Editions | June 24 - 29, 2023

Editions JUNE!"#!—!"%&!"'"(

Editions JUNE!"#!—!"%&!"'"(

...... www.waddingtons.ca . Sunday, June 25 from 12 pm to 4 pm Monday, June 26 from 10 am to 5 pm Tuesday, June 27 from 10 am to 5 pm

﹐..﹐.  Goulven Le Morvan glm@waddingtons.ca .($-',$-$.$%

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Lot $% ANDY WARHOL REBEL WITHOUT A CAUSE (JAMES DEAN), FROM “ADS,” &%$' [F&S II. ('']

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Lot &) CHRISTOPHER!PRATT LAUNCHING*GREYLING+*&%%,

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.. !12 King Street East, !nd Floor Toronto, Ontario M'A*&K,

Lot &% SHEOJUK!ETIDLOOIE ᓯᐅᔪ ᐃᑎᐃᑎᓚᐃ DANCING*RAVEN*II+*&%%)

. Lot %' ALEX KATZ WHITE ROSES, ,-&.

This catalogue and its contents © !"!3# Waddington McLean & Company Ltd.

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 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) SUMMER OWL, 1979

lithograph; titled and dated; artist’s name in Roman and syllabics; proof; unframed sheet 22.25 x 31 in — 56.5 x 78.7 cm PROVENANCE:

Private Collection, Vermont, USA $2,000 — 4,000

NOTE:

Renowned for her images of birds, it is the owl for which Kenojuak is best known. Her celebrated “Enchanted Owl” has been the most famous and recognizable image in the Inuit art canon for decades, also holding the distinction of being the most expensive Inuit print ever sold at auction.

Owls never ceased to interest Kenojuak, who used them as a subject for over 100 different prints as well as original drawings. Her fantastical owls could be audacious, festive, preening, and often surrounded by brightly-hued plumage. Beginning in the early 1960s, Kenojuak introduced foliage to enhance her avian images, as seen here. In “Summer Owl,” the artist’s signature symmetrical composition is on display, both energetic and harmonious. For Kenojuak, form always took precedence, though she often explained that her main objective as an artist was to inspire happiness in her viewers—mission accomplished with this radiant print.

2 RITA LETENDRE, RCA (1928-2021), CANADIAN MAADIM, 1980

screenprint in colours on wove paper, the full sheet signed, titled, dated “80” and justified “bon à tirer”, a proof aside from the numbered edition of 110, there were also 30 artist’s proofs numbered in Roman; printed by The Art Printer, blindstamp 19.25 x 27.5 in — 48.9 x 69.9 cm PROVENANCE:

Important Corporate Collection, Ontario $400 — 600

3 RITA LETENDRE, RCA (1928-2021), CANADIAN ROMIR, FROM “A TRIBUTE TO THE ROYAL ONTARIO MUSEUM,” 1979

screenprint in colours on BFK Rives paper, with full margins signed, titled, dated “79” and justified “Printer Proof 2/2”, a proof aside from the numbered edition of 150; printed by The Art Printer, blindstamp sight 20.75 x 28.5 in — 52.7 x 72.4 cm PROVENANCE:

Important Corporate Collection, Ontario $400 — 600

4 TED HARRISON (1926-2005) BALL GAME, 1991

screenprint in colours on wove paper, with full margins signed, titled, dated and numbered 29/200 sheet 22.5 x 29 in — 57.2 x 73.7 cm PROVENANCE:

Private Collection, British Columbia $300 — 500

5 JEAN PAUL RIOPELLE, RCA (1923-2002) CARIBOU, 1976

lithograph in colours on wove paper, with full margins signed and numbered 51/75 22.4 x 29.5 in — 57 x 75 cm PROVENANCE:

Corporate Collection, British Columbia $1,000 — 2,000

6 JOHN HARTMAN, RCA (B. 1950), ?

CANADIAN FLYING INTO DORSET, 1989

pair of lithographs on paper the first signed, titled, dated “6/11/89” and justified “A/P”; the second signed, titled, dated “89”, justified “stage proof” and inscribed “Cape Dorset (WBEC)” sight 20 x 28.5 in — 50.8 x 72.4 cm PROVENANCE:

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

7 TAKAO TANABE (B. 1926) AFTER HARVEST, 1976

lithograph in colours on wove paper signed, dated and numbered 38/75 sight 20.5 x 17.3 in — 52 x 44 cm PROVENANCE:

Corporate Collection, British Columbia $800 — 1,200

8 TAKAO TANABE (B. 1926) SKINCUTTLE DAWN, 1986

lithograph in colours on wove paper signed, titled, dated and justified “Cream Impression”, a proof aside from the numbered edition of 75 sight 18.5 x 34.3 in — 47 x 87 cm PROVENANCE:

Corporate Collection, British Columbia $800 — 1,200

9 JEAN-PAUL LEMIEUX (1904-1990) LA JEUNE FILLE

lithograph in colours on wove paper; signed and numbered 13/75 sight 15 x 9.5 in — 38.1 x 24.1 cm PROVENANCE:

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

10 JOHN WILLIAM BEATTY, OSA, RCA, (1869-1941) CANADIAN THE MILL, MEADOWVALE

drypoint in sepia on wove paper signed image 7 x 8.9 in — 17.8 x 22.5 cm PROVENANCE:

Private Collection, Toronto, ON $400 — 600

11 ROBERT WAKEHAM PILOT, PRCA, (1898-1967) CANADIAN QUEBEC FROM LEVIS, CIRCA 1925

etching on paper signed in plate and numbered 31/50 in pencil image 5.9 ins x 9 ins; 15 cms x 22.9 cms PROVENANCE:

Private Collection, Toronto, ON $400 — 500

12 DAVID LLOYD BLACKWOOD (1941-2022) SEALER’S DREAM: FAMILY, 1975

etching and aquatint in colours on paper signed, titled, dated and numbered 24/25 sight 11.75 x 9 in — 29.8 x 22.9 cm PROVENANCE:

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

13 DAVID LLOYD BLACKWOOD (1941-2022) THE SEABIRD HUNTER, 1978

etching and aquatint in colours on wove paper, with full margins signed, titled, dated and justified “artist’s proof 7/10”, aside from the numbered edition of 50 as inscribed “Ed 50” sight 23 x 29 in — 58.4 x 73.7 cm PROVENANCE:

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

14 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) OWLS TREASURE, 2002

lithograph; titled, dated and numbered 23/50; artist’s name in Roman and syllabics; unframed sheet 26 x 19.75 in — 66 x 50.2 cm PROVENANCE:

Private Collection, Vermont, USA $1,000 — 1,500

15 ANIRNIK RAGEE ᐊᓂᓂ (B. 1935), KINNGAIT (CAPE DORSET) FIELD OF VERSE, 2004

lithograph; titled, dated and numbered 10/50; artist’s name in Roman and syllabics; unframed sheet 14.25 x 14 in — 36.2 x 35.6 cm PROVENANCE:

Private Collection, Vermont, USA $900 — 1,200

16 ARNAQU ASHEVAK ᐊᓇᑯ (1956-2009), KINNGAIT (CAPE DORSET) TOWN RAVENS, 2003

stonecut; titled, dated and numbered 2/50; artist’s name in Roman and syllabics; unframed sheet 28 x 22 in — 71.1 x 55.9 cm PROVENANCE:

Private Collection, Vermont, USA $700 — 900

17 CHRISTOPHER PRATT (1935-2022) LAUNCHING GREYLING, 1992

screenprint in colours on Rising museum board signed, titled, dated and numbered 54/65 sight 17.5 x 33 in — 44.5 x 83.8 cm PROVENANCE:

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

NOTE:

For Christopher Pratt, “boats symbolized the essence of Newfoundland and Labrador.”

Though enraptured with boats from a young age, Pratt’s vessels are rarely depicted at ease in the water. The artist prefers to ground, hang, or overwinter them, removing them from of their natural surrounding and instead rendering them as abandoned, trapped or in waiting. Simultaneously serene and tense, “Launching Greyling” is quite literally in suspended animation, waiting to be launched.

Writing about a similar composition, Pratt explained that images like this “have less to do with sailing than with the boat itself: a sculpture, sleek and efficient, shark-like, hanging in straps being lowered into the water, suspended between the abstracts of conception, the mathematics of construction and reality at sea.

