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MODERN AND CONTEMPORARY

EDITIONS 15 NOVEMBER 2009 N EW YOR K NY0 3 0 2 0 9

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

MODERN AND CONTEMPORARY

EDITIONS 15

NOVEMBER

2009

NEW YORK


Front Cover Sherrie Levine, Mondrian’s Tableau No II, from Meltdown Portfolio, 1989, Lot 427 Inside Front Cover Cy Twombly, from Six Latin Writers and Poets, 1976, Lot 155


Gerhard Richter, Ravine, 1997, Lot 219


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

EDITION S 15

NOVEMB ER

2009

12 p m

NE W YO RK

LOTS 1- 471 Viewing Saturday 7 November 10am – 6pm Sunday 8 November 12pm – 6pm Monday 9 November 10am – 6pm Tuesday 10 November 10am – 6pm Wednesday 11 November 10am – 6pm Thursday 12 November 10am – 6pm Friday 13 November 10am – 6pm Saturday 14 November 10am – 6pm


1

1 LISA RUYTER

b. 1968

Peckinpah, 1999 Screenprint in colors, on Moulin des Berger paper, with full margins, signed, titled, dated ‘99’ and numbered 28/60 in pencil (there were also 10 artist’s proofs), published by Rogue Fine Art, Long Island City, New York, in very good condition, framed. I. 22 1/2 x 30 in. (57.2 x 76.2 cm) S. 29 1/2 x 42 1/2 in. (74.9 x 108 cm)

Estimate $1,500-2,500 

2

2 GARY HUME

b. 1962

Untitled, 1995 Screenprint in colors, on wove paper, with full margins, signed, dated ‘95’ and numbered 14/25 in pencil (there were also a few unrecorded artist’s proofs), published by Institute of Contemporary Arts, London, pale time staining, otherwise in very good condition, framed. I. 25 3/8 x 20 1/8 in. (64.5 x 51.1 cm) S. 33 x 25 3/4 in. (83.8 x 65.4 cm)

Estimate $1,200-1,800  LITERATURE Jay Jopling/White Cube and The Paragon Press p. 18-19

3 GARY HUME

b. 1962

Snowman, 1996 Screenprint in colors, on pink felt, with full margins, signed, titled, dated ‘96’ and numbered 23/55 in white pen (there were also 20 artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and New York, in excellent condition, framed. I. 8 1/4 x 5 in. (21 x 12.7 cm)

3

S. 11 3/4 x 11 7/8 in. (29.8 x 30.2 cm)

Estimate $1,800-2,500  LITERATURE Jay Jopling/White Cube and The Paragon Press p. 22-23; Edition for

Parkett 48

4

4 DAN FLAVIN

1933-1996

Guggenheim Tondo, 1992 Mezzotint in two colors (one on each side), printed on both sides of handmade paper, the full sheet, signed, dated ‘1992’ and numbered 15/25 in pencil on both sides, published by the Guggenheim Museum, New York, in excellent condition, unframed. S. diameter: 13 1/2 in. (34.3 cm)

Estimate $1,000-1,500 

one side

other side


5

5 SIR TERRY FROST

1915-2003

Halzephron: plate D, 2001 Woodcut and collage in colors, on Arches paper, the full sheet, signed, dated ‘02’, annotated ‘D’ and numbered 31/40 in pencil on the reverse (there were also 8 artist’s proofs), published by Paragon Press, London, in very good condition, unframed. S. 24 x 15 in. (61 x 38.1 cm)

Estimate $1,200-1,800

6

6 IMI KNOEBEL

b. 1940

Untitled, 1996 The set of four lithographs in colors with hand-stenciling, on Somerset Velvet paper, with full margins, all signed, dated ‘96’ and numbered ‘PP 1/5’ in pencil (printer’s proofs, the editions were 30 and 15 artist’s proofs for all), co-published by Brooke Alexander Editions, New York, and Sabine Knust Maximilian Verlag, Munich, all in excellent condition, all unframed. all I. 19 3/4 x 14 in. (50.2 x 35.6 cm) all S. 22 3/4 x 16 in. (57.8 x 40.6 cm)

Estimate $2,000-3,000 


7 SOL LEWITT

1928-2007

Isometric Figures in Five and Six Colors series, 2002 The complete set of five linocuts in colors, on wove paper, with full margins, all signed and numbered 31/55 in pencil, published by ACS Editions, Lombardy, Italy, all in excellent condition, all unframed. all I. 15 x 24 7/8 in. (38.1 x 63.2 cm) all S. 19 3/4 x 29 3/4 in. (50.2 x 75.6 cm)

Estimate $10,000-15,000 


8

9

8 AL HELD

1928-2005

9 ANDREW SPENCE

b. 1947

Magenta, 1990

Untiled, 1989

Aquatint in colors, on wove paper, with full margins, signed, dated ‘90’ and

Four aquatints in colors, on wove paper, with full margins, all signed, dated ‘89’

numbered 7/50 in pencil on the reverse (there were also 10 artist’s proofs,

and numbered 16/30 in pencil, a very pale stain at the lower right margin corner,

published by Crown Point Press, San Francisco (with their inkstamp on the

otherwise all in very good condition, all unframed.

reverse), in very good condition, framed.

various sizes

I. 35 3/4 x 44 3/4 in. (90.8 x 113.7 cm) S. 41 1/4 x 54 1/8 in. (104.8 x 137.5 cm)

Estimate $2,500-3,500 

Estimate $1,200-1,600 


10

11

10 MARY HEILMANN

b. 1940

11 JO NIEMEYER

b. 1946

Sound of White Water; Earth and Air; African; and Arbor Piece II, 2000

[Untitled]: 8 plates, circa 1984

Four lithographs in colors, on Somerset Velvet paper, with full margins, all signed,

Eight screenprints in colors, on wove paper, with full margins and the full sheets,

dated ‘00’ and numbered ‘P.P. 10/10’ in pencil (printer’s proofs, the editions were

all signed, some dated and most variously numbered in pencil, all in very good

350 and 10 artist’s proofs for all), published by the Public Art Fund, New York, all

condition, all unframed.

in excellent condition, all unframed.

various sizes

all I. 22 1/2 x 34 3/8 in. (57.2 x 87.3 cm) all S. 27 x 38 3/8 in. (68.6 x 97.5 cm)

Estimate $2,500-3,500 

Estimate $1,000-1,500 


12

12 HANS (JEAN) ARP

1886-1966

Configuration II, 1949 Woodcut in colors, on Fabriano Italia paper, with full margins, signed and numbered 45-45 in pencil, very pale mat staining, otherwise in very good condition, framed. I. 17 3/4 x 16 in. (45.1 x 40.6 cm) S. 25 1/4 x 19 1/2 in. (64.1 x 49.5 cm)

Estimate $700-900  LITERATURE Wilhelm Arntz 281

13 GÜNTHER FÖRG

b. 1952

Untitled 1; and 2, 1990 Two woodcuts in red, on wove paper, with full margins, both signed, dated ‘90’ and numbered 11/20 in pencil, published by Santa Monica Editions, California, soft creasing in places along the sheet edges, otherwise both in excellent condition, both unframed. both I. 95 3/4 x 48 in. (243.2 x 121.9 cm) both S. 100 x 52 in. (254 x 132.1 cm)

Estimate $5,000-7,000 

13


14

14 LARRY ZOX

1936-2006

Untitled, circa 1978 Screenprint in colors, on wove paper, with full margins, signed and numbered

15

149/200 in pencil, in very good condition, unframed. I. 18 1/8 x 46 1/2 in. (46 x 118.1 cm) S. 25 1/8 x 52 3/8 in. (63.8 x 133 cm)

Estimate $700-900 

15 LARRY ZOX

1936-2006

Scissors Jack I and II, 1978 Two screenprints in colors, on Rives BFK paper, with full margins, both signed and numbered VIII/XXX and IX/XXX in pencil, both in very good condition, both unframed. both I. 24 x 32 1/8 in. (61 x 81.6 cm) both S. 29 3/4 x 39 1/4 in. (75.6 x 99.7 cm)

Estimate $800-1,200 

16

16 LARRY ZOX

1936-2006

Untitled (Mostly Mozart Festival), 1971 Screenprint in colors, on wove paper, with full margins, signed and numbered 82/198 in pencil, published by Lincoln Center List Poster and Print Program, New York, in very good condition, framed. I. 80 3/4 x 40 in. (205.1 x 101.6 cm) S. 83 3/4 x 42 1/4 in. (212.7 x 107.3 cm)

Estimate $1,500-2,500  LITERATURE Charles A. Riley p. 135


17

17 LARRY ZOX

1936-2006

Niagara series; six plates, 1979-81 Six screenprints in colors, on Arches paper, with full margins, all signed and variously numbered from the editions of 160 or 185 in pencil, co-published by London Arts, Inc., Detroit and Post Oak Fine Art Distributors, Houston, a few with slight smudging or offsetting to the signatures or numbering, a few with the palest time staining, otherwise all generally in very good condition, all unframed. all I. various sizes all S. approx. 42 1/2 x 30 in. (108 x 76.2 cm)

Estimate $1,200-1,800 

18

18 JACK YOUNGERMAN

b. 1926

Mandala (black); Orbit (blue); Galaxy (aqua); [Untitled] (red) and [Untitled] (brown), 1983 Five screenprints and pochoir in colors with embossing, on wove paper, with full margins, all signed, dated ‘83’ and numbered 14/75, 71/75, 22/75, 12/75 and 20/75 in pencil (graphite or white), published by Transworld Art, New York (with their stamp on the reverse), minor scuffing in places, occasional nicks at the sheet edges, otherwise all in very good condition, all unframed. all I. 36 3/8 x 35 1/2 in. (92.4 x 90.2 cm) all S. 36 7/8 x 36 in. (93.7 x 91.4 cm)

Estimate $900-1,200 


19

20

19 VICTOR VASARELY

1908-1997

Untitled, circa 1980 Metal multiple with colored panels, from the edition of unknown size, occasional soiling and minor scuffing, lint accretions at the seams, otherwise in good condition. 20 x 20 x 19 in. (50.8 x 50.8 x 48.3 cm)

Estimate $2,500-3,500 

20 VICTOR VASARELY

1908-1997

Gestalt, 1980 Wood multiple hand-painted in colors, signed in pencil and numbered 81/100 in black ink, two pressure marks on the upper face, a few small areas of soiling, occasional nicks and paint loss along the edges, otherwise in very good condition. 16 5/8 x 15 1/2 x 2 in. (42.2 x 39.4 x 5.1 cm)

Estimate $4,000-6,000 

21

21 VICTOR VASARELY

1908-1997

Gestalt Sin, 1971 Screenprint in colors, on plastic multiple, signed and numbered 45/300 on a label affixed to the reverse, published by Editions du Griffon, Neuchâtel, Switzerland, a few spots of ink loss at the edges, otherwise in very good condition, contained in original custom box. 15 3/4 x 23 1/4 x 1 1/4 in. (40 x 59.1 x 3.2 cm)

Estimate $1,000-1,500 


22

22 GÜNTHER FÖRG

b. 1952

23 GÜNTHER FÖRG

b. 1952

Wandmalerei Graz I; II; and III, 1987

Untitled; and Untitled, 1990

Three screenprints in colors, on J. Perrigot Arches Special MBM paper, with full

Two etching and aquatints in colors, on wove paper, with full margins, both signed,

margins, all signed, titled, dated ‘87’ and numbered 4/30 in pencil, all in excellent

dated ‘90’ and numbered 26/36 in pencil, published by Sabine Knust Maximilian

condition, all unframed.

Verlag, Munich, one with minor surface soiling, otherwise both in very good

all I. 27 x 19 1/8 in. (68.6 x 48.6 cm)

condition, both framed.

all S. 31 1/4 x 22 1/2 in. (79.4 x 57.2 cm)

both I. 14 3/8 x 12 in. (36.5 x 30.5 cm)

Estimate $1,500-2,000 

both S. 30 x 21 1/4 in. (76.2 x 54 cm)

Estimate $1,500-2,500 

23


24

24 ELLSWORTH KELLY

b. 1923

Concorde I, 1982 Aquatint and etching, on Arches Cover paper, with full margins, signed and annotated ‘SP I state’ in pencil (a special proof, the edition was 18 and 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), minor surface soiling, a spot of soiling at the left center margin, otherwise in very good condition, framed. I. 16 3/4 x 11 1/8 in. (42.5 x 28.3 cm) S. 32 3/4 x 25 1/4 in. (83.2 x 64.1 cm)

Estimate $4,000-6,000  LITERATURE Gemini G.E.L. 995; Richard Axsom 196

25 ELLSWORTH KELLY

b. 1923

Red, 2001 Lithograph in red, on wove paper, with full margins, signed and numbered 39/45 in pencil (there were also 15 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), in excellent condition, framed. I. 37 1/4 x 24 in. (94.6 x 61 cm) S. 47 1/2 x 36 1/8 in. (120.7 x 91.8 cm)

Estimate $6,000-8,000  LITERATURE Gemini G.E.L. 1886

25


26

27

26 ELLSWORTH KELLY

b. 1923

b. 1923

Untitled (white curve), 1997

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

Lithograph in gray, on wove paper, the full sheet, signed and numbered 14/75 in

‘AP 22/25’ in pencil (an artist’s proof, the edition was 80), published by Gemini

pencil (there were also 20 artist’s proofs), published by Gemini G.E.L., Los Angeles,

G.E.L., Los Angeles (with their blindstamps and the Ellsworth Kelly copyright

minor creasing in the lower right corner, otherwise in very good condition, framed.

stamp), an area of very pale soiling in the upper margin, otherwise in very good

S. 16 5/8 x 16 1/2 in. (42.2 x 41.9 cm)

condition, framed.

Estimate $1,200-1,800 

I. 30 x 30 in. (76.2 x 76.2 cm) S. 37 x 35 7/8 in. (94 x 91.1 cm)

LITERATURE Gemini G.E.L. 1745

Estimate $3,000-5,000  LITERATURE Gemini G.E.L. 1524

28

27 ELLSWORTH KELLY

Blue/Yellow/Red, 1992

28 JO BAER

b. 1929

Cardinations series: plates 2; 6; 7; and 8, 1974 Four screenprints in colors, on wove paper, with full margins, all signed, dated ‘74’ and numbered 32/75 in pencil (there were also 15 artist’s proofs), published by Brooke Alexander Editions, New York, all with minor surface soiling, one with mat staining, one with a crease at upper right margin, otherwise all in very good condition, all unframed. all I. 24 5/8 x 18 5/8 in. (62.5 x 47.3 cm) all S. 28 3/8 x 21 in. (72.1 x 53.3 cm)

Estimate $2,500-3,500 


29

29 JOSEF ALBERS

1888-1976

Homage to the Square: Aura; and Reserved; and Homage to the Square: MMA-1, 1962 Three screenprints in colors, on Mohawk Superfine Bristol and wove papers, with full margins, two from the editions of 250, MMA-1 from the unsigned edition of 400 (there was also a signed edition of 100 and 14 artist’s proofs), all published by Ives-Sillman Inc., New Haven, MMA-1 published in commemoration of the 100th anniversary of the Metropolitan Museum of Art, New York, MMA-1 with minor a few minor scuffs (visible only in raking light), a few areas of minor soiling in the margins, otherwise all in very good condition, all unframed. two I. 11 x 11 in. (27.9 x 27.9 cm) two S. 17 x 17 in. (43.2 x 43.2 cm); MMA-1 I. 15 x 15 in. (38.1 x 38.1 cm)

30

MMA-1 S. 24 1/2 x 24 1/2 in. (62.2 x 62.2 cm)

Estimate $800-1,200  LITERATURE Brenda Danilowitz 156.8; 156.9 and 200

30 JOSEF ALBERS

1888-1976

Six Variants portfolio: I-S Va 3, 1969 Screenprint in colors, on Arches paper, with full margins, signed, dated ‘69’, titled and numbered 89/150 in pencil (there were no artist’s proofs), published by Ives-Sillman, Inc., New Haven (with their blindstamp), light-staining, two soft handling creases and a pressure mark in the center of the bright green area, a scuff in the center image (mainly visible in raking light), a soft crease and mat

31

staining along the extreme right sheet edge, otherwise in good condition, framed. I. 24 x 27 3/4 in. (61 x 70.5 cm) S. 27 7/8 x 35 5/8 in. (70.8 x 90.5 cm)

Estimate $800-1,200  LITERATURE Brenda Danilowitz 192.3

31 JOSEF ALBERS

1888-1976

Six Variants portfolio: I-S Va 2, 1969 Screenprint in colors, on Arches paper, with full margins, signed, dated ‘69’, titled and numbered 41/150 in pencil (there were no artist’s proofs), published by Ives-Sillman, Inc., New Haven (with their blindstamp), light- and mat staining, a

32

few very minor handling creases in the margins, a few nicks in places along the sheet edges, otherwise in good condition, framed. I. 21 1/2 x 29 7/8 in. (54.6 x 75.9 cm) S. 27 7/8 x 35 3/8 in. (70.8 x 89.9 cm)

Estimate $800-1,200  LITERATURE Brenda Danilowitz 192.2

32 ANNI ALBERS

1899-1994

Connections portfolio, 1925-1983 The complete set of nine screenprints in colors, on Umbria Italia paper, with full margins, all signed, dated ‘1925-83’ and numbered 100/125 in pencil, published by Fausta Squatriti Editore, Milan, several with minor scuffing, varying degrees of foxing in the lower margin, time staining, two with a small black scuff in the margin, otherwise all in very good condition, loose, contained in original cardboard folder with printing on the front (staining in places). 27 7/8 x 20 3/8 in. (70.8 x 51.8 cm)

Estimate $3,000-4,000 

Screenprints based on the original works: Smyma-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


34

33

33 JUAN USLÉ

b. 1954

34 JOHN CHAMBERLAIN

b. 1927

Blow Up I-III; and Interlying/Vertical, 1997

Knoler Stoundmeal, 1989

Four lithographs in colors, on Somerset Velvet paper, with full margins, all

Monoprint in colors, on two sheets of wove paper joined together (as issued), the

signed, titled, dated ‘97’ and ‘3/5 P.P.’, ‘4/5 P.P.’ and ‘P.P. 1/8��� in pencil (printer’s

full sheet, signed in white pencil, published by Novak Graphics, Toronto, minor

proofs, the editions were 40 and 10 artist’s proofs for all), published by Galería

surface soiling, otherwise in very good condition, framed.

Estiarte, Madrid, all in excellent condition, all unframed.

S. 94 1/2 x 31 3/8 in. (240 x 79.7 cm)

all I. 20 1/8 x 14 in. (51.1 x 35.6 cm) three S. 29 5/8 x 21 5/8 in. (75.2 x 54.9 cm) one S. 28 1/8 x 21 in. (71.4 x 53.3 cm)

Estimate $3,000-4,000 

Estimate $8,000-12,000 


35

35 JOHN CHAMBERLAIN

b. 1927

Flashback series: No. I-VIII, 1979 The complete group of eight lithographs in colors, on Arches paper, with full margins, all signed and variously numbered from the edition of 175 in

36

pencil, published by Master Editions, New York, one with the sheet slightly toned, otherwise all in very good condition, all unframed. all I. 19 1/4 x 14 1/2 in. (48.9 x 36.8 cm) all S. 28 1/8 x 20 in. (71.4 x 50.8 cm)

Estimate $4,000-6,000 

36 FRANK STELLA

b. 1936

Waves II series: Going Aboard, 1985-89 Screenprint, lithograph and linocut in colors with hand-coloring and collage, on T.H. Saunders paper, the full sheet, signed, dated ‘89’ and numbered 28/60 in pencil (there were also 10 artist’s proofs), published by Waddington Graphics, London, in excellent condition, framed. S. 73 x 54 in. (185.4 x 137.2 cm)

Estimate $6,000-8,000 


37

38

37 FRANK STELLA

b. 1936

Circuits series: Estoril Three II, 1982 Relief-printed etching and woodcut in colors, on handmade rag paper, the full sheet, signed, dated ‘82’ and numbered 9/30 in pencil (there were also 10 artist’s proofs), published by Tyler Graphics, Mount Kisco, New York (with their blindstamp), in excellent condition, framed. S. 66 x 51 1/4 in. (167.6 x 130.2 cm)

Estimate $10,000-15,000  LITERATURE Tyler Graphics 563; Richard Axsom 139

38 FRANK STELLA

b. 1936

Polar Coordinates III, 1980 Offset lithograph with screenprint in colors, on Arches Cover paper, the full sheet, signed, dated ‘80’ and numbered 25/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, a small Y shaped spot of ink loss at upper right, minor creasing at lower and upper left corners, otherwise in very good condition, framed. S. 38 1/2 x 38 in. (97.8 x 96.5 cm)

Estimate $5,000-7,000  LITERATURE Richard Axsom 121


39

39 FRANK STELLA

b. 1936

Sinjerli Variation Squared with Colored Ground I, 1981 Offset lithograph and screenprint in colors, on Arches Cover paper, the full sheet, signed, dated ‘81’ and numbered 28/38 in pencil (there were also 10 artist’s proofs), published by Petersburg Press, New York, in very good condition, framed. S. 32 x 31 3/4 in. (81.3 x 80.6 cm)

Estimate $6,000-9,000  LITERATURE Richard Axsom 129

40 FRANK STELLA

b. 1936

Sinjerli Variation I, 1977 Offset lithograph and screenprint in colors, on Arches Cover paper, with full margins, signed, dated ‘77’ and numbered ‘H.C. IV’ in pencil (an hors-commerce impression, the edition was 100 and 20 artist’s proofs), published by Petersburg Press, New York, a few pale foxmarks and small stains in the margins, several nicks and minor creases along the sheet edges, otherwise in very good condition, framed. I. diameter: 25 in. (63.5 cm)

40

S. 32 x 42 1/4 in. (81.3 x 107.3 cm)

Estimate $4,000-6,000  LITERATURE Richard Axsom 113

41 FRANK STELLA

b. 1936

Les Indes Galantes III; and V, 1973 Two offset lithographs in colors, on J. Green mould-made paper, with full margins, both signed, dated ‘73’ and numbered 33/100 and 34/100 respectively in pencil (there were also 20 artist’s proofs for both), published by Petersburg Press Ltd., London, both with minor surface soiling, a few pale foxmarks in the margins, minor creasing in the corners, otherwise both in good condition, both framed. both I. 8 x 16 in. (20.3 x 40.6 cm) both S. 16 x 22 1/8 in. (40.6 x 56.2 cm)

Estimate $2,500-3,500  LITERATURE Richard Axsom 88 and 90

41


42

43

44

42 BUCKMINSTER FULLER

1895-1983

44 BUCKMINSTER FULLER

1895-1983

Inventions portfolio: Twelve Around One: Tensile Integrity Structures Tensegrity, 1981

Inventions portfolio: Twelve Around One: Tensile Integrity Structures Tensegrity, 1981

The set of two screenprints in white and gray, on clear polyester film and Lenox rag

The set of two screenprints in white and gray, on clear polyester film and Lenox

paper, the full sheets, signed, dated © 1981 and numbered 24/60 in black marker on

rag paper, the full sheets, signed, dated © 1981 and numbered 24/60 in black

the clear film (there were also 20 hors commerce copies in Roman numerals),

marker on the clear film (there were also 20 hors commerce copies in Roman

published by Carl Solway Gallery, Cincinnati, occasional minor scuffing in the gray,

numerals), published by Carl Solway Gallery, Cincinnati, occasional minor scuffing

otherwise both in very good condition, both unframed, contained in original

in the gray, otherwise both in very good condition, both unframed, contained in

custom blue Curtis Tweedweave rag paper folder with backing sheet.

original custom blue Curtis Tweedweave rag paper folder with backing sheet.

both S. 30 x 40 1/8 in. (76.2 x 101.9 cm)

both S. 30 x 40 1/8 in. (76.2 x 101.9 cm)

Estimate $2,500-3,500 

Estimate $2,500-3,500 

43 BUCKMINSTER FULLER

1895-1983

Inventions portfolio: Twelve Around One: Dymaxion Dwelling Machine-Wichita House, 1981 The set of two screenprints in white and gray, on clear polyester film and Lenox rag paper, the full sheets, signed, dated © 1981 and numbered 61/60 in black marker on the clear film (there were also 20 hors commerce copies in Roman numerals), published by Carl Solway Gallery, Cincinnati, occasional minor scuffing in the gray,

The intended presentations for these works are either separate or

otherwise both in very good condition, both unframed, contained in original custom

together, with the polyester film laid on top of the print (illustrated

blue Curtis Tweedweave rag paper folder with backing sheet.

left). If displayed separately (illustrated center and right), the blue

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

backing sheet is meant to back the polyester film, creating the effect

Estimate $2,500-3,500 

of a blue print.

This house was recently moved to and fully restored at the Henry Ford Museum, Dearborn, Michigan. The tall cylinder tube shown was the packing tube for the entire house.


45 JULIE MEHRETU

b. 1970

Landscape Allegories, 2004 The complete set of seven etchings with aquatint in various colors, on Somerset textured paper, with full margins, all signed, dated ‘2004’, each annotated 1-7 respectively and numbered 2/35 in pencil, numbered on the colophon (there were also 7 artist’s proofs), co-published by Ridinghouse, London and The Project, New York, all in excellent condition, loose, contained in original red linen-covered portfolio box with title and artist’s name embossed on the front. 20 1/2 x 22 3/4 in. (52.1 x 57.8 cm)

Estimate $20,000-30,000 

Julie Mehretu attempts to put the world into the world. At the onset of a millennium defined by the twin forces of globalization and the legacy of September 11, she is producing a new form of history painting... (Exhibition curator Douglas Fogle, Julie Mehretu: Drawing into Painting, Walker Art Center, 2003)

J.M.W. Turner, Snow Storm: Steamboat Off a Harbour’s Mouth, oil on canvas, 1842


46

46 MARTIN KOBE

b. 1973

Ohne Titel series, from Sieben mal malerei, 2004 The complete set of four screenprints in colors, on wove paper, with full margins, all signed, titled, dated ‘2004’ and numbered 16/20 in pencil on the reverse, published by Galerie Kleindienst, Leipzig, Germany, all in very good condition, all framed. all I. 8 5/8 x 13 7/8 in. (21.9 x 35.2 cm) all S. 13 1/2 x 19 3/8 in. (34.3 x 49.2 cm)

Estimate $400-600

47

47 JAN TIMME

b. 1971

Close Your Eyes, They Don’t Need to See You Die, 2004 Lamp comprising of two-way mirror, globe, light bulb, polished aluminum, numbered 3/5 (there was also 1 artist’s proof), published by Galerie Nagel, Cologne, in good condition. 11 3/8 x 11 3/8 x 11 3/8 in. (28.9 x 28.9 x 28.9 cm)

Estimate $3,000-5,000  EXHIBITED Institute of Contemporary Art Boston, Momentum, May 26 – September 5, 2004

48

48 STEVE GIANAKOS

b. 1938

Missing Children portfolio, 1985 The complete set of eight lithographs in colors, on Rives BFK paper, the full sheets, all signed with initials and numbered 10/41 in pencil (there were also 20 artist’s proofs), published by Solo Press Inc., and Rutgers University Print Archives, New York and New Jersey, most with slight creasing at the lower right corner, otherwise all in very good condition, loose, contained in original paper folder with printed text on the front and ribbon tie. 16 1/2 x 13 3/4 in. (41.9 x 34.9 cm)

Estimate $400-600


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49 AGNES DENES

b. 1938

Map Projection: The Snail; Probabilty Pyramid I and II, 1978 and 1981 Three lithographs in colors, on Rives BFK paper, with full margins, all signed, dated ‘78’ and ‘81’ and numbered 38/40, 30/75 and 10/50 in pencil (there were also 10 artist’s proofs), published by Pace Editions, Inc., New York, minor soiling, otherwise all in very good condition, all framed. snail I. 24 1/4 x 30 1/8 in. (61.6 x 76.5 cm) snail S. 29 x 36 in. (73.7 x 91.4 cm) both pyramids I. 23 x 31 in. (58.4 x 78.7 cm) both pyramids S. 30 x 42 in. (76.2 x 106.7 cm)

Estimate $1,500-2,500 

50 BRICE MARDEN

b. 1938

12 views for Caroline Tatyana series: two plates, 1989 Two etching and aquatints, on Arches paper, with full margins, both signed and numbered 2/50 in pencil (there were also 13 artist’s proofs), published by Parasol Press, New York, the palest mat staining, otherwise both in very good condition, both framed. both I. 9 7/8 x 7 in. (25.1 x 17.8 cm) both S. 26 1/2 x 20 1/2 in. (67.3 x 52.1 cm)

Estimate $3,500-4,500  LITERATURE Jeremy Lewison 29 (e) and (h)

51

51 ALAN SARET

b. 1944

Untitled, from 7 Objects/69, 1969 Reprocessed nylon net multiple in colors, numbered 69/100 in black ink on the accompanying tag (there were also 10 artist’s proofs), published by Tanglewood Press, Inc., New York, in very good condition, contained in original black box. 12 3/8 x 23 in. (31.4 x 58.4 cm)

Estimate $800-1,200 


52

53

52 ROBERT MANGOLD

b. 1937

53 ROBERT MANGOLD

b. 1937

Untitled, State A (color) and Untitled, State B (black), from BAM Portfolio, 1988

Curled Figures suite, 2001

Two aquatints and etchings in colors, on Somerset paper, with full margins, both

The complete set of three etchings with aquatint in colors, on wove paper, with

signed, dated ‘1988’ and numbered 18/75 in pencil (there were also 16 artist’s

full margins, all signed, annotated ‘I-III’ respectively and numbered 17/25 in

proofs), published by the Brooklyn Academy of Music, New York, occasional soft

pencil, published by Simmelink/Sukimoto Editions, Kingston, New York, all in

handling creases, otherwise both in very good condition, both framed.

excellent condition, all framed.

both I. 16 1/2 x 24 1/2 in. (41.9 x 62.2 cm)

all I. 8 3/4 x 11 5/8 in. (22.2 x 29.5 cm)

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

all S. 18 5/8 x 21 in. (47.3 x 53.3 cm)

Estimate $1,800-2,500 

Estimate $3,000-4,000 

LITERATURE Amy Baker Sandback 25 and 26

54

54 ROBERT MANGOLD

b. 1937

Untitled (Red/Gray Zone), 1997 Screenprint in colors, on Somerset paper, with full margins, signed and numbered ‘A.P. 15/18’ in pencil (the edition was 108, there was also an unsigned and unnumbered poster edition of 1500 with text), published by Lincoln Center List Poster and Print Program, New York, in very good condition, unframed. I. 24 1/4 x 39 1/4 in. (61.6 x 99.7 cm) S. 31 1/4 x 45 1/4 in. (79.4 x 114.9 cm)

Estimate $1,200-1,800  LITERATURE Amy Baker Sandback 67; Charles A. Riley p. 184


55

55 ROBERT MANGOLD

b. 1937

Fragments suite: plates I-IV, 1997 The complete set of four lithographs in colors, on cream calligraphy Twinrocker paper, with full margins, all signed, annotated I-IV respectively and numbered ‘P.P. 1/4’ in pencil (the edition was 25 and 10 artist’s proofs for each), published by Brooke Alexander Editions, New York, a few very soft handling creases, otherwise all in very good condition, all unframed. largest I. 16 x 13 3/8 in. (40.6 x 34 cm) all S. 24 x 18 1/8 in. (61 x 46 cm)

Estimate $3,000-5,000  LITERATURE Amy Baker Sandback 59.01-59.04

55A

55A ROBERT MANGOLD

b. 1937

Fragment VIII, 2001 Lithograph in colors, on Arches Cover paper, the full sheet, signed and numbered PP 3/6 in pencil (a printer’s proof, the edition was 48 and 12 artist’s proofs), published by Brooke Alexander Editions, New York, in very good condition, unframed. I. 29 1/2 x 64 1/4 in. (74.9 x 163.2 cm) S. 36 1/2 x 69 1/4 in. (92.7 x 175.9 cm)

Estimate $2,500-3,500


56 DONALD JUDD

1928-1994

Untitled, 1991-94 The complete set of four woodcuts in cadmium yellow medium, on Japanese laid Mitsumata paper, with full margins, all annotated ‘BAT’ in pencil on the reverse (the Bon-a-Tirer print, the edition was 25 and 10 artist’s proofs), published by Brooke Alexander Editions, New York, with the Judd Estate ink stamp on the reverse, two with offsetting in the margins, one with a brown spot in the center yellow bar, one with scattered minute spots in the center, otherwise all in very good condition, all unframed. all I. 25 x 37 3/4 in. (63.5 x 95.9 cm) all S. 26 3/8 x 39 1/4 in. (67 x 99.7 cm)

Estimate $25,000-35,000  LITERATURE Edition Schellmann 231-234


57 DONALD JUDD

1928-1994

Untitled, 1991 The complete set of four woodcuts in oxide of chromium (green), on Japanese laid Mitsumata paper, with full margins, all signed and annotated ‘BAT’ in pencil on the reverse (the Bon-a-Tirer print, the edition was 25 and 10 artist’s proofs), published by Brooke Alexander Editions, New York, one with a minute accretion at lower left, otherwise all in very good condition, all unframed. all I. 25 x 37 3/4 in. (63.5 x 95.9 cm) all S. 26 1/2 x 39 1/4 in. (67.3 x 99.7 cm)

Estimate $25,000-35,000  LITERATURE Edition Schellmann 211-214


58 DONALD JUDD

1928-1994

Untitled: two plates, 1992-93 Two woodcuts in colors, on Japanese paper, the full sheets, signed and numbered 26/30 in pencil on the reverse (there were also 13 artist’s proofs), published by Creative Works Editions, Kyoto, Japan, the palest mat staining, otherwise both in very good condition, both framed. both S. 23 1/4 x 31 in. (59.1 x 78.7 cm)

Estimate $10,000-15,000  LITERATURE Edition Schellmann 268


59 DONALD JUDD

1928-1994

Untitled, 1961-75 Woodcut, on Japanese paper, with full margins, signed, dated ‘75’ and numbered ‘AP 3/6’ in pencil (an artist’s proof, the edition was 20), published by Edition der Galerie Heiner Friedrich, Munich, a few spots of stray printing ink in the margins, otherwise in very good condition, framed. I. 15 x 20 1/4 in. (38.1 x 51.4 cm) S. 24 3/4 x 34 in. (62.9 x 86.4 cm)

Estimate $20,000-30,000  LITERATURE Edition Schellmann 29


60

60 SOL LEWITT

1928-2007

Arcs from sides or corners, grids and circles series: two plates, 1972 Two screenprints in colors, on wove paper, with full margins, both signed and annotated ‘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 $2,500-3,500  LITERATURE Tate Gallery S11

Including: (plate) 6. Black grid, red circles, blue arcs from four sides, and yellow arcs from four corners. and (plate) 8. Yellow grid, black circles, blue arcs from four sides, and red arcs from four corners.

61

61 SOL LEWITT

1928-2007

Arcs from sides or corners, grids and circles series: two plates, 1972 Two screenprints in colors, on wove paper, with full margins, both signed and annotated ‘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 $2,500-3,500  LITERATURE Tate Gallery S11

Including: (plate) 15. Yellow grid, yellow circles, black arcs from four

62

sides, and blue arcs from four corners, and (plate) 19. Blue grid, black circles, yellow arcs from four sides, and red arcs from four corners.

62 SOL LEWITT

1928-2007

Arcs from sides or corners, grids and circles series: two plates, 1972 Two screenprints in colors, on wove paper, with full margins, both signed and annotated ‘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 $2,500-3,500  LITERATURE Tate Gallery S11

Including: (plate) 11. Yellow gid, blue circles, black arcs from four sides, and red arcs from four corners. and (plate) 18. Red grid, blue circles, yellow arcs from four sides, and black arcs from four corners.

63

63 SOL LEWITT

1928-2007

Star series: three tiles, 1985 Three glazed red earthenware tiles in white, black and blue, two signed and dated ‘1985’ in pencil, one signed in black ink on the reverse, minor surface soiling, otherwise all in very good condition, each in the artist’s original light wood frames (nine pointed star frame with repairs to the lower left corner). all 10 1/2 x 10 1/2 in. (26.7 x 26.7 cm)

Estimate $3,000-4,000 


64

64 SOL LEWITT

1928-2007

65 DAN FLAVIN

1933-1996

Horiztontal Bands (More or Less) suite, 2002

In Fluorescent Light 8’ High to European Couples series, 1971-73

The complete set of three aquatints in colors, on Somerset paper, with full

Five lithographs in colors, on wove paper, the full sheets, all signed, titled, dated

margins, all signed and numbered 15/20 in pencil (there were also 10 artist’s

‘1973’ and annotated ‘trial proof’ in pencil, printed by Styria Studio, New York

proofs), published by Crown Point Press, San Francisco (with their blindstamp),

(with their blindstamp), all with varying degrees of orange staining (primarily near

all in excellent condition, all framed.

the sheet edges, some slightly affecting the title and annotation), occasional small

all I. 30 x 30 in. (76.2 x 76.2 cm)

foxmarks, otherwise all in good condition, all unframed.

all S. 38 x 38 in. (96.5 x 96.5 cm)

all S. 17 x 22 in. (43.2 x 55.9 cm)

Estimate $5,000-7,000 

Estimate $5,000-7,000  Including: to Katherine and Christoph; to Sabine and Holger; to Barbara and Joost; to Pia and Franz and to Thordis and Heiner.

