Prints & Multiples | November 5 - 10, 2022

Prints & Multiples NOV EM BE R 5 — 10, 2 022

Prints & Multiples NOVEMBER 5 — 10, 2022

bid and view all lots online at www.waddingtons.ca on view Sunday, November 6 from 12pm to 4pm Monday, November 7 from 10am to 7pm Tuesday, November 8 from 10am to 5pm

preview held at 275 King Street East, 2nd Floor Toronto, ON M5A 1K2

senior consignment specialist Goulven Le Morvan glm@waddingtons.ca 438-528-8489

consignment & marketing specialist Mark Gleberzon mjg@waddingtons.ca 416-489-6105

administrator Mary McMaster mm@waddingtons.ca 416-504-9100

Lot 76

ROY LICHTENSTEIN VIEW FROM THE WINDOW (FROM “LANDSCAPES SERIES”), 1985 [CORLETT, 215; GEMINI G.E.L, 1257]

(DETAIL)

front inside cover

Lot 61

JESSIE OONARK WOMAN, 1970

back inside cover Lot 51

ANDY WARHOL MICK JAGGER (FROM THE “MICK JAGGER” PORTFOLIO), 1975 [F&S, II.140]

back cover

tel: 416-504-9100

Lot 43

toll free: 1-877-504-5700

This catalogue and its contents © 2022 Waddington McLean & Company Ltd.

front cover

ANDY WARHOL KAREN KAIN, 1980 [F.S. II.236]

This auction is subject to the Conditions of Sale printed in the back of this catalogue.

Photography & design by Waddington’s All Rights reserved.

1 REMBRANDT VAN RIJN (1606-1669), DUTCH THE BAPTISM OF THE EUNUCH, 1641 [B. 98, N.H. 186]

etching and drypoint on laid paper, without watermark New Hollstein’s second state (of four) with small margins on all sides. signed and dated “1641” in the plate. sheet 7.3 x 8.8 in — 18.5 x 22.4 cm; Framing 14.5 x 19.5 in — 36.8 x 49.5 cm PROVENANCE:

Goodspeed’s Book Shop, Inc., Boston, MA, USA Private Collection, Calgary, AB $1,500 — 2,500

2 REMBRANDT VAN RIJN (1606-1669), DUTCH JAN CORNELIUS SYLVIUS PREACHER, 1646 [B., HOLL. 280; NEW HOLL. 235; H. 225]

etching, engraving and drypoint in black on paper, second state of two with trimmed margins sheet/sight 10.7 x 7.5 in — 27.3 x 19 cm PROVENANCE:

Private Collection, Vancouver, BC $6,000 — 8,000

3 JAMES A.M. WHISTLER (1834-1903), AMERICAN THAMES WAREHOUSES, 1859 [GLASGOW, 46; KENNEDY, 38]

etching and drypoint in black on cream laid paper; Final of the five states. sheet/sight 7 x 12 in — 17.8 x 30.5 cm PROVENANCE:

Private Collection, Toronto, ON $800 — 1,200

4 ERICH HECKEL (1883-1970), GERMAN STRASSE IN OSTENDE, 1916 [DUBE, R. 131]

drypoint in black on Von Gelder Zonen paper, watermark; signed and dated “16.”

One of the approximately 60 copies printed.

Printed by Paul Cassirer, Berlin.

PROVENANCE:

Private Collection, Montreal, QC $600 — 800

5 PAUL CÉSAR HELLEU (1859-1927), FRENCH FOUR PORTRAITS, CA. 1895

four drypoints in black and in colours on wove paper; All proofs signed.

(1) “Elegante” sight 22.75” x 14” framed 31” x 21.8” (2) “Portrait of a Lady” sight 21.8” x 13.75” framed 30.1” x 21.5” (3) “Lady Looking to Her Right” sight 22.25” x 13.9” framed 32.75” x 23.75” (4) “Lady Gazing to the Viewer” sight 22.25” x 13.9” framed 32.75” x 23.75” PROVENANCE:

“Elegante” and “Portrait of a Lady,” Marianne Friedland Gallery, Toronto, ON; Private Collection, Ontario $2,500 — 3,500

6 DAVID ALFARO SIQUEIROS (1896-1974), MEXICAN NUDE, CA. 1930

lithograph in black on wove paper, full margins; signed and titled (a proof aside from the edition of 50). sheet 26 x 19.9 in — 66 x 50.5 cm PROVENANCE:

Private Collection, Ontario $450 — 550

7 PIERO MANZONI (1933-1963), ITALIAN IRELAND, FROM “8 TAVOLE DI ACCERTAMENTO” (8 WORKS OF VERIFICATION), 1958 [B&P, 1049]

photolithograph in black and red on strong wove paper, the full sheet; signed, dated “58” and numbered 28/60.

Published by Editore Vanni Scheiwiller, Milan.

Printed by Società Fotolitograf. sheet 19.4 x 13.6 in — 49.4 x 34.6 cm PROVENANCE:

Private Collection, Montreal, QC $1,200 — 1,800

8 FERNAND LÉGER (1881-1955) AND PAUL ELUARD (1895-1952), FRENCH LIBERTÉ, J’ÉCRIS TON NOM, 1953

folded screenprint in colours on wove paper; Published by Editions Seghers, Paris. sheet 12.5 x 50 in — 31.8 x 127 cm PROVENANCE:

Private Collection, Quebec $1,200 — 1,800

9 MARC CHAGALL (1887-1985), FRENCH L’ARTISTE PHÉNIX, 1972 [MOURLOT, 648]

lithograph in colours on Arches paper, with full margins; signed and numbered 21/50.

Published by Maeght, Paris. sheet 29.8 x 22.2 in — 75.7 x 56.5 cm PROVENANCE:

Private Collection, Toronto, ON $5,000 — 7,000

10 JOAN MIRO (1893-1983), SPANISH ARLEQUIN CIRCONSCRIT, 1973 [MAEGHT, 887]

lithograph in colours on wove paper, with full margins; signed and justified “HC” (a proof aside from the edition of 75).

Published by Maeght, Paris. sheet/sight 19.7 x 28.1 in — 50 x 71.5 cm PROVENANCE:

Private Collection, Toronto, ON $2,000 — 3,000

11 JOAN MIRÓ (1893-1983), SPANISH BETHSABEE, 1972 [DUPIN, 556]

etching and aquatint in colours on wove paper, with full margins; signed and justified “H.C” (aside from the numbered edition of 50).

Published by Maeght, Paris.

Printed by Morsang, Paris. sheet/sight 22.5 x 17.5 in — 57.2 x 44.5 cm PROVENANCE:

Private Collection, Ontario $2,500 — 3,500

12 ATTRIBUTED TO JOAN MIRÓ (1893-1983), SPANISH THE ENCHANTED CAT, 1975

lithograph in colours, on paper, the full sheet; signed and numbered 50/75. sight 13.9 x 16.9 in — 35.3 x 42.9 cm PROVENANCE:

Private Collection, Toronto, ON $1,000 — 1,200

13 JOAN MIRÓ (1893-1983), SPANISH UNTITLED (FROM THE “FLUX DE L’AIMANT” PORTFOLIO), 1964 [DUPIN, 383]

drypoint and aquatint in colours on Rives BFK paper, the full sheet; signed and numbered 19/75.

Published by Maeght, Paris. sheet/sight 22.8 x 18.3 in — 58 x 46.4 cm PROVENANCE:

Private Collection, Toronto, ON $1,200 — 1,800

14 ALBERTO GIACOMETTI (1901-1966), SWISS NU AUX FLEURS, 1960 [LUST, 32]

lithograph in black, on Rives BFK paper, with full margins; signed and numbered 71/90.

Published by Maeght, Paris. sheet/sight 17.7 x 13.7 in — 45 x 34.7 cm PROVENANCE:

Private Collection, Toronto, ON $5,500 — 6,500

15 PABLO PICASSO (1881-1973), SPANISH HIBOU, VERRE ET FLEUR (GALERIE 65 CANNES), 1956 [B.1272, M. 282, C. 21]

lithograph in colours on Arches paper; signed and numbered 89/100.

Published by Galerie 65, Cannes.

Printed by Mourlot, Paris. sheet sight 27.2 x 18.9 in — 69 x 48 cm PROVENANCE:

Private Collection, Vancouver, BC $1,500 — 2,000

16 SALVADOR DALI (1904-1989), SPANISH ANGE DE LA MELANCOLIE (PLATE 4 FROM “AURELIA”), 1972 [M&L, 564, F, 72-5D]

Drypoint and aquatint in colours on Japanese paper, with full margins. signed and justified “E.A.” Published by Franconyd, Nice, France. sheet/sight 22.8 x 30.9 in — 58 x 78.5 cm PROVENANCE:

Private Collection, Vancouver, BC $600 — 800

17 SALVADOR DALÍ (1904–1989), SPANISH COUPLE NUS (FROM “NUDES” PORTFOLIO), 1970 [F, 70-8 E]

lithograph in sepia on Rives BFK watermarked paper, full margins; signed and numbered 115/120 (there were also 360 proofs printed).

Printed by Atelier Desjobert, Paris. sheet 22.4 x 30 in — 56.8 x 76.2 cm PROVENANCE:

The Estate of Martin Breslin, Ontario $700 — 900

19 SALVADOR DALI (1904-1989), SPANISH PORTRAIT OF AUTUMN, 1980 [F, 80-9]

lithograph in colours on Arches paper; signed and numbered “I 100/350.” sight 27 x 20.6 in — 68.6 x 52.2 cm PROVENANCE:

Private Collection, Toronto, ON $500 — 700

20 VICTOR VASARELY (1906–1997), HUNGARIAN/FRENCH UNTITLED (COMPOSITION IN BLUE), CA. 1970

screenprint in colours on wove paper; signed and numbered 57/300. image 13.9 x 11.3 in — 35.4 x 28.8 cm PROVENANCE:

Private Collection, Ontario $400 — 500

21 VICTOR VASARELY (1906–1997), HUNGARIAN/FRENCH BYSS, 1979

screenprint in colours on wove paper, the full sheet; signed and inscribed “EA” (from the edition of 150 with 25 artist’s proofs).

