Art Basel Miami Beach 2021

SUSAN SHEEHAN GALLERY

On the cover: Andy Warhol Marilyn Monroe (Marilyn), 1967 Screenprint from the set of ten

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SUSAN SHEEHAN GALLERY 136 East 16th Street New York, NY 10003 212-489-3331

info@susansheehangallery.com www.susansheehangallery.com

Andy Warhol Marilyn Monroe (Marilyn), 1967 Medium: Screenprints Sheet size: 36 x 36 inches, each Printer: Aetna Silkscreen Products, Inc., New York Publisher: Factory Additions, New York Edition: 250 Catalogue raisonné: F & S II.22-31 Each sheet is signed in pencil and numbered with a rubber stamp, verso The extremely rare, complete portfolio of ten screenprints.

Provenance: David Whitney Gallery, New York to a private American collection

After completing his iconic Campbell’s Soup Cans paintings in 1962, Andy Warhol began exploring the photo-silkscreen printmaking process. In 1967, Warhol established a print publishing company, Factory Additions, expressly for this purpose. For the first of the Factory Additions print portfolios, Warhol chose to return to the subject of some of his most famous paintings to date, those of Marilyn Monroe. Warhol’s early paintings of Marilyn Monroe immediately preceded her death in 1962. Warhol explained that he had “started doing silkscreens” in August of that year, and that “when Marilyn Monroe happened to die that month, I got the idea to make screens of her beautiful face — the first Marilyns.”

Right Warhol’s copy of Marilyn’s Niagara publicity photo with handwritten notes

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were three Marilyn series in various media that Warhol executed in the 1960s: the aintings from 1962, a group of additional five paintings in 1964, and this portfolio oned prints in 1967. The source image for each of these was a publicity photo of n for the film Niagara (1953) which Warhol had cropped. David Whitney, Warhol’s riend who would later become a gallery owner, curator, and collector, oversaw the ction of the Marilyn Monroe (Marilyn) portfolio of 1967, choosing most of the colors bmitting them to Warhol for approval. Though the earlier paintings were colorful, nts were far more saturated and vibrant. Five screens were used for each of the ten along with DayGlo colors. Invented in the 1930s, DayGlo colors reflect over 300 t of its color. The ink’s enhanced brilliance caused art historian Robert Rosenblum ark “[Marilyn] seems perpetually illuminated by the afterimage of a flashbulb.”

ng one of Warhol’s most recognizable images and produced at a turning point career, this complete Marilyn Monroe (Marilyn) is of the utmost rarity. The colors set are particularly bright and fresh. The DayGlo colors used in these images are aded.

et was purchased directly from David Whitney Gallery in New York by the previous

hol holding the Marilyn Monroe (Marilyn) acetate, New York, 1967

Ellsworth Kelly Blue and Yellow and Red-Orange, 1964-65 Medium: Lithograph Sheet size: 35 1/4 x 23 3/4 inches Printer: Imprimerie Maeght, Levallois-Perret, France Publisher: Maeght Éditeur, Paris, France Edition: 75 Catalogue raisonné: Axsom 17 Signed and numbered in pencil, lower margin

Jasper Johns Scent, 1976 Medium: Lithograph, linocut, and woodcut Sheet size: 31 1/4 x 47 inches Printer and publisher: ULAE, West Islip, New York Edition: 42 Catalogue raisonné: ULAE 166 Signed, dated, and numbered in pencil, lower margin

Helen Frankenthaler Book of Clouds, 2007 Medium: Aquatint etching, woodcut, and pochoir with hand-coloring Sheet size: 35 5/8 x 68 1/4 inches, overall Printer and publisher: Pace Prints, New York Edition: 31 Signed and numbered in pencil, lower margin An exceptional impression acquired directly from the printer.

Frank Stella Aluminum Series, 1970 Medium: Lithographs and screenprints Sheet size: 16 x 22 inches, each Printer and publisher: Gemini G.E.L., Los Angeles, California Edition: 75 Catalogue raisonné: Axsom 30-38 Each signed, dated, and numbered in pencil, lower margin The complete set of nine lithographs and screenprints.

