33 artist’s proofs), published by the artist for

(with their blindstamps), time staining, otherwise in very good condition, unframed.

the re-election campaign of Ohio Senator, Howard Metzenbaum, in very good condition,

S. 25 x 34 in. (63.5 x 86.4 cm)

unframed.

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Gemini G.E.L. 1008; Walker Art Center/Siri Engberg 118

I. 8 x 12 in. (20.3 x 30.5 cm) S. 30 x 24 1/8 in. (76.2 x 61.3 cm)

Estimate $ 2 , 0 0 0 - 3 , 0 0 0 Literature Walker Art Center/Siri Engberg 115


261

262

261 VIJA CELMINS b. 1938 Concentric Bearings, B, 1984 Aquatint, drypoint and mezzotint, on Rives BFK paper, with full margins, signed and numbered 19/35 in pencil (there were also 6 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), hinged to the support at the reverse of the sheet corners (slightly showing through), otherwise in very good condition, unframed. I. 5 x 8 1/8 in. (12.7 x 20.6 cm) S. 17 3/8 x 14 1/2 in. (44.1 x 36.8 cm)

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Literature Gemini G.E.L. 1221; Samantha Ripner 17

263

262

JEAN DUBUFFET 1901-1985

263

THOMAS RUFF b. 1958

Sol céleste, from Suite d’inventaire, Album III of Les phénomènes, 1958

[Sterne], 1997

Lithograph, on Arches paper, with full margins (deckle on upper and lower edges), signed,

Photograph, on wove paper, the full sheet, signed, dated ‘1997’ and numbered 14/100 in red

titled, dated ‘58’ and annotated ‘epreuve d’artiste’ in pencil (one of a total edition of 16), the

pencil on the reverse, very minor wear at the corners, otherwise in very good condition,

sheet slightly toned, occasional minor soiling and soft handling creases in the margins, very

unframed.

pale time staining, otherwise in very good condition, framed.

S. 10 x 12 in. (25.4 x 30.5 cm)

I. 18 x 11 1/4 in. (45.7 x 28.6 cm) S. 25 x 17 3/4 in. (63.5 x 45.1 cm)

Estimate $ 9 0 0 -1, 2 0 0 Literature Sophie Webel 450

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


264

BRUCE NAUMAN b. 1941 Bound to Fail, from Eleven Color Photographs, 1967-70 Chromogenic-development print, on wove paper affixed to foamcore (as issued), the full sheet, signed, titled, dated ‘1967’ mistakenly inscribed 2/8 in pencil on the reverse, this work is now designated and recognized as an artist’s proof in the artist’s archives, published by Leo Castelli Gallery, New York, craquelure in the surface, slightly discolored in places along the lower and left sheet edges, a foxmark in the lower right corner, scattered soiling in upper right corner, a few nicks at the sheet edges (particularly lower sheet, some with associated minor surface loss), soiling and discoloration on the reverse, otherwise in good condition, framed. S. 19 3/4 x 23 3/4 in. (50.2 x 60.3 cm)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Literature Christopher Cordes II. pp. 128-29; Neal Benezra, Kathy Halbreich and Joan

Simon, 175

We recently discovered the duplicate numbering of this example with the

Some things never change.

complete set numbered 2/8 in the Collection of The National Gallery of

A young artists obsession with an establishment artist.

Australia, Canberra.

The love-hate parental role the older generation bears while the younger generation criticizes, chastises, pushes aside and surpasses.

This work is now designated and recognized as an artist’s proof in the

Bruce Nauman was in his mid twenties when he first created this image and

artist’s archives and comes with a statement stating such signed by

the related wax and cast iron sculptures with the more explicit title Henry

Bruce Nauman.

Moore Bound to Fail.

Eleven Color Photographs 1966-1967/1970

of Clay, Eating My Words and Self-Portrait as a Fountain.

Current Collections

Historians have focused on the different possible uses of the word “bound.”

Other works from the series focus more on Nauman’s own struggles, Feet

1/8 Collection Kaiser Wilhelm Museum, Krefeld, Germany

Bound by (given restrictions) and Bound (inevitable).

2/8 Collection Australian National Gallery, Canberra

As with all of Nauman’s works there is not one answer and as sophisticated

3/8 Collection Hallen für neue Kunst, Schaffhausen, Switzerland

21st Century art viewers we don’t want there to be.

(Finger Touch No. 1 numbered 4/8)

5/8 Bound to Fail, Graphische Sammlung Staatsgalerie Stuttgart,

We just want Bruce Nauman to continue with his profound, funny and uncomfortable art making.

Sammlung Dr. Rolf H. Krauss

6/8 Heithoff Family Collection 7/8 Collection Whitney Museum of American Art, New York 8/8 Collection Museum of Contemporary Art, Chicago

Bruce Nauman, Henry Moore Bound to Fail (back view), 1967-70 sold for $9,906,000 at Christie’s, New York, May 17, 2001, lot 33. © Bruce Nauman/Artists Rights Society (ARS) New York


265

266

265

BRUCE NAUMAN b. 1941

266

Bruce Nauman b. 1941

Eat Death, 1973

Untitled, 1969

Lithograph in colors, on Arjomari paper, the full sheet, signed and numbered 19/68 in

Offset lithograph in colors, on Kromekote paper, with full margins, signed in black ink, from

pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with

the edition of unknown size, published by the Leo Castelli Gallery, New York, occasional

their blindstamp), a foxmark in center, occasional minor soiling at the sheet edges, pale mat

scuffs and pressure marks visible in raking light, minor creasing in places at the sheet

staining, otherwise in good condition, framed.

edges, pale time staining, otherwise in very good condition, unframed.

S. 42 1/2 x 31 1/8 in. (108 x 79.1 cm)

I. 23 x 19 in. (58.4 x 48.3 cm)

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

S. 24 1/4 x 20 1/8 in. (61.6 x 51.1 cm)

Estimate $ 8 0 0 -1, 2 0 0 Literature Gemini G.E.L. 431; Christopher Cordes 13 Literature Christopher Cordes p. 130


267

268

PROPERTY FROM A PRIVATE COLLECTION, CHICAGO 267

BRUCE NAUMAN b. 1941

268

Bruce Nauman b. 1941

Untitled, 1972

False Passage, 1977

Drypoint etching, on Rives BFK paper, with full margins, signed, dated and annotated

Drypoint etching, on La Paloma handmade paper, with full margins, signed, dated ‘77’ and

‘cirrus proof’ in pencil (a publisher’s proof, the edition was 15 and 3 artist’s proofs),

numbered 5/20 in pencil (there were also 5 artist’s proofs), published by Gemini G.E.L.,

published by Cirrus Editions, Los Angeles (with their blindstamp), a few soft handling

Los Angeles (with their blindstamps), minor surface soiling (particularly in the margins), a

creases in the margins, the palest mat staining, hinge remains in places along the reverse

crease at lower right margin corner, otherwise in good condition, unframed.

of the sheet edges, otherwise in very good condition, framed.

I. 23 5/8 x 32 3/8 in. (60 x 82.2 cm)

I. 20 7/8 x 29 3/8 in. (53 x 74.6 cm)

S. 25 5/8 x 34 3/8 in. (65.1 x 87.3 cm)

S. 26 7/8 x 35 3/4 in. (68.3 x 90.8 cm)

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

Estimate $1, 5 0 0 - 2 , 5 0 0 Literature Gemini G.E.L. 939; Christopher Cordes 39 Literature Christopher Cordes 11


269

RODNEY GRAHAM b. 1949 School of Velocity: 24 Hours of Music Divided into fifteen Minute Intervals, 1993 The complete set of fifteen unique screenprints in red and offset printing, on wove paper, with full margins, one signed and annotated ‘14:44:38.4599-14:59:37.5234’ in black ink (from the series of 48, each sheet representing one minute, each portfolio representing fifteen minutes of music), published by Patrick Painter Editions, Los Angeles, with Lisson Gallery, London, all in very good condition, all unframed. all I. 15 3/8 x 9 3/8 in. (39.1 x 23.8 cm) all S. 17 3/8 x 12 1/2 in. (44.1 x 31.8 cm)

Estimate $12 , 0 0 0 -18 , 0 0 0


270

PROPERTY SOLD TO BENEFIT iCI (INDEPENDENT CURATOR’S INTERNATIONAL), NEW YORK

270 TIM ROLLINS & K.O.S. b. 1955 Black Beauty, from Independent Curators 15th Anniversary portfolio, 1991 Lithograph with linocut, on Chine collé of book pages to wove paper, with full margins, signed, dated ‘1991’ and numbered 71/75 in pencil (there were also 25 artist’s proofs), published by Independent Curators International, New York, in excellent condition, unframed. I. 18 x 14 in. (45.7 x 35.6 cm) S. 23 x 19 in. (58.4 x 48.3 cm)

Estimate $ 6 0 0 - 9 0 0

271

271 HAMISH FULTON b. 1946 Fourteen Works portfolio: five plates, 1989 Five lithographs in colors, on wove paper, the full sheets, all signed and numbered 11/35 in pencil on the reverse, three with minor creasing, soiling and scuffing in places (particularly at the sheet edges and corners), all with occasional soft handling creases, all unframed. various sizes

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

Including: Untitled; Full Moon; Untitled; Twenty-One Walks Walking from One to Twenty-One Days and Untitled


272

JACK PIERSON b. 1960 Silence, 2002 Assembled wood, metallic paint and metallic disks in aluminum frame, from the edition of 5 unique examples, minor surface soiling, occasional minute areas of minor paint loss on the background and discs, minor scuffing on the frame, otherwise in very good condition. 55 1/2 x 115 1/2 in. (141 x 293.4 cm)

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

The Price is Right audience, circa 2001


273

273

LOUISE BOURGEOIS b. 1911 What is the Shape of this Problem?: Telephone Call from the Slammer, 1999 Diptych comprising one lithograph with linoblock in colors and one letterpress, on Arches paper, the full sheets, both signed and annotated ‘A.P. 6’ in pencil (one of 11 artist’s proofs, the edition was 25), published by Galerie Lelong, New York, both in very good condition, both framed. both S. 12 x 17 in. (30.5 x 43.2 cm)

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

274

PROPERTY SOLD TO BENEFIT iCI (INDEPENDENT CURATOR’S INTERNATIONAL), NEW YORK

274 JOSEPH KOSUTH b. 1945 Wittgenstein Untitled, from Independent Curators 15th Anniversary portfolio, 1990 Screenprint on glass, contained in light maple frame (as issued), signed and numbered 7/75 on a label affixed to the reverse (there were also 25 artist’s proofs), published by Independent Curators International, New York, the label with the Joseph Kosuth studio

275

blindstamp, in very good condition. 11 5/8 x 21 5/8 x 1 5/8 in. (29.5 x 54.9 x 4.1 cm)

Estimate $ 6 0 0 - 9 0 0

275 FELIX GONZALEZ-TORRES 1957-1996 Untitled (Oscar Wilde), 1995 Photo-etching, on wove paper, the full sheet, signed, dated and numbered 196/250 in pencil on the reverse (there were also 25 artist’s proofs), published by the Solomon R. Guggenheim Museum, New York, in excellent condition, unframed. S. 4 5/8 x 6 3/8 in. (11.7 x 16.2 cm)

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


276

276 CARL ANDRE b. 1935 Untitled, 1973 Screenprint in black and red, on typing paper, with full margins, signed with initial, dated ‘1973’ and numbered 21/75 in pencil, a few very pale small stains in the margins, a blue/ black stain at extreme lower center sheet edge, hinged to the support at the reverse of the upper corners (slightly showing through and with associated pale staining), otherwise in good condition, framed. I. 9 1/8 x 7 1/8 in. (23.2 x 18.1 cm) S. 11 x 8 1/2 in. (27.9 x 21.6 cm)

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

THIS LOT IS SOLD WITH NO RESERVE

277

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK 277

BEN VAUTIER b. 1935 Le livre de Ben, circa 1970 The set of five ephemera, comprised of one photograph collaged to typing paper, one torn out sheet from a dictionary with ink additions, three small printed cards (one folded and contained in small wax paper envelope) and colophon, the dictionary page signed in black ink, from the total edition of 750, published by the artist, all generally in good condition, all contained in original stampled manilla envelope (occasional tears and minor creases). 7 x 9 3/4 in. (17.8 x 24.8 cm)

Estimate $ 3 0 0 - 5 0 0

278

278

OLIVER BOBERG b. 1965 Klein Rampe; and Garteneingang, 2001 Two c-prints, on Kodak Professional digital paper, with full margins, both signed, titled, dated ‘2001’ and numbered 15/200 and 6/30 respectively in black ink on the reverse (Klein Rampe also on a label affixed to the reverse of the frame), both in very good condition, both framed. klein rampe I. 7 1/2 x 8 in. (19.1 x 20.3 cm); klein rampe S. 11 x 11 in. (27.9 x 27.9 cm); garteneingang I. 9 7/8 x 8 3/8 in. (25.1 x 21.3 cm); garteneingang S. 13 x 11 1/2 in. (33 x 29.2 cm)

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


detail

Much of Banner’s work is influenced by feature films; including Point Break (1991), The Desert (1994) and particularly The Nam (1997), a 1,000 page book which describes the plots of six Vietnam films in their entirety, i.e., Apocalypse Now, Born On The Fourth of July, The Deer Hunter, Full Metal Jacket, Hamburger Hill and Platoon. Don’t Look Back subject is D. A. Pennebaker’s 1967 documentary of the same name about Bob Dylan’s 1965 trip to England. Banner’s Don’t Look Back is a portrait of a portrait of the young Dylan as an angry young man just finding a public voice and a mass audience. Nancy Princethal, Art on Paper, June 2000

279

FIONA BANNER b. 1966 Don’t Look Back, 1999 The complete set of ninety-nine screenprints, comprised of two tile copies (48 sheets on Fredrigoni Splendorlux Metal Argento 250 gsm, an installation copy on 48 sheets of 80 gsm paper and one single sheet copy on 3 sheets of 250 gsm paper), the full sheets, signed, dated ‘1999’ and numbered 11/25 in pencil on the colophon (there were also 6 artist’s proofs in Roman numerals), co-published by the Frith Street Gallery, London and The Visual Research Center, Dundee, occasional soft handling creases, otherwise in very good condition, each set contained in printed folder, all contained in original white fabric covered portfolio (scuffing, soiling, splitting at spine). 33 1/2 x 27 in. (85.1 x 68.6 cm).

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


280

Jenny Holzer b. 1950 Truism footstool, 1988 Incised baltic brown granite, from the edition of 40, published by The New Museum, New York, in very good condition. 16 x 23 x 15 5/8 in. (40.6 x 58.4 x 39.7 cm)

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


Bern Porter contributed to some of the most important scientific and artistic innovations of the twentieth century. He worked on the development of the cathode-ray tube (for television), the atomic bomb (with the Manhattan Project), and NASA’s Saturn V Rocket. When the United States dropped an atomic bomb on Hiroshima, in 1945, Porter walked away from his position with the Manhattan Project and, disappointed with his work as a physicist, turned his attention to artistic pursuits. In the aftermath of World War II, a flood of visual information spread across the United States. Advertisements in newspapers and magazines and on billboards and television promised an easier and happier life through the purchasing of products. For his collages, which he dubbed “Founds,” Porter gathered the waste of this new culture—advertisements, junk mail, instruction booklets, scientific documents, and other material—and turned it into art. In addition to his books of Founds, Porter authored treatises on the unification of science and art (what he called “Sciart”) and books of experimental poetry. He published work by major figures in art and literature, such as Henry Miller, Kenneth Patchen, and Dick Higgins. Also, as the self-proclaimed inventor of mail art, Porter was an active participant in a vast international network of artists who shared their work with each other through the post. LOST AND FOUND: The work of Bern Porter, from the Collection of The Museum of Modern Art Library April 7 – July 5 2010

281

281 BERN PORTER 1911-2004 Last Acts of Saint Fuck You (Window Shade Version), 1990 Screenprint in colors, on window shade with wood panel, signed in pencil and numbered 11 on a label affixed to the wood panel, the edition was 20 and 2 artist’s proofs, published by Volatile Editions, Cincinnati, in very good condition. full shade: 36 x 52 in. (91.4 x 132.1 cm); wood panel: 5 x 40 in. (12.7 x 101.6 cm)

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

282

282

BERN PORTER 1911-2004 89 Offenses, 1991 Lithograph and etching in black and blue, on Chine collé of Kitakata rice paper to Rives BFK paper, with full margins, signed, dated ‘1991’ and numbered 24/25, published by Volatile Editions and Mark Patsfall Graphics, Cincinnati (with their inkstamps on the reverse), in excellent condition, unframed. I. 30 3/4 x 7 1/8 in. (78.1 x 18.1 cm) S. 41 x 15 in. (104.1 x 38.1 cm)

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

Published here is a found criminal record of an unknown person, documenting 89 criminal offenses committed a total of 502 times. These offenses are accompanied by a statement from Porter appropriating these acts as his own and acknowledging himself as the “Chief Deceiver and Master Offender”.