Published by Silium/Zussau, Paris.

21.5 x 21.5 in — 54.6 x 54.6 cm PROVENANCE:

Private Collection, Toronto, ON $500 — 700

22 ARTHUR-LUIZ PIZA (1928-2017), BRAZILIAN ÉCLOSION, 1958

etching in colours on Rives paper, full margins; signed and numbered 14/50.

24.4 x 19.7 in — 62 x 50 cm PROVENANCE:

Private Collection, Quebec $400 — 500

23 LE CORBUSIER (1887-1965), FRENCH L’ALLEGRESSE (PLATE 4 FROM “CINQ FEMMES,” 1953

etching in black on wove paper; Monogrammed “L.C” and numbered 11/75. sight 16.3 x 11.6 in — 41.5 x 29.4 cm PROVENANCE:

Private Collection, Toronto, ON $800 — 1,200

24 HENRY MOORE (1898-1986), BRITISH MULTICOLOURED RECLINING FIGURE, 1967 [CRAMER, 99]

lithograph in colours on BFK Rives watermarked paper, the full sheet; signed and numbered 29/50 (there were also five artist’s proofs).

Published by Galerie Beyeler, Basel. sheet 22.6 x 15 in — 57.5 x 38 cm PROVENANCE:

Private Collection, Montreal, QC $600 — 800

25 HENRY MOORE (1898-1986), BRITISH FOUR STANDING WOMEN 1974-75 [CRAMER, 336]

lithograph in colours on BFK Rives watermarked paper, full margins; signed and numbered 26/75. image 18.1 x 22.4 in — 46 x 57 cm; sheet 17.7 x 21.9 in — 45 x 55.5 cm PROVENANCE:

Henry Moore Sculpture Centre, Art Gallery of Ontario, Toronto, ON; From whom purchased by W.R. Straker, Don Mills, ON; Private Collection, Aspotogan, NS $700 — 900

26 JEAN (HANS) ARP (1886-1966), FRENCH GRIS-NOIR, 1966

lithograph in colours on wove paper; signed and numbered 56/100.

Published by L’Oeuvre Gravée, Zurich, stamped. sheet 29.9 x 22.1 in — 75.9 x 56.1 cm PROVENANCE:

Private Collection, Ontario $600 — 800

27 WILL BARNET (1911-2012), AMERICAN IDYLLIC SUMMER, 1976 [S. 161]

screenprint and lithograph in colours on wove paper; signed, titled and numbered 175/300.

Published/printed by Circle Fine Art, New York/Fine Creations, Inc., New York.

30 x 38 in — 76.2 x 96.5 cm PROVENANCE:

Collection of Jerry Greben and his gallery Graphis Gallery, Toronto, ON; The Estate of Jerry Greben, Toronto, ON $500 — 700

28 SONIA DELAUNAY-TERK (1885-1979), RUSSIAN/FRENCH RHYTHMES COLORÉS, CA. 1975

etching and aquatint in colors on Arches paper, watermark, with full margins; signed and numbered 90/125. sight 26 x 19.9 in — 66 x 50.5 cm PROVENANCE:

Private Collection, Austria $1,200 — 1,800

29 ELIZABETH FRINK (1930-1993), BRITISH HORSE AND RIDER III (FROM THE “HORSE AND RIDER” SUITE), 1970 [WISEMAN, 45]

lithograph in colours on T.H. Saunders paper; signed and numbered 5/70.

Published by Leslie Waddington, London, UK. Prints Ltd., London, UK. sheet 22.9 x 30.5 in — 58.2 x 77.5 cm PROVENANCE:

Private Collection, Ontario $600 — 800

30 OLLE BAERTLING (1911-1981), SWEDISH REH (PLATE FROM “THE ANGLE OF OPEN FORM OF BAERTLING”), 1965-1968

silkscreen in colours on paper, full margins; signed, dated “1965-68” and numbered 244/300.

Published by Rose Fried Gallery, New York. image 13.9 x 7.6 in — 35.2 x 19.4 cm; sheet 13.8 x 7.5 in — 35.1 x 19 cm PROVENANCE:

Private Collection, Toronto, ON $1,000 — 1,500

31 PIERRE ALECHINKSY (B. 1927), BELGIAN OBJETS VOLANTS, 1977

lithograph in colours on Arches paper, with full margins; signed and numbered 29/100.

Printed by Atelier Clot, Paris.

Published by London Arts, Inc., stamped. sheet 25.2 x 18.9 in — 64 x 48 cm PROVENANCE:

Private Collection, Quebec $1,000 — 1,500

32 PIERRE ALECHINKSY (B. 1927), BELGIAN OBJETS VOLANTS, 1977

lithograph in colours on Arches paper, with full margins; signed and numbered 38/100.

Printed by Atelier Clot, Paris.

Published by London Arts, Inc., stamped.

25.6 x 18.9 in — 65 x 48 cm PROVENANCE:

Private Collection, Quebec $1,000 — 1,500

33 ANTONI CLAVÉ (1913-2005), SPANISH UNTITLED, CA. 1975

etching with carborundum in colours on wove paper, the full sheet; signed and numbered 60/75. sheet 18.9 x 14.6 in — 48 x 37 cm PROVENANCE:

Private Collection, Quebec $250 — 350

34 FRIEDENSREICH HUNDERTWASSER (1928-2000), AUSTRIAN/NEW ZEALANDER GOOD MORNING CITY, BLEEDING TOWN, 1969-1970 [KOSCHATZKY, 41]

screenprint in colours with metallic highlights on Fabriano paper; signed in black ink and numbered 4476/10,000.

Published and printed by Ars Viva, Zurich/Studio Quattro, Campalto-Venice, Italy, blindstamp. sheet 33.2 x 21.8 in — 84.3 x 55.4 cm PROVENANCE:

Private Collection, Ontario $600 — 800

35 WIFREDO LAM (1902-1982), CUBAN CONTRE UNE MAISON SÈCHE, 1974

etching and aquatint in colours on BFK Rives paper, with full margins; signed and numbered 45/60.

Published by Jean Hughes, Paris. sheet 15 x 21.9 in — 38 x 55.5 cm PROVENANCE:

Private Collection, Quebec $400 — 600

36 SHŌICHI HASEGAWA (B. 1929), JAPANESE BRUMES MATINALES, 1980

etching in colours on Moulin du Gué paper, watermarked; signed and numbered 36/75.

Published by Galerie Jacqueline de Champvallins, Paris.

Printed by Atelier La Plage, Paris. sheet 22 x 29.7 in — 56 x 75.5 cm PROVENANCE:

Private Collection, Quebec $300 — 400

37 BRAM VAN VELDE (1895-1981), DUTCH UNTITLED, CA. 1970

lithograph in colours on wove paper; signed and numbered 80/90.

7.5 x 6.3 in — 19 x 16 cm PROVENANCE:

Private Collection, Montreal, QC $300 — 400

38 BERND BECHER (1931-2007) AND HILLA BECHER (1934-2015), GERMAN HOCHOFEN (FROM “MAPPE KÖLNER KUNSTMART”), 1971

collotype on strong wove paper; signed and numbered 251/300. sight 17 x 12.2 in — 43.2 x 31 cm PROVENANCE:

Private Collection, Montreal, QC $600 — 800

39 PATRICK HUGHES (B. 1939), BRITISH DARKNESS FALLS, 1976

screenprint in black on wove paper, watermark, the full sheet; signed, titled, dated “76” and numbered 53/100. sheet 30.2 x 22 in — 76.7 x 55.9 cm PROVENANCE:

Private Collection, Ontario $500 — 700

40 PATRICK HUGHES (B. 1939), BRITISH MIDNIGHT BLUE, 1974

screenprint in colours on wove paper, the full sheet; signed, titled, dated “74” and numbered 47/75.

36.5 x 27 in — 92.7 x 68.6 cm PROVENANCE:

Private Collection, ON $500 — 700

41 TERRY FROST (1915-2003), BRITISH YELLOW RED & BLACK FOR “LORCA,” 1987 [KEMP, 94]

screenprint in colours on T.H. Saunders paper, the full sheet; signed, dated “87” and numbered 32/75.

Published by the Royal College of Art, London. sheet 30.5 x 22.7 in — 77.5 x 57.7 cm PROVENANCE:

Private Collection, Ontario $300 — 400

42 LARRY RIVERS (1923-2002), AMERICAN LIVING MOVIE, FROM THE “SOME (VISUAL) AFTER THOUGHTS ON THE BOSTON MASSACRE” PORTFOLIO, 1970

silkscreen in colours with collage of lithographs on paper, full margins; signed and numbered 140/150.

Published by Marlborough Graphics, Inc., New York.

Printed by Kelpra Studio with ink stamp verso.

19.3 x 27.8 in — 49 x 70.6 cm PROVENANCE:

Private Collection, Toronto, ON $300 — 400

43 ANDY WARHOL (1928-1987), AMERICAN KAREN KAIN, 1980 [F.S. II.236]

screenprint in colours with diamond dust on Lenox Museum Board, the full sheet; signed by Andy Warhol and Karen Kain in pencil.