Provenance: Albert and Vera List, New York by descent to the previous owner.

In 1960, Frank Stella created paintings using shaped canvases in a series known as the Aluminum Paintings. Stella described his decision to create these notched canvases as one informed by the pattern of the paintings, saying, “I just began to build the stretchers leaving out the part [of the pattern] I didn’t want. And once I started with the Aluminum Paintings, they naturally kept suggesting more and more possibilities for shaped pictures.” Stella continued to experiment with shaped canvases and, in the mid 1960s, added printmaking to his practice.

In 1970, Stella returned to the Aluminum Paintings to produce this series of lithographs and screenprints at Gemini G.E.L., Los Angeles. To replicate the effect of the shaped canvas on a rectangular page, Stella aligned the shapes with the left-hand margin so that a marked irregularity of form is felt. This very rare, complete set of prints alludes to Stella’s inaugural exploration into his signature shaped canvases while revealing the relationship between his printmaking and painting practices. Other complete sets can be found in the collections of The Whitney Museum of American Art , The Albright-Knox Art Gallery, and the Walker Art Center.

Right Stella at Gemini G.E.L., Los Angeles, California, 1970

Jasper Johns False Start I, 1962 Medium: Lithograph Sheet size: 30 x 22 1/8 inches Printer and publisher: ULAE, West Islip, New York Edition: 38 Catalogue raisonné: ULAE 9 Signed, dated, and numbered in pencil, lower margin

David Hockney Sun, 1973 Medium: Lithograph Sheet size: 37 x 30 1/2 inches Printer and publisher: Gemini G.E.L., Los Angeles, California Edition: 98 Catalogue raisonné: MCAT 127 Signed, dated, and numbered in colored pencil, lower margin

David Hockney Wind, 1973 Medium: Lithograph Sheet size: 40 x 30 7/8 inches Printer and publisher: Gemini G.E.L, Los Angeles, California Edition: 98 Catalogue raisonné: MCAT 132 Signed, dated, and numbered in colored pencil, lower margin

Richard Diebenkorn Large Bright Blue, 1980 Medium: Spitbite aquatint and softground etching Sheet size: 40 x 26 inches Printer and publisher: Crown Point Press, Oakland, California Edition: 35 Catalogue raisonné: HFA 32 Signed, dated, and numbered in pencil, lower margin

Andy Warhol Flash – November 22, 1963, 1968 Medium: Screenprints Sheet size: 21 x 21 inches, each Printer: Aetna Silkscreen Products, Inc., New York Publisher: Racolin Press, Inc., Briarcliff Manor, New York Edition: 200 Catalogue raisonné: F & S II.32-42 Each print, housed in a folder with a page of Teletype text, is signed in ball-point pen, verso The colophon is signed and numbered in ballpoint pen

The extremely rare, complete portfolio of eleven screenprints, colophon, Teletype text, and silkscr

reened portfolio cover.

Few subjects interested Andy Warhol as profoundly as fame and death. It comes as no surprise that he was engrossed by the assassination of President John F. Kennedy in 1963. In the wake of his death, Warhol was particularly troubled by the media’s exploitative coverage of the event, stating, “I’d been thrilled having Kennedy as president; he was handsome, young, smart—but it didn’t bother me that much that he was dead. What bothered me was the way the television and radio were programming everybody to feel so sad. It seemed like no matter how hard you tried, you couldn’t get away from the thing.”

Flash-November 22, 1963 is a portfolio of eleven screenprints, each accomp folio sheet of Teletype text that resembles wire service reports of news flashes te President’s assassination. The portfolio presents an account of the assassinati events that followed with imagery and text pulled from actual contemporary new While producing the portfolio in 1968, Warhol himself was the victim of a senseles which altered his health irrevocably. On June 3rd, Valerie Solanas, a radical feminis writing the SCUM Manifesto entered Warhol’s studio, The Factory, and fired at the times. Though the first two bullets missed, pieces of the third entered his vital org

The canvas cover of the portfolio is a rendition of the New York World Telegram’s from November 22, 1963, with the headline “PRESIDENT SHOT DEAD” under s silver flowers. Seven of the eleven silkscreens include a recognizable photograph smiling, each rendered in varying sizes and directions. On the last print in the portrait of the president is printed alongside his 1960 campaign poster.