65


66

67

66 DONALD JUDD

1928-1994

Untitled, from Homage à Picasso, 1974

68

Lithograph, on Rives BFK paper, with full margins, signed, dated ‘74 and annotated ‘P.P.’ in pencil (a printer’s proof, the edition was 90 and 15 artist’s proofs), co-published by Propyläen Verlag, Berlin, and Pantheon Press, Rome, the palest mat staining, otherwise in very good condition, unframed. I. 12 1/8 x 27 in. (30.8 x 68.6 cm) S. 22 x 29 3/4 in. (55.9 x 75.6 cm)

Estimate $2,500-3,500  LITERATURE Edition Schellmann 83

67 DONALD JUDD

1928-1994

Untitled: one plate, 1974 Etching, on etching paper, with full margins, signed and annotated ‘A.P.’ in pencil (one of an unknown number of artist’s proofs, the edition was 35), co-published by Multiples Inc. and Castelli Graphics, New York, a minor crease at the center upper sheet edge, otherwise in very good condition, framed. I. 21 3/4 x 27 5/8 in. (55.2 x 70.2 cm) S. 30 3/4 x 41 3/4 in. (78.1 x 106 cm)

Estimate $1,000-1,500 

68 AGNES MARTIN

1912-2004

15A, 1973 Screenprint in gray, on Japanese rag paper, with full margins, signed and

LITERATURE Edition Schellmann 81

numbered 10/50 in pencil (there were also 15 artist’s proofs lettered a-o), published by Parasol Press, New York, a few soft creases, a minute spot at upper right, a small pressure mark at the upper right margin, otherwise in very good

69

condition, unframed. I. 7 x 8 in. (17.8 x 20.3 cm) S. 12 x 12 in. (30.5 x 30.5 cm)

Estimate $2,500-3,500 

69 FRED SANDBACK

1943-2003

Untitled, 2000 Offset lithograph, on two sheets of wove paper, the full sheets, annotated ‘A.P.’ in pencil on the reverse (one of 10 artist’s proofs, the edition was 30), stamped by the artist’s estate on the reverse, published by Annemarie Verna Gallery, Zurich, three minute dark spots and an area of minor soiling in the lower left panel, otherwise in very good condition, framed together. both S. 11 1/8 x 8 1/2 in. (28.3 x 21.6 cm)

70

Estimate $800-1,200 

70 AGNES MARTIN

1912-2004

Praise, from Rubber Stamp Portfolio, 1976 Rubber stamp print in pink and stamped signature and title in gold, on Dalton Natural Bond paper, with full margins, from the edition of 1000 (there were no artist’s proofs), published by Parasol Press, New York, in very good condition, framed. I. 8 x 8 in. (20.3 x 20.3 cm) S. 10 3/4 x 10 3/4 in. (27.3 x 27.3 cm)

Estimate $600-800 


71

72

71 JOEL SHAPIRO

b. 1941

Untitled, 1989

73

Linocut and woodcut in colors, on Japanese paper, the full sheet, signed, dated ‘1989’ and numbered 8/28 in pencil, several scattered brown spots in the upper sheet, occasional soft creasing, otherwise in very good condition, framed. S. 37 x 25 5/8 in. (94 x 65.1 cm)

Estimate $600-800 

72 JOEL SHAPIRO

b. 1941

Untitled; and Untitled, 1990 Two pochoirs in colors, on Japanese and wove papers, with full margins, both signed, dated ‘90’ and numbered 23/36 in pencil, published by Grenfell Press, New York, [primary] with a crescent shaped crease above the black circle and a small blue smudge at the lower right corner, otherwise both in very good condition, both framed. [green] I. 13 1/4 x 15 in. (33.7 x 38.1 cm) [green] S. 38 3/4 x 25 1/2 in. (98.4 x 64.8 cm) [primary] I. 12 x 15 in. (30.5 x 38.1 cm) [primary] S. 44 1/2 x 30 3/8 in. (113 x 77.2 cm)

Estimate $900-1,200 

73 MARY HEILMANN

b. 1940

Cut, from Untitled set, 1990 Aquatint in red, on handmade paper, the full sheet, signed with initials, dated ‘90’ and numbered 30/30 in pencil on the reverse (there were also 10 artist’s proofs), published by Pace Editions, Inc., New York, in very good condition, framed.

74

S. 15 3/4 x 12 in. (40 x 30.5 cm)

Estimate $700-900 

74 STEPHEN ANTONAKOS

b. 1926

Untitled (pink); and Untitled (blue), 1978 Two etchings in colors, on wove paper, with full margins, both signed, dated ‘78’ and numbered 30/30 and 15/30 respectively in pencil, both with minor creasing and soiling in places in the margins, otherwise both in very good condition, one framed, one unframed. both I. 31 1/4 x 19 3/4 in. (79.4 x 50.2 cm) both S. 38 1/4 x 25 1/2 in. (97.2 x 64.8 cm)

Estimate $500-700 


75

75 ROBERT RYMAN

b. 1930

Prints 1969-1993 (the Catalogue Raisonne by Amy Baker Sandback) including Untitled (six original etchings), 1993 The complete set of six aquatints in various shades of white, plus the Catalogue Raisonné of the artist’s prints from 1969-1993, the prints on wove paper, the full sheets, one print signed, dated ‘93’ and numbered 50/50 in pencil, the Catalogue Raisonné printed in an edition of 250, published by Parasol Press, New York, the prints in very good condition, loose, contained in original linen-covered fold-out box with the artist’s name embossed on the front. 14 1/4 x 14 1/2 in. (36.2 x 36.8 cm)

Estimate $1,800-2,200 

76

76 ROBERT RYMAN

b. 1930

Untitled, from BAM III, 1993 Aquatint in off-white, on wove paper, with full margins, signed, dated ‘93’, annotated ‘L4 L6’ and ‘ap’ in pencil (one of 16 artist’s proofs, 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 $1,200-1,800 

77

77 ROBERT RYMAN

b. 1930

Untitled, from 10 from the Bowery Portfolio, 1969 Screenprint in white and blue, on wove paper, the full sheet, signed, dated ‘69’ and numbered 15/100 in pencil (there were also 20 artist’s proofs in Roman Numerals), published by Edition Domberger KG, Bonladen, Germany, a pale stain at the upper right corner, minor soiling in places along the sheet edges, otherwise in very good condition, unframed. S. 25 5/8 x 25 5/8 in. (65.1 x 65.1 cm)

Estimate $1,500-2,500  LITERATURE Amy Baker Sandback p. 4


78

78 ALBERTO GIACOMETTI

1901-1966

L’Atelier aux bouteilles, 1957 Lithograph in gray, on Rives BFK paper, with margins, signed and numbered 29/100 in pencil, published by Maeght Éditeur, Paris, a small circular gray stain at center left, a few pale foxmarks, pale mat staining, minor creasing at the deckle (right side), otherwise in very good condition, framed. I. 14 1/2 x 21 5/8 in. (36.8 x 54.9 cm) s. 16 1/8 x 22 1/4 in. (41 x 56.5 cm)

79

Estimate $4,000-6,000  LITERATURE Herbert Lust 100

79 ERIK DESMAZIÈRES

b. 1948

L’Atelier René Tazé (III), 1981 Etching, on BFK Rives paper, with full margins, signed, titled, dated ‘1981’ and numbered 64/90 in pencil (there was also an edition of 10 in Roman numerals), published by the artist, soiling in the margins, a small stain in the lower margin, otherwise in very good condition, framed. I. 25 1/2 x 19 1/2 in. (64.8 x 49.5 cm) S. 30 x 22 1/2 in. (76.2 x 57.2 cm)

Estimate $1,500-2,000  LITERATURE Andrew Fitch 63


81

80

80 LOUISE LAWLER

b. 1947

81 (AFTER) FERNAND LEGER

1881-1955

Fernand Leger, 2002

La Lecture, 1953

Color coupler print, on smooth photo paper, with full margins, signed, dated

Lithograph in colors, on Arches paper, with margins (deckle on three sides),

‘1985/2002’ and numbered 73/150 in pencil, in excellent condition, framed.

signed and numbered 125/350 in pencil, published by Galerie Louis Carré, Paris

I. 5 x 4 in. (12.7 x 10.2 cm)

(with their stamp on the reverse), a few spots of soiling in the margins, very pale

S. 9 x 8 in. (22.9 x 20.3 cm)

mat staining, otherwise in very good condition, unframed. I. 17 1/8 x 21 7/8 in. (43.5 x 55.6 cm)

Estimate $500-700 

S. 21 1/2 x 26 1/4 in. (54.6 x 66.7 cm)

Estimate $6,000-8,000  LITERATURE Lawrence Saphire E 23

Based on Leger’s 1924 oil on canvas and printed by Atelier Fernand Mourlot in Paris.

82

82 JUAN GRIS

1887-1927

Nature Morte, 1922 Pochoir in colors, on wove paper, with full margins, signed in pencil, published by L’Esprit Nouveau, the sheet slightly toned, time staining, a few spots in the lower margin, creasing in places along the sheet edges (particularly the left side and upper right corners), otherwise in good condition, framed. I. 6 1/2 x 9 15/16 in. (16.5 x 25.2 cm) S. 10 x 12 15/16 in. (25.4 x 32.9 cm)

Estimate $3,500-4,500  LITERATURE Daniel-Henry Kahnweiler 34

L’Esprit Nouveau was a magazine edited and designed by Le Corbusier and Amedee Ozenfant in 1921 which aimed to take post-Cubist art and architecture to a new form termed Purism. The ‘new spirit’ represented the ideas of a new society that advocated the use of modern industrial techniques and strategies to transform it into a more efficient environment with a higher standard of living on all socioeconomic levels.


83 LOUIS MARCOUSSIS

1883-1941

Planches de Salut portfolio, 1931 The complete set of thirteen etchings with engraving, on Chine collé to Arches paper, with full margins, from the edition of 60 on this paper (there were also 4 hors commerce copies and a deluxe edition of 10 with an additional suite), published by Éditions Jeanne Bucher, Paris, occasional foxmarks, all with time staining, otherwise all in very good condition, loose, contained in original paper folder (minor wear). 12 1/2 x 16 1/4 in. (31.8 x 41.3 cm)

Estimate $5,000-7,000  LITERATURE Solange Milet 66-78; Jean Lafranchis G. 67-77, The Artist and the Book

no. 186

In Planches de Salut, Marcoussis pays homage to his favorite writers, such as Baudelaire, Dostoevski, Rimbaud, Shakespeare and Gerard de Nerval.


84

85

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

84 FERNAND LEGER

1881-1955

85 DANA SCHUTZ

b. 1976

Composition aux deux oiseaux, 1954

Chess, 2009

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

Etching and screenprint in colors with flocking, on Copperplate paper, with full

numbered 25/75 in pencil, published by Galerie Louise Leiris, Paris, the colors

margins, signed, dated ‘2009’ and numbered 9/27 in pencil (there were also 3

slightly attenuated, a barely visible pressure mark in the lower image, the palest

artist’s proofs), published by Independent Curators International, New York, in

mat staining, minor creasing in the corners, a small brown stain on the reverse,

excellent condition, unframed.

otherwise in very good condition, framed.

I. 23 5/8 x 29 3/4 in. (60 x 75.6 cm)

I. 15 3/8 x 21 1/2 in. (39.1 x 54.6 cm)

S. 29 1/2 x 35 1/4 in. (74.9 x 89.5 cm)

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

Estimate $4,000-6,000  LITERATURE Lawrence Saphire 134

Estimate $2,000-3,000 


86

87

86 JOAN MIRÓ

1893-1983

87 CARROLL DUNHAM

b. 1949

Ubu Roi: Untitled (plate 13), 1966

Untitled (November 27 2006), 2007

Lithograph in colors, on wove paper, with full margins, signed and numbered 7/75

Monoprint in colors, on Lanaquarelle paper, with full margins, signed and dated

in pencil (there was also an edition of 205 with smaller margins), published by

‘2007’ in pencil, published by Two Palms Press,, New York, a few spots and strokes

Tériade, Paris, a small abrasion at the upper center margin (less than 1/8 in.), the

of stray watercolor or inks in the margins, otherwise in very good condition, framed.

palest mat staining, otherwise in very good condition, framed.

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

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

S. 35 1/4 x 29 1/2 in. (89.5 x 74.9 cm)

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

Estimate $4,000-6,000  LITERATURE Maeght Éditeur 498; Patrick Cramer books 108

Estimate $6,000-9,000 


88

88 CARROLL DUNHAM

b. 1949

Color Message suite, 1986 The complete set of three lithgraphs in colors, on handmade G. Amatruda Amalfi paper, the full sheets, all singed, dated ‘1985-86’ and numbered 26/52 (there were also 8 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), all in very good condition, all unframed. all S. 13 x 8 7/8 in. (33 x 22.5 cm)

Estimate $1,000-1,500  LITERATURE Allison Kemmerer A4, A5 and A6

89

89 CARROLL DUNHAM

90

b. 1949

90 CARROLL DUNHAM

b. 1949

Three Etchings #2, 1987

Untitled, 1987

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

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

‘1987’ and numbered 37/50 in pencil (there were also 14 artist’s proofs), published

‘1987’ and numbered 37/50 in pencil (there were also 14 artist’s proofs), published

by Editions Ilene Kurtz, New York, a few very soft handling creases, otherwise in

by Editions Ilene Kurtz, New York, occasional soft handling creases, a crease in

good condition, unframed.

the upper margin, otherwise in very good condition, unframed.

I. 37 1/4 x 26 in. (94.6 x 66 cm)

I. 37 1/4 x 26 in. (94.6 x 66 cm)

S. 55 1/4 x 38 1/8 in. (140.3 x 96.8 cm)

S. 55 1/4 x 38 1/4 in. (140.3 x 97.2 cm)

Estimate $1,500-2,000 

Estimate $1,500-2,000 

LITERATURE Allison Kemmerer A9

LITERATURE Allison Kemmerer A10


91

91 JOAN MIRÓ

1893-1983

92 MARINO MARINI

1901-1980

Le lézard au plume d’or series: one plate, 1967

Marino from Shakespeare II: plate VII, 1978

Lithograph in colors, on wove paper, the full sheet, signed and numbered 23/100

Etching, aquatint and drypoint in colors, on Arches paper, with full margins,

in pencil (the total edition was 180), occasional soft handling creases, otherwise

signed and numbered XXIII/L in pencil (there were also 75 in Arabic numerals

in very good condition, framed.

and 20 artist’s proofs), published by ZWR, London, soft creasing and a few

S. 14 x 39 1/4 in. (35.6 x 99.7 cm)

pressure marks in the lower margin, otherwise in good condition, unframed. I. 19 1/8 x 15 1/8 in. (48.6 x 38.4 cm)

Estimate $5,000-7,000 

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

LITERATURE Maeght Éditeur 520; not in Patrick Cramer books

Estimate $2,500-3,500  LITERATURE Giorgio and Guido Guastalla A217

92


93

93 (AFTER) MARC CHAGALL

94

1887-1985

94 (AFTER) MARC CHAGALL

1887-1985

Twelve Maquettes of Stained Glass Windows for Jerusalem: The Tribe of Zabulon, 1964

Twelve Maquettes of Stained Glass Windows for Jerusalem: The Tribe of Simeon, 1964

Lithograph in colors, on Arches paper, with full margins (deckle on right and

Lithograph in colors, on Arches paper, with full margins (deckle on right and lower

lower sides), signed and numbered ‘epreuve d’artiste 24/25’ in pencil (aside from

edges), signed and numbered ‘epreuve d’artiste 10/25’ in pencil (aside from the

the edition of 150 in Arabic and 75 in Roman numerals), printed by Charles Sorlier

edition of 150 in Arabic and 75 in Roman numerals), printed by Charles Sorlier at

at Atelier Mourlot, Paris (with the printer’s stamp on the reverse), the colors

Atelier Mourlot, Paris (with the printer’s stamp on the reverse), the colors slightly

slightly attenuated, pale light- and mat staining, a few areas of old tape remains

attenuated, pale light-, mat and time staining, taped in four areas on the reverse to

along the reverse of the upper edge (two faintly staining through to the front),

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

pale staining on the reverse, otherwise in good condition, framed.

I. 24 1/4 x 18 1/4 in. (61.6 x 46.4 cm)

I. 24 3/8 x 18 1/4 in. (61.9 x 46.4 cm)

S. 29 7/8 x 20 3/4 in. (75.9 x 52.7 cm)

S. 29 3/8 x 20 3/4 in. (74.6 x 52.7 cm)

Estimate $5,000-7,000 

Estimate $7,000-9,000  LITERATURE Fernand Mourlot/Charles Sorlier 13; Patrick Cramer books 57 LITERATURE Fernand Mourlot/Charles Sorlier 16; Patrick Cramer books 57

Marc Chagall designed and executed stained glass windows for the synagogue attached to Hadassah-Hebrew University Medical Center in Israel, the first hospital in the state of Israel. The Windows were later developed into a series of popular prints by Chagall and his master printer, Charles Sorlier.

95

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

95 JOHN BALDESSARI

b. 1931

Heart with Pearls, from Independent Curators 15th Anniversary portfolio, 1991 Photogravure with aquatint in colors, on wove paper, with full margins, signed and numbered 41/75 in pencil (there were also 25 artist’s proofs), published by Independent Curators International, New York, in very good condition, unframed. I. 36 5/8 x 39 3/4 in. (93 x 101 cm) S. 38 7/8 x 42 in. (98.7 x 106.7 cm)

Estimate $800-1,000 


96 JIM DINE

b. 1935

The Hand Colored Viennese Hearts suite, 1987-90 The complete set of seven screenprints in colors with hand-coloring, on Arches paper, with full margins, all signed, dated ‘1990’ and numbered 3/40 in pencil (there were also 8 artist’s proofs), published by Pace Editions, Inc., New York, all in very good condition, all framed. all I. 34 x 28 1/2 in. (86.4 x 72.4 cm) all S. 47 x 36 in. (119.4 x 91.4 cm)

Estimate $20,000-30,000  LITERATURE Elizabeth Carpenter 34


97

98

97 PABLO PICASSO

1881-1973

98 PABLO PICASSO

1881-1973

Face with Hands, 1956

Bull’s Head, 1956

White earthenware round dish, numbered 8/100 in black, incised ‘c 109’ and with

White earthenware dish, annotated ‘C 113’, numbered 75/100 in black and with

the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the

the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the

underside, very minor soiling, otherwise in very good condition.

underside, minor soiling, an accretion at the cow’s neck, label remains on the

diameter: 17 in. (43.2 cm)

underside, otherwise in good condition.

Estimate $3,000-5,000 

diameter: 16 3/4 in. (42.5 cm)

Estimate $3,000-5,000  LITERATURE Alain Ramié 321 LITERATURE Alain Ramié 329

99

100

99 PABLO PICASSO

1881-1973

100 PABLO PICASSO

1881-1973

Still Life, 1953

Man’s Face, 1966

Partially glazed white earthenware rectangular dish painted in colors, from the

Red earthenwared plaque painted in black, incised ‘J. 148’ and ‘Madoura’,

edition of 400, inscribed ‘Edition Picasso Madoura’ in black and with the Edition

numbered 426/500 and with the Madoura Plein Feu and Empreinte Originale de

Picasso and Madoura Plein Feu Pottery stamps on the underside, a few very

Picasso pottery stamps on the reverse, adhesive remains on the reverse, otherwise

minor scuffs in the unglazed black areas, adhesive remains in places on the

in very good condition.

reverse, otherwise in very good condition.

6 5/8 x 4 1/8 x 7/8 in. (16.8 x 10.2 x 2.2 cm)

12 3/8 x 15 in. (31.4 x 38.1 cm)

Estimate $1,200-1,800 

Estimate $4,000-6,000  LITERATURE Alain Ramié 539 LITERATURE Alain Ramié 219


102

101

101 PABLO PICASSO

1881-1973

Face with Points, 1969 Glazed white earthenware pitcher painted in colors, incised ‘Edition Picasso’, ‘Madoura’ and ‘R 139’, numbered 265/350 and with the Madoura Plein Feu and Edition Picasso pottery stamps on the underside, in very good condition. 11 1/2 x 11 x 7 in. (29.2 x 27.9 x 17.8 cm)

Estimate $3,500-4,500  LITERATURE Alain Ramié 610

102 PABLO PICASSO

1881-1973

Four Polychrome Fishes, 1947 Glazed white earthenware dish painted in colors, inscribed ‘I111’, numbered 197/200 in black and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside, in very good condition. 12 1/2 x 15 1/4 in. (31.8 x 38.7 cm)

Estimate $3,000-4,000  LITERATURE Alain Ramié 31

103

103 MANOLO VALDÉS

b. 1942

Homage to Picasso: Les Damoiselles d’Avignon, 2003 Etching, on Chine collé to wove paper, with full margins, signed and numbered II/XXV in pencil, published by Art of This Century, Madrid, the Chine slightly lifting in places, otherwise in very good condition, framed. I. 13 x 9 7/8 in. (33 x 25.1 cm) S. 23 5/8 x 19 5/8 in. (60 x 49.8 cm)

Estimate $1,500-2,500 


104

104 CLAUDIO BRAVO

b. 1936

Narcissus, 1995 Lithograph in colors, on Twinrocker paper, with full margins, signed, dated ‘MCMXCV’, and numbered ‘P.P. 4/5’ in pencil (a printer’s proof, the edition was 76 and 12 artist’s proofs), published by Marlborough Graphics, New York, in excellent condition, unframed. I. 13 1/2 x 10 in. (61 x 45.7 cm) S. 24 x 18 in. (61 x 45.7 cm)

Estimate $900-1,200 

105

105 CLAUDIO BRAVO

b. 1936

Demigods series: Venus; Neptuno and Flora, 1998 Three lithographs (two in colors), on Somerset Velvet paper, with full margins, all signed, dated ‘MCMXCVIII’, and numbered ‘P.P. 1/4’ and ‘P.P. 4/4’ (2) in pencil (printer’s proofs, the editions were 30 and 8 artist’s proofs for all), published by Marlborough Graphics, Inc., New York, Flora with a small spot in the lower margin, otherwise all in very good condition, all unframed. all I. 31 x 23 in. (78.7 x 58.4 cm)

106

all S. 38 3/8 x 29 3/8 in. (97.5 x 74.6 cm)

Estimate $5,000-7,000 

106 (AFTER) RENÉ MAGRITTE

1898-1967

La peinture et la philosophie de R. Magritte portfolio: Untitled, 1967 Lithograph in colors, on Rives BFK paper, with full margins, with the artist’s stamped signature, signed by Georgette Magritte and numbered 114/200 in pencil (there was also an edition of 100 in Roman numerals), published by Marcel Paquet, Paris, the palest mat staining, soiling and minor creasing at the sheet edges (particularly the corners), otherwise in good condition, unframed. 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 $800-1,200 


107

107 (AFTER) RENÉ MAGRITTE

1898-1967

Coffret I: L’Evidence Eternelle, 2003 The complete set of five lithographs in colors, on wove paper, the full sheets, one initialled by publisher and numbered 293/300 in white pencil, published by Phillippe Moreno, Paris (with their blindstamp and the Magritte Estate blindstamp), in excellent condition, all framed (as issued), contained in original custom leather-covered case. 13 x 10 5/8 in. (33 x 27 cm)

Estimate $800-1,200 

108

108 (AFTER) RENÉ MAGRITTE

1898-1967

Magritte I portfolio, 2003 The complete set of eight lithographs in colors, on Rives BFK paper, with full margins, signed by the publisher in pencil on the reverse, numbered 272/300 in pencil (there were also 45 hors-commerce copies), published by Phillippe Moreno, Paris, each with the two Magritte Estate blindstamps, one with an area of soiling at the upper left margin, otherwise all in very good condition, loose, contained in original embossed leather portfolio. 32 x 24 in. (81.3 x 61 cm)

Estimate $3,000-4,000 

Based on the original gouache paintings: L’empire des lumières, 1961; La grande famille, 1963; Le grand style, 1951; La folie des grandeurs II, 1948; Le blanc-seing, 1965; La grande guerre, 1964; La cascade, 1961 and Le beau monde, 1962.


109

110

109 GEORGE SEGAL

1924-2000

110 GEORGE SEGAL

1924-2000

Girl on a Chair, 1970

[Arm and Chair], 1972

White plaster cast and wood relief painted black and red, from the edition of 150

Aluminum relief hand-painted in white and gray, signed, dated ‘72’ and

(there were also 30 artist’s proofs), published by Editions Alecto, London, surface

numbered 8/9 in gray paint, in very good condition.

soiling, several minor cracks at the head and neck, cracking in the black paint

30 1/2 x 22 1/2 in. (77.5 x 57.2 cm)

with several areas of paint loss (particularly at the outside and top of the box), several nicks along the box edges, lacking the label with signature and

Estimate $1,500-2,500 

numbering affixed to the reverse. 35 7/8 x 24 x 11 3/4 in. (91.1 x 61 x 29.8 cm)

Estimate $1,000-1,500 

111

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

111 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 12/75 (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 $700-900 


113

112

112 LAURIE SIMMONS

b. 1949

Edition for White Columns, 1996 Hand-cast, hand-finished molded plastic with hand-finished white plexiglass pedestal, signed, dated ‘1996’ and numbered 4/30 in pencil on the accompanying card (there were also 5 artist’s proofs), published by White Columns, New York, occasional surface soiling, otherwise in very good condition, with original box and card. 9 x 21 1/2 x 3 3/4 in. (22.9 x 54.6 x 9.5 cm)

114

Estimate $700-900 

113 PABLO PICASSO

1881-1973

Profil et Femme Nue (Dora Maar), 1944 Burin, on handmade laid Auvergne paper (with watermark), with margins (deckle on three sides), one of 6 trial proofs pulled in 1952 at Atelier Lacourière, Paris, there was also an edition of 225 printed for Six Contes Fantasques published by Editions Flammarion in 1953, minor surface soiling, a few pale foxmarks, very pale mat and time staining, otherwise in very good condition, framed. I. 13 5/8 x 10 3/8 in. (34.6 x 26.4 cm) S. 17 3/4 x 12 3/4 in. (45.1 x 32.4 cm)

Estimate $2,500-3,500  PROVENANCE Private collection as cited in Baer LITERATURE Georges Bloch 363; Brigitte Baer 691 B.a; Patrick Cramer books 33

114 HELMUT NEWTON

1929-2004

Sumo book, 1999 Oversized photography book with original metal stand designed by Phippe Starck, signed in blue crayon on the title page, copy 3433 of 10,000, published by Taschen, London, the stand embossed ‘STARCK’ and ‘HELMUT NEWTON’, the book with pale time staining on the pages, occasional creasing and wear on the cover, the stand with minor soiling, otherwise both in very good condition. book: 28 x 20 1/2 x 3 in. (71.1 x 52.1 x 7.6 cm) stand: 30 x 22 x 22 in. (76.2 x 55.9 x 55.9 cm)

Estimate $4,000-6,000 


115

116

PROPERTY FROM A PRIVATE COLLECTION, CHICAGO

115 PABLO PICASSO

1881-1973

PROPERTY FROM A PRIVATE COLLECTION, CHICAGO

116 PABLO PICASSO

1881-1973

Sculpteur devant sa Sculpture, from Le Chef-d’Oeuvre Inconnu series, 1927

Peintre entre Deux Modèles, from Le Chef-d’Oeuvre Inconnu series, 1927

Etching, on Van Gelder paper, with margins (deckle on one side), signed and

Etching, on Van Gelder paper, with margins (deckle on one side), signed and

numbered 28/99 in bistre ink (slightly faded) (from the wide margined suite of 99

numbered 27/99 in bistre ink (faded) (from the wide margined suite of 99 and 8 hors

and 8 hors commerce, aside from the portfolio edition of 340), published by

commerce, aside from the portfolio edition of 340), published by Ambroise Vollard,

Ambroise Vollard, Paris, pale uneven mat staining, soiling in the margins, a few

Paris, the palest mat staining, minor soiling and soft rubbing in the margins,

expertly made-up areas in places along the sheet edges, otherwise in good

skinning along the upper and left margins, otherwise in good condition, framed.

condition, framed.

I. 7 3/4 x 11 in. (19.7 x 27.9 cm)

I. 7 3/4 x 11 in. (19.7 x 27.9 cm)

S. 14 x 15 1/2 in. (35.6 x 39.4 cm)

S. 13 3/4 x 17 3/4 in. (34.9 x 45.1 cm)

Estimate $5,000-7,000 

Estimate $5,000-7,000  LITERATURE Georges Bloch 83; Brigitte Baer 124; Patrick Cramer books 20 LITERATURE Georges Bloch 82; Brigitte Baer 123; Patrick Cramer books 20

117

PROPERTY FROM A PRIVATE COLLECTION, CHICAGO

117 PABLO PICASSO

1881-1973

Peintre ramassant son Pinceau, from Le Chef-d’Oeuvre Inconnu series, 1927 Etching, on Van Gelder paper, with full margins (deckle on four sides), signed and numbered 49/99 in bistre ink (faded) (from the wide margined suite of 99 and 8 hors commerce, aside from the portfolio edition of 340), published by Ambroise Vollard, Paris, the palest mat staining, minor soiling and soft rubbing in the margins, two expertly made-up areas at the lower right corner and center left sheet edges, otherwise in good condition, framed. I. 7 3/4 x 11 in. (19.7 x 27.9 cm) S. 15 1/8 x 19 7/8 in. (38.4 x 50.5 cm)

Estimate $5,000-7,000  LITERATURE Georges Bloch 88; Brigitte Baer 129; Patrick Cramer books 20


118 PABLO PICASSO

1881-1973

Minotaure endormi contemplé par une Femme, plate 86 from La Suite Vollard, 1933 Etching, on wove paper watermark ‘Picasso’, with full margins (deckle on all sides), signed in pencil, from the edition of 260 (there was also an edition of 50 with wide margins), published by Ambroise Vollard, Paris, minor surface soiling and a few soft handling creases, a very pale foxmark at the upper figure’s shoulder, pale mat and time staining, a minute accretion at the lower right sheet edge, otherwise in very good condition, framed. I. 7 5/8 x 10 1/2 in. (19.4 x 26.7 cm) S. 13 1/2 x 17 3/4 in. (34.3 x 45.1 cm)

Estimate $10,000-15,000  Edward Quinn, Picasso with Bull Mask, 1959, photograph.

LITERATURE Georges Bloch 193; Brigitte Baer 352


119 PABLO PICASSO

1881-1973

Maison close: Le Chocolat II, 1955 Aquatint, etching, engraving and drypoint, on Arches paper, with full margins (deckle on all sides), the first state of three, one of 7 rare proof impressions (there were 7 impressions of the first and second states and 6 impressions of the third state, there was no edition), printed by Roger Lacourière, Paris, soiling in the margins, pale mat staining, scattered pale foxmarks in the margins (primarily at the edges), otherwise in very good condition, framed. I. 17 3/4 x 25 1/2 in. (45.1 x 64.8 cm) S. 22 5/8 x 30 1/8 in. (57.5 x 76.5 cm)

Estimate $15,000-20,000  PROVENANCE Marina Picasso inkstamp on the reverse LITERATURE Brigitte Baer 922 (this example illustrated); not in Georges Bloch

David Douglas, [Jacqueline Roque and Picasso], Villa La Californie, 1957, photograph

This large plate image illustrates a scene in Fernando de Rojas’ 1499 story, La Tragicomedia de Calisto y Melibea, where the characters La Célestine (right) brings the lovers Milibea (left) and Calisto (center) morning chocolate. It is a tender scene interrupted by the evil woman who intends to blackmail Calisto which will cause Melibea to commit suicide by jumping off of a tower. Picasso loads the image with historical reference to his famous 1904 oil portrait of La Célestine and familiar images of himself and Jacqueline Roque as the romantic subjects, and the aphrodisiacal powers of chocolate.

Pablo Picasso, La Célestine (Carlotta Valdivia), 1904, oil on canvas, Musée Picasso de Paris


120

121

120 FRANCISCO DE GOYA Y LUCIENTES

1746-1828

Qué hai que hacer mas? (What More Can One Do?), plate 33 from Desastres de la Guerra (Disasters of War), circa 1810 Etching and burnished aquatint in sepia, on wove paper with O watermark, with margins, from the first edition of seven, published in the Workshop of Laurenciano Potenciano for the Real Academia, 1863, soiling and occasional staining in the margins, time staining, otherwise in good condition, unframed. I. 6 1/8 x 8 1/8 in. (15.6 x 20.6 cm) S. 9 7/8 x 13 7/8 in. (25.1 x 35.2 cm)

Estimate $1,500-2,500  PROVENANCE Stephen Longstreet (1907-2002) inkstamp LITERATURE Loys Delteil 152; Tomás Harris 153

121 FRANCISCO DE GOYA Y LUCIENTES

1746-1828

Algun partido saca (He Gets Something out of It), plate 40 from Desastres de la Guerra (Disasters of War), circa 1810 Etching and burnished aquatint in sepia, on wove paper, with margins, from the first edition, published in the Workshop of Laurenciano Potenciano for the Real Academia, 1863, surface soiling (particularly in the margins and at the sheet edges), pale time staining, occasional spots of soiling in the margins, a soft diagonal crease in the lower margin, otherwise in good condition, unframed. I. 6 7/8 x 8 5/8 in. (17.5 x 21.9 cm) S. 9 7/8 x 13 1/4 in. (25.1 x 33.7 cm)

Estimate $1,500-2,500  PROVENANCE Stephen Longstreet (1907-2002) inkstamp LITERATURE Loys Delteil 159;Tomás Harris 160

In the 80 images Goya produced for the Desastres de la Guerra series, they fall into three general subjects: plates 2-47 are scenes of guerilla war against the Napoleonic troops (as these three lots attest), plates 48-64 are scenes of the 1811-1812 famine in Madrid and plates 65-82 are allegories attacking the reactionary forces that fostered corruption and caused the downfall of the brief constitutional government. …Disasters are much more than reportage… they reveal human brutality with a far greater intensity. It is significant that this intensity was protracted over as many as thirteen years (1810-23) as the Disasters were composed and executed. To interpret the series as a cathartic scream of despair is, therefore, to misunderstand it. Even though it [the series] was not published until twenty-five years after his death, Goya surely anticipated its moral impact on posterity. Some of the harshest indictments of war in twentieth-century art (especially Picasso’s Guernica and related works) have been nourished by what Goya ‘saw’. (Linda C. Hults, The Print in the Western World, The University of Wisconsin Press, Madison, 1996 pp. 413)

122 FRANCISCO DE GOYA Y LUCIENTES

1746-1828

Así sucedio (This is How it Happened), plate 47 from Desastres de la Guerra (Disasters of War), circa 1810 Etching and burnished aquatint in sepia, on wove paper, with margins, from the first edition of seven, published in the Workshop of Laurenciano Potenciano for the Real Academia, 1863, surface soiling (particularly in the margins), pale time staining, adhesive remains at the upper right corner, occasional soiling on the reverse, otherwise in very good condition, unframed. I. 6 1/8 x 8 1/8 in. (15.6 x 20.6 cm) S. 10 x 13 in. (25.4 x 33 cm)

122

Estimate $1,500-2,500  PROVENANCE Stephen Longstreet (1907-2002) inkstamp LITERATURE Loys Delteil 166; Tomás Harris 167

The Disasters vary considerably in style and technique. Goya was clearly working under hardship conditions, using scratched and pitted plates that he tried to correct by scraping and burnishing, and acid washes called lavis rather than aquatint in some cases. Both aquatint and lavis can help to camouflage defects in the plate, but the latter is much cruder. The acid is allowed to etch the plate directly by immersion or brushing onto the surace. Lavis has no grain, but a brushstroke is often evident, and the bubbles in the acid produce small dots surrounded by dark rings. In addition, Tomás Harris has noted areas in some of the prints (plates 33 and 37, for example) that could not have been produced by lavis or aquatint. He suggests that Goya utilized grains of salt or sand in the ground, so that the acid would etch wherever the grains were. (Linda C. Hults, The Print in the Western World, The University of Wisconsin, Madison, 1996, p. 413)


123

123 JOAN MIRÓ

1893-1983

Ubu aux Baléares: plates 15 and 18, 1971 Two lithographs in colors, on Arches paper, with full margins (deckle on all sides), both signed and numbered 51/120 (there were also 6 hors commerce in Roman numerals), published by Tériade, Paris, [blue crescent] with pale mat staining at the left, lower and right sheet edges, otherwise both in very good condition, both unframed. both I. 18 1/4 x 24 3/4 in. (46.6 x 62.9 cm) both S. 20 x 26 1/8 in. (50.8 x 66.4 cm)

Estimate $2,500-3,500  LITERATURE Maeght Éditeur 780 and 783; Patrick Cramer books 146

124

124 ALEXANDER CALDER

1898-1976

Tamanoir jaune and Triangles rouges, 1963 Two lithographs in colors, on Rives BFK paper, with full margins, both signed and numbered 50/90 and 31/90 respectively in pencil, both published by Maeght Éditeur, Paris, a few soft handling creases, otherwise both in very good condition, both unframed. both I. approx. 15 x 21 3/4 in. (38.1 x 55.2 cm) both S. 18 3/4 x 25 1/2 in. (47.6 x 64.8 cm)

Estimate $1,200-1,800  LITERATURE Maeght Éditeur 664 and 665


126 125

125 ALEXANDER CALDER & CARLOS FRANQUI

1898-1976 & b. 1921

126 ALEXANDER CALDER

1898-1976

Lo oscuro invade, 1970

[Trees and Mountains], 1976

Lithograph in colors, on wove paper, with full margins, signed by both artists

Lithograph in colors, on wove paper, the full sheet, signed and numbered 16/125 in

(Calder with initials) and numbered 280/500 in pencil, occasional soft handling

pencil, the reds and yellows slightly attenuated, otherwise in good condition, framed.

creases, pale mat and time staining, minor soiling on the reverse, otherwise in

S. 27 1/8 x 36 1/2 in. (68.9 x 92.7 cm)

very good condition, unframed.