Numbered 87/200 (there were also 30 artist’s proofs).

Printed by Rupert Jasen Smith, New York.

Published by William Hechter, Toronto, ON, with the artist’s ink stamp on the reverse. sheet 40 x 32 in — 101.6 x 81.3 cm PROVENANCE:

Gallery Buschlen-Mowatt Fine Arts, Toronto, ON; Private Collection, Vancouver, BC, acquired from the above in the 1980s $30,000 — $40,000

Andy Warhol is often quoted as saying that “I’ve never met a person I couldn’t call a beauty,” however he was especially captivated by Karen Kain. Though Warhol was happy to take commissions from anyone willing to spend $25,000 USD, it seems as if he had a particular vision for his portrait of Canada’s ballet sweetheart.

AN ANGEL AT THE IRANIAN EMBASSY Early in her career, Kain was partnered with the legendary ballet dancer Rudolph Nureyev. One night, after dancing together in Swan Lake in New York City, Nureyev invited Kain to attend a party at the Iranian Embassy. Kain recalls that the night was hot, and she hadn’t found time to shower off the pale body makeup that she wore on stage – she simply tossed on a white linen dress before hopping into a cab to 5th Avenue. The party was attended by all manner of celebrities, and Kain has memories of wandering around the rooms, largely unnoticed – except by Warhol. Of their first meeting, Kain told Toronto Life, “Andy Warhol walked up to me and said, ‘You look like an angel.’ It was really weird.”

ART HISTORY IN 45 MINUTES OR LESS The two artists’ paths would cross again in 1980, when Toronto lawyer William Hechter commissioned Warhol to make an edition of screenprints and a series of

portraits of the ballerina. Kain flew from Toronto to New York City on a Sunday morning, and headed to Warhol’s famous Factory, located at 860 Broadway. There she was met by a makeup artist who painted her face entirely in white before drawing on a very red set of lips – Kain believes that Warhol was looking to make her face a “unified surface” to better achieve the superflat look he preferred in his screen printed portraits.

Of the sitting itself, Kain recalls that the entire session lasted less than 45 minutes. She explained that “he was mumbling, mumbling all the time, I couldn’t understand what he was saying. And he was taking many, many, many pictures all around me, mumbling, and then he was gone and it was over.” Warhol used his preferred camera for the session, his Polaroid Big Shot – which he referred to as “his pen and pencil.” The Big Shot had an integrated light source, which meant that Warhol’s portraits all functionally had the same lighting setup, unified from sitter to sitter, session to session.

Though many accounts of Warhol’s process mention the incredible bustle of The Factory, Kain’s sitting was just her and the artist – even the makeup artist had left. Warhol’s ease with the process was evident, which Kain found comforting.

She compares her sitting to working with a choreographer: despite her shyness, her experience as a dancer had made her very used to being told how to pose. Kain notes that Warhol didn’t tell her what she should be feeling in the portrait, rather, “he just let me be blank. I think he liked that.”

Warhol had a very clear vision for the photoshoot, and directed Kain how to hold her hands. He photographed some shots with her hands in the frame, and some without – there were no other poses taken. Kain notes: “it was very curt. Quiet.

[He had a] very quiet voice, but he knew exactly what he wanted me to do. I don’t know why he wanted my hands like that, but he did. I wouldn’t have done that.”

Kain’s portrait stands out from Warhol’s oeuvre precisely because of her hands, which are typically absent from his portraits, particularly those of female sitters whom he depicted from the shoulders up, in the style of a classical bust. Interestingly, Warhol included Muhammed Ali’s fists in his portrait,

perhaps seeing Kain and Ali’s hands as essential tools of the athletes’ trade. In Kain’s opinion, “[Warhol] obviously saw something in my hands that spoke to him, because right away he told me what he wanted to do with my hands. I think he observed […] me as Rudolph’s partner, and what stood out to him was how I used my hands.”

Kain never crossed paths with Warhol after her fleeting visit to The Factory.

Warhol enjoyed the experience of photographing Kain, telling the Timmins Press Review that “she was so beautiful, a great dancer. She stands out, the way she moves. And she was so easy to do.”

BEYOND THE FACTORY Warhol’s screenprints of Kain were unveiled in Toronto on June 19, 1980, at an event at the Sutton Place hotel. The proceeds from the first 50 prints from the edition of 200 went to benefit The National Ballet of Canada. Kain recalls that by the time the unveiling happened, she had largely forgotten about her trip to the Factory, so immersed was she in her ballet career. She recalls that she didn’t know what to expect, not being well versed with Warhol’s work at the time.

Famously, Kain was uncomfortable with the portrait for many years. Of her first look, she explained that she was shocked by the intense sparkle of the diamond dust-encrusted surface, which Warhol had begun to incorporate in some of his portraits in the late 1970s. Kain recalls having been told as a young dancer that sparkle was “cheap.” Speaking to Toronto Life, she says that “at the time I was embarrassed by how flamboyant it was, but I appreciate it now.”

As payment for her sitting, Kain was given the choice to receive two screenprints or one painted portrait. She chose the former, giving one copy to her parents.

Kain’s copy hangs in her Toronto home, and her opinion of the iconic image has certainly changed over the years: “I feel very differently about Andy’s work now, with maturity and the passing of time and an understanding of his place in the artistic milieu. Honestly, I really was not taken with the paintings or the silkscreens at all in the beginning.” She adds, “I really didn’t get why he was so famous or why everyone wanted their portrait done by him, but now I have a different appreciation of what he brought to the world.”

44 JIM DINE (B.1935), AMERICAN YELLOW CALLA LILIES (FROM “THE TEMPLE OF FLORA”), 1978 [D’OENCH & FEINBERG, 16]

soft-ground etching and drypoint with handcolouring in watercolour on watermarked Fabriano Rosapina paper, full margins; signed, dated and numbered 3/30 (there were also 10 artist’s proofs).

Published by Pace Editions, New York. sight 38.6 x 27.2 in — 98 x 69 cm PROVENANCE:

Private Collection, Toronto, ON $1,000 — 1,200

45 JIM DINE (B. 1935), AMERICAN EIGHT HEARTS, 1970

screenprint in colours on paper, the full sheet; From an edition of 1,000 proofs. image 25.5 x 29.9 in — 64.8 x 75.9 cm PROVENANCE:

Dianne Shore Limited, Toronto, ON; Private Collection, Ontario $600 — 900

46 ALEXANDER CALDER (1898-1976), AMERICAN UNE FAMILLE DE LÀ-BAS, 1975

lithograph in colours on wove paper, with full margins; signed and inscribed “H.C” (a proof aside from the edition of 75).

Published by Maeght, Paris, watermarked.

8.7 x 11.8 in — 22 x 30 cm PROVENANCE:

Private Collection, Quebec $1,000 — 1,500

47 ALEXANDER CALDER (1898-1976), AMERICAN FLIES IN THE SPIDER WEB (YING AND YANG), 1976

lithograph in colours, on Arches paper, the full sheet; signed and numbered 24/175.

Published by Transworld Art, New York, blindstamp. sight 19.25 x 25 in — 48.9 x 63.5 cm PROVENANCE:

Private Collection, Toronto, ON $3,000 — 4,000

48 ROBERT MOTHERWELL (1915-1991), AMERICAN AFRICA (PLATE 10 FROM “AFRICA SUITE,” 1970 [BELKNAP, 49]

screenprint in black and cream on J. B. Green paper, with full margins; signed, numbered 62/150, with the artists stamp lower left.

Printed by Kelpra Studio, London, stamped.

Published by Marlborough Graphics, Inc., New York. sheet 40 x 27.8 in — 101.5 x 70.7 cm PROVENANCE:

Private Collection, Vancouver, BC $2,500 — 3,500

49 RICHARD ANUSZKIEWICZ (1930-2020), AMERICAN UNTITLED, 1973

lithograph in colours on wove paper, with full margins; signed, dated “1973” and numbered 32/50. sight 30.1 x 22.2 in — 76.5 x 56.5 cm PROVENANCE:

Private Collection, Ontario $500 — 600

50 ANDY WARHOL (1928-1987), AMERICAN THE AMERICAN INDIAN SERIES (RED), 1981

offset lithograph in colours on thin wove paper; signed in black felt pen.

Published by Ace Gallery, Los Angeles.

49.6 x 34 in — 126 x 86.4 cm PROVENANCE:

Private Collection, Toronto, ON $600 — $800

51 ANDY WARHOL (1928–1987), AMERICAN MICK JAGGER (FROM THE “MICK JAGGER” PORTFOLIO), 1975 [F&S, II.140]

screenprint in colours on Arches Aquarelle paper, the full sheet; signed in pencil by Andy Warhol and in felt tip pen

by Mick Jagger, numbered 26/250 (there were also 50 artist’s proofs).

Published by Seabird Editions, London, with their copyright and inkstamp verso.

Printed by Alexander Heinrici, New York. sheet 43.5 x 28.9 in — 110.5 x 73.4 cm PROVENANCE:

Gallery Eklekitik / Ed Evans, Toronto, ON; Private Collection, Toronto, ON, acquired from the above in 1981 $60,000 — 90,000

The great themes of Andy Warhol’s career – celebrity, sex, and glamour – found their ultimate expression in his portraits of Mick Jagger.

Jagger and Warhol first met in New York City in 1964, at a party held for the Rolling Stones during their first US tour. At the time, the Stones were relatively unknown in mainstream American culture, as was Warhol – though both would rocket to superstardom within years. Despite a 15year age gap between Jagger and Warhol, the two stars began a friendship and a working relationship that would continue through the height of their careers.