284

Porter is to the poem what [Marcel] Duchamp was to the art object. Peter Frank

284

BERN PORTER 1911-2004

283

Atomic Dress Pattern, 1992 Screenprint in colors, on Rives BFK paper, with full margins, signed, dated ‘92’ and numbered 4/20 in pencil, published by Volatile Editions and Mark Patsfall Graphics, Cincinnati (with their blindstamp and inkstamp), in excellent condition, unframed. I. 24 1/4 x 37 1/2 in. (61.6 x 95.3 cm) S. 30 x 40 in. (76.2 x 101.6 cm)

Estimate $70 0 - 9 0 0

The imagery of the print was created by juxtaposing two cropped pages from a dress pattern magazine. The original periodical pages were printed on a thin paper stock that allowed the imagery on the back of the sheet (a model wearing the finished dress) to be seen from the front. This illusion has been recreated in the print by under-printing the image of the model and then over-printing it with the dress pattern image in five successive layers.

285

283

BERN PORTER 1911-2004 Nevers, 1994 Screenprint, on Sintra plastic, shaped and mounted on aluminum channels so that when hung it floats off the wall (as issued), signed in pencil and numbered 10/20 (printed) on a label affixed to the reverse, published by Volatile Editions and Mark Patsfall Graphics, Cincinnati, a few very minor scuffs (visible in raking light), otherwise in very good condition. 18 1/2 x 23 1/4 in. (47 x 59.1 cm)

Estimate $70 0 - 9 0 0

285

BERN PORTER 1911-2004 Untitled (Anatomy) series, 1992 The complete set of four lithographs in colors, on Daniel Smith Archival paper, with full margins, all signed, dated ‘93’ and numbered 6/20 in pencil, published by Volatile Editions and Mark Patsfall Graphics, Cincinnati (with thier inkstamps on the reverse), all in excellent condition, all unframed. all I. various sizes all S. 15 x 11 in. (38.1 x 27.9 cm)

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

These works are based on a series of collages created from physicians’ anatomy stamps, as well as text and found images from the Belfast, Maine, newspaper and telephone directory.


Kay Rosen might be described as a writer’s sculptor. While strictly two-dimensional, her crisp sign-painter-style drawings and wall paintings cleave and reassemble words: highlighting, deleting or shoving together their letters and syllables to make them new in ways variously phonetic, typographic, visual and linguistic. She perpetuates a tradition of reading-seeing that includes Stuart Davis, Ed Ruscha, Lawrence Weiner and Mel Bochner, as well as her contemporaries Barbara Kruger and Jenny Holzer. But Ms. Rosen’s legibility arrives in separate stages, like a well-timed joke, which sets off a surprisingly physiological experience: your eyes widen, your gut tightens, and your mind changes gears. Roberta Smith, New York Times, Art In Review; Kay Rosen - Wall Painting and Drawings, 2002-2006, October 13, 2006.

286

KAY ROSEN b. 1949 The ED Prints portfolio, 1992 The complete set of six lithographs with screenprint, on Magnani Pescia paper, the full sheets, all signed, titled, dated ‘1992’ and annotated ‘publisher’s proof I/II’ in pencil on the reverse (the edition was 30), published by Volatile Editions and Mark Patsfall Graphics, Cincinnati (with their inkstamp on the reverse), the silver print with a scuff at lower left, otherwise all in very good condition, contained in original folder, made of Daniel Smith Archival paper, imprinted with the title, artist’s name and colophon information. 14 x 10 1/4 in. (35.6 x 26 cm)

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

Film still from The Maltese Falcon, 1941


287

287

288

KAY ROSEN b. 1949

288

KAY ROSEN b. 1949

The Man, 1991

Palimpsest, 1991

Etching in colors, on Rives BFK paper, with full margins, signed, titled, dated ‘1991’ and

Relief etching in red, on Rives BFK paper, with full margins, signed, titled, dated ‘1990’

annotated ‘Pub. Prf. I/II’ in pencil on the reverse (the edition was 32), published by Volatile

and annotated ‘Press Proof II/II’ in pencil on the reverse (the edition was 27), published by

Editions and Mark Patsfall Graphics, Cincinnati (with their blindstamp and inkstamp), in

Volatile Editions and Mark Patsfall Graphics, Cincinnati (with their blindstamp and inkstamp

excellent condition, unframed.

on the reverse), in excellent condition, unframed.

I. 15 x 20 3/4 in. (38.1 x 52.7 cm)

I. 19 5/8 x 14 in. (49.8 x 35.6 cm)

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

S. 25 5/8 x 19 5/8 in. (65.1 x 49.8 cm)

Estimate $ 8 0 0 -1, 2 0 0

Estimate $ 8 0 0 -1, 2 0 0

KAY ROSEN b. 1949

The artist has been engaged in an ongoing series of lists over the years.

Lists Suite, 1990

To date there are twenty-three.

289

289

The complete set of four screenprints, on Arches 88 paper, the full sheets, all signed, titled, dated ‘90’ and numbered 19/25 in pencil on the reverse (there were also 6 artist’s proofs), co-published by Feature, New York and Volatile Editions, Cincinnati, all in excellent

The Lists portfolio consists of four of the earliest ones: Ugly Ducking is

condition, contained in original black hard case portfolio.

a found list of names selected from the S section of the Gary, Indiana

all S. 30 1/8 x 22 1/2 in. (76.5 x 57.2 cm)

telephone book. The names are all quite ungraceful sounding, until the 27th

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

one, Swan. Liszt is a list of all of Franz Liszt’s works. Homophonia is a list of words identified by the artist that each contain a pair of identical looking and sounding letters, homophonic in other words. Just one letter away from

Including: Ugly Duckling; Liszt; Liste/List; and Homophonia

homophobia, Homophonia is a little verbal metaphor for the larger society and the importance of like components to structure and meaning. List/Liste is a list of French and English words. Liste, the French words, look like English words. The second part, List, is the English translation of the French Liste, which of course also look like English words.


290

290

HANNAH WILKE 1940-1993

291

Hername, 1978-91 Etching (from sixteen individual plates), on Rives BFK paper, with full margins, signed, dated ‘78-91’ and numbered 29/30 in pencil, published by Volatile Editions and Mark Patsfall Graphics, Cincinnati (with their inkstamps on the reverse), in excellent condition, unframed. I. 23 1/4 x 18 1/4 in. (59.1 x 46.4 cm) S. 36 1/4 x 26 1/4 in. (92.1 x 66.7 cm)

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

This print, Hername (inspired by an earlier painting of 1978), creates a descriptive self-portrait of the artist using her first name to spell out sixteen words in each plate, such as “archangel”, “epiphany” and “fragile”.

PROPERTY SOLD TO BENEFIT THE SENATOR CHUCK ALLEN III SCHOLARSHIP FUND 291

ANN HAMILTON b. 1956 Book Weight (Human Carriage), 2009 Archival inkjet print in colors, on wove paper, with full margins, signed, dated ‘2009’ and numbered 10/15 in pencil, in very good condition, unframed. I. 36 x 25 7/8 in. (91.4 x 65.7 cm) S. 44 x 34 1/2 in. (111.8 x 87.6 cm)

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

Gift of the artist


292

292

MARTHA ROSLER b. 1943 Hooded Captives, from Bringing Home the War, 2005 Inkjet print in colors, on glossy photo paper, with full margins, signed, dated ‘2005’ and numbered 19/100 in black marker (there were also 20 artist’s proofs), published by Texte Zur Kunst, Berlin, in very good condition, unframed. I. 18 1/8 x 15 5/8 in. (46 x 39.7 cm) S. 20 x 16 in. (50.8 x 40.6 cm)

Estimate $70 0 - 9 0 0

293

293

CAROLEE SCHNEEMANN b. 1939 Monday and Saturday, 1994 Diptych comprised of two screenprints in colors, on Rives BFK paper, the full sheets, both signed, dated ‘94’ and annotated ‘P.P. I’ in pencil (printer’s proofs, the edition was 32), published by Mark Patsfall Graphics, Cincinnati (with their blindstamp), both in very good condition, both unframed. both S. 10 1/2 x 60 in. (26.7 x 152.4 cm)

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


294

KIKI SMITH b. 1954 Worm, 1992 Etching, aquatint and photogravure with collage, on Japanese paper, the full sheet, signed, dated ‘1992’ and numbered 7/50 in pencil (there were also 10 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), in very good condition, framed. S.42 3/4 x 26 in. (108.6 x 66 cm)

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Literature Museum of Modern Art/Wendy Weitman 64


295

296

295

KIKI SMITH b. 1954

296

KIKI SMITH b. 1954

Crazy Eyes, 1997

Bird and Egg, 1996

Glass multiple, incised with signature, annotated ‘RWP’, dated ‘1997’ and numbered 21/50,

Plaster and string multiple, variable length, signed and numbered 24/100 in pencil on the

published by Round World Projects, in very good condition.

accompanying certificate, published by the artist, 13 Moons, in good condition.

3 1/2 x 5 1/2 x 1 1/4 in. (8.9 x 14 x 3.2 cm)

bird: 4 x 8 1/4 x 2 1/2 in. (10.2 x 21 x 6.4 cm)

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

egg: 1 5/8 x 1 3/8 in. (4.1 x 3.5 cm)

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


297

KIKI SMITH b. 1954 Steuben Tattoo Collection: Cat with Daisy, 2008 The complete set of crystal multiple and silver pendant/brooch, with incised signature by the artist and Steuben, numbered 17/50, published by Steuben Glass, New York, in excellent condition, both contained in original cloth bags and original foam lined cloth-covered box. cat: 4 3/4 x 5 1/2 x 3 1/8 in. (12.1 x 14 x 7.9 cm) daisy: 2 1/4 x 2 1/4 in. (5.7 x 5.7 cm)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0


298

299

298

KIKI SMITH b. 1954

299

KIKI SMITH b. 1954

Moment (T), 2006

Untitled, 1998

Monotype with lithography, pencil additions and hand-coloring of watercolor, gouche,

Rubber stamp print with paper, wax, metallic paint, pencil and ink additions, on handmade

stencil and pressed leaves, on Crisbrook paper, the full sheet, signed, dated and annotated

Nepalese paper, the full sheet, signed and dated ‘1998’ in pencil, one of 100 variants,

‘T’ in pencil, published by Universal Limited Art Editions, West Islip, New York (with their

published to benefit AIDS Community Research Initiative of America (ACRIA), New York, in

blindstamp), occasional stray media, otherwise in very good condition, unframed.

very good condition, unframed.

S. 22 1/2 x 30 7/8 in. (57.2 x 78.4 cm)

S. 8 1/2 x 7 in. (21.6 x 17.8 cm).

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

Estimate $1, 5 0 0 - 2 , 0 0 0 Literature Wendy Weitman/Museum of Modern Art 97


300

LESLEY DILL b. 1950 A Word Made of Flesh, 1994 The complete set of four lithograph and etchings with stitching, on Japanese paper to Arches buff paper, the full sheet, all signed, dated ‘1994’ and numbered III/V in pencil (there was also an edition of 25 in Arabic numerals and 10 artist’s proofs), published by Landfall Press, Chicago (with their inkstamp on the reverse), all in very good condition, all framed. all S. 30 x 22 1/4 in. (76.2 x 56.5 cm)

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


301

301

Lesley Dill b. 1950 Plummet, 1994 Fiberglass reinforced polyester resin, dyed polyester ribbon, polyester thread, and oil-based paint multiple, signed, dated ‘1994’, inscribed ‘AFE’ and numbered 3/6 in white paint on the interior, published by Dwight Hacket Editions, Santa Fe, in very good condition. 48 x 10 1/2 x 6 1/2 in. (121.9 x 26.7 x 16.5 cm)

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

302

303

302

LESLEY DILL b. 1950 Smoke, 2005 Etching and lithograph, on Koller Handmade cream paper, with full margins, annotated ‘PP2’ in pencil (a printer’s proof, the edition was 10 and 5 artist’s proofs), published by Landfall Press, Santa Fe (with their inkstamp on the reverse), a foxmark at lower left deckle, otherwise in very good condition, unframed. I. 19 3/4 x 13 7/8 in. (50.2 x 35.2 cm) S. 15 x 18 1/2 in. (38.1 x 47 cm)

Estimate $ 8 0 0 -1, 0 0 0

303

LESLEY DILL b. 1950 I See Visions, 2004 Lithograph in colors, on layers of muslin and silk organza with hand-sewn elements, signed and annotated ‘PP 2/2’ in black ink (a printer’s proof, the edition was 20 and 5 artist’s proofs), published by Landfall Press, Santa Fe, in very good condition, unframed. S. 28 1/4 x 21 3/4 in. (71.8 x 55.2 cm)

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


304

305

304

WANGECHI MUTU b. 1972

305

JANAINA TSCHÄPE b. 1973

Howl, 2006

Naiad I, 2004

Achival pigment print with screenprint in colors, on smooth wove paper, with full margins,

Photogravure, on somerset satin paper, with full margins, signed, dated ‘2005’ and

signed, dated and numbered 18/40 in pencil (there were also 14 artist’s proofs), published

numbered 14/20 in pencil (there were also 5 artist’s proofs), published by Graphicstudio,

by MoCA Projects Council, Los Angeles, in very good condition, framed.

University of South Florida, Tampa (with their blindstamp), in excellent condition, unframed.

I. 35 x 24 in. (88.9 x 61 cm)

I. 28 5/8 x 19 1/4 in. (72.7 x 48.9 cm)

S. 40 x 28 in. (101.6 x 71.1 cm)

S. 38 x 27 1/2 in. (96.5 x 69.9 cm)

Estimate $ 6 , 0 0 0 - 8 , 0 0 0

Estimate $ 6 0 0 - 8 0 0


306

307

306

SUE WILLIAMS b. 1954

307

GHADA AMER and REZA FARKHONDEH b. 1963 and

Picnic, from the 1997 Whitney Bienial Portfolio, 1997

Kiss Cross; Wonder Women; and Love Me, 2006

Lithograph in colors, on Somerset paper, with full margins, signed, dated ‘97’ and

Three lithographs in colors with stitching in black and one with applied stickers, on Rives

numbered 24/60 in pencil, published by the Whitney Museum of American Art, New York, a

BFK paper, with full margins and the full sheets, all signed by both artists, titled, dated ‘06’

minute accretion at upper left sheet edge, otherwise in very good condition, unframed.

and annotated ‘PP2’ or ‘PP1’ in pencil (printer’s proofs, the editions were 25 for all and 6,

I. 15 1/2 x 18 5/8 in. (39.4 x 47.3 cm)

6 and 12 artist’s proofs for each respectively), published by Landfall Press, Santa Fe (with

S. 19 1/2 x 22 5/8 in. (49.5 x 57.5 cm)

their inkstamp on the reverse), all in excellent condition, all unframed.