Estimate $800-1,200 

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 $700-1,000 

127

127 (AFTER) ALEXANDER CALDER

1898-1976

Revolution I, 1975 Woven wool tapestry in colors, with embroidered signature and annotation ‘EX-A’, with a label on the reverse (faded), produced by Atelier Pinton in celebration of the 200th anniversary of The American Revolution, occasional loose threads (stable), a few small colored spots visible in the off-whites, pale staining in places along the left edge (visible in off-white areas), otherwise in good condition. 40 1/2 x 57 3/4 in. (102.9 x 146.7 cm)

Estimate $4,000-6,000 


128

128 LOUISE BOURGEOIS

b. 1911

Reply to Hayter, 1996 Lithograph in colors, on Rives BFK paper, the full sheet, signed with initials and numbered 46/70 in pencil (there were also 20 artist’s proofs), published by Round World Projects, Denver, in excellent condition, framed. S. 27 x 30 in. (68.6 x 76.2 cm)

Estimate $1,500-2,500 

129

129 STANLEY WILLIAM HAYTER

1901-1988

Trois Personnages, 1951 Engraving, drypoint, softground etching and scorper, on Arches paper, with full margins, signed and annotated ‘Etat IV 5/5’ (the fourth state, the edition was 50 and 5 artist’s proofs), printed and published by the artist at Atelier 17, Paris, occasional soiling, stains and spots of stray printing ink in the margins (particularly the lower margin), otherwise in very good condition, unframed. I. 19 1/2 x 13 3/4 in. (49.5 x 34.9 cm) S. 22 3/8 x 15 in. (56.8 x 38.1 cm)

Estimate $1,500-2,500  LITERATURE Peter Black and Désirée Moorhead 198

130

130 LOUISE BOURGEOIS

b. 1911

The Beautiful Night, from BAM portfolio, 2004 Lithograph in colors, on Somerset paper, the full sheet, signed and annotated ‘PP’ in pencil (one of 5 printer’s proofs, the edition was 50 and 15 artist’s proofs), published by the Brooklyn Academy of Music, New York, in excellent condition, unframed. S. 21 x 27 3/4 in. (53.3 x 70.5 cm)

Estimate $2,000-3,000 


131

131 HERBERT BAYER

1900-1985

132 HANS BURKHARDT

1904-1994

Seven Convolutions portfolio, 1948

Black Cloud #1, 1958

The complete set of seven lithographs in colors, on wove paper, with full margins,

Lithograph, on wove paper, with margins, signed and dated in black ink in the

all signed, dated and annotated ‘90 imps’ in pencil (the edition was 90), dedicated

image, signed, dated ‘58’ and numbered 1/3 in pencil in the lower margin, printed

on the title page to ‘Pussy and Walter Paepke’ in blue ink, published by the Colorado

by the artist and with his HB blindstamp, the palest light-staining, a scuff in the

Springs Fine Art Center, occasional foxmarks and spots of stray printing ink, a

lower margin (only visible in raking light), occasional creasing in the margins, a

few with minor compound creasing in the corners, otherwise all in very good

tear at the lower sheet edge (with associated creasing), tape remains along the

condition, loose, contained in original linen-covered portfolio folder.

reverse of the upper sheet edge, otherwise in good condition, framed.

23 1/2 x 19 1/2 in. (59.7 x 49.5 cm)

I. 10 1/2 x 12 3/4 in. (26.7 x 32.4 cm) S. 16 x 17 3/4 in. (40.6 x 45.1 cm)

Estimate $2,000-4,000 

Estimate $2,500-3,500 

132


133

134

133 WILLEM DE KOONING

1904-1997

Landscape at Stanton Street, 1971 Lithograph, on Dutch Etching paper, with full margins, signed, dated and annotated ‘T.P.’ in pencil (one of 14 trial proofs, the edition was 60 and 10 artist’s proofs), a rich impression, co-published by Hollanders Workshop and Fourcade, New York (with the Hollanders blindstamp), the palest mat staining, soiling in the upper margin, trace indication of moisture staining in the lower margin, otherwise in good condition, framed. I. 25 5/8 x 19 1/8 in. (65.1 x 48.6 cm) S. 30 x 20 1/4 in. (76.2 x 51.4 cm)

Estimate $10,000-15,000  LITERATURE Lanier Graham 26

134 WILLEM DE KOONING

1904-1997

The Preacher, 1971 Lithograph, on Arches paper, with full margins, signed, dated ‘71’ and numbered ‘A.P. X/XXII’ in pencil (an artist’s proof, the edition was 60), published by Hollanders Workshop and Fourcade, New York (with the Hollander blindstamp), a pale white stroke in the lower right margin (at the signature, though not damaging), a crease at the upper left corner, otherwise in very good condition, unframed. I. 25 1/4 x 19 1/8 in. (64.1 x 48.6 cm) S. 29 7/8 x 22 1/8 in. (75.9 x 56.2 cm)

Estimate $6,000-9,000  LITERATURE Lanier Graham 27


135

136

135 WILLEM DE KOONING

1904-1997

Big, 1970-71 Lithograph, on Italia paper, with full margins, signed, dated ‘70’, annotated ‘T.P.’ and inscribed ‘to Irwin u and love’ in pencil (one of 9 trial proofs, the edition was 10), published by Knoedler, New York, the palest mat staining, occasional minor soiling in the margins, otherwise in very good condition, unframed. I. 31 5/8 x 23 5/8 in. (80.3 x 60 cm) S. 40 1/2 x 27 7/8 in. (102.9 x 70.8 cm)

Estimate $10,000-15,000  LITERATURE Lanier Graham 8

136 LEE KRASNER

1908-1984

[Untitled], from Peace Portfolio I, 1970 Lithograph in umber, on Arches paper, the full sheet, signed and numbered 104/175 in pencil (there were also 15 artist’s proofs), published by the Academic and Professional Action Committee for a Responsible Congress, New York, pale time staining, minor creasing at the lower left sheet corner, otherwise in very good condition, framed. S. 20 3/4 x 26 in. (52.7 x 66 cm)

Estimate $1,200-1,800 


137 ROBERT MOTHERWELL

137

1915-1991

St. Michael I (State II), 1979 Lithograph, screenprint and monoprint in colors, on Arches Cover paper, the full sheet, signed and numbered ‘ap VII/IX’ in pencil (an artist’s proof, the edition was 34), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), occasional minor scuffing and surface soiling, very minor wear along the sheet edges, offsetting on the reverse, otherwise in very good condition, unframed. S. 63 x 25 3/8 in. (160 x 64.5 cm)

Estimate $2,500-3,500  LITERATURE Siri Engberg and Joan Banach 235; Tyler Graphics 396

138 ROBERT MOTHERWELL

1915-1991

Summer Trident, from Harvey Gantt portfolio, 1990 Lithograph in colors, on Chine collé of Japanese Kozo to Rives BFK paper, with full margins, signed with initials and numbered 179/200 in pencil (there were also 12 artist’s proofs), published by the artist, to benefit the U.S. Senate campaign of Harvey Gantt, the Chine lifting at the center right side and two creases at the left triangle point and between the two left vertical lines, a few pinpoint foxmarks, otherwise in good condition, framed. I. 8 1/8 x 10 1/8 in. (20.6 x 25.7 cm) S. 14 1/8 x 16 1/8 in. (35.9 x 41 cm)

Estimate $1,000-1,500  LITERATURE Siri Engberg and Joan Banach 505

139 ROBERT MOTHERWELL

1915-1991

La Guerra I, 1980 Lithograph, on Suzuki handmade paper, with full margins, signed and numbered ‘ap X/XVI’ in black ink (an artist’s proof, the edition was 50), published by Tyler

138

Graphics, Ltd., Mount Kisco, New York (with their blindstamp), occasional minor soiling and pressure marks in the margins, otherwise in very good condition, unframed. I. 29 x 44 1/2 in. (73.7 x 113 cm) S. 37 1/4 x 49 in. (94.6 x 124.5 cm)

Estimate $1,000-1,500  LITERATURE Siri Engberg and Joan Banach 252; Tyler Graphics 408

139

140

140 ROBERT MOTHERWELL

1915-1991

The Basque suite: Untitled, 1971 Screenprint in colors with embossing, on J.B. Green paper, with full margins, signed with initials and numbered 61/150 in pencil (there were an unrecorded number of artist’s proofs), published by Marlborough Graphics, Inc., New York, minor surface soiling, occasional small foxmarks, otherwise in very good condition, framed. I. 28 3/8 x 22 in. (72.1 x 55.9 cm) S. 40 3/4 x 28 1/2 in. (103.5 x 72.4 cm)

Estimate $2,500-3,500  LITERATURE Siri Engberg and Joan Banach 84


141

142

141 SAM FRANCIS

142 SAM FRANCIS

1923-1994

1923-1994

Sulfur Sails, 1969

Poèmes dans le ciel series: Untitled, 1986

Unique color variant lithograph in colors, on Rives BFK paper, the full sheet,

Lithograph in colors, on Rives BFK paper, the full sheet, signed and annotated

signed and annotated ‘color trial proof VII’ in pencil (one of 7 color trial proofs,

‘CTP’ in pencil (one of 4 presumably unique color trial proofs, the edition was

the edition was 20 and 3 artist’s proofs), published by Tamarind Lithography

176), published by Philosophie des Arts and Francis Delille, Paris, in excellent

Workshop, Los Angeles (with their blindstamp), in very good condition, framed.

condition, framed.

S. 36 1/8 x 25 in. (91.8 x 63.5 cm)

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

Estimate $1,500-2,500 

Estimate $1,500-2,500 

LITERATURE Sam Francis 93; Connie Lembark 107

LITERATURE Connie Lembark L 269

143

143 HELEN FRANKENTHALER

b. 1928

What Red Lines Can Do series: Wind Directions, 1970 Pochoir in colors, on Arches Imperial Rough watercolor paper, the full sheet, signed, dated ‘10/19/70’ and numbered 17/50 in pencil (there were also 6 artist’s proofs), published by Abrams Original Editions, New York, minor soiling at center upper sheet, adhesive remains in places on the reverse, otherwise in very good condition, unframed. S. 30 3/4 x 22 in. (78.1 x 55.9 cm)

Estimate $2,500-3,500  LITERATURE Pegram Harrison 28


144 HELEN FRANKENTHALER

b. 1928

Tales of Genji III, 1998 Woodcut and pochoir in colors, on gray TGL handmade paper, the full sheet, signed and numbered 36/36 in pencil (there were also 14 artist’s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), in excellent condition, framed. S. 46 1/2 x 42 in. (118.1 x 106.7 cm)

Estimate $20,000-30,000 


145 HELEN FRANKENTHALER

b. 1928

Guadalupe, 1989 Mixograph in colors, on handmade paper, the full sheet, signed, dated ‘89’ and numbered 56/74 in pencil (there were also 16 artist’s proofs), published by Mixografia, Los Angeles, in excellent condition, framed. S. 68 1/2 x 45 in. (174 x 114.3 cm)

Estimate $12,000-18,000  LITERATURE Pegram Harrison 164


146

146 HELEN FRANKENTHALER

b. 1928

Flotilla, 2006 Screenprint in colors, on Rives BFK paper, the full sheet, signed and numbered 89/120 in pencil, published by the Naples Fine Art Museum, Florida, inscribed ‘frankenthaler 106’ in another hand, in very good condition, framed. S. 31 1/8 x 37 1/8 in. (79.1 x 94.3 cm)

Estimate $4,000-6,000 

147

147 HELEN FRANKENTHALER

b. 1928

Bronze Smoke, 1978 Lithograph in colors, on J.B. Green Katuash handmade paper, with full margins, signed, dated ‘78’ and numbered 6/38 in pencil (there were also 4 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), slight creasing in the lower corners, hinge remains and areas of skinning in places along the reverse of the sheet edges, otherwise in very good condition, unframed. I. 24 7/8 x 18 3/4 in. (63.2 x 47.6 cm) S. 31 x 22 1/2 in. (78.7 x 57.2 cm)

Estimate $2,000-3,000  LITERATURE Esther Sparks 44 ; Pegram Harrison 71

148

148 HELEN FRANKENTHALER

b. 1928

Soho Dreams, 1987 Etching, aquatint and drypoint in colors, on Magnani paper, with full margins, signed, dated ‘87’ and numbered 71/71 in pencil (there were also 8 artist’s proofs), published by 2RC Edizioni d’Arte, Rome (with their blindstamp), a few pinpoint foxmarks in the margins, otherwise in very good condition, unframed. I. 15 3/4 x 18 3/4 in. (40 x 47.6 cm) S. 25 1/2 x 30 5/8 in. (64.8 x 77.8 cm)

Estimate $2,500-3,500  LITERATURE Pegram Harrison 124


149

150

151

149 JOAN MITCHELL

1925-1992

Arbres (Black, Yellow and Blue); and Arbres (Black and Yellow), 1991-92 Two lithographs in colors, on Arches paper, the full sheets, both signed and numbered 111/125 and 47/125 respectively in pencil (there were also 25 artist’s proofs for both), published by Editions Jean Fournier and Editions de la Différence, Paris, a few soft handling creases and occasional minor creasing in the corners, otherwise both in very good condition, both unframed. both S. 30 1/8 x 22 1/8 in. (76.5 x 56.2 cm)

Estimate $2,000-3,000 

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

150 JOAN MITCHELL

1925-1992

151 PAT STEIR

b. 1938

Champs (Gray); and Champs (Gray, Black and Green), 1991-92

Thursday, from Independent Curators 15th Anniversary portfolio, 1991

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

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

numbered 121/125 and 43/125 respectively in pencil (there were also 25 artist’s

and numbered 36/75 in pencil (there were also 25 artist’s proofs), published by

proofs for both), published by Editions Jean Fournier and Editions de la

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

Différence, Paris, a few soft handling creases and occasional minor creasing in

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

the corners, otherwise both in very good condition, both unframed.

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

both S. 30 1/8 x 22 1/8 in. (76.5 x 56.2 cm)

Estimate $600-900  Estimate $1,800-2,500 


152

152 CY TWOMBLY

b. 1928

Natural History Part I, Mushrooms, No. II, 1974 Lithograph, collotype and photochrome in colors with collage, crayon and painting chalk additions, on Rives paper, the full sheet, signed with initials and numbered 79/98 in pencil (there were also 17 artist’s proofs), published by Propyläen Verlag, Berlin, in very good condition, framed. S. 29 5/8 x 22 in. (75.2 x 55.9 cm)

Estimate $4,000-6,000  LITERATURE Heiner Bastian 43

153 CY TWOMBLY

b. 1928

Untitled, from Art and Sports portfolio, 1984 Etching with aquatint and lithograph in colors, on Arches paper, with full margins, signed with initials and numbered 110/150 in pencil (there were also 12 artist’s proofs), published by Visconti Art Spectrum, Vienna, for the portfolio of the XIV Olympic Winter Games in Sarajevo, Yugoslavia, a few soft handling creases, otherwise in very good condition, unframed. I. 30 x 21 3/4 in. (76.2 x 55.2 cm) S. 35 3/8 x 24 5/8 in. (89.9 x 62.5 cm)

Estimate $2,000-3,000  LITERATURE Heiner Bastian 76

153

154 CY TWOMBLY

b. 1928

11 Grey Paintings portfolio, 1967-70 Eleven reproductions of paintings, on wove paper mounted to board (as issued), with full margins, signed on the case in pencil, from the edition of 100 (there were also 4 artist’s proofs), published by Addenda Editore, Rome, soiling in the margins (particularly the left), pale time staining, otherwise in good condition, contained in original case (soiling and staining throughout), lacking the original etching. 20 x 16 1/4 in. (50.8 x 41.3 cm)

Estimate $1,200-1,500  LITERATURE Heiner Bastian 35-36

154


PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

155 CY TWOMBLY

b. 1928

Six Latin Writers and Poets portfolio: 5 plates, 1976 Four lithographs with embossment plus the title page, on Richard de Bas hand-mould paper, with full margins, all signed with initials and numbered 20/60 in pencil on the reverse (there were also 12 artist’s proofs), published by Propyläen Verlag, Zurich, two with very minor creases at the lower right corner, otherwise all in very good condition, all framed. all I. various sizes all S. 25 1/4 x 19 1/2 in. (64.1 x 49.5 cm)

Estimate $10,000-15,000  LITERATURE Heiner Bastian 60-64


Leonardo da Vinci, Studies of the Shoulder and Neck, c. 1509-10, drawing

156 JEAN-MICHEL BASQUIAT

1960-1988

Untitled: From Leonardo, 1983 The complete set of five screenprints in colors, on Okawara paper, the full sheets, one signed and numbered 12/45 in pencil (as issued), published by New City Editions, Venice, California (all with their blindstamp), all in very good condition, all unframed. all S. 34 7/8 x 30 1/8 in. (88.6 x 76.5 cm)

Estimate $25,000-35,000 


157 JEAN-MICHEL BASQUIAT

1960-1988

Academic Study of the Male Fig., 1983 Screenprint in colors, on Okawara paper, the full sheet, signed in pencil, from the edition of 13 (none of the prints were numbered), published by New City Editions, Venice, California (with their blindstamp), in very good condition, unframed. S. 40 1/8 x 31 1/2 in. (101.9 x 80 cm)

Estimate $15,000-25,000 

Leonardo da Vinci, Anatomy of a male

Leonardo da Vinci, Study of the arm showing the

nude, c. 1504-06, drawing

movements made by the biceps, c. 1510, drawing


Klee is the great antidote to the confusion that persists around geometric abstraction and mathematics in painting. Bridget Riley*

PROPERTY FROM A PRIVATE COLLECTION, CHICAGO

158 PAUL KLEE

1879-1940

Was läuft er? (What Makes Him Run?), 1932 Etching, on wove paper, with full margins, signed in pencil, from the edition of 100 (there were also 10 on Japanese paper and a few annotated artist’s proofs), published by Cahiers d’Art, Paris, the palest light- and mat staining, occasional minor soiling in the margins, an area of very minor skinning in the left margin, an expertly made-up area at the upper center sheet edge, otherwise in good condition, framed. Juste de Juste, Human Pyramid,

I. 9 1/4 x 11 1/2 in. (23.5 x 29.2 cm)

1539, etching

S. 12 3/8 x 15 3/4 in. (31.4 x 40 cm)

Estimate $15,000-20,000  LITERATURE Eberhard Kornfeld 109d

* Robert Kudielka, Paul Klee: The Nature of Creation, Hayward Gallery, London, 2002, Westerham Press, pp. 17


159

160

159 ROBERT LONGO

b. 1953

160 ROBERT LONGO

b. 1953

Black Flag series: two prints, 1989 and 1990

White Flag, from Columbus: In Search of a New Tomorrow portfolio, 1992

Two lithographs, on Arches Cover paper, with full margins, both signed, dated

Screenprint in white, on Fabriano paper, with full margins, signed, dated ‘92’ and

‘89’ and ‘90’ and numbered ‘A.P. 7/14’ and ‘WKSHP 2/2’ respectively (the edition

annotated ‘A.P.’ in pencil (one of 46 copies reserved for artist and publisher, the

was 92 and 12 artist’s proofs for later), published by Bill Bradley for U.S. Senate,

edition was 100 and 20 numbered artist’s proofs), published by Edition

both in very good condition, both unframed

Domberger, Filderstadt, Germany, a small spot of soiling in the left margin,

earlier I. 15 5/8 x 16 in. (39.7 x 40.6 cm)

otherwise in very good condition, unframed.

later I. 9 1/2 x 21 3/4 in. (24.1 x 55.2 cm)

I. 18 x 28 1/4 in. (45.7 x 71.8 cm)

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

S. 22 7/8 x 30 in. (58.1 x 76.2 cm)

Estimate $2,000-3,000 

Estimate $800-1,200 

161

161 FRANZ ACKERMANN

b. 1963

World Leaders, 2001 Lithograph, on wove paper, with full margins, signed, dated ‘01’ and numbered 23/100 in pencil, occasional creases in the margins along the sheet edges, otherwise in good condition, framed. I. 35 1/2 x 51 1/8 in. (90.2 x 129.9 cm) S. 39 1/2 x 55 3/8 in. (100.3 x 140.7 cm)

Estimate $1,200-1,800 


162

162 VITO ACCONCI

b. 1940

Wavering Flags, 1990 Lithograph in colors, on six panels of Arches hot press paper, the full sheets, signed and dated ‘90’ on panel F, the second Copyright print (the edition was 35 and 10 artist’s proofs), published by Landfall Press, Chicago (all with their copyright stamp on the reverse), all in excellent condition, all unframed. all S. 18 x 24 in. (45.7 x 61 cm)

163

Estimate $4,000-6,000  LITERATURE Landfall Press 73, p. 70

163 ANNETTE LEMIEUX

b. 1957

Take Your Country Back Forward, 1990 Offset lithograph, on wove paper, with full margins, signed, dated ‘1990’ and numbered ‘H C 3/20’ in pencil, a few very soft scuffs in the lower margin, otherwise in very good condition, framed. I. 20 x 30 in. (50.8 x 76.2 cm) S. 27 1/2 x 37 1/4 in. (69.9 x 94.6 cm)

Estimate $1,200-1,800 

164

164 RICHARD HAMILTON

b. 1922

Kent State, 1970 Screenprint in colors, on Scholler Durex paper, with full margins, signed and numbered 1423/5000 in pencil (there were also 50 artist’s proofs), published by Dorothea Leonhardt, Munich (with their blindstamp), a few scuffs and soft handling creases (mainly visible in raking light), occasional soiling and offset pencil lines in the margins, creasing at the upper right corner, otherwise in good condition, framed. I. 26 1/2 x 34 3/8 in. (67.3 x 87.3 cm) S. 28 3/4 x 39 3/8 in. (73 x 100 cm)

Estimate $500-700  LITERATURE Etienne Lullin 77


165 BRUCE NAUMAN

b. 1941

Raw-War, 1971 Lithograph in colors, on Arches paper, the full sheet, signed, dated ‘71’ and numbered 67/100 in pencil (there were also 10 artist’s proofs), co-published Castelli Graphics, New York and Nicholas Wilder Gallery, Los Angeles, in very good condition, framed. S. 22 3/8 x 28 1/4 in. (56.8 x 71.8 cm)

Estimate $18,000-25,000  LITERATURE Christopher Cordes 7

Bruce Nauman, Four phases of Five Marching Men, 1985, neon tubing with clear-glass tubing suspension frame, mounted on aluminum panel.


166

166 JENNY HOLZER

b. 1950

Use What is Dominant in a Culture to Change it Quickly, 1990 Screenprint in red, on brushed aluminum, signed and numbered G/Z on the accompanying certificate, published by the Artist, to benefit United States

167

Senator Bill Bradley, with a minute abrasion at lower right, otherwise in very good condition. S. 15 x 18 in. (38.1 x 45.7 cm)

Estimate $6,000-8,000 

167 JENNY HOLZER

b. 1950

Truism 3, 1977-79 Mini LED sign, signed and numbered 47/100 in black ink on a label affixed to the reverse, an English version, in excellent and working condition. 4 x 5 x 1 1/2 in. (10.2 x 12.7 x 3.8 cm)

Estimate $2,000-3,000 

168

168 JENNY HOLZER

b. 1950

Use What is Dominant, 2003 Hand-blown glass bowl with etched text, signed and numbered 7/200 in silver ink on the underside (there were also 5 artist’s proofs), published by the Whitney Museum of American Art, New York, in excellent condition, with original cardboard box and paperwork. 3 3/4 x 10 1/4 x 10 1/4 in. (9.5 x 26 x 26 cm)

Estimate $600-800 


170

169

169 NANCY GROSSMAN

b. 1940

170 BARBARA KRUGER

b. 1945

Road to Life, 1975

Untitled (Reach out and Touch Someone), 1989

Lithograph, on handmade paper, with full margins, signed and numbered ‘A.P.

Screenprint in red and black, on Anga wood veneer mounted to Whatman paper

3/25’ in pencil (an artist’s proof, the edition was 175), published by Transworld

(as issued), the full sheet, signed and numbered ‘WKSHP 1/2’ in pencil (a workshop

Art, New York, very pale mat staining, otherwise in very good condition, framed.

copy, the edition was 75 and 16 artist’s proofs), in excellent condition, unframed.

I. 17 7/8 x 25 in. (45.4 x 63.5 cm)

S. 26 1/2 x 19 3/4 in. (67.3 x 50.2 cm)

S. 19 3/4 x 26 1/8 in. (50.2 x 66.4 cm)

Estimate $2,000-3,000 

Estimate $800-1,200 

171

171 BARBARA KRUGER

b. 1945

We Will No Longer Be Seen and Not Heard, 1992 Lithograph in colors, on Chine collé of Aluminum Foil to Lana Gravure paper, the full sheet, signed, dated and numbered ‘18/20 A.P.’ in pencil (an artist’s proof, the edition was 125), published by Geraldine Ferraro for U. S. Senate, in excellent condition, unframed. S. 19 7/8 x 13 in. (50.5 x 33 cm)

Estimate $2,000-3,000 


172

173

172 RICHARD BOSMAN

b. 1944

173 VITO ACCONCI

Car Crash, 1982

Mobius Bench, 2003

b. 1940

Woodcut in colors, on Japanese paper, with full margins, signed, dated ‘82’ and

Lithograph in colors, on Somerset paper, with full margins, signed, dated ‘03’

numbered 50/60 in pencil published by Brooke Alexander Editions, New York, creasing

and numbered ‘P.P. 5/5’ in pencil (a printer’s proof, the edition was 100 and 20

in places along the sheet edges, otherwise in very good condition, unframed.

artist’s proofs), published by Starwood Wasserman, Providence, Rhode Island,

I. 35 1/4 x 48 1/4 in. (89.5 x 122.6 cm)

in excellent condition, unframed.

S. 36 3/4 x 49 5/8 in. (93.3 x 126 cm)

I. 6 1/8 x 16 1/2 in. (15.6 x 41.9 cm) S. 12 1/4 x 23 1/8 in. (31.1 x 58.7 cm)

Estimate $600-900 

Estimate $300-500 

174 BARNABY FURNAS

b. 1973

175 MARK DION

b. 1961

Boogie Man, 2006

“Department of Paleontology” (Fossil Collection Specimen Collected By M. Dion

Etching and aquatint in colors with hand-coloring, on wove paper, with full

Gypsum Cast of McDonalds French Fries), 2001

margins, signed, titled and numbered 13/40 in pencil (there were also 5 artist’s

Plaster multiple painted in colors, contained in cigar box, signed and numbered

proofs), published by Artists Space, New York, in excellent condition, framed.

13/50 in blue pencil on a label affixed to the box, published by Comme Ci Comme

I. 17 3/4 x 14 1/8 in. (45.1 x 35.9 cm)

Ça II Salon d’Éditions, Cologne, occasional minor paint loss in places at the

S. 24 7/8 x 20 7/8 in. (63.2 x 53 cm)

edges of the object, otherwise in very good condition. 7 x 4 1/4 x 1 1/8 in. (17.8 x 10.8 x 2.9 cm)

Estimate $1,500-2,000 

box: 3 x 7 7/8 x 6 1/2 in. (7.6 x 20 x 16.5 cm)

Estimate $600-800

174

175


176

177

179

178

176 BRUCE NAUMAN

b. 1941

177 VARIOUS ARTISTS

Record, from 7 objects/69, 1969

White Columns 100 portfolio, 2006

Multimedia object comprising black plastic LP record (soundtrack from 1st violin Film

The complete set of four letterpress prints in colors, on heavy card paper, the full

Violin Problem No. 2 and Rhythmic Stamping), contained in an album cover

sheets, all signed in ink on the reverse, numbered 45/100 on the colophon (there

screenprinted with stills from the videotape Stamping in the Studie (1968),

were also 10 artist’s proofs), published by White Columns, New York, a few with

signed, dated ‘1969’ and numbered 32/100 in black ink (there were also 10 artist’s

very slight creasing in the corners, otherwise all in very good condition, loose,

proofs), published by Tanglewood Press, Inc., New York, occasional soft scuffing,

contained in original card box.

minor ink loss in places along the edges, otherwise in very good condition, unframed.

22 5/8 x 14 3/4 in. (57.5 x 37.5 cm)

12 3/8 x 12 3/8 in. (31.4 x 31.4 cm)

Estimate $1,000-1,500 

Estimate $500-700  Including: Jeremy Deller; Trisha Donnelly; Richard Prince and Rirkrit Tiravanija LITERATURE Christopher Cordes Appendix p. 127

179 WILLIAM KENTRIDGE 178 HIROSHI SUGIMOTO

b. 1948

b. 1955

Medusa, 2001

In Praise of Shadows: one plate, 2003

Lithograph in black and red and mirror-finished steel cylinder, on Chine collé of

Photo-lithograph, on wove paper, with full margins, signed and numbered 97/225

sheet pages from Le Nouveau Larousse Illustré Encyclopedia (1906) to Rives BFK

in silver ink, published by Serpentine Gallery, London, in very good condition, framed.

paper, with full margins, signed and numbered 48/60 in pencil (there were also 20

I. 11 3/4 x 9 3/8 in. (29.8 x 23.8 cm)

artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and

S. 17 1/4 x 11 1/4 in. (43.8 x 28.6 cm)

New York, minor surface soiling, otherwise in very good condition, unframed.

Estimate $500-700 

I. 23 1/4 x 23 1/4 in. (59.1 x 59.1 cm) S. 30 1/8 x 29 7/8 in. (76.5 x 75.9 cm) cylinder: 5 1/8 x 3 1/2 in. (13 x 8.9 cm)

Estimate $1,000-1,500  LITERATURE Edition for Parkett 63, David Krut p. 116


180

181

182

180 NAYLAND BLAKE

b. 1960

181 DAVID HOCKNEY

b. 1937

Made With Pride by a Queen, 1989

Illustrations for Fourteen Poems from C.P. Cavafy series: To Remain, 1966

Screenprint, on canvas on wooden stretchers (as issued), signed and numbered

Etching and aquatint, on Crisbrook handmade paper, with full margins, signed,

in black ink on the reverse, published by the Artist, in very good condition, framed.

dated ‘66’ and numbered 6/75 in pencil (there were also 15 artist’s proofs),

7 7/8 x 10 in. (20 x 25.4 cm)

published by Editions Alecto, London (with their inkstamp on the reverse), minor

Estimate $500-700 

surface soiling, the palest staining in the lower margin, otherwise in very good condition, unframed. I. 13 3/4 x 8 7/8 in. (34.9 x 22.5 cm) S. 22 3/8 x 16 in. (56.8 x 40.6 cm)

182 JD FORCEFIELD Two Gentlemen, 2002 Screenprint in colors, on wove paper, the full sheet, signed, titled and numbered 15/20 in blue ink, minor creasing in the corners, otherwise in very good condition, framed. S. 23 x 35 in. (58.4 x 88.9 cm)

Estimate $700-1,000 

Estimate $1,000-1,500  LITERATURE Scottish Arts Council 50, Museum of Contemporary Art, Tokyo 50


183

184

183 MIKE KELLEY

b. 1954

Street Sign, 2004 Screenprint in colors, on baked white enamel aluminum panel with puncture holes, signed, dated ‘2004’ and numbered 61/100 in black ink on the reverse, published for the 25th Annual Benefit Art Auction for Los Angeles Contemporary Exhibitions, a few nicks and minor abrasions at the upper corners (with minor associated paint loss), otherwise in very good condition, unframed. S. 15 1/8 x 24 1/8 in. (38.4 x 61.3 cm)

Estimate $1,000-1,500 

185

184 RICHARD PRINCE

b. 1949

185 ALLEN RUPPERSBERG

b. 1944

Good Revolution, 1992

Preview Suite portfolio, 1988

Presentation gold record with engraved plaque mounted on C-print, includes a

Lithograph in colors, on ten panels of Arches paper, with full margins, one signed

playable vinyl record by the artist, recorded both sides, “Good Revolution” and

and dated, one numbered ‘A.P. 1/5’ in pencil (an artist’s proof, the edition was 30),

“Don’t Belong”, arranged and performed by Richard Prince, signed, titled, dated

published by Landfall Press, Chicago, all in excellent condition, all unframed.

and numbered 56/80 on a plaque affixed to the front (there were also 20 artist’s

all I. 21 3/8 x 13 1/4 in. (54.3 x 33.7 cm)

proofs in Roman numerals), published by Parkett Editions, Zurich and New York,

all S. 22 1/4 x 13 7/8 in. (56.5 x 35.2 cm)

in very good condition, contained in original issued frame. 20 1/2 x 16 1/2 in. (52.1 x 41.9 cm)

Estimate $1,000-1,500

LITERATURE Edition for Parkett 34

Estimate $4,000-6,000  LITERATURE Landfall Press 69


186 LAURIE SIMMONS

186

b. 1949

Woman Listening to Radio, 1978 Photograph, on photo paper, with full margins, signed, titled, dated ‘1978’ and numbered 45/100 in pencil, published by Galerie 20/21, Essen, Germany, in very good condition, framed. I. 6 7/8 x 10 1/2 in. (17.5 x 26.7 cm) S. 7 1/2 x 11 in. (19.1 x 27.9 cm)

Estimate $500-700 

187 ANDREA ZITTEL

b. 1965

A-Z Homestead Unit, 2002 Walnut and brushed stainless steel scale model with applied vinyl decals, signed and numbered 48/99 in ink on label on the underside (there were also 10 artists proofs), published by Tema Celeste Editions, Milan, in very good condition. 6 x 6.7/8 x 10./12 in. (15.2 x 2.1 x 2.1 cm)

Estimate $1,000-1,500 

188 LES LEVINE 187

b. 1935

Untitled [Girl with Panda], 1971 Offset lithograph, on coated wove paper, the full sheet, signed, dated ‘71’ and numbered 100/150 in pencil, occasional soft creases, the paper splitting slightly at upper left, otherwise in good condition, unframed. S. 30 x 22 3/4 in. (76.2 x 57.8 cm).

Estimate $300-400 

189 VARIOUS ARTISTS Rubber Stamp portfolio, 1976 The complete set of thirteen rubber stamp prints, on various papers, with margins and the full sheets, all numbered 290/1000 in pencil on the reverse, (Buren number 23 of 250, one of four color combinations of 250 each), (there were no artist’s proofs), published by Parasol Press, New York, all in very good condition, each contained in original paper envelope with edition information printed on the front (a few with pale staining). twelve envelopes: 8 1/2 x 8 1/2 in. (21.6 x 21.6 cm) martin envelope: 11 1/2 x 11 1/2 in. (29.2 x 29.2 cm)

Estimate $1,500-2,000 

Including: Daniel Buren, 1000 Placements, 1977; Don Nice, Bear with Pedella, 1976; Barry Le Va, Installation Floor Plan for any Space Surrounded by Four Walls, 1976; Sol

188

Lewitt, Lines in Four Directions, 1976; Joe Zucker, The Relocation of Property by Natural Forces, 1976; Robert Mangold, A Square with Four Squares Cut Away, 1976; Carl Andre, Untitled, 1976; Richard Artschwager, Untitled, 1976; Myron Stout, Untitled, 1976; Sylvia Mangold, Six Inches Four Ways, 1976; Chuck Close, Phil, 1976; Tom Wesselmann, Shiny Nude, 1977 and Agnes Martin, Praise, 1976

189


191

190

190 CHRYSSA

b. 1933

Tablet, 1960 Bronze plaque with patina, from the edition of unknown size, in very good condition. 10 7/8 x 7 5/8 in. (34 x 19.4 cm)

Estimate $1,000-1,500  192 PROVENANCE Given to the owner by the artist in 1961.

191 CHRISTOPHER WOOL

b. 1955

My House I, 2000 Screenprint in colors, on mat custom art paper, with full margins, signed dated ‘2000’ and numbered 87/100 in pencil (the series consists of three color combinations, each in an edition of 100), published by Counter Editions, London, in excellent condition, framed. I. 40 1/8 x 30 in. (101.9 x 76.2 cm) S. 39 1/8 x 29 1/8 in. (99.4 x 74 cm)

Estimate $2,000-3,000 

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

192 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 61/75 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 $600-900 


193

193 LORNA SIMPSON

b. 1960

194 DAVID LEVINTHAL

b. 1949

15 Mouths, 2001-02

Uncle Tom’s Cabin portfolio, 2000

The complete set of fifteen Iris prints with letterpress text and embossing, on

The complete set of eight photogravures, on Rives BFK paper, with full margins,

velour paper mounted to Hahnemühle Copperplate (as issued), with full margins,

all signed, dated ‘2000’ and numbered 13/25 in pencil (there were also 10 artist’s

with accompanying audio CD “Easy to Remember”, signed and numbered 4/40 in

proofs), published by Landfall Press, Chicago, all in excellent condition, all

pencil on the colophon (there were also 10 artist’s proofs), published by Pace

unframed, contained in original black linen-covered portfolio with the title

Editions, Inc., New York, in very good condition, loose, contained in original

embossed and printed in silver on the front.

solander box with title and artist’s name printed on the front.

20 7/8 x 17 5/8 in. (53 x 44.8 cm)

11 x 9 in. (27.9 x 22.9 cm)

Estimate $2,000-3,000 

194

Estimate $3,000-4,000 


195

196

195 IONA BROWN

b. 1966

196 KARA WALKER

b. 1969

Untitled (female); and Untitled (male), 2003

Canisters, 1997

Two screenprints in colors, on wove paper, with full margins, both signed and

The complete set of six etched glass canisters, from the edition of 100, published

numbered 17/35 in pencil, published by MS Editions, New York, both in excellent

by The Renaissance Society at The University of Chicago, minor surface soiling,

condition, one framed, one unframed.

otherwise in very good condition.

both I. 30 1/8 x 22 3/8 in. (76.5 x 56.8 cm)

all: 11 x 4 x 4 in. (27.9 x 10.2 x 10.2 cm)

both S. 35 x 27 1/2 in. (88.9 x 69.9 cm)

Estimate $2,000-3,000 

Estimate $4,000-6,000 


197

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

197 BERND & HILLA BECHER

(1931-2007) & b. 1934

Fachwerkhäuser, Siegener Industriegebiet portfolio (Framework Houses: Industrial District of Siegen portfolio), 1993 The complete set of twelve duotone offset prints, on Ikonorex 350g paper, with full margins, all signed and numbered 29/50 in pencil on the reverse (there were also 10 artist’s proofs), co-published by Sonnabend-Sundell Editions, New York and Edition Schellmann, Cologne and New York, all with pale time staining, one with a scuff at the upper margin corner and a pale stain at the lower right corner, one with an area of staining on the reverse, otherwise all in very good condition, loose, contained in original gray linen-covered portfolio box. 27 1/2 x 22 1/4 in. (69.9 x 56.5 cm)

Estimate $8,000-12,000  198

Including: Wiesenstrasse 35, Siegen, 1970; Tränkestrasse 3, Haiger-Seelbach, 1972; Resdorfstrasse 5, Salchendorf, 1959; Rensdorfstrasse 13, Salchendorf, 1960; KonradAdenauer-Strasse 1, Niederfischbach, 1962; Mausbachstrasse 60, Mausbach, 1967; Heuslingstrasse 342, Oberheuslingen, 1970; Hagener Strasse 37, Wilnsdorf, 1970; Auf der Hütte 45, Gosenbach, 1961; Holzhäuser Strasse 25, Allendorf, 1973; Löcherbacherweg 6, Plittershagen, 1970 and Oststrasse 16, Freudenberg, 1971.

