Editions_final Contemporary Art
Post on 07-Nov-2014
139 Views
Preview:
DESCRIPTION
Transcript
JU
NE
22
00
9N
EW
YO
RK
NY
03
01
09
EDITIONSM
OD
ER
NA
ND
CO
NT
EM
PO
RA
RY
MODERN AND CONTEMPORARY
ED IT I ONSJUNE 2 2 0 0 9 N E W YO R K
WWW.PHILLIPSDEPURY.COM
RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)
Alex Katz, Ada, 1994, Lot 269 (detail)
Front Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)
MODERN AND CONTEMPORARY
ED IT I ONSJUNE 2 2 0 0 9 2pm N EW YO R K
Viewing
Wednesday May 27 – Saturday May 30 10am – 6pm
Sunday May 31 Noon – 6pm
Monday June 1 10am – 6pm
Tuesday June 2 Noon – 2pm
1
1 LARRY ZOX 1936-2006
Silkscreen from Banners (2); Untitled (broken horizontal); Untitled (2)
and Untitled suite, 1970
Eleven screenprints in colors, on wove paper, the full sheets and with full
margins, all signed and variously numbered in pencil, the Untitled suite
published by Chiron Press, NewYork (with their blindstamp), Banners published
by Multiples, Inc., NewYork, all with varying degrees of soiling, scuffing, soft
handling and other creases (occasionally with associated ink loss), occasional
minor accretions, two with tears at the sheet edges, otherwise all in good
condition, all unframed.
various sizes
Estimate $1,200-1,800 Sarah Morris, Rock Greek [Capital] (2002) sold at Phillips de Pury
& Company, February 29 2008 [lot 343]
2 AL HELD 1928-2005
Scholes I and II, 1991
Two screenprints in colors, on Arches cover paper, with full margins, both
signed and numbered 16/80 and 13/80 in pencil (there were also 15 artist’s
proofs), published by the Metropolitan Museum of Art, NewYork (with their
blindstamp), both in excellent condition, both unframed.
both I. 23 1/8 x 29 in. (58.7 x 73.7 cm)
both S. 28 7/8 x 34 in. (73.3 x 86.4 cm)
Estimate $1,800-2,500
3 LIAM GILLICK b. 1964
Literally No Place, 2001
The complete set of five Plexiglas and three aluminium plates in colors, signed
and numbered 66/70 in black ink on the accompanying certificate (there was
also an edition of 25 in Roman numerals), published by Parkett Editions, Zurich
and NewYork, a few of the Plexiglas plates with very minor scuffing, otherwise
all in very good condition, contained in original foam-lined cardboard box.
all 10 x 8 1/4 x 1/8 in. (25.4 x 21 x .3 cm)
Estimate $1,200-1,800
LITERATURE Edition for Parkett 61
4 ANNE APPLEBY b. 1954
Jasmine, 2000
Aquatint in colors with burnishing, on wove paper, with full margins, signed,
dated ‘2000’, titled and numbered 5/35 in pencil (there were also 10 artist’s
proofs), published by Crown Point Press, San Francisco (with their blindstamp),
in excellent condition, unframed.
I. 15 7/8 x 25 7/8 in. (40.3 x 65.7 cm)
S. 28 x 38 in. (71.1 x 96.5 cm)
Estimate $800-1,000
2
3
4
5 ELLSWORTH KELLY b. 1923
Blue with Yellow (Untitled), 1965
Lithograph in colors, on Arches paper, with full margins, signed and numbered
35/90 in pencil (there were no artist’s proofs), published by Galerie Adrien
Maeght, Paris, the sheet slightly toned, a crescent shaped crease at the upper
right margin (near the image), affixed to the support at the reverse of the upper
corners (slightly showing through), otherwise in very good condition, framed.
I. 15 1/2 x 12 1/8 in. (39.4 x 30.8 cm)
S. 25 1/2 x 19 in. (64.8 x 48.3 cm)
Estimate $2,500-3,500
LITERATURE Richard Axsom 31
6 ELLSWORTH KELLY b. 1923
Untitled (Green Curve, Philadelphia), 1993
Lithograph in green, on wove paper, the full sheet, signed and annotated ‘AP XI’
in pencil (an artist’s proof, the edition was 40), in excellent condition, unframed.
S. 21 1/2 x 18 in. (54.6 x 45.7 cm)
Estimate $2,500-3,500
5
6
7
7 ELLSWORTH KELLY b. 1923
Small Black Curve, 1996
Lithograph, on wove paper, with full margins, signed and numbered 18/56
in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L.,
Los Angeles (with their blindstamps), in excellent condition, unframed.