This very rare, complete set retains the original screenprinted portfolio cover, col eleven screenprints, each housed in a folder with a page of Teletype text. Seen a and documentation of the media circus that followed the assassination, Warh November 22, 1963 continues to resonate today. The work powerfully prefigure in which technology and media impact our experience of tragedies and news ev twenty-first century.

Right Teletype text from Flash - November 22, 1963

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Donald Judd Untitled, 1990 Medium: Woodcuts Sheet size: 23 1/2 x 31 1/2 inches, each Printer: Derrière l’Etoile Studios, New York Publisher: Brooke Alexander Editions, New York Edition: 25 Catalogue raisonné: Schellmann 193-199 Each signed and numbered in pencil, verso The rare, complete portfolio of seven woodcuts.

Barnett Newman Untitled, 1961 Medium: Lithograph Sheet size: 30 1/8 x 22 1/8 inches Printer: Pratt Graphic Art Center, New York Publisher: The artist Edition: 30 Catalogue raisonné: BNF 204 Signed, dated, and numbered in pencil, lower margin

Barnett Newman Untitled, 1961 Medium: Lithograph Sheet Size: 30 1/16 x 22 1/8 inches Printer: Pratt Graphic Art Center, New York Publisher: The artist Edition: 30 Catalogue raisonné: BNF 203 Signed, dated, and numbered in pencil, lower margin

Barnett Newman (1905-1970) is perhaps best known as a painter whose signatu “zips,” vertical bands that cut through the picture plane, influenced many Minimali artists. However, following the death of his brother George in 1960, Newma stopped painting altogether. During this time, artist Cleve Gray introduced Newma to lithography, hoping that working in a new medium would reignite his practic He directed Newman to the Pratt Graphic Art Center, where, in 1961, Newma made three untitled lithographs. These lithographs can be viewed in relation to h monumental painting cycle and personal meditation on mortality, The Stations the Cross: Lema Sabachthani (1958–66). Newman later described himself as bein “captivated” by lithography and by the possibilities offered by different inks an papers. In the final decade of his life, he was a productive printmaker, creatin approximately forty editions in both lithography and etching.

Right Newman, New York, 1957

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David Hockney Still Life with Book, 1973 Medium: Lithograph Sheet size: 32 x 25 inches Printer and publisher: Gemini G.E.L., Los Angeles, California Edition: 88 Catalogue raisonné: MCAT 135 Signed, dated, and numbered in mauve crayon, lower margin

H.C. Westermann See America First, 1968 Medium: Lithographs Sheet size: eleven: 22 x 30 inches; seven: 30 x 22 inches Printer and Publisher: Tamarind Lithography Workshop, Inc., Los Angeles, California Edition: 20 Catalogue raisonné: Tamarind 2425-2444 Each sheet is signed, dated, and numbered in pencil, lower margin The rare, complete set of 17 lithographs, including title page and colophon.

The enigmatic artist H.C. Westermann (1922–1981) is best know as a sculptor and printmaker with an offbeat, whimsical, and often humorous sensibility. Immediately after serving in World War II, Westermann formed a two-man acrobatics act with the United Service Organization (USO) and toured Asia for a year before settling in Illinois and enrolling in the School of the Art Institute of Chicago. He had a sense of patriotism and enthusiastically reenlisted in the US Marine Corps in 1950 and served as an infantryman in the Korean War. This experience proved to be a turning point. The senseless violence he witnessed irrevocably altered his view of America, and his newly developed antagonism towards the military would later resurface in his artworks.