198 CHRISTO

b. 1935

Double Show Window, 1972 The complete set of two screenprinted Plexiglas and aluminum multiples with green paint, in the artist’s original frame (as issued), one signed and dated, both numbered 46/65 in pencil on the interior of the frame (there are 20 in green, 30 in white and 15 are with brown wrapping paper taped to the glass), published by Tanglewood Press, New York, both in very good condition. both 35 1/8 x 24 x 3 in. (89.2 x 61 x 7.6 cm)

Estimate $4,000-6,000  LITERATURE Jörg Schellmann and Joséphine Benecke 47


199

200

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

199 BERND & HILLA BECHER

200 WILL COTTON

(1931-2007) & b. 1934

b. 1965

Pipe Detail: Coal Mine, from Independent Curators 15th Anniversary portfolio, 1990-91

Peanut; and Forest, 2002 and 2003

Duotone offset lithograph, on Praxiedelmatt paper, with full margins, signed and

Two etchings, on Chine collé to Somerset paper and wove paper, with full margins,

numbered 66/75 in pencil (there were also 25 artist’s proofs), published by

both signed, dated ‘02’ and ‘03’ respectively and numbered 1/30 in pencil, published

Independent Curators International, New York, pale mat staining, otherwise in

by MS Editions, New York, both in excellent condition, both unframed.

very good condition, unframed.

both I. 12 x 11 in. (30.5 x 27.9 cm)

I. 15 3/4 x 12 in. (40 x 30.5 cm)

both S. 24 1/8 x 20 in. (61.3 x 50.8 cm)

S. 30 3/8 x 22 7/8 in. (77.2 x 58.1 cm)

Estimate $800-1,200 

Estimate $800-1,000 

202

201

201 RALSTON CRAWFORD

1906-1978

202 SOL LEWITT

1928-2007

Freight Cars No. 2, 1955

A sphere lit from the top, four sides, and all their combinations, 2004

Lithograph, on Arches paper, with full margins, signed and numbered 7/10 in

Digital photagraph, on Hahnemühle paper, with full margins, signed, dated ‘04’

pencil (there was also 1 artist’s proof), published by Mourlot, Paris, the last two

and numbered 10/19 in pencil (there were also 6 artist’s proofs), published by the

letters of the signature reinforced by another hand, a few small pale foxmarks in

Fraenkel Gallery, San Francisco, in excellent condition, unframed.

the margins, otherwise in very good condition, unframed.

I. 19 x 34 in. (48.3 x 86.4 cm)

I. 9 3/4 x 14 1/4 in. (24.8 x 36.2 cm)

S. 24 1/8 x 36 in. (61.3 x 91.4 cm)

S. 13 x 19 7/8 in. (33 x 50.5 cm)

Estimate $2,000-4,000  LITERATURE Richard Freeman L55.5

Estimate $1,500-2,500 


203

203 ED RUSCHA

b. 1937

Now, 1990 Lithograph in colors, on Rives BFK paper, with full margins, signed, dated ‘90’ and numbered 55/60 in pencil (there were also 20 artist’s proofs), published by Cirrus Editions, Los Angeles (with their blindstamp), in very good condition, framed. I. 54 3/4 x 35 1/4 in. (139.1 x 89.5 cm) S. 60 x 40 1/8 in. (152.4 x 101.9 cm)

Estimate $10,000-15,000  LITERATURE Walker Art Center/Siri Engberg 201

204 ED RUSCHA

b. 1937

That is Right portfolio: That is Right, 1989 Lithograph in colors, on Rives BFK paper, with full margins, signed, dated ‘89’ and annotated ‘AP’ in pencil (one of 16 artist’s proofs, the edition was 30), published by the artist, in very good condition, framed. I. 5 1/8 x 6 3/4 in. (12.8 x 16 cm) S. 9 x 11 in. (22.8 x 27.9 cm)

Estimate $1,500-2,000  LITERATURE Walker Art Center/Siri Engberg 173

204


205

205 ED RUSCHA

b. 1937

Etc.; If; South and Question & Answer, 1991 The complete set of four lithographs in colors, on Rives BFK paper, with full margins, all signed, dated ‘91’ and numbered 41/50 in pencil (there were also 10 artist’s proofs), published by Creative Works Editions, Osaka, Japan, all in excellent condition, all framed. all I. 9 1/4 x 12 1/2 in. (23.5 x 31.8 cm) all S. 15 x 18 in. (38.1 x 45.7 cm)

206

Estimate $8,000-12,000  LITERATURE Walker Art Center/Siri Engberg 207-10

206 ED RUSCHA & RAYMOND PETTIBON

b. 1937 & b. 1957

The End, State Two, 2003 Screenprint in colors with unique lettering by Pettibon, on gray Rives BFK paper, with full margins, signed and dated by both artist’s, annotated ‘3T II’ and numbered 10/20 in pencil (there were also 4 artist’s proofs), published by Hamilton Press, Venice, California, in excellent condition, framed. I. 10 x 13 5/8 in. (25.4 x 34.6 cm) S. 17 1/2 x 21 in. (44.5 x 53.3 cm)

Estimate $2,000-3,000 


208

207 NO LOT

208 PANAMARENKO

b. 1940

Panama-Spitzbergen-Nova Zembia, 1996 Lithograph in colors, on wove paper, the full sheet, signed and numbered 28/75 in pencil, published by Galerie Christine et Isy Brachot, Brussels, in good condition, unframed. S. 25 x 21 in. (63.5 x 53.3 cm)

Estimate $700-900 

209 MARTIN PURYEAR

b. 1941

Chicago Pier, 1995 Lithograph in colors, on wove paper, the full sheet, signed and numbered 27/100

209

in pencil, published by the Chicago Art Fair, a crease at the lower left corner, otherwise in very good condition, unframed. S. 35 3/8 x 27 in. (89.9 x 68.6 cm)

Estimate $700-900 

210 KIKI SMITH

b. 1954

Europa, 2001-05 Dimensional photogravure in colors with linograph text, on Hiromi Usuyo Gampi paper, folded (as issued), with full margins, signed, dated ‘2000 2006’ and numbered 20/25 in pencil (there were also 7 artist’s proofs), published by Graphicstudio, University of South Florida, Tampa, in excellent condition, framed. I. 10 3/4 x 17 1/2 in. (27.3 x 44.5 cm) S. 21 x 29 in. (53.3 x 73.7 cm)

Estimate $5,000-7,000 

210


211

212

211 CHRISTO

b. 1935

Monuments portfolio: 7 plates, 1968 Six offset lithographs and one screenprint in colors, on wove paper, the full sheets, all signed and numbered 50/100 in pencil (there are no recorded artist’s proofs), published by Galerie der Spiegel, Cologne, minor surface soiling, otherwise all in very good condition, two framed, five unframed. all S. 21 1/2 x 27 1/2 in. (54.6 x 69.9 cm)

Estimate $2,000-3,000  LITERATURE Jörg Schellmann and Joséphine Benecke 15, 17-22

Titles include: 5,600 Cubic Meter Package, Kassel; 42,390 Cubic Feet Empaquetage, Minneapolis (2); 4,716 Tonneaux Métalliques, Project for Galleria Nazionale d’Arte Moderna, Rome; Edifice Public Empaqueté, Project (Ecole Militaire, Paris); Edifice Public Empaqueté, Project (Arc de Triomphe, Paris), and Galleria Nazionale d’Arte Moderna, Wrapped, Project for Rome.

212 CHRISTO

b. 1935

Five Urban Projects series: Mein Kolner Dom, Wrapped, Project for Köln, 1985 Screenprint, collotype and photo collage, on rag paper, the full sheet, signed and numbered 43/100 in pencil (there were also 20 artist’s proofs), published by Edition Schellmann, Munich and New York, in very good condition, framed. S. 14 x 11 in. (35.6 x 27.9 cm)

Estimate $1,000-1,500  LITERATURE Jörg Schellmann and Joséphine Benecke 125


213

214

213 CHRISTO

b. 1935

214 CATHERINE OPIE

b. 1961

Texas Mastaba, Project for 500,000 Stacked Oil Drums, from America:

Untitled, 1997

The Third Century portfolio, 1976

Photograph, on wove paper, with full margins, signed, titled, dated ‘1997’ and

Lithograph with collage in colors, on tan wove paper, the full sheet, signed and

numberered 216/225 in pencil on the reverse, published by the artist to benefit

numbered 114/200 in pencil (there were also 25 artist’s proofs and 20 hors

Street Side Projects, Pasadena, in very good condition, unframed.

commerce), published by APC Editions, Chermayeff and Geismer Associates,

I. 8 x 20 5/8 in. (20.3 x 52.4 cm)

New York, in very good condition, framed.

S. 8 7/8 x 21 3/8 in. (22.5 x 54.3 cm)

S. 30 1/8 x 22 3/8 in. (76.5 x 56.8 cm)

Estimate $500-700 

Estimate $700-900  LITERATURE Jörg Schellmann and Joséphine Benecke 85

215

215 MIKE KELLEY

b. 1954

Three Valleys: two plates, 1980/98 Two photographs in colors, on Fugicolor Crystal Archive paper, with full margins, both signed, dated ‘1998’, annotated #7 and #12 and numbered 1/5 in black ink on the reverse, published by Patrick Painter Editions, Vancouver, a few soft handling creases, faint lines along the image area in the margins, otherwise both in very good condition, both unframed. both I. 23 1/2 x 15 1/2 in. (59.7 x 39.4 cm) both S. 24 1/8 x 20 1/8 in. (61.3 x 51.1 cm)

Estimate $2,000-3,000 

Including: Regular Rows of Orange Groves; and The River to Sun Valley


216

216 NIGEL COOKE

b. 1973

Cryptoveldt, 2003 Etching, on Arches paper, with full margins, signed, titled, dated ‘2003’ and numbered 4/90 in pencil, published by Counter Editions, London, in excellent condition, unframed. I. 15 5/8 x 23 5/8 in. (39.7 x 60 cm) S. 25 1/4 x 33 5/8 in. (64.1 x 85.4 cm)

Estimate $400-600 

217

218

217 ED RUSCHA

b. 1937

218 ED RUSCHA

b. 1937

Fruit-Metrecal Hollywood, 1971

Two People Temporarily Separated, 1980

Screenprint in colors, on Copperplate Deluxe paper, with full margins, signed,

Etching in colors, on R.K. Burt paper, with full margins, signed, dated and

dated ‘1971’ and numbered 80/85 in pencil (there were also 18 artist’s proofs),

numbered 38/55 in pencil (there were also 5 artist’s proofs), published by Bernard

published by the artist and Bernard Jacobson, Ltd., London, the colors

Jacobson, Ltd., London, a few soft handling creases in the margins, otherwise in

attenuated, occasional soft handling creases, very pale mat staining, areas of

very good condition, framed.

minor soiling, creasing and a few pale stains in the margins, framed.

I. 10 3/8 x 31 1/2 in. (26.4 x 80 cm)

I. 10 1/4 x 37 3/4 in. (26 x 95.9 cm)

S. 19 3/8 x 39 1/4 in. (49.2 x 99.7 cm)

S. 14 3/4 x 42 1/4 in. (37.5 x 107.3 cm)

Estimate $3,000-5,000 

Estimate $4,000-6,000  LITERATURE Walker Art Center/Siri Engberg 109 LITERATURE Walker Art Center/Siri Engberg 53


219 GERHARD RICHTER

b. 1932

Ravine, 1997 Cibachrome photograph, on paper mounted to plexiglas on the front and back (as issued), the full sheet, signed, dated ‘97’ and numbered 18/45 in black marker on the reverse (there were also an edition of 5 in Roman numerals and 1 artist’s proof), published by Marian Goodman Gallery, New York, very light scuffing in places, otherwise in very good condition. S. 29 5/8 x 21 5/16 in. (75.2 x 54.1 cm)

Estimate $18,000-25,000  LITERATURE Hatje Cantz 90

This editon is after the oil painting Schlucht [Ravine] (catalogue raisonné: 837-1) from 1996, which is based on a photograph Richter took in the Engadine, Switzerland, in 1995.


220

220 APRIL GORNIK

b. 1953

Radiant Light, 2001 Lithograph in colors, on wove paper, with full margins, signed, titled, dated ‘2001’ and numbered 26/75 in pencil, (there were also 25 artist’s proofs) co-published by Derriere L-Etoile Studios and Harrison Fine Art, New York, minor surface soiling, otherwise in very good condition, unframed. I. 27 3/4 x 30 7/8 in. (70.5 x 78.4 cm) S. 31 x 37 in. (78.7 x 94 cm)

Estimate $1,200-1,800 

221

221 WILLIAM EGGELSTON

b. 1939

222 DIRK SKREBER

b. 1961

Untitled (Kentucky); and Untitled (Atlanta), 1999

Jagdszene/Hochhaus; and Sportplatz, 1990 and 1991

Two C-prints, on mat photo paper, with full margins, both signed in black ink,

Screenprint in colors, on Laid paper, the full sheet, with copper plaque with resin

both with the Eggelston Artististic Trust stamps, dated 1983 and 1984

and modeling clay relief, the print signed, dated ‘90’ and annotated ‘E.A.’ in pencil

respectively for negative issue, dated 1999 both for print issue and both

(an artist’s proof), published by KV, Dusseldorf, the plaque from the edition of 10,

numbered 30/30 in black ink on the reverse, published by the Whitney Museum of

published by Edition Kunstraum, Munich, the print with hinge remains in places on

American Art, New York, Kentucky with a faint, minute pressure mark in the

the reverse, otherwise both in very good condition, unframed.

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

print S. 27 5/8 x 39 1/2 in. (70.2 x 100.3 cm)

both I. 15 3/4 x 23 in. (40 x 58.4 cm)

plaque 13 3/8 x 8 in. (34 x 20.3 cm)

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

Estimate $1,400-1,800 

Estimate $5,000-7,000 

222


223

224

223 TARA DONOVAN

b. 1969

Untitled (bubbles), 2004 Etching in blue, on wove paper, with full margins, signed, dated ‘04’ and numbered 5/25 in pencil (there were also 8 artist’s proofs), published by Pace Editions, Inc., New York, in excellent condition, unframed. I. 16 x 16 in. (40.6 x 40.6 cm) S. 18 1/4 x 18 1/4 in. (46.4 x 46.4 cm)

Estimate $800-1,200 

225

224 TOM FRIEDMAN

b. 1965

Untitled, 2002 Seventy-five stacked and glued styrofoam cups hand-painted in colors, signed and numbered 23/75 in black ink on the underside (there were also 20 artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and New York, a few pressure marks in the bottom cup, otherwise in very good condition. 41 x 3 x 3 in. (104.1 x 7.6 x 7.6 cm)

Estimate $1,500-2,000  LITERATURE Edition for Parkett 64

225 VIJA CELMINS

b. 1939

Untitled (Web 4), 2002 Aquatint and drypoint in gray with burnishing and scraping, on Hahnemühle Copperplate paper, with full margins, signed, dated and numbered 2/65 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), in excellent condition, framed. I. 15 3/8 x 19 in. (39.1 x 48.3 cm) S. 20 1/2 x 24 1/8 in. (52.1 x 61.3 cm)

Estimate $6,000-9,000  LITERATURE Samantha Rippner figure 40 and p. 54


226

227

226 VIJA CELMINS

b. 1938

227 VIJA CELMINS

b. 1938

Ocean with Cross #1, 2005

Untitled, 1995

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

Mezzotint, on Rives BFK paper, with full margins, signed and numbered XXIV/

21/108 in pencil (there were also 18 artist’s proofs), published by Lincoln Center

XXV in pencil (an artist’s proof, the edition was 60 in Arabic numerals), published

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

by Parkett Editions, Zurich and New York, in excellent condition, framed.

I. 27 5/8 x 22 5/8 in. (70.2 x 57.5 cm)

I. 5 1/8 x 5 1/4 in. (13 x 13.3 cm)

S. 24 1/4 x 28 3/4 in. (61.6 x 73 cm)

S. 16 x 14 in. (40.6 x 35.6 cm)

Estimate $6,000-8,000 

Estimate $4,000-6,000 

LITERATURE Charles A. Riley, p. 200

LITERATURE Edition for Parkett 44; Samantha Ripner figure 31


229

228

228 PHILIP GUSTON

1913-1980

229 PHILIP GUSTON

1913-1980

Objects, 1981

Elements, 1980

Lithograph, on Koller Handmade paper, the full sheet, numbered 45/50 in pencil

Lithograph, on Arches paper, with full margins, signed, dated ‘80’ and numbered

(there were also 11 artist’s proofs), with the Phillip Guston Estate stamp,

28/50 in pencil (there were also 11 artist’s proofs), published by Gemini G.E.L., Los

published by Gemini G.E.L., Los Angeles (with their blindstamps), in very good

Angeles (with their blindstamps), occasional soft creasing, soiling and pressure

condition, framed.

marks in places along the perimeter of the sheet, time staining, affixed to the

S. 19 3/4 x 29 3/4 in. (50.2 x 75.6 cm)

support in places along the reverse of the sheet edges, otherwise in good

Estimate $1,200-1,800  LITERATURE Gemini G.E.L. 1067

condition, framed. I. 27 x 40 in. (68.6 x 101.6 cm) S. 32 3/4 x 42 3/4 in. (83.2 x 108.6 cm)

Estimate $3,000-4,000  LITERATURE Gemini G.E.L. 871

230

230 PHILIP GUSTON

1913-1980

Painter, 1981 Lithograph, on Arches Cover paper, with full margins, numbered 36/50 in pencil (there were also 11 artist’s proofs), with the Philip Guston Estate stamp, published by Gemini G.E.L., Los Angeles (with their blindstamps), minor surface soiling, pinholes in the sheet corners, pressure marks in places along the perimeter of the sheet edges, time staining, affixed to the support in places along the revese of the sheet edges, otherwise in good condition, framed. I. 29 x 38 1/2 in. (73.7 x 97.8 cm) S. 32 1/8 x 42 3/4 in. (81.6 x 108.6 cm)

Estimate $3,000-4,000  LITERATURE Gemini G.E.L. 1063

Philip Guston died after approving the Objects and Painter editions but before the printing and signing. After his death, the complete editions were numbered by Gemini and embossed with an estate stamp authorized by Guston’s widow, Musa.


PROPERTY FROM A PRIVATE COLLECTION, CHICAGO

231 MAX BECKMANN

1884-1950

Gesichter (Faces) portfolio: Plate 1, Selbstbildnis (Self-Portrait), 1918 Drypoint, on Japanese paper, with full margins, signed in pencil, probably from the deluxe edition of 40 before steel-facing (there were also 60 on laid paper after steel-facing), a velvety impression, published by Marées Gesellschaft, R. Piper & Co., Munich, 1919 (with their blindstamp) very minor creasing in the margins, otherwise in very good condition, framed. I. 10 1/4 x 10 in. (26 x 25.4 cm) S. 18 1/2 x 13 in. (47 x 33 cm)

Estimate $12,000-16,000  LITERATURE James Hofmaier 137


232 JASPER JOHNS

b. 1930

Usuyuki, 1981 Screenprint in colors, on Kurotani Kozo paper, with full margins, signed, dated ‘81’ and numbered 80/85 in pencil (there were also 15 artist’s proofs), published by Simca Print Artists, Inc., New York (with their blindstamp), in excellent condition, framed. I. 27 5/8 x 45 1/2 in. (70.2 x 115.6 cm) S. 29 1/4 x 46 3/4 in. (74.3 x 118.7 cm)

Estimate $30,000-50,000  LITERATURE Universal Limited Art Editions 216


233 JASPER JOHNS

b. 1930

Between the Clock and the Bed, 1989 Lithograph in colors, on Japanese paper, with full margins, signed and numbered 37/50 in pencil (there were also 8 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), in very good condition, framed. I. 19 5/8 x 34 in. (49.8 x 86.4 cm) S. 26 1/2 x 40 3/4 in. (67.3 x 103.5 cm)

Estimate $18,000-25,000  LITERATURE Universal Limited Art Editions 246


234

235

234 JASPER JOHNS

b. 1930

6 Lithographs (after ‘Untitled 1975’) series: #1, 1976 Lithograph in colors, on Rives BFK gray paper, with full margins, signed, dated ‘76’ and numbered 60/60 in pencil (there were also 13 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), minor creasing in the lower corners, otherwise in very good condition, framed. I. 28 3/4 x 28 5/8 in. (73 x 72.7 cm) S. 30 1/8 x 29 5/8 in. (76.5 x 75.2 cm)

Estimate $10,000-15,000  LITERATURE Gemini G.E.L. 740; Universal Limited Art Editions 174

235 JASPER JOHNS

b. 1930

Good Time Charley, 1972 Lithograph in colors, on Moulin du Verger du Puymoyen (Angoumois) handmade paper, with full margins, signed, dated ‘72’ and numbered 6/69 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), occasional minor soiling in the margins, stains at the lower left corner, a few pale stains in the lower margin, otherwise in good condition, framed. I. 38 3/8 x 25 in. (97.5 x 63.5 cm) S. 44 x 29 in. (111.8 x 73.7 cm)

Estimate $4,000-6,000  LITERATURE Gemini G.E.L. 349; Universal Limited Art Editions 103


236 ROBERT RAUSCHENBERG

1925-2008

Hoarfrost Editions: Pull, 1974 Offset lithograph and screenprint image transfers in colors, on paper bag, silk taffeta and cheesecloth, the full sheet, signed, dated ‘72’ and numbered 18/29 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles, the colors and printing attunuated, offsetting in places, otherwise in good condition. S. 85 x 48 in. (215.9 x 121.9 cm)

Estimate $4,000-6,000  LITERATURE Gemini G.E.L. 574

Composed of diaphanous, flowing fabrics, some of the pieces bear strong, iconic images, while others contain more subtle, less immediately recognizable combinations of visual material. In both instances the imagery was transferred to cloth either from specially printed offset lithographs (some with screenprint additions) made from newspaper and magazine photographs or directly from newspapers and journals…The fine silks and satins are ‘frozen’ or hardened in selected places to which paper bags were attached, a direct material contrast to the rich fabrics. The elegant Hoarfrost pieces are reminiscent of the flowing robes of the figures in ancient classical friezes. (Ruth E. Fine, Gemini G.E.L., Art and Collaboration, National Gallery of Art and Abbeville Press, 1985, p. 112)


237

238

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

237 FRANCIS BACON

1909-1992

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

238 FRANCIS BACON

1909-1992

Triptych: Untitled (Woodrow Wilson, Paris 1919), 1987

Study of the Human Body (from a Drawing by Ingres), 1982-84

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

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

numbered 59/99 in pencil, published by Ediciones Polígrafa, Barcelona, in very

49/180 in pencil, published by Galerie Maeght-Lelong, Paris, minor creasing in

good condition, framed.

the corners, otherwise in very good condition, framed.

I. 25 5/8 x 19 1/8 in. (65.1 x 48.6 cm)

I. 24 1/2 x 18 1/8 in. (62.2 x 46 cm)

S. 35 3/8 x 24 3/4 in. (89.9 x 62.9 cm)

S. 33 3/4 x 23 7/8 in. (85.7 x 60.6 cm)

Estimate $5,000-7,000 

Estimate $4,000-6,000 


240

239

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

239 FRANCIS BACON

1909-1992

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

240 FRANCIS BACON

1909-1992

Triptych – August 1972: one plate, 1989

The Human Body (Study), 1975

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

Lithograph in colors, on wove paper, with full margins, signed in felt-tip pen

39/180 in pencil, published by Galerie Maeght-Lelong, Paris, in very good

(faded) bearing signature on top and numbered 5/200 in pencil, published by the

condition, framed.

Metropolitan Museum of Art, New York, the colors slightly attenuated, pale

I. 25 3/4 x 19 in. (65.4 x 48.3 cm)

light- and time staining, creases in places along the sheet edges, otherwise in

S. 34 1/2 x 24 1/2 in. (87.6 x 62.2 cm)

good condition, framed.

Estimate $5,000-7,000 

I. 45 1/4 x 34 in. (114.9 x 86.4 cm) S. 62 1/2 x 43 1/2 in. (158.8 x 110.5 cm)

Estimate $6,000-9,000 


241 DAVID HOCKNEY

b. 1937

Rue de Siene, 1972 Etching and aquatint, on J. Greene mould-made paper, with full margins, signed, dated ‘72’ and numbered 149/150 in pencil (there were also 60 proofs), published by Petersburg Press, London, several pale foxmarks in the margins, otherwise in very good condition, framed. I. 21 x 17 in. (53.3 x 43.2 cm) S. 35 x 27 1/2 in. (88.9 x 69.9 cm)

Estimate $9,000-12,000  LITERATURE Scottish Arts Council 121; Museum of Contemporary Art, Tokyo 111


242 DAVID HOCKNEY

b. 1937

A Hollywood Collection portfolio, 1965 The complete set of six lithographs in colors, on Rives BFK paper, the full sheets, all signed, dated ‘65’ and numbered 71/85 in pencil (there were also 17 artist’s proofs for each), published by Editions Alecto, London (with their stamp on the reverse), the colors very slightly attenuated, a few soft handling creases and pale foxmarks, otherwise all in very good condition, all unframed. all S. 30 1/2 x 22 1/4 in. (77.5 x 56.5 cm)

Estimate $18,000-22,000  LITERATURE Scottish Arts Council 43-46, Museum of Contemporary Art, Tokyo, 41-46

Including: Picture of a Still Life that Has an Elaborate Silver Frame; Picture of a Landscape in an Elaborate Gold Frame; Picture of a Portrait in a Silver Frame; Picture of Melrose Avenue in an Ornate Gold Frame; Picture of a Simple Framed Traditional Nude Drawing; and Picture of a Pointless Abstraction Framed Under Glass


243 DAVID HOCKNEY

b. 1937

Moving Focus series: An Image of Gregory, 1984-85 Lithograph with collage in colors, on two sheets of TGL handmade paper, the full sheets, signed, dated ‘1984-5’ and numbered 17/75 in pencil (there were also 18 artist’s proofs), published by Tyler Graphics Ltd., Mount. Kisco, New York (with their blindstamp), in very good condition, contained in artist’s original two part sculptural wood frame finished in white and grey lacquers (occasional minor scuffing and soiling, minor paint loss along the lower frames upper edge, minor wear at the edges, particularly the corners). 88 x 41 1/2 in. (223.5 x 105.4 cm)

Estimate $15,000-20,000  LITERATURE Tyler Graphics 285; Museum of Contemporary Art, Tokyo, 276


244 CHUCK CLOSE

b. 1940

James, 2004 Screenprint in colors, on Saunders Waterford HP paper, with full margins, signed, dated ‘2004’ and numbered 42/80 in pencil (there were also 18 artist’s proofs), published by Pace Editions, Inc., New York, occasional soft rubbing in the margins (particularly at upper left), otherwise in very good condition, framed. I. 62 1/4 x 48 1/4 in. (158.1 x 122.6 cm) S. 69 1/2 x 54 3/8 in. (176.5 x 138.1 cm)

Estimate $18,000-25,000 

James Siena, Battery variations, 2005


245

245 RICHARD ESTES

246

b. 1932

Urban Landscapes No. 3: four plates, 1981 Four screenprints in colors, on Fabriano Cottone paper, with full margins, all signed and numbered 7/250 in pencil (there were also 15 artist’s proofs), published by Parasol Press, New York, all in excellent condition, all framed. all I. 14 1/8 x 20 1/8 in. (35.9 x 51.1 cm) all S. 19 3/4 x 27 5/8 in. (50.2 x 70.2 cm)

Estimate $3,500-4,500  LITERATURE John Arthur p. 120 and 23

Including: Cafeteria Vatican; Eiffel Tower Restaurant; Bus Interior and Flughafen

246 RICHARD ESTES

b. 1932

Urban Landscapes No. 2: Supermarket, San Francisco, 1979 Screenprint in colors, on wove paper, with full margins, signed and numbered 36/100 in pencil, published by Parasol Press, New York, soiling at the upper and lower margin, a minute accretion in the lower margin, otherwise in very good condition, unframed. I. 18 7/8 x 13 in. (47.9 x 33 cm) S. 27 1/2 x 19 5/8 in. (69.9 x 49.8 cm)

Estimate $700-900 LITERATURE John Arthur p. 119

247 RICHARD ESTES

b. 1932

Urban Landscapes: Oriental Cuisine, 1972 Screenprint in colors, on Schoellers Parole paper, with full margins, signed and numbered 28/75 in pencil (there were also 25 artist’s proofs), published by Parasol Press, New York, in excellent condition, unframed. I. 13 1/2 x 20 3/8 in. (34.3 x 51.8 cm) S. 19 3/4 x 27 1/2 in. (50.2 x 69.9 cm)

Estimate $900-1,200  LITERATURE John Arthur p. 112

247


248

249

248 RICHARD ESTES

b. 1932

249 RICHARD ESTES

b. 1932

Urban Landscapes No. 2: Supermarket, San Francisco and 4 1/2% Interest, 1979

Urban Landscapes No. 3: Lakewood Mall and Movies, 1981

Two screenprints in colors, on wove paper, with full margins, both signed and

Two screenprints in colors, on Fabriano Cottone paper, with full margins, both

annotated ‘A.P.’ in pencil (one of 15 artist’s proofs, the edition was 100), published

signed and annotated ‘A.P.’ in pencil (one of 15 artist’s proofs, the edition was 250),

by Parasol Press, New York, one with a few minute spots of stray printing ink in

published by Parasol Press, New York, both in excellent condition, both unframed.

the margins, otherwise both in excellent condition, both unframed.

both I. 14 x 20 in. (35.6 x 50.8 cm)

both I. 18 7/8 x 12 7/8 in. (47.9 x 32.7 cm)

both S. 19 3/4 x 27 5/8 in. (50.2 x 70.2 cm)

both S. 27 1/2 x 19 5/8 in. (69.9 x 49.8 cm)

Estimate $1,800-2,400

Estimate $1,800-2,400 LITERATURE John Arthur p. 123 LITERATURE John Arthur p. 116 and 119

250

250 MASSIMO VITALI

b. 1944

Sagamore Diptych (small), circa 2002 Two coupler prints in colors, on photo paper, with full margins, both with the MASSIMO VITALI for BRANCOLINIGRIMALDI Edition No. 029/120 inkstamp on the reverse, Sheet No. 21 and 22, published by Steidl Verlag, Göttingen, both in very good condition, both unframed. both I. 33 7/8 x 26 in. (86 x 66 cm) both S. 35 1/2 x 27 1/2 in. (90.2 x 69.9 cm)

Estimate $1,200-1,800


251

252

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

251 RYAN MCGINNESS

b. 1971

252 ARMAN

1928-2005

Surface & Symbol, 2008

Accumulation, circa 1975

Porcelain-baked enamel in colors, on steel, the full sheet, signed, titled, dated

Clock gears suspended in plexiglas, incised with signature, annotated ‘HC 3’

‘2008’ and numbered 8/10 in black marker on the reverse (there were also 2

(the edition was 65 and 10 artist’s proofs), occasional scuffing, nicks and minor

artist’s proofs), published by Independent Curators International, New York,

losses along the edges (particularly the corners), an abrasion at the center face,

in very good condition, with hanging cleat on the reverse.

otherwise in good condition.

24 3/8 (diameter) x 1 1/4 in. (61.9 x 3.2 cm)

18 x 10 x 2 1/8 in. (45.7 x 25.4 x 5.4 cm)

Estimate $3,000-4,000

Estimate $3,000-5,000 


253 DAMIEN HIRST

b. 1965

Santiago de Compostella, 2007 Screenprint in colors with glazes and diamond dust, on wove paper, the full sheet, signed and numbered 29/50 in black ink, published by Other Criteria, London, in very good condition, framed. S. 47 1/2 x 47 1/2 in. (120.7 x 120.7 cm)

Estimate $25,000-35,000


254

255

254 TAKASHI MURAKAMI

b. 1962

Jellyfish Eyes, 2001; Jellyfish Eyes – Black 4, 2006: and Jellyfish Eyes – White 5, 2006 Three offset lithographs in colors, on wove paper (flesh on board), the full sheets, all signed and numbered 62/300, 190/300 and 115/300 respectively in black ink and silver ink (2), published by Kaikai Kiki, Tokyo, (Flesh) with a short dark scuff at lower left, a small crease at upper right, otherwise all in very good condition, all unframed. all S. 19 3/4 x 19 3/4 in. (50.2 x 50.2 cm)

Estimate $3,000-5,000 

Artworks ©2001, 2004 and 2006 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

255 TAKASHI MURAKAMI

b. 1962

Homage to Francis Bacon (Study of Isabel Rawsthorne), 2004 Offset lithograph in colors, on smooth wove paper, the full sheet, signed, dated ‘04’ and numbered 177/300 in silver ink, published by Kaikai Kiki, Tokyo, compound creasing at the lower right corner, otherwise in good condition, unframed. S. 27 1/8 x 27 in. (68.9 x 68.6 cm)

Estimate $1,000-1,500 

Artwork ©2002 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

256 NIKI DE SAINT PHALLE

1930-2002

The Clown, 1998 Etching and aquatint with hand-coloring, on Rives BFK paper, with full margins, signed and annotated ‘B.A.T.’ in pencil (the edition was 40 and 10 artist’s proofs), published by Lapis Press, Los Angeles (with their blindstamp), in excellent condition, unframed. I. 7 x 5 7/8 in. (17.8 x 14.9 cm) S. 14 x 12 in. (35.6 x 30.5 cm)

Estimate $400-600


257

258

257 TAKASHI MURAKAMI

b. 1962

258 TAKASHI MURAKAMI

b. 1962

Jellyfish Eyes, 2002

Oval (Peter Norton Christmas Project 2000), 2000

Offset lithograph in colors, on smooth wove paper, the full sheet, signed with the

Polychromed plastic containing a mini CD, from the edition of 2,000, published by

artist’s swirl symbol, numbered 65/250 in black ink on a label affixed to the reverse,

the Peter Norton Family Christmas Project, occasional minor soiling and cuffing

published by Kaikai Kiki, Tokyo, the frame with a patterned area of staining and a

(particularly on the hair of the figure), two green spots on the base, otherwise in

small area of soiling on the face, otherwise in very good condition, contained in the

good condition.

artist’s original frame.

10 1/2 x 7 x 7 1/4 in. (26.7 x 17.8 x 18.4 cm)

S. diameter: 22 in. (55.9 cm) frame diameter: 26 1/8 in. (66.4 cm)

Estimate $2,000-3,000 

Estimate $2,500-3,500  Artwork ©2000 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved. Artwork ©2002 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.

259

259 PETER HALLEY

b. 1953

Contamination I and II, 2002 Two lithographs with screenprint in colors, on wove paper, with full margins, both signed, dated ‘2002’ and numbered 38/100 in pencil (there were also 10 artist’s proofs), published by MS Editions, New York, occasional very minor soiling in the margins, otherwise both in very good condition, both unframed. both I. 28 1/8 x 27 5/8 in. (71.4 x 70.2 cm) both S. 32 x 31 1/2 in. (81.3 x 80 cm)

Estimate $1,000-1,500


260

261

260 PATRICK CAULFIELD

1936-2005

261 R.B. KITAJ

1932-2007

Some Poems from Jules La Forge portfolio, 1973

A Day Book by Robert Creeley, 1972

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

The complete set of thirteen prints in various media, on various papers, the full

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

sheets, signed by the author in black ink on the colophon, one of 25 bound copies

sheets, all signed and numbered 65/200 in pencil on the reverse (there were also

from the standard edition of 200 (there was also an ‘Edition de Tête’ of 25 with an

20 artist’s proofs), also signed, numbered and annotated ‘Edition A’ in pencil on

additional screenprint), published by Graphis, Berlin, generally the prints all in

the colophon of the book, published by Petersburg Press, London, occasional

very good condition, bound (as issued), contained in original linen covered slip

soiling and ink loss along the sheet edges of the bound book, otherwise in very

case (scuffing, wear in the corners).

good condition, the prints loose, contained in original grey leather binding, folder

25 1/8 x 17 in. (63.8 x 43.2 cm)

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 $1,500-2,500 

Estimate $8,000-10,000 

LITERATURE Jane Kinsman 51


262

263

262 TOM SLAUGHTER

b. 1955

263 THOMAS SCHEIBITZ

b. 1968

Recession Prints IV portfolio, 1996

Set, 2001

The complete set of four screenprints in colors, on Coventry rag paper, with full

The complete set of five digital prints, on wove paper, the full sheets, all

margins, all signed, dated ‘96’ and numbered 89/125 in pencil (there were also 15

annotated ‘1.5-5.5’ respectively, 1.5 signed, dated 2001 and numbered 15/15 in

artist’s proofs), published by Durham Press, Durham, Pennsylvania (with their

pencil, one with the slightest soiling at the left sheet edge, otherwise all in very

blindstamp), occasional minor scuffing, otherwise all in very good condition, all

good condition, all framed.

unframed, contained in original cardboard folder with printing on the front.

all S. 35 1/2 x 25 3/4 in. (90.2 x 65.4 cm)

15 1/8 x 19 in. (38.4 x 48.3 cm)

Estimate $700-1,000  Including: Camera, Books, Pen/Pencil and Valise

Estimate $7,000-9,000 


264

264 JOHN WESLEY

b. 1928

Under the Sea of Japan, 1991 Screenprint in colors, on wove paper, with full margins, signed, titled, dated ‘1990’ and numbered 3/60 in pencil, in excellent condition, framed. I. 17 1/4 x 11 3/8 in. (43.8 x 28.9 cm) S. 28 x 21 3/8 in. (71.1 x 54.3 cm)

Estimate $500-700 

265

265 JULIA JACQUETTE

266

b. 1964

266 JULIA JACQUETTE

b. 1964

Men’s Hands Smoking; and Women’s Hands Smoking, 2000

To Kiss Your Lips, 1999

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

Lithograph and etching in colors, on four sheets of Somerset paper, with

‘00’ and numbered 16/60 and 6/60 respectively in pencil

full margins, all signed, dated ‘99’ and numbered ‘pp 2/3’ or ‘pp 2’ in pencil

(there were also 10 artist’s proofs), published by MS Editions, New York, both

(a printer’s proof, the edition was 35 and 10 artist’s proofs), published by

in excellent condition, both framed.