STICKY FINGERS Their first collaboration began when Jagger commissioned Warhol to design the album cover for the Stones’ 1971 release Sticky Fingers. Jagger’s brief: “In my short sweet experience, the more complicated the format of the album, e.g. more complex than just pages or fold-out, the more fucked-up the reproduction and agonising the delays. But, having said that, I leave it in your capable hands to do what ever you want……….. and please write back saying how much money you would like.”

Warhol, ever the original, delivered one of the most complex record covers of all time: a life-sized close-up of a man’s jean-clad crotch, which in early pressings

featured a working zipper and belt buckle.

The album cover was banned in Spain and Russia, which expedited the record’s rise to number one on the pop charts, while also cementing its place as a masterpiece of Pop Art. After the great success of Sticky Fingers, Warhol lamented not having charged more for the commission, which perhaps turned his mind towards doing another collaboration with Jagger – this time rooted in his oeuvre instead.

FROM MONTAUK TO THE FACTORY By the 1970s, Warhol had turned a corner stylistically, moving away from using found imagery, instead preferring to take his own photographs. In the summer of 1975, Warhol rented out his Montauk, Long Island home to Jagger and his wife Bianca while the Stones were rehearsing for their sixth American tour. Jagger’s stay allowed Warhol the opportunity to take a series of photographs of the star.

From them, Warhol produced a tenprint portfolio, each seeming to express a different side of Jagger, across a variety of moods. The resulting prints feel multidimensional, compounded

by Warhol’s layering in his interests in collage and drawing. Warhol had begun to explore non-representational art by the early 1970s, and in this portfolio, abstract chromatic sections both accentuate and obscure Jagger’s dramatic features. Handdrawn elements – though printed – lend an expressive component.

Ever the canny marketer, Warhol asked Jagger to sign some of the prints from the edition, knowing that for some clients, the autograph would be an additional incentive to buy.

THE ULTIMATE CELEBRITY PORTRAIT Warhol’s obsession with fame and glamour found its ultimate expression in his celebrity portraits. The more celebrity portraits Warhol did, the more fame he himself gained, both as an artist and as a celebrity in his own right.

Of the series, Frayda Feldman, in her catalogue raisonné of Warhol’s prints, writes that “Warhol intended his portraits to be seen – as vanitas images, history paintings, or simply glamour poses – he did more than any other artist to revitalise

the practice of portraiture, bringing renewed attention to it in the avant-garde art world. He reflected the desires and dreams of a new decade and expanded his cast to include the latest characters from the world of sports, television, and politics and also dramatically escalated his portrait commissions.”[1] ANDY ON MICK, MICK ON ANDY Writing for Frieze, Trevor Fairbrother writes that Warhol understood Jagger’s persona, and the strongly branded performativity that motivated it. He excerpts Warhol’s 1979 book Andy Warhol’s Exposures, wherein he writes that “Mick brings out the bisexuality in men who normally would not be like that.

He’s androgynous enough for almost anyone. That’s always been his basic appeal, mixed with the facts that: 1) He’s very talented; 2) He’s very intelligent; 3) He’s very handsome; 4) He’s very adorable; 5) He’s a great business person; 6) He’s a great movie star; 7) I like his fake cockney accent… Image is so important to rock stars. Mick Jagger is the rock star with the longest running image. He’s the one all the young white kids copy. That’s why every detail of his appearance is important.”[2] Similarly, Jagger understood Warhol’s genius. Upon the latter’s death, Jagger noted that: “the thing that he seemed to be able to do was to capture society, whatever part of it he wanted to portray, pretty accurately. That’s one of the things artists do, is show people later on what it was like. If you want to be reminded of a certain period, you can look at what Andy was doing then. He was very much in tune with what was going on. Of course, he was criticised for that, for being sort of trendy.

But I think some people’s great forte is being so in touch.”

52 LEROY NEIMAN (1921-2012), AMERICAN NAPOLEON AT WATERLOO, 1988

screenprint in colours on wove paper; signed and inscribed “PP 15/18.” image 31 x 37.9 in — 78.7 x 96.3 cm PROVENANCE:

Private Collection, Ontario $800 — 1,200

53 LEROY NEIMAN (1921-2012), AMERICAN CHICAGO BOARD OF TRADE, 1980

screenprint in colours on wove paper; signed and numbered 219/300. image 25.25 x 37.9 in — 64.1 x 96.3 cm PROVENANCE:

Private Collection, Ontario $800 — 1,200

54 LEROY NEIMAN (1921-2012), AMERICAN PARIS BOURSE, 1981

screenprint in colours on wove paper; signed and numbered 290/300. image 29.75 x 37.75 in — 75.6 x 95.9 cm PROVENANCE:

Private Collection, Ontario $800 — 1,200

55 LEROY NEIMAN (1921-2012), AMERICAN NEW YORK CITY MARATHON, 1980

screenprint in colours on wove paper; signed and numbered 215/300.

Published by Styria Studio, New York, stamped. image 20.75 x 37.5 in — 52.1 x 95.3 cm PROVENANCE:

Private Collection, Ontario $800 — 1,200

56 LEROY NEIMAN (1921-2012), AMERICAN AMERICAN STOCK EXCHANGE, 1986

screenprint in colours on wove paper; signed and numbered 116/375. image 30.25 x 38 in — 76.8 x 96.5 cm PROVENANCE:

Private Collection, Ontario $800 — 1,200

57 OHOTAQ MIKKIGAK ᒥᑭᒐ (1936-2014), KINNGAIT (CAPE DORSET) COURTSHIP DANCE, 2001

lithograph with chine colle; signed, titled, dated and numbered 46/50; unframed, Sheet 14.5 x 17 in — 36.8 x 43.2 cm PROVENANCE:

Private Collection, Toronto $500 — 700

58 NINGEOKULUK TEEVEE ᓂᒋᐅᑯᓗ ᑎᕕ (B. 1963), KINNGAIT (CAPE DORSET) SHAMAN REVEALED, 2007

lithograph; signed, titled, dated and numbered 14/50; unframed, Sheet 20 x 18 in — 50.8 x 45.7 cm PROVENANCE:

Private Collection, Toronto $500 — 700

59 ANNAGO (ARNAQU) ASHEVAK ᐊᓇᑯ (1956-2009), KINNGAIT (CAPE DORSET) KAKIVAK, 2001

litograph; Triptych. signed, titled, dated and numbered 11/50; unframed, each 15 x 21 in — 38.1 x 53.3 cm PROVENANCE:

Private Collection, Toronto $800 — 1,200

60 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) PEACEFUL REPOSE, 2007

etching and aquatint; signed, titled, dated and numbered 14/50; unframed, Sheet 44 x 31.5 in — 111.8 x 80 cm PROVENANCE:

Private Collection, Toronto, ON $2,000 — 3,000

61 JESSIE OONARK ᔪᓯ ᐃᓇ, OC, RCA (1906-1985), ᔪᓯ ᐃᓇ, QAMANI’TUAQ (BAKER LAKE) WOMAN, 1970

stonecut; signed, titled, dated and numbered 30/50; unframed 31.5 x 27.5 in — 80 x 69.9 cm PROVENANCE:

Estate of W.A. Ross MacFadden, Toronto $5,000 — 7,000

62 NINGEOKULUK TEEVEE ᓂᒋᐅᑯᓗ ᑎᕕ (B. 1963), KINNGAIT (CAPE DORSET) OWLS IN MOONLIGHT, 2007

etching and aquatint; signed, titled, dated and numbered 14/50, unframed Sheet 41.5 x 31.5 in — 105.4 x 80 cm PROVENANCE:

Private Collection, Toronto, ON $2,000 — 3,000

63 MARY PUDLAT ᐳᓚ (1923-2001), KINNGAIT (CAPE DORSET) TARIURMIINNGAAQTUT (FROM THE SEA), 2001

etching and aquatint; signed, titled, dated and numbered 11/50, unframed Sheet 25.75 x 28 in — 65.4 x 71.1 cm PROVENANCE:

Private Collection, Toronto, ON $500 — 700

64 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) PRIMAL EXCHANGE, 2001

lithograph; signed, titled, dated and numbered 11/50, unframed Sheet 21.5 x 27.5 in — 54.6 x 69.9 cm PROVENANCE:

Private Collection, Toronto, ON $900 — 1,200

65 ROMARE BEARDEN (1911-1988), AMERICAN RAIN FOREST, CA. 1980

lithograph in colours on wove paper, with full margins; signed and titled.

26 x 19.5 in — 66 x 49.5 cm PROVENANCE:

Private Collection, Ontario $800 — 1,200

66 ROMARE BEARDEN (1911-1988), AMERICAN ALTO SAXOPHONE, CA. 1982 [GELBURD/ROSENBERG, 67]

screenprint in colours on strong wove paper, with full margins; signed in ink. sight 20 x 16 in — 50.8 x 40.6 cm PROVENANCE:

Private Collection, Toronto, ON $1,200 — 1,500

67 ROMARE BEARDEN (1911-1988), AMERICAN MORNING OF THE ROOSTER, 1980 [GELBURD/ROSENBERG, 99]

lithograph in colours on wove paper; signed, titled and inscribed “AP 20/30” (aside from the numbered edition of 175). sight 23.5 x 18.1 in — 59.8 x 46 cm PROVENANCE:

Private Collection, Toronto, ON $2,000 — 3,000

68 ROMARE BEARDEN (1911-1988), AMERICAN THE FAMILY (FROM “AN AMERICAN PORTRAIT 1776-1976”), 1975 [GELBURD/ ROSENBERG, GG. 55A]

aquatint and photoengraving in colours on wove paper, the full sheet; signed and numbered 36/175.