Estimate $70 0 - 9 0 0

kiss S. 24 x 30 in. (61 x 76.2 cm) wonder S. 20 1/8 x 30 in. (51.1 x 76.2 cm) love I. 14 1/4 x 19 3/8 in. (36.2 x 49.2 cm); love S. 18 1/4 x 23 3/8 in. (46.4 x 59.4 cm)

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


308

ANNIE SPRINKLE b. 1954 101 Uses for Sex; and 101 Hazards for Sex, 1991 and 1998 Two screenprints (one in colors), on Plexiglas and aluminum respectively, the full sheets, uses signed in purple pencil and stamp numbered 8 on a label affixed to the reverse (the edition was 20 and 2 artist’s proofs), hazards signed and numbered 12/42 in pencil on a label affixed to the reverse (there were also 4 artist’s proofs), both published by Volatile Editions, Cincinnati, Hazards also co-published by Mark Patsfall Graphics, Cincinnati, both in excellent condition, Uses contained in original black lacquer frame. Uses: 19 1/4 x 13 3/4 in. (48.9 x 34.9 cm); Hazards: 28 x 8 1/2 in. (71.1 x 21.6 cm)

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

Portrait of Annie Sprinkle, painted by Alice Neel, 1982


309

310

309

Jane Hammond b. 1950 Love Laughs, 2005 Lithograph in colors with collage and hand-coloring, on Papel Amate to Rives BFK paper, the full sheet, signed, titled, dated ‘05’ and numbered 39/45 in pencil (there were also 7 artist’s proofs), published by Shark’s Ink, Lyons, Colorado, in very good condition, unframed. S. 50 3/4 x 33 3/4 in. (128.9 x 85.7 cm)

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

310 JANE HAMMOND b. 1950 Clown Suit, 1995 Three-dimensional lithograph and screenprint in colors with collage, on Handmade Japanese Chiri and Mohawk Superfine paper, signed, dated ‘1995’ and numbered 10/45 in pencil (there were also 10 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), occasional creasing (presumably inherent to construction), in very good condition. 56 x 46 x 10 in. (142.2 x 116.8 x 25.4 cm)

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

PROPERTY SOLD TO BENEFIT iCI (INDEPENDENT CURATOR’S INTERNATIONAL), NEW YORK

311 JANE HAMMOND b. 1950 Voodoo, from Independent Curators 15th Anniversary portfolio, 1990-91 Lithograph with collage, on wove paper, the full sheet, signed, titled, dated ‘91’ and numbered 73/75 in pencil (there were also 25 artist’s proofs), published by Independent Curators International, New York, in very good condition, unframed. S. 35 3/8 x 30 7/8 in. (89.9 x 78.4 cm)

Estimate $ 6 0 0 - 9 0 0

311


312

312 ROBERT LONGO b. 1953 Cindy, 2002 Lithograph, on Rives paper, with full margins, signed, dated ‘2002’ and numbered 38/120 in pencil, published by Hamilton-Selway, West Hollywood, California, a creasent shaped crease in the center left margin, otherwise in very good condition, framed. I. 43 x 15 1/4 in. (109.2 x 38.7 cm) S. 46 x 30 in. (116.8 x 76.2 cm)

Estimate $ 3 , 5 0 0 - 4 , 5 0 0

313

313 Richard Artschwager b. 1923 Building Riddled with Listening Devices, 1990 Etching and aquatint, on wove paper, with full margins, signed, dated ‘1990’ and numbered ‘12/12 A.P.’ in pencil (an artist’s proof, the edition was 60), published by Multiples, Inc., New York, in very good condition, framed. I. 20 1/2 x 24 in. (52.1 x 61 cm) S. 32 5/8 x 35 1/4 in. (82.9 x 89.5 cm)

Estimate $70 0 - 9 0 0

314

314 RICHARD ARTSCHWAGER b. 1923 Memoire, from Liberte portfolio, 1990 Etching in colors with embossing, on Arches buff paper, with full margins, signed, dated ‘90’ and numbered 33/100 in pencil, a few very soft handling creases in the margins, otherwise in very good condition, unframed. I. 11 3/4 x 14 7/8 in. (29.8 x 37.8 cm) S. 22 x 25 7/8 in. (55.9 x 65.7 cm)

Estimate $ 4 0 0 - 6 0 0


315

316

315 JASPER JOHNS b. 1930

316 GEORGE STOLL b. 1954

Untitled, from The Geldzahler Portfolio, 1998

Ivory Soap, 1997

Aquatint and etching, on Hahnemühle Copperplate paper, with full margins, signed, dated

The complete set of two multiples of Yumei Juan Silk (printed with lithograph in colors),

‘98’ and numbered 55/75 in pencil (there were also 15 artist’s proofs), published by The

wrapped around paper and wood blocks, with original wall mounted base and presentation/

Estate Project for Artists with AIDS, New York and Gemini G.E.L., Los Angeles (with their

installation instructions, signed, dated ‘97’ and numbered 57/75 in ink on the underside of

blindstamp and stamp on the reverse), in very good condition, framed.

the opened package, published by Cirrus Editions, Los Angeles (with their inkstamp on the

I. 17 3/4 x 12 in. (45.1 x 30.5 cm)

underside of the wrapped wood blocks), minor scuffing and soiling on the base, otherwise

S. 29 3/4 x 22 in. (75.6 x 55.9 cm)

in very good condition.

Estimate $ 3 , 5 0 0 - 4 , 5 0 0

5 3/4 x 6 5/8 x 8 3/4 in. (14.6 x 16.8 x 22.2 cm)

Estimate $ 6 0 0 - 9 0 0


317

317 ANDY WARHOL 1928-1987 Fiesta Pig, 1979 Screenprint in colors, on Arches 88 paper, the full sheet, signed and numbered 129/200 in pencil (there were also 10 artist’s proofs), published by Axel Springer Verlag, Hamburg, Germany, occasional very minor scuffing, otherwise in very good condition, framed. S. 21 1/2 x 30 1/2 in. (54.6 x 77.5 cm).

Estimate $ 5 , 0 0 0 -7, 0 0 0 Literature Frayda Feldman and Jörg Schellmann 184

318 ANDY WARHOL 1928-1987 Campbell’s Soup II: Tomato-Beef Noodle O’s, 1969 Screenprint in colors, on wove paper, with full margins, signed in ball-point pen and stamp numbered 78/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), also inscribed ‘to Henry love Andy’ in pencil on the reverse, published by Factory Additions, New York, the reds slightly attenuated, a few pale stains and soft creases in places at the sheet edges, a pressure mark along the perimeter of the sheet, otherwise in good condition, framed. I. 31 7/8 x 18 3/4 in. (81 x 47.6 cm) S. 35 x 22 7/8 in. (88.9 x 58.1 cm)

Estimate $10 , 0 0 0 -15 , 0 0 0 Literature Frayda Feldman and Jörg Schellmann 61

318


319

319 ANDY WARHOL 1928-1987 Kiss, 1966 Screenprint, on formed Plexiglas multiple, with the artist’s stamped signature and incised ‘D’ on the base (one of 25 lettered artist’s proofs, the edition was 75), published by Tanglewood Press, Inc., New York, occasional very minor scuffing, otherwise in very good condition. 12 1/2 x 8 x 5 1/2 in. (31.8 x 20.3 x 14 cm)

Estimate $7, 0 0 0 - 9 , 0 0 0 Literature Frayda Feldman and Jörg Schellmann 8

320

ANDY WARHOL 1928-1987 Marilyn (Annoucement), 1981 Offset lithograph in colors, on smooth wove paper, the full sheet, signed in black marker, from the edition of unknown size, published as the announcement for the exhibition Andy Warhol: A Print Retrospective 1963-1981, Castelli Graphics, New York, the yellows attenuated, occasional minor soiling and scuffing, otherwise in good condition, framed. S. 12 1/8 x 12 1/8 in. (30.8 x 30.8 cm)

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

320


PROPERTY FROM THE ESTATE OF MRS. HARRY N. ABRAMS 321

Andy Warhol 1928-1987 Liz, 1964 Offset lithograph in colors, on wove paper, with full margins, the colors exceptionally bright, signed and dated ‘65’ in black ball-point pen, from the edition of approximately 300 signed and dated copies, published by Leo Castelli Gallery, New York, a few minute white spots, a pale foxmark at lower left, mat staining along the sheet edges, occasional minor creases in the margins, otherwise in very good condition, unframed. I. 22 x 22 in. (55.9 x 55.9 cm), S. 23 x 23 in. (58.4 x 58.4 cm)

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Literature Frayda Feldman and Jörg Schellmann 7


322

ANDY WARHOL 1928-1987 Reigning Queens (Royal Edition): Queen Elizabeth II of the United Kingdom, 1985 Screenprint in colors with diamond dust, on Lenox Museum Board, the full sheet, signed and numbered R16/30 in pencil (there were also 5 artist’s proofs), published by George C.P. Mulder, Amsterdam, occasional very minor scuffing visible in the blue inks, otherwise in very good condition, framed. S. 39 1/4 x 31 3/8 in. (99.7 x 79.7 cm)

Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0 Literature Frayda Feldman and JĂśrg Schellmann 335A

Hans Holbein the Younger, Portrait of Henry VIII, 1536, oil and tempera on oak


Property from an important private collection 323

ANDY WARHOL 1928-1987 Hammer and Sickle, 1977 The complete set of four screenprints in colors, on Strathmore Bristol paper, the full sheets, all signed and numbered 16/50 in pencil (there were also 10 artist’s proofs), published by Andy Warhol Enterprises, Inc., New York, a few foxmarks in the white areas, F.&S.161 with an area of ink loss at right sheet edge, otherwise all in very good condition, all unframed. all S. 30 1/4 x 40 7/8 in. (76.8 x 103.8 cm)

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 Provenance Estate of the artist Literature Frayda Feldman and JĂśrg Schellmann 161-64


Andy Warhol and Victor Hugo at the Castelli Gallery opening of his Hammer & Sickle paintings, 1/11/1977

[Warhol] had reduced one of the most feared symbols on the planet to a simple still life… Why, he even painted the Hammer and Sickle in situ

large ones with a sponge mop, like a Midwestern housewife with an apple pie in the oven. In fact, I chose a sickle that had the word “Champion” on it, but the whole series could have just as easily read “Made in the U.S.A.” Ronnie Cutrone, 2004


Property of Mount Sinai Hospital, Toronto, Canada

324 ANDY WARHOL 1928-1987

Warhol Factory Superstar Edie Sedgwick, 1966

Myths: The Star, 1981 Screenprint in colors with diamond dust, on Lenox Museum Board, the full sheet, signed and numbered 47/200 in pencil on the reverse (there were also 30 artist’s proofs), published by Ronald Feldman Fine Art, Inc., New York, minor rippling, pressure marks in places along the perimeter of the sheet, occasional minor wear along the sheet edges (with associated minor ink loss), otherwise in very good condition, framed. S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0 Literature Frayda Feldman and JĂśrg Schellmann 258

Andy Warhol, IX Head (after Picasso), 1985, acrylic paint on canvas


Who knows what evil lurks in the hearts of men? The Shadow knows!

325

Property of Mount Sinai Hospital, Toronto, Canada

The Shadow was a popular radio show and movie serial during the 1930s

ANDY WARHOL 1928-1987

and ‘40s, Warhol’s childhood. In each episode, a crime-fighting detective

Myths: The Shadow, 1981 Screenprint in colors with diamond dust, on Lenox Museum Board, the full sheet, signed and numbered 47/200 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York, two dark spots at center left and lower center sheet edges, minor creasing at lower right corner, otherwise in very good condition, framed. S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 Literature Frayda Feldman and Jörg Schellmann 267

disappeared as soon as his good deed was accomplished, leaving only his shadow.


Property of Mount Sinai Hospital, Toronto, Canada 326

ANDY WARHOL 1928-1987 Myths: Dracula, 1981 Screenprint in colors, on Lenox Museum Board, the full sheet, signed and numbered 47/200 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York, soft rubbing and minor scuffing visible in the black, creasing at lower left (with associated cracking in the inks), minor wear along the sheet edges, otherwise in very good condition, framed. S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature Frayda Feldman and JĂśrg Schellmann 264


327

Property of Mount Sinai Hospital, Toronto, Canada

During the War of 1812, Sam Wilson (1766-1854) obtained a contract to supply

ANDY WARHOL 1928-1987

beef to the Army in its campaign further north. He shipped the meat in

Myths: Uncle Sam, 1981 Screenprint in colors with diamond dust, on Lenox Museum Board, the full sheet, signed and numbered 47/200 in pencil (there were also 30 artist’s proofs), published by Ronald

barrels branded with the initials “U.S.” as they were government property. The soldiers and the teamsters took to joking that the initials referred to their

Feldman Fine Arts, Inc., New York, occasional minor scuffing visible in raking light, minor

“Uncle Sam,” and over time, everything marked with “U.S.” was linked with

creasing at lower left, pressure marks in places along the perimeter of the sheet, otherwise

Uncle Sam. Uncle Sam became synonymous with the United States itself. All

in very good condition, framed.

supplies from the United States government were said to come from Uncle

S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature Frayda Feldman and Jörg Schellmann 259

Sam.


Property of Mount Sinai Hospital, Toronto, Canada 328

ANDY WARHOL 1928-1987 Myths: The Witch, 1981 Screenprint in colors with diamond dust, on Lenox Museum Board, the full sheet, signed and numbered 47/200 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York, a scuff at lower left, a crease at lower left (with associated cracking in the inks), pressure marks in places along the perimeter of the sheet, otherwise in very good condition, framed. S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Margaret Hamilton in an original publicity still for The Wizard of Oz

Literature Frayda Feldman and JĂśrg Schellmann 261


Tuesday, December 9, 1980 … When I got there Howdy Doody was waiting for me. I’m doing his portrait, he’s one of the Big Myths. The Andy Warhol Diaries, p.347

Property of Mount Sinai Hospital, Toronto, Canada 329

ANDY WARHOL 1928-1987 Myths: Howdy Doody, 1981 Screenprint in colors with diamond dust, on Lenox Museum Board, the full sheet, signed and numbered 47/200 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York, a few minor scuffs (visible in darker inks), a crease at lower left corner (with associated minor cracking in the inks), a very thin line of ink loss at lower right, a few nicks at the sheet edges (particularly corners), otherwise in very good condition, framed. S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0 Literature Frayda Feldman and Jörg Schellmann 263


Property of Mount Sinai Hospital, Toronto, Canada 330

ANDY WARHOL 1928-1987 Myths: Santa Claus, 1981 Screenprint in colors with diamond dust, on Lenox Museum Board, the full sheet, signed and numbered 47/200 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York, pressure marks in places along the perimeter of the sheet, otherwise in very good condition, framed. S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $10 , 0 0 0 -15 , 0 0 0 Literature Frayda Feldman and JĂśrg Schellmann 259

Myths printer Rupert Jasen Smith with Santa, 1978-79


331 ANDY WARHOL 1928-1987 Endangered Species: Grevy’s Zebra (Trial Proof), 1983 Unique screenprint in colors, on Lenox Museum board, the full sheet, signed and numbered ‘TP 1/30’ in pencil, scuffing visible in raking light, two thin abrasions at the zebra’s neck, a darker scuff at upper right, several small abrasions in the peach colored areas (with associated ink loss), a small area of ink loss at the lower left extreme sheet edge, otherwise in good condition, unframed. S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0 Literature Frayda Feldman and Jörg Schellman IIB.300


332

333

332

ANDY WARHOL 1928-1987

333

ANDY WARHOL 1928-1987

Cowboys and Indians: Sitting Bull: five impressions, 1986

Cowboys and Indians: Mother and Child, 1986

Five screenprints in colors, on heavy watercolor paper, the full sheets, five unsigned and

Screenprint in colors, on Lenox Museum Board, the full sheet, signed and numbered

unnumbered proofs, published by Gaultney, Kleinman Art, Inc., New York, all with the

49/250 in pencil, published by Gaultney, Klineman Art, Inc., slight rippling to the sheet,

estate stamps on the reverse, all generally in very good condition, all unframed.

pale mat and time staining, soft rubbing in the corners (affecting the numbering at lower

all S. 36 x 36 in. (91.4 x 91.4 cm)

left), skinning on the reverse in places along the sheet edges, otherwise in good condition,

Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0 Literature Frayda Feldman and Jรถrg Schellmann IIB.376

unframed. S. 36 x 36 in. (91.4 x 91.4 cm)

Estimate $12 , 0 0 0 -18 , 0 0 0 Literature Frayda Feldman and Jรถrg Schellmann, IIB.383


334

334

ANDY WARHOL 1928-1987 Merce Cunningham, 1974 Screenprint, on Japanese wallpaper, the full sheet, signed and numbered 41/100 in pencil on the reverse (there were also 30 artist’s proofs), published by Castelli Graphics and Multiples, New York, for the portfolio Cunningham I, a few creases along the center sheet (with associated minor cracking in the inks), otherwise in very good condition, unframed. S. 30 x 20 in. (76.2 x 50.8 cm)

Estimate $ 5 , 0 0 0 -7, 0 0 0 Literature Frayda Feldman and Jörg Schellman 124

335

335

ANDY WARHOL 1928-1987

336

336

ANDY WARHOL 1928-1987

Ladies and Gentlemen: one plate, 1975

Ladies and Gentlemen: one plate, 1975

Screenprint in colors, on wove paper, with full margins, signed, dated ‘75’, inscribed ‘Cawe’

Screenprint in colors, on wove paper, the full sheet, signed, dated ‘75’, inscribed ‘Cawe’

and numbered 39/125 on the reverse (there were also 25 artist’s proofs), published by

and numbered 39/125 on the reverse (there were also 25 artist’s proofs), published by

Luciano Anselmino, Milan, soiling in the margins, a moisture stain at left margin, mat and

Luciano Anselmino, Milan, craquelure in the yellow inks, pale scattered foxing in the lower

time staining, adhesive remains along the reverse of the upper sheet (showing through on

sheet, mat and time staining, adhesive remains along the reverse of the upper sheet (with

the front), otherwise in good condition, unframed.

associated staining visible on the front), otherwise in good condition, unframed.