Landfall Press, Chicago, all in very good condition, framed separately.

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

all I. 11 x 10 7/8 in. (27.9 x 27.6 cm)

both S. 9 x 9 in. (22.9 x 22.9 cm)

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

Estimate $800-1,200 

Estimate $1,000-1,500 


267

267 UTA BARTH

b. 1958

…In Passing portfolio, 1997 The complete set of ten offset lithographs in colors plus colophon, on ragcote paper, with full margins, all signed, dated, annotated ‘#1-10’ respectively and numbered 14/30 in pencil on the reverse (there were also 3 artist’s proofs), published by Muse X Editions, Los Angeles, all in very good condition, loose, contained in original smooth paper-covered portfolio case. 12 3/4 x 13 1/2 in. (32.4 x 34.3 cm)

Estimate $3,000-4,000 

268 ROBERT INDIANA

b. 1928

Classic Love, circa 1995 Chrome-dyed hand-carved tufted archival wool tapestry on canvas, signed and numbered 137/150 in black ink on the label sewn to the reverse, published by Master Contemporary Original Artist Rugs, in very good condition. 72 x 72 in. (182.9 x 182.9 cm)

Estimate $2,500-3,500 

268


269 ANDY WARHOL

1928-1987

Cowboys and Indians, 1986 The complete set of ten screenprints in colors with colophon, on Lenox Museum Board paper, the full sheets, all signed and numbered ‘PP 3/15’ in pencil (a printer’s proof, the edition was 250 and 50 artist’s proofs), published by Gaultney-Klineman Art, Inc., New York, three with very minor soiling in places, otherwise all in very good condition, all unframed, contained in original cardboard box (wear and tape remains). all S. 36 x 36 in. (91.4 x 91.4 cm)

Estimate $100,000-150,000  LITERATURE Frayda Feldman and Jörg Schellmann 377-386

Including: John Wayne; Annie Oakley; General Custer; Northwest Coast Mask; Kachina Dolls; Plains Indian Shield; Mother and Child; Geronimo; Indian Head Nickel and Teddy Roosevelt


270 ANDY WARHOL

1928-1987

Moonwalk, 1987 Screenprint in colors, on Lenox Museum Board paper, the full sheet, signed and numbered 77/160 in black marker and pencil respectively (there were also 31 artist’s proofs), with the stamped Certificate of Authenticity, numbered and signed by Frederick Hughes (executor of the Estate), Rupert Jasen Smith (printer) and Ronald Feldman (publisher) in pencil on the reverse, published by Ronald Feldman Fine Arts Inc., New York, occasional very minor rubbing in the mat blue inks, otherwise in very good condition, framed. S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $25,000-35,000  LITERATURE Frayda Feldman and Jörg Schellmann 405


271 ANDY WARHOL

1928-1987

Camouflage, 1987 Unique screenprint in fluourescent colors, on Lenox Museum Board paper, the full sheet, with the Andy Warhol © 1987 stamp and the stamped certificate of authenticity, signed by Frederick Hughes (executor of the Estate), titled and numbered ‘TP 23/84’ in pencil on the reverse, occasional minor scuffing, otherwise in very good condition, unframed. S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $20,000-30,000  LITERATURE Frayda Feldman and Jörg Schellmann 413

The Camouflage paintings were the culmination of both his lifelong need to disguise himself and his career-long quest to come up with an abstract art that Andy Warhol, Camouflage Self-Portrait, 1986, synthetic polymer paint and silkscreen on canvas

would make the anti-Pop mandarins of the New York art world look at his work in a more favorable light. (Bob Colacello, Andy Warhol Camouflage, Gagosian Gallery, New York, 1998)


272 ANDY WARHOL

1928-1987

Ads: Life Savers, 1985 Screenprint in colors, on Lenox Museum Board paper, the full sheet, signed and numbered ‘A.P. 11/30’ in pencil (an artist’s proof, the edition was 190), published by Ronald Feldman Fine Arts, Inc., New York (with their and Andy Warhol copyright stamp and Nabisco Life Saver copyright use permission stamp on the reverse), a few faint scuffs (mainly visible in raking light), otherwise in very good condition, framed. S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $25,000-35,000  LITERATURE Frayda Feldman and Jörg Schellmann 353


273 ANDY WARHOL

1928-1987

Flowers, 1964 Offset lithograph in colors, on wove paper, with full margins, signed and dated ‘64’ (in the upper right margin) in blue ball-point pen (one of approximately 300 signed and dated copies), published by Leo Castelli Gallery, New York, the colors bright and fresh, very pale mat staining in the margins (particularly the corners) and in places on the reverse, a few very minor creases in the margins, otherwise in very good condition, unframed. I. 22 1/8 x 22 1/8 in. (56.2 x 56.2 cm) S. 23 1/4 x 23 1/4 in. (59.1 x 59.1 cm)

Estimate $14,000-18,000  LITERATURE Frayda Feldman and Jörg Schellmann 6


274 ANDY WARHOL

1928-1987

Myths: The Shadow, 1981 Screenprint in colors with diamond dust, on Lenox Museum Board paper, the full sheet, signed and numbered 142/200 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York, occasional soft scuffing, otherwise in very good condition, framed. S. 38 1/8 x 38 1/8 in. (96.8 x 96.8 cm)

Estimate $40,000-60,000  LITERATURE Frayda Feldman and Jörg Schellmann 267

At the end of time, when I die, I don’t want to leave any leftovers. And I don’t want to be a leftover. I was watching TV this week and I saw a lady go into a ray machine and disappear. That was wonderful, because matter is energy and she just disappeared. That could be a really American invention, the best American invention—to be able to disappear. I mean, that way they couldn’t say you died, they couldn’t say you were murdered, they couldn’t say you committed suicide over somebody. Andy Warhol, The Philosophy of Andy Warhol (From A to B & Back Again), 1975, A Harvest Book, pp. 112-3

Andy Warhol, Self-Portrait, 1967, synthetic polymer paint and silkscreen on canvas, Tate Gallery, London


275 ANDY WARHOL

1928-1987

Mao, 1972 Screenprint in colors, on Beckett High White paper, the full sheet, signed in blue ball-point pen and stamp numbered 40/250 (there were also 50 artist’s proofs), published by Castelli Graphics and Multiples, Inc., New York, with the Andy Warhol copyright stamp on the reverse, the sheet slightly toned, occasional handling creases (several with associated cracking of the inks), a crease beside the right eye (with associated cracking), otherwise in good condition, framed. S. 36 x 36 in. (91.4 x 91.4 cm)

Estimate $20,000-30,000  LITERATURE Frayda Feldman and Jörg Schellmann 94


276

276 ANDY WARHOL

1928-1987

Jane Fonda, 1982 Screenprint in colors, on Lenox Museum Board, with full margins, with the Andy Warhol ©1982 and the ‘Andy Warhol Art Authentication Board Inc. Outside the Published Edition’ inkstamps on the reverse (the edition was 100 and 25 artist’s

277

proofs), published by Friends of Tom Hayden, Santa Monica (to raise funds for the Tom Hayden campaign for California state assemblyman), occasional scuffing, a crescent shaped crease at the lower left and creasing in the upper left and lower corners (all with associated ink loss), occasional nicks and splitting in places along the sheet edges (a few affecting the image with asociated ink loss), otherwise in good condition, unframed. I. 39 1/2 x 31 1/2 in. (100.3 x 80 cm) S. 40 x 32 in. (101.6 x 81.3 cm)

Estimate $7,000-9,000  LITERATURE Frayda Feldman and Jörg Schellmann 268

277 ANDY WARHOL

1928-1987

Marilyn (Announcement), 1981 Offset lithograph in colors, on smooth wove paper, the full sheet, signed in black ink marker, from the edition of unknown size, published as the announcement for the exhibition Andy Warhol: A Print Retrospective 1963-1981, by Castelli Graphics, New York, the yellow attenuated, otherwise in very good condition, framed. S. 12 1/8 x 12 1/8 in. (30.8 x 30.8 cm)

Estimate $7,000-9,000


278

279

278 ANDY WARHOL

1928-1987

279 ANDY WARHOL

1928-1987

Speedskater, from Art and Sports portfolio, 1983

Cow, 1966

Screenprint in colors, on Arches paper, the full sheet, signed and numbered

Screenprint in colors, on wallpaper, the full sheet, from the unlimited edition

‘TP 12/15’ in pencil (a trail proof, the edition was 150 in Roman numerals and 10

(there were 100 signed with a rubber stamp and numbered), published by Andy

artist’s proofs), published by Visconti Art Spectrum, Vienna, for the portfolio of

Warhol, New York, surface soiling, occasional scuffs, abrasions, creases and

the XIV Olympic Winter Games in Sarajevo, Yugoslavia, occasional minor soiling,

pressure marks, minor cracking in the inks (particularly the blacks), soiling and

three handling creases in the torso and at the ankle (with associated minor ink

moisture stains at the lower right, several creases, tears, moisure stains and ink

loss), a slight crease at the lower left sheet corner, otherwise in very good

and paper loss at the sheet edges, mat staining on the reverse, framed.

condition, framed.

S. 42 3/8 x 30 in. (107.6 x 76.2 cm)

S. 34 1/4 x 24 1/4 in. (87 x 61.6 cm)

Estimate $1,500-2,500 

Estimate $9,000-12,000  LITERATURE Frayda Feldman and Jörg Schellmann 11 LITERATURE Frayda Feldman and Jörg Schellmann 303


280

281

280 ANDY WARHOL

1928-1987

Campbell’s Soup I: Vegtable Made with Beef Stock, 1968 Screenprint in colors, on wove paper, with full margins, signed in black ball-point pen, stamp numbered 23/250 (there were also 26 artist’s proofs), published by Factory Additions, New York, the red very slightly attenuated, very minor abrasions in the red shape (mainly visible in raking light), soft handling creases, occasional scuffing and minor soiling, pale time staining, otherwise in good condition, framed. I. 32 x 18 7/8 in. (81.3 x 47.9 cm) S. 35 x 23 in. (88.9 x 58.4 cm)

Estimate $10,000-15,000  LITERATURE Frayda Feldman and Jörg Schellmann 48

282

281 ANDY WARHOL

1928-1987

S+ H Greenstamps, 1965 Offset lithograph in colors, on thin wove paper, with full margins, from the edition of approximately 300, published by the Institute of Contemporary Art, Philadelphia, with the Estate of Andy Warhol authentication ink stamp and initialed ‘JH’ in pencil on the reverse, a few minor creases at the sheet edges, two short tears at the lower left corner, very pale time staining at the left and right edges, otherwise in very good condition, framed. I. 22 1/8 x 22 1/4 in. (56.2 x 56.5 cm) S. 22 7/8 x 23 1/4 in. (58.1 x 59.1 cm)

Estimate $2,500-3,500  LITERATURE Frayda Feldman and Jörg Schellmann 9

282 (AFTER) ANDY WARHOL

1928-1987

Souper Dress, 1965 Screenprint in colors, on a cotton paper A-line dress, labeled ‘The Souper Dress’ at the neck, from the edition of unknown size, vertical and horizontal folds (as issued), a few yellow/brown stains in the lower front (in the whites), pale mat staining within the creases on the lower back, otherwise in good condition, unframed. 37 3/4 x 23 1/2 in. (95.9 x 59.7 cm)

Estimate $2,000-3,000


283 ROY LICHTENSTEIN

1923-1997

Sweet Dreams Baby! from 11 Pop Artists Portfolio III, 1966 Screenprint in colors, on wove paper, with full margins, signed and numbered 52/200 in pencil (there were also approximately 5 artist’s proofs), published by

Lyndon B. Johnson, circa 1964

Original Editions, New York, minor mat staining in the left and lower margins, otherwise in very good condition, framed. I. 35 5/8 x 25 5/8 in. (90.5 x 65.1 cm) S. 37 5/8 x 27 1/2 in. (95.6 x 69.9 cm)

Estimate $50,000-70,000  LITERATURE Mary Lee Corlett 39

Roy Lichtenstein, Popeye, 1961, oil on canvas, collection of David Lichtenstein


284

285

284 ROY LICHTENSTEIN

1923-1997

285 ROY LICHTENSTEIN

1923-1997

Explosion, from Portfolio 9, 1967

Composition II, 1996

Lithograph in colors, on Rives paper, the full sheet, signed and numbered 56/100

Screenprint in colors, on Lana Lanaquarelle Watercolor paper, with full margins,

in pencil (there were also 20 proofs in Roman numerals and 10 artist’s proofs),

signed, dated ‘96’ and numbered 37/50 in pencil (there were also 12 artist’s

published by Hollanders Workshop, New York (with their blindstamp), hinge

proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), in

remains in places at the reverse of the sheet edges (with associated pale staining),

excellent condition, framed.

otherwise in very good condition, unframed.

I. 27 7/8 x 37 3/4 in. (70.8 x 95.9 cm)

S. 22 1/8 x 17 1/8 in. (56.2 x 43.5 cm)

S. 35 3/8 x 44 7/8 in. (89.9 x 114 cm)

Estimate $6,000-8,000 

Estimate $10,000-15,000 

LITERATURE Mary Lee Corlett 49

LITERATURE Gemini G.E.L. 1669 ; Mary Lee Corlett 298

286

286 ROY LICHTENSTEIN

1923-1997

Salute to Airmail, 1968 Chrome multiple, mounted to pedestal (as issued), incised with initials and numbered 40/50 (there were also 6 artist’s proofs), published by International Collectors Society, New York, edition numbers 35-50 were cast in 1986 by the artist and James Goodman Gallery, New York, occasional minor scuffing on the pedestal, otherwise in very good condition. 5 1/2 x 3 1/2 x 1 1/2 in. (14 x 8.9 x 3.8 cm)

Estimate $4,000-6,000


287

287 ROY LICHTENSTEIN

1923-1997

Forms in Space, 1985 Screenprint in colors, on Rives BFK paper, with full margins, signed, dated and numbered 22/125 in pencil (there were also 20 artist’s proofs), published by the artist to benefit the Institute of Contemporary Art, University of Pennsylvania, Philadelphia, an area of soiling at the upper right (in a red stripe), two minute spots of blue in the white area surrounding the blue dots, creasing at the lower left margin edge, otherwise in very good condition, framed. I. 31 x 47 1/2 in. (78.7 x 120.7 cm) S. 35 3/8 x 52 in. (89.9 x 132.1 cm)

Estimate $20,000-30,000  LITERATURE Mary Lee Corlett 217

288

288 ROY LICHTENSTEIN

1923-1997

Modern Print, 1971 Lithograph and screenprint in colors, on Arjomari paper, with full margins, signed, dated ‘71’ and numbered 148/200 in pencil (there were also 15 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), minor soiling and occasional soft rubbing in the margins, a few pinpoint foxmarks in the lower margin, a few pale stains at the center right sheet edge, otherwise in very good condition, framed. I. 24 x 24 in. (61 x 61 cm) S. 31 x 30 7/8 in. (78.7 x 78.4 cm)

Estimate $3,000-5,000  LITERATURE Gemini G.E.L. 277; Mary Lee Corlett 102


289

290

289 ROY LICHTENSTEIN

1923-1997

290 ROY LICHTENSTEIN

1923-1997

Still Life with Red Jar, 1994

Red Lamp, 1992

Screenprint in colors, on Lana Lanaquarelle Watercolor paper, with full margins,

Lithograph in colors, on Rives BFK paper, with full margins, signed, dated ‘92’

signed, dated ‘94’ and numbered 90/250 in pencil (there were also 50 artist’s

and numbered 198/250 in pencil (there were also 40 artist’s proofs), published by

proofs), published by the artist and Gemini G.E.L., Los Angeles (with their

the artist and Leo Castelli Gallery, New York, in good condition, unframed.

blindstamp), in good condition, unframed.

I. 16 x 18 1/2 in. (40.6 x 47 cm)

I. 21 1/4 x 19 1/4 in. (54 x 48.9 cm)

Estimate $6,000-9,000 

Estimate $3,000-5,000  LITERATURE Mary Lee Corlett 279 LITERATURE Gemini G.E.L. 1621, Mary Lee Corlett 291

291

291 ROY LICHTENSTEIN

1923-1997

Untitled Head, 1995 Lithograph in colors, on Lanaquarelle paper, with full margins, signed, dated ‘95’ and numbered 42/75 in pencil (there were also 14 artist’s proofs), published by the artist and Gemini G.E.L., Los Angeles (with their blindstamps), in good condition, unframed. I. 18 3/4 x 21 1/2 in. (47.6 x 54.6 cm)

Estimate $8,000-12,000  LITERATURE Gemini G.E.L. 1641, Mary Lee Corlett 292


292

293

292 ROY LICHTENSTEIN

1923-1997

Brushstroke Contest, 1989 Lithograph in colors, on Rives BFK paper, with full margins, signed, dated ‘87’ and numbered ‘AP 7/12’ in pencil (an artist’s proof, the edition was 36), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), slight rippling in the lower sheet (above the hinges), otherwise in very good condition, framed. I. 47 3/4 x 38 1/8 in. (121.3 x 96.8 cm) S. 50 x 40 in. (127 x 101.6 cm)

Estimate $7,000-10,000  LITERATURE Mary Lee Corlett 235

293 ROY LICHTENSTEIN

1923-1997

Untitled Shirt, 1979 Screenprint in colors, on a silk sateen shirt, with the screenprinted signature and date on a label affixed to the inside, numbered 91/100 (there were also 25-50 artist’s proofs), co-published by the artist and Artist’s Space, New York, occasional pale stains (mainly visible in the white areas), otherwise in very good condition. 30 x 36 in. (76.2 x 91.4 cm)

Estimate $2,500-3,500  LITERATURE Mary Lee Corlett 159

294 ROY LICHTENSTEIN

1923-1997

The Poetry Project Symposium poster, 1988 Screenprint in colors with text, on wove paper, with full margins, signed in pencil (one of 60 signed copies, the total edition was 200), published by Brooke Alexander Editions, New York, to benefit the Poetry Project, minor surface soiling, occasional soft rubbing (mainly visible in the blue and black inks), a small scuff at the upper black shape, the palest time staining, otherwise in good condition, framed. I. 37 x 27 1/8 in. (94 x 68.9 cm) S. 44 x 31 in. (111.8 x 78.7 cm)

Estimate $700-900  LITERATURE Mary Lee Corlett Appendix 11

294


295

296

295 JAMES ROSENQUIST

b. 1933

296 JAMES ROSENQUIST

b. 1933

Expo 67 Mural - Firepole 33 x 17', 1967

Short Ends, 1970

Lithograph in colors, on Italia handmade paper, the full sheet, signed, titled,

Lithograph in colors, on J.B. Green Handmade paper, with full margins, signed,

dated ‘1967’ and numbered 25/41 in pencil (there were also 5 artist’s proofs),

dated ‘1970’, titled and numbered 60/175 in white pencil (there were also 24

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

artist’s proofs), co-published by Castelli Graphics and Hollanders Workshop,

blindstamp), minor surface soiling, otherwise in very good condition, framed.

New York (with the Hollanders blindstamp), minor soiling in the upper and lower

S. 33 3/4 x 18 1/2 in. (85.7 x 47 cm)

margin, otherwise in very good condition, framed.

Estimate $7,000-10,000  LITERATURE Esther Sparks 202; Constance Glenn 17

I. 27 1/2 x 19 3/8 in. (69.9 x 49.2 cm) S. 28 1/4 x 20 in. (71.8 x 50.8 cm)

Estimate $1,000-1,500  LITERATURE Constance Glenn 34


297

297 JAMES ROSENQUIST

b. 1933

298 JAMES ROSENQUIST

b. 1933

Flamingo Capsule, 1974

Tube, 1972

Lithograph in colors, on Arches paper, with full margins, signed, titled, dated

Lithograph in colors, on Hodgkinson handmade Wookey Hole paper, with full margins,

‘1973’ and numbered 81/85 in pencil (there were also 18 artist’s proofs,

signed, titled, dated ‘1972’ and numbered ‘19/20 A.P.’ in pencil (an artist���s proof, the

co-published by Multiples, Inc., and Castelli Graphics, New York) in very good

edition was 75), published by Petersburg Press, London and New York, occasional

condition, framed.

minor soiling and creasing in the margins, otherwise in very good condition, unframed.

I. 28 1/8 x 68 1/4 in. (71.4 x 173.4 cm)

I. diameter: 26 1/8 in. (66.4 cm)

S. 36 3/4 x 76 3/4 in. (93.3 x 194.9 cm)

S. 31 1/2 x 30 7/8 in. (80 x 78.4 cm)

Estimate $4,000-6,000 

Estimate $900-1,200 

LITERATURE Constance Glenn 86

LITERATURE Constance Glenn 50

298

299

299 JAMES ROSENQUIST

b. 1933

The Glass Wishes series: On Stage, 1981 Aquatint and etching in colors, on Somerset Satin paper, with full margins, signed, titled, dated ‘1981’ and numbered 23/59 in pencil (there were also 12 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), minor surface soiling (primarily in the margins), otherwise in very good condition, framed. I. 23 1/2 x 16 1/4 in. (59.7 x 41.3 cm) S. 33 1/2 x 26 1/4 in. (85.1 x 66.7 cm)

Estimate $500-700  LITERATURE Gemini G.E.L. 1016; Constance Glenn 189


300

301

300 JAMES ROSENQUIST

b. 1933

301 JAMES ROSENQUIST

b. 1933

Doorskin, 1979

Busy Signal, 1970

Etching, aquatint and embossing with pochoir in colors, on Pescia Italia paper,

Lithograph in colors with screenprinted mylar collage, on Arches paper, with full

with full margins, signed, titled, dated ‘1979’ and numbered ‘2/3 Color Trial Proof’

margins, signed, titled, dated ‘1970’ and numbered 13/84 in pencil (there were also

in pencil (the edition was 78 and 15 artists proofs), published by Aripeka Ltd.,

10 artist’s proofs), co-published by Castelli Graphics and Hollanders Workshop,

Editions, Aripeka Florida, an abrasion at lower left (with associated minor ink loss),

New York (with the Hollanders blindstamp), the collage lifting in places, minor

a pale stain in lower left margin, a few creases at the sheet edges, otherwise in very

soiling in the margins, several foxmarks and two small areas of skinning on the

good condition, unframed.

reverse, otherwise in good condition, unframed.

I. 23 5/8 x 31 7/8 in. (60 x 81 cm)

I. 12 1/8 x 18 1/8 in. (30.8 x 46 cm)

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

S. 16 x 21 1/4 in. (40.6 x 54 cm)

Estimate $2,000-3,000 

Estimate $700-900 

LITERATURE Constance Glenn 168

LITERATURE Constance Glenn 29

302

302 JAMES ROSENQUIST

b. 1933

Rainbow, 1972 Lithograph in colors, on Hodgkinson handmade Wookey Hole paper, with full margins, signed, titled, dated ‘1972’ and numbered ‘7/20 A.P.’ in pencil (an artist’s proof, the edition was 75), published by Petersburg Press, London, occasional minor soiling and creasing in the margins, a pale gray spot by the title, a pale yellow stain at lower left corner edge, otherwise in very good condition, unframed. I. 17 1/8 x 21 3/4 in. (43.5 x 55.2 cm) S. 25 1/8 x 30 5/8 in. (63.8 x 77.8 cm)

Estimate $700-900  LITERATURE Constance Glenn 48


303

303 JAMES ROSENQUIST

b. 1933

Flower Garden, 1972 Lithograph in colors, on Hodgkinson Handmade Oatmeal paper, with full margins, signed titled, dated ‘1972’ and numbered ‘20/20 A.P.’ in pencil (an artist’s proof, tthe edition was 75), published by Petersburg Press, London, minor soiling and creasing in the margins, scattered minute brown spots in the left margins, otherwise in very good condition, unframed. I. 22 x 28 3/4 in. (55.9 x 73 cm) S. 30 1/4 x 36 1/4 in. (76.8 x 92.1 cm)

Estimate $900-1,200  LITERATURE Constance Glenn 52

304

304 JAMES ROSENQUIST

b. 1933

Carousel; Rouge Pad, 2nd State; Black Star and Tide, 1978-79 Four etching and aquatints in colors with pochoir, Rouge Pad also with embossing and hand-coloring, on Pescia Italia paper, with full margins, all signed, titled, dated ‘1978’ or ‘1979’ and numbered 51/78, 2/78, ‘10/24 A.P.’ and 24/78 respectively in pencil (the editions were 78 for all and 15 and 24 artist’s proofs for three and Black Star respectively), published by Multiples Inc., New York, all with occasional soft handling creases, creasing in places along the edges, Carousel with an area of soiling in the right image, two faint spots of soiling at the extreme right edge, Rouge Pad with a small rubbed area at the lower center margin, a spot of stray printing ink at the center left sheet edge, Black Star with offset pencil lines in the margins, otherwise all in good condtion, all unframed. all I. 17 5/8 x 35 3/4 in. (44.8 x 90.8 cm) all S. 22 1/2 x 39 3/4 in. (57.2 x 101 cm)

Estimate $2,000-3,000  LITERATURE Constance Glenn 131, 134A, 139 and 171

305 VARIOUS ARTISTS New York International Portfolio: five plates, 1966 Five prints in various media, on various papers, the full sheets, all signed and numbered 76/225 in pencil (there were also 25 artist’s proofs lettered A-Y), published by Tanglewood Press, Inc., New York, all generally in very good condition, loose, one framed, four contained in original linen-covered portfolio box (faded, with scuffs, tears and loose sides), lacking the James Rosenquist, Öyvind Fahlström, John Goodyear, Robert Motherwell and Ad Reinhardt. 23 3/8 x 18 1/8 in. (59.4 x 46 cm)

Estimate $1,000-1,500 

Including: Arman; Mary Bauermeister; Charles Hinman; Allen Jones and Saul Steinberg

305


306

306 CLAES OLDENBURG

b. 1929

Pizza/Palette, 1996 Lithograph in colors, on Somerset velvet paper, with full margins, signed and numbered 93/100 in pencil (there were also 20 artist’s proofs), published by Pace Editions, Inc, New York, a few very soft handling creases, otherwise in very good condition, unframed. I. 23 1/2 x 33 in. (59.7 x 83.8 cm) S. 29 1/2 x 38 in. (74.9 x 96.5 cm)

Estimate $1,200-1,800  LITERATURE Richard Axsom and David Platzker 264

307

308

307 CLAES OLDENBURG

b. 1929

308 CLAES OLDENBURG

b. 1929

Double-Nose/Purse/Punching Bag/Ashtray; and A History of the Double-Nose/Purse/

Notes in Hand portfolio: three plates, 1972

Punching Bag/Ashtray Multiple book, 1970

Three offset lithgraphs in colors with embossing and printed acetate sheets, on

Leather, bronze and wood multiple, and deerskin leather-covered book with

smooth wove Chine collé to Decapo Art paper, with full margins, all signed with

letterpress text and one reproductive image, the multiple stamp numbered 51/75

initials and numbered 34/100 in pencil (there were also 20 artist’s proofs),

(there were also 3 artist’s copies), the book signed and numbered 51/200A in

published by Petersburg Press, London, minor surface soiling and soft scuffing,

pencil (there were also 25 artist’s proofs), published by Gemini G.E.L., Los

otherwise all in very good condition, all unframed.

Angeles (with their stamps), the multiple with a few areas of minor soiling on the

all I. 6 x 4 1/4 in. (15.2 x 10.8 cm)

leather bag, occasional scuffs and abrasions on the wood box, a nick at the

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

upper left box edge, adhesive and label remains on the underside of the box, the book with a small accretion on the leather bookmark, the pages slightly curved, otherwise both in very good condition. box: 8 3/8 x 21 x 11 in. (21.3 x 53.3 x 27.9 cm) book: 4 1/2 x 3 1/4 in. (11.4 x 8.3 cm)

Estimate $4,000-6,000 

Estimate $500-700  LITERATURE Richard Axsom and David Platzker 78.16, 78.33 and 78.42

Including: (plate 16) Hat, Drain and Biscuit, London, 1966; (plate 33) Metamorphic Studies of Cartoon Mouse “OHBOBOOY,” Chicago, 1968 and (plate 42) Typewriter Eraser and Three-Way Plug, New Haven, 1969

LITERATURE Gemini G.E.L. 257 and 258; Margo Leavin Gallery 27; Richard Axsom

and David Platzker 71


309 CLAES OLDENBURG

b. 1929

Soft Saxophone (Blue, Yellow, Red) , 1992 Soft Saxophone (Black, Yellow, Red) , 1992 Soft Saxophone (Black and White) , 1992 Three lithographs (two in colors), on Somerset Satin paper, the full sheets, all signed with initals, two annotated ‘B.A.T.’, one numbered ‘P.P. 3/4’ in pencil (two Bon-a-Tirer prints and a printer’s proof, the editions were 40 and 30(2) and 8 artist’s proofs for all), published by Brooke Alexander Editions, New York, all in very good condition, all unframed. all S. 35 x 43 3/4 in. (88.9 x 111.1 cm)

Estimate $9,000-12,000  LITERATURE Richard Axsom and David Platzker 238-40


310

310 JOHN BALDESSARI

b. 1931

2623 Third Street, Santa Monica, 2000 The complete set of four lithographs with screenprint in colors, on Somerset Velvet paper, the full sheets, all signed, dated ‘00’ and numbered ‘WKSHP 1/2’ in pencil on the reverse (a workshop copy, the edition was 61 and 15 artist’s proofs), published by Brooke Alexander Editions and Sabine Knust Maximum Verlag, New York and Munich, all in excellent condition, all unframed. all S. 27 1/8 x 27 1/8 in. (68.9 x 68.9 cm)

Estimate $5,000-7,000 

This was the first project in which the artist used photographs he took rather than the photographs he found.

311

311 JOHN BALDESSARI

b. 1931

Repository (violet/yellow), 2002 Ceramic multiple glazed in colors, one of 8 in this color combination (The total edition was 48, 8 each in six color combinations and 4 artist’s proofs), published by Brain Multiples, Los Angeles, in very good condition. 16 x 12 x 4 3/4 in. (40.6 x 30.5 x 12.1 cm)

Estimate $2,500-3,500


312

312 JEFF KOONS

b. 1955

Inflatable Balloon Flower (yellow), 1997 Yellow PVC balloon, signed, dated ‘97’ and numbered 26/100 in pink marker on the balloon (there was also 40 artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and New York, in very good condition, contained in original printed cardboard box with electric inflator. box: 12 x 12 x 27 5/8 in. (30.5 x 30.5 x 70.2 cm)

Photo courtesy of Parkett

inflated: approx. 51 x 59 x 70 in. (129.5 x 149.9 x 177.8 cm)

Estimate $3,500-4,500  LITERATURE Edition for Parkett 50, 51

313 JEFF KOONS

b. 1955

Loopy, 1999 High gloss Fujiflex print in colors, on glossy paper, with full margins, signed, dated ‘00’ and numbered 13/1000 in black marker on the reverse, published by Eyestorm, London, in excellent condition, framed. I. 34 x 24 7/8 in. (86.4 x 63.2 cm) S. 34 3/4 x 25 1/2 in. (88.3 x 64.8 cm)

Estimate $3,000-4,000 

313


314

314 JEFF KOONS

b. 1955

Red Balloon Dog, 1995 Porcelain multiple painted in chrome, numbered 410/2300, published by the Museum of Contemporary Art, Los Angeles, occasional soiling and finger prints, a repaired chip at center edge, otherwise in good condition, with original plastic stand, lacking original box. 10 x 10 x 5 in. (25.4 x 25.4 x 12.7 cm)

Estimate $2,000-3,000

315

315 JEFF KOONS

b. 1955

Flowers, 2001 Lithograph in colors, on Somerset Velvet paper, with full margins, signed, dated ‘01’ and numbered ‘HC 5/10’ in pencil (an hors commerce copy, the edition was 150 and 10 artist’s proofs), published by Art of This Century, New York, in very good condition, unframed. I. 37 1/2 x 27 1/8 in. (95.3 x 68.9 cm) S. 41 5/8 x 29 1/2 in. (105.7 x 74.9 cm)

Estimate $2,000-3,000 

This image was drawn by the artist directly on the litho plate.

316

316 JEFF KOONS

b. 1955

Signature Plate, 1989 Porcelain with decal image in colors, signed and numbered 25/80 in glaze before firing on the reverse (there were also 50 artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and New York, in very good condition, contained in original syrofoam-lined box (tape remains, wear). diameter: 11 in. (27.9 cm)

Estimate $1,000-1,500

LITERATURE Edition for Parkett 19


317

317 KEITH HARING

1958-1990

The Paris Review, 1989 Screenprint in colors, on wove paper, the full sheet, signed, dated ‘89’ and numbered 71/200 in pencil (there were also 30 artist’s proofs), published by the Paris Review, New York, minor surface soiling, otherwise in very good condition, framed. S. 24 x 32 in. (61 x 81.3 cm)

Estimate $2,500-3,500  LITERATURE Klaus Littmann p. 114

318

319

318 WILLIAM WEGMAN

b. 1943

Royal Flush: Diamonds, 1998 The complete set of five photolithographs in colors, on Coventry paper, with full margins, all signed and dated 6/40 in pencil (there were also 4 artist’s proofs), published by Segura Publishing Company, Tempe, Arizona (with their inkstamp on the reverse), a few spots of stray printing ink in the margins, otherwise all in very good condition, all unframed. all I. 17 1/8 x 12 7/8 in. (43.5 x 32.7 cm) all S. 25 1/2 x 20 in. (64.8 x 50.8 cm)

Estimate $1,500-2,500

319 WILLIAM WEGMAN

b. 1943

Dusted, 1988 Photo-screenprint in colors, on wove paper, with full margins, signed, dated ‘1988’ and numbered 88/96 in pencil, minor soiling and the slightest creasing at the sheet corners, otherwise in very good condition, framed. I. 27 x 22 in. (68.6 x 55.9 cm) S. 32 3/4 x 26 in. (83.2 x 66 cm)

Estimate $1,500-2,000


320

321

320 TOM WESSELMANN

1931-2004

Nude with Bouquet and Stockings, 1992 Screenprint in colors, on Museum Board paper, with full margins, signed and numbered 36/100 in pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney, Vermont (with their blindstamp), in excellent condition, unframed. I. 20 x 68 in. (50.8 x 172.7 cm) S. 45 x 80 in. (114.3 x 203.2 cm)

Estimate $10,000-15,000 

321 TOM WESSELMANN

1931-2004

Claire Sitting Robe Half Off (Vivienne), from Portfolio 90, 1993 Screenprint in colors, on Museum Board paper, with full margins, signed and numbered 86/90 in pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney, Vermont (with their blindstamp), in excellent condition, unframed. I. 50 1/4 x 38 in. (127.6 x 96.5 cm) S. 61 x 48 1/4 in. (154.9 x 122.6 cm)

Estimate $8,000-12,000 


322

323

322 TOM WESSELMANN

1931-2004

Still Life with Lichtenstein and Two Oranges, from Portfolio 90, 1993 Screenprint in colors, on Museum Board paper, with full margins, signed and numbered 8/90 in pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney, Vermont (with their blindstamp), two pale scuffs in the lower right and lower center margin, otherwise in very good condtiion, unframed. I. 33 x 54 1/4 in. (83.8 x 137.8 cm) S. 42 x 59 in. (106.7 x 149.9 cm)

Estimate $5,000-7,000 

323 TOM WESSELMANN

1931-2004

Fast Sketch Red Stocking Nude, 1991 Screenprint in colors, on Museum Board paper, with full margins, signed and numbered 23/100 in pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney, Vermont (with their blindstamp), in excellent condition, unframed. I. 18 1/4 x 32 in. (46.4 x 81.3 cm) S. 26 1/8 x 38 1/8 in. (66.4 x 96.8 cm)

Estimate $4,000-6,000 


324

325

PROPERTY OF WILLIAMS COLLEGE ART INVESTMENT FUND

324 TOM WESSELMANN

1931-2004

325 TOM WESSELMANN

1931-2004

1960 Judy with Black Hat, 1997

Thames Scene with Power Station, 1990

Screenprint in colors, on Coventry paper, with full margins, signed and

Screenprint in colors, on Museum Board paper, with full margins, signed and

numbered 61/65 in pencil (there were also 10 artist’s proofs), published by

numbered ‘DP II/III’ in pencil (a dedication proof, the edition was 60 and 12

Alliance Art Group, Saddlebrook, New Jersey, in excellent condition, unframed.

artist’s proofs), published by International Images, Putney, Vermont (with

I. 39 1/4 x 33 in. (99.7 x 83.8 cm)

their blindstamp), a few very small areas of minor soiling in places along the

S. 47 7/8 x 39 7/8 in. (121.6 x 101.3 cm)

upper sheet, otherwise in very good condition, unframed.