Printed by Transworld Art, blindstamp. sheet 19.5 x 26 in — 49.5 x 63.5 cm PROVENANCE:

Private Collection, Toronto, ON $4,000 — 5,000

69 ROBERT LONGO (B. 1953), AMERICAN ERIC, NYC, 1980-2009

Chromogenic print in colours on photo paper, with full margins; signed and numbered 30/100 in felt pen, (there were also 20 artist’s proofs). image 8.9 x 5.9 in — 22.5 x 15 cm; sheet 10 x 7.3 in — 25.5 x 18.5 cm PROVENANCE:

Private Collection, Switzerland $2,500 — 3,500

70 CY TWOMBLY (1928-2011), AMERICAN STUDIO LEXINGTON, 2008

pigment print in colours on strong wove paper, the full sheet; signed with the embossed initials and numbered 25/50 verso.

Included in the book by the artist, “Photographs, 1951-2007.”

17 x 11 in — 43.1 x 27.9 cm PROVENANCE:

Private Collection, Switzerland $4,500 — 5,500

71 ALEX KATZ (B. 1927), AMERICAN REFLECTION I, 2010

aquatint with photoengraving in colours on wove paper, with full margins; signed and numbered 25/45.

Printed by Christopher T. Creyts at Collaborative Art Editions, Florida.

Published by Peter Blum Editions, New York.

18.5 x 13.5 in — 47 x 34.3 cm PROVENANCE:

Private Collection, Switzerland $4,000 — 6,000

72 JEFF KOONS (B. 1955), AMERICAN BALLOON DOG (MAGENTA), 2015

Limoges porcelain with chromatic coating in magenta; Stamp-signed, titled, dated and numbered 1538/2300 verso.

Published by Bernardaud, Limoges, France.

10.5 x 10.4 x 5 in — 26.6 x 26.5 x 12.7 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by the certificate of authenticity. $7,000 — 9,000

73 JEFF KOONS (B. 1955), AMERICAN BALLOON DOG (YELLOW), 2015

Limoges porcelain with chromatic coating in yellow; Stamp-signed, titled, dated and numbered 1491/2300 verso.

Published by Bernardaud, Limoges, France.

10.5 x 10.5 x 5 in — 26.6 x 26.6 x 12.7 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by the certificate of authenticity. $8,000 — 12,000

74 JEFF KOONS (B. 1955), AMERICAN BALLOON RABBIT (VIOLET), 2019

Limoges porcelain with chromatic coating in violet; Stamp-signed, dated and numbered 746/999 on the underside.

Published by Bernardaud, Limoges, France.

11.5 x 5.5 x 8.3 in — 29.2 x 13.9 x 21 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by the certificate of authenticity. $12,000 — 18,000

75 JEFF KOONS (B. 1955), AMERICAN DIAMOND (RED), 2020

Limoges porcelain with chromatic matalized coating in red; Stamp-signed, titled, dated and numbered 446/599 on the side, (there were also 30 artist’s proofs).

Published by Bernardaud, Limoges, France. height 12.8 in — 32.4 cm; diameter diameter 39.2 in — 99.6 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by the certificate of authenticity. $22,000 — 28,000

76 ROY LICHTENSTEIN (1923-1997), AMERICAN VIEW FROM THE WINDOW (FROM “LANDSCAPES SERIES”), 1985 [CORLETT, 215; GEMINI G.E.L, 1257]

monumental lithograph, woodcut and screenprint in colours, on Arches 88 paper, with full margins; signed, dated “85” and numbered 53/60, (there were also 11 artist’s proofs).

Published by Gemini G.E.L., Los Angeles, blindstamp. sheet 79.5 x 33.5 in — 201.9 x 85.1 cm PROVENANCE:

Private Collection, Montreal, QC $90,000 — 120,000

Though Lichtenstein is perhaps most associated with his early comic-book inspired scenes, by the mid-1960s, the artist had shifted his focus towards a different subject matter: the landscape.

Well aware of the monumental tradition he was grappling with, Lichtenstein blended the landscape genre with his Pop Art aesthetic to produce something new. Per the artist in an interview with Life magazine in 1964: “I take a cliché and try to organise its forms to make it monumental.

The difference is often not great, but it is crucial.”

That same year, Lichtenstein created his first paintings of oceans, skies, and hills, at first honing in on the landscapes which formed the backgrounds of comic book panels. He would explore the landscape theme further over the following decades, sourcing images from both “high” and “low” culture: mass-produced iconography, such as travel postcards, or heavily reproduced paintings by popular artists including Claude Monet or Vincent van Gogh. Other times, his landscapes were imaginary, composites sourced from his memory. Tying his output together was his continued formal vocabulary of Ben-Day dots, strong black outlines, and a bold colour palette borrowed from consumer culture and commercial printing.

LICHTENSTEIN AND PRINTMAKING Printmaking had been an important part of Lichtenstein’s practice since his student days, when he would regularly enter regional print exhibitions. Early work included intaglio prints and woodcuts, while his exhibitions in the early 1960s were accompanied by screenprints.

Lichtenstein also contributed prints to be included in various editions featuring Pop artists. Lichtenstein was deeply involved in the printmaking process, creating preparatory drawings, cutting stencils by hand, and supervising the processes which he outsourced to specialised printmakers.

The MoMA notes that his printed work from the 1960s “was instrumental in the renaissance of American printmaking at that time.” In all, the artist would produce some three hundred fifty printed images, as well as auxiliary items like wallpaper, gift wrap, and paper plates, as well as prints and posters to benefit social and political causes.

WORKING WITH GEMINI G.E.L. In the 1980s, Lichtenstein collaborated with Gemini G.E.L. to produce some of his most important prints. Gemini was founded in 1966, capitalising on the new wave of fine art printmaking and pushing the boundaries of graphic arts and the production of multiples. Gemini was invitation-only: selected artists would work closely with master printmakers to produce limited editions which never replicated or reproduced art in other media: in other words, the multiple original. Gemini acted as both fabricator and publisher, collaborating with artists including Robert Rauschenberg, Claes Oldenburg, Ellsworth Kelly, Richard Serra, Julie Mehretu, John Baldessari, Jasper Johns, and of course, Lichtenstein.

Gemini is still in operation today, and is considered one of the premier print publishers in the world, working with luminaries including Vija Celmins, Bruce Nauman, Ed Ruscha, David Hockney, Sophie Calle, and Frank Gehry.

Since its inception, Gemini’s mission has been to explore and extend the more difficult boundaries of the printed medium. In Lichtenstein’s View From the Window, the collaborators tackled not only a print of monumental size – nearly 80 inches in length – but the complexities

of layering three different printmaking processes in one image. Combining lithography, woodcut and screenprinting in a single print means three times the chances that something can go wrong, as well as three times the amount of work.

However, this tremendous effort has resulted in an intricately layered image, one which rewards sustained viewing.

To get up close to the work is to revel in both its artistic merit and its technical complexities.

VIEW FROM THE WINDOW In View From the Window, Lichtenstein almost entirely obscures the landscape behind a thicket of obvious brushstrokes, both cartoon and realistic-looking in style – though they aren’t brushstrokes at all, but rather printed facsimiles. A nod to his 1960s “Brushstroke” series, these motifs were central to Lichtenstein’s work: rather than using brushstrokes as a tool to make a final image, he made the brushstrokes his subject. Lichtenstein was fascinated by the idea of painting pictures about pictures – as with much of the artist’s work, this results in a great tension between flatness and depth, style and substance.

There is a tongue-in-cheek element to Lichtenstein’s brushstrokes as well.

Lichtenstein came of age in an era when Abstract Expressionism ruled. His foray into Pop Art has been seen as a rebellion against the grand, gestural brushwork of his predecessors: by calling attention to these exaggerated strokes, Lichtenstein satirises the thick, muscular impasto of the 1940s and 50s. Indeed, Lichtenstein was often cast as the “anti-Pollock” as “his mechanical style of reproducing his comic-book sources implicitly contrasted with Pollock’s frenzied creativity.”[1] When asked about the brushstroke motif, the artist explained: “It’s taking something that originally was supposed to mean immediacy and I’m tediously drawing something that looks like a brushstroke…I want it to look as though it were painstaking. It’s a picture of a picture really and it’s a misconstrued picture of a picture.”[2] View From the Window also asks viewers to consider the landscape genre itself. At its core, it is rooted in the representational, an idealised “wish you were here” that has been codified – and

calcified – over centuries. Without tipping into abstraction, Lichtenstein obscures what appears to be a straightforward seaside balcony view, and denies the viewer any clear focal point, in favour of distortion and obfuscation.

The artist is nothing but self-aware, cognizant that he is recontextualizing the “high” art of the landscape by fusing its forms with “low” vocabulary of printing and mass media, toying with the idea of “good” vs “bad” art. Though there is irony at play, Lichtenstein never descends into mockery. Instead, he presents the scene with great panache, using it as a vantage point from which to reconsider art history, tradition, and artmaking itself.

[1] https://www.sothebys.com/en/auctions/ ecatalogue/2014/contemporary-art-eveningsale-n09141/lot.52.html [2] Roy Lichtenstein, cited in Exhibition Catalogue, Chicago, Art Institute of Chicago, Roy Lichtenstein: A Retrospective, 2012, p. 50

77 DAMIEN HIRST (B. 1965), BRITISH FRUITFUL (LARGE), 2020 [H8-1]

laminated giclée print in colours on aluminum composite panel, the full panel; Stamp-signed and numbered 989/1928.

Published by Heni Editions, London, United Kingdom.