I. 34 1/8 x 26 3/4 in. (86.7 x 67.9 cm)

S. 43 1/2 x 28 1/2 in. (110.5 x 72.4 cm)

S. 43 3/4 x 28 7/8 in. (111.1 x 73.3 cm)

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

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Literature Frayda Feldman and Jörg Schellmann 129 Literature Frayda Feldman and Jörg Schellmann 133


337

337

Richard Prince b. 1949 8 x10 portfolio, 1999 The complete set of ten photographs (seven in colors), on Fujichrome Professional paper, with full margins, signed and lettered ‘n’ in black ink on the colophon (the edition was 26 lettered A-Z and 4 artist’s proofs), published by Sadie Coles HQ, London, all in excellent condition, each contained in clear sleeve which are bound to the original red fabric covered book with artist’s name and title embossed on the front in gold and snap closure. 10 5/8 x 9 7/8 in. (27 x 25.1 cm)

Estimate $ 9 , 0 0 0 -12 , 0 0 0

338

338

RICHARD PRINCE b. 1949 [Heart on Couple], circa 1981 Offset lithograph with black marker additions, on card stock, the full sheet, signed and inscribed ‘For the Val Day What I Do-’ in blue ink on the reverse, very minor wear along the sheet edges, otherwise in very good condition, unframed. S. 3 x 4 3/8 in. (7.6 x 11.1 cm)

Estimate $ 9 0 0 -1, 2 0 0


339

339

Vic Muniz b. 1961

340

Gummi Bears portfolio, 2002 The complete set of four duraflex prints, on smooth photo paper, with full margins, all with a label printed with artist’s name, title, medium, print number and numbered 97/100 on the reverse, one signed and dated ‘2002’ in black ink on the label, all in excellent condition, all unframed, contained in original red linen-covered portfolio with title embossed and printed in black on the front. 15 x 12 in. (38.1 x 30.5 cm)

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

PROPERTY SOLD TO BENEFIT iCI (INDEPENDENT CURATOR’S INTERNATIONAL), NEW YORK 340

LAURIE simmons

b. 1949

Walking Petit Four, from Independent Curators 15th Anniversary portfolio, 1990-91 Lithograph in colors, on wove paper, the full sheet, signed, dated ‘91’ and numbered 11/75 (there were also 25 artist’s proofs), published by Independent Curators International, New York, in excellent condition, unframed. S. 42 x 30 1/4 in. (106.7 x 76.8 cm)

Estimate $70 0 - 9 0 0

342

341

341 JEFF KOONS b. 1955

342

JEFF KOONS b. 1955

Jeff Koons, 2007

Supreme Skate Decks (Monkey), 2006

Artist’s book with printed fabric hardcover with decal inset on front and back and silver

The complete set of three printed skate deck in colors, published by Supreme, New York,

printed spine, signed in black ink on the title page, numbered 0191 from the edition of 1600

all in very good condition, in original shrink-wrapping.

(there were also 200 artist’s proofs), published by Taschen, New York, minor scuffing at

all: 31 1/4 x 8 in. (79.4 x 20.3 cm)

silver text on spine, otherwise in very good condition, contained in original red fabriccovered box with artist’s name and publisher embossed and printed in silver on the front. 19 3/8 x 14 3/4 in. (49.2 x 37.5 cm)

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

My work is a support system for people to feel good about themselves. Jeff Koons

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


343

343

JEFF KOONS b. 1955 Blue Balloon Dog, 2002 Ceramic multiple, numbered 1743/2300, published by the Museum of Contemporary Art, Los Angeles, in excellent condition, with original foam-lined box and original plastic stand. 10 3/8 x 10 3/8 x 4 in. (26.4 x 26.4 x 10.2 cm)

Estimate $ 3 , 5 0 0 - 4 , 5 0 0

344

344

Jeff Koons b. 1955 Red Ballon Dog, 1995 Ceramic multiple, numbered 1381/2300, published by the Museum of Contemporary Art, Los Angeles, in excellent condition, with original Styrofoam-lined box and original plastic stand. 10 3/8 x 10 3/8 x 4 in. (26.4 x 26.4 x 10.2 cm)

Estimate $ 3 , 5 0 0 - 4 , 5 0 0

345

345

DAMIEN HIRST b. 1965 For the Love of God, Believe, 2007 Screenprint in colors with diamond dust, on wove paper, the full sheet, signed and numbered 147/1000 in white pencil, published by White Cube, London, in excellent condition, unframed. S. 12 7/8 x 9 1/2 in. (32.7 x 24.1 cm)

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


346

DAMIEN HIRST b. 1965 Tetrahydrocannabinol, 2004 Aquatint in colors, on Hahnemßhle etching paper, with full margins, signed on the front and numbered 40/115 on the reverse in pencil (there were also 30 artist’s proofs), published by Paragon Press, London, in excellent condition, framed I. 34 x 70 1/4 in. (86.4 x 178.4 cm) S. 79 1/2 x 44 in. (201.9 x 111.8 cm)

Estimate $18 , 0 0 0 - 2 5 , 0 0 0


347

348

347 DAMIEN HIRST b. 1965 Cephalothin, 2007 Etching in colors, on Hahnem端hle Etching paper, with full margins, signed on the front and numbered 59/75 on the reverse in pencil, published by Paragon Press, London, in excellent condition, unframed. diameter I. 21 7/8 in. (55.6 cm) S. 39 1/8 x 34 1/2 in. (99.4 x 87.6 cm)

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

348

DAMIEN HIRST b. 1965 Supreme Skate Decks (Spot), 2009 The complete set of five printed skate deck in colors, published by Supreme, New York, all in very good condition, with original shrink-wrapping. all: 31 1/4 x 8 in. (79.4 x 20.3 cm)

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


Jan Van Kessel 1654-1708, Still Life with Snake Emblem, 1670, oil on copper

349

DAMIEN HIRST b. 1965 The Souls on Jacob’s Ladder Take Their Flight, 2007 The complete set of six photogravures in colors, on Velin Arches paper, with full margins, all signed on the front and numbered 53/72 on the reverse in pencil, published by Paragon Press, London, all in excellent condition, all unframed. all I. 36 3/4 x 33 1/2 in. (93.3 x 85.1 cm) all S. 47 x 42 1/2 in. (119.4 x 108 cm)

Estimate $ 5 0 , 0 0 0 -70 , 0 0 0


350

351

350

DAMIEN HIRST b. 1965

351 DAMIEN HIRST b. 1965

The Souls on Jacob’s Ladder Take their Flight: plate one, 2007

Psalm Print: Ad te, Domine, levavi (diamond dust), 2010

Photogravure in colors, on Velin Arches paper, with full margins, signed on the front and

Screenprint in colors with diamond dust, on wove paper, with full margins, signed and

numbered 13/72 on the reverse in pencil, published by Paragon Press, London, minor

numbered 7/50 in pencil (there were also 10 artist’s proofs), published by Other Criteria,

surface soiling, a few faint scuffs in the blacks, otherwise in very good condition, unframed.

London (with their blindstamp), in excellent condition, unframed.

I. 36 7/8 x 33 3/4 in. (93.7 x 85.7 cm)

diameter I. 24 in. (61 cm)

S. 47 x 42 1/2 in. (119.4 x 108 cm)

S. 29 1/8 x 30 1/2 in. (74 x 77.5 cm)

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

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


352

353

352

DAMIEN HIRST b. 1965

353

DAMIEN HIRST b. 1965

In a spin, the action of the world on things, Vol. I: Lavender Baby, 2002

In a spin, the action of the world on things, Vol. I: There’s more to life than making jam and having

Etching in colors, on Hahnemühle paper, with full margins, signed in pencil, from the

kids, 2002

edition of 68, published by Paragon Press, London, in very good condition, unframed.

Etching in colors, on Hahnemühle paper, with full margins, signed in pencil, from the

I. 29 7/8 x 19 3/4 in. (75.9 x 50.2 cm)

edition of 68, published by Paragon Press, London, in very good condition, unframed.

S. 35 3/4 x 27 7/8 in. (90.8 x 70.8 cm)

diameter I. 24 7/8 in. (63.2 cm) S. 35 3/4 x 27 3/4 in. (90.8 x 70.5 cm).

Estimate $1, 5 0 0 - 2 , 0 0 0 Estimate $ 4 , 0 0 0 - 6 , 0 0 0

354

354

DAMIEN HIRST b. 1965 Supreme Skate Decks (Spin), 2009 The complete set of three printed skate deck in colors, published by Supreme, New York, all in very good condition, with original shrink-wrapping. all: 31 1/4 x 8 in. (79.4 x 20.3 cm)

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


355

Olafur Eliasson b. 1967

The house that made up its vision as it walked, is a series of never-ending

The house that made up its vision as it walked, 2003

M.C. Escher-Piranesi-esque staircases made from neon tubes. An active

Neon light, glass and aluminum multiple, signed in black ink and numbered 24/25 on a label affixed to the underside of the base (there were also 5 artist’s proofs), published

sculpture, neon tubes light up at varying sequences, constantly changing

by the New Museum, New York, in very good condition.

viewers’ perception of the work. Encountering the work from above, the

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

staircases look as though they continually ascend and descend, but from

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

a side view, they appear flat and disconnected emphasizing Eliasson’s obsession with models and experiencing artworks first hand.


356

356

CALLUM MORTON b. 1965 Local +/or General; Farnshaven, Illinois, 2001 Digital print in colors, on smooth wove paper, laid down to mat board (as issued), with full margins, signed and numbered 4/30 on the accompanying certificate, occasional minute accretions under the mounting (only visible in raking light under close inspection), the slightest darker area at upper right margin, otherwise in very good condition, framed. I. 23 3/8 x 33 in. (59.4 x 83.8 cm) S. 32 1/4 x 44 in. (81.9 x 111.8 cm)

Estimate $1, 5 0 0 - 2 , 5 0 0 Provenance Gimpel Fils, London

357

358

357

STEVEN CRIQUI b. 1964

358

JAMES WELLING b. 1951

Untitled (Johnie’s), 2002

0194, 2006

Inkjet print in colors with oil and UV varnish, on six sheets of wove paper mounted to canvas

Inkjet print, on Crane Silver Rag paper, with full margins, signed, titled, dated ‘2006’ and

(as issued), signed, dated ‘2002’ and numbered 3/6 in black ink on the reverse, in very good

numbered 1/15 in blue pencil on the reverse (there were also artist’s proofs), published by

condition, framed.

Blind Spot Editions, Annandale-on-Hudson, New York, in excellent condition, unframed.

26 x 48 5/8 in. (66 x 123.5 cm)

I. 11 1/2 x 15 3/8 in. (29.2 x 39.1 cm)

Estimate $ 6 0 0 - 8 0 0

S. 12 x 18 3/4 in. (30.5 x 47.6 cm)

Estimate $ 9 0 0 -1, 2 0 0 Provenance Cirrus Gallery, Los Angeles


359

360

359

MARC QUINN b. 1964

360

MARC QUINN b. 1964

Portrait of Landscapes series, 2007

Winter Garden series: three plates, 2004

The complete set of eight pigment prints, on Somerset Velvet Enhanced paper, the full

Three pigment prints, on Somerset Velvet Enhanced paper, the full sheets, all signed, dated

sheets, all signed and numbered 56/59 (one also dated ‘2008’) in pencil on the reverse,

2004 and numbered 8/59 in pencil on the reverse, published by Paragon Press, London, all

published by Paragon Press, London, all in excellent condition, all unframed.

in very good condition, two unframed, one framed.

S. 39 1/4 x 29 1/2 in. (99.7 x 74.9 cm)

all S. 32 3/8 x 48 1/4 in. (82.2 x 122.6 cm)

Estimate $12 , 0 0 0 -18 , 0 0 0

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


361

361

Marc Quinn b. 1964 Untitled (Day 1), 2004 Cast bronze multiple, stamped with initials and numbered 1/25 on the underside, published by Art of This Century, New York, in very good condition. 4 1/4 x 3 3/4 x 5 1/2 in. (10.8 x 9.5 x 14 cm)

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

362

363

362

PETER DOIG b. 1959

363

PETER DOIG b. 1959

Untitled, 2006

Alpiniste, 2007

Lithograph in colors, on Somerset paper, signed, dated and numbered 5/20 in pencil (there

Etching in blue, on wove paper, with full margins, plus The Woders of Ski-ing book by

were also 10 artist’s proofs), published by Landfall Press, Santa Fe (with their copyright

Hannes Schneider and Arnold Fanck and printed bookplate, the print and bookplate both

stamp on the reverse), in very good condition, unframed.

signed and numbered 14/60 in pencil, published by Salon Verlag, Cologne, all in excellent

I. 38 x 24 in. (96.5 x 61 cm)

condition, contained in original portfolio with book inset.

S. 42 x 28 1/4 in. (106.7 x 71.8 cm)

21 7/8 x 16 1/4 in. (55.6 x 41.3 cm).

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

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


364

VARIOUS ARTISTS EXIT ART 99 portfolio, 1999 The complete set of seven screenprints in colors some with collage and one etching in colors, on various papers and fabric, with full margins and the full sheets, seven signed, titled and numbered 11/50 in pencil (Byrne with printed name and numbering), published by Exit Art/The First World, New York, all in very good condition, contained in original blue fabric covered portfoliowith printed inset cover. 31 x 23 1/2 in. (78.7 x 59.7 cm)

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

Including: David Byrne, Recycle, It’s the Law!; Inka Essenhigh, Flush & Aqua; Leon Golub, Why Me!; Tony Oursler, Surveillance: Allen/Houston St. Deli; Bruce Pearson, Clearly Its Closer to Rising; Richard Tuttle, Flip; Nari Ward, Lorraine and Lisa Yuskavage, Night Flowers


365

VARIOUS ARTISTS Exit Art The First World portfolio, 1998 The complete set of seven screenprints in colors and one aquatone in colors, on various papers and felt, with full margins and the full sheets, all signed and numbered 27/50 in pencil or ink, some also dated (there were also 8 artist’s proofs), published by Exit Art/The First World, New York, all in excellent condition, all contained in original red fabric-covered portfolio with title printed on the front. 31 1/8 x 23 1/8 in. (79.1 x 58.7 cm)

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

Including: Donald Baechler, The Benefit Flower; Nina Bavasso, Untitled; Gregory Green, Northeast View From Lander; Jerry Kearns, James; Sean Mellyn, Bumper Crop; Lorna Simpson, Recall; Kiki Smith, Before and Nancy Spero, Airborne


366

366

VARIOUS ARTISTS 20 X 15 portfolio, 1997 The complete set of five etchings in colors with various technique and some with collage, on wove paper, with full margins, all signed, dated ‘97’ and numbered 14/36 in pencil, published by Maureen Mahony and Janis Stemmermann, New York (all with their blindstamp), all in excellent condition, contained in original gray silk covered portfolio (minor scuffing). 20 1/2 x 15 3/8 in. (52.1 x 39.1 cm)

Estimate $ 8 0 0 -1, 2 0 0

Including: Matthew Abbott, Proust; Nicole Eisenmann, All Types or Fat International; Ava Gerber, Untitled; Sean Mellyn, Ripple Chip and Jonathan Seliger, Untogether

367

THIS LOT IS SOLD WITH NO RESERVE 367

MR. b. 1969 Don’t go Anywhere; The Boy Who Came to Ikebukuro; and You Girls, 2006 and 2007 Three offset lithographs in colors, on wove paper, the full sheets, all signed, dated ‘08’ and numbered 23/300, 24/300 and 21/300 respectively in silver ink, all in very good condition, all unframed. anywhere S. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm) boy S. 23 5/8 x 23 3/4 in. (60 x 60.3 cm) girls S. 24 3/4 x 34 3/4 in. (62.9 x 88.3 cm)

Estimate $ 5 0 0 -70 0

Artworks ©2006, 2006 and 2007 Mr./Kaikai Kiki Co., Ltd., All Rights Reserved.


368

THIS LOT IS SOLD WITH NO RESERVE 368

MR. b. 1969 Starting Over; and It’s Still a Young Team, 2007 Two offset lithographs in colors, on wove paper, the full sheets, both signed, dated ‘08’ and numbered 24/300 and 25/300 respectively in silver ink, both in very good condition, both unframed. both S. 19 3/4 x 39 3/8 in. (50.2 x 100 cm)

Estimate $ 4 0 0 - 6 0 0

Artworks ©2007 Mr./Kaikai Kiki Co., Ltd. All Rights Reserved.