Estimate $4,000-5,000 

I. 44 3/8 x 89 7/8 in. (112.7 x 228.3 cm) S. 57 x 99 1/2 in. (144.8 x 252.7 cm)

Estimate $3,000-5,000 


326

326 MALCOLM MORLEY

b. 1931

Odysseys of Enoch Series: six plates, 1986 The complete set of six aquatint and etchings in colors, on wove paper, with full margins, all signed and numbered 50/69 (2), 53/69 (2), 52/69 and 14/69 in pencil, published by Novak Graphics, Toronto, all in very good condition, one framed, five unframed. all I. 23 7/8 x 35 1/2 in. (60.6 x 90.2 cm) all S. 29 5/8 x 41 1/2 in. (75.2 x 105.4 cm)

Estimate $1,500-2,500

Including: Beach Scene; Aegean Crime; Leopards, Kachina and Masai Ritual; Night on Bare Mountain; and Trojan Cavalcade

327

327 GLENN BROWN

b. 1966

Untitled, 2004 Giclee print in colors, on Superdry Satin paper, reverse mounted to Plexiglas (as issued), with full margins signed and numbered 15/200 in black ink on the reverse (there were no recorded artist’s proofs), published by Serpentine Gallery, London, with the original certificate issued by the publisher, occasional scuffs and abrasions on the Plexiglas, otherwise in good condition, unframed. I. 22 1/2 x 14 5/8 in. (57.2 x 37.1 cm) S. 29 x 21 in. (73.7 x 53.3 cm)

Estimate $600-800 


328 ZHANG XIAOGANG

b. 1958

Amnesia and Memory portfolio, 2006 The complete set of twelve offset lithographs and screenprints in colors, on Somerset 300g paper, with full margins, plus accompanying book with reproductions of the artist’s work and bonus lithograph, all signed, dated and numbered 44/88 in pencil (there were also 12 artist’s proofs), published by Gallery Artside, Beijing and Seoul, all in very good condition, loose, contained in original gray cloth-covered portfolio case with book inset. 31 3/8 x 23 1/2 in. (79.7 x 59.7 cm)

Estimate $20,000-30,000 


329

330

329 WANG GUANGYI

b. 1957

330 CHRIS OFILI

b. 1968

The Belief series: five plates, 2006

Afro Harlem Muses, 2005

Five lithographs in colors, on Rives BFK paper, all with full margins, all signed

Two lithographs in colors with embossing, on one sheet of Somerset paper, with

with Chinese characters and numbered 160/199 in pencil, published by Kwai Po

full margins, signed, dated ‘2005’ and numbered ‘PP 4/4’ in pencil (a printer’s

Collection, Hong Kong, all with the Idem, Paris blindstamps, all in excellent

proof, the edition was 60 and 20 artist’s proofs), published by David Zwirner

condition, all unframed.

Gallery, New York, in excellent condition, unframed.

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

both L. 13 x 8 1/8 in. (33 x 20.6 cm)

all S. 24 3/4 x 19 3/4 in. (62.9 x 50.2 cm)

S. 21 x 27 1/2 in. (53.3 x 69.9 cm)

Estimate $5,000-7,000 

Estimate $900-1,200 

Including: Belief #1; #2; #4; #5; and #6


332

331

331 IDA APPLEBROOG

b. 1929

Just Watch and See (diptych), 1985 Two lithographs, on Arches paper, the full sheets, one signed, dated ‘1985’ and numbered 7/40 in pencil (there were also 24 various proofs), published by Strother/Elwood Art Editions, New York, occasional soft handling creases and minor soiling, otherwise both in very good condition, both framed. both S. 22 x 29 3/8 in. (55.9 x 74.6 cm)

Estimate $2,500-3,500 

332 MARY FRANK

b. 1933

Did you Ever?, 2008

333

Etching and aquatint in colors, on wove paper with a trident watermark, with full margins, signed and numbered 90/100 in pencil (there were also 12 artist’s proofs), published by the Center for Contemporary Printmaking, Norwalk, Connecticut, in excellent condition, unframed. I. 24 x 17 3/4 in. (61 x 45.1 cm) S. 29 7/8 x 22 1/4 in. (75.9 x 56.5 cm)

Estimate $500-700 

333 DANA SCHUTZ

b. 1976

Untitled (Head of Timothy Leary), 2005 Lithograph with wood printing elements in colors, on Rives BFK paper, with full margins, signed, dated ‘2005’ and numbered ‘P.P. 5/5’ in pencil (a printer’s proof, the edition was 55 with 25 artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and New York, soft rubbing in the lower margin corners, otherwise in very good condition, unframed. I. 24 1/8 x 22 5/8 in. (61.3 x 57.5 cm) S. 28 5/8 x 26 1/2 in. (72.7 x 67.3 cm)

Estimate $1,500-2,500  LITERATURE Edition for Parkett 75


335

334

334 BILLY AL BENGSTON

b. 1934

Turkey Dracula, 1973 Lithograph in colors with hand-coloring, on handmade paper, the full sheet, signed with initials and numbered 19-24 in light pencil, published by Brooke Alexander Editions, New York, minor creasing at the sheet edges, otherwise in very good condition, framed. S. 23 x 23 in. (58.4 x 58.4 cm)

Estimate $500-700

335 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 $1,000-1,500  LITERATURE Galerie Mikro 4

336 JIM DINE

b. 1935

Pine in a Storm of Aquatint, 1978 Etching and aquatint, on Rives paper, with full margins, signed, dated ‘1978’ and numbered 13/45 in pencil (there were also 11 artist’s proofs), published by Pace Editions, Inc., New York, the paper splitting slightly in places along the platemark, otherwise in very good condition, framed. I. 57 1/2 x 31 3/4 in. (146.1 x 80.6 cm) S. 65 1/2 x 39 3/4 in. (166.4 x 101 cm)

Estimate $2,500-3,500  LITERATURE Ellen D’Oench and Jean Feinberg 31

336


337 MAGDALENA ABAKANOWICZ

b. 1930

Katarsis portfolio, 1986 The complete set of seven etchings, on Tiepolo dell Cartiera Fabriano paper, with full margins, all signed, dated and numbered 46/100 in pencil, numbered in pencil on the colophon (there was also an edition of 20 in Roman numerals), published by Edizioni Della Bezuga, Florence, all in very good condition, all framed, with original brown fabric-covered portfolio with leather oval on the front embossed with artist’s name, title and publisher. 30 1/2 x 22 3/4 in. (77.5 x 57.8 cm)

Estimate $6,000-9,000 


338 CARL ANDRE & ANA MENDIETA

b. 1935 & 1948-1985

Pietre Foglie, 1984 The complete set of twenty lithographs (ten by each artist), on wove paper, the full sheets, the colophon for each artist signed and numbered 32 in pencil (the edition was 40 and 8 artist’s proofs), inscribed by the publisher Romolo Bulla of Edizione R.R. Bulla, Rome, presented at the AAM Gallery Rome on the day of their marriage, occasional minor soiling, otherwise in good condition, bound in original brown fabric covered book with images embossed on the front in black (minor soiling, slightly bent at upper right). 13 3/4 x 10 1/8 in. (34.9 x 25.7 cm)

Estimate $4,000-6,000 


339 KIKI SMITH

b. 1954

Banshee Pearls, 1991 The complete twelve part lithograph with aluminum-leaf appliqué, on twelve sheets of Torinoko paper, the full sheets, one signed, dated ‘1991’ and numbered 40/51 in pencil (there were also 12 artist’s proofs), published by Universal Limited Arts Editions, West Islip, New York (all with their blindstamp), all in very good condition, all framed. all S. 22 1/2 x 30 1/8 in. (57.2 x 76.5 cm)

Estimate $10,000-15,000  LITERATURE Wendy Weitman/Museum of Modern Art 60


340

340 KIKI SMITH

b. 1954

Constellations, 1996 Lithograph in colors with applied black flocking, on six sheets of handmade Nepalese Himalyan paper glued together (as issued), with full margins, signed, dated ‘1996’ and numbered 33/42 in pencil (there were also 7 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), in excellent condition, framed. I. 47 3/8 x 10 1/2 in. (120.3 x 26.7 cm) S. 56 1/2 x 31 1/2 in. (143.5 x 80 cm)

Estimate $4,000-6,000  LITERATURE Wendy Weitman/Museum of Modern Art 72

341

341 KIKI SMITH

b. 1954

Tattoo, 1995 Screenprint, on machine-made paper, with full margins, signed, dated ‘2001’ and numbered 43/100 in pencil (there were no artist’s proofs), published by the artist, in very good condition, framed. I. 17 3/4 x 27 3/4 in. (45.1 x 70.5 cm) S. 19 3/4 x 29 3/4 in. (50.2 x 75.6 cm)

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


342

342 LOUISE BOURGEOIS

b. 1911

I Love You, 2007 Etching in red, on music paper Chine collé to rag paper, with full margins, signed with initials, dated ‘2007’, inscribed ‘To Raleigh’ and numbered 55/175 in pencil, published by the artist, in excellent condition, framed. I. 7 x 5 in. (17.8 x 12.7 cm) S. 12 x 9 in. (30.5 x 22.9 cm)

Estimate $1,000-1,500 

343

343 LOUISE BOURGEOIS

b. 1911

Triptych for the Red Room, 1994 The complete set of three aquatints with etching in colors, on Hahnemühle paper, with full margins, all signed and numbered 23/30 (right numbered 14/30) in pencil (there were also 10 artist’s proofs), published by Peter Blum Edition, New York, all in very good condition, all framed. left I. 19 x 23 3/4 in. (48.3 x 60.3 cm) left S. 28 x 32 1/4 in. (71.1 x 81.9 cm) center I. 18 3/4 x 35 1/2 in. (47.6 x 90.2 cm) center S. 28 x 42 1/4 in. (71.1 x 107.3 cm) right I. 19 x 29 1/4 in. (48.3 x 74.3 cm) right S. 28 x 37 1/2 in. (71.1 x 95.3 cm)

Estimate $12,000-18,000 


344 LOUISE BOURGEOIS

b. 1911

Crochet V, 1998 Mixograph in colors, on handmade paper, the full sheet, signed with initials and numbered 46/50 in pencil (there were also 13 artist’s proofs), published by Mixografia, Los Angeles, in very good condition, framed. S. 33 x 27 3/4 in. (83.8 x 70.5 cm)

Estimate $12,000-15,000 


346

345

345 LOUISE BOURGEOIS

b. 1911

346 LOUISE BOURGEOIS

b. 1911

Anatomy portfolio: Untitled (Maggots), 1989-90

Anatomy portfolio: Untitled (Hanging Figure), 1989-90

Etching, on Somerset paper, with full margins, signed with initials and annotated

Etching, on Somerset paper, with full margins, signed with initials and annotated

‘S.P.I. 2’ in pencil (the edition was 44 and 10 in Roman numerals), published by

‘P.P.2’ in pencil (the edition was 44 and 10 in Roman numerals), published by

Peter Blum Edition, New York, minor creasing at the lower left sheet corner, a

Peter Blum Edition, New York, in very good condition, unframed.

small pressure mark at the lower right margin, areas of skinning at the reverse of

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

the upper corners, otherwise in very good condition, unframed.

S. 19 5/8 x 14 1/8 in. (49.8 x 35.9 cm)

I. 7 x 4 7/8 in. (17.8 x 12.4 cm) S. 19 1/2 x 14 in. (49.5 x 35.6 cm)

Estimate $2,000-3,000 

Estimate $900-1,200 

LITERATURE Deborah Wye and Carol Smith 103

LITERATURE Deborah Wye and Carol Smith 108

347

347 LOUISE BOURGEOIS

b. 1911

Receuil des Secrets, 2005 Etching and aquatint in colors, on wove paper, with full margins, plus book with printed book plate, the print signed and numbered 32/40 in pencil (there were also 15 artist’s proofs), the book plate signed with initials and numbered 94/300 in pencil, published by Salon Verlag, Cologne, in very good condition, loose, contained in original brown portfolio box with Latin and image embossed on the front in gold (minor wear). 8 1/2 x 5 7/8 in. (21.6 x 14.9 cm)

Estimate $3,000-4,000 


348

349

348 KIKI SMITH

b. 1954

349 KIKI SMITH

b. 1954

Various Flying Creatures series, 1998

Litter, 1999

The complete set of six lithographs with collage, on wove paper, the full sheets,

Lithograph in colors with platinum-leaf gilding, on Arches Cover paper, the full

all signed and dated ‘1998’ in pencil, published by Griffel Kunst, Hamburg, each

sheet, signed, dated ‘1999’ and numbered 19/50 in pencil (there were also 15

contained in original printed folder, a few soft handling creases, otherwise all in

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

excellent condition, all unframed.

(with their blindstamp), to benefit Fireplace Editions/Pollock-Krasner House and

all S. 19 3/4 x 16 5/8 in. (50.2 x 42.2 cm)

Study Center, East Hampton, New York, in excellent condition, unframed.

Estimate $1,800-2,200 

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

Estimate $1,500-2,500  Including: bee, moth, bird, bat, fly and squirrel

LITERATURE Wendy Weitman/Museum of Modern Art 98


350

351

350 TACITA DEAN

b. 1965

351 RAYMOND PETTIBON

b. 1957

Dead Budgie, 2002

The Beautiful and the Damned, 2003

The complete set of six photogravures, on wove paper, with full margins, all

Etching, on Rives BFK paper, with full margins, signed and numbered 5/30 in

signed, dated ‘2002’, annotated ‘1-6’ respectively and numbered 16/24 in pencil,

pencil, published by Eisenberg Press, Los Angeles, in excellent condition, framed.

published by Nils Borch Jensen, Berlin and Copenhagen, all in excellent

I. 10 3/4 x 15 3/8 in. (27.3 x 39.1 cm)

condition, all framed.

S. 15 1/8 x 22 1/4 in. (38.4 x 56.5 cm)

plates 1-4 and 6 I. approx: 11 x 16 in. (27.9 x 40.6 cm) plates 1-4 and 6 S. approx: 15 1/2 x 20 in. (39.4 x 50.8 cm) plate 5 I. overall: 16 1/2 x 24 7/8 in. (41.9 x 63.2 cm) plate 5 S. 21 1/4 x 29 in. (54 x 73.7 cm)

Estimate $5,000-7,000 

Estimate $700-900 


352 WALTON FORD

352

b. 1960

New Tricks for Ancient Wings, 2001 Lithograph in colors, on Somerset Velvet paper, with full margins, signed, dated ‘2001’ and numbered 42/90 in pencil (there were also 20 artist’s proofs), co-published by the artist, Smith College, Northhampton, Massachusetts, and Derriere L’Etoile Studios, New York, in excellent condition, unframed. I. 33 1/2 x 24 1/2 in. (85.1 x 62.2 cm) S. 36 1/4 x 27 3/4 in. (92.1 x 70.5 cm)

Estimate $2,000-3,000 

“Anybody who reads up on Audubon is going to have mixed feelings about him,” he told me. “He was a braggart, a liar, and just too trigger-happy, even for that time. He killed hundreds and hundreds of birds he didn’t need. He shot things off the deck of a ship, and just let them fall in the ocean. As I often say, he was more like a National Rifle Association guy than an Audubon Society guy. But the paintings are beautiful.” (Walton Ford quoted in Calvin Tompkins, The New Yorker, January 6, 2009, p. 54)

John James Audubon, Marsh Hawk, from The Birds of America, circa 1837, engraving with hand-coloring.

353

353 WALTON FORD

b. 1960

Elephant, 2000 Lithograph in colors, on Arches Cover paper, with full margins, signed, dated ‘2000’ and numbered ‘WKSHP 1/2’ in pencil (a workshop copy, the edition was 150 and 30 artist’s proofs), published by Paul Kasmin Gallery, New York, in excellent condition, unframed. I. 41 1/8 x 29 3/4 in. (104.5 x 75.6 cm) S. 45 3/8 x 31 5/8 in. (115.3 x 80.3 cm)

Estimate $3,000-4,000 

Ford readily concedes that Audubon is the cornerstone of his own work, but, to me, Ford’s conceptual wilderness—the tension between nature and culture, fornication and extinction, the animal and the human— makes him contemporary in ways that Audubon could hardly have imagined. (Calvin Tompkins, The New Yorker, January 6, 2009, p. 55)

Walton Ford, Nila, 1999-2000, watercolor, gouache, ink and pencil on paper, 144 x 216 in., courtesy Paul Kasmin Gallery, New York, life-size Indian elephant comprising 22 sections.


354 PETER DOIG

b. 1959

Grasshopper portfolio, 1997 The complete set of ten etchings in colors, on Zerkall paper, with full margins, all signed and numbered 30/35 in pencil (there were also 7 artist’s proofs), published by Paragon Press, London, one with minor soiling in the lower margin, otherwise all in very good condition, contained in original portfolio box with artist’s name printed on the front (occasional scuffs). 22 5/8 x 18 5/8 in. (57.5 x 47.3 cm)

Estimate $25,000-35,000 


355

355 PETER DOIG

b. 1959

Untitled, 2006 Lithograph in colors, on Somerset paper, with full margins, signed, dated and numbered ‘P.P.2’ in pencil (a printer’s proof, the edition of 20 and 10 artist’s proofs in Roman numerals), published by Landfall Press, Sante Fe (with their copyright and blindstamp on the reverse), a pressure mark at upper left margin, a few soft handling creases and minor soiling in the margins, otherwise in very good condition, unframed. I. 37 3/4 x 24 in. (95.9 x 61 cm) S. 42 x 28 1/4 in. (106.7 x 71.8 cm)

Estimate $3,000-5,000 

356

356 LUC TUYMANS

b. 1958

The Worshipper, 2005 Screenprint in colors, on wove paper, with full margins, with acompanying book, sealed in its original packaging, the print signed, titled, dated ‘2005’ and numbered 32/100 in pencil, in excellent condition, unframed. I. 32 1/4 x 24 7/8 in. (81.9 x 63.2 cm) S. 41 3/8 x 29 1/8 in. (105.1 x 74 cm)

Estimate $1,500-2,500 


357

358

357 GIORGIO DE CHIRICO

359

1888-1978

358 GIORGIO DE CHIRICO

1888-1978

La fontana del mistero, 1971

Teseo, 1970

Etching, on Chine appliqué to wove paper, with full margins, signed, titled, and

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

numbered 10/65 in pencil (there was also an edition of 25 in Roman numerals and

and numbered 30/50 in pencil (there was also an edition of 15 in Roman numerals

12 artist’s proofs), with the de Chirico blindstamp, minor surface soiling,

and 12 artist’s proofs), with the de Chirico blindstamp, occasional soft creasing in

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

the margins (particularly the corners), otherwise in very good condition, unframed.

I. 14 1/4 x 12 5/8 in. (36.2 x 32.1 cm)

I. 16 7/8 x 14 3/8 in. (42.9 x 36.5 cm)

S. 27 1/2 x 20 in. (69.9 x 50.8 cm)

S. 28 x 20 7/8 in. (71.1 x 53 cm)

Estimate $1,000-1,500 

Estimate $1,200-1,800 

LITERATURE Antonio Vastano and Edcardo Brandani 18

LITERATURE Antonio Vastano and Edcardo Brandani 6

359 JOHN BOCK

b. 1965

Geometrischer Ort der 2 Mio.$, 2003 Unique underpants multiple of knitted fabric, gold sequins, straw silicone, bunny droppings and migrane pill, signed with initials and numbered 32/60, XX in ink on a ribbon tied to the seam of the underpants (there were also 20 artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and New York, in excellent condition. dimensions variable

Estimate $1,500-2,000 

LITERATURE Edition for Parkett 67

John Bock, model wearing another example


360

361

360 LOUISE BOURGEOIS

b. 1911

The Night, 2001 Lithograph in colors, on Rives BFK paper, with full margins, signed, dated ‘2001’ and numbered 5/50 in pencil (there were also 9 artist’s proofs), published by SOLO Impression, Inc., New York, in excellent condition, unframed. I. 17 x 14 in. (43.2 x 35.6 cm) S. 20 x 16 in. (50.8 x 40.6 cm)

Estimate $4,000-5,000  362

361 MARCEL DZAMA

b. 1974

Snowflake Defense, 2007 Lithograph in colors, on Rives BFK Creme paper, with full margins, signed, dated ‘2007’ and numbered ‘P.P. 2/5’ in pencil (a printer’s proof, the edition was 55 and 14 artist’s proofs), published by Timothy Taylor Gallery, London, a small area of soft rubbing in the lower margin, otherwise in very good condition, unframed. I. 37 x 27 1/4 in. (94 x 69.2 cm) S. 40 3/4 x 29 1/2 in. (103.5 x 74.9 cm)

Estimate $1,200-1,800 

362 MAX ERNST

1891-1976

Rythmes, 1950 Lithograph in colors, on Arches paper, with full margins, signed and numbered XLVII/LX in pencil (there was also an edition of 200 in Arabic numerals, 20 artist’s proofs, and 12 in Roman numerals), published by Guilde de la Gravure, Geneva and Paris (with their blindstamp), minor surface soiling, the palest mat staining, a minute accretion at the center upper margin, a few spots of stray printing ink in the margins, otherwise in very good condition, unframed. I. 16 7/8 x 10 3/4 in. (42.9 x 27.3 cm) S. 22 x 15 in. (55.9 x 38.1 cm)

Estimate $2,500-3,500  LITERATURE Werner Spies and Helmut Leppien 48


363

364

363 ANTONY MICALLEF

b. 1975

364 ANTONY MICALLEF

b. 1975

Dirty Deluxe, 2005

21st Century Love, 2005

Giclee print in colors, on Hanhemühle paper, with full margins, signed and

Giclee print in colors, on Hanhemühle paper, with full margins, signed and

numbered ‘3/3 PP’ in pencil (a printer’s proof, the edition was 95 and 10 artist’s

numbered ‘3/3 PP’ in pencil (a printer’s proof, the edition was 95 and 10 artist’s

proofs), published by Eyestorm, London, compound creasing and soft pressure

proofs), published by Eyestorm, London, pale offsetting in places along the

marks at the upper left margin corner, a crease at the lower right margin corner,

margins, four creases at the upper right margin corner, otherwise in very good

otherwise in very good condition, unframed.

condition, unframed.

I. 29 1/2 x 27 1/2 in. (74.9 x 69.9 cm)

I. 29 5/8 x 29 3/4 in. (75.2 x 75.6 cm)

S. 35 1/4 x 25 1/4 in. (89.5 x 64.1 cm)

S. 35 1/8 x 35 1/8 in. (89.2 x 89.2 cm)

Estimate $2,000-3,000

Estimate $2,000-3,000

365

365 DANIELE BUETTI

b.1956

White Tears, 2005-06 Digital print, on photo paper, with full margins, signed and numbered from 14/100 in black ink on a label affixed to the reverse (there were also 20 artist’s proofs), the slightest scuffing visible in raking light, otherwise in excellent condition, unframed. I. 27 5/8 x 21 1/4 in. (70.2 x 54 cm) S. 31 3/4 x 25 1/4 in. (80.6 x 64.1 cm)

Estimate $700-1,000 


366 MEL RAMOS

366

b. 1935

The Pause that Refreshes, 2001 Enamel in colors, on metal, the full sheet, signed and numbered 829/1000 in white marker, a small area of soiling at lower left, otherwise in very good condition. S. 15 3/4 x 15 3/4 x 1 in. (40 x 40 x 2.5 cm)

Estimate $1,000-1,500 

367 JIM DINE

b. 1935

The Garrity Necklace, 1986 Etching, aquatint and power-tool drypoint in colors, on Arches Cover paper, with full margins, signed, dated ‘1986’ and numbered 25/30 in pencil (there were also 5 artist’s proofs), published by Pace Editions, Inc., New York, a small spot of skinning at the lower right margin corner, a crease at upper right, otherwise in very good condition, framed. I. 48 x 35 3/4 in. (121.9 x 90.8 cm) S. 53 1/2 x 40 3/4 in. (135.9 x 103.5 cm)

Estimate $1,200-1,800  LITERATURE Elizabeth Carpenter 5

367

368 AYA TAKANO

368

b. 1976

Untitled: two plates, circa 2000 Two digital prints in colors, on wove paper, with full margins, both signed and numbered 1/20 in pencil, both in very good condition, both unframed. I. various sizes both: S. 16 5/8 x 3 7/8 in. (42.2 x 9.8 cm)

369

Estimate $2,000-3,000 

369 FRANCESCO CLEMENTE

b. 1952

Untitled, 1993 digital inkjet print in colors on handmade paper, the full sheet, signed and numbered 51/250 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 $1,000-1,500 


371

370

370 GILLIAN WEARING

b. 1963

Sleeping Mask, 2004 Wax multiple painted in colors, reinforced by polymer resin, signed, dated ‘04’ and numbered ‘No. 41’ in black ink on the underside (the edition was 60 and 20 artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and New York, in very good condition, contained in original custom plastic packaging and original syrofoam lined cardboard box. 8 1/4 x 5 1/4 in. (21 x 13.3 cm)

Estimate $1,500-2,500  LITERATURE Edition for Parkett 70

372

371 KIKI SMITH

b. 1954

Red Cap, 2001 Lithograph in colors with colored pencil additions, on Lana Gravure paper, the full sheet, signed, dated ‘2001’ and numbered 16/36 in pencil (there were also 10 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York, in excellent condition, framed. S. 20 x 28 in. (50.8 x 71.1 cm)

Estimate $2,000-3,000  LITERATURE Wendy Weitman/Museum of Modern Art 126

372 CINDY SHERMAN

b. 1954

Untitled, 2002-04 Coupler print in colors, on photo paper, with full margins, signed, dated ‘2002/4’ and numbered 4/300 in ink on the reverse (there were also 30 artist’s proofs), produced for Planned Parenthood, a crease at the center right image (in the red background), otherwise in very good condition, unframed. I. 29 1/8 x 20 1/8 in. (74 x 51.1 cm) S. 39 1/8 x 30 3/16 in. (99.4 x 76.7 cm)

Estimate $800-1,000 


373

373 RICHARD DIEBENKORN

1922-1993

CJD, 1990 Drypoint, on Rives BFK paper, with full margins, signed with initials, dated and numbered 9/15 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 lower margin, otherwise in very good condition, framed. I. 8 3/8 x 6 1/2 in. (21.3 x 16.5 cm) S. 16 3/8 x 13 1/2 in. (41.6 x 34.3 cm)

Estimate $1,000-1,500 

374

374 SAUL STEINBERG

1914-1999

Portrait of M, 1997 Lithograph, on Rives BFK paper, with full margins, signed with initials and numbered 18/50 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), in very good condition, unframed. I. 13 1/8 x 15 1/2 in. (33.3 x 39.4 cm) S. 24 3/16 x 24 3/8 in. (61.4 x 61.9 cm)

Estimate $400-600  LITERATURE Gemini G.E.L. 1707

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

375 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 72/75 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 $600-900 

375


376

376 ELIZABETH PEYTON

b. 1965

Nick in L.A., 2002 Etching in sepia, on Somerset paper, with full margins, signed and numbered ‘pp III/V’ in brown pencil (a printer’s proof, the edition was 20), published by Two Palms Press, New York, an area of soiling at the lower right sheet edge, otherwise in very good condition, unframed. I. 10 x 8 1/2 in. (25.4 x 21.6 cm) S. 21 1/2 x 19 1/2 in. (54.6 x 49.5 cm)

Estimate $1,800-2,500  LITERATURE Guild Hall Museum p. 28 (cover illustration)

377 PABLO PICASSO

1881-1973

Troisième Affiche Vallauris: Faune, 1948 Lithograph, on Arches paper, with full marigns, signed and numbered 46/50 in pencil, a few foxmarks, pale mat staining, otherwise in very good condition, framed. I. 10 3/4 x 12 5/8 in. (27.3 x 32.1 cm) S. 19 3/4 x 25 7/8 in. (50.2 x 65.7 cm)

Estimate $2,500-4,500  LITERATURE Fernand Mourlot 120 (a); Georges Bloch 529

377

378

378 LISA YUSKAVAGE

b. 1963

Grace, 2001 Etching, on Somerset paper, with full margins, signed, titled and numbered 4/40 in pencil (there were also 15 artist’s proofs in Roman numerals), published by Marianne Boesky Gallery, New York, in excellent condition, framed. I. 2 7/8 x 2 3/4 in. (7.3 x 7 cm) S. 10 1/2 x 10 in. (26.7 x 25.4 cm)

Estimate $600-900 


379

379 MIMMO PALADINO

b. 1948

Ombre by Paolo Pietron, 1983 Etching, on handmade paper, with full margins, with text by Paolo Pietroni signed and numbered 74/99 in pencil (there were also 15 artist’s proofs in Roman numerals), published by Galleria Rizzardi, Milan, in excellent condition, loose, contained with handmade bound pages of text in tan handmade paper cover (minor soiling in places). 10 x 7 in. (25.4 x 17.8 cm)

Estimate $300-400

LITERATURE Enzo Di Martino 45

380

380 ALEX KATZ

b. 1927

Black Pond, 1989 Two woodcuts in brown, on one sheet of Goya paper, with full margins, signed

381

and numbered 25/100 in pencil (there were also 20 artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and New York, a pale moisture stain at upper left margin corner, otherwise in good condition, framed. overall I. 9 7/8 x 16 3/8 in. (25.1 x 41.6 cm) S. 12 3/4 x 19 in. (32.4 x 48.3 cm)

Estimate $600-900  LITERATURE Edition for Parkett 21

381 ALEX KATZ

b. 1927

Sunny, 1974 Etching and aquatint, on German Etching paper, the full sheet, signed and numbered 29/52 in pencil (there were also a few artist’s proofs), co-published by Brooke Alexander Editions., and Marlborough Graphics, Inc., New York, several pale foxmarks (mainly outside of the image), soiling along the sheet edges, otherwise in good condition, framed. S. 15 1/2 x 22 1/4 in. (39.4 x 56.5 cm)

Estimate $500-700  LITERATURE Nicholas Maravell 74


382

383

382 ALEX KATZ

b. 1927

Brisk Day 1, 1990 Aquatint in colors, on wove paper, the full sheet, signed and numbered 22/150 in pencil (there were also 15 artist’s proofs), published by Marlborough Graphics, Inc., New York, with the Alex Katz copyright stamp on the reverse, a faint scuff at the lower left corner, minor compound creasing at the upper right corner, otherwise in very good condition, unframed. S. 35 1/2 x 28 1/2 in. (90.2 x 72.4 cm).

Estimate $4,000-6,000 

383 ALEX KATZ

b. 1927

Alex, 1970 Lithograph in colors, on Arches paper, the full sheet, signed and numbered 65/100 in pencil (there were also a few artist’s proofs), published by Kennedy Graphics, Inc., New York, the sheet slightly toned, otherwise in very good condition, framed. S. 29 3/4 x 21 1/8 in. (75.6 x 53.7 cm)

Estimate $1,800-2,500  LITERATURE Nicholas Maravall 30


385

384

385 ALEX KATZ

b. 1927

Rowboat, 1966 Screenprint in colors, on thin wove paper, the full sheet, signed and numbered 26/50 in pencil (there were also a few artist’s proofs), published by Fischbach Gallery, New York, in very good condition, framed. S. 8 3/8 x 10 7/8 in. (21.3 x 27.6 cm)

Estimate $1,500-2,500  LITERATURE Nicholas Maravall 13

384 ALEX KATZ

386 ALEX KATZ

b. 1927

b. 1927

Olympic Swimmer, 1976

Good Afternoon, 1974

Lithograph in colors, on Arches paper, the full sheet, signed and numbered 174/200

Lithograph and screenprint in colors, on Arches Cover paper, the full sheet,

in pencil, published by Kennedy Graphics, Inc., New York, the slightest compound

signed and numbered ‘A.P. 1/12’ in pencil (an artist’s proof, the edition was 80),

creasing at the lower left corner, otherwise in very good condition, framed.

co-published by Brooke Alexander Editions, and Marlborough Graphics, Inc.,

S. 39 3/4 x 24 7/8 in. (101 x 63.2 cm)

New York, minor surface soiling, time staining, otherwise in good condition, framed. S. 27 1/2 x 36 in. (69.9 x 91.4 cm)

Estimate $800-1,000 

Estimate $2,000-3,000  LITERATURE Nicholas Maravall 86 LITERATURE Nicholas Maravall 69

386


387 MARY CASSATT

1844-1926

Sara Wearing Her Bonnet and Coat, circa 1904 Lithograph, on MBM (France) Ingres d’Arches laid paper with countermark MBM, with full margins, in good condition, framed. I. 19 3/4 x 16 1/2 in. (50.2 x 41.9 cm) S. 24 3/4 x 18 7/8 in. (62.9 x 47.9 cm)

Estimate $8,000-12,000  LITERATURE Adelyn Breeskin 198

Elizabeth Peyton, Constance Wilde and Son, 1996, pencil on paper, Neda Young Collection


388

388 ELIZABETH PEYTON

b. 1965

Prince William, 2000 Lithograph in colors, on wove paper, the full sheet, signed, dated ‘2000’ and numbered ‘P.P. 1/10’ in pencil (a printer’s proof, the edition was 350 and 10 artist’s proofs), published by the Public Art Fund, New York, in very good condition, framed. S. 24 x 18 in. (61 x 45.7 cm)

Estimate $2,500-3,500 

Hans Holbein, A Lady with a Squirrel and a Starling, circa 1526-28, oil on board, The National Gallery, London

389

389 ELIZABETH PEYTON

b. 1965

Elliott, 1999 Lithograph in colors, on Somerset Satin paper, with full margins, signed, dated ‘1999’ and numbered 24/80 in blue pencil (there were also 20 artist’s proofs), co-published by Derriere L’Etoile Studios and Gavin Brown Enterprise, New York, in excellent condition, unframed. I. 14 x 10 1/8 in. (35.6 x 25.7 cm) S. 18 1/8 x 13 5/8 in. (46 x 34.6 cm)

Estimate $2,000-3,000 


390 JEAN-AUGUSTE-DOMINIQUE INGRES

1780-1867

Odalisque, 1825 Lithograph, on wove paper, with margins, the only state, a fine, delicate impression, published by Delpech in Album lithographique, Paris, a small foxmark at the torso, a small pale stain at the chair back, a very pale stain in the lower leg, a very small pale foxmark in the bedding at left, a foxmark in the margin above the text, a few other pale foxmarks in the margins, the collector’s inkstamp showing through at the lower

Ingres, La Grande Odalisque, 1814, oil on canvas, Musée

left margin, otherwise in very good condition, unframed.

du Louvre, Paris.

I. 5 1/8 x 8 1/4 in. (13 x 21 cm) S. 8 x 11 3/8 in. (20.3 x 28.9 cm)

Estimate $5,000-7,000  PROVENANCE Henri M. Petiet inkstamp (Lugt 2021a) LITERATURE Loys Delteil 9

“The wonder of her face and body is equaled by the luxury of the textiles and accessories which surround her, ‘the bracelets, the fly-whisk with its peacock feathers, the jewels, the pipe, the draperies, the cushions, and the crumpled linen thrown hither and

The collector’s inkstamp on this print belongs to one of the most important collector/ dealers of European prints of the 19th and 20th Centuries. Petiet’s passionate inventory of Bonnard, Renior, Redon, Picasso and Matisse was trumped by the acquisition of Ambroise Vollard’s entire collection of works on paper after his death in 1939. He turned to dealing as a way to justify his obsession with collecting.

thither’.” (T. Gaultier, Les Beaux-Arts in Europe, Paris, 1855)


391

391 BALTHUS

1908-2001

Dessins: Jeune fille dormant, 1994 Offset 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 $1,000-1,500 

392

392 JUERGEN TELLER

b. 1964

Kate after her 25 Birthday at the Ritz, 1999 C-print, on Kodak Professional paper, with full margins, signed, titled and numbered 58/100 in black ink on the reverse, published by ACRIA, New York, in excellent condition, framed. I. 4 x 6 in. (10.2 x 15.2 cm) S. 8 x 10 in. (20.3 x 25.4 cm)

Estimate $300-500 


393

394

393 ERIC FISCHL

b. 1948

394 ERIC FISCHL

b. 1948

Untitled (Ghost), 1992

Puppet Tears, 1985

Solar etching, on Arches paper, with full margins, signed and numbered 5/20 in

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

pencil (there were also 5 artist’s proofs), a small area of soiling at the upper left

numbered 48/50 in pencil (there were also 10 artist’s proofs), published by Peter

sheet edge, otherwise in very good condition, unframed.

Blum Edition, New York, a pinpoint foxmark in the lower margin, otherwise in very

I. 8 3/4 x 5 7/8 in. (22.2 x 14.9 cm)

good condition, framed.