I. 16 x 19 1/2 in. (40.6 x 49.5 cm)
S. 22 x 25 in. (55.9 x 63.5 cm)
Estimate $2,500-3,500
8 ELLSWORTH KELLY b. 1923
Orange, 2004
Lithograph in orange, on wove paper, with full margins, signed and numbered
‘AP 9/44’ (an artist’s proof, the edition was 250), published by Gemini G.E.L.,
Los Angeles (with their blindstamps), in excellent condition, framed.
I. 11 1/2 x 7 3/4 in. (29.2 x 19.7 cm)
S. 16 x 12 in. (40.6 x 30.5 cm)
Estimate $2,000-3,000
9 LEON POLK SMITH 1906-1996
[3 screenprints], circa 1970
Three screenprints in colors, on heavy wove paper, the full sheets, all signed
and numbered 57/150, 61/150 and 57/150 respectively, all with occasional
scuffing, [Blue/Black] with a few nicks at the sheet edges (with associated ink
loss), otherwise all in good condition, all unframed.
all S. 33 x 23 1/4 in. (83.8 x 59.1 cm)
Estimate $1,200-1,800
8
9
10
11
10 MARY HEILMANN b. 1940
Sound of White Water; Earth/Air; African and Arbor Piece, 2000
Four lithographs in colors, on wove paper, with full margins, all signed, dated
‘00’, Sound of White Water and Earth/Air numbered 18/350 and African and Arbor
Piece numbered 17/350 in pencil (there were also 10 artist’s proofs), published
by the Public Art Fund, NewYork, all in excellent condition, all framed.
all I. 22 1/2 x 34 3/8 in. (57.2 x 87.3 cm)
all S. 27 x 38 3/8 in. (68.6 x 97.5 cm)
Estimate $2,000-3,000
11 MARY HEILMANN b. 1940
Hip Hop, 2002
Aquatint in colors, on Arches paper, with full margins, signed, dated ‘02’ and
numbered 9/25 in pencil (there were also 8 artist’s proofs), published by Pace
Editions, Inc., NewYork, in very good condition, framed.
I. 32 5/8 x 25 3/4 in. (82.9 x 65.4 cm)
S. 39 x 30 in. (99.1 x 76.2 cm)
Estimate $1,000-1,500
13 MARYLYN DINTENFASS b. 1943
Quadrille VI, 2002
Oil on paper monotype with hand-coloring, on Arches Cover paper, with full
margins, signed, dated ‘2002’ and titled in pencil, with the Lisa Mackie Studio,
NewYork, blindstamp, in excellent condition, framed.
I. 23 7/8 x 23 5/8 in. (60.6 x 60 cm)
S. 31 1/2 x 32 in. (80 x 81.3 cm)
Estimate $2,500-3,500
12 MARYLYN DINTENFASS b. 1943
Quadrille IV, 2002
Oil on paper monotype with hand-coloring, on Arches Cover paper, with full
margins, signed, dated ‘2002’ and titled in pencil, with the Lisa Mackie Studio,
NewYork, blindstamp, in excellent condition, framed.
I. 31 1/2 x 32 in. (80 x 81.3 cm)
S. 23 7/8 x 23 3/4 in. (60.6 x 60.3 cm)
Estimate $2,500-3,500
13
12
14
∆ 14 SOL LE WITT 1928-2007
Horizontal Wavy Lines, 1996
Aquatint in colors, on two sheets of Japanese paper, with full margins (printed
to one side of each), signed and numbered 7/36 in pencil (there were also 8
artist’s proofs), published by One Great Jones, NewYork, a very faint thinned
spot in the right panel at bottom right, very pale mottled staining in the top right
margin, otherwise in very good condition, shrink-wrapped.
I. 20 x 94 in. (50.8 x 238.8 cm)
S. 32 x 103 in. (81.3 x 261.6 cm)
Estimate $6,000-9,000
15
17
16
15 SOL LE WITT 1928-2007
Arcs from sides or corners, grids and circles series: two plates, 1972
Two screenprints in colors, on wove paper, with full margins, both signed
and annotated ‘AP 6’ in pencil (the edition was 100), published by Pio Monti,
Macerata, Italy, both in very good condition, both unframed.
both I. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm)
both S. 14 7/8 x 14 7/8 in. (37.8 x 37.8 cm)
Estimate $2,500-3,500
LITERATURE Tate Gallery S11
Including: (plate) 20. Blue grid, black circles, red arcs from four sides,
and yellow arcs from four corners; and (plate) 10. Yellow grid, red
circles, blue arcs from four sides, and black arcs from four corners
17 SOL LE WITT 1928-2007
Arcs from sides or corners, grids and circles series: two plates, 1972
Two screenprints in colors, on wove paper, with full margins, both signed
and annotated ‘AP 6’ in pencil (the edition was 100), published by Pio Monti,
Macerata, Italy, both in very good condition, both unframed.