368

369

MARY CORITA (sister corita) kent 1918-1986 Six prints, circa 1970 Six screenprints in colors, on wove paper, the full sheets, all signed, all with varying degrees of pale staining, creasing, soiling and scuffing, otherwise all generally in good condition, all unframed. various sizes

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

Including: Come Home America; Now We Mount a Wider Stage; Here, Where an Immense Country Lies about Me; Perhaps we Could Endure; The Pain that Opens the Door and Why do you Think of Him


370

370 ROBERT INDIANA b. 1928 Decade series: USA 666; Mississippi; and Yield Brother, 1971 Three screenprints in colors, on Schoellers Parole paper, with full margins, all signed, dated ‘1971’ and numbered 108/200 in pencil (there were also 25 artist’s proofs in Roman numerals), published by Multiples, Inc., New York, minor surface soiling, Mississippi and Yield Brother with occasional minor scuffing (mainly visible in the blacks or in raking light), Mississippi with a stain at lower right margin corner, otherwise all in very good condition, two framed. one unframed. various sizes

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Literature Susan Sheehan 65, 68 and 69

371

371 Kara Walker b. 1969 Freedom, a Fable, 1997 Laser-cut paper pop-up book, bound in brown leather (as issued), from the edition of 4000, published by Peter Norton Family Christmas Project, in very good condition, contained in original corrugated cardboard box. Book: 9 3/8 x 8 3/8 x 5/8 in. (23.8 x 21.3 x 1.6 cm) Box: 12 3/8 x 11 3/8 x 1 3/4 in. (31.4 x 28.9 x 4.4 cm).

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


372 (AFTER) JEAN-MICHEL BASQUIAT 1960-1988 Untitled (Rinso), 1982-2001 Screenprint in colors, on wove paper, the full sheet, numbered 52/85, signed by Gerard Basquiat the executor of the estate in pencil on a label affixed to the reverse, very minor wear at the corners, hinge remains in places along the reverse of the sheet edges, otherwise in very good condition, unframed. S. 40 x 40 in. (101.6 x 101.6 cm)

Estimate $ 9 , 0 0 0 -12 , 0 0 0


373

373 GARY SIMMONS b. 1964 Untitled (Lineup Wall Chart), 1994 Screenprint in gold metallic ink, on heavy wove paper, with full margins, signed, dated ‘94’ and numbered ‘3/10 P.P.’ in pencil on the reverse, with the Patsfall Graphics ink stamp on the reverse, Cincinnati, in excellent condition, framed. I. 24 3/8 x 19 in. (61.9 x 48.3 cm) S. 25 x 19 1/2 in. (63.5 x 49.5 cm)

Estimate $70 0 -1, 0 0 0

374

374 BEN SHAHN 1898-1969 Human Relations series, 1965 The complete set of three screenprints in black and umber, on Japanese paper, with full margins, all numbered 62/300 in red/brown pencil, published to benefit the Human Relations Council of Greater New Haven, Connecticut, occasional pale foxmarks, otherwise generally all in good condition, framed. all I. 13 x 10 1/4 in. (33 x 26 cm) all S. 22 x 16 3/4 in. (55.9 x 42.5 cm).

Estimate $ 4 0 0 - 6 0 0 Literature Kenneth Prescott 101-103

375

375 ALISON SAAR b. 1956 Lost Boys, 2008 Etching in brown with hand-applied ribbons, on Rives BFK Tan paper, with full margins, signed, dated ‘2008’ and numbered 7/16 in pencil, in very good condition, framed. I. 23 3/4 x 35 1/2 in. (60.3 x 90.2 cm) S. 29 7/8 x 40 1/2 in. (75.9 x 102.9 cm)

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


376 ANDY WARHOL 1928-1987 Birmingham Race Riot, from Ten Works by Ten Painters, 1964 Screenprint, on wove paper, the full sheet, from the edition of 500 (there were also 10 artist’s proofs), published by Wadsworth Atheneum, Hartford, Connecticut, four scuffs in the right sheet, otherwise in very good condition, unframed. S. 20 x 24 in. (50.8 x 61 cm)

Estimate $ 6 , 0 0 0 - 9 , 0 0 0 Literature Frayda Feldman and Jörg Schellmann 3


377

377

THOMAS HIRSCHHORN b. 1957 CNN, 2002 Oversize cardboard multiple with foil, plastic, gold wrapping paper and tape, signed, dated ‘2002’ and numbered 50/50 in black marker on the reverse, in very good condition. dimensions variable

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

378

378 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 $ 5 0 0 -70 0


379

380

379 NIKKI LEE b. 1970 The Swingers Project (55), 1998-99 Photograph in colors, on Kodak Professional paper, with full margins, signed, titled, dated ‘1998, 1999’ and numbered 1/11 in black ink on the reverse, in very good condition, framed. I. 9 x 13 1/2 in. (22.9 x 34.3 cm) S. 11 x 14 in. (27.9 x 35.6 cm)

Estimate $ 8 0 0 -1, 0 0 0

380

MARTIN SCHOELLER b. 1968

381

Barack Obama, 2008 Photograph in colors, on matte wove paper, with full margins, signed, dated ‘2008’ and numbered 32/500 in black ink on the reverse, in excellent condition, unframed. I. 11 1/2 x 9 in. (29.2 x 22.9 cm) S. 14 x 11 in. (35.6 x 27.9 cm)

Estimate $ 3 0 0 - 5 0 0

PROPERTY SOLD TO BENEFIT THE SENATOR CHUCK ALLEN III SCHOLARSHIP FUND 381

AIDS-3D Laser Target Aquarius, 2009 Archival inkjet print in colors, on Fujicolor paper, with full margins, signed and dated ‘09’ in black ink on the reverse, number 2 from the edition of 9, published by the artists, occasional soft handling creases, otherwise in very good condition, unframed. I. 33 1/2 x 23 3/4 in. (85.1 x 60.3 cm) S. 35 3/4 x 25 1/4 in. (90.8 x 64.1 cm)

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

Gift of the artists

382

PROPERTY SOLD TO BENEFIT THE SENATOR CHUCK ALLEN III SCHOLARSHIP FUND 382

AIDS-3D Glue Mask, 2008 Archival inkjet print in colors, on Fujicolor paper, with full margins, signed and dated ‘09’ in black ink on the reverse, number 2 from the edition of 9, published by the artists, in very good condition, unframed. I. 23 5/8 x 16 3/4 in. (60 x 42.5 cm) S. 25 3/4 x 18 in. (65.4 x 45.7 cm)

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

Gift of the artists


383

384

383

YAYOI KUSAMA b. 1929

YAYOI KUSAMA b. 1929 Yoko (Red), 1998

Screenprint in colors, on Arches paper, with full margins, signed, dated ‘1998’, annotated

Screenprint in colors, on Arches paper, with full margins, signed, dated ‘1998’, inscribed in

‘(1),’ inscribed in Japanese and numbered 21/30 in pencil, very minor surface soiling,

Japanese and annotated ‘PP’ in pencil (a printer’s proof), a few soft handling creases in the

otherwise in very good condition, framed.

right margin, otherwise in very good condition, framed.

I. 23 1/2 x 18 7/8 in. (59.7 x 47.9 cm)

I. 23 1/2 x 18 3/4 in. (59.7 x 47.6 cm)

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

S. 27 3/4 x 22 1/8 in. (70.5 x 56.2 cm)

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

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

385

385

384

Nami 1 (Yellow), 1998

YAYOI KUSAMA b. 1929 Pumpkin, 1985 Etching, on Rives BFK gray paper, with full margins, signed, dated ‘85’, inscribed in Japanese and numbered 25/50 in pencil, in very good condition, framed. I. 11 x 16 5/8 in. (27.9 x 42.2 cm) S. 18 x 24 3/4 in. (45.7 x 62.9 cm)

Estimate $1, 2 0 0 -1, 8 0 0 Literature see Akira Asuda 75


386

THIS LOT IS SOLD WITH NO RESERVE 386

YAYOI KUSAMA b. 1929 Town, 1995 Etching, on wove paper, with full margins, signed dated ‘1995’ inscribed in Japanese and numbered 46/100 in pencil, in excellent condition, framed. I. 8 3/4 x 5 3/4 in. (22.2 x 14.6 cm) S. 14 7/8 x 11 1/4 in. (37.8 x 28.6 cm)

Estimate $ 6 0 0 - 8 0 0

Literature Abe Shuppan 206

387

387

CARL FUDGE b. 1962 Mobile Suit 3, 2001 Screenprint in colors, on wove paper, with full margins, signed, titled, dated ‘2001’ and numbered ‘3/3 PP’ in pencil (a printer’s proof, the edition was 8), published by Ronald Feldman Gallery, New York, minor soiling in the margins, otherwise in very good condition, unframed. I. 57 1/4 x 41 7/8 in. (145.4 x 106.4 cm) S. 60 x 44 in. (152.4 x 111.8 cm)

Estimate $ 9 0 0 -1, 2 0 0


388

389

388

JAMES SIENA b. 1958

389

JAMES SIENA b. 1958

Forty-Six Combs, 2008

Battery, Variation III, 2005

Screenprint in colors, on Saunders Watercolor paper, with full margins, signed, dated

Screenprint in colors, on Rives BFK paper, with full margins, signed, dated ‘2005’ and

‘08’ and numbered 26/28 in pencil, published by Brand X Projects, New York, in very good

numbered 10/45 in pencil, published by Brand X Projects, New York, in excellent condition,

condition, unframed.

unframed.

I. 62 1/8 x 48 in. (157.8 x 121.9 cm)

I. 40 x 31 1/4 in. (101.6 x 79.4 cm)

S. 63 1/8 x 49 in. (160.3 x 124.5 cm)

S. 46 5/8 x 37 3/8 in. (118.4 x 94.9 cm)

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

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


390

ANISH KAPOOR b. 1954 Shadow portfolio, 2007 The compete set of nine etchings in colors, on Somerset Textured paper, the full sheets, all signed and numbered 32/35 in pencil on the reverse (there were also 6 artist’s proofs), published by Paragon Press, London, [yellow] with a handling crease at right sheet, otherwise all in very good condition, contained in original black cloth-covered solander box. 21 x 28 in. (53.3 x 71.1 cm)

Estimate $ 2 8 , 0 0 0 - 3 5 , 0 0 0


391

DONALD JUDD 1928-1994 Untitled; and Untitled, 1992-93 Two woodcuts in colors, on Japanese paper, the full sheets, both signed and numbered 23/30 in pencil on the reverse (there were also 13 artist’s proofs), published by Creative Works Editions, Kyoto, Japan, both with occasional wear along the sheet edges, otherwise both in very good condition, both framed. both S. 23 x 31 in. (58.4 x 78.7 cm)

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Literature Edition Schellman 267 and 268


392

392

DONALD JUDD 1928-1994 Untitled, 1970 The complete set of two screenprints, on Schoeller Hammer paper, the full sheets, both signed and numbered 58/100 in pencil (there were also several artist’s proofs), published by Edition Schellmann, Munich, a few soft handling creases, the palest time staining, otherwise both in very good condition, unframed. S. 22 x 28 7/8 in. (55.9 x 73.3 cm)

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

393

Literature Edition Schellmann 75-6

393

DONALD JUDD 1928-1994 Untitled suite: one plate, 1978 Etching, on etching paper, with full margins, signed, dated ‘78’ and numbered 35/75 in pencil (there were also 10 artist’s proofs), published by the artist, occasional soft handling creases and areas of soiling (particularly in the margins), a tear at lower right (with associated creasing), otherwise in very good condition, unframed. I. 22 x 27 in. (55.9 x 68.6 cm) S. 30 x 35 in. (76.2 x 88.9 cm)

Estimate $1, 0 0 0 -1, 5 0 0 Literature Edition Schellmann 111

394

BRICE MARDEN b. 1938 Views for Caroline Tatyana: two plates, 1977-79 Two etching and aquatints, on Arches textured paper, with full margins, both signed and numbered 35/50 in pencil (there were also 13 artist’s proofs), published by Parasol Press, New York, plate 29g with the palest light-staining, plate 29i with occasional soft rubbing in the margins, adhesive remains at the reverse of the left and right center margins, both with foxing in the margins and on the reverse (not showing through on the front), otherwise both in good condition, one unframed. one I. 9 7/8 x 7 in. (25.1 x 17.8 cm) one I. 10 x 14 in. (25.4 x 35.6 cm) both S. 26 1/2 x 20 1/2 in. (67.3 x 52.1 cm)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature Jeremy Lewison 29g and 29i

394


395

SOL LEWITT 1928-2007 Lines of One Inch, Four Directions, Four Colors (set of 16), 1971 The complete set of sixteen lithographs in colors, on Magnani paper, with full margins, all signed and numbered ‘AP 8/10’ in pencil (the edition was 50), published by Landfall Press, Chicago (with their inkstamp on the reverse), very slight wear in the corners, otherwise all in very good condition, contained in original card box with title and artist’s name printed on the sides. 23 7/8 x 23 7/8 in. (60.6 x 60.6 cm)

Estimate $15 , 0 0 0 - 2 5 , 0 0 0 Literature Tate Gallery L7


396

SOL LEWITT 1928-2007 Lines of One Inch in Four Directions and All Combinations, 1971 The complete set of sixteen lithographs, on Magnani paper, with full margins, all signed and numbered 12/50 in pencil (there were also 10 artist’s proofs), published by Landfall Press, Chicago (with their inkstamp on the reverse), very slight wear in the corners, otherwise all in very good condition, contained in original card box with title and artist’s name printed on the sides. 23 7/8 x 23 7/8 in. (60.6 x 60.6 cm)

Estimate $10 , 0 0 0 -15 , 0 0 0 Literature Tate Gallery L6


397

398

397

SOL LEWITT 1928-2007

398

SOL LEWITT 1928-2007

Horizontal Composite, 1970

Three Squares with a Different Color in Each Half Square (Divided Vertically

Screenprint in colors, on Strathmore paper, with full margins, signed and annotated

and Horizontally), 1971

‘artist’s proof’ in pencil (the edition was 150), published by John Weber Gallery, New York,

Screenprint in colors, on Strathmore paper, with full margins, signed and numbered 9/35 in

the palest mat staining, occasional soft rubbing and soiling at the sheet edges, otherwise

pencil (there were also 7 artist’s proofs), published by the artist, the palest mat staining, an

in very good condition, framed.

area of minor creasing at lower right sheet edge, the upper sheet edge reinforced along the

I. 12 x 33 1/2 in. (30.5 x 85.1 cm)

reverse, otherwise in very good condition, framed.

S. 18 x 39 3/4 in. (45.7 x 101 cm)

I. 11 1/8 x 34 7/8 in. (28.3 x 88.6 cm)

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

S. 15 1/8 x 39 7/8 in. (38.4 x 101.3 cm)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Literature Tate Gallery S2 Literature Tate Gallery S8


399

399

SOL LEWITT 1928-2007 Arcs from sides or corners, grids and circles series: two plates, 1972 Two screenprints in colors, on Rives BFK paper, with full margins, both signed and annotated ‘A.P. 6’ in pencil (the edition was 100), published by Pio Monti, Macerata, Italy, both in very good condition, both unframed. both I. 14 x 13 7/8 in. (35.6 x 35.2 cm) both S. 15 x 15 in. (38.1 x 38.1 cm)

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Literature Tate Gallery S11

Including: plate 17. Red grid, blue circles, black arcs from four sides, and yellow arcs from four corners; and plate 22. Blue grid, yellow circles, red arcs from four sides, and black arcs from four corners

400

400

SOL LEWITT 1928-2007 Arcs from sides or corners, grids and circles series: two plates, 1972 Two screenprints in colors, on Rives BFK paper, with full margins, both signed and annotated ‘A.P. 6’ in pencil (the edition was 100), published by Pio Monti, Macerata, Italy, both in very good condition, both unframed. both I. 14 x 13 7/8 in. (35.6 x 35.2 cm) both S. 15 x 15 in. (38.1 x 38.1 cm)

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Literature Tate Gallery S11

Including: plate 2. Black grid, yellow circles, blue arcs from four sides, and red arcs from four corners; and plate 23. Blue grid, red circles, black arcs from four sides, and yellow arcs from four corners

401

401

SOL LEWITT 1928-2007 Arcs from sides or corners, grids and circles series: two plates, 1972 Two screenprints in colors, on Rives BFK paper, with full margins, both signed and annotated ‘A.P. 6’ in pencil (the edition was 100), published by Pio Monti, Macerata, Italy, both in very good condition, both unframed. both I. 14 x 13 7/8 in. (35.6 x 35.2 cm) both S. 15 x 15 in. (38.1 x 38.1 cm)

Estimate $ 2 , 5 0 0 - 3 , 5 0 0 Literature Tate Gallery S11

Including: plate 4. Black grid, red circles, yellow arcs from four sides, and blue arcs from four corners; and plate 21. Blue grid, yellow circles, black arcs from four sides, and red arcs from four corners


402

403

402

SOL LEWITT 1928-2007

403

SOL LEWITT 1928-2007

Bands of Lines in Four Directions, 1993

Curvy Bands portfolio, 1996

Woodcut in colors, on Japanese paper, with full margins, signed and numbered 83/125 in

The complete set of four woodcuts in colors, on Japanese paper, with full margins, all

pencil, in very good condition, framed.

signed and numbered 24/25 in pencil, all in very good condition, contained in original black

I. 12 1/2 x 12 1/2 in. (31.8 x 31.8 cm)

linen covered portfolio.