S. 14 7/8 x 12 1/4 in. (37.8 x 31.1 cm)

I. 6 1/4 x 9 5/8 in. (15.9 x 24.4 cm)

Estimate $700-900 

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

Estimate $600-800 

395

395 ERIC FISCHL

b. 1948

Shower; and Untitled (Girl Holding a Bikini), 1987 and 1994 Two aquatints with etching, on Hannemühle and wove paper, with full margins, both signed and numbered 75/100 and 9/50 respectively in pencil (there were 15 and 13 artist’s proofs respectively), Shower published by Parasol Press, New York, Untitled published by the artist, both in very good condition, both framed. shower I. 15 1/2 x 19 1/2 in. (39.4 x 49.5 cm) shower S. 22 1/8 x 25 3/8 in. (56.2 x 64.5 cm) untitled I. 15 7/8 x 12 in. (40.3 x 30.5 cm) untitled S. 23 x 18 in. (58.4 x 45.7 cm)

Estimate $900-1,200 


397

396

396 AARON FINK

b. 1955

397 HONORÉ DAUMIER

1808-1879

Themes portfolio, 1982

Pastorales. No. 34; and Croquis d’été. No. 16, for Caricatures de Moeurs Part II

The complete set of seven etchings in colors, on wove paper, with full margins, all

and III, 1845-48 and 1851-58

signed, dated ‘82’ and numbered 16/35 in pencil, published by Fox Graphics/Edition

Two lithographs, on wove paper, with margins, sur blanc impressions (before

Limited, Boston (with their blindstamp), all with pale time staining, otherwise all in

they were mass printed on newspaper), both with minor surface soiling and

very good condition, all unframed, loose, contained in original navy linen-covered

pencil notation in the lower margin, Pastorales with a few foxmarks and stains in

portfolio folder with title and artist’s name embossed on the front (wear).

the margins, adhesive remains along the left seet edge, two holes at the upper

14 1/2 x 16 1/2 in. (36.8 x 41.9 cm)

right sheet edge (with minor associated tearing), Croquis de été with pale

Estimate $800-1,200 

scattered foxing in the left and lower margin, adhesive remains along the upper sheet, otherwise both in very good condition, both unframed. pastorales I. 10 1/2 x 9 in. (26.7 x 22.9 cm)

Including: Cherry, Wave, Cloud, Beach, Chair, Peanut, Cigar and Hat

pastorales S. 13 3/8 x 10 1/8 in. (34 x 25.7 cm) croquis I. 8 1/4 x 10 1/4 in. (21 x 26 cm) croquis S. 9 7/8 x 13 in. (25.1 x 33 cm)

Estimate $600-800  PROVENANCE Stephen Longstreet (1907-2002) inkstamp

398

LITERATURE Loys Delteil 1421 and 2856; Lilian and Dieter Noack 1421 and 2856

398 HONORÉ DAUMIER

1808-1879

Les bas bleus. No.25; and Les bons Bourgeois. No. 11, for Caricatures de Moeurs Part I and III, 1838-45; and 1851-58 Two lithographs, on wove paper, with margins, sur blanc impressions (before they were mass printed on newspaper), Les bas bleus with several pale foxmarks (mainly in the margins), Les bons Bourgeois with minor surface soiling, offseting on the reverse (showing through on the front), adhesive remains at the upper and lower right sheet edge, small holes in places along the left sheet edge, otherwise both in good condition, both unframed. les bas I. 8 1/2 x 7 1/2 in. (21.6 x 19.1 cm) les bas S. 13 1/2 x 10 1/8 in. (34.3 x 25.7 cm) les bons I. 10 1/8 x 9 in. (25.7 x 22.9 cm) les bons S. 13 3/8 x 10 1/4 in. (34 x 26 cm)

Estimate $600-800  PROVENANCE Stephen Longstreet (1907-2002) inkstamp LITERATURE Loys Delteil 1245 and 1487; Lilian and Dieter Noack 1245 and 1487


399

400

399 ROBERT LONGO

b. 1953

400 ROBERT LONGO

b. 1953

Jules, 2002

Red Kiss, 1990

Lithograph, on Rives BFK paper, with full margins, signed, dated ‘2002’ and

Lithograph in colors, on wove paper, the full sheet, signed, dated ‘90’ and annotated

numbered ‘wkshp 1/2’ in pencil (a workshop copy, the edition was 120 and 20

‘PP IV’ in pencil (one of 15 copies in Roman numerals, there was no edition), a few

artist’s proofs), published by Hamilton Selway Fine Art, West Hollywood, in very

very minor nicks at lower left, otherwise in very good condition, unframed.

good condition, framed.

S. 36 1/2 x 18 in. (92.7 x 45.7 cm)

I. 41 1/2 x 22 3/4 in. (105.4 x 57.8 cm) S. 46 x 30 in. (116.8 x 76.2 cm)

Estimate $3,000-5,000 

Estimate $700-900 


401

402

401 DAVID SALLE

b. 1952

Until Photographs Could be Taken from Earth Satellites: three plates, 1981 Three aquatints, on wove paper, the full sheets, all signed, dated and numbered ‘AP 6/10’ in pencil (the edition was 10), published by Parasol Press, New York, all in very good condition, one framed, two unframed. all S. 29 3/4 x 42 in. (75.6 x 106.7 cm)

Estimate $600-800 

402 ROBERT LONGO

b. 1953

Arena Brains, 1986 Lithograph in colors, on Rives BFK paper, with full margins, signed, dated ‘06’ and numbered ‘P.P. 4/5’ in pencil (a printer’s proof, the edition was 75 and 15) published by Artist’s Space, New York, occasional minor soiling in the margins, the palest mat staining, a crease at upper left, otherwise in very good condition, unframed. I. 36 1/4 x 16 1/8 in. (92.1 x 41 cm) S. 44 1/2 x 29 1/8 in. (113 x 74 cm)

Estimate $900-1,200 


403

404

403 ROBERT GOBER

b. 1954

404 ROBERT GOBER

b. 1954

Untitled, 2000

Heat by Joyce Carol Oates, 1989

Lithograph and screenprint in colors with embossing, on wove paper, with full

The complete set of two bound books in white leather binding with printed title,

margins, signed, dated ‘2/3/00’ and numbered 3/47 in pencil (there were also 8

gold embossing and metal closure, with text by Joyce Carol Oates, printed from

artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps),

text hand-written by Robert Gober and lithographic end papers, on Saunders

in very good condition, framed.

paper, signed in pencil, from the edition of 140, published by the Paris Review,

I. 22 1/8 x 32 1/8 in. (56.2 x 81.6 cm)

New York, in excellent condition, contained in original purple linen covered box.

S. 30 3/8 x 43 5/8 in. (77.2 x 110.8 cm)

13 1/4 x 9 1/4 in. (33.7 x 23.5 cm)

Estimate $7,000-10,000 

Estimate $2,000-3,000 

LITERATURE Gemini G.E.L. 1817


406 405

405 JASPER JOHNS

406 JASPER JOHNS

b. 1930

b. 1930

Untitled, from Harvey Gantt Portfolio, 1990

Summer (Blue), 1991

Lithograph in colors, on Arches 88 paper, with full margins, signed, dated ‘1990’

Lithograph in blue, on J. Whatman paper, with full margins, signed, dated ‘85-91’

and numbered 48/250 in pencil (there were also 50 artist’s proofs), published by

and numbered 109/225 in pencil (there were also 19 artist’s proofs), published by

Gemini G.E.L., Los Angeles (with their blindstamps), to benefit the U.S. Senate

Brooke Alexander Editions, New York, hinged to the support at the reverse of the

campaign of Harvey Gantt, in very good condition, framed.

upper corners (slightly showing through), otherwise in very good condition, framed.

I. 6 x 4 3/4 in. (15.2 x 12.1 cm)

I. 9 1/2 x 6 1/4 in. (24.1 x 15.9 cm)

S. 10 1/2 x 8 in. (26.7 x 20.3 cm)

S. 16 1/4 x 11 1/4 in. (41.3 x 28.6 cm)

Estimate $1,000-1,500 

Estimate $2,000-3,000 

LITERATURE Gemini G.E.L. 1456; Universal Limited Art Editions 252

LITERATURE Universal Limited Art Editions 254

407

407 FRED TOMASELLI

b. 1956

Chain Reaction, 2001 Iris print in colors, on wove paper, with full margins, signed and numbered 51/80 in pencil, published by the Skowhegan School, Maine, in excellent condition, unframed. I. 20 1/8 x 16 1/8 in. (51.1 x 41 cm) S. 21 x 17 in. (53.3 x 43.2 cm)

Estimate $600-900 


408

409

410

408 ROBERT RAUSCHENBERG

1925-2008

The Suite of Nine Prints: From the Seat of Authority, 1979 Offset lithograph in colors with collage, on wove paper, the full sheet, signed, dated ‘79 and numbered 98/100 in pencil (there were also an unrecorded number of artist’s proofs), published by Multiples Inc., New York, pale offsetting from the collage adhesive, the palest time staining, otherwise in very good condition, framed. S. 30 1/2 x 23 in. (77.5 x 58.4 cm)

Estimate $1,800-2,500 

409 ROBERT RAUSCHENBERG

1925-2008

The Suite of Nine Prints: Why You Can’t Tell #2, 1979 Offset lithograph in colors with collage, on wove paper, the full sheet, signed, dated ‘79’ and numbered ‘HC 1/10’ in pencil (a hors commerce impression, the edition was 100), published by Multiples, Inc., New York, minor surface soiling, a sight crease at the upper left corner, otherwise in very good condition, framed. S. 30 1/2 x 23 1/4 in. (77.5 x 59.1 cm)

Estimate $1,800-2,500 

411

410 ROBERT RAUSCHENBERG

1925-2008

The Suite of Nine Prints: Shoot From the Main Stem, 1979 Offset lithograph in colors with collage, on wove paper, the full sheet, signed, dated ‘79’ and numbered 75/100 in pencil (there were also an unrecorded number of artist’s proofs), published by Multiples Inc., New York, the palest time staining, otherwise in very good condition, framed. S. 30 3/4 x 23 in. (78.1 x 58.4 cm)

Estimate $1,800-2,500 

411 ROBERT RAUSCHENBERG

1925-2008

Venice Print Project, 1984 Screenprint in colors with collage, on wove paper cut-out, the full sheet, signed, dated ‘84’ and numbered 7/75 in pencil (there were also 15 artist’s proofs), produced by Styria Studio, New York, in very good condition, framed. overall S. 32 x 26 3/8 in. (81.3 x 67 cm)

Estimate $1,800-2,500 


412

413

412 MALERIE MARDER

413 MALERIE MARDER

b. 1971

b. 1971

Untitled, 1998

Untitled, 1998

Photograph, on aluminum panel, the full sheet, signed and numbered 4/8 in black

Photograph, on aluminum panel, the full sheet, signed and numbered 4/8 in black

ink on a label affixed to the reverse (there were also 2 artist’s proofs), published

ink on a label affixed to the reverse (there were also 2 artist’s proofs), published

by Lawrence Rubin-Greenberg Van Doren Fine Art, New York, in very good

by Lawrence Rubin-Greenberg Van Doren Fine Art, New York, very slight wear in

condition, unframed.

places along the sheet edges, otherwise in very good condition, unframed.

S. 17 7/8 x 22 7/8 in. (45.4 x 58.1 cm)

S. 17 7/8 x 22 3/4 in. (45.4 x 57.8 cm)

Estimate $1,000-1,500 

Estimate $1,000-1,500 

414

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

414 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 24/75 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 $600-900 


415 HIROSHI SUGIMOTO

b. 1948

Origins of Love portfolio, 2004 The complete set of eight duotone offset prints and one pigmented color iris print, on Parilux gloss text paper mounted to 4-ply Rising Museum Board (as issued), the full sheets, signed and numbered 44/50 in silver ink and pencil respectively on the colophon (there were also 5 artist’s proofs), The Music Lesson embossed with title and numbering, published by Yoshii Gallery, New York, all in excellent condition, all framed, with original handmade wooden box. 13 x 12 1/8 in. (33 x 30.8 cm)

Estimate $12,000-15,000 

Including: The Music Lesson; Devonian Period; Earliest Human Relatives; Permian Land; Homo Ergaster; Cro-Magnon; Neanderthal; Gorilla and PolarBear


416

416 MAURIZIO CATTELAN

b. 1960

Untitled, 2000 Black and white digital print, on Uso Mano paper, with full margins, signed and numbered XX/XXII in black marker and pen on the accompanying certificate (an artist’s proof, the edition was 60), published by Parkett Editions, Zurich and New York, in very good condition, unframed, contained in original cardstock folder with accompanying certificate (minor skinning on the front). I. 12 5/8 x 9 5/8 in. (32.1 x 24.4 cm) S. 16 3/8 x 13 in. (41.6 x 33 cm)

Estimate $1,500-2,500  LITERATURE Edition for Parkett 59

417

417 MAN RAY

1890-1976

Self Portrait, 1972 Screenprint, on Arches paper, with full margins, signed and numbered 34/100 in pencil, soiling in the margins (primarily close to the sheet edges), pale mat staining on the reverse, otherwise in good condition, unframed. I. 7 7/8 x 6 1/4 in. (20 x 15.9 cm) S. 22 x 15 3/8 in. (55.9 x 39.1 cm)

Estimate $1,200-1,800  LITERATURE Luciano Anselmino 101


418

418 JOSEPH KOSUTH

b. 1945

Untitled (portrait of Sigmund Freud), from Siebdrucke Mappe, 1987 The complete set of two lithographs, on C.M.Fabriano 100/100 Cotton rag paper, with full margins, one signed and dated ‘1987’, one titled and numbered 4/30 (there were also 7 artist’s proofs in Roman numerals), both annotated ‘part A’ and ‘part B’ respectively in pencil, published by published by Edition Atelier, Graz Austria, part B with a small area of skinning on the reverse of the center, otherwise both in very good condition, both unframed. both I. 23 3/4 x 15 3/4 in. (60.3 x 40 cm) both S. 30 x 22 1/4 in. (76.2 x 56.5 cm)

Estimate $1,200-1,800 

419

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

419 JOSEPH KOSUTH

b. 1945

Wittgenstein Untitled, from Independent Curators 15th Anniversary portfolio, 1991 Screenprint on glass, contained in light maple frame (as issued), signed and numbered 8/75 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 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 $600-900 


420

421

420 JOE GOODE

b. 1937

421 TONY MATELLI

b. 1971

Untitled, 1971

I hope all is well..., 2003

Lithograph with screenprint in colors, on Copperplate Deluxe paper, with full

Inkjet print in colors, on wove paper, with full margins, signed, dated ‘2003’ and

margins, signed, dated ‘71’ and numbered 94/110 in pencil (there were also 14

numbered 1/2 in blue marker on the reverse of the backing board, in excellent

artist’s proofs), published by Cirrus Editions, Los Angeles (with their blindstamp),

condition, framed.

in very good condition, framed.

I. 44 x 34 in. (111.8 x 86.4 cm)

I. 5 7/8 x 6 7/8 in. (14.9 x 17.5 cm)

S. 44 3/4 x 34 3/4 in. (113.7 x 88.3 cm)

S. 8 1/2 x 9 1/2 in. (21.6 x 24.1 cm)

Estimate $200-300

LITERATURE Bruce Davis p. 237

Estimate $3,000-4,000 


422

423

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

422 SOPHIE CALLE

b. 1953

423 MILLIE WILSON

b. 1948

Le Dé, 2001

Trousers (for Tony), 1992

Multiple consisting of ivory dice set in black leather box with satin lining (printed

Two incized bronze plaques, both with occasional scuffs and finger prints,

with gold text), suede and leather interior, numbered 120/250, published by Item,

scuffing on the underside, otherwise both in good condition.

Paris, the black satin lower box slipping down slightly in the corners, otherwise in

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

very good condtion. dice: 1/4 x 1/4 x 1/4 in. (.6 x .6 x .6 cm)

Estimate $700-900 

box: 3 x 2 1/8 x 1 11/2 in. (7.6 x 5.4 x 16.5 cm)

Estimate $500-700 

These were part of a larger mixed media installation, where the brass plaques were mounted on a feld of brilliant blue painted on the wall. On one plaque, a narrative text engraved, on the other, a list of euphemisms for trousers.

J’ai toujours aimé qu’on décide pour moi. Avec B. nous avions une règle de jeu: les jours pairs il prenait les dècisions, les jours impairs c’ètait moi. Quand il est parti pour l’Amèrique il m’a offert un dé pour le remplacer. (I have always liked others to make decisions for me. B. and I played a game: on even numbered days he made the decisions, on odd numbered days I did.  When he left for the States he gave me a dice to replace him.)  Sophie Calle


424

425

424 JOHN BALDESSARI

b. 1931

Women with Pillow, from BAM portfolio, 2003 Lithograph, on Somerset Velvet paper, with full margins, signed, dated ‘03’ and annotated ‘B.A.T.’ in pencil (the Bon-a-trier print, the edition was 40 and 12 artist’s proofs), published by the Brooklyn Academy of Music, New York, in excellent condition, unframed. I. 18 x 20 in. (45.7 x 50.8 cm) S. 24 1/8 x 30 1/8 in. (61.3 x 76.5 cm)

Estimate $900-1,200 

425 VARIOUS ARTISTS The Readymade Boomerang portfolio: three plates, 1990 One photogavure and two offset lithographs, (one in colors with cut-outs), on Zerkall and smooth wove papers, with full margins and the full sheets, all signed (Weiner with initials), dated ‘90’ and numbered 17/60 in pencil (there were also 45 artist’s proofs), published by the Sydney Biennale, Trockel with occasional soft handling creases, Kaprow and Weiner with occasional soft scuffing, minor creasing at the lower corners otherwise all in very good condition, all unframed. all S. 39 1/2 x 27 1/2 in. (100.3 x 69.9 cm)

Estimate $900-1,200 

426

Including: Rosemarie Trockel, Rose von Kasanlâk; Allen Kaprow, Yard and Lawrence Weiner, Polaris

426 RIRKRIT TIRAVANIJA

b. 1961

Untitled (apron and thai pork sausage recipe), 1993 Screenprint in colors, on butcher paper, cut to shape of apron with twine ties, plus framed pork sausage recipe, the apron signed, dated ‘93’ and numbered 3/25 in black ink, the apron with occasional soft creases, an area of soiling next to sausage, a tear at lower edge, otherwise both in very good condition, the apron unframed. apron: 50 1/2 x 28 in. (128.3 x 71.1 cm) frame: 11 3/4 x 9 3/4 in. (29.8 x 24.8 cm)

Estimate $900-1,200 


427

427 SHERRIE LEVINE

b.1947

Including: Mondrian’s Tableau No II; Kirchner’s Potsdam Square, Berlin; a Monet Rouen Cathedral and Duchamp’s L.H.O.O.Q. (mustached Mona Lisa)

Meltdown portfolio, 1989 The complete set of four woodcuts in colors, on Korean Kozo paper, with full margins, signed, titled, dated ‘1989’ and numbered ‘WKSHP 1/2’ in pecil on the

This series of lush woodcuts resulted from the use of computer technology

reverse (a workshop copy, the edition was 35 and 10 artis’s proofs in Roman

to reduce images of four paintings to their essential colors, which were then

numerals), published by Peter Blum Edition, New York, all in very good condition,

translated onto square woodblocks of equal size.

contained in original paper folder with title and artist’s name printed on the front in gray, lacking poplar box. 37 1/4 x 26 1/2 in. (94.6 x 67.3 cm)

Estimate $3,000-5,000 

Sherrie Levine, Fountain (Buddha), 1996, cast bronze.

428

428 SHERRIE LEVINE

b.1947

After Degas portfolio, 1987 The complete set of five duotone lithographs, on Rives Heavyweight buff paper, with full margins, all signed, dated ‘1987’, annotated ‘#1-5’ respectively and numbered 20/35 in pencil on the reverse (there were also 10 artist’s proofs), published by Editions Ilene Kurtz, New York (all with their blindstamp), #1 with a soft handling crease in the lower margin, #5 with a pressure mark in the lower left corner, otherwise all in very good condition, loose, contained in original linen covered folder with title and artists name printed on paper and inset on the front. 26 5/8 x 21 5/8 in. (67.6 x 54.9 cm)

Estimate $2,500-3,500 


429

429 SHUSAKU ARAKAWA

b. 1936

Portrait of Mona Lisa, 1970-71 Screenprint in colors, on wove paper, with full margins, signed, dated ‘1971’ and numbered 76/100 in pencil, a few soft handling creases, a scuff and an area of soiling at upper right, occasional soiling in the margins, otherwise in good condition, framed. I. 40 1/8 x 30 1/8 in. (101.9 x 76.5 cm) S. 44 1/8 x 34 in. (112.1 x 86.4 cm)

Estimate $1,200-1,800 

430

430 BRUCE CONNER

1933-2008

This Space Reserved for June Wayne, 1965 Lithograph in colors, on Rives BFK paper, the full sheet, ‘signed’ with a thumbprint in printing ink and annotated ‘trial proof’ in pencil on the reverse (the edition was 20 and 2 artist’s proofs), published by Tamarind Lithography Workshop, Inc., Hollywood (with their inkstamp on the reverse), in very good condition, unframed. S. 7 5/8 x 17 1/2 in. (19.4 x 44.5 cm)

Estimate $500-700

The artist signed all his lithographs with a thumbprint in ink rather than a written signature.


431

431 CARROLL DUNHAM

b. 1949

Untitled (Interior A, B & C) suite, 20 0 6 The complete set of three screenprints in colors, on laminated archival book board paper, the full sheets, all signed, dated ‘2006’ and numbered ‘A.P. 8/8’ in pencil (an artist’s proof, the edition was 35), published by Pace Editions, Inc., New York, all in very good condition, all framed. all approx: 33 x 44 in. (83.8 x 111.8 cm)

Estimate $3,000-5,000  LITERATURE Allison Kemmerer A120-A122

432

432 DIETER ROTH

1930-1998

2 x 5 Dogs portfolio, 1979 The complete set of twelve offset lithographs in colors plus one drawing in charcoal, on various papers, the full sheets, all signed, dated ‘79’ and numbered 47/100 in pencil, published by Hansjorg Mayer, 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 $2,500-3,500 


433

434

433 DONALD BAECHLER

b. 1956

Untitled set, 1985 The set of five woodcuts in colors, on Kozo paper, with full margins, all signed, dated ‘85’ and numbered 1/20 in pencil, published by Barbara Gladstone Gallery, New York, occasional minor creasing, otherwise all in very good condition, all framed. all I. 24 x 23 7/8 in. (61 x 60.6 cm) all S. 26 x 25 3/8 in. (66 x 64.5 cm)

Estimate $2,000-3,000 

434 DONALD BAECHLER

b. 1956

Untitled (Mostly Mozart), 19 95 Screenprint in colors, on wove paper, the full sheet, signed, dated ‘95’ and numbered ‘P.P. 3/6’ in pencil (a printer’s proof, the edition was 111), published by Lincoln Center List Poster and Print Program, New York, in very good condition, framed. S. 47 1/2 x 30 1/8 in. (120.7 x 76.5 cm)

Estimate $1,000-1,500  LITERATURE Charles A. Riley p. 179

435

435 FRANCESCO CLEMENTE

b. 1952

Untitled (Triptych), 19 6 8 Lithograph, on three sheets of Japanese paper, the full sheet, signed and numbered 22/100 in pencil, published by Petersburg Press, London, in very good condition, framed. S. 26 1/2 x 119 1/2 in. (67.3 x 303.5 cm)

Estimate $1,500-2,500


436

437

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

436 ANTONI TÀPIES

b. 1923

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

437 ANTONI TÀPIES

b. 1923

Cartes per a la Teresa portfolio: one plate, 1974

Macule, 198 0

Lithograph in colors with collage, on two sheets of Arches paper, the full sheets,

Etching in red and black with extensive embossed relief, on Arches paper, with

from the edition of 150 and 25 hors commerce in Roman numerals, published by

full margins, signed and numbered 69/75 in pencil (there were also several

Maeght, Paris, a soft crease at upper left, a horizontal pressure mark in places

artist’s proofs and hors commerce), published by Galerie Lelong, Paris, in very

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

good condition, framed.

overall 30 1/4 x 49 5/8 in. (76.8 x 126 cm).

I. 16 3/8 x 25 3/8 in. (41.6 x 64.5 cm)

Estimate $3,000-5,000 

S. 24 5/8 x 35 3/4 in. (62.5 x 90.8 cm)

Estimate $2,000-3,000  LITERATURE Mariuccia Galfetti 470 LITERATURE Mariuccia Galfetti 949


438

439

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

438 ANTONI TÀPIES

b. 1923

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

439 ANTONI TÀPIES

b. 1923

Croix carton, 198 4

Cartes per a la Teresa portfolio: one plate, 1974

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

Lithograph in colors with collage, on Arches paper, with full margins, from the

numbered 4/75 in pencil (there were also several hors commerce copies),

edition of 150 and 25 hors commerce in Roman numerals, published by Maeght,

published by Galerie Lelong, Paris, very minor surface soiling in the margins

Paris, time staining, otherwise in very good condition, framed.

(particularly the sheet edges), otherwise in very good condition, framed.

I. 20 5/8 x 27 1/2 in. (52.4 x 69.9 cm)

I. 20 1/2 x 23 7/8 in. (52.1 x 60.6 cm)

S. 24 7/8 x 30 1/4 in. (63.2 x 76.8 cm)

S. 25 3/4 x 32 1/4 in. (65.4 x 81.9 cm)

Estimate $1,500-2,000  LITERATURE Mariuccia Galfetti 966

Estimate $1,200-1,600  LITERATURE Mariuccia Galfetti 464


440

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

440 ANTONI TÀPIES

b. 1923

Petrificada Petrificante portfolio: plate 8, 1978 Etching and carborundum in colors, on handmade Moulin de Larroque paper, the full sheet, signed and annotated ‘H.C.’ in pencil (a hors commerce impression, aside from the edition of 175 and 20 hors commerce Roman numerals), published by Maeght, Paris, pale time staining, otherwise in very good condition, framed. S. 20 1/4 x 15 3/4 in. (51.4 x 40 cm)

Estimate $800-1,200  LITERATURE Mariuccia Galfetti 705

442

441

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

441 ANTONI TÀPIES

b. 1923

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

442 ANTONI TÀPIES

b. 1923

Croix noire, 1998

Cartes per a la Teresa portfolio: one plate, 1974

Lithograph in colors, on Rives BFK paper, the full sheet, signed and numbered

Lithograph in colors, on Arches paper, the full sheet, the right side of two sheets

14/45 in pencil (there were also 3 artist’s proofs), published by Galerie Lelong,

(lacking the left side), from the edition of 150 and 25 hors commerce in Roman

Paris, in very good condition, framed.

numerals, published by Maeght, Paris, occasional soft creases (primarily at the

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

sheet edges), pale time staining, otherwise in good condition, framed.

Estimate $1,000-1,500 

S. 30 1/4 x 24 3/4 in. (76.8 x 62.9 cm)

Estimate $800-1,200  LITERATURE Mariuccia Galfetti 420


443

444

443 RICHARD SERRA

b. 1939

444 RICHARD SERRA

b. 1939

Venice Notebook 2001: #3; and #4, 20 02

Coltrane, 19 9 9

Two etchings, on Fabriano Tiepolo paper (#4 also on Chine collé of Japanese

Etching, on heavy Somerset Satin paper, the full sheet, signed, dated ‘99’ and

handmade paper), with full margins, both signed, dated ‘2002’ and numbered

numbered 3/33 in pencil (there were also 8 artist’s proofs), published by Gemini

50/60 and 6/60 in pencil (there were also 10 artist’s proofs), published by Gemini

G.E.L., Los Angeles (with their blindstamps), occasional soft rubbing, otherwise

G.E.L., Los Angeles (with their blindstamps), #4 with date slightly smudged

in very good condition, framed.

(still legible), otherwise both in very good condition, one framed, one unframed.

S. 57 1/4 x 47 3/4 in. (145.4 x 121.3 cm)

both I. 11 7/8 x 13 7/8 in. (30.2 x 35.2 cm) both S. 16 x 18 in. (40.6 x 45.7 cm)

Estimate $5,000-7,000 

Estimate $3,000-5,000 

LITERATURE Gemini G.E.L. 3276; Silke von Berswordt-Wallrabe 126

LITERATURE Gemini G.E.L. 3316 and 3317; Silke von Berswordt-Wallrabe 147 and 148


445 RICHARD SERRA

b. 1939

Vive la Vive la, 1989 Woodcut, on Arches 88 paper, the full sheet, signed with initials, dated ‘89’ and annotated ‘ap 19’ in pencil (one of 23 artist’s proofs, the edition was 100), published by Centre National des Arts Plastiques, Ministère de la Culture, Paris, surface soiling, occasional minor scuffing, mat staining along the sheet edges, otherwise in good condition, unframed. S. 48 1/2 x 72 1/4 in. (123.2 x 183.5 cm)

Estimate $5,000-7,000  LITERATURE Silke von Berswordt-Wallrabe 49


446 WAYNE THEIBAUD

b. 1920

A Portfolio of Seven Still Lifes and a Silver Landscape: Half Cakes, 1970-71 Screenprint, on Arches paper, with full margins, signed, dated ‘1971’ and numbered 23/50 in pencil (there were also 10 artist’s proofs), published by Parasol Press, New York, the sheet slightly toned in places, a short tear at upper right (with associated creasing), otherwise in very good condition, framed. I. 18 x 16 1/8 in. (45.7 x 41 cm) S. 29 7/8 x 22 1/4 in. (75.9 x 56.5 cm)

Estimate $3,000-5,000 


447

448

447 RICHARD DIEBENKORN

1922-1993

41 Etchings portfolio: #19, 19 63 Etching, on Rives BFK paper, with full margins, signed with initials, dated ‘63’ and numbered 19/25 in pencil (there were also 10 artist’s proofs), published by Crown Point Press, San Francisco, a very pale stain in the lower margin, the palest mat staining along the lower sheet edge, trace adhesive remains along the reverse of the left sheet edge, otherwise in very good condition, unframed. I. 7 3/4 x 6 3/4 in. (19.7 x 17.1 cm) S. 17 3/4 x 14 3/4 in. (45.1 x 37.5 cm)

Estimate $2,500-3,500  448 JOSEPH GOLDYNE

b. 1942

Dirty Dish, 1979 Etching, aquatint and drypoint, on Rives BFK paper, with full margins, signed, titled ‘Dirty Dish I’ and numbered 5/20 in pencil (there were also 8 artist’s proofs with hand-coloring), the second state (of two) with drypoint additions, published by 3EP Ltd., Palo Alto (with their blindstamp), the palest mat staining, otherwise in very good condition, framed. I. 8 7/8 x 11 7/8 in. (22.5 x 30.2 cm) S. 16 1/8 x 22 in. (41 x 55.9 cm)

Estimate $500-700  449

LITERATURE The Corcoran Gallery of Art 66

449 GUNTHER UECKER

b. 1930

[Untitled], 198 0 Lithograph, on smooth wove paper, the full sheet, signed, dated ‘80’ and numbered 153/200 in pencil, mat staining along the right sheet edge (slightly affecting the image), otherwise in very good condition, unframed. S. 19 3/8 x 26 1/2 in. (49.2 x 67.3 cm)

Estimate $200-300


450

Including two prints each by: Billy Al Bengston (BA-1, etching and BA-2,

450 VARIOUS ARTISTS

lithograph); Peter Alexander (PA-1, lithograph and PA-2, lithograph); Larry Bell

in Barcelona portfolio, 1989 The complete set of sixteen etchings or lithographs in colors, on Guarro paper,

(LB-1, etching and LB-2, lithograph); Laddie John Dill (LJD-1, etching and LJD-2,

the full sheets or with full margins, all signed and numbered 22/75 in pencil (there

lithograph); Craig Kauffman (CK-1, etching and CK-2, lithograph); Ed Moses

were also 10 artist’s proofs), published by Ediciones Polígrafa, Barcelona, all in

(Eloi-Vador II, etching and Wranck-Track, lithograph); Eric Orr (Night shift,

very good condition, contained in original linen-covered portfolio box with title

lithograph and Edge of time, lithograph) and Ed Ruscha (Egg-timer, lithograph

and artist’s names printed and embossed on the front.

and Ballerina lithograph)

32 1/8 x 23 in. (81.6 x 58.4 cm)

Estimate $6,000-9,000 

451

451 RICHARD SERRA

b. 1939

Bilbao I, 20 05 Etching, on Hahnemühle Copperplate paper, with full margins, signed, dated ‘05’ and numbered 22/35 in pencil (there were also 16 artist’s proofs), co-published by Edition Parkett, Zurich and New York, and Gemini G.E.L., Los Angeles (with their blindstamps), in very good condition, unframed. I. 17 7/8 x 23 1/2 in. (45.4 x 59.7 cm) S. 23 1/8 x 27 5/8 in. (58.7 x 70.2 cm)

Estimate $3,000-4,000  LITERATURE Edition for Parkett 74; Silke von Berswordt-Wallrabe 183


452

453

452 FRANK STELLA

b. 1936

453 BERNAR VENET

b. 1941

Swan Engraving series: Swan Engraving IX, 198 4

Ligne indéterminée, 19 92

Relief-printed etching, on handmade rag paper, the full sheet, signed, dated ‘84’

Lithograph in colors, on Rives BFK paper, the full sheet, signed, titled, dated

and numbered ‘A.P. VIII’ in pencil (one of 10 artist’s proofs, the edition was 30),

‘1992’ and numbered 85/90 in pencil, in very good condition, unframed.

published by Tyler Graphics, Mount Kisco, New York (with their blindstamp),

S. 22 x 29 in. (55.9 x 73.7 cm)

in excellent condition, framed. S. 59 1/2 x 49 3/4 in. (151.1 x 126.4 cm)

Estimate $3,000-5,000  LITERATURE Richard Axsom 161; Tyler Graphics 607

Estimate $700-900


454 EDUARDO CHILLIDA

1924-2002

Inguru portfolio: plates II; III; IV; and V, 1968 Four aquatints, on Arches paper, with full margins, all signed and numbered 22/50 in pencil (there were also 5 hors commerce), published by Editorio Gustavo Gili, Barcelona, very minor creasing in the corners, otherwise in very good condition, contained in original cream burlap folio with stamped text. 37 x 25 3/4 in. (94 x 65.4 cm)

Estimate $10,000-15,000  LITERATURE Dorthea van der Koelen 68002-68005


455 TERRY WINTERS

b. 1949

Album portfolio, 198 8 The set of seven etchings and aquatints in colors, on Hahnemühle paper, with full margins, all signed with initials and numbered 32/50 in pencil (there were also 10 artist’s proofs), published by Edition Ilene Kurtz, New York, all in excellent condition, lacking the title page, colophon and portfolio box, all framed. all I. 20 1/2 x 15 7/8 in. (52.1 x 40.3 cm) all S. 26 1/2 x 21 in. (67.3 x 53.3 cm)

Estimate $5,000-7,000  LITERATURE Nancy Sojka 22-28


456

456 ANISH KAPOOR

b. 1954

Untitled (I), 198 8 Aquatint in colors, on wove paper, with full margins, signed, dated ‘1988’ and numbered 15/20 (I) in pencil (there were also 10 artist’s proofs), published by Crown Point Press, San Francisco (with their blindstamp), occasional minor soiling and soft handling creases, otherwise in very good condition, framed. I. 44 5/8 x 35 1/8 in. (113.3 x 89.2 cm) S. 53 1/8 x 42 in. (134.9 x 106.7 cm)

Estimate $5,000-7,000

457

458

457 ARNULF RAINER

b. 1929

458 ARNULF RAINER

b. 1929

Reiberstaham Kabreter, 19 63

Eichenblatt, from For Joseph Beuys portfolio, 1986-87

Etching, on wove paper, with full margins, signed, titled and numbered 37/70

Etching in green, on wove paper, with full margins, signed and numbered 79/90

in pencil, the palest mat staining, otherwise in very good condition, unframed.

in pencil, co-published by Galerie Bernd Klüser and Edition Schellmann, Munich

I. 7 5/8 x 7 in. (19.4 x 17.8 cm)

and New York, minor surface soiling, a soft crease at upper left sheet edge,

S. 14 3/4 x 10 3/4 in. (37.5 x 27.3 cm)

otherwise in very good condition, unframed.

Estimate $600-900

I. 14 1/8 x 10 1/8 in. (35.9 x 25.7 cm) S. 31 1/2 x 23 3/4 in. (80 x 60.3 cm)

Estimate $500-700


459

459 CHARLES ECKART

b. 1935

460

Ground Cover series Nos. 5; 6; 11 and 23, 20 0 0 Four etchings in colors, on Rives BFK paper, with full margins, all signed, annotated and numbered 1/15 in pencil, published by the artist, all in excellent condition, all framed. all I. 10 7/8 x 10 3/4 in. (27.6 x 27.3 cm) all S. 16 1/8 x 15 in. (41 x 38.1 cm)

Estimate $2,000-4,000 

Charles Eckart was born in Oakland, California and grew up in Yosemite Valley. He is a painter who started etching with his own press in 1966. The etching has always paralleled the various phases of his painting development. After focusing on the figure for many years, his work changed to landscape after he moved from San Francisco to Point Reyes in 1985.

460 DONALD SULTAN 461

b. 1951

Mimosas, 20 0 6 Etching, aquatint and screenprint in colors, on wove paper, the full sheet, signed with initials, titled, dated `Oct 2, 2006’ and numbered 33/90 in pencil, in excellent condition, framed. S. 27 1/8 x 39 1/8 in. (68.9 x 99.4 cm)

Estimate $2,000-3,000

461 DONALD SULTAN

b. 1951

Pomegranates, 19 94 Screenprint in colors, on wove paper, with full margins, signed with initials, titled, dated ‘July 9, 1994’ and numbered 24/125 in pencil, in very good condition, framed. I. 12 x 12 in. (30.5 x 30.5 cm) S. 23 x 22 in. (58.4 x 55.9 cm)

Estimate $800-1,000


462

462 DONALD SULTAN

b. 1951

Black Flowers, Oct 12, 1996; Black Flowers, Oct 13, 1996; and Black Flowers, Oct 15, 1996, 19 9 6 Three lithographs, on Somerset paper, the full sheets, all signed, dated ‘Oct 12-15 1996’ and numbered 12/20 and 6/20 (2) in pencil (there were also 5 artist’s proofs for each), published by Tamarind Institute, Albuquerque (with their blindstamp), all in excellent condition, all unframed. all S. 22 1/8 x 30 in. (56.2 x 76.2 cm)

Estimate $2,500-3,500

463

463 JULIAN LETHBRIDGE

b. 1947

Untitled, 19 9 0 Lithograph, on Japanese paper, the full sheet, signed with initials, dated ‘90’ and numbered 12/58 in pencil, in very good condition, framed. S. 22 3/4 x 17 in. (57.8 x 43.2 cm)

Estimate $500-700

464

464 PIERRE SOULAGES

b. 1919

Lithographie No. 13, 19 6 4 Lithograph in colors, on Arches paper, the full sheet, signed and numbered 20/65 in pencil, co-published by Clot & Bramsen and La Hune, Paris, minor surface soiling, occasional soft rubbing, minor splitting along the sheet edges, compound creasing at the upper right corner, otherwise in good condition, framed. S. 27 1/8 x 19 3/8 in. (68.9 x 49.2 cm)

Estimate $800-1,000  LITERATURE Yves Rivière 15


465

465 WILLIAM WILEY

b. 1937

Ooh La La, 1977 Lithograph in colors, on Arches paper, with full margins, signed, dated ‘77’ and numbered 26/70 in pencil, published by the artist and Paul Facchetti Gallery, Paris, in excellent condition, unframed. I. 25 1/8 x 19 1/4 in. (63.8 x 48.9 cm) S. 29 1/2 x 22 1/4 in. (74.9 x 56.5 cm)

Estimate $400-600

466

466 BRYAN HUNT

b. 1947

[Waterfall]; and Site Study 3, 198 6 Woodcut in colors and an original drawing in wax, dry pigment and graphite, on Japanese and Arches paper, with full margins and the full sheet, both signed, dated ‘86’ and ‘12 86’ and [Waterfall] numbered 132/200 in pencil, [Waterfall] published by Crown Point Press, San Francisco (with their blindstamp), [Waterfall] with occasional soft handling creases, otherwise both in very good condition, both framed.