Right Westermann in his studio, c. 1975

Westermann was inspired to produce the monumental print portfolio See America First at Tamarind Lithography Workshop in Hollywood following a cross-country road trip he took in the mid 1960s. The phrase “See America First” was originally coined to promote tourism for the newly created National Park system around the turn of the century but evolved into a campaign to encourage domestic travel by rail, bus, and car. Westermann’s appropriation of the slogan comes from personal experience, both continentally as well as abroad during his deployments. As is apparent in these prints, Westermann saw America as both a place of fantastical scenery and ugly realities.

Complete sets of See America First can be found at The National Gallery of Art (Washington, D.C.), The Amon Carter Museum of American Art , and The Art Institute of Chicago. This extremely rare, complete set was recently deaccessioned by The Museum of Modern Art, New York as it was a duplicate.

Right Westermann on a cross country road trip, 1964.

Roy Lichtenstein Brushstroke, 1965 Medium: Screenprint Sheet size: 23 x 29 inches Printer: Chiron Press, New York Publisher: Leo Castelli Gallery, New York Catalogue raisonné: Corlett II.5 Edition size: 280 Signed and numbered in pencil, lower margin

In 1965, Roy Lichtenstein began to create a series of paintings and prints depict enlarged brushstrokes which he presented at Leo Castelli Gallery. The motif w taken from the comic book story entitled The Painting, printed in Strange Suspen Stories in October 1964.

The series Brushstroke (1965) inaugurated is considered a parody of gestural paint and Abstract Expressionism. Of the series, Lichtenstein once said, “I was v interested in characterizing or caricaturing a brushstroke… it’s taking something t originally was suppose [sic] to mean immediacy and I’m tediously drawing someth that looks like a brushstroke... I want it to look as though it were painstaking,” add that “Brushstrokes in a painting convey a sense of grand gesture, but in my han the brushstroke becomes the depiction of a grand gesture.”

Right Lichtensein in his Long Island studio, New York, 1977

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Roy Lichtenstein Brushstrokes, 1967 Medium: Screenprint Sheet size: 23 x 31 inches Printer: Aetna Silkscreen Products, New York Publisher: Leo Castelli Gallery, for the Pasadena Art Museum, California Edition: 300 Catalogue raisonné: Corlett 45 Signed and numbered in pencil, lower margin

Lichtenstein created the limited edition screenprint Brushstrokes (1967) in conjunction with the Pasadena Art Museum’s 1967 exhibition Compositions: Roy Lichtenstein, his first museum retrospective, which traveled to the Walker Art Center in Minneapolis, Minnesota that same year. The image was also selected for use on posters advertising the exhibition, accompanied by text in the margin surrounding the image that stated the show’s dates and locations.

In 1967, Lichtenstein discussed the brustroke motif, saying “The very nature of a brush stroke is anathema to outlining and filling in as used in cartoons. So I developed a form for it which is what I am trying to do in the explosions, airplanes, and people – a stamp or image. The brush stroke was particularly difficult.”

Right Lichtensein in his Long Island studio, New York, 1986

Jasper Johns Cicada, 1979 Medium: Screenprint Sheet size: 22 x 17 3/4 inches Printer: Simca Print Artists, New York Publisher: Jasper Johns and Simca Print Artists, New York Edition: 100 Catalogue raisonné: ULAE 204 Signed, dated, and numbered in pencil, lower margin This print is part of a multi-artist portfolio entitled Marginalia made to honor the Japanese gallery owner Kusuo Shimizu.

David Hockney Black Tulips, 1980 Medium: Lithograph Sheet size: 44 1/8 x 30 inches Printer and publisher: Tyler Graphics Ltd., Bedford, New York Edition: 100 Catalogue raisonné: MCAT 236 Signed, dated, and numbered in pencil, lower margin

Ellsworth Kelly Magnolia, 1966 Medium: Lithograph Sheet size: 24 1/4 x 34 3/4 inches Printer: Imprimerie Arte, Paris, France Publisher: Maeght Éditeur, Paris, France Edition: 75 Catalogue raisonné: Axsom 56 Signed and numbered in pencil, lower margin

SUSAN SHEEHAN GALLERY 136 East 16th Street New York, NY 10003 Tel: 1-212 489-3331 info@susansheehangallery.com www.susansheehangallery.com