both I. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm)
both S. 14 7/8 x 14 7/8 in. (37.8 x 37.8 cm)
Estimate $2,500-3,500
LITERATURE Tate Gallery S11
Including: (plate) 7. Yellow grid, black circles, red arcs from four
sides, and blue arcs from four corners; and (plate) 14. Red grid, black
circles, blue arcs from four sides, and yellow arcs from four corners
16 SOL LE WITT 1928-2007
Arcs from sides or corners, grids and circles series: two plates, 1972
Two screenprints in colors, on wove paper, with full margins, both signed
and annotated ‘AP 6’ in pencil (the edition was 100), published by Pio Monti,
Macerata, Italy, both in very good condition, both unframed.
both I. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm)
both S. 14 7/8 x 14 7/8 in. (37.8 x 37.8 cm)
Estimate $2,500-3,500
LITERATURE Tate Gallery S11
Including: (plate) 4. Black grid, blue circles, red arcs from four sides,
and yellow arcs from four corners; and (plate) 24. Blue grid, red
circles, yellow arcs from four sides, and black arcs from four corners
18 ROBERT RYMAN b. 1930
Prints 1969-1993 (the Catalogue Raisonné by Amy Baker Sandback) including
Untitled (six original etchings), 1993
The complete set of six etchings in shades of white, plus the Catalogue
Raisonné of the artist’s work from 1969-1993, the prints on wove paper, the full
sheets, one print signed, dated ‘93 and numbered 41/50, the catalogue raisonné
printed in an edition of 250, published by Parasol Press, NewYork, the prints in
excellent condition, all unframed, contained in original linen-covered fold-out
box with the artist’s name embossed on the front.
14 1/4 x 14 1/2 in. (36.2 x 36.8 cm)
Estimate $1,800-2,500
19 BRICE MARDEN b. 1938
Etchings to Rexroth: plate 9, 1986
Etching and aquatint, on Rives BFK paper, with full margins, signed, dated ‘89’,
inscribed ‘9’ and annotated ‘PP3’ in pencil (a printer’s proof, the edition was
45 and 10 artist’s proofs), published by Peter Blum Edition, NewYork, the palest
light-staining, otherwise in very good condition, unframed.
I. 8 x 6 7/8 in. (20.3 x 17.5 cm)
S. 19 1/2 x 15 3/4 in. (49.5 x 40 cm)
Estimate $2,000-3,000
LITERATURE Jeremy Lewison 40/9
20 MARK DI SUVERO b. 1933
Untitled, 1972
Torch-cut steel multiple in five pieces, signed with initials, dated and numbered
184/250 (engraved on the underside of one piece), published by Gemini G.E.L.,
Los Angeles (with their stamps), all pieces with varying degrees of rust and
oxidation, otherwise in very good condition, contained in original cardboard box.
9 7/8 x 7 7/8 in. (25.1 x 20 cm)
Estimate $3,000-4,000
LITERATURE Gemini G.E.L. 391
The configuation of this sculpture is variable and many sizes are
possible.The listed dimensions represent the sculpture at its most
compact arrangement, fit together like a puzzle.
18
19
20
two configurations
21 DONALD JUDD 1928-1994
Untitled (New Museum Multiple), 1986
Folded aluminum and black Plexiglas multiple, stamped ‘JUDD Bernstein Bros.
Inc’ and numbered, 7-40 on the reverse (there were also 10 artist’s proofs),
published by Brooke Alexander Editions, NewYork, to benefit the New Museum,
NewYork, occasional scuffing, an abrasion in the upper panel at right and a few
abrasions along the edges, otherwise in good condition.
27 3/4 x 28 x 3 in. (70.5 x 71.1 x 7.6 cm)
Estimate $20,000-30,000
LITERATURE Edition Schellmann 13
22
23
22 DONALD JUDD 1928-1994
Untitled: three plates, 1980
Three aquatints, on etching paper, with full margins, all signed and numbered
135/150 (Sch. 120), 135/150 (Sch. 121) and ‘A.P. 14/20’ (Sch. 122) in pencil (the
edition was 150 plus 20 artist’s proofs for all), published by the artist, all with
occasional soft handling creases, (Sch. 120) with minor surface soiling, (Sch.
122) with a crease at the lower right image, a few minute foxmarks in the
margins, otherwise all in very good condition, two framed, one unframed.
all I. 24 1/2 x 29 1/2 in. (62.2 x 74.9 cm)
all S. 29 1/2 x 34 3/8 in. (74.9 x 87.3 cm)
Estimate $4,000-6,000
LITERATURE Edition Schellmann 120-22
23 AGNES MARTIN 1912-2004
15A, 1973
Screenprint in gray, on Japanese rag paper, with full margins, signed and
numbered 13/50 in pencil (there were also 15 artist’s proofs lettered a-o),
published by Parasol Press, Ltd., NewYork, a few very soft handling creases,
glued to the support at the upper sheet corners (slightly showing through),
otherwise in very good condition, unframed.