467

falls I. 12 1/2 x 9 1/4 in. (31.8 x 23.5 cm) falls S. 21 3/4 x 17 3/4 in. (55.2 x 45.1 cm) site S. 15 1/4 x 11 1/4 in. (38.7 x 28.6 cm)

Estimate $900-1,200

467 VARIOUS ARTISTS Elaine de Kooning Memorial portfolio, 19 91 The complete set of ten prints in various mediums (two are unique), on various papers, the full sheets and with full margins, all numbered 18/20, most signed and dated in pencil or other media, the Elaine de Kooning embossed with the artist’s estate stamp, all generally in very good condition, loose, contained in original burgundy linen-covered portfolio with ‘E de K’ printed and embossed on the front. 31 1/2 x 25 3/8 in. (80 x 64.5 cm)

Estimate $1,000-1,500 

Including: Elaine de Kooning; Yvonne Jacquette; Red Grooms; David Shapiro; John Cage; Rudy Burkhardt; Michael Goldberg; Alfred Leslie; Barbara Schwartz; and Michael David


468

469

468 JEAN TINGUELY

1925-1991

469 JEAN TINGUELY

1925-1991

Untitled; and Untitled, 19 9 0

Hannibal II (Lithograph); and Hannibal No II (Screenprint), 19 67-72

Two lithographs in colors, on Rives BFK paper, with full margins, both numbered

One lithograph and one screenprint, on wove paper, with full margins and the full

6/48 and 16/28 in pencil, published by Galerie Kornfeld, Bern, both with the

sheet, both presumably from the editions of 250, published by Galerie Kornfeld,

Succession Jean Tinguely inkstamps on the reverse, INV. NO. 27 and L 10, [pink]

Bern, both with the Succession Jean Tinguely inkstamps on the reverse, INV. NO.

with soft rubbing in the upper margin, otherwise both in very good condition, framed.

L 16 and S 4, both with occasional soft handling creases, the screenprint with minor

[yellow] I. 15 1/2 x 22 in. (39.4 x 55.9 cm)

soiling along the sheet edges, otherwise both in very good condition, both framed.

[yellow] S. 22 1/4 x 27 1/4 in. (56.5 x 69.2 cm)

litho I. 12 x 21 3/4 in. (30.5 x 55.2 cm).

[pink] I. 20 1/4 x 21 3/4 in. (51.4 x 55.2 cm)

litho S. 19 1/2 x 27 1/4 in. (49.5 x 69.2 cm).

[pink] S. 24 3/4 x 26 5/8 in. (62.9 x 67.6 cm)

scrnprnt S. 15 3/4 x 23 3/8 in. (40 x 59.4 cm).

Estimate $1,200-1,800

Estimate $1,000-1,500  LITERATURE Rainer Michael Mason 98 and 100

471

470

470 ANDY WARHOL

1928-1987

471 ANDY WARHOL

1928 - 1987

Flowers (Black and White): two plates, 1974

Flowers (Hand-Colored): one plate, 1974

Two screenprints, on wove paper, the full sheets, both signed with initials on the

Screenprint with hand-coloring in watercolor, on wove paper, the full sheet,

front, dated ‘74’ and numbered 10/100 in pencil on the reverse (there were no

signed with initials on the front, signed, dated ‘74’ and numbered 17/250 in pencil

recorded artist’s proofs), published by Peter Brant, Castelli Graphics and Multiples,

on the reverse (there were also 50 artist’s proofs), published by Peter M. Brandt,

Inc., New York (with the Castelli Graphics and Andy Warhol copyright stamp on the

Castelli Graphics and Multiples, Inc., New York, the hand-coloring attenuated,

reverse), both with areas of soft rubbing outside of the image (mainly visible in

soiling in the lower sheet, the palest time staining, two areas of minor skinning

raking light), otherwise both in very good condition, both framed.

at the reverse of the lower corners, otherwise in good condition, framed.

both S. 40 3/4 x 27 in. (103.5 x 68.6 cm)

S. 41 1/4 x 27 5/8 in. (104.8 x 70.2 cm)

Estimate $2,500-3,500 

Estimate $1,500-2,500 

LITERATURE Frayda Feldman and Jörg Schellmann 100 and 104

LITERATURE Freyda Feldman and Jörg Schellmann 117


INDEX

337

Abakanowicz, M.

162, 173

Acconci, V.

161

Ackerman, F. Albers, A.

32

Albers, J.

29, 30, 31 450

Alexander, P.

Andre C. 189, 338

429

Arakawa, S.

Arman 252, 305 Arp, J.

12 189

Artschwager, R.

237, 238, 239, 240

Bacon, F.

433, 434

Baechler, D. 28

Baer, J.

95, 310, 311, 424

Baldessari, J. 391

Balthus

267

Barth, U.

156, 157

Basquiat, J.-M.

305

Bauermeister, M. 131

Bayer, H.

197, 199

Becher, B. & H.

231

Beckmann, M. Bell, L.

450 334, 450

Bengston, B.A. 180

Blake, N.

128, 130, 342, 343, 344, 345, 346, 347, 360

Bourgeois, L.

104,105

Bravo, C.

327

Brown, G. Buetti, D.

365

Buren, D.

189 132 467

127

Caulfield, P.

260

Celmins, V.

225, 226, 227 93, 94

34, 35

Chamberlain, J. 454

357, 358

Chirico, G. de

198, 211, 212, 213 190

Cooke, N.

369, 435

189, 244 430 216

Cotton, W. Crawford, R.

223

Dunham, C.

87, 88, 89, 90, 431 361

Dzama, M.

459

Eckart, C.

221

Eggleston, W. Ernst, M.

362

Estes, R.

245, 246, 247, 248, 249 396 393, 394, 395 4, 65

Flavin, D. Ford, W.

352, 353

FĂśrg, G.

13, 22, 23 141, 142 332

200 201

143, 144, 145, 146, 147, 148

125 224

42, 43, 44 174 78

Giacometti, A.

48

403, 404 467

Goldberg, M.

Chagall, M. (After)

Conner, B.

Donovan, T.

Gober, R.

416

Close, C.

177

Donnelly, T.

Gianakos, S.

387

Clemente, F.

354, 355

Furnas, B.

422

Chryssa

175

Doig, P.

Frost, T. Sir 5

Cattelan, M.

Christo

Dion, M.

Fuller, B.

Calder, A. (After)

Chillida, E.

96, 335, 336, 367

Dine, J.

Friedman, T.

124, 126

Cassatt, M.

450

Dill, L.J.

Franqui, C.

467

Calle, S.

79 373, 447

Diebenkorn, R.

Frankenthaler, H.

Burkhardt, R.

Calder, A.

49

Desmazières, E.

Frank, M.

Burkhardt, H.

Cage, J.

177

Denes, A.

Francis, S.

195

Brown, I.

350

Deller, J.

Fischl, E.

172

Bosman, R.

Dean, T.

Fink, A.

359

Bock, J.

467

David, M.

331

Applebroog, I.

397, 398

Daumier, H.

74

Antonakos, S.

448

Goldyne, J.

420

Goode, J.

220

Gornik, A.

120, 121, 122

Goya, F. Gris, J.

82 467

Grooms, R.

169

Grossman, N.

329

Guangyi, W.

228, 229, 230

Guston, P.

259

Halley, P.

164

Hamilton, R.

375

Hammond, J. 317

Haring, K.

129

Hayter, S.W.

10, 73

Heilmann, M. Held, A.

8 305

Hinman, C. Hirst, D.

253

Hockney, D. Holzer, J. Hume, G. Hunt, B.

181, 241, 242, 243

166, 167, 168 2, 3 466


268

Indiana, R.

390

Ingres, J.-A.-D., Jacquette, J.

265, 266

Jacquette, Y.

467

JD Forcefield

182

232, 233, 234, 235, 405, 406

Johns, J.

305

Jones, A.

56, 57, 58, 59, 66, 67

Judd, D.

Kapoor, A.

456

Kaprow, A.

425

24, 25, 26, 27

Kelly, E.

11

306, 307, 308, 309

Oldenburg, C.

46

Kobe, M.

133, 134, 135

Kooning, W. de

214

Opie, C.

467

Kooning, E. de

Kruger, B.

170, 171

Lawler, L.

80

206, 351

Pettibon, R.

376, 388, 389

Peyton, E.

97, 98, 99, 100, 101, 102, 113, 115, 116, 117,

Picasso, P.

118, 119, 377

84

Leger, F.

Rainer, A.

457, 458

Levine, L.

188

Ramos, M.

366

Levine, S.

427, 428

Rauschenberg, R.

463

Lethbridge, J.

7, 60, 61, 62, 63, 64, 189, 202

LeWitt, S.

291, 292, 293, 294 159, 160, 399, 400, 402

Longo, R.

303, 304

283, 284, 285, 286, 287, 288, 289, 290,

Lichtenstein, R.

Ruppersburg, A.

106, 107, 108

417

Man Ray

Mangold, R.

52, 53, 54, 55, 55A, 189

Mangold, S.

189 83

Marcoussis, L.

203, 204, 205, 206, 217, 218, 450 1

Ryman, R.

75,76,77

Saint Phalle, N. de

50

Sandback, F.

Marder, M.

412, 413

Saret, A.

Martin, A.

68, 70, 189

Schutz, D.

Matelli, T.

421

Schwartz, B. 251

45

Mehretu, J.

338

Mendieta, A.

363, 364

Micallef, A. Miró, J.

86, 91, 123 149, 150

Mitchell, J. Morley, M. Moses, E.

326

Murakami, T.

85, 333

137, 138, 139, 140 254, 255, 257, 258

467

Segal, G.

109, 110

Serra, R.

443, 444, 445, 451

Shapiro, D.

467

Shapiro, J.

71, 72 372

Sherman, C. Simmons, L.

111, 112, 186

Simpson, L.

193 222

Skreber, D.

450

Motherwell, R.

69 263

Scheibitz, T.

McGinness, R.

256

51

92

262

Slaughter, T.

210, 339, 340, 341, 348, 349, 371

Smith, K.

464

Soulages, P. 9

Spence, A. Steinberg, S. Steir, P.

305, 374

151

Stella, F.

36, 37, 38, 39, 40, 41, 452

Stout, M.

189

Sugimoto, H. Sultan, D.

250 196 269, 270, 271, 272, 273, 274, 275, 276, 277,

318, 319

Wegman, W. Weiner, L.

425

Wesley, J.

264

178, 415

460, 461, 462

189, 320, 321, 322, 323, 324, 325

Wesselmann, T. 465 423

Wilson, M.

455

Winters, T.

191

Wool, C.

328

Youngerman, J. Yuskavage, L.

18 378

187

Zittel, A. Zox, L.

282

370

Wearing, G.

Xiaogang, Z.

401

Marden, B. Marini, M.

185

Ruyter, L.

Salle, D.

453

Vitali, M.

Wiley, W.

432

Roth, D.

Ruscha, E. Magritte, R. (After)

192

295, 296, 297, 298, 299, 300, 301, 302,

Rosenquist, J.

Venet, B.

Warhol, A. (After) 236, 408, 409, 410, 411, 414

Rollins & K.O.S., T.

189

LeVa, B.

177, 189, 305, 425, 450, 467

19, 20, 21

Vasarely, V.

278, 279, 280, 281, 470, 471

219

Richter, G.

194

Levinthal, D.

103

Various Artists

Warhol, A.

467

Leslie, A.

449

33

Walker, K.

209

Puryear, M.

163

Lemieux, A.

177, 184

Prince, R.

81

Leger, F. (After)

152, 153, 154, 155

Valdés, M.

Panamarenko 208

136

Krasner, L.

379

Paladino, M.

418, 419

Kosuth, J.

356

Twombly, C.

Uslé, J.

312, 313, 314, 315, 316

Koons, J.

Tuymans, L.

Uecker, G.

450

Orr, E.

425

Trockel, R.

330

Ofili, C.

6

Knoebel, I.

177, 426 407

Tomaselli, F.

158

Klee, P.

468, 469

Tiravanija, R.

189

Niemeyer, J.

261

Kitaj, R.B.

446

47

Tinguely, J.

114

Newtown, H. Nice, D.

179

Kentridge, W.

392

Timme, J.

165, 176

Nauman, B.

183, 215

Kelley, M.

436, 437, 438, 439, 440, 441, 442

Thiebaud, W.

450

Kauffman, C.

368

Tápies, A. Teller, J.

380, 381, 382, 383, 384, 385, 386

Katz, A.

Takano, A.

14, 15, 16, 17

Zucker, J.

189


WHAT IS A PRINT?

Numbering. While the numbering of individual impressions can be found

An original print is a work of art on paper which has been conceived by the

as early as the late nineteenth century, it did not become standard practice

artist to be realized as a print, rather than as a photographic reproduction

until the mid-1960’s. Today, all limited edition prints should be numbered. The

of a work in another medium. Prints are produced by drawing or carving a

numbering is transcribed as a fraction with the first number signifying the

composition on a hard surface (the MATRIX ) such as a wood block, metal

number of the individual impression and the second representing the total

plate, or stone. This surface is then inked and the image is transferred to paper

number of prints in the edition. The numbering sequence is not intended to

by the application of pressure, thus creating an “IMPRESSION ” or print.

reflect the order of printing; prints are not numbered as they come off the

Unlike paintings or drawings, prints usually exist in multiple impressions, each

press but some time later, after the ink has dried. The edition number does not

of which is pulled from the inked surface. The total number of impressions

include proofs (see PROOFS ), but only the total in the numbered edition

made is called an edition. Artists began to sign and number each impression around the start of the 20th century.

Editions POSTHUMOUS EDITION. Edition printed after the death of the artist. It has usually been authorized by the artist’s heirs or is the product of a publisher

GLOSSARY

who purchased the matrix from the artist. It should be limited in some way

We thank the International Fine Print Dealers Association for use of their official

(though not necessarily hand-numbered) or it becomes simply a limitless

printmaking glossary.

restrike. Posthumous editions of prints that were pencil signed in their original edition frequently bear stamped signatures authorized by the artist’s heirs or

Aquatint. An intaglio process used to produce areas of tone or shadow rather

the publisher.

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

RESTRIKES. Later impressions that have not been authorized by the artist or

is applied which “bites” into the metal between the granules to produce areas

the artist’s heirs. While some restrikes are of good appearance, the excessive

which will catch the ink when it is wiped across the plate. The use of different

printing of the matrix tends to wear it out and many restrikes are only ghostly

resins with grains in varying densities will produce different degrees of

images of what the print is supposed to be. In the case of images that may be

darkness. Portions of the plate can be protected with varnish in order to expose

intrinsically valuable (i.e. Rembrandt etchings), the worn-out copper plate is

the plate to multiple bitings without affecting the entire composition.

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

SPITBITE AQUATINT involves painting strong acid directly onto the aquatint

original work on the plate, even the plate signature often being re-etched by

ground of a prepared plate. Saliva, ethylene glycol or Kodak Photoflo solution

someone else.

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,

SECOND EDITION. A second edition is a later printing, usually authorized by

hence the term “spitbite.”

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

Chine-collé, literally translated “Chinese glue,” is a technique that allows the

the first, because the artist originally printed only four or five impressions,

artist or printmaker to print with thin delicate papers, such as rice paper or

hardly amounting to an edition at all. A photographically produced replica of

linen. Prior to printing, a water-soluble glue or paste is applied to the back of

the original print, whether printed in a limited edition or not, is not a second

the lighter paper which is then placed against a heavier printmaking paper. The

edition; it is a reproduction.

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.

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,

Counterproofs are made by placing a dampened sheet of paper on top of a

copper shavings, called “burr,” are forced to either side of the lines being

pastel and applying pressure to transfer the pastel image.

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

Digital Prints: Artists who use a computer to create or manipulate their works

appearance, and tapers to an end.

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

Wood Engravings are a form of relief printing in which the areas of the

as to whether a digital print is an “original print” is determined by whether the

composition that are not to receive ink are carved away with fine engraving

work was created by the artist to be realized as a print. A digital print of a work

tools. Ink is applied to the raised surface and the composition transferred to

that originated as a painting or drawing is a reproduction and therefore is not

paper with a press or by hand burnishing or rubbing. Incredible precision and

an original print.

detail is possible with this technique.

Drypoint prints are created by scratching a drawing into a metal plate with

Etching has been a favored intaglio technique for artists for centuries because

a needle or sharp tool. This intaglio technique gives the artist the greatest

the method of inscribing the image is so similar to drawing with a pencil

freedom of line, from the most delicate hairline to the heaviest gash. As the

or pen. After a metal plate has been coated with a waxy substance called

artist incises lines into the plate, metal shavings called “burr” are pushed up to

a “ground,” the artist draws through the ground with a stylus to expose the

the surface of the plate and sit along the lines incised. In drypoint, the burr is

metal. The plate is then immersed in an acid bath, which chemically dissolves

not scraped away before printing but stays on the surface of the plate to print a

or “bites” the exposed metal. The ground is removed before the plate is inked

velvety cloud of ink until it is worn away by repeated printings. Drypoint plates

and printed. Etched lines usually have blunt rather than tapering ends.

(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.

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

HORS COMMERCE PROOF. Impressions annotated H.C. are supposedly

composition on the flat surface of a stone with a greasy crayon or liquid.

“not for sale.” These “proofs” started to appear on the market as extensions

The design is chemically fixed on the stone with a weak solution of acid and

of editions printed in the late 1960’s. They may differ from the edition by being

gum arabic. In printing, the stone is flooded with water which is absorbed

printed on a different paper or with a variant inking; they may also not differ at

everywhere except where repelled by the greasy ink. Oil-based printer’s ink is

all. Publishers sometimes use such impressions as exhibition copies, thereby

then rolled on the stone, which is repelled in turn by the water soaked areas

preserving the numbered impressions from rough usage.

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

PRINTER’S PROOF. A complimentary proof given to the printer. There can

nor embossed quality but lying entirely on the surface of the paper. The design

be from one to several of these proofs, depending upon the number of printers

may be divided among several stones, properly registered, to produce through

involved and the generosity of the artist.

multiple printings a lithograph in more than one color. A transfer lithograph (French, autographie) employs the same technique, but the design is drawn

TRIAL PROOF. An impression pulled before the edition in order to see what

on specially prepared transfer paper with a lithographic crayon and is later

the print looks like at that stage of development, after which the artist may go

mechanically transferred to the stone.

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

A ZINCOGRAPH is the same as a lithograph, but uses a zinc plate rather

number and each one usually differs from the others. In French, a trial proof is

than a stone.

called an épreuve d’essai, in German a probedruck.

Matrix. From the Latin word mater, meaning mother, the matrix is the form

Publisher. A publisher provides the financial support to produce and market

or surface on which the image to be printed is prepared, for example, a

an artist’s prints. A publisher brings together artist and printer (assuming

woodblock, a linoleum block, a metal plate, a lithographic stone or a mesh

the artist does not do his own printing). The printer may also himself be a

screen.

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

Mezzotint is another intaglio technique used to create areas of tone or shadow

by publishers.

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

Screenprints (Serigraphy). In this process, a separate screen is required

burnishing areas so that they will hold less or no ink, yielding modulated tones

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

Monoprint/Monotype. As their names imply, monoprints and monotypes (the

sheet of paper beneath it. A squeegee is used to force the paint through the

words are often used interchangeably but shouldn’t be) are prints that have an

exposed areas of the mesh. This technique is often referred to as serigraphy, a

edition of one, though sometimes a second, weaker impression can be taken

term coined to distinguish between commercial and artistic screenprinting.

from the matrix. A MONOPRINT is made by taking an already etched and inked plate and

Signatures. The very earliest prints were not signed at all, although by the

adding to the composition by manipulating additional ink on the surface

late fifteenth century many artists indicated their authorship of a print by

of the plate. This produces an impression different in appearance from a

incorporating a signature or monogram into the matrix design, what is called

conventionally printed impression from the same plate. Since it is virtually

“signed in the plate” or a “plate signature.” While some prints were pencil

impossible to manipulate the additional ink in exactly the same way for each

signed as early as the late eighteenth century, the practice of signing one’s

impression, every monoprint impression will be different.

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

A MONOTYPE is made by drawing a design in printing ink on any smooth

simply as “signed” it should mean that is signed in pencil, ink or crayon; a plate

surface, then covering that matrix with a sheet of paper and passing it through

signature should not be described as “signed.” A stamped signature should be

a press. The resulting image will be an exact reverse of the original drawing,

described as such.

but relatively flatter because of the pressure of the press.

Woodcut is a relief technique using a side-grained plank of wood in which Pochoir is a direct method of adding hand-coloring to an impression through

the non-printing areas of the composition are cut away below the surface

a stencil. The stencil itself is usually knife-cut from thin coated paper,

with a knife or gouge. While woodcuts were first seen in ninth-century China,

paperboard, plastic, or metal and the ink or paint is applied with a brush

Western artists have made woodcut prints since the fourteenth century. In the

through the stencil

seventeenth and eighteenth centuries, Japanese artists using these techniques

to the paper beneath.

reached an exceptional level of artistic achievement, what is known as the ukiyo-e period or style.

Proofs

COLOR WOODCUTS involve the use of separate blocks for each color, often

ARTIST’S PROOFS. This practice dates back to the era when an artist

with enormous complexity using multiple blocks and overlapping.

commissioned to execute a print was provided with lodging, living expenses, and a printing studio with workmen, supplies and paper. The artist was given

WHITE LINE WOODCUTS were the product of a technique developed by

a portion of the edition (to sell) as payment for his work. Today, though artists

artists in the Provincetown art colony around 1915. By cutting a groove between

get paid for their editions, the tradition has persisted and a certain number of

each color in the composition, the artists were able to produce a color woodcut

impressions are put aside for the artist. Artist’s proofs are annotated as such

from a single block. The desired colors are painted on the raised areas while

or as A.P., or Épreuve d’Artiste or E.A.

the groove, which is devoid of ink, prints as a blank or “white” line delimiting each area of color.

BON À TIRER PROOF. Literally, the “ok-to-print proof.” If the artist is not printing his own edition, the bon à tirer (sometimes abbreviated as b.a.t.) is the final trial proof, the one that the artist has approved, telling the printer that this is the way they want the edition to look. There is only one of these proofs for an edition.


ifpda printfair09

Nancy Graves, Stuck, The Flies Buzzed, 1990, etching, drypoint, screenprint and aquatint with embossed collage. Courtesy The Nancy Graves Foundation.

November 5-8 New York City

The International Art Fair for Fine Prints 84 Leading Art Dealers Old Master to Contemporary

The Park Avenue Armory Park Avenue at 67th Street Opening Night Preview Wednesday, November 4 Tickets and Information www.printfair.com Hotel & Travel www.turontravel.com

2009 Exhibitors Alice Adam Ltd. | Advanced Graphics London | Allinson Gallery, Inc. | E. H. Ariëns Kappers Master Prints | Arion Press Ars Libri Ltd. | The Art of Japan | James A. Bergquist | Joel R. Bergquist Fine Art | C. G. Boerner | Robert Brown Gallery Catherine E. Burns | Galerie André Candillier | Eric G. Carlson Fine Prints and Drawings | Childs Gallery | Alan Cristea Gallery Crown Point Press | Davidson Galleries | Dolan/Maxwell | Durham Press, Inc. | Egenolf Gallery Japanese Prints and Drawings G. W. Einstein Company, Inc. | The Fine Art Society | Fitch-Febvrel Gallery | Thomas French Fine Art | Galerie St. Etienne Pia Gallo | Gemini G.E.L. at Joni Moisant Weyl | Israel Goldman | C. & J. Goodfriend Drawings and Prints | Goya Contemporary/Goya-Girl Press Graphicstudio USF | Galerie Grillon | Hill-Stone, Inc. | Hirschl & Adler Galleries, Inc. | Jan Johnson Old Master & Modern Prints, Inc. R. S. Johnson Fine Art | Barbara Krakow Gallery | August Laube | Daniela Laube Fine Art | R. E. Lewis & Daughter Jörg Maass Kunsthandel | Ian Mackenzie Fine Art Ltd. | Marlborough Gallery, Inc | A & D Martinez | Paul McCarron Fine Prints and Drawings Mixografia® | Carolina Nitsch Contemporary Art | The Old Print Shop, Inc. | Osborne Samuel Ltd | Pace Prints Paramour Fine Arts | Paulson Press | Platt Fine Art | Edward T. Pollack Fine Arts | Pratt Contemporary Art / Pratt Editions Paul Prouté S.A. | The Redfern Gallery | Riverhouse van Straaten | Helmut H. Rumbler, Kunsthandel | Mary Ryan Gallery, Inc. Senior & Shopmaker Gallery | Shark’s Ink. | Susan Sheehan Gallery | Keith Sheridan Inc. | Sims Reed Ltd. | Sragow Gallery Stewart & Stewart | Paul Stolper | John Szoke Editions | Tandem Press | Susan Teller Gallery | Theobald Jennings, Ltd. The Tolman Collection | David Tunick, Inc. | Two Palms | Universal Limited Art Editions, Inc. | Ursus Books & Prints Verne Collection, Inc. | Diane Villani Editions | William Weston Gallery Ltd. | Weyhe Gallery | Works on Paper, Inc. | Worthington Gallery

Presented by the International Fine Print Dealers Association www.ifpda.org | 212.674.6095

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TO BENEFIT THE ANNUAL EXHIBITION FUND AT

P.S.1 CONTEMPORARY ART CENTER

Gallery 360˚, Tokyo | Galerie A, Amsterdam | Adamson Gallery / Editions, Washington, DC | Brooke Alexander, NYC | Anartist, NYC artKitchen, Amsterdam | artonpaper, NYC | Azito, Tokyo | Baron/Boisanté Editions, NYC | Robert Blackburn Printmaking Workshop, NYC Blindspot Magazine, NYC | Brand X Projects, NYC | Brodsky Center for Innovative Editions, New Brunswick | Burnet Editions, NYC | Bywater Bros. Editions, Toronto | Cirrus Gallery & Editions, LA | Clay Street Press, Cincinnati | Galerie Alex Daniels-Reflex Editions, Amsterdam Johan Deumens Gallery, Haarlem | Dieu Donné, NYC | Esopus, NYC | Exit Art, NYC | Editions Fawbush, NYC | Flatbed Press, Austin Peter Foolen Editions, Eindhoven | Forth Estate, Brooklyn | Granary Books, NYC | Susan Happersett, Jersey City | Harlan & Weaver, NYC Highpoint Editions, Minneapolis | Glenn Horowitz Bookseller, East Hampton | I.C. Editions, NYC | Jungle Press Editions, Brooklyn | Mike Karstens, Munster | David Krut, NYC/Johannesburg | Lincoln Center/List Art Program, NYC | Lower East Side Printshop, NYC | Jean-Yves Noblet Contemporary Prints, Brooklyn | One Eye Pug /Sue Scott Gallery, NYC | Petersburg Press, London/NYC | Pointe d’Ironie, Paris /NYC | The Present Group, Oakland | Purgatory Pie Press, NYC | Sims Reed, London | Solo Impression, NYC | Specific Object, NYC | Michael Steinberg Fine Art, NYC | Cade Tompkins Editions · Projects, Providence | 20th Century Art Archives, UK | VendorBar, NYC | World House Editions, Middlebury

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GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you. CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller. BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. 1 PRIOR TO AUCTION Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010. Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates In Pounds Sterling And Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition Of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical And Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician. Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful.

∆ Property In Which Phillips De Pury & Company Has An Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

No Reserve Unless indicated by a , all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips de Pury & Company and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

2 BIDDING IN THE SALE Bidding At Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. BIDDING IN PERSON To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding By Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion. 3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.


4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.


CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. 1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. 2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least $1000. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 CONDUCT OF THE AUCTION each lot is offered subject to a (a) Unless otherwise indicated by the symbol reserve, which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, reoffer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular weekday business hours. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.


(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within five days of the date of the auction. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of

such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. 10 RESCISSION BY PHILLIPS de PURY & COMPANY Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale. 11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES AND PERMITS Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. 12 CLIENT INFORMATION In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as “sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number. 13 LIMITATION OF LIABILITY (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 COPYRIGHT The copyright in all images, illustrations and written materials produced by or for


Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 GENERAL (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 16 LAW AND JURISDICTION (a) ThThe rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.

AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that

none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.


PHILLIPS de PURY & COMPANY

Chairman

Senior Partners

Advisory Board

Simon de Pury

Michael McGinnis

Maria Bell

Dr. Michaela Neumeister

Janna Bullock

Chief Executive Officer

Lisa Eisner

Bernd Runge

Partners

Lapo Elkann

Aileen Agopian

Ben Elliot

Sean Cleary

Lady Elena Foster

Alexander Payne

H.I.H. Francesca von Habsburg

Rodman Primack

Marc Jacobs

Olivier Vrankenne

Malcolm McLaren

Tiffany Wood

Ernest Mourmans Aby Rosen Christiane zu Salm Princess Gloria vonThurn undTaxis Jean Michel Wilmotte Anita Zabludowicz

WORLDWIDE OFFICES NEW YORK

PARIS

BERLIN

450 West 15 Street NewYork NY 10011 USA

C/O Pro First 15 Rue de la Paix 75002 Paris France

Auguststrasse 19 10117 Berlin Germany

+1 212 940 1200 +1 212 924 5403 fax

+33 1 42 78 67 77 +33 1 42 78 23 07 fax

+49 30 880 018 42 +49 30 880 018 43 fax

LONDON

MUNICH

GENEVA

Howick Place London SW1P 1BB United Kingdom

Maximiliansplatz 12a 80333 Munich Germany

23, quai des Bergues 1201 Geneva Switzerland

+44 20 7318 4010 +44 20 7318 4011 fax

+49 89 238 88 48 0 +49 89 238 88 48 15 fax

+41 22 906 80 00 +41 22 906 80 01 fax


SPECIALIST AND SERVICE DEPARTMENTS

CONTEMPORARY ART

NEW YORK

Michael McGinnis, Worldwide Director +1 212 940 1254

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Aileen Agopian, New York Director

+1 212 940 1255

Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Jean-Michel Placent

+1 212 940 1263

Jannah Greenblatt

+1 212 940 1332

Timothy Malyk

+1 212 940 1258

Joy Deibert

+1 212 940 1333

Chin-Chin Yap

+1 212 940 1250

Sarah Mudge, Head of Part II, New York

Roxana Bruno

Sara Davidson

Maria Bueno

Peter Flores

+1 212 940 1259 +1 212 940 1229 +1 212 940 1262 +1 212 940 1261 +1 212 940 1223 +1 212 940 1288 +1 212 940 1303

(Uli) Zhiheng Huang Eugenia Ballvé

LONDON

+44 20 7318 4067 4063 +44 20 7318

Anthony McNerney, Head of Evening Sale, London

Peter Sumner, Head of Day Sale, London

Laetitia Catoir

4064 +44 20 7318

Silke Taprogge

+44 20 7318 4012

Ivgenia Naiman

Fiona Biberstein

Siobhan O’Connor

Catherine Higgs

+44 20 7318 4071 +44 20 7318 4013 +44 20 7318 4093 4089 +44 20 7318 +44 20 7318 4078 +44 20 7318 4065 +44 20 7318 4085 +44 20 7318 4070

Raphael Lepine

Tanya Tikhnenko

Sarah Buchwald

Phillippa Willison

DESIGN

NEW YORK

+41 22 906 80 00

Veronica Lota

+41 22 906 80 05

LONDON Lane McLean

+44 20 7318 4032

THEME SALES Tiffany Wood, Worldwide Director NEW Corey Barr, New York Manager Anne Huntington Stephanie Max Steve Agin, Consultant

+49 30 880 018 42 YORK +1 212 940 1234 +1 212 940 1210 +1 212 940 1301 +1 908 475 1796

LONDON +44 20 7318 4054

George O’Dell

+44 20 7318 4040

+1 212 940 1265 +1 212 940 1266

Stephanie Abraitis

+1 212 940 1268

LONDON

Alexander Payne, Worldwide Director

Ben Williams

+44 20 7318 4052 +44 20 7318 4027

Domenico Raimondo

+44 20 7318 4016

Ellen Stelter

+44 20 7318 4021

Marcus McDonald

+44 20 7318 4014

Carolin Bulgari

Tara DeWitt

+1 212 940 1290

GENEVA

+44 20 7318 4095

Meaghan Roddy

+1 212 940 1302

Heather Zises

Arianna Jacobs

+1 212 940 1283

Carmela Manoli

Alex Heminway, New York Director

Nazgol Jahan, Worldwide Director

Tobias Sirtl, London Manager

Marcus Tremonto

JEWELRY NEW YORK

+1 212 940 1268 +1 212 940 1269

MODERN AND CONTEMPORARY EDITIONS NEW YORK

CHAIRMAN LONDON Rodman Primack +44 20 7318 4017 MANAGING DIRECTORS Finn Dombernowsky, London +44 20 7318 4034 Charlie Horne, New York +1 212 940 1292 PRIVATE SALES Christina Scheublein +1 212 940 1248

PARIS Johanna Frydman

+33 1 42 78 67 77

PHOTOGRAPHS

INTERNATIONAL SPECIALISTS AND REPRESENTATIVES

NEW YORK

Vanessa Kramer, New York Director

+ 1 212 940 1243

Shlomi Rabi

+ 1 212 940 1246

Caroline Shea

+ 1 212 940 1247

Paris Leonie Moschner +33 6 85 53 92 03

Sarah Krueger

+ 1 212 940 1245

London Ivgenia Naiman +44 20 7318 4071

Charlie Scheips, International Consulting Director

+ 1 212 940 1245

Carol Ehlers, Consultant

+ 1 212 940 1245

LONDON

Berlin & Munich Dr. Michaela Neumeister +49 89 238 88 48 10 Brussels & Paris Olivier Vrankenne +32 486 43 43 44

Brooke de Ocampo +44 777 551 7060 Los Angeles Mimi Won Techentin +1 310 600 9192 Maya McLaughlin +1 323 791 1771 Milan Laura Garbarino +39 339 478 9671

Lou Proud

4018 +44 20 7318

Sebastien Montabonel

4025 +44 20 7318

Eugenia Bertelè +39 02 3669 5895

Alexandra Bibby

4087 +44 20 7318

Moscow Svetlana Marich +7 495 225 88 22

Helen Hayman

4092 +44 20 7318

Shanghai/Beijing Jeremy Wingfield +86 135 0118 2804


SALE INFORMATION

AUCTION Sunday November 15 2009 at 12pm VIEWING Saturday 7 November 10am – 6pm Sunday 8 November 12pm – 6pm Monday 9 November 10am – 6pm Tuesday 10 November 10am – 6pm Wednesday 11 November 10am – 6pm Thursday 12 November 10am – 6pm Friday 13 November 10am – 6pm Saturday 14 November 10am – 6pm AUCTION LOCATION 450 West 15 Street New York NY 10011 SALE DESIGNATION In sending written bids or making inquiries please refer to this sale as NY030209 WORLDWIDE DIRECTORS Kelly Troester +1 212 940 1221 Cary Leibowitz +1 212 940 1222

SHIPPING Steve Orridge +1 212 940 1370 Beth Petriello +1 212 940 1373 Robert Rogan +1 212 940 1374 PRINCIPAL AUCTIONEER Simon de Pury 0874341 AUCTIONEERS Aileen Agopian 1199037 Sarah Mudge 1301805 Alexander Gilkes 1308958 Ellen Stelter UK Rodman Primack UK PHOTOGRAPHY Marten Smidt Kristensen, Kent Pell, Clint Blowers E-MAIL ADDRESSES All Phillips de Pury & Company e-mails are first initial and last name @phillipsdepury.com (e.g. jdeibert@phillipsdepury.com) www.phillipsdepury.com

CATALOGUER Jannah Greenblatt +1 212 940 1332 ADMINISTRATOR Joy Deibert +1 212 940 1220 +1 212 940 1213 fax

Please note that all lots are offered and sold subject to (i) the StandardTerms and Conditions, and (ii) Special Terms and Conditions applicable to this sale as described within this sale catalogue. The Standard Terms and Conditions and Special Terms and Conditions should be fully read and understood prior to bidding at the auction. All lots are sold “AS-IS.” All lots are offered subject to a reserve unless otherwise indicated.

PROPERTY MANAGER Adam Sipe +1 212 940 1284 CATALOGUES Allyson Melchor +44 20 7318 4039 +1 212 940 1240 Catalogues £30 at the Gallery/$60 catalogues@phillipsdepury.com ABSENTEE AND TELEPHONE BIDS Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax bids@phillipsdepury.com CLIENT ACCOUNTING Sylvia Leitao +1 212 940 1231 Buyers Accounts Nicole Rodriguez +1 212 940 1235 Seller Accounts Barbara Doupal +1 212 940 1232 CLIENT SERVICES +1 212 940 1200

Front Cover Sherrie Levine, Mondrian’s Tableau No II, from Meltdown Portfolio, 1989, Lot 427 Inside Front Cover Cy Twombly, from Six Latin Writers and Poets, 1976, Lot 155 Title Facing Page Gerhard Richter, Ravine, 1997, Lot 219 Inside Back Cover Jean-Auguste-Dominique Ingres, Odalisque, 1825, Lot 390 Back Cover Louise Bourgeois, Crochet V, 1998, Lot 344


Inside Back Cover Jean-Auguste-Dominique Ingres, Odalisque, 1825, Lot 390 Back Cover Louise Bourgeois, Crochet V, 1998, Lot 344


Front Cover Sherrie Levine, Mondrian’s Tableau No II, from Meltdown Portfolio, 1989, Lot 427 Inside Front Cover Cy Twombly, from Six Latin Writers and Poets, 1976, Lot 155


MODERN AND CONTEMPORARY

EDITIONS 15 NOVEMBER 2009 N EW YOR K NY0 3 0 2 0 9

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

MODERN AND CONTEMPORARY

EDITIONS 15

NOVEMBER

2009

NEW YORK


Modern & Contemporary Editions