S. 16 1/2 x 16 1/2 in. (41.9 x 41.9 cm)

9 3/4 x 12 3/4 in. (24.8 x 32.4 cm).

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

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


404

404

SOL LEWITT 1928-2007 All One-, Two-, Three-, Four-, Five- & Six-Part Combinations of Six Geometric Figures, 1980 Screenprint, on Rives BFK paper, with full margins, signed and numbered 23/33 in pencil, published by the artist, occasional minor soiling, pale time staining, minor wear at sheet edges, otherwise in very good condition, framed. I. 64 1/2 x 37 1/4 in. (163.8 x 94.6 cm) S. 65 7/8 x 38 5/8 in. (167.3 x 98.1 cm)

Estimate $ 4 , 0 0 0 - 6 , 0 0 0 Literature Tate Gallery S33

405

405

SOL LEWITT 1928-2007 Isometric Figures series, 2002 The complete set of five linocuts in colors, on wove paper, with full margins, all signed and numbered 14/55 in pencil, published by ACS Editions, Lombardy, Italy, a few with occasional minor soiling in the margins, otherwise all in very good condition, unframed. all I. 15 x 24 3/4 in. (38.1 x 62.9 cm) all S. 19 3/4 x 29 1/2 in. (50.2 x 74.9 cm)

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


406

407

406

Larry Bell b. 1939

407

DAN FLAVIN 1933-1996

Untitled, 2006

In Fluorescent Light 8’ High to European Couples series, 1971-73

Coated glass and wood, signed and dated ‘06’ in silver marker, in very good condition.

Five lithographs in colors, on wove paper, the full sheets, all signed, titled, dated ‘1973’ and

21 1/8 x 21 1/8 x 5 1/8 in.

annotated ‘trial proof’ in pencil, printed by Styria Studio, New York, all with varying degrees

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

of orange staining (primarily near the sheet edges, some slightly affecting the title and annotation), occasional small foxmarks, otherwise all in good condition, all unframed. all S. 17 x 22 in. (43.2 x 55.9 cm)

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

Including: to Katherine and Christoph; to Sabine and Holger; to Barbara and Joost; to Pia and Franz and to Thordis and Heiner


408

408 ROBERT RYMAN b. 1930 Untitled, from Couples, 1993 Aquatint in off-white, on wove paper, with full margins, signed, dated ‘93’ and annotated ‘L4 L6’ and ‘ap’ in pencil (an artist’s proof, the edition was 75), published by Parasol Press, New York, in excellent condition, unframed. I. 12 3/4 x 12 3/4 in. (32.4 x 32.4 cm) S. 13 1/2 x 17 in. (34.3 x 43.2 cm)

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

410

409

409

ROBERT RYMAN b. 1930

410 AGNES MARTIN 1912-2004

Untitled (six original etchings) and Prints 1969-1993 (the Catalogue Raisonné by Amy Baker

15A, 1973

Sandback), 1993

Screenprint in gray, on Japanese rag paper, with full margins, signed and numbered 12/50

The complete set of six etchings in shades of white, on wove paper, the full sheets, plus the

in pencil (there were also 15 artist’s proofs lettered a-o), published by Parasol Press, New

Catalogue Raisonné of the artist’s prints from 1969-1993, one print signed, dated ‘93’ and

York, a darker paper fiber at center upper sheet edge, a foxmark at lower right margin,

numbered 42/50 in pencil, the catalogue raisonné printed in an edition of 250, published by

otherwise in very good condition, unframed.

Parasol Press, New York, all in excellent condition, contained in original linen-covered fold-

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

out box with the artist’s name embossed on the front.

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

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

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

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


411 ROBERT MANGOLD b. 1937 Fragments I-VII, 1997-98 The complete set of seven lithographs in colors, on Twinrocker Cream Calligraphy paper, with full margins, all signed, inscribed ‘I-VII’ respectively and numbered 16/25 in pencil (there were also 10 artist’s proofs), published by Brooke Alexander Editions, New York, a few with very minor soiling in the margins, otherwise all in very good condition, all unframed. all I. various sizes all S. 24 x 18 1/4 in. (61 x 46.4 cm)

Estimate $ 8 , 0 0 0 -12 , 0 0 0 Literature Amy Baker Sandback 59.01-59.04, 60, 61 and 62


412 RICHARD TUTTLE b. 1941 The Altos by Barbara Guest, 1991 The complete set of eleven etchings with hand-coloring, on Somerset paper, with full margins, printed on the half sheet, folded (as issued), with accompanying text by Barbara Guest printed in letterpress on the reverse, signed by the artist and author in pencil and black ink respectively on a blank page, from the edition of 120 (only 80 were for sale), published by Hine Editions/Limestone Press, San Francisco, a few with minor creasing at the sheet corners, otherwise all in very good condition, unframed, lacking original leather box. all I. 15 x 11 in. (38.1 x 27.9 cm) all S. 17 x 28 in. (43.2 x 71.1 cm)

Estimate $ 3 , 0 0 0 - 5 , 0 0 0 Literature CGAC Collection, Santiago de Compostela pp. 76 and 134


413 RICHARD TUTTLE b. 1941 A Drawing Book, 1983 The complete set of seven screenprints in colors, on cardboard, the full sheets, all with a complimentary signature and annotated ‘1-7’ in black ink, from the edition of 100 (the edition was unsigned), published by Galerie Hubert Winter, very minor scuffing visible only in raking light, a few with soft creasing in the corners, otherwise all in very good condition, all framed, lacking original folder. S. 8 3/8 x 5 1/2 in. (21.3 x 14 cm)

Estimate $1, 5 0 0 - 2 , 5 0 0 Literature CGAC Collection, Santiago de Compostela pp. 50 and 124


414

415

414 BERNAR VENET b. 1941

415 Michael Heizer b. 1944

Two Indeterminate Lines, circa 1990

Lashonda Series: Edition Four, 1975

Lithograph in colors, on Moulin de Gué paper, with full margins, signed, annotated

Unique screenprint in colors with drawing, on Arches 88 paper, with full margins, signed

‘Versialles’ and numbered 4/9 in pencil, in very good condition, unframed.

and numbered 6/13 in pencil (from the variant edition, there were also 6 artist’s proofs),

I. 15 1/2 x 20 1/4 in. (39.4 x 51.4 cm)

published by Gemini G.E.L., Los Angeles (with their blindstamps), minor surface soiling,

S. 19 3/4 x 24 in. (50.2 x 61 cm)

pale time/mat staining at the sheet edges, otherwise in good condition, framed. I. 23 1/2 x 20 3/4 in. (59.7 x 52.7 cm)

Estimate $ 8 0 0 -1, 2 0 0

S. 42 x 42 in. (106.7 x 106.7 cm)

Estimate $1, 0 0 0 -1, 5 0 0 Literature Gemini G.E.L. 649

416

417

416 Joel Shapiro b. 1941

417 ROBERT MANGOLD b. 1937

Spill, 1992

Yellow Curled Figure, 2002

Woodcut in blue, on Somerset paper, with full margins, signed, dated ‘92’ and numbered

Screenprint in colors, on wove paper, with full margins, signed and numbered 27/108 in

11/80 in pencil, a few minor pressure marks, otherwise in very good condition, unframed.

pencil (there were also 18 artist’s proofs), published by Lincoln Center List Print and Poster

I. 4 7/8 x 8 3/4 in. (12.4 x 22.2 cm)

Program, New York, in very good condition, unframed.

S. 22 1/8 x 30 3/8 in. (56.2 x 77.2 cm)

I. 22 1/4 x 30 in. (56.5 x 76.2 cm)

Estimate $ 6 0 0 - 8 0 0

S. 29 3/8 x 36 in. (74.6 x 91.4 cm)

Estimate $ 8 0 0 -1, 2 0 0 Literature Charles A. Riley 193


418

PROPERTY SOLD TO BENEFIT iCI (INDEPENDENT CURATOR’S INTERNATIONAL), NEW YORK

418 ROBERT RAUSCHENBERG 1925-2008 Untitled, Ft. Myers, from Independent Curators 15th Anniversary portfolio, 1979-1991 Gelatin silver print, on smooth photo paper, with full margins, signed and numbered 15/75 in black ink (there were also 25 artist’s proofs), published by Independent Curators International, New York, in very good condition, unframed. I. 8 3/4 x 13 in. (22.2 x 33 cm) S. 11 x 14 in. (27.9 x 35.6 cm)

Estimate $ 6 0 0 - 9 0 0

419

420

419 Cai Guo-qiang b. 1957 Alligator, 2006 Painted terra-cotta multiple, incised with signature, dated ‘2006’ and numbered 3/5 in the underside, in very good condition. 11 1/2 x 4 x 1 1/4 in. (29.2 x 10.2 x 3.2 cm)

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

420

Fang Lijun b. 1963 2000.5.5, 2000 Woodcut in black and gray, on laid paper, the full sheet, signed, inscribed ‘2000.5.5’ and numbered 20/65 in black ink, a crease at lower left, otherwise in very good condition, framed. S. 47 3/4 x 31 7/8 in. (121.3 x 81 cm)

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


421

422

421 Wang Guangyi b. 1957

422

Wang Guangyi b. 1957

Great Criticism-WTO, 2006

Gillette, 2002

Lithograph in colors, on Rives BFK paper, with full margins, signed and numbered 149/199

Lithograph in colors, on wove paper, with full margins, signed and numbered 120/199 in

in pencil, published by Kwai Po Collection, Hong Kong, in excellent condition, unframed.

pencil, published by Kai Po Collection, Hong Kong, a small area of pale soiling at center

I. 26 1/2 x 26 3/8 in. (67.3 x 67 cm)

right margin, minor skinning at the reverse of the upper corners, occasional pale soiling on

S. 32 1/8 x 30 1/4 in. (81.6 x 76.8 cm)

the reverse, otherwise in very good condition, unframed. I. 29 1/2 x 23 1/4 in. (74.9 x 59.1 cm)

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

S. 35 1/2 x 27 in. (90.2 x 68.6 cm)

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

423

424

423

ZHANG XIAOGANG b. 1958

424 ZHANG XIAOGANG b. 1958

My Dear Friend, 2002

Fantasy, 2002

Offset lithograph in colors, on Lana paper, with full margins, signed and numbered 70/99 in

Lithograph in colors, on Rives BFK paper, with full margins, signed and numbered 34/199 in

pencil, published by Kwai Po Collection, Hong Kong, occasional soft creases (particularly

pencil, published by Kwai Po Collection, Hong Kong, the palest yellow staining in the right

along the upper sheet edge), an abrasion at upper right corner, otherwise in good

margin, otherwise in very good condition, framed.

condition, framed.

I. 25 3/4 x 21 1/4 in. (65.4 x 54 cm)

I. 14 1/4 x 11 1/4 in. (36.2 x 28.6 cm)

S. 30 3/4 x 25 1/8 in. (78.1 x 63.8 cm)

S. 18 1/2 x 15 in. (47 x 38.1 cm)

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

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


425

425

TAKASHI MURAKAMI b. 1962

426

TAKASHI MURAKAMI b. 1963

Jellyfish Eyes, 2002

Supreme Skate Decks, 2007

Offset lithograph in colors, on smooth wove paper, the full sheet, signed with the

The complete set of three printed skate deck in colors, published by Supreme, New

artist’s swirl symbol, numbered 34/250 in black ink on a label affixed to the reverse,

York, all in very good condition, in original shrink-wrapping.

published by Kaikai Kiki, Tokyo, in very good condition, contained in the artist’s

all: 31 1/4 x 8 in. (79.4 x 20.3 cm)

original frame. diameter S. 22 in. (55.9 cm) frame diameter: 26 1/8 in. (66.4 cm)

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

Artwork © 2002 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

427

427

426

TAKASHI MURAKAMI b. 1963 Time Bokan-Pink; Time Bokan-Black and Moss Green; and Time Bokan-Missing in the Eyes-Red, 2006 Three offset lithographs in colors, on smooth wove paper, the full sheets, all signed, dated ‘06 and numbered 221/300, 196/300 and 169/300 respectively in silver ink, published by Kaikai Kiki, Tokyo, all in very good condition, all framed. all S. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm)

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

Artwork ©2006 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

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


428

428

TAKASHI MURAKAMI b. 1962 Kaikai and Kiki: “Lots of Fun”, 2009 Screenprint in colors, on smooth wove paper, the full sheet, signed, dated and numbered 54/300 in silver ink, published by Kaikai Kiki, Japan, in very good condition, unframed. S. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm)

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

Artwork ©2009 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights

429

429

TAKASHI MURAKAMI b. 1962 Dumb Compass; and And Then..., 2008 and 2009 One screenprint in colors and one offset lithograph in colors, on smooth wove paper, the full sheets, both signed, dated ‘07’ and ‘10’ and numbered 200/300 and 43/300 in silver ink respectively, published by Kaikai Kiki, Japan, compass with occasional minor scuffing and very soft handling creases, otherwise both in very good condition, both unframed. compass S. 33 3/8 x 26 1/4 in. (84.8 x 66.7 cm) and then S. 19 5/8 x 19 3/4 in. (49.8 x 50.2 cm)

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

The complete title of the second work is: And Then. When That’s Done...., I Change. What Yesterday is Cast Aside. Like An Insect Shedding its Skin. Artwork ©2008 and 2009 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

430

430

Hiroyuki Matsuura b. 1964 Blister Collection, 2007 Eight PiezoGraphs in colors, on canvas stretched over strainers, all contained in original plastic and paper packaging, all signed and numbered 70/88 in black ink on a sticker applied to the front of the packaging, published by Gallery Tagboat, Tokyo, all in excellent condition. all print: 8 3/4 x 8 3/4 in. (22.2 x 22.2 cm) all package: 14 1/2 x 10 3/4 in. (36.8 x 27.3 cm)

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

Including: Fi-jin; Rai-jin; Sweet Sugar Mushroom; Blue Eyed Soul; Freesia; Trick; Step and Shadow Wolf END OF SALE


INDEX

Abbott, M. 366 Aids-3D 381, 382 Albers, A. 5 Albers, J. 6, 7, 8, 9 Amer, G. 307 Andre, C. 276 Anuszkiewicz, R. 2, 3 Appel, K. 60 Araki, N. 190 Arman 67, 68 Artschwager, R. 313, 314 Bacon, F. 81, 82, 83 Baechler, D. 159, 160, 161, 162, 163, 365 Baldessari, J. 207, 208, 209, 210, 211, 212 Balthus 92 Banner, F. 279 Basquiat J.-M. (After) 372 Bavasso, N. 365 Bayrle, T. 139 Bearden, R. 127 Becher, B. & H. 243 Bechtle, R. 137 Bell, L. 406 Benglis, L. 51 Beuys, J. 237, 238, 239 Boberg, O. 278 Bosman, R. 205 Bourgeois L. 273 Braque, G. 105 Byrne, D. 364 Calder, A. 107, 108, 109 Carlberg, N. 4 Caulfield, P. 63 Celmins, V. 261 Chagall, M. 121, 122, 123, 124, 125, 126 Christo 70, 73, 74, 75, 76, 77, 78, 130 Clemente, F. 157, 158 Close, C. 165 Copley, W. (CPLY) 185 Corita, Sister Mary 369 Criqui S. 357 Dalí S. 128 Delaunay S. 61 Delvaux P. 91 Desmazières, E. 66 Diebenkorn, R. 23 Dill, L. 300, 301, 302, 303 Dine, J. 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155 Dintenfass, M. 26, 27 Doig, P. 362, 363 Dubuffet, J. 111, 262 Duchamp, M. 69