I. 6 7/8 x 8 in. (17.5 x 20.3 cm)
S. 12 x 12 in. (30.5 x 30.5 cm)
Estimate $2,500-3,500
This is a separate edition than plate 15 from On a Clear Day
portfolio.The paper is slightly heavier and darker.
24 JOSEF ALBERS 1888-1976
Gray Instrumentation I: Gray Instrumentation I g, 1974
Screenprint in colors, on Arches 88 paper, with full margins, signed, titled and
numbered 8/36 in pencil (there were also 10 artist’s proofs), published byTyler
Graphics Ltd., BedfordVillage, NewYork (with their blindstamp), an area of
minor soiling in the upper grey square, two minute accretions in the upper left
margin, otherwise in very good condition, framed.
I. 11 x 11 in. (27.9 x 27.9 cm)
S. 19 x 19 in. (48.3 x 48.3 cm)
Estimate $1,000-1,500
LITERATURE Tyler Graphics 25; Brenda Danilowitz 225.7
25 JOSEF ALBERS 1888-1976
The Critic and the Visual Arts, 1965
Screenprint poster in colors with text, on Rives BFK paper, with full margins
(folded back at top), signed, dated ‘65’ and numbered 80-100 in pencil (there
were also 7 artist’s proofs), published by Ives-Sillman, Inc., New Haven (with
their blindstamp), occasional minor scuffing and soft handling creases, soiling,
staining and creasing in the margins, folded under at the upper sheet (approx.
20 in.), taped to the overmat at the reverse of the upper and center edges,
otherwise in good condition, framed.
I. 25 x 25 in. (63.5 x 63.5 cm)
S. 40 x 29 5/8 in. (101.6 x 75.2 cm)
Estimate $1,000-1,500
LITERATURE Brenda Danilowitz 166
24
25
26 JOSEF ALBERS 1888-1976
I-S e, 1970
Screenprint in colors, on German Etching paper, with full margins, signed with
initials, dated ‘70’, titled and numbered 82/125 in pencil (there were no artist’s
proofs), published by Ives-Sillman, Inc., New Haven (with their blindstamp),
slight rippling, two minor creases at the upper center and left center margins
(near the image, but not distracting), a small pale foxmark in the left margin,
otherwise in good condition, framed.
I. 13 5/8 x 13 5/8 in. (34.6 x 34.6 cm)
S. 21 1/2 x 21 1/2 in. (54.6 x 54.6 cm)
Estimate $1,000-1,500
LITERATURE Brenda Danilowitz 194
27 JOSEF ALBERS 1888-1976
Six Variants portfolio: I-S Va 3, 1969
Screenprint in colors, on Arches paper, with full margins, signed, dated ‘69’,
titled and numbered 89/150 in pencil (there were no artist’s proofs), published
by Ives-Sillman, Inc., New Haven (with their blindstamp), light-staining, two soft
handling creases and a pressure mark in the center of the bright green area, a
scuff in the center image (mainly visible in raking light), a soft crease and mat
staining along the extreme right sheet edge, otherwise in good condition, framed.
I. 24 x 27 3/4 in. (61 x 70.5 cm)
S. 27 7/8 x 35 5/8 in. (70.8 x 90.5 cm)
Estimate $1,000-1,500
LITERATURE Brenda Danilowitz 192.3
28 JOSEF ALBERS 1888-1976
Six Variants portfolio: I-S Va 2, 1969
Screenprint in colors, on Arches paper, with full margins, signed, dated ‘69’,
titled and numbered 41/150 in pencil (there were no artist’s proofs), published
by Ives-Sillman, Inc., New Haven (with their blindstamp), pale light- and mat
staining, a few very minor handling creases in the margins, a few nicks in places
along the sheet edges, otherwise in good condition, framed.
I. 21 1/2 x 29 7/8 in. (54.6 x 75.9 cm)
S. 27 7/8 x 35 3/8 in. (70.8 x 89.9 cm)
Estimate $1,000-1,500
LITERATURE Brenda Danilowitz 192.2
26
27 28
29 SEAN SCULLY b. 1945
Untitled (Working Proof for π), 1994
Unique etching and aquatint in black and gray with collage, on Somerset and
wove paper, with full margins, signed, dated ‘94’, annotated ‘working proof’ and
with pencil notations in pencil (a unique work, apart from the final edition of 98
and 18 artist’s proofs), published by Bernd Klüser, Munich, occasional soiling
and staining in the margins, otherwise in very good condition, framed.
I. 15 7/8 x 19 3/4 in. (40.3 x 50.2 cm)
S. 22 1/4 x 31 in. (56.5 x 78.7 cm)
Estimate $5,000-7,000
LITERATURE see Dominique Tonneau-Ryckelynck 94005
30 JAMES SIENA b. 1958
Shifted Lattice, 2006
Screenprint in colors, on wove paper, with full margins, signed, dated ‘06’
and numbered 4/118 in pencil (there were also 18 artist’s proofs), published
by Lincoln Center List Poster and Print Program, NewYork, in excellent
condition, unframed.