18 SHEOJUK ETIDLOOIE ᓯᐅᔪ ᐃᑎᐃᑎᓚᐃ (1929-1999), KINNGAIT (CAPE DORSET) WINTER PTARMIGAN, 1997

stonecut; titled, dated and numbered 49/50; artist’s name in Roman and syllabics; unframed sheet 18.5 x 22 in — 47 x 55.9 cm PROVENANCE:

Private Collection, Vermont, USA $1,000- — 1,500

19 SHEOJUK ETIDLOOIE ᓯᐅᔪ ᐃᑎᐃᑎᓚᐃ (1929-1999), KINNGAIT (CAPE DORSET) DANCING RAVEN II, 1997

etching and aquatint; titled, dated and numbered 16/20; artist’s name in Roman and syllabics; unframed sheet 18 x 20 in — 45.7 x 50.8 cm PROVENANCE:

Private Collection, Vermont, USA $2,000 — 3,000

20 PUDLO PUDLAT ᐳᓗ ᐳᓚ (1916-1992), KINNGAIT (CAPE DORSET) CARIBOU IN WINTER LIGHT, 1986

stonecut; titled, dated and numbered 27/50; artist’s name in Roman and syllabics; unframed sheet 25 x 30.5 in — 63.5 x 77.5 cm PROVENANCE:

Private Collection, Vermont, USA $2,000 — 4,000

21 CHRISTOPHER PRATT, RCA (1935-2022), CANADIAN LABRADOR CURRENT, OCTOBER, 1973

screenprint in colours on Arches wove paper, with full margins signed, titled, dated “Oct 1973” and numbered 4/25 image 17.75 x 17.75 in — 45.1 x 45.1 cm; sheet 20 x 20.1 in — 50.8 x 51.1 cm PROVENANCE:

Morrison Art Gallery, Saint John, NB; Prominent Private Collection of a former museum curator, Fredericton, NB NOTE:

“The very word “Labrador” was magic to me when I was a child. That was before the Churchill Falls development or the iron mines. The tales I heard were of the coast, of heroism and hardship, of nature on a giant scale: a land where the fish were bigger, the icebergs massive, the storms unimaginable. Somehow, I felt that Newfoundland was the child of Labrador - the tail that wagged the dog. In geographical terms that is certainly true: here in St. Mary’s Bay we live at a latitude south of Vancouver, yet we have plants and animals in common with the Arctic tundra.

The Labrador current is a relentless flood of molten ice, the blood stream of our near subarctic climate.” in. Jay Scott and Christopher Pratt, The Prints of Christopher Pratt, 1958-1991, Catalogue Raisonné, Breakwater Books, St. John’s, Nfld., 1991, page 47, reproduced in colour. $4,000 — 6,000

22 JEREMY SMITH (B. 1946), CANADIAN PINE TREE, BURNEGIE, 1993

screenprint in colours on wove paper, with full margins signed, dated and numbered 28/47 sight 25.5 x 15.5 in — 64.8 x 39.4 cm; image 24 x 13.75 in — 61 x 34.9 cm PROVENANCE:

Mira Godard Gallery, Toronto, ON; Private Collection, Waterloo, ON $300 — 500

23 NINGIUKULU (NINGEOKULUK) TEEVEE ᓂᒋᐅᑯᓗ ᑎᕕ (B. 1963), KINNGAIT (CAPE DORSET) CROSS MIGRATION, 2007

stonecut; titled, dated and numbered 10/50; artist’s name in Roman and syllabics; unframed sheet 24.5 x 28 in — 62.2 x 71.1 cm PROVENANCE:

Private Collection, Vermont, USA $500 — 700

24 MEELIA KELLY ᒥᓕᐊ ᑭᓕ (1940-2006), KINNGAIT (CAPE DORSET) CELEBRATION SONG, 2006

stonecut; titled, dated and numbered 20/35; artist’s name in Roman and syllabics; unframed sheet 24.5 x 28.5 in — 62.2 x 72.4 cm PROVENANCE:

Private Collection, Vermont, USA $500 — 700

25 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, CC, RCA (1927-2013), KINNGAIT (CAPE DORSET) YELLOW BREASTED LOON, 2007

lithograph; titled, dated and numbered 2/50; artist’s name in Roman and syllabics; unframed sheet 22.25 x 30 in — 56.5 x 76.2 cm PROVENANCE:

Private Collection, Vermont, USA $2,000 — 3,000

26 GERSHON ISKOWITZ, RCA (1919-1988), CANADIAN MIDNIGHT NO. 2, 1987

lithograph and aquatint in colours on wove paper, with full margins signed and justified “studio proof 1/2”, a proof aside the numbered edition of 60 41.5 x 35 in — 105.4 x 88.9 cm PROVENANCE:

Private Collection, Toronto, ON $400 — 600

27 MARCEL DZAMA, (B. 1974), CANADIAN UNTITLED, 2000

lithograph in colours on wove paper, with full margins signed, dated and numbered “1/2 AP” 8.5 x 8.5 in — 21.6 x 21.6 cm PROVENANCE:

Private Collection, Ottawa, ON $1,400 — 1,600

28 WILLIAM KURELEK, RCA (1927-1977), CANADIAN LIGHT TRADING ON THE TORONTO STOCK EXCHANGE, 1973

photolithographic reproduction on paper signed, titled and numbered 5/950 sheet 19 x 21.5 in — 48.3 x 54.6 cm; image 16.25 x 19.25 in — 41.3 x 48.9 cm PROVENANCE:

Private Collection, Waterloo, ON $400 — 600

29 AFTER JOHANN WILHELM WEINMANN (1683-1741), GERMAN SET OF SEVEN HAND-COLORED ENGRAVINGS FROM “PHYATHOZA ICONGRAPHIA,” 18TH CENTURY

hand-coloured engravings and mezzotints on laid paper sheets 15.8 ins x 9.9 ins; 40.1 cms x 25.1 cms; plates 12.8 ins x 8.3 ins; 32.6 cms x 21.2 cms PROVENANCE:

Private Collection, Montreal, QC $8,000 — 12,000

30 GIOVANNI BATTISTA PIRANESI (1720-1778), ITALIAN SPACCATO INTERNO DELLA BASILICA DI S. PAOLO FUORI DELLE MURA, FROM “VEDUTE DI ROMA” [HIND, 7]

etching on laid paper with centre fold; inscribed “2nd edition” in pencil upper right margin plate 16.5 x 24 in — 41.9 x 61 cm; sheet 21.25 x 30.5 in — 54 x 77.5 cm PROVENANCE:

Estate Collection, Hamilton, ON $400 — 600

31 VARIOUS ARTISTS, BRITISH SET OF FOUR BIBLICAL SCENES, MID-17TH CENTURY

engravings in black on laid paper 13.2 ins x 8.2 ins; 33.6 cms x 20.8 cms; 13.1 ins x 1 ins; 33.4 cms x 2.6 cms; 13.1 ins x 8 ins; 33.3 cms x 20.4 cms; 13.8 ins x 8.5 ins; 35 cms x 21.7 cms PROVENANCE:

Private Collection, Montreal, QC $200 — 300

32 JOHN LINDLEY (1799-1865), BRITISH SET OF NINE ASSORTED BOTANICAL PRINTS, 19TH CENTURY

engravings in colours on paper 8.7 ins x 5.5 ins; 22.1 cms x 14 cms PROVENANCE:

Private Collection, Montreal, QC $600 — 800`

33 PIERRE-AUGUSTE RENOIR (1841-1919), FRENCH LE CHAPEAU EPINGLÉ, 3E PLANCHE, CIRCA 1894 [D. 8, S. 8]

etching and drypoint in black on laid paper, with wide margins; signed in plate; second state of two, from “La Vie Artistique” by Gustave Geffroy sheet 13.2 ins x 10.2 ins; 33.5 cms x 25.9 cms; plate 4.7 ins x 3.4 ins; 12 cms x 8.6 cms PROVENANCE:

Gerhard Wurzer Gallery Inc., Houston, TX; Private Collection, Toronto, ON LITERATURE:

Delteil 8; Stella 8 $400 — 600

34 HONORÉ DAUMIER (1808-1979), FRENCH SUITE OF FIVE LITHOGRAPHS FROM “LES GENS DE JUSTICE,” 1848

lithographs in black on wove paper, with full margins; initialed in the stones and signed and numbered in pencil lower margins; published and printed by Aubert, Paris each sheet 15.6 ins x 12.3 ins; 39.5 cms x 31.2 cms PROVENANCE:

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

35 FRANTIŠEK KUPKA (1871-1957), CZECH WOMAN IN FRONT OF A PICTURE, CIRCA 1905

etching and aquatint in sepia on heavy paper; faintly signed in the plate lower right; trial proof before the completion of the bottom section of the etching, the upper section completed as it appears in the final published state plate 17.9 x 10.8 in — 45.5 x 27.4 cm; sheet 22.2 x 13.4 in — 56.3 x 34 cm PROVENANCE:

Acquired through the Estate of František Kupka through the Executor, Claude M. Robert; Kaspar Gallery, Toronto, ON labels verso; Private Collection, Toronto, ON, purchased from the above NOTE:

The subjects depicted in the wall are the same as those in Kupka’s painting “Woman in Front of a Picture” that hangs in the Prague National Museum. $300 — 400

36 AFTER PABLO PICASSO (1881-1973), SPANISH COVER FROM THE “PICASSO: PEINTURE 1962-1963” EXHIBITION CATALOGUE AT GALERIE LEIRIS, PARIS

lithograph in black on paper; printed by Mourlot, Paris 6.5 x 6.5 in — 16.6 x 16.6 cm PROVENANCE:

Private Collection, Toronto, ON $200 — 300

37 AFTER RENÉ MAGRITTE (1898-1967), BELGIAN PLATES I AND III FROM “LES ENFANTS TROUVÉS DE MAGRITTE,” 1968

two lithographs on BFK Rives paper, with full margins; each signed by the publisher as issued and numbered 285/350 on the colophon; two of the twelve prints with loose text encased in original illustrated burgundy cloth-covered box; published by A.C. Mazo et Cie/Fernand Mourlot, Paris folio 24.4 ins x 18.1 ins; 62 cms x 46 cms PROVENANCE:

Private Collection, Toronto, ON $600 — 800

38 GEORGES BRAQUE (1882-1963), FRENCH LA DANSE, 1934 [V. 25]

etching on BFK Rives paper, with full margins; signed; from the unnumbered edition of 250, from the book “Georges Braque” by Carl Einstein; published by Editions des Chroniques du Jour, Paris sheet 11.1 ins x 8.8 ins; 28.2 cms x 22.4 cms; plate 9.5 ins x 6.9 ins; 24.1 cms x 17.4 cms PROVENANCE:

Private Collection, Toronto, ON LITERATURE:

Vallier, 25 $2,000 — 3,000

39 PABLO PICASSO (1881-1973), SPANISH SCULPTEUR ET MODÈLE ADMIRANT UNE TÊTE SCULPTÉE, PLATE 45 FROM “LA SUITE VOLLARD,” 1933 [B. 154; BA. 307]

etching on Montval laid paper, with full margins; signed; from the edition of 260; published by Ambroise Vollard, Paris, watermark sheet 17.7 ins x 13.3 ins; 44.9 cms x 33.8 cms; plate 10.6 ins x 7.7 ins; 27 cms x 19.5 cms PROVENANCE:

Private Collection, Toronto, ON LITERATURE:

Bloch, 154; Baer, 307 $9,000 — 12,000

40 SALVADOR DALI (1904-1989), SPANISH SIMON, FROM “TWELVE TRIBES OF ISRAEL,” 1972 [F.72-6]

drypoint etching with pochoir colouring on Arches paper, with full margins; signed and numbered 121/195; published by Transworld Art, New York and Transworld Art S.A., Fribourg sheet 26 ins x 20 ins; 66 cms x 50.8 cms; plate 19.9 ins x 14.6 ins; 50.6 cms x 37.2 cms PROVENANCE:

Private Collection, Toronto, ON LITERATURE:

Field, 72-6 $600 — 800

41 JOAN MIRÓ (1893-1983), SPANISH UNTITLED, PLATE 4 FROM “GRAVURES POUR UNE EXPOSITION,” 1973 [D. 609, C. BKS. 174]

etching and aquatint in colours on Arches paper, with full margins; signed and numbered 12/75, there were also 15 hors commerce numbered in Roman; published

by Pierre Matisse, New York, printed by Atelier Morsang, Paris plate 25 ins x 36 ins; 63.5 cms x 91.5 cms; sheet 13.7 ins x 27 ins; 34.8 cms x 68.7 cms PROVENANCE:

Private Collection, Ontario LITERATURE:

Dupin, 609; Cramer Books, 174 $2,000 — 3,000

42 LÉONARD TSUGUHARU FOUJITA (1886-1968), FRENCH/JAPANESE LA JEUNESSE, 1960 [B. 60.28]

lithograph on BFK Rives paper; signed, numbered 38/250 and inscribed “à Mlle Madeleine Meleb (sp?)/Amicalement/ Leonard Foujita” in blue pen and ink to bottom centre margin image 21.25 x 15.5 in — 54 x 39.4 cm; sheet 27.75 x 21.25 in — 70.5 x 54 cm PROVENANCE:

Private Collection, Montreal, QC LITERATURE:

Buisson, 60.28 $800 — 1,200

43 KAREL APPEL (1921-2006), DUTCH UNTITLED, 1969

screenprint in colours on Arches paper; signed, dated “69” and numbered 17/75 sheet 22.4 ins x 30.1 ins; 56.8 cms x 76.5 cms PROVENANCE:

Private Collection, Montreal, QC $600 — 800

44 KAREL APPEL (1921-2006), DUTCH COMPOSITION, CIRCA 1980

lithograph in colours on wove paper, with full margins; signed and numbered 68/75 sheet 36.4 x 25.1 in — 92.4 x 63.7 cm PROVENANCE:

Private Collection, Toronto, ON $300 — 400

45 ANTONI TÀPIES (1923-2012), SPANISH LES CISEAUX, 1969 [G. 193]

soft-ground etching and embossing on wove paper; signed and numbered 31/75; published by Maeght, Paris sheet 30 x 22.5 in — 76.2 x 57.2 cm PROVENANCE:

Private Collection, Toronto, ON LITERATURE:

Galfetti, 193 $600 — 900

46 ANTONI TÀPIES (1923–2012), SPANISH CHICAGO (AL HANNOVER), 1983 [G. 925]

lithograph in black and white on brown wove paper; signed and justified “H.C.”, an aside from the numbered edition of 100; titled in pencil verso and inscribed “4 Chicago H.C. Tapies” verso backing; published by Galerie Lelong, New York, NY image 27.6 x 19.7 in — 70 x 50 cm PROVENANCE:

Gemst Inc., Montreal, QC label verso; Private Collection, Montreal, QC LITERATURE:

Galfetti, 925 $800 — 1,200

47 ANTONI TÀPIES (1923–2012), SPANISH PROFIL, 1982 [G. 867]

lithograph in colours on wove paper; signed and numbered 46/75; published by Galerie Lelong, Paris image 25.5 x 19.5 in — 64.8 x 49.5 cm; sheet 31.7 x 24 in — 80.5 x 61 cm PROVENANCE:

Private Collection, Montreal, QC LITERATURE:

Galfetti, 867 $800 — 1,200

49 ALAIN JACQUET (1939-2008), FRENCH DUNCAN’S DONUT, 1990

offset lithograph in colours on paper, the full sheet; signed and numbered 13/100 verso 8.3 x 8.3 in — 21 x 21 cm PROVENANCE:

Private Collection, Toronto, ON $600 — 800

50 JOSEF ALBERS (1888-1976), AMERICAN/GERMAN 16 FOLDERS FROM THE “FORMULATION: ARTICULATION” PORTFOLIO I, 1972 [D. APPENDIX C]

screenprints in colours on Mohawk Superfine bristol paper; including Folder 1, Folder 3, Folder 3 (duplicate), Folder 6, Folder 7, Folder 7, Folder 7 (triplicate), Folder 9, Folder 12, Folder 12 (duplicate), Folder 16, Folder 22, Folder 26, Folder 27, Folder 30, Folder 31; each folder with printed signature and title verso, from the edition of 1000; co-published by IvesSillman, Inc., New Haven and Harry N. Abrams, Inc., New York and printed by Sirocco Screenprints 15 ins x 40.2 ins; 38.1 cms x 102 cms PROVENANCE:

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

51 JOSEF ALBERS (1888-1976), AMERICAN/GERMAN 14 FOLDERS FROM THE “FORMULATION: ARTICULATION” PORTFOLIO II, 1972 [D. APPENDIX C]

screenprints in colours on Mohawk Superfine bristol paper; including Folder 1, Folder 2, Folder 2 (duplicate), Folder 3, Folder 6, Folder 11, Folder 11 (duplicate), Folder 20, Folder 20, Folder 20 (triplicate), Folder 23, Folder 25, Folder 26, Folder 31; each folder with printed signature and title verso, from the edition of 1000; co-published by Ives-Sillman, Inc., New Haven and Harry N. Abrams, Inc., New York and printed by Sirocco Screenprints 15 ins x 40.2 ins; 38.1 cms x 102 cms PROVENANCE:

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

53 YVARAL (JEAN-PIERRE VASARELY) (1934-2022), FRENCH COMPOSITION, CIRCA 1970-1980

screenprint in colours on strong wove paper; signed and numbered 111/150 27.7 ins x 27.6 ins; 70.4 cms x 70.1 cms PROVENANCE:

Private Collection, Ontario $600 — 800

54 HERBERT OEHM (B. 1935), GERMAN COMPOSITION, CIRCA 1980

screenprint in colours on cardboard; signed and numbered 67/120 27.6 ins x 27.4 ins; 70 cms x 69.5 cms PROVENANCE:

Private Collection, Ontario $500 — 700

55 YAN PEI MING (B. 1960), CHINESE ICONS, 2013

the complete set of four lithographs in colours on Rives BFK paper, with full margins; each signed and numbered 28/75; published by Les Cahiers de l’Herne, Paris sheets 47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

Private Collection, Europe $10,000 — 15,000

56 YUE MINJUN (B. 1962), CHINESE ARMED FORCES, FROM THE “SNATCHED ECSTASY” PORTFOLIO, 2009

lithograph in colours on BFK Rives paper, with full margins; stamped in red and numbered LXXVI/CXXX on the double page with a poem by Fernando Arrabal, there were also four artist’s proofs; printed

by Arts-Litho, Paris, the text printed

by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 31.5 x 47.2 in — 80 x 120 cm PROVENANCE:

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

Yue Minjun’s grinning self-portrait may well be the most recognizable image in contemporary Chinese art. The repetition of his pink face with its toothy, double-wide smile allows Yue to play with ideas of mass production and mechanical reproduction in the present consumerist culture, while also self-examining through a lens of cynicism and cartoonish exaggeration. Yue is known for manipulating images from the Western canon as well as well-known works of Chinese visual culture, ranging from socialist propaganda to commercial art. Yue’s work has been subject to many interpretations, and the artist himself has said that “a smile doesn’t necessarily mean happiness, it could be something else.” The “Snatched Ecstasy” portfolio is set of 20 lithographs, six of which are on offer in Waddington’s Editions auctions. Each work is accompanied by a poem by Fernando Arrabal.