30.7 x 30.7 in — 78 x 78 cm PROVENANCE:

Private Collection, Switzerland $3,500 — 4,500

78 DAMIEN HIRST (B. 1965), BRITISH FOREVER (LARGE), 2020 [H8-3]

laminated giclée print in colours on aluminum composite panel, the full panel; Stamp-signed and numbered 663/1449.

Published by Heni Editions, London, United Kingdom.

30.7 x 30.7 in — 78 x 78 cm PROVENANCE:

Private Collection, Switzerland $3,500 — 4,000

79 DAMIEN HIRST (B. 1965), BRITISH BUTTERFLY HEART (LARGE), 2020 [H7-3]

laminated giclée print in colours on aluminum composite panel, the full panel; Stamp-signed and numbered 589/1698.

Published by Heni Editions, London, United Kingdom.

27.6 x 28.6 in — 70 x 72.7 cm PROVENANCE:

Private Collection, Switzerland $3,500 — 4,500

80 EDUARDO PAOLOZZI (1924-2005), SCOTTISH ZERO ENERGY EXPERIMENTAL PILE I, 1970

the complete set of six screenprints in colours, on Astrolux paper laminated to clear acrylic, the full sheets; (1) “Hollywood Wax Museum” 18” x 27” (2) “6228 Plus: Cry on My Shoulder, No Sad Songs, etc.”

21” x 30” (3) “Will the Future Ruler of the Earth Come from the Ranks of the Insects” 29” x 20” (4) “Agile Coin Cross Decision Logic” 31” x 21” (5) “Human Fate and World Powers” 29” x 19” (7) “Pacific Standard Time” 27” x 19” Each signed, dated “1970” and numbered 46/100 (there were also XV artist’s proofs).

Published by Petersburg Press, London.

All framed and offered with their original box.

See website for full catalogue details. $2,000 — 3,000

81 YAAKOV AGAM (B. 1928), ISRAELI UNTITLED, CA. 1980

screenprint in colors on wove paper; signed and numbered 126/114. sight 25 x 24.2 in — 63.5 x 61.5 cm PROVENANCE:

Private Collection, Ontario $600 — 800

82 ROY LICHTENSTEIN (1923-1997), AMERICAN AS I OPENED FIRE, 1964-1990

three offset lithographs in colours on wove paper, full margins; A later impression from the unnumbered edition, printed before his death.

Published by the Stedelijk Museum, Amsterdam, stamped verso. each sheet 25.2 x 20.7 in — 64 x 52.7 cm PROVENANCE:

Private Collection, France $1,500 — 2,000

83 ROY LICHTENSTEIN (1923-1997), AMERICAN APPLE, CIRCA 1981

screenprint in colours on wove paper, full margins; From an unnumbered edition of approximately 3,800.

Published for an exhibition at the Saint Louis Art Museum in 1981. sheet 35 x 25.6 in — 89 x 64.9 cm PROVENANCE:

Private Collection, France LITERATURE:

Corlett, p. 305, III.28 $600 — 800

84 ROY LICHTENSTEIN (1923-1997), AMERICAN BRUSHSTROKES, PASADENA MUSEUM, CA. 1967

offset lithograph in colours on wove paper, full margins; Unnumbered edition, some later impressions published at a later date.

Published for the exhibition at the Pasadena Museum, US. sheet 15.5 x 10.3 in — 39.3 x 26.2 cm PROVENANCE:

Private Collection, France $800 — 1,200

85 ROY LICHTENSTEIN (1923-1997), AMERICAN NEW YORK CITY BALLET, 1988 [CORLETT, 309, III.36]

offset lithograph in colors on wove paper, full margins; From an unnumbered edition of approximately 1,000.

Published for the NYC Ballet America Music Festival. sheet 25.3 x 33.1 in — 64.2 x 84.1 cm PROVENANCE:

Private Collection, France $800 — 1,200

86 ROY LICHTENSTEIN (1923-1997), AMERICAN WHAAM, 1982

diptych, offset lithographs in colours on Huntsman Superwhite Cartridge paper, the full sheet; From an unnumbered 1982 edition of approximately 3,000, additional unnumbered editions printed before and after this date.

Published by The Tate Gallery, London.

Printed by Lautrec Photo Litho, Ltd., Leeds. each sheet 24.8 x 29 in — 62.9 x 73.6 cm PROVENANCE:

Private Collection, France $2,000 — 3,000

87 ROY LICHTENSTEIN (1923-1997), AMERICAN REFLECTION: ART, CA. 1989

offset lithograph in colours on wove paper, full margins; Unnumbered edition.

Published by Brooke Alexander, New York. sheet 39.4 x 26.2 in — 100 x 66.5 cm PROVENANCE:

Private Collection, France $800 — 1,200

88 ROY LICHTENSTEIN (1923-1997), AMERICAN I LOVE LIBERTY, WASHINGTON, D.C., CA. 1982 [CORLETT, P. 176 & 306]

offset lithograph in colours on 80g Quintessence dull-coated cover stock, full margins; From an unnumbered edition of approximately 5,000.

Printed by Alan Lithograph. Inc. sheet 39.1 x 23.5 in — 99.3 x 59.7 cm PROVENANCE:

Private Collection, France $800 — 1,200

89 KEITH HARING (1958-1990), AMERICAN NEW YORK CITY BALLET, CA. 1988

offset lithograph in colours on wove paper, full margins; Unnumbered edition, some later impressions published at a later date.

Published by Phillip Morris Companies, New York. sheet 24 x 36 in — 61 x 91.4 cm PROVENANCE:

Private Collection, France $800 — 1,200

90 KEITH HARING (1958-1990), AMERICAN CRACK DOWN!, CA. 1986

offset lithograph in colours on wove paper, full margins; From an unnumbered edition of approximately 2,000 some later impressions published at a later date.

Published for the Crack Down Benefit Concert of 1986. sheet 22 x 17.1 in — 56 x 43.5 cm PROVENANCE:

Private Collection, France $300 — 500

91 NORMAN ROCKWELL (1894-1978), AMERICAN GOLF (FROM THE “SCHOOL DAYS” PORTFOLIO), 1972

lithograph in colours on handmade Vélin d’Arches paper; signed and numbered 163/200.

Printed by Atelier Michel Casse, Paris.

Published by Raymond & Raymond Inc. in association with Circle Gallery Ltd. sight 26 x 20 in — 66 x 50.8 cm PROVENANCE:

Private Collection, Toronto, ON $1,000 — 1,200

92 TRACEY EMIN (B.1963), BRITISH THE BEGINNING OF ME, 2012

screenprint in colours on cotton fabric; signed and numbered 161/175.

Published by Counter Editions, Margate, United Kingdom.

20.5 x 18.1 in — 52 x 46 cm PROVENANCE:

Private Collection, Switzerland $2,800 — 3,200

93 DONALD SULTAN (B. 1951), AMERICAN YELLOW MIMOSA, JULY 23, 2015

screenprint in colours with flocking on museum board, the full sheet; signed and numbered 15/50.

Published by Lococo Fine Art, St Louis, United States, (stamp verso).

32 x 45 in — 81.3 x 114.3 cm PROVENANCE:

Private Collection, Switzerland $6,500 — 7,500

94 DONALD SULTAN (B. 1951), AMERICAN YELLOW LANTERN FLOWERS, SEPT. 18, 2013

powder-coated aluminum in yellow on polished aluminum base; signed and numbered 13/20 on the base.

Published by Lococo Fine Art, St Louis, United States (stamped).

18.7 x 19.5 x 3 in — 47.5 x 49.5 x 7.6 cm PROVENANCE:

Private Collection, Switzerland $8,000 — 12,000

95 DONALD SULTAN (B. 1951), AMERICAN BLACK TULIPS AND VASE, FEB 26, 2014

screenprint in black and white with enamel and powdered texture on museum cardboard, with full margins; signed, titled, dated and numbered 15/50 (there were also 15 artist’s proofs).

Published by Lococo Fine Art, St Louis, United States (stamp).

46.1 x 46.1 in — 117 x 117 cm PROVENANCE:

Private Collection, Switzerland $6,000 — 8,000

96 ZHANG XIAOGANG (B. 1958), CHINESE ESCAPED FROM THE SHADOWS (FROM THE “STORYTELLER’S ENCHANTMENT” PORTFOLIO), 2009

lithograph in colors on wove paper, two sheets, with full margins; signed and numbered 42/130 on one sheet and the other sheet with the text on the reverse with poems by Fernando Arrabal.

Printed by Arts-Litho, Paris.

Published by Delight Editions.

31.5 x 47.2 in — 80 x 120 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Edition number may differ from illustration. $2,200 — 2,800

97 WANG GUANGYI (B. 1957), CHINESE ALPHA AND OMEGA (FROM THE “RHYTHMICAL DICHOTOMY” PORTFOLIO), 2008

lithograph in colours on Velin BFK Rives 300 g paper, with full margins; signed and numbered 64/165, (there were also four artist’s proofs).

Accompanied by the poem by Fernando Arrabal.

31.5 x 47.2 in — 80 x 120 cm PROVENANCE:

Private Collection, Switzerland $1,800 — 2,200

98 WANG GUANGYI (B. 1957), CHINESE OLYMPIC, CIPMYLO (FROM THE “RHYTHMICAL DICHOTOMY” PORTFOLIO), 2008

lithograph in colours on Velin BFK Rives 300g paper, with full margins; signed and numbered 64/165, (there were also four artist’s proofs).

Accompanied by the poem by Fernando Arrabal.

47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

Private Collection, Switzerland $2,200 — 2,500

99 AI WEIWEI (B. 1957), CHINESE WO IST DIE REVOLUTION, 2019

digital black and white print on 180g Canson paper, the full sheet; signed and numbered 109/180.