I. 30 x 23 1/2 in. (76.2 x 59.7 cm)
S. 36 1/2 x 28 3/4 in. (92.7 x 73 cm)
Estimate $900-1,200
29
30
31 FRANK STELLA b. 1936
Imaginary Places: Calvinia, 1995
Mixed media print in colors, on handmade paper, the full sheet, signed, dated
‘95’ and numbered 16/50 in pencil (there were also 16 artist’s proofs), published
byTyler Graphics Ltd., Mount Kisco, NewYork (with their blindstamp), soiling
at the left sheet edges, otherwise in very good condition, unframed.
S. 20 5/8 x 52 in. (52.4 x 132.1 cm)
Estimate $5,000-7,000
32 FRANK STELLA b. 1936
Angriff, from Conspiracy: The Artist as Witness portfolio, 1971
Screenprint, on Fabriano paper, with full margins, signed, dated ’71 and
numbered 38/150 in pencil (there were also 25 artist’s proofs), published by David
R. Godine Publishers and the Center for Constitutional Rights, NewYork, a small
pale white scuff in the top outermost black band of the square, a pale black
scuff above the square (measuring 3/8 in.), hinged to the support at the reverse
of the upper corners (with slight puckering showing through on the front),
otherwise in good condition, unframed.
I. 10 x 10 1/2 in. (25.4 x 26.7 cm)
S. 18 x 24 in. (45.7 x 61 cm)
Estimate $700-900
LITERATURE Richard Axsom appendix I.C
31
32
33 HOWARD HODGKIN b. 1932
Lotus, 1980
Screenprint in colors with embossing, on Arches mould-made paper, with full
margins, signed, dated ‘80’ and numbered 42/100 in pencil (there were also 15
artist’s proofs), published by Bernard Jacobson Ltd., London, in excellent
condition, unframed.
I. 29 x 36 in. (73.7 x 91.4 cm)
S. 31 1/2 x 42 in. (80 x 106.7 cm)
Estimate $1,200-1,800
LITERATURE Liesbeth Heenk p. 222
33
34
35
35 SAM FRANCIS 1923-1994
Poèmes dans le ciel: Untitled, 1986
Lithograph in colors, on Rives BFK paper, the full sheet, signed and annotated
‘CTP’ in pencil (one of four presumably unique color trial proofs, the edition was
176), published by Philosophie des Arts and Francis Delille, Paris, in excellent
condition, framed.
S. 30 x 22 1/2 in. (76.2 x 57.2 cm)
Estimate $2,000-4,000
LITERATURE Connie Lembark L 269
34 SAM FRANCIS 1923-1994
Blue Blood Stone, 1960
Lithograph in colors, on Rives BFK paper, the full sheet, signed and numbered
20/50 in pencil (there were also an unknown number of artist’s proofs), published
by Kornfeld and Klipstein, Bern, the sheet slightly toned, soiling along the edges,
otherwise in very good condition, framed.
S. 35 5/8 x 24 7/8 in. (90.5 x 63.2 cm)
Estimate $2,000-3,000
LITERATURE Connie Lembark L7
36 ROBERT MOTHERWELL 1915-1991
El General, 1980
Lithograph in black an cream, on Kisuki Hanga Dosa handmade paper, the full
sheet, signed and numbered 2/49 in pencil (there were also 16 artist’s proofs in
Roman numerals), published byTyler Graphics, Ltd, BedfordVillage, NewYork
(with their blindstamp), in very good condition, unframed.
S. 40 1/2 x 37 1/4 in. (102.9 x 94.6 cm)
Estimate $1,200-1,600
LITERATURE Siri Engberg and Joan Banach 246
38 ROBERT MOTHERWELL 1915-1991
Untitled, from New York Portfolio, 1982
Lithograph in colors with embossing, on Arches Cover mould-made paper, the
full sheet, signed and numbered 136/250 in pencil (there were also a total of 70
artist’s proofs), published by NewYork Graphic Society, Greenwich, Connecticut,
occasional soft handling creases, creasing at the lower right corner, hinge
remains on the reverse of the corners (one with associated skinning, two with
associated staining slightly showing through on the front), otherwise in good
condition, unframed.
S. 30 x 22 3/8 in. (76.2 x 56.8 cm)
Estimate $800-1,000
LITERATURE Siri Engberg and Joan Banach 293
36 37
38
37 ROBERT MOTHERWELL 1915-1991
Easter Day, 1979, 1980
Lithograph, on Lana paper, with full margins, signed and numbered 2/75 in pencil
(there were also 18 artist’s proofs in Roman numerals), published byTyler
Graphics, Ltd., BedfordVillage, NewYork (with their blindstamps), a few pale
scuffs in the margins, otherwise in very good condition, unframed.