Eisenmann, N. 366 Eliasson, O. 355 Essenhigh, I. 364 Estes, R. 138 Fahlstrom, O. 223, 224, 225, 226 Farkhondeh, R. 307 Fischl, E. 195 Flavin D. 407 Francis S. 29, 30, 31, 32, 33, 34, 35, 36 Frankenthaler, H. 46, 47 Franqui, C. 109 Fudge, C. 387 Fulton, H. 271 Gerber A. 366 Gilliam, S. 52 Gonzalez-Torres, F. 275 Graham, R. 269 Green, G. 365 Grooms, R. 140 Guangyi, W. 421, 422 Guo Qiang, C. 419 Hamilton, A. 291 Hamilton, R. 62, 64 Hammond J. 309, 310, 311 Heizer, M. 415 Held, A. 21, 22 Heyboer, A. 93 Hirschhorn, T. 377 Hirst, D. 345, 346, 347, 348, 349, 350, 351, 352, 353, 354 Hockney, D. 84 Hodgkin, H. 37, 38, 39, 40 Holzer, J. 280 Hundertwasser, F. 88 Indiana, R. 186, 187, 370 Jawlensky von, A. 110 Jimenez, L. 184 Johns, J. 315 Judd, D. 391, 392, 393


Paolozzi, E. 87 Pasmore, V. 41 Pearson, B. 364 Kapoor, A. 390

Phillips, P. 85

Katz, A. 166, 167, 168, 169, 203

Picasso, P. (After) 116

Kearns, J. 365

Picasso, P. 112, 113, 114, 115, 117

Kelly, E. 13, 14, 15, 16, 17, 18, 19, 20

Pierson, J. 272

Kentridge, W. 228, 229, 230, 231, 232, 233

Polk Smith, L. 12

Kolár J. 79, 80

Porter, B. 281, 282, 283, 284, 285

Komar & Melamid 206

Prince, R. 337, 338

Koons, J. 341, 342, 343, 344 Kosuth, J. 274

Quinn, M. 359, 360, 361

Kulicke, R. 118 Kusama, Y 383, 384, 385, 386

Ramos, M. 183 Rauschenberg, R. 213, 214, 215, 216, 217, 218,

Laing, G. 85, 86

219, 220, 221, 418

Lee, N. 379

Richter, G. 248, 249, 250

Leger, F. 103

Rivers, L. 191

Leslie, A. 204

Rollins, T. & K.O.S. 270

LeWitt, S. 395, 396, 397, 398, 399, 400, 401, 402, 403, 404, 405

Rosen K. 286, 287, 288, 289

Lichtenstein, R. 131, 132, 133, 134, 135, 136

Rosenquist, J. 141, 142

Lijun, F. 420

Rosler, M. 292

Longo, R. 312

Roth, D. 234, 235

Lüthi, U. 245

Ruff, T. 263

Luyten, M. 65

Ruscha, E. 253, 254, 255, 256, 257, 258, 259, 260 Ryman, R. 408, 409

Magritte, R. (After) 90 Man Ray 71, 72, 89

Saar, A. 375

Mangold, R. 411, 417

Santlofer, J. 196

Marden, B. 394

Saul, P. 378

Marini, M. 106

Schnabel, J. 194

Martin, A. 410

Schneemann, C. 293

Masson, A. 94

Schoeller, M. 380

Matisse, H. 193

Seliger, J. 366

Matsuura, H. 430

Shahn, B. 374

Mazur, M. 170

Shapiro, J. 416

Mellyn, S. 365, 366

Siena, J. 388, 389

Milhazes, B. 57, 58

Simmons, G. 373

Minter, M. 189

Simmons, L. 340

Miró, J. 95, 96, 97, 98, 99, 100, 101, 102, 104

Simpson, L. 365

Mitchell, J. 50

Smith, K. 294, 295, 296, 297, 298, 299, 365

Monk, J. 240

Spero, N. 365

Moore, H. 119, 120

Spiller, W. 245

Morton, C. 356

Sprinkle, A. 308

Motherwell, R. 42, 43, 44, 45

Steir, P. 48, 49, 156

MR. 367, 368

Stella, F. 24, 25

Muniz, V. 164, 339

Stoll, G. 316

Murakami, T. 425, 426, 427, 428, 429

Sultan, D. 197, 198, 199, 200, 201, 202

Murray, E. 59 Mutu, W. 304

Taafe, P. 53 Tápies, A. 28

Nauman, B. 264, 265, 266, 267, 268

Tilson, J. 188

Nesbitt, L. 222

Ting, W. 236 Tiravanija, R. 241, 242

Ourster, T. 364

Tschape, J. 305 Tuttle, R. 412, 413 Tuymans, L. 246, 247 Various Artists, 364, 365, 366 Vasarely,V. 1 Vautier, B. 277 Venet, B. 414 Villon J. 129 Walker, K. 371 Ward, N. 364 Warhol, A. 317, 318, 319, 320, 321, 322, 323, 324, 325, 326, 327, 328, 329, 330, 331, 332, 333, 334,335, 336, 376 Wearing, G. 244 Weiss, D. 245 Welling J. 358 Wesselmann, T. 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182 West, F. 227 Wilke, H. 290 Williams, S. 306 Winters, T. 54, 55, 56 Wool C. 251, 252 Xiaogang, Z. 423, 424 Yuskavage, L. 192, 364 Zox, L. 10, 11


What Is A Print? An original print is a work of art on paper which has been conceived by the artist to be realized as a print, rather than as a photographic reproduction of a work in another medium. Prints are produced by drawing or carving a composition on a hard surface (the matrix ) such as a wood block, metal plate, or stone. This surface is then inked and the image is transferred to paper by the application of pressure, thus creating an “impression ” or print. Unlike paintings or drawings, prints usually exist in multiple impressions, each of which is pulled from the inked surface. The total number of impressions made is called an edition. Artists began to sign and number each impression around the start of the 20th century.

GLOSSARY We thank the International Fine Print Dealers Association for use of their official printmaking glossary. 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 ground or resin that is granular rather than solid (as in etching). Acid is applied which “bites” into the metal between the granules to produce areas which will catch the ink when it is wiped across the plate. The use of different resins with grains in varying densities will produce different degrees of darkness. Portions of the plate can be protected with varnish in order to expose the plate to multiple bitings without affecting the entire composition.

Spitbite Aquatint involves painting strong acid directly onto the aquatint ground of a prepared plate. Saliva, ethylene glycol or Kodak Photoflo solution is used to control the strength of the acid applied. Traditionally, a clean brush was coated with saliva, dipped into nitric acid and brushed onto the ground, hence the term “spitbite.”

Chine-collé, literally translated “Chinese glue,” is a technique that allows the 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 press transfers the image to the delicate surface of the paper which adheres to the dampened heavier paper at the same time.

Counterproofs are made by placing a dampened sheet of paper on top of a pastel and applying pressure to transfer the pastel image.

Digital Prints: Artists who use a computer to create or manipulate their works often use a large-scale ink jet printer to print them. These complex printers use a sophisticated print head to disperse the ink on the paper in a fine mist of minute droplets in order to deliver a continuous tone image. The distinction as to whether 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.

Drypoint prints are created by scratching a drawing into a metal plate with a needle or sharp tool. This intaglio technique gives the artist the greatest freedom of line, from the most delicate hairline to the heaviest gash. As the artist incises lines into the plate, metal shavings called “burr” are pushed up to the surface of the 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) wear more quickly than etched or engraved plates and therefore allow for fewer satisfactory impressions and show far greater differences from first impression to last.

Numbering. While the numbering of individual impressions can be found as early as the late nineteenth century, it did not become standard practice until the mid-1960’s. Today, all limited edition prints should be numbered. The numbering is transcribed as a fraction with the first number signifying the number of the individual impression and the second representing the total number of prints in the edition. The numbering sequence is not intended to reflect the order of printing; prints are not numbered as they come off the press but some time later, after the ink has dried. The edition number does not include proofs (see Proofs ), but only the total in the numbered edition

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 purchased the matrix from the artist. It should be limited in some way (though not necessarily hand-numbered) or it becomes simply a limitless restrike. Posthumous editions of prints that were pencil signed in their original edition frequently bear stamped signatures authorized by the artist’s heirs or the publisher.

Restrikes. Later impressions that have not been authorized by the artist or the artist’s heirs. While some restrikes are of good appearance, the excessive printing of the matrix tends to wear it out and many restrikes are only ghostly images of what the print is supposed to be. In the case of images that may be intrinsically valuable (i.e. Rembrandt etchings), the wornout copper plate is frequently reworked several centuries later so that while the restrike may be said to have come from the original plate, there is hardly anything left of the original work on the plate, even the plate signature often being re-etched by someone else. Second Edition. A second edition is a later printing, usually authorized by the artist or by the heirs, from the original matrix, after an edition of declared number has already been printed. It should be annotated as a second, or subsequent, 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 printed in a limited edition or not, is not a second edition; it is a reproduction.

Engraving is an intaglio technique in which the metal plate is marked or incised with a tool called a burin. As the burin is moved across the plate, copper shavings, called “burr,” are forced to either side of the lines being created. These are usually cleaned from the platve 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 or fine, has a sharp and clean appearance, and tapers to an end.

Wood Engravings are a form of relief printing in which the areas of the composition that are not to receive ink are carved away with fine engraving tools. Ink is applied to the raised surface and the composition transferred to paper with a press or by hand burnishing or rubbing. Incredible precision and detail is possible with this technique.

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 draws through the ground with a stylus to expose the metal. The plate is then immersed in an acid bath, which chemically dissolves or “bites” the exposed metal. The ground is removed before the plate is inked and printed. Etched lines usually have blunt rather than tapering ends.

Linocut, a form of relief printing, is a variation of the woodcut technique. The artist’s composition is cut into the surface of linoleum often backed by wood for reinforcement. Areas which are not to receive ink are carved away and separate 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.

Lithography. Literally, “stone drawing,” the artist draws or paints the composition on the flat surface of a stone with a greasy crayon or liquid. The design is chemically fixed on the stone with a weak solution of acid and gum arabic. In printing, the stone is flooded with water which is absorbed everywhere except where repelled by the greasy ink. Oil-based printer’s ink is then rolled on the stone, which is repelled in turn by the water soaked areas and accepted only by the drawn design. The stone is 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. The design may be divided among several stones, properly registered, to produce through multiple printings a lithograph in more than one color. A transfer lithograph (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.


A zincograph is the same as a lithograph, but uses a zinc plate rather than a stone.

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.

Mezzotint is another intaglio technique used to create areas of tone or shadow rather than lines. In this method, the entire surface of the plate is abraded by a 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

Monoprint/Monotype. As their names imply, monoprints and monotypes (the words are often used interchangeably but shouldn’t be) are prints that have an edition of one, though sometimes a second, weaker impression can be taken from the matrix. 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 produces an impression different in appearance from a conventionally printed impression from the same plate. Since it is virtually impossible to manipulate the additional ink in exactly the same way for each impression, every monoprint impression will be different. A monotype is made by drawing a design in printing ink on any smooth surface, then covering that matrix with a sheet of paper and passing it through a press. The resulting image will be an exact reverse of the original drawing, but relatively flatter because of the pressure of the press.

Pochoir is a direct method of adding hand-coloring to an impression through a stencil. The stencil itself is usually knife-cut from thin coated paper, paperboard, plastic, or metal and the ink or paint is applied with a brush through the stencil to the paper beneath.

Proofs Artist’s Proofs. This practice dates back to the era when an artist commissioned to execute a print was provided with lodging, living expenses, and 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 their editions, the tradition has persisted and a certain number of impressions are put aside for the artist. Artist’s proofs are annotated as such or as A.P., or Épreuve d’Artiste or E.A.

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. Hors Commerce Proof. Impressions annotated H.C. are supposedly “not for sale.” These “proofs” started to appear on the market as extensions of editions printed in the late 1960’s. They may differ from the edition by being printed on a different paper or with a variant inking; they may also not differ at all. Publishers sometimes use such impressions as exhibition copies, thereby preserving the numbered impressions from rough usage. Printer’s Proof. A complimentary proof given to the printer. There can be from one to several of these proofs, depending upon the number of printers involved and the generosity of the artist. 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, depending upon how a particular artist works, but it is usually a small number and each one usually differs from the others. In French, a trial proof is called an épreuve d’essai, in German a probedruck.

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 prints made in the nineteenth century were commissioned and brought to market 0by publishers.

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 attached to the mesh to block the flow of that particular color to the sheet of paper beneath it. A squeegee is used to force the paint through the exposed areas of the mesh. This technique is often referred to as serigraphy, a term coined to distinguish between commercial and artistic screenprinting.

Signatures. The very earliest prints were not signed at all, although by the late fifteenth century many artists indicated their authorship of a print by incorporating a signature or monogram into the matrix design, what is called “signed in the plate” or a “plate signature.” While some prints were pencil signed as early as the late 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 to be signed. When a print is described simply as “signed” it should mean that is signed in pencil, ink or crayon; a plate signature should not be described as “signed.” A stamped signature should be described as such.

Woodcut is a relief technique using a side-grained plank of wood in which the non-printing areas of the composition are cut away below the surface with a knife or gouge. While woodcuts were first seen in ninth-century China, Western artists have made woodcut prints since the fourteenth century. In the seventeenth and eighteenth centuries, Japanese artists using these techniques reached an exceptional level of artistic achievement, what is known as the ukiyo-e period or style.

Color woodcuts involve the use of separate blocks for each color, often with enormous complexity using multiple blocks and overlapping. White line woodcuts were the product of a technique developed by artists in the Provincetown art colony around 1915. By cutting a groove between each color in the composition, the artists were able to produce a color woodcut from a single 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.


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by $2,000s

$30,000 to $50,000

by $2,000s, 5,000, 8,000

Electrical and Mechanical Lots

$50,000 to $100,000

by $5,000s

All lots with electrical and/or mechanical features are sold on the basis of their decorative

$100,000 to $200,000

by $10,000s

value only and should not be assumed to be operative. It is essential that, prior to any intended

above $200,000

auctioneer’s discretion

use, the electrical system is verified and approved by a qualified electrician. The auctioneer may vary the increments during the course of the auction at his or her own Symbol Key

discretion.

The following key explains the symbols you may see inside this catalogue. 3 THE AUCTION O Guaranteed Property

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may

Conditions of Sale

be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party.

As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty.

Phillips de Pury & Company and third parties providing or participating in a guarantee may

All prospective bidders should read them carefully. They may be amended by saleroom

benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not

addendum or auctioneer’s announcement.

successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration against the final purchase price if such party is the successful

Interested Parties Announcement

bidder.

In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party


THE ITALIA AUCTION CONTEMPORARY ART PHOTOGRAPHS DESIGNS AUCTION 30 JUNE 2010 Viewing 19 – 29 June

LONDON

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 30 7318 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240 phillipsdepury.com SALVATORE SCARPITTA Trapped Canvas, 1958 Estimate £250,000-350,000


FILM

CONTEMPORARY ART AUCTION 24 JUNE 2010 Viewing 19 – 24 June

PHOTOGRAPHS

EDITIONS

MEMORABILIA

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1234 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

STAN DOUGLAS Subject to a film: Marnie, (one from the complete portfolio of six), 1988-1996 Estimate $6,000–9,000


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. For each purchased lot not collected from us at either our warehouse or our auction galleries by such date, Phillips de Pury & Company will levy an administrative fee of $35, a storage fee of $5 per day and a pro rated Insurance charge of 0.1% of the purchase price per month. 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.


CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship

(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which

between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers,

is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone

on the other hand. All prospective buyers should read these Conditions of Sale and Authorship

bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury

Warranty carefully before bidding.

& 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.

1 INTRODUCTION

Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

recording of the conversation.

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

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

or other written material posted by Phillips de Pury & Company in the saleroom, in each case

accepts personal liability to pay the purchase price, as described more fully in Paragraph 6

as amended by any addendum or announcement by the auctioneer prior to the auction.

(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

By bidding at the auction, whether in person, through an agent, by written bid, by telephone

as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so

that we will only look to the principal for such payment.

changed or supplemented, and Authorship Warranty. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

& Company to prospective buyers. While we undertake to exercise reasonable care in

all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or

reserve when submitting their absentee bids and otherwise comply with our employee bidding

financial interest in a lot as a secured creditor or otherwise.

procedures.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

5 CONDUCT OF THE AUCTION

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

(a) Unless otherwise indicated by the symbol

such description is changed or supplemented, as provided in Paragraph 1 above) and in the

is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller.

condition that they are in at the time of the sale on the following basis.