74.8 x 39.4 in — 190 x 100 cm PROVENANCE:

Private Collection, Switzerland $4,200 — 4,800

100 YUE MINJUN (B. 1962), CHINESE STARRY NIGHT (FROM THE “SNATCHED ECSTASY” PORTFOLIO), 2009

lithograph in colors on BFK Rives wove paper, with full margins; signed and numbered 42/130.

Printed by Arts-Litho, Paris.

Published by Delight Edition.

47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

Private Collection, Switzerland $4,000 — 6,000

101 THOMAS STRUTH (B. 1954), GERMAN MUSEO DEL PRADO, RM 12, MADRID, 2009

chromogenic print in colours on Kodak Professional Endura paper, with full margins; signed, titled, dated and numbered 37/100 verso, (there were also 20 artist’s proofs).

9.7 x 11.3 in — 24.6 x 28.6 cm PROVENANCE:

Private Collection, Europe $3,500 — 4,500

102 CANDIDA HÖFER (B. 1944), GERMAN TEATRO DEGOLLADO GUADALAJARA III, 2015

chromogenic print in colours on Fujichrome Professional paper, with full margins; signed and numbered 22/100. image 11.8 x 15.4 in — 30 x 39.2 cm; sheet 15 x 18.5 in — 38 x 47 cm PROVENANCE:

Private Collection, Switzerland $2,500 — 3,500

103 ANDRES SERRANO (B. 1950), AMERICAN HOLY WORKS, PIETA, 2012

chromogenic print in colors on photo paper, with full margins; signed, titled and numbered 33/50, (there were also four artist’s proofs).

With artist’s book of the same name.

Published by Damiani Ed., Bologne, Italie.

11.7 x 9.2 in — 29.8 x 23.4 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by a certificate of authenticity. $1,000 — 1,200

104 DAMIEN HIRST (B. 1965), BRITISH BUTTERFLY RAINBOW (LARGE), [H7-1], 2020

laminated giclée print in colours on aluminum composite panel, the full panel; Stamp-signed and numbered 532/1497.

Published by Heni Editions, London, United Kingdom.

19 x 39.4 in — 48.2 x 100 cm PROVENANCE:

Private Collection, Switzerland $2,800 — 3,200

105 DAMIEN HIRST (B. 1965), BRITISH BUTTERFLY HEART (SMALL), 2020 [H7-4]

laminated giclée print in colours on aluminum composite panel, the full panel; Stamp-signed and numbered 521/3510.

Published by Heni Editions, London, United Kingdom.

13.8 x 14.3 in — 35 x 36.4 cm PROVENANCE:

Private Collection, Switzerland $1,800 — 2,200

106 DAMIEN HIRST (B. 1965), BRITISH FRUITFUL (SMALL), 2020 [H8-2]

laminated giclée print in colours on aluminum composite panel, the full panel ; Stamp-signed and numbered 943/3308.

Published by Heni Editions, London, United Kingdom.

15.4 x 15.4 in — 39 x 39 cm PROVENANCE:

Private Collection, Switzerland $2,200 — 2,800

107 DAMIEN HIRST (B. 1965), BRITISH FOREVER (SMALL), 2020 [H8-4]

laminated giclée print in colours on aluminum composite panel, the full panel; Stamp-signed and numbered 491/2173.

Published by Heni Editions, London, United Kingdom.

15.4 x 15.4 in — 39 x 39 cm PROVENANCE:

Private Collection, Switzerland $1,800 — 2,200

108 LAURE PROUVOST (B. 1978), FRENCH BUM GLASS (SET OF 2), 2018

two glasses in murano glass; Signature and edition numbers (23/300 and 24/300) engraved on the bases.

8.7 x 4.5 in — 22 x 11.5 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by a certificate of authenticity. $3,500 — 4,000

109 UGO RONDINONE (B. 1964), SWISS/AMERICAN STARS, 2009

screenprint in black on BFK Rives paper, watermarked, with full margins; signed and numbered 272/300.

Published by Eric Seydoux, Paris, France.

41.3 x 29.4 in — 105 x 74.7 cm PROVENANCE:

Private Collection, Switzerland. $1,500 — 2,000

110 PETER BLAKE (B. 1932), BRITISH MARILYN, 2010

screenprint in colours with diamond dust on Somerset paper, with full margins; signed and numbered 78/150.

Published by Paul Stolper, London.

37.4 x 29.5 in — 95 x 75 cm PROVENANCE:

Private Collection, Switzerland $2,800 — 3,200

111 PETER DOIG (B. 1959), SCOTTISH/BRITISH UNTITLED (CANOE), 2008

aquatint in colours, on Somerset paper, the full sheet; signed and numbered 207/500.

Published for the exhibition Peter Doig at the Musée d’Art Moderne de la Ville de Paris.

23.4 x 29.5 in — 59.5 x 75 cm PROVENANCE:

Private Collection, Switzerland $2,200 — 2,800

112 LARRY POONS (B. 1937), AMERICAN CHERRY BOBALINK, 2021

Epson inkjet print with HDX Ultrachrome inks in colours on paper, with full margins; signed and numbered 25/30.

Published by Triangle Arts Association with Benefit Print Project.

27 x 30 in — 68.6 x 76.2 cm PROVENANCE:

Private Collection, Switzerland $3,000 — 4,000

113 JR (B. 1983), FRENCH TROMPE L’OEIL; LES FALAISES DU TROCADÉRO, 2021

giclée prints laminated with G-Gloss mounted on Dibond 3mm; Each signed and numbered; the first 249/472, the second 249/292.

Published by Héni Editions, London, United Kingdom. each 25.2 x 37.8 in — 64 x 96 cm PROVENANCE:

Private Collection, Switzerland $4,500 — 5,500

114 JR (B. 1983), FRENCH INSIDE OUT, HAITI, 2012

lithograph in colours on white BFK Rives 300 g paper, with full margins; signed, stamped and numbered 31/180.

Printed by Ateliers Stéphane Guilbaud, Paris, France.

27.6 x 39.4 in — 70 x 100 cm PROVENANCE:

Private Collection, Switzerland $1,800 — 2,200

115 JR (B. 1983), FRENCH CHARLIE CHAPLIN BY JR, THE KID, CHARLIE CHAPLIN & JACKIE COOGAN, USA, 1923, DE JOUR PARIS, 2021

lithograph in colours on Marinoni machine on white BFK Rives 300 g paper, with full margins; signed, stamped and numbered 111/180.

Printed by Ateliers Stéphane Guilbaud, Paris, France.

27.6 x 19.7 in — 70 x 50 cm PROVENANCE:

Private Collection, Switzerland $1,500 — 2,500

116 JR (B. 1983), FRENCH THE CHRONICLES OF NEW YORK CITY, DOMINO PARK, USA, 2020

lithograph in colours on white BFK Rives paper, 300 grams, with full margins; signed, stamped and numbered 54/180.

27.6 x 39.4 in — 70 x 100 cm PROVENANCE:

Private Collection, Switzerland $2,200 — 2,800

117 JEFF KOONS (B. 1955), AMERICAN LIPS COUPE PLATE, 2013

glazed porcelain in colours; Stamp-signed and numbered 955/2500 verso.

Published by Bernardaud Manufacture de Porcelaine, France. diameter 12.2 in — 31 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by the certificate of authenticity. $1,000 — 1,200

118 JEFF KOONS (B. 1955), AMERICAN PLAY-DOH COUPE PLATE, 2014

glazed porcelain in colours; Stamp-signed and numbered 855/2500 verso.

Published by Bernardaud Manufacture de Porcelaine, France. diameter 12.2 in — 31 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by the certificate of authenticity. $1,000 — 1,200

119 JEFF KOONS (B. 1955), AMERICAN TULIPS COUPE PLATE, 2015

glazed porcelain in colours; Stamp-signed and numbered 824/2500 verso.

Published by Bernardaud Manufacture de Porcelaine, France. diameter 12.2 in — 31 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by the certificate of authenticity. $1,000 — 1,200

120 JOANA VASCONCELOS (B. 1971), PORTUGUESE FILAMENT I, 2014

pigment print in colors on Epson Exhibition paper, with full margins; signed, titled, dated and numbered 7/25.

44 x 33.6 in — 111.8 x 85.3 cm PROVENANCE:

Private Collection, Switzerland $2,500 — 3,500

121 JOANA VASCONCELOS (B. 1971), PORTUGUESE FILAMENT II, 2014

pigment print in colors on Epson Exhibition paper, with full margins; signed, titled, dated and numbered 4/25.

44 x 33.6 in — 111.8 x 85.3 cm PROVENANCE:

Private Collection, Switzerland $2,500 — 3,500

122 JOANA VASCONCELOS (B. 1971), PORTUGUESE PANDORA II, 2014

pigment print in colors on Epson Exhibition paper, with full margins; signed, monogrammed, titled, dated and numbered 7/25.

32 x 45 in — 81.3 x 114.3 cm PROVENANCE:

Private Collection, Switzerland $2,500 — 3,500

123 JOANA VASCONCELOS (B. 1971), PORTUGUESE PANDORA I, 2014

pigment print in colors on Epson Exhibition paper, with full margins; signed, monogrammed, titled, dated and numbered 5/25.

44 x 33.5 in — 111.7 x 85.1 cm PROVENANCE:

Private Collection, Switzerland $2,500 — 3,500

124 AFTER ANDY WARHOL (1928-1987), AMERICAN GOLDEN MARILYN, 2010

enamel on porcelain in colors; signed and numbered 32/49 verso.

Published by Rosenthal studio-line and The Andy Warhol Art Foundation for the visual Arts INC, New York (label on the reverse).