I. 33 3/4 x 22 1/4 in. (85.7 x 56.5 cm)
S. 39 x 30 in. (99.1 x 76.2 cm)
Estimate $1,000-1,500
LITERATURE Siri Engberg and Joan Banach 244
39 VICTOR VASARELY 1908-1997
Kedzi, 1990
Wood multiple with acrylic paint in colors, annotated ‘E.A.’ in black ink
(an artist’s proof, the edition was 175), a few small scuffs (some with associated
paint loss, primarily at the edges), minor soiling, otherwise in very good condition.
26 1/8 x 25 1/4 x 3 1/4 in. (66.4 x 64.1 x 8.3 cm)
Estimate $3,000-5,000
40 VICTOR VASARELY 1908-1997
Untitled, 1990
Wood multiple with acrylic paint in colors, signed and numbered 49/175 in black
ink, a few small areas of paint loss in places along the edges, a small raised area
at the lower right corners of the front and back sides (with associated rubbing,
minor paint loss and soiling), the wood grain showing through in places,
otherwise in very good condition.
20 3/4 x 24 x 3 1/8 in. (52.7 x 61 x 7.9 cm)
Estimate $2,000-3,000
39
40
41 VICTOR VASARELY 1908-1997
Sku (multiple) and [Untitled] (print), circa 1970
Wood multiple with acrylic paint in colors plus one screenprint in colors, on
wove paper, the full sheet, both signed in black ink, the multiple presumably a
proof apart from the numbered edition of 200, the print numbered 23/75 in black
pen, the multiple with surface soiling, crushed at lower right corner (with
associated minor paint loss and cracking), very minor rubbing and paint loss in
places along the edges, the print with occasional soiling, a tear and split in the
lower sheet, minor scuffing in places at the edges, old hinge remains in places
along the reverse of the edges (a few with associated skinning), otherwise both
in good condition, the print framed.
multiple: 17 3/4 x 9 3/4 x 2 in. (45.1 x 24.8 x 5.1 cm)
print S. 14 5/8 x 9 1/2 in. (37.1 x 24.1 cm)
Estimate $2,000-3,000
42 VICTOR VASARELY 1908-1997
Figure 8, circa 1970
Wood multiple with acrylic paint in colors, numbered 29/175 in black ink, surface
soiling, several abrasions, scuffs and pressure marks (occasionally with
associated paint loss), paint loss in places along the edges (several touched-in),
otherwise in good condition.
26 7/8 x 13 1/4 x 2 3/8 in. (68.3 x 33.7 x 6 cm)
Estimate $1,500-2,500
41
42
Vasarely felt that art that required interpretation based on
experience would not be mass art, he chose to use forms that would
provide only visual sensations. He has advocated the return of art
to its role as an integral part of life and has conceived of his images
as infinitely multipliable in prints, sculptures, games and
architectural environments. Since his imagery is modular and serial,
it has the capacity for almost limitless variation. (Riva Castleman
Modern Art in Prints, Museum of Modern Art, NewYork, 1973, p. 60)
44 HARRY BERTOIA 1915-1978
Untitled, circa 1955
Monoprint, on Japanese paper, the full sheet, occasional soft handling
creases, the palest mat staining, a small pale moisture stain at the lower right
corner, otherwise in good condition, framed.
S. 12 7/8 x 24 1/4 in. (32.7 x 61.6 cm)
Estimate $2,500-3,500 •
45 HARRY BERTOIA 1915-1978
Untitled, circa 1955
Monoprint, on Japanese paper, with full margins, in excellent condition, framed.
I. 11 x 23 1/2 in. (27.9 x 59.7 cm)
S. 13 1/4 x 24 7/8 in. (33.7 x 63.2 cm)
Estimate $2,500-3,500 •
43
44
45
Harry Bertoia,Water Sculpture for the National Penn
Bank, Boyertown, Pennsylvania, 1974
The graphics are, perhaps, complimentary to the metal work.
In metal you have to go slowly, deliberately, you have to think out
most clearly what you want to do, because it’s too tough to make
changes, and you try to avoid making any changes. In the graphic
it is really the opposite. It’s like a dream—you go fast, you draw
lines, planes, smudges, throw ink, and so forth—so it becomes
some kind of somnambulistic medium—as if you were asleep and
you are doing it with no effort at all—it’s a wonderful feeling.
Harry Bertoia, lecture atVirginia Museum of FineArts, 1961
43 HARRY BERTOIA 1915-1978
Untitled, circa 1955
Monoprint, on buff Japanese paper, the full sheet, a slight crease at the lower
left sheet, otherwise in very good condition, framed.