57 YUE MINJUN (B. 1962), CHINESE BACKYARD GARDEN, FROM THE “SNATCHED ECSTASY” PORTFOLIO, 2009

lithograph in colours on BFK Rives paper, with full margins; stamped in red and numbered LXXVI/CXXX on the double page with a poem by Fernando Arrabal, there were also four artist’s proofs; printed

by Arts-Litho, Paris, the text printed

by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 31.5 x 47.2 in — 80 x 120 cm PROVENANCE:

Private Collection, Europe $5,000 — 7,000

58 YUE MINJUN (B. 1962), CHINESE BIRDS OF PEACE, FROM THE “SNATCHED ECSTASY” PORTFOLIO, 2009

lithograph in colours on BFK Rives paper, with full margins; stamped in red and numbered LXXVI/CXXX on the double page with a poem by Fernando Arrabal, there were also four artist’s proofs; printed

by Arts-Litho, Paris, the text printed

by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

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

59 YUE MINJUN (B. 1962), CHINESE PAEAN ON GRASSLAND, FROM THE “SNATCHED ECSTASY” PORTFOLIO, 2009

lithograph in colours on BFK Rives paper, with full margins; stamped in red and numbered LXXVI/CXXX on the double page with a poem by Fernando Arrabal, there were also four artist’s proofs; printed

by Arts-Litho, Paris, the text printed

by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 31.5 x 47.2 in — 80 x 120 cm PROVENANCE:

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

60 YUE MINJUN (B. 1962), CHINESE PINE TREE, FROM THE “SNATCHED ECSTASY” PORTFOLIO, 2009

lithograph in colours on BFK Rives paper, with full margins; stamped in red and numbered LXXVI/CXXX on the double page with a poem by Fernando Arrabal, there were also four artist’s proofs; printed

by Arts-Litho, Paris, the text printed

by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

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

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

lithograph in colours on BFK Rives paper, with full margins; stamped in red and numbered XLII/CXXX on the double page with a poem by Fernando Arrabal, there were also four artist’s proofs; printed

by Arts-Litho, Paris, the text printed

by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

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

62 ZHANG XIAOGANG (B. 1958), CHINESE DESCRIPTION, FROM “THE STORYTELLER’S ENCHANTMENTS,” 2009

lithograph in colours on BFK Rives paper, with full margins; signed and numbered 43/130 in Roman; published by Delight Edition and printed by Arts-Litho, Paris; accompanied by a double page with the related poem by Fernando Arrabal, signed and identically numbered in Roman, printed by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

Private Collection, Europe $4,000 — 5,000

63 ZHANG XIAOGANG (B. 1958), CHINESE LANDSCAPE, FROM “THE STORYTELLER’S ENCHANTMENTS,” 2009

lithograph in colours on BFK Rives paper, with full margins; signed and numbered 43/130 in Roman; published by Delight Edition and printed by Arts-Litho, Paris; accompanied by a double page with the related poem by Fernando Arrabal, signed and identically numbered in Roman, printed by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 31.5 x 47.2 in — 80 x 120 cm PROVENANCE:

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

64 ZHANG XIAOGANG (B. 1958), CHINESE GIRL AND TREE, FROM “THE STORYTELLER’S ENCHANTMENTS,” 2009

lithograph in colours on BFK Rives paper, with full margins; signed and numbered 43/130 in Roman; published by Delight Edition and printed by Arts-Litho, Paris; accompanied by a double page with the related poem by Fernando Arrabal, signed and identically numbered in Roman, printed by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

Private Collection, Europe $7,000 — 10,000

65 ZHANG XIAOGANG (B. 1958), CHINESE GIRL IN PURPLE, FROM “THE STORYTELLER’S ENCHANTMENTS,” 2009

lithograph in colours on BFK Rives paper, with full margins; signed and numbered 43/130 in Roman; published by Delight Edition and printed by Arts-Litho, Paris; accompanied by a double page with the related poem by Fernando Arrabal, signed and identically numbered in Roman printed by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 31.5 x 47.2 in — 80 x 120 cm PROVENANCE:

Private Collection, Europe $8,500 — 10,500

66 ZHANG XIAOGANG (B. 1958), CHINESE THE FIXED GAZE, FROM “THE STORYTELLER’S ENCHANTMENTS,” 2009

lithograph in colours on BFK Rives paper, with full margins; signed and numbered 43/130 in Roman; published by Delight Edition and printed by Arts-Litho, Paris; accompanied by a double page with the related poem by Fernando Arrabal, signed and identically numbered in Roman, printed by Atelier Grafiche Tintoretto S.R.L., Castretta di Villorba 31.5 x 47.2 in — 80 x 120 cm PROVENANCE:

Private Collection, Europe $5,000 — 7,000

67 AI WEIWEI (B. 1957), CHINESE THE PAPERCUT PORTFOLIO (NEW YORK, CATS AND DOGS, MAP OF CHINA, FURNITURE, HAIRCUT, CITIZENS INVESTIGATION, RIVER CRABS AND ZODIAC), 2019

complete portfolio of eight papercuts in red, the full sheets; each signed, the portfolio numbered 12/250, loose as issued, there were also 24 artist’s proofs; published by Taschen, London in the original red cloth-bound clamshell portfolio each 23.6 x 23.6 in — 60 x 60 cm PROVENANCE:

Private Collection, Europe $25,000 — 35,000

68 WANG GUANGYI (B. 1957), CHINESE MAO ZEDONG WAVING WITH BLACK SQUARE, FROM “RHYTHMICAL DICHOTOMY,” 2007-2008

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 a poem by Fernando Arrabal 47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

Private Collection, Europe $5,000 — 7,000

69 WANG GUANGYI (B. 1957), CHINESE FEDEX NO, FROM “RHYTHMICAL DICHOTOMY,” 2007-2008

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 a poem by Fernando Arrabal 47.2 x 31.5 in — 120 x 80 cm PROVENANCE:

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

70 WANG GUANGYI (B. 1957), CHINESE ART AND PEOPLE, FROM “RHYTHMICAL DICHOTOMY,” 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 a poem by Fernando Arrabal 31.5 x 47.2 in — 80 x 120 cm PROVENANCE:

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

71 CHIHARU SHIOTA (B. 1972), JAPANESE SECOND SKIN, 2014

photoengraving on wove paper, with full margins; signed and numbered 19/30 31.5 x 23.6 in — 80 x 60 cm PROVENANCE:

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

72 YAYOI KUSAMA (B. 1929), JAPANESE PUMPKINS, YELLOW AND RED, 2016

two cast resin sculptures; each stamped with the artist’s name to the base, offered in their original box; published by Benesse Holdings, Japan 4 x 3 in — 10.2 x 7.6 cm PROVENANCE:

Private Collection, Colorado, USA $1,300 — 1,800

73 YOSHITOMO NARA (B. 1959), JAPANESE BANGING THE DRUM; MARCHING ON A BUTTERBUR LEAF; REAL ONE, 2019-2020

suite of three offset lithographs in colours on wove paper, the full pages; each printed with the mention “Dallas Contemporary © Yoshitomo Nara”; published by Dallas Contemporary, Texas 15 x 16.9 in — 38 x 43 cm; 24 x 18.1 in — 61 x 46 cm; 27.2 x 16.9 in — 69 x 43 cm PROVENANCE:

Private Collection, United States $1,500 — 2,500

74 Mark Tobey (1890-1976), American BLACK BY YELLOW, 1973 lithograph in colours on wove paper; signed, dated “73” and numbered 44/70 image 14 x 11 in — 35.6 x 27.9 cm PROVENANCE:

Private Collection, Toronto, ON $500 — 600

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

offset lithograph in colors on wove paper, with 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 LITERATURE:

Corlett, 309, III.36 $800 — 1,200

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

screenprint in colours on wove paper, with 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

77 ROY LICHTENSTEIN (1923-1997), AMERICAN BRUSHSTROKES, PASADENA MUSEUM, CIRCA 1967

offset lithograph in colours on wove paper, with full margins; from an unnumbered edition; published for the exhibition at the Pasadena Museum, California sheet 15.5 x 10.3 in — 39.3 x 26.2 cm PROVENANCE:

Private Collection, France $800 — 1,200

78 SAM FRANCIS (1923-1994), AMERICAN CUT THROAT, 1971 [L.132; G. 312]

lithograph in colours on Arjomari paper, the full sheet; signed and numbered 35/62, there were also nine artist’s proofs; published by Gemini G.E.L., Los Angeles, blindstamp and inkstamp verso 45.1 x 31.3 in — 114.6 x 79.4 cm PROVENANCE:

Private Collection, Toronto, ON LITERATURE:

Lembark, 132; Gemini, 312 $2,000 — 3,000

79 SAM FRANCIS (1923-1994), AMERICAN UNTITLED, FROM “PORTFOLIO 9,” 1967 [L. 87, SF-61]

lithograph in colours on BFK Rives paper, the full sheet; signed and justified “trial proof”, an aside from the edition of 100; published and printed by Hollander’s Workshop, New York 16.9 ins x 22 ins; 43 cms x 56 cms PROVENANCE:

Private Collection, Europe LITERATURE:

Lembark 87 $2,500 — 3,500

80 SAM FRANCIS (1923-1994), AMERICAN UNTITLED, 1986 [L. 271, SF-271]

lithograph in colours on BFK Rives vellum paper, the full sheet; signed and numbered 19/55, there were also four artist’s proofs and one bon à tirer; published by The Litho Shop, Inc, Santa Monica, CA, blindstamp, printed by George Page, Santa Monica, CA 25.2 ins x 19.3 ins; 64 cms x 49 cms PROVENANCE:

Private Collection, Europe LITERATURE:

Lembark 271 $3,500 — 4,500

81 SAM FRANCIS (1923-1994), AMERICAN AN OTHER SET - Y, FROM THE “PASADENA BOX PORTFOLIO,” 1964 [L. 66, SF-75]

lithograph in colours on Koshi rice paper, the full sheet; signed and justified “artist proof”, an aside from the edition of 100; published by the Pasadena Art Museum, printed by Joseph Press, Los Angeles, CA 15.7 ins x 22.8 ins; 40 cms x 58 cms PROVENANCE:

Private Collection, Europe LITERATURE:

Lembark 66 $2,500 — 3,500

82 SAM FRANCIS (1923-1994), AMERICAN UNTITLED, 1988 [L. S19, SFS-332]

screenprint in colours on PTI #120 waterleaf wove paper, the full sheet; signed and justified “AP I”, an aside from the edition of 114; published by Sam Francis, Santa Monica, CA, printed by Ronald McPherson at La Paloma, Tujunga, CA 29.9 ins x 22 ins; 76 cms x 56 cms PROVENANCE:

Private Collection, Europe LITERATURE:

Lembark S19 $1,500 — 2,500

83 SAM FRANCIS (1923-1994), AMERICAN AN OTHER SET - Y, FROM THE “PASADENA BOX PORTFOLIO,” 1964 [L. 66, SF-75]

lithograph in colours on Koshi rice paper, the full sheet; signed and justified “artist proof”, an aside from the edition of 100; printed by Joseph Press, Los Angeles, published by the Pasadena Art Museum 15.7 ins x 22.8 ins; 40 cms x 58 cms PROVENANCE:

Private Collection, Europe LITERATURE:

Lembark 66 $2,500 — 3,500

84 SAM FRANCIS (1923-1994), AMERICAN TURN, 1972 [L. S10]

screenprint in colours on Arjomari paper, with full margins; signed and justified “AP III”, this copy is one of nine artist’s proofs aside from the edition of 70; published and printed by Gemini G.E.L., Los Angeles, CA 28 ins x 35 ins; 71 cms x 89 cms PROVENANCE:

Private Collection, Europe LITERATURE:

Lembark S10 $2,500 — 3,500

85 SAM FRANCIS (1923-1994), AMERICAN UNTITLED, 1994 [SF-363]

lithograph in colours on wove paper, the full sheet; signed and justified “AP”, this copy is one of 19 artist’s proofs aside from the edition of 100; published and printed

by The Litho Shop, Inc., Santa Monica, CA, blindstamp 23.2 ins; 59 cms PROVENANCE:

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

86 ROY DE FOREST (1930-2007), AMERICAN BIRDLAND, 1994

lithograph in colours on wove paper, the full sheet; signed, dated, and justified “A/P #4”, an aside from the edition of 75 sheet 32 x 38 in — 80 x 94 cm PROVENANCE:

Private Collection, British Columbia $700 — 900

87 ROY DE FOREST (1930-2007), AMERICAN THE CAMPFIRE, 1993

lithograph in colours on wove paper, the full sheet; signed, dated, and numbered “A/P”, an aside from the edition of 74 sheet 22.5 x 30 in — 54 x 76 cm PROVENANCE:

Private Collection, British Columbia $700 — 900

88 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

89 ANDY WARHOL (1928-1987), AMERICAN REBEL WITHOUT A CAUSE (JAMES DEAN), FROM “ADS,” 1985 [F&S II. 355]

screenprint in colours on Lenox museum board, the full sheet; signed and numbered 181/190, there were also 30 artist’s proofs; published by Ronald Feldman Fine Arts, Inc., New York with inkstamp verso, printed by Rupert Jasen Smith, New York sheet 38 ins x 38 ins; 96.5 cms x 96.5 cms PROVENANCE:

Private Collection, Toronto, ON LITERATURE:

Feldman & Schellmann, II.355 $100,000 — 150,000

NOTE:

In 1985, Andy Warhol created a portfolio of ten works based on advertisements, known as the Ad Series. Produced only two years before Warhol’s death, the Ad Series was commissioned by Ronald Feldman of Feldman Fine Arts, who had worked with Warhol extensively throughout the 1980s. Warhol based these screenprints on well-known publicity images from the 1950s-1970s, choosing ones from Apple Computers, Mobilgas, Ronald Reagan for Van Heusen, Paramount, Judy Garland for Blackglama Furs, Chanel, Donald Duck for The New Spirit, Lifesavers, Volkswagen, and James Dean’s “Rebel Without a Cause.”

“Rebel Without a Cause” was released in 1955, a coming-of-age drama about intergenerational conflicts centring around rootless suburban teenagers. The film starred Dean alongside Sal Mineo and Natalie Wood. “Rebel Without a Cause” was released only a month after Dean’s death in a car accident in September 1955, and cemented his status as a major film star.

Warhol viewed Dean as an original figure of teenage fantasy, a figure which he uses to deconstruct the idea of fantasy itself. In his book “The Philosophy of Andy Warhol,” Warhol views Dean as a paragon (italics are the author’s own): “So this means that “if you see a well-dressed person today, you know that they’ve thought a lot about their clothes and how they look.” And then that ruins it because you shouldn’t really be thinking about how you look so much […] So today, if you see a person who looks like your teenage fantasy walking down the street, it’s probably not your fantasy, but someone who had the same fantasy as you and decided instead of getting it or being it, “to look like it,” and so he went to the store and bought the look you both like. So forget it. Just think about all the James Deans and what it means.”

As with the other images in this series, Warhol is using Dean to comment on the seductive and illusory nature of advertising, which he understood to be an influential form of visual culture in its own right. Warhol’s great talent lay in distilling and reflecting specific cultural moments, often through the lens of celebrity and consumerism. He also successfully blurs the lines between fine art and mass media, as well as fine art and commerce.

For Warhol’s screenprint of “Rebel Without a Cause,” he took inspiration not from the American release poster, but from the Japanese version, transforming it through his use of an electrified red, black and green palette. Unlike in the original, Dean’s figure is repeated twice, perhaps a comment on the endless reproduction of mass media, or on Dean and his celluloid afterlife.

Of the ten images in the Ad Series, it is this image which has been the most manipulated, the most stylized, and the one pulled from the most foreign source. The majority of Warhol’s work focuses on American imagery, and so his use of this Japanese version of an American classic can be viewed as a comment on the universality of massmedia and the global creep of an increasingly hegemonic visual culture.

By the time he made his Ad series, Warhol had been making movies for decades. He knew the seductive power and alchemy of film. Of the power of movie stars, he wrote in 1975: “That screen magnetism is something secret—if you could only figure out what it is and how to make it, you’d have a really good product to sell.”

Looking at the screenprint of James Dean, it seems that by 1985, Warhol had figured it out, and had a really great product to sell.

90 CHRISTO (1935-2020) AND JEANNE-CLAUDE (1935-2009), AMERICAN PONTE SANT’ANGELO, WRAPPED, 2011 [S. 205]

photograph mounted on rag paper with collotype, screenprint and collage on card, the full sheet; signed, dated and numbered 27/160, there were also 50 artist’s proofs; published

by Geur und Breckner, Düsseldorf, produced

by Ostfildern, Stuttgart and Schullmann Art, Munich 25 x 28.5 in — 63.5 x 72.4 cm PROVENANCE:

Private Collection, Europe $12,000 — 18,000

91 DAVID HOCKNEY (B. 1937), BRITISH MY SECOND DRAWING OF BEUVRON-EN-AUGE, 2021

11-colour inkjet print on cotton fiber archival paper, with full margins; signed, dated and numbered 47/100; offered in a cloth-bound portfolio and accompanied by two books in their original box with debossed title “220 for 2020”; published by Taschen sheet 40.4 x 18 in — 45.7 x 102.6 cm; image 36.4 x 13 in — 92.5 x 33 cm PROVENANCE:

Private Collection, Europe $60,000 — 80,000

Like Claude Monet settling into Giverny, David Hockney found his rural sanctuary in the Pays d’Auge in Normandy in 2019. He purchased property in a small village located very close to Beuvron-en-Auge, known as one of the most beautiful villages in France.