20.1 x 20.1 x 0.8 in — 51 x 51 x 2 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by the certificate of authenticity from the publisher. $4,500 — 5,500

125 AFTER ANDY WARHOL (1928-1987), AMERICAN MARILYN (SILVER), 2010

enamel on porcelain in colors; signed in glaze and numbered 40/49 verso.

Published by Rosenthal studio-line and The Andy Warhol Art Foundation for the visual Arts INC, New York (label on the reverse).

20.1 x 20.1 x 0.8 in — 51 x 51 x 2 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by the certificate of authenticity from the publisher. $5,000 — 7,000

126 AFTER ANDY WARHOL (1928-1987), AMERICAN MARILYN (PURPLE-RED), 2010

enamel on porcelain in colors; signed in glaze and numbered 17/49 verso.

Published by Rosenthal studio-line and The Andy Warhol Art Foundation for the visual Arts INC, New York (label on the reverse).

20.1 x 20.1 x 0.8 in — 51 x 51 x 2 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by the certificate of authenticity from the publisher. $5,000 — 7,000

127 AFTER ANDY WARHOL (1928-1987), AMERICAN TWENTY MARILYN, 2010

enamel on porcelain in colors; signed in glaze and numbered 42/49 on the reverse.

Published by Rosenthal studio-line and The Andy Warhol Art Foundation for the visual Arts INC, New York (label verso).

20.1 x 20.1 x 0.8 in — 51 x 51 x 2 cm PROVENANCE:

Private Collection, Switzerland LITERATURE:

Accompanied by the certificate of authenticity from the publisher. $4,500 — 5,500

128 SALVADOR DALÍ (1904-1989), SPANISH THE WAILING WALL, 1975 [F, 78-7]

lithograph in colours on wove paper; signed and numbered 168/250. image 29.7 x 21.9 in — 75.4 x 55.6 cm; sheet sight 36.5 x 25.3 in — 92.7 x 64.3 cm PROVENANCE:

Private Collection, Toronto, ON $1,000 — 1,500

Artist Index A

J

S

AGAM, YAAKOV 81

JEAN, 26

SERRANO, ANDRES 103

ALECHINKSY, PIERRE 31, 32

JR, 113, 114, 115, 116

SIQUEIROS, DAVID ALFARO 6

ANNAGO, 59 ANUSZKIEWICZ, RICHARD 49 ASHEVAK, KENOJUAK 60, 64

K KATZ, ALEX 71

STRUTH, THOMAS 101 SULTAN, DONALD 93, 94, 95

KOONS, JEFF 72, 73, 74, 75, 117, 118, 119

T

B

L

TWOMBLY, CY 70

BAERTLING, OLLE 30

LAM, WIFREDO 35

BARNET, WILL 27

LE CORBUSIER 23

BEARDEN, ROMARE 65, 66, 67, 68

LÉGER, FERNAND 8

BECHER, BERND 38

LICHTENSTEIN, ROY 76, 82, 83, 84, 85, 86,

BLAKE, PETER 110

87, 88

C

LONGO, ROBERT 69

CALDER, ALEXANDER 46, 47

M

CHAGALL, MARC 9

MANZONI, PIERO 7

CLAVÉ, ANTONI (1913-2005) 33

MIKKIGAK, OHOTAQ 57

D DALI, SALVADOR 16, 19, 18, 128, 17 DELAUNAY-TERK, SONIA 28 DINE, JIM 45, 44 DOIG, PETER 111

E EMIN, TRACEY 92

MINJUN, YUE 100 MIRÓ, ATTRIBUTED TO JOAN 12 MIRÓ, JOAN 10, 11, 13 MOORE, HENRY 24, 25 MOTHERWELL, ROBERT 48

N NEIMAN, LEROY 52, 53, 54, 55, 56

O

FRINK, ELIZABETH 29

OONARK, JESSIE 61

P

G

PAOLOZZI, EDUARDO 80

GIACOMETTI, ALBERTO 14

PICASSO, PABLO 15

GUANGYI, WANG 97, 98

PIZA, ARTHUR-LUIZ 22

H HARING, KEITH 89, 90 HASEGAWA, SHŌICHI 36

POONS, LARRY 112 PROUVOST, LAURE 108 PUDLAT, MARY 63

HECKEL, ERICH 4

R

HELLEU, PAUL CÉSAR 5

RIVERS, LARRY 42

HIRST, DAMIEN 77, 78, 79, 104, 105, 106, 107

ROCKWELL, NORMAN 91

HÖFER, CANDIDA 102

RONDINONE, UGO 109

HUGHES, PATRICK 39, 40 HUNDERTWASSER, FRIEDENSREICH 34

V VAN RRIJN, REMBRANDT 1, 2 VAN VELDE, BRAM 37 VASARELY, VICTOR 20, 21 VASCONCELOS, JOANA 120, 121, 122, 123

W WARHOL, AFTER ANDY 124, 125, 126, 127 WARHOL, ANDY 43, 50, 51 WEIWEI, AI 99 WHISTLER, JAMES A.M. 3

X XIAOGANG, ZHANG 96

F FROST, TERRY 41

TEEVEE, NINGEOKULUK 58, 62

Notes:

Buying at Waddington’s All lots will be offered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcement. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any oral announcement or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s™ and the consignor (seller) of the lot. Descriptions or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale.

condition of lots

All of the items are to be considered, unless otherwise noted in the description or condition report, in good condition. The definition of “good” when used in reference to condition, describes an object as having had no major damage or repair but as with the nature of the material, may show minor surface wear, discolouration etc., which indicates the acceptable wear that the piece may acquire with age. If you are particular about minor flaws, you should examine the pieces in person or have our staff answer any questions before bidding. Sizes are approximate. It is the sole responsibility of the bidder to inquire as to the condition of a lot before bidding. Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale.

Frames on artwork are not included as part of purchase or condition.

buyers premium

A premium of 20% of the successful bid price of each lot.

A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer’s premium, except for purchases exported from Canada. In the case where purchases are shipped out of the province of Ontario, the HST or GST is charged based on the tax status of that province.

payment

Payment for purchases must be by cash, INTERAC direct debit (CDN clients in person only), certified cheque (U.S. & Overseas not applicable), bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000).

ALL PRICES IN CANADIAN FUNDS

Selling at Waddington’s bidding

The Auctioneer may also execute bids on behalf of the consignor to protect the reserve.

The reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold.

shipping

waddington’s commission rates Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $251 to $2,500 20%

The Auctioneers will not undertake packing or shipping. The purchaser must designate and arrange for the services of an independent shipper and be responsible for all shipping, insurance expenses and any necessary export permits that may apply. The Auctioneers will, upon request, provide names of professional packers and shippers but will not be held responsible for the service or have any liability for providing this information. Reliable preauction estimates of shipping costs of lots offered in this sale may be obtained from:

Items selling for $250 or less 25%

PakShip

*There is a minimum handling charge of $100 per item

905-470-6874 / 905-470-6875 / 416-293-8225 taurus@pakship.ca / www.pakship.ca Safer Shipping Inc. 416-299-3367 / 416-299-9750 perry@safershipping.ca / www.safershipping.ca

removal of purchases

Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.

cites

Restrictions exist regarding the import and export of species protected under CITES (Convention on International Trade in Endangered Species). This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries. Please review your country’s laws before bidding on pieces made of or containing these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained.

Please contact the department for further assistance. Failure to obtain necessary import/ export permits will not void any sale.

All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington’s.

For more information please visit: www.cites.org

*There is a minimum handling charge of $20 per item canadian art department commission rates Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $2,500 or less 20%

insurance

A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.

auction advice

For auction advice on paintings, drawings, prints, jewellery, and various forms of decorative arts and other collectibles, please feel free to contact us via email or telephone.

We are pleased to review emails containing photographs and information on your pieces in order to provide auction estimates for you to consider.

For collections with a variety of objects, please contact our Appraisals and Consignments department (consignments@waddingtons.ca).

For department-specific inquiries, please contact the specialist and/or department directly. All contact information can be found at www.waddingtons.ca.

Our offices are located in Toronto and Vancouver, but our specialists occasionally travel to major Canadian cities to meet with prospective consignors. To receive more information on Valuation Days across Canada or to arrange an appointment, please contact our Toronto office (416-504-9100).

Please note that property typically arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, setting forth terms and fees for our services.

Conditions of Sale 1. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made.

An opportunity for inspection of each article is offered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others.

Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly.

2. Each lot sold is subject to a 20% buyers premium as part of the purchase price.

3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax).

6. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale.

7. The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final.

8. Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale.

9. The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale, after which storage charges may be incurred.

4. The auctioneer reserves the right to withdraw any lot from sale at any time, to divide any lot or to combine any two or more lots at his sole discretion, all without notice.

10. Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at his premises or at a public warehouse at the sole risk of the buyer until fully paid for and taken away.

5. The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and not to reject any bid. Without limitation, any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid may not be recognized.

11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14

days following the sale a written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer.

12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000).

13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the resale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer.

14. It is the responsibility of the buyer to make all arrangements for insuring, packing and removing the property purchased and any assistance by the auctioneer or his servants, agents or contractors, in packing or removal shall be rendered as a courtesy and without any liability to them.

15. The auctioneer acts solely as agent for the consignor and makes no representation as to any attribute of, title to, or restriction affecting the articles consigned for sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act (Canada).

16. The auctioneer reserves the right to refuse admission to the sale or to refuse to recognize any or all bids from any particular person or persons at any auction.

Waddington’s 275 King Street East, Second Floor Toronto, Ontario M5A 1K2

tel: 416-504-9100 toll free: 1-877-504-5700 www.waddingtons.ca