The reserve will not exceed the low pre-sale estimate at the time of the auction.

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a

on information provided to us by the seller, and Phillips de Pury & Company is not able to

lot for sale (including after the fall of the hammer) if he or she believes there may be error or

and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge

dispute and take such other action as he or she deems reasonably appropriate.

each lot is offered subject to a reserve, which

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,

(c) The auctioneer will commence and advance the bidding at levels and in increments he or

we shall exercise such reasonable care when making express statements in catalogue

she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place

descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale

one or more bids on behalf of the seller up to the reserve without indicating he or she is doing

and in light of (i) the information provided to us by the seller, (ii) scholarship and technical

so, either by placing consecutive bids or bids in response to other bidders.

knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

(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

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly,

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on

estimates in pounds sterling or euros should be treated only as a guide.

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

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

to bidding and have satisfied themselves as to both the condition of the lot and the accuracy

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

of its description.

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.

(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

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,”

prepare and provide condition reports to assist prospective buyers when they are inspecting

“returned to owner” or “bought-in.”

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

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale

referred to in the catalogue or condition report. All dimensions are approximate. Illustrations

and Authorship Warranty as if sold in the auction.

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.

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

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer

estimate, whether written or oral, and information in any catalogue, condition or other report,

price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to

commentary or valuation, is not a representation of fact but rather a statement of opinion held

and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

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

(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law.

& Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our

All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive

affiliated companies shall be liable for any difference between the pre-sale estimates for any

of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from

lot and the actual price achieved at auction or upon resale.

US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

participation in the sale. All bidders must register for a paddle prior to bidding, supplying such

following the auction regardless of any intention to obtain an export or import license or other

information and references as required by Phillips de Pury & Company.

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:

(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

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid

behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of

in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular

Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum

weekday business hours.

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

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer

not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest

provides to us acceptable government issued identification. Checks and banker’s drafts

possible price taking into account the reserve and other bidders. Any absentee bid must be

should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail,

received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid

please send the check or banker’s draft to the attention of the Client Accounting Department

received will take precedence.

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.


CONTEMPORARY ART AUCTIONS LONDON EVENING SALE 29 JUNE 2010 7pm DAY SALE Viewing 21 – 29 June

30 JUNE 2010 10am & 2pm

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 30 7318 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240 www.phillipsdepury.com GILBERT AND GEORGE Damned Buddleia, 1980 Estimate £150,000-200,000


(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank

shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to

transfer details:

recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable

Citibank

the seller to commence legal proceedings to recover the amounts due and legal costs.

322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33

(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips

ABA Routing: 021 000 089

de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and

For the account of Phillips de Pury & Company LLC

the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in

Account no.: 58347736

any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as

Please reference the relevant sale and lot number.

the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default

(d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

to one of our affiliated companies, we will so notify the buyer. Our security interest in any

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.

release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s

(c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer

unconditional obligation to pay the Purchase Price.

also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the

7 COLLECTION OF PROPERTY

payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

buyer’s property has been delivered to an affiliated company by way of pledge.

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including

10 Rescission by Phillips de Pury & Company

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

other terms as we in our sole discretion shall require, including completing any anti-money

without notice to the buyer if we reasonably believe that there is a material breach of the

laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

foregoing conditions, and no later than five days after the conclusion of the auction, he or she

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

collection of purchased property.

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

(b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th

& Company and the seller with respect to such rescinded sale..

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

11 Export, Import and Endangered Species Licenses and Permits

& Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand

Before bidding for any property, prospective buyers are advised to make their own inquiries

carry back to our premises at 450 West 15th Street, New York, New York for collection within

as to whether a license is required to export a lot from the United States or to import it into

30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the

another country. Prospective buyers are advised that some countries prohibit the import

responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five

of property made of or incorporating plant or animal material, such as coral, crocodile,

days after the auction. Until risk passes, Phillips de Pury & Company will compensate the

ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.

buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid,

Accordingly, prior to bidding, prospective buyers considering export of purchased lots should

subject to our usual exclusions for loss or damage to property.

familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased

export, import and endangered species licenses or permits. Failure to obtain a license or

lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling,

permit or delay in so doing will not justify the cancellation of the sale or any delay in making

insurance and shipping services or coordinate with shipping agents instructed by the buyer in

full payment for the lot.

order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and

12 Client Information

responsibility, and we will not be liable for acts or omissions of third party packers or shippers.

In connection with the management and operation of our business and the marketing and

Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924

supply of auction related services, or as required by law, we may ask clients to provide

6477 at least 24 hours in advance of collection in order to schedule pickup.

personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as

(d) Phillips de Pury & Company will require presentation of government issued identification

“sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use

prior to release of a lot to the buyer or the buyer’s authorized representative.

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

8 FAILURE TO COLLECT PURCHASES

you would like further information on our policies on personal data or wish to make corrections

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the

to your information, please contact us at +1 212 940 1228. If you would prefer not to receive

auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro

details of future events please call the above number.

rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer

13 Limitation of Liability

authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction

(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our

or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable

affiliated companies and the seller to the buyer in connection with the sale of a lot shall be

discretion. The proceeds of such sale will be applied to pay for storage charges and any other

limited to the Purchase Price actually paid by the buyer for the lot.

outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any

two years of the original auction.

of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or

9 REMEDIES FOR NON-PAYMENT

any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement

or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our

fails to make payment of the Purchase Price for a lot in cleared funds within five days of the

affiliated companies in connection with the conduct of the auction or for any other matter

auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the

relating to the sale of any lot.

following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii)

(c) All warranties other than the Authorship Warranty, express or implied, including any

cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated

warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de

damages; (iii) reject future bids from the buyer or render such bids subject to payment of a

Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law.

deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer,

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our

exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury

affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

& Company and instruct our affiliated companies to exercise a lien over any of the buyer’s

the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss

property which is in their possession and, in each case, no earlier than 30 days from the date

or damage is characterized as direct, indirect, special, incidental or consequential, or for the

of such notice, arrange the sale of such property and apply the proceeds to the amount owed

payment of interest on the Purchase Price to the fullest extent permitted by law.

to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of

by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s

Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any

reasonable discretion, it being understood that in the event such resale is for less than the

fraud or fraudulent misrepresentation made by any of us or in respect of death or personal

original hammer price and buyer’s premium for that lot, the buyer will remain liable for the

injury caused by our negligent acts or omissions.


DESIGN INCLUDING THE HALSEY MINOR COLLECTION

AUCTION 9 JUNE 2010 Viewing 1 – 9 JUNE

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

HARRY BERTOIA Early “Dandelion” Sculpture, ca. 1960 Estimate $130,000-150,000


AUTHORSHIP WARRANTY 14 Copyright

Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a

The copyright in all images, illustrations and written materials produced by or for Phillips de

period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions

Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain

and limitations set forth below.

at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of

& Company and the seller make no representations or warranties that the buyer of a lot will

record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not

acquire any copyright or other reproduction rights in it.

extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created

15 General

prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above,

less than 50 years ago with an intent to deceive) and has a value at the date of the claim under

and Authorship Warranty set out the entire agreement between the parties with respect to the

this warranty which is materially less than the Purchase Price paid; (iii) property where the

transactions contemplated herein and supersede all prior and contemporaneous written, oral

description in the catalogue states that there is a conflict of opinion on the authorship of the

or implied understandings, representations and agreements.

property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department

whose description or dating is proved inaccurate by means of scientific methods or tests not

in charge of the sale, quoting the reference number specified at the beginning of the sale

generally accepted for use at the time of the publication of the catalogue or which were at such

catalogue. Notices to clients shall be addressed to the last address notified by them in writing

time deemed unreasonably expensive or impractical to use.

to Phillips de Pury & Company. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves (c) These Conditions of Sale are not assignable by any buyer without our prior written consent

the right, as a condition to rescinding any sale under this warranty, to require the buyer to

but are binding on the buyer’s successors, assigns and representatives.

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

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable

by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury

for any reason, the remaining provisions shall remain in full force and effect. No failure by any

& Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the

party to exercise, nor any delay in exercising, any right or remedy under these Conditions of

buyer the reasonable costs charged by the experts commissioned by the buyer and approved in

Sale shall act as a waiver or release thereof in whole or in part.

advance by us.

16 Law and Jurisdiction

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim

(a) The rights and obligations of the parties with respect to these Conditions of Sale and

for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury

Authorship Warranty, the conduct of the auction and any matters related to any of the

& Company in writing within three months of receiving any information which causes the

foregoing shall be governed by and interpreted in accordance with laws of the State of New

buyer to question the authorship of the lot, specifying the auction in which the property was

York, excluding its conflicts of law rules.

included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction

same condition as at the time of its auction and is able to transfer good and marketable title in

of the (i) state courts of the State of New York located in New York City and (ii) the federal

the lot free from any third party claim arising after the date of the auction.

courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

and Authorship Warranty relate or apply.

Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips

(c) All bidders and sellers irrevocably consent to service of process or any other documents in

de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other

connection with proceedings in any court by facsimile transmission, personal service, delivery

remedy available as a matter of law. This means that none of Phillips de Pury & Company, any

by mail or in any other manner permitted by New York law or the law of the place of service, at

of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy

the last address of the bidder or seller known to Phillips de Pury & Company.

expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.


phillips de pury & company

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Chief Executive Officer Bernd Runge

Rodman Primack

Lady Elena Foster

Olivier Vrankenne

H.I.H. Francesca von Habsburg Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

International Specialists

Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Buenos Aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

London Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611

Los Angeles Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771 Milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671 Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22

Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805

Singapore Chin-Chin Yap, Specialist, Contemporary Art +1 347 784 6916 Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

General Counsel Patricia G. Hambrecht

Managing Directors Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORLDWIDE OFFICES NEW YORK

PARIS

GENEVA

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +41 22 906 80 00 fax +41 22 906 80 01

LONDON

BERLIN

Howick Place, London SW1P 1BB, United Kingdom

Auguststrasse 19, 10117 Berlin, Germany

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +49 30 8800 1842 fax +49 30 8800 1843


SPECIALISTs AND DEPARTMENTS

CONTEMPORARY ART

MODERN AND CONTEMPORARY EDITIONS

New York

Michael McGinnis, Senior Director +1 212 940 1254

Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

Kelly Troester, Worldwide Co-Director +1 212 940 1221

New York

Jannah Greenblatt +1 212 940 1332

Joy Deibert +1 212 940 1333

and Worldwide Head, Contemporary Art

Aileen Agopian, New York Director +1 212 940 1255

Sarah Mudge, Head of Part II +1 212 940 1259 Jeremy Goldsmith +1 212 940 1253

Timothy Malyk +1 212 940 1258

New York

Jean-Michel Placent +1 212 940 1263

PHOTOGRAPHS

Rodman Primack +1 212 940 1256

Roxana Bruno +1 212 940 1229

Shlomi Rabi +1 212 940 1246

Maria Bueno +1 212 940 1261

Caroline Shea +1 212 940 1247

Carol Ehlers, Consultant +1 212 940 1245

Sara Davidson +1 212 940 1262

Alexandra Leive +1 212 940 1252

Sarah Krueger +1 212 940 1245

Peter Flores +1 212 940 1223

Vanessa Kramer, New York Director +1 212 940 1243

(Uli) Zhiheng Huang +1 212 940 1288

Sarah Stein-Sapir +1 212 940 1200

(Administrative Assistant to Michael McGinnis)

LONDON Lou Proud +44 20 7318 4018

Sebastien Montabonel +44 20 7318 4025

LONdON Peter Sumner, Head of Sales, London +44 20 7318 4063

Alexandra Bibby +44 20 7318 4087

Rita Almeida Freitas +44 20 7318 4087

Henry Allsopp +44 20 7318 4060

Helen Hayman +44 20 7318 4092

Laetitia Catoir +44 20 7318 4064

Emma Lewis +44 20 7318 4092

Judith Hess +44 20 7318 4075

Leonie Moschner +44 20 7318 4074

Ivgenia Naiman +44 20 7318 4071

Sarah Buchwald +44 20 7318 4085

Catherine Higgs +44 20 7318 4089

George O’Dell +44 20 7318 4093 Raphael Lepine +44 20 7318 4078

JEWELRY

Nazgol Jahan, Worldwide Director +1 212 940 1283 New York

Carmela Manoli +1 212 940 1302

Tanya Tikhnenko +44 20 7318 4065

Emily Bangert +1 212 940 1365

Heather Zises +1 212 940 1290

Phillippa Willison +44 20 7318 4070

GENEVA

PARIS

Edouard de Moussac + 33 1 42 78 67 77

Carolin Bulgari +41 22 906 80 00

Veronica Lota +41 22 906 80 00

DESIGN Alexander Payne, Worldwide Director +44 20 7318 4052

LONDON

Lane McLean +44 20 7318 4032

New York

THEME SALES

Alex Heminway, New York Director +1 212 940 1269

New York

Tara DeWitt +1 212 940 1265

Meaghan Roddy +1 212 940 1266 Marcus Tremonto +1 212 940 1268

Alexandra Gilbert +1 212 940 1268

Corey Barr, New York Manager +1 212 940 1234

Steve Agin, Consultant +1 908 475 1796 Anne Huntington +1 212 940 1210

Stephanie Max +1 212 940 1301

LONDON Domenico Raimondo +44 20 7318 4016

Ellen Stelter +44 20 7318 4021

LONDON

Tobias Sirtl, London Manager +44 20 7318 4095

Ben Williams +44 20 7318 4027

Henry Highley +44 20 7318 4061

Marcus McDonald +44 20 7318 4014

Marine Hartogs +44 20 7318 4021

PARIS Johanna Frydman +33 1 42 78 67 77

Arianna Jacobs +44 20 7318 4054

Siobhan O’Connor +44 20 7318 4040 Private sales

New York

Andrea Hill +1 212 940 1238

editorial Karen Wright, Senior Editor Iggy Cortez, Assistant to the Editor

art and production Fiona Hayes, Art Director NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager London Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager

Marketing NEW YORK Trish Walsh, Marketing Manager


SALE INFORMATION

Auction

Catalogues

Tuesday 8 June 2010 at 10am & 2:30pm

Leslie Pitts +1 212 940 1240 $60/£30 at the Gallery

Viewing

catalogues@phillipsdepury.com

Tuesday 1 June – Saturday 5 June, 10am – 6pm Sunday 6 June, 12pm – 6pm

Absentee and Telephone Bids

Monday 7 June, 10am – 6pm

Rebecca Lynn, Manager +1 212 940 1228 +1 212 924 1749 fax

Tuesday 8 June, 10am – 12pm

Maureen Morrison, Bid Clerk +1 212 940 1228 bids@phillipsdepury.com

Viewing & Auction Location 450 West 15 Street New York NY 10011

client accounting Sylvia Leitao +1 212 940 1231

Sale Designation

Buyers Accounts

In sending written bids or making enquiries please refer to this

Nicole Rodriguez +1 212 940 1235

sale as NY030110 or Modern and Contemporary Editions.

Seller Accounts Barbara Doupal +1 212 940 1232

Worldwide Directors Kelly Troester +1 212 940 1221 Cary Leibowitz +1 212 940 1222 cataloguer Jannah Greenblatt +1 212 940 1332 Administrator Joy Deibert +1 212 940 1220 +1 212 940 1213 fax

Nadia Somwaru +1 212 940 1280 Client Services +1 212 940 1200 Shipping Beth Petriello +1 212 940 1373 Jennifer Brennan +1 212 940 1372

Property Manager Hannah Ault, +1 212 940 1284 Photography Morten Smidt, Kent Pell, Clint Blowers

Front Cover Robert Rauschenberg, Preview, from Hoarfrost Editions series, 1974, Lot 216 Inside Front Cover Bruce Nauman, Bound to Fail, from Eleven Color Photographs, 1967-70, Lot 264 (detail); Andy Warhol, Myths: The Star, 1981, Lot 324 (detail); Andy Warhol, Myths: The Shadow, 1981, Lot 325 (detail) Title Page Richard Prince, 8 x 10 portfolio, 1999, Lot 337 (detail) Inside Back Cover Pablo Picasso, 347 series: Don Quichotte, Sancho et un ‘Mousquetaire’, regardant passer dulcinee sur une charrette tiree par un homme masque, plate 198, 1968, Lot 113 (detail) Back Cover Man Ray, Le voyeur (Peeping Tom), 1975, Lot 71 (detail)


w w w. p h i l l i p s d e p u ry.c o m

Editions Sale NY  

NY Auction 8 June 2010

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