Of the move, Hockney explained: “I came to Normandy because there are more flowers here.” His house, garden and surrounding countryside became the focus of his work, specifically his iPad drawings, which the artist had been working with for over ten years.

The setting provided him with great inspiration, launching a project known as “A Year in Normandy.” Inspired by the Bayeux Tapestry—a 70-metre-long embroidery which tells the story of the conquest of England by William, Duke of Normandy in 1066—Hockney set out to capture the arrival of spring in Normandy through 100 images rendered on his iPad. Despite a global lockdown in March 2020, Hockney continued to make his drawings of the Pays d’Auge. The works he created are Impressionistic, capturing light and line with great assuredness.

The Prints of Alex Katz The great genius of Alex Katz lies in his ability to simplify, removing the inessential while never losing either elegance or rigour. The critic John Russell, in his review of Katz’s 1986 retrospective at the Whitney Museum, wrote that “the paintings look easy, the way Fred Astaire made dancing look easy and Cole Porter made words and music sound easy, but don’t let’s be fooled. When it comes to the art that conceals art, Katz is right in there with those two great exemplars.”

Printmaking has complemented Katz’s painting practice for decades, and he views his works on paper as extensions of his works on canvas. Katz has spent much of his career thinking deeply about the elusive nature of what makes a great print, noting that “printmaking is a matter of producing the same image over and over, and the image able to stand up to that treatment isn’t easy to come by.”

EARLY YEARS

Though born in Brooklyn in 1927, Katz’s Russian émigré parents relocated to St. Albans in Queens in 1928. His parents were artistic, his mother Sima having performed in the Yiddish theatre in the Lower East Side. Katz was interested in art from a young age, and by 1946 had enrolled in The Cooper Union Art School in Manhattan.

After graduating in 1949, Katz was awarded a summer scholarship at the Skowhegan School for Painting and Sculpture in Maine. At Skowhegan, Katz was taught to paint from life, a departure from his training at Cooper Union, which emphasized painting from drawings. He has explained that the free-form method he learnt at Skowhegan gave him “a reason to devote my life to painting.”

Katz’s career took off early on, when he was still in his 20s. His first solo show was at the Roko Gallery in New York in 1954—though Katz declared it “a flop.”

Katz spent the next five years working on small collages made with hand-colored paper, influenced by Matisse. This period helped Katz work out his personal style through the exploration of the elemental

forms and bright panes of flat colour that characterize his mature work.

In response to the hegemony of Abstract Expressionism which dominated Katz’s early years in the New York art world, Katz set himself the goal of creating “a new type of painting.” His aim was “a contemporary representational painting,” which led him to make a series of flat portraits. This body of work was shown at New York City’s Tanager Gallery in 1959. At the time, figuration and portraiture was considered regressive and out of fashion. Amanda Fortini, writing for a recent New York Times profile, writes that “in the wake of Abstract Expressionism, painting what was in front of him — his family, his friends, parties, beach scenes — was radical.”

PRINTMAKING

Katz began making prints as early as 1947, while still a student at Cooper Union. Linocuts and stencils were of early interest, as they allowed Katz to experiment with flatness and reduction.

However, once he had matured his painterly abilities and was able to replicate these flat swaths of colour using paint on canvas, he abandoned printmaking for nearly a decade. When he returned to printmaking in 1965, it would mark the true debut of a prolific oeuvre of works on paper.

Over his career, Katz has worked with varied techniques, working in lithography, etching, aquatint, silkscreen, woodcut and linocut. Katz’s prints are closely linked with his paintings, developing alongside one another, and have been the subject of several dedicated exhibitions. Almost all of Katz’s prints are based on a painting.

Katz explained in an interview that “I was trying to make prints that would take the place of ordinary reproductions. A reproduction never has the energy of a print. So I was using prints as genuine reproductions, so to speak—surrogate paintings. It seemed to me like a valid idea. I really don’t like printmaking for printmaking’s sake.”

Often, a single painting will inspire several prints, which vary as Katz experiments with colour and cropping. Accordingly, the prints can be seen as extensions of the paintings. Katz professes to enjoy the democratic nature of prints, particularly the idea that more than one person can own a single work. Printmaking, in Katz’s personal ideology is “a more international medium than painting because the standards are more objective, not so local… Fourteen people or fourteen institutions, can say this is the best print Picasso ever did, this is the second best, etcetera, and you get a surprising amount of agreement on these judgments. There’s a standard at work, whereas paintings and drawings are a little more elusive.”

Katz has worked with some of the best printmakers working over the past few decades, and has paid careful attention to the history of printmaking as well as to the work of his peers. Katz cites ukiyo-e as an influence, especially the work of Kitagawa Utamaro. Ukiyo-e prints are characterized by their lightness, hedonism and joie de vivre, portraying the fleeting nature of pleasure and its pursuit. Ukiyo-e focused on pictures of brothels, actresses and courtesans in Edo, and particular detail was paid to their outfits and changing fashions. Detractors of Katz’s work will sometimes cite his depictions of fashion, style and a specific tranche of privileged American life as frivolous, but like ukiyo-e, it is precisely this presentation of the beautiful and idealized which makes it profound. Both Katz and Utamaro turned their gaze towards the poignant and transitory beauty of the everyday, chronicling specific moments, catching them almost wistfully, as if in amber. Katz does not seek to capture the dramatic or the rare, preferring the everyday world around him. When the artist was a teenager, his father said: “You know, Alex, you shouldn’t go looking for scenes. You should paint your own backyard.”

92 ALEX KATZ (B. 1927), AMERICAN HARBOR 10, 2006

aquatint in colours on 400g Cartiere Magnani Corona paper, with full margins; signed and numbered 33/50; published by the Galleria Fabjbasaglia, Rimini, Italy, printed by Giancarlo Sardella Milano and Pesaro, Italy 23.6 x 19.7 in — 60 x 50 cm PROVENANCE:

Private Collection, Europe $6,000 — 7,000

93 ALEX KATZ (B. 1927), AMERICAN OLYMPIC SWIMMER, 1976 [S. 87]

screenprint in colours on Arches paper, the full sheet; signed and numbered 130/200, there were also 20 artist’s proofs and three printer’s proofs; published by Kennedy Graphics, New York 40.1 ins x 25.1 ins; 101.8 cms x 63.8 cms PROVENANCE:

Private Collection, Toronto, ON LITERATURE:

Schröder, 87 $3,000 — 5,000 NOTE:

In “Olympic Swimmer,” it is the splash of water and the strong diagonal lines of blue which suggest motion. Some sources suggest that this might be a portrait of Ada, Katz’s wife and longtime muse, who has been present in the artist’s work since their meeting in October 1957. A profile of Ada in the New York Times remarks on her signature eyebrows, which set her apart from other subjects of Katz’s work. Ada recounts: “Elaine de Kooning said, ‘Oh, well, you paint Ada all the time because her face has an easy outline, and she never changes her hair or anything...Another time, she told me, ‘I’m looking at your face, and you and Harold Rosenberg”’ — the art critic — “‘are the only ones who have those thick eyebrows.’ I thought, Oh, my God, that was very funny.”

94 ALEX KATZ (B. 1927), AMERICAN LATE JULY II, 1971 [S. 39]

lithograph in colours on Arches paper, the full sheet; signed and numbered 12/120; published by Brooke Alexander, Inc., New York, blindstamp, printed by The Bank Street Atelier, Ltd., New York sheet 22 ins x 28.5 ins; 56 cms x 72.4 cms PROVENANCE:

Private Collection, Toronto, ON LITERATURE:

Schröder, 39 $4,000 — 6,000

95 ALEX KATZ (B. 1927), AMERICAN WHITE ROSES, 2014

screenprint in colours on Saunders Waterford 425g paper, the full sheet; signed and numbered 13/50, there were also 15 artist’s proofs, four printer’s proofs and five hors commerce; published by Lococo Fine Art, St. Louis 42.5 x 84.3 in — 108 x 214 cm PROVENANCE:

Private Collection, Europe $45,000 — 65,000

This lot is not onsite and is not available for in-person preview. Please refer to the condition report for details.

There may be up to 10 business days between when the work is purchased and when it can be collected at Waddington’s.