S. 14 1/4 x 20 1/2 in. (36.2 x 52.1 cm)
Estimate $2,500-3,500 •
46 HARRY BERTOIA 1915-1978
Untitled (group of 6), circa 1955
Six monoprints, on thin Japanese paper, with uneven margins or the full sheet,
all with the ‘Harry Bertoia monoprint’ stamp on the reverse, all in very good
condition, all unframed.
I. various sizes
all S. approx. 7 1/2 x 5 1/2 in. (19.1 x 14 cm)
Estimate $3,000-4,000 •Bertoia’s works on paper are usually classified either as drawings
or monoprints. Each is a single print, not part of an edition. He
often referred to graphics as ‘notes for future reference.’They are
separate but parallel activity to his sculpture, serving as a font of
ideas for metal pieces.The germ of each sculpture can be found
somewhere within the graphics, although in some cases there is
a lapse of time of up to thirty years between two- and three-
dimensional versions of an idea.The sureness of line throughout
Bertoia graphics gives them the strength even in the most
sensitive areas…In 1943, Harry Bertoia sold 100 monoprints to
Hilla Rebay, director ofThe Solomon R. Guggenheim Musem of
Nonobjective Paintings, NewYork City. (Nancy N. Schiffer andVal
O. Bertoia, TheWorld of Bertoia, Schiffer Publishing Ltd., Atglen,
Pennsylvania, 2003, pp. 19 and 21)
Harry Bertoia, Pod style abstract form
of stainless steel bundled wire, 1967
47 STANLEY WILLIAM HAYTER 1901-1988
Winged Figures (Personnages ailés), 1952
Engraving, etching and scorper in colors, on wove paper, with full margins,
signed, dated ‘52’, titled and annotated ‘Essai de Couleurs’ in pencil (a color trial
proof, the edition was 90 and 15 artist’s proofs), published by Kornfeld and
Klipstein, Bern, a small pale moisture stain at the upper right image corner and
surrounding margin, occasional pale staining, soiling and soft rubbing in the
margins, two repaired tears at upper right, soiling on the reverse, otherwise in
good condition, framed.
I. 15 3/4 x 12 7/8 in. (40 x 32.7 cm)
S. 23 3/4 x 19 3/4 in. (60.3 x 50.2 cm)
Estimate $2,500-3,500
LITERATURE Peter Black and Désirée Moorhead 205
48 STANLEY WILLIAM HAYTER 1901-1988
Octopod, 1948-49
Engraving, etching and scorper, on Cranach paper, with full margins, one of
three proofs with scorper, a rich impression, the final edition was 50 and 5
artist’s proofs, minor soiling, creasing and spots of stray printing ink in the
margins, a pressure mark in the lower left margin, paper loss at the lower right
corner, soiling on the reverse, otherwise in good condition, unframed.
I. 14 7/8 x 17 5/8 in. (37.8 x 44.8 cm)
S. 20 x 24 3/4 in. (50.8 x 62.9 cm)
Estimate $1,500-2,500
LITERATURE Peter Black and Désirée Moorhead 188
47
48
StanleyWilliam Hayter was one of the 20th century’s most
influential printmakers. At Atelier 17, the studio he set up in Paris
in 1927, he helped Picasso, Giacometti, Miró and others to create
prints with an emphasis on experimentation in intaglio printmaking.
From 1940-50 he lived in NewYork, where he re-established his
workshop and was part of the Surrealist and Abstract Expressionist
movements. Alexander Calder, Roberto Matta, Jackson Pollock,
Robert Motherwell, Adolph Gottlieb, Mark Rothko and de Kooning,
among others came to work with him.
…Greens, blacks, oranges, pinks, violets and yellows created off-
harmonies unusual in intaglio printing, or in any printing for that
matter. I can remember artists and critics in the late 1940s agreeing
that Hayter was a wonderful engraver but that he had ‘no colour
sense’.Then, almost 20 years later, Op Art appeared with its
psychedelic colors, fluorescent accents swelling moiré patterns and
all-over optical dazzle. Hayter appeared as a precursor in the use of
dissonant colours, though he had in mind psychological justness
rather than mere ocular sensation. (Jacob Kainen The Prints of
Stanley William Hayter: A Complete Catalogue, Peter Black and
Désirée Moorhead, Phaidon Press Limited, London, 1992, p. 16)
50
51
49
50 STANLEY WILLIAM HAYTER 1901-1988
Night Moth, from Laurels Number One portfolio, 1946
Engraving with aquatint, etching and scorper in colors, on Kochi paper, with full
margins, signed and numbered 144/300 in pencil (there were also 5 artist’s
proofs), published by the Laurel Gallery, NewYork, the palest light-staining, a
spot of stray printing ink in the upper margin (at the platemark), a small foxmark
at the upper left margin, minor soiling in the margins, pale mat staining along
the left and right edges, adhesive remains at the upper center and reverse of the
center left and right edges, otherwise in very good condition, unframed.