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

Limoges porcelain with magenta chromatic coating; signed and numbered 1919/2300 in gold verso; contained in original styrofoam-lined presentation box with original plastic stand; manufactured

by Bernardaud, Limoges, France and published by the Museum of Contemporary Art, Los Angeles 10.5 x 10.4 x 5 in — 26.6 x 26.5 x 12.7 cm PROVENANCE:

Private Collection, Europe LITERATURE:

A certificate of authenticity will be delivered to the buyer. $8,500 — 10,500

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

Limoges porcelain with yellow chromatic coating; signed and numbered 2009/2300 in gold verso; contained in original styrofoam-lined presentation box with original plastic stand; manufactured by Bernardaud, Limoges, France, published by the Museum of Contemporary Art, Los Angeles 10.5 x 10.5 x 5 in — 26.6 x 26.6 x 12.7 cm PROVENANCE:

Private Collection, Europe LITERATURE:

A certificate of authenticity will be delivered to the buyer. $8,500 — 10,500

98 JEFF KOONS (B. 1955), AMERICAN CARRACCI FLOWER, FROM “TATE MODERN 21 YEARS,” 2021

archival pigment print with two colour foils on Hahnemuhle photo rag ultra smooth 305g paper, the full sheet; signed, dated and numbered 18/200; published by Counter Editions, Margate 29.9 x 23.6 in — 76 x 60 cm PROVENANCE:

Private Collection, Europe $9,000 — 12,000

99 JEFF KOONS (B. 1955), AMERICAN BALLOON DOG (BLUE), 2021

Limoges porcelain with blue chromatic coating; signed and numbered 438/799 on the underside, there were also 50 artist’s proofs, offered in the original box; published by Bernardaud, Limoges, France 15.7 x 18.9 x 6.2 in — 40 x 48 x 15.8 cm PROVENANCE:

Private Collection, Europe LITERATURE:

A certificate of authenticity will be delivered to the buyer. $40,000 — 60,000

100 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; contained in original styrofoam-lined presentation box with original plastic stand; 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, Europe LITERATURE:

A certificate of authenticity will be delivered to the buyer. $12,000 — 18,000

101 JEFF KOONS (B. 1955), AMERICAN BALLOON ANIMALS SET II (VIOLET RABBIT, ORANGE MONKEY, MAGENTA SWAN), 2019

set of three sculptures in Limoges porcelain with chromatic coating; each stamp-signed, dated and numbered 101/999 on the underside; contained in their original styrofoamlined presentation box with original plastic stands; published by Bernardaud, Limoges, France rabbit 11.5 x 5.5 x 8.3 in — 29.2 x 13.9 x 21 cm; monkey 9.8 x 8.2 x 15.4 in — 24.9 x 20.9 x 39.2 cm; swan 9.5 x 6.5 x 8.3 in — 24.1 x 16.4 x 21 cm PROVENANCE:

Private Collection, Europe LITERATURE:

A certificate of authenticity will be delivered to the buyer. $40,000 — 60,000

102 ROBERT LONGO (B. 1953), AMERICAN IVY MIKE, 2010

archival pigment print on Epson hotpressed paper, with full margins; signed, dated and numbered 7/15, there were also five artist’s proofs; published by Adamson Editions, Washington 44.8 x 34 in — 113.9 x 86.4 cm PROVENANCE:

Private Collection, Europe $17,000 — 22,000

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

chromogenic print on photo paper, with full margins; signed and numbered 29/100 in felt pen, there were also 20 artist’s proofs 10.9 x 7.3 in — 27.7 x 18.5 cm PROVENANCE:

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

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

screenprint in colours with diamond dust on Somerset paper, the full sheet; signed and numbered 82/150; published by Paul Stolper, London 37.4 x 29.5 in — 95 x 75 cm PROVENANCE:

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

105 TRACEY EMIN (B. 1963), BRITISH OVER AND OUT, 2020

lithograph in colours on Somerset velvet warm white 400g paper, with full margins; signed, dated and numbered 20/50; published by Counter Studio, Margate 10.2 x 8.6 in — 25.8 x 21.9 cm PROVENANCE:

Private Collection, Europe $10,000 — 15,000

107 TRACEY EMIN (B. 1963), BRITISH EVEN SAYING NOTHING IS A LIE, FROM “A JOURNEY TO DEATH,” 2021

lithograph in colours on Somerset velvet warm white 400g paper, with full margins; signed, dated and numbered 3/50; published by Counter Studio, Margate 37 x 29.1 in — 94 x 74 cm PROVENANCE:

Private Collection, Europe $12,000 — 18,000

106 TRACEY EMIN (B. 1963), BRITISH A FEELING OF SHOCK, FROM “A JOURNEY TO DEATH,” 2021

lithograph in colours on Somerset velvet warm white 400g paper, with full margins; signed, dated and numbered 3/50; published by Counter Studio, Margate 37 x 29.1 in — 94 x 74 cm PROVENANCE:

Private Collection, Europe $12,000 — 18,000

108 JULIAN OPIE (B. 1958), BRITISH TWENTY-SIX PORTRAITS, 2006 [C. 95]

the complete book of 26 prints in colours with 16 bound lithographs, five lambda prints and five screenprints on wove paper, the full sheets; signed and numbered 221/250 on the justification page, with text by the artist, bound in cloth-covered book and contained in a navy silk-covered slipcase, there were also 50 artist’s proofs numbered in Roman; published by Alan Cristea Gallery, London 16.8 x 12 x 0.8 in — 42.6 x 30.4 x 2 cm PROVENANCE:

Private Collection, Toronto, ON LITERATURE:

Alan Cristea Gallery 95 $3,500 — 4,500

109 ANTONY GORMLEY (B. 1950), BRITISH TOGETHER, 2020

photopolymer gravure on Somerset 300g soft white textured paper, with full margins; signed, dated and numbered 153/250 verso; published by White Cube, London 16 x 23.2 in — 40.7 x 59 cm PROVENANCE:

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

110 PETER DOIG (B. 1959), SCOTTISH D1-5 ALPINIST NIGHT, FROM “ZERMATT,” 2022

giclée print on smooth cotton rag paper, the full sheet; signed with the initials “PD” and numbered 205/250, there were also 25 artist’s proofs; published by HENI, London & Fondation Beyeler, Riehen, Switzerland 44.9 x 31.5 in — 114 x 80 cm PROVENANCE:

Private Collection, Europe $10,000 — 15,000

111 PETER DOIG (B. 1959), SCOTTISH CAT, CHRIST, AVALANCHE, 2021

etching with aquatint on paper, spitbite, with full margins; signed and numbered 6/20 verso; there were also five artist’s proofs, five printer’s proofs and one bon à tirer; published by Two Palms, New York sheet 25 x 18 in — 63.5 x 45.7 cm; plate 19 x 12 in — 48.3 x 30.5 cm PROVENANCE:

Private Collection, Europe $12,000 — 18,000

112 PETER DOIG (B. 1959), SCOTTISH TWO BROTHERS (RED), 2021

etching with aquatint in red, spitbite, the full sheet; signed and numbered 6/20 verso, there were also five artist’s proofs, five printer’s proofs and one bon à tirer; published by Two Palms, New York sheet 20 x 16 in — 50.8 x 40.6 cm; plate 14 x 10 in — 35.6 x 25.4 cm PROVENANCE:

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

113 PETER DOIG (B. 1959), SCOTTISH FISHERMAN, 2014

archival digital pigment print in colours on Somerset 300g photo rag paper, the full sheet; signed, dated and numbered 147/500; published by the Montreal Museum of Fine Art 34.4 x 27.2 in — 87.5 x 69 cm PROVENANCE:

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

114 KAWS (BRIAN DONNELLY) (B. 1974), AMERICAN SHARE, 2021

screenprint in colours on grey Stonehenge paper, the full sheet; signed, dated and numbered 89/500, there were also 100 artist’s proofs; published by the artist, New York 20 x 16 in — 50.8 x 40.6 cm PROVENANCE:

Private Collection, Europe $8,500 — 10,500

115 DANIEL ARSHAM (B. 1980), AMERICAN ERODED CLASSICAL PRINTS, 2020

the complete set of three screenprints on archival paper; each signed and numbered 58/99; contained in a cloth-covered portfolio with three enamel name plates in a separate case, offered in the original wooden crate; published by Arsham Studios, New York 24 ins x 18 ins; 61 cms x 45.7 cms PROVENANCE:

Private Collection, Toronto, ON $17,000 — 20,000

116 DONALD SULTAN (B. 1951), AMERICAN BIG POPPIES, 2014

set of three screenprints in colours with flocking on museum board, with full margins; each signed, dated and numbered 11/30; published and printed by Lococo Fine Art, St. Louis, inkstamp verso 60.2 x 60.2 in — 153 x 153 cm PROVENANCE:

Private Collection, Europe $25,000 — 30,000

117 DONALD SULTAN (B. 1951), AMERICAN SILVER LANTERN FLOWERS, 2014

polished aluminum on black aluminium base; signed, titled, dated and numbered 5/12 (all incised), contained in the original foam-lined white cardboard box; published by Lococo Fine Art, St. Louis 18 x 19.5 x 3 in — 45.7 x 49.5 x 7.6 cm PROVENANCE:

Private Collection, Europe $10,000 — 15,000

118 DONALD SULTAN (B. 1951), AMERICAN RED POPPIES, 2015

powder-coated aluminium on polished aluminium base; initialed “DS”, titled, dated and numbered 8/25 under the base (all incised); contained in the original foamlined white cardboard box; published by Lococo Fine Art, St. Louis 24.4 x 24 x 3 in — 62 x 61 x 7.6 cm PROVENANCE:

Private Collection, Europe $17,000 — 22,000

119 DONALD SULTAN (B. 1951), AMERICAN BLACK TULIPS AND VASE, 2014

painted black aluminum on polished aluminium base; signed, titled, dated and numbered 17/50 (all incised); contained in the original foam-lined white cardboard box; published by Lococo Fine Art, St. Louis 24 x 20 in — 61 x 50.8 cm PROVENANCE:

Private Collection, Europe $8,500 — 10,500

120 BERNAR VENET (B. 1941), FRENCH EFFONDREMENT, 2014

set of two etchings in black on wove paper, with full margins; each signed and numbered 5/40; published by Polígrafa Obra Gráfica, Barcelona each 30 x 37.4 in — 76.2 x 94.9 cm PROVENANCE:

Private Collection, Europe $8,500 — 10,500

121 BERNAR VENET (B. 1941), FRENCH FOUR INDETERMINATE LINES, 2014

etching, polymer gravure and carborundum on white UK Somerset paper, with full margins; signed, titled and numbered 19/50, there were also 10 artist’s proofs and four printer’s proofs; published

by World House Editions, Middlebury, Connecticut, printed by Peter Kosowisz, Thumbprint Editions, London 46.1 x 62.9 in — 117.2 x 159.7 cm PROVENANCE:

Private Collection, Europe $25,000 — 35,000

122 IMI KNOEBEL (B. 1940), GERMAN UNA’S HAUS, 2015

linocut in colours on wove paper, with full margins; signed and justified “PP 9/10”, an aside from the edition of 100, published

by Edition Copenhagen 27.2 x 39.4 in — 69 x 100 cm PROVENANCE:

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

123 JAN HENDERIKSE (B. 1937), DUTCH ZERO, 2016

white neon and transformer; signed, dated and numbered 3/6 on transformer verso; offered in its original titled wooden box 9.8 x 17.3 x 3.3 in — 25 x 44 x 8.5 cm PROVENANCE:

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

124 COLLIN SEKAJUGO (B. 1980), UGANDAN BOY IN WHEELCHAIR, 2022

3D print and silicon on canvas, mounted on Dibond, the full sheet; signed and numbered 3/20 to label verso; published

by Lito, Bregenz, Austria 37.4 x 31.9 in — 95 x 81 cm PROVENANCE:

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

125 COLLIN SEKAJUGO (B. 1980), UGANDAN WOMAN EATING SALAD, 2022

3D print and silicon on canvas, mounted on Dibond, the full sheet; signed and numbered 3/20 to label verso; published

by Lito, Bregenz, Austria 35.4 x 22 in — 90 x 56 cm PROVENANCE:

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

126 OLAFUR ELIASSON (B. 1967), DANISH CONTACT IS CONTENT AT SELJALANDSFOSS, 2014

diptych of chromogenic prints on Fujicolor-Professional paper, with full margins; signed on the enclosed label and numbered 78/100; the two prints offered in their original gray cloth-bonded box and enclosed in a portfolio displaying the two pictures each 20.9 x 16.5 in — 53 x 42 cm PROVENANCE:

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

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

laminated giclée print on aluminum composite panel, the full panel; stampedsigned, titled and numbered 577/1928 verso; published by Heni Productions, London in collaboration with Fondazione Prada 30.7 x 30.7 in — 78 x 78 cm PROVENANCE:

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

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

laminated giclée print on aluminum composite panel, the full panel; stampedsigned, titled and numbered 937/3308 verso; published by Heni Productions, London in collaboration with Fondazione Prada 15.4 x 15.4 in — 39 x 39 cm PROVENANCE:

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

129 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 442/2173; published by Heni Editions, London 15.4 x 15.4 in — 39 x 39 cm PROVENANCE:

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

130 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 562/1698; published by Heni Editions, London 27.6 x 28.6 in — 70 x 72.7 cm PROVENANCE:

Private Collection, Europe $3,000 — 5,000

131 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 13.8 x 14.3 in — 35 x 36.4 cm PROVENANCE:

Private Collection, Europe $3,000 — 5,000

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

laminated giclée print in colours on aluminum composite panel, the full panel; stamp-signed and numbered 523/1497; published by Heni Editions, London 19 x 39.4 in — 48.2 x 100 cm PROVENANCE:

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

133 DAMIEN HIRST (B. 1965), BRITISH BUTTERFLY RAINBOW (SMALL), 2020 [H7-2]

laminated giclée print in colours on aluminum composite panel, the full panel; stamp-signed and numbered 501/4150; published by Heni Editions, London 9.5 x 19.7 in — 24.1 x 50 cm PROVENANCE:

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

134 GARY SIMMONS (B. 1964), AMERICAN HOLLYWOOD, 2013

UV pigment print on aluminum sheet, the full sheet; signed and numbered 4/15 to label verso; published by Adamson Editions, Washington D.C. 48 x 36 in — 121.9 x 91.4 cm PROVENANCE:

Private Collection, Europe $7,000 — 9,000

135 JR (B. 1983), FRENCH JR AU PALAIS DE TOKYO, 28 AOÛT 2020, 16H12, PARIS, FRANCE, 2020

lithograph in colours on wove paper, with full margins; signed, dated and numbered 157/180; published by Social Animals, Paris 27.6 x 39.4 in — 70 x 100 cm PROVENANCE:

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

136 JR (B. 1983), FRENCH TROMPE L’OEIL, DEATH VALLEY, BILLBOARD, MARCH 4, 2017, 5:41 PM, CALIFORNIA, USA, 2021

lithograph in colours on white BFK Rives 270g paper, with full margins; signed and numbered 105/180; published by Social Animals, Paris 19.7 x 33.5 in — 50 x 85 cm PROVENANCE:

Private Collection, Europe $1,600 — 2,000

137 DAMIEN HIRST (B. 1965), BRITISH WU ZETIAN (THE EMPRESSES), 2022 [H10-1]

laminated giclée print on aluminium composite screenprinted with glitter, the full panel; signed and numbered 2298/2853; published by Heni Editions, London 39.4 x 39.4 in — 100 x 100 cm PROVENANCE:

Private Collection, Europe $6,500 — 8,500

138 DAMIEN HIRST (B. 1965), BRITISH THEODORA (THE EMPRESSES), 2022 [H10-3]

laminated giclée print on aluminium composite screenprinted with glitter, the full panel; signed and numbered 3126/3315; published by Heni Editions, London 39.4 x 39.4 in — 100 x 100 cm PROVENANCE:

Private Collection, Europe $6,500 — 8,500

139 DAMIEN HIRST (B. 1965), BRITISH TAYTU BETUL (THE EMPRESSES), 2022 [H10-5]

laminated giclée print on aluminium composite panel, the full panel; signed and numbered 1861/2814; published by Heni Editions, London 39.4 x 39.4 in — 100 x 100 cm PROVENANCE:

Private Collection, Europe $6,500 — 8,500

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 announcements. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any announcements or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s™ (auctioneer) and the consignor (seller) of the lot. Description or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale.

''

All of the items are to be considered, unless otherwise noted in the catalogue 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 have our staff answer any questions before bidding. Sizes are approximate. Frames on artwork are not included as part of purchase or condition. 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.

’'

Waddington’s charges a buyer’s premium of 23% on the hammer price up to and including $25,000 CAD. Hammer prices in excess of $25,000 CAD will be charged a buyer’s premium of 20%. Buyer’s premium and applicable Canadian taxes are added to the hammer price.

A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer’s premium except for any items directly shipped from our premises out of 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 for purchases must be by cash;  direct debit (CDN clients in person only); certified cheque (U.S. & Overseas not applicable); bank dra); E-Transfer; Wire Transfer (fee applies);  or Mastercard (up to $25,000).

'''' '''﹙﹚

Selling at Waddington’s 

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 and insurance expenses. 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: PakShip ,-.-01--23104/4052-6,7-366.4/4,-.-01--231.4 taurus@pakship.ca / www.pakship.ca Safer Shipping Inc. 052-6,,-7721 / 052-6,,-,1.perry@safershipping.ca / www.safershipping.ca

''

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.



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



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

'

For auction advice on paintings, drawings, prints, jewellery, and various forms of decorative arts and other collectibles, please 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 (052-.-0-,5--).

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, se9ing forth terms and fees for our services.

Conditions of Sale !"#Each lot is subject to a premium of 23% on the hammer price up to and including $25,000 CAD. Hammer prices in excess of $25,000 CAD will be charged a buyer’s premium of 20%. Buyer’s premium and applicable Canadian taxes are added to the hammer price. $"#Unless exempted by law, the buyer is required to pay Federal Good and Services Tax on the total purchase price including the buyer’s premium. %" 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. &"# 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. (" 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 a)endance at the sale. *#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.

7. Immediately a+er 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.

8. The buyer shall pay for all lots within 48 hours from the date of the sale, a+er 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, a+er which storage charges may be incurred.

9. 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.

10. 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 online and/or announced via email prior to the time of sale. While the auctioneer has endeavored 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.

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. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid and to bid accordingly.

11. Payment for purchases must be by cash;  direct debit (CDN client in person only); certified cheque (U.S. & Overseas not applicable); bank dra+; E-Transfer; Wire Transfer (fee applies);  or Mastercard (up to $25,000).

12. 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 r e-sale 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.

13. 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.

14. The auctioneer acts solely as agent for the consignor and makes no representation as to any a)ribute 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).

15. 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 123 King Street East, Second Floor Toronto, Ontario4M3A45K1

﹕%&'(-)*&-+'** %﹕%'-/00-)*&-)0** www.waddingtons.ca