I. 5 7/8 x 4 1/2 in. (14.9 x 11.4 cm)
S. 11 1/2 x 8 5/8 in. (29.2 x 21.9 cm)
Estimate $600-800
LITERATURE Peter Black and Désirée Moorhead 171
51 STANLEY WILLIAM HAYTER 1901-1988
Island, 1968
Engraving with etching and scorper in colors, on Rives BFK paper, with full
margins, signed, dated ‘68’, titled and numbered 21/50 in pencil (there were also
5 artist’s proofs), occasional soft rubbing, surface soiling and soft handling
creases in the margins, the palest time staining, taped to the support at the
upper corners, otherwise in good condition, framed.
I. 16 3/4 x 17 1/4 in. (42.5 x 43.8 cm)
S. 25 1/2 x 19 1/4 in. (64.8 x 48.9 cm)
Estimate $600-800
LITERATURE Peter Black and Désirée Moorhead 322
49 STANLEY WILLIAM HAYTER 1901-1988
Death by Water, 1948
Engraving and scorper with plate tone, on Lauriat paper, with full margins (the
plate printed at a slight diagonal), signed, titled and numbered 21/50 in pencil
(there were also 5 artist’s proofs and a second edition of 25 in Roman numerals
printed in 1976), a stray printing ink and soiling in the margins (particularly at
the sheet edges), paper loss at the lower right corner, a few tears, repaired tears
and paper losses at the sheet edges, hinge remains on the reverse of the upper
corners, otherwise in good condition, framed.
I. 14 x 23 1/4 in. (35.6 x 59.1 cm)
S. 20 x 25 7/8 in. (50.8 x 65.7 cm)
Estimate $1,500-2,500
LITERATURE Peter Black and Désirée Moorhead 186
52 JOSEF ALBERS 1888-1976
Schwarzer Kreis/Black Circle, 1933
Woodcut, on calendered wove paper, with full margins, signed, dated and titled
in German in pencil, from the edition of probably 20, printed at Ullstein Press,
Berlin, pale light-staining, a few small accretions in places at the center left,
upper left image and lower margin (with associated staining surrounding),
occasional creasing in the margins, tape remains along the reverse of the upper
sheet edge, otherwise in good condition, framed.
I. 10 1/4 x 14 1/8 in. (26 x 35.9 cm)
S. 14 x 19 3/4 in. (35.6 x 50.2 cm)
Estimate $3,000-5,000
LITERATURE Brenda Danilowitz 59
53 GÜNTHER FÖRG b. 1952
Untitled 1 and 2, 1990
Two woodcuts in colors, on wove paper, with full margins, both signed, dated
‘90’ and numbered 12/20 in pencil, published by Santa Monica Editions,
California, soft creasing in places along the sheet edges, otherwise in excellent
condition, both unframed.
both I. 95 3/4 x 48 in. (243.2 x 121.9 cm)
both S. 100 x 52 in. (254 x 132.1 cm)
Estimate $5,000-7,000
52
53
54 LOUISE NEVELSON 1899-1988
Night Leaf, 1969
Cast polyester multiple in black, signed and annotated ‘A/P’ in black ink on
a label affixed to the reverse (one of 25 artist’s proofs, the edition was 150),
published by Pace Editions, Inc., NewYork, minor surface soiling, adhesive
remains on the reverse, otherwise in very good condition, framed.
12 3/4 x 12 3/4 x 2 1/4 in. (32.4 x 32.4 x 5.7 cm)
Estimate $2,000-3,000
LITERATURE Gene Baro 121
56 LEE KRASNER 1908-1984
Embrace, 1974
Screenprint in colors, on wove paper, the full sheet, signed and numbered
157/200 in pencil, occasional minor scuffing, several areas of soiling (primarily
near the sheet edges), offsetting on the reverse, otherwise in very good
condition, framed.
S. 39 7/8 x 24 7/8 in. (101.3 x 63.2 cm)
Estimate $900-1,200
54
55
56
55 HANS (JEAN) ARP 1886-1966
Le Voilier dans la forêt: Voilier IV, 1957
Woodcut in colors, on Rives BFK paper, with full margins, signed and numbered
18/50 in pencil, a few soft handling creases at the upper sheet, mat staining at the
extreme sheet edges and on the reverse, otherwise in good condition, framed.
I. 5 3/8 x 4 7/8 in. (13.7 x 12.4 cm)
S. 14 7/8 x 11 in. (37.8 x 27.9 cm)
Estimate $700-900
LITERATURE Wilhelm Arntz 218
57
58
57 JOAN MITCHELL 1926-1992
Arbres (Triptych), 1991
Three lithographs in colors, on Arches paper, the full sheets, all signed and
numbered variously from the edition of 125 in pencil (there were also 25
artist’s proofs), published by Editions de la Différence, Paris, all with very
minor soiling (primarily along the sheet edges), otherwise all in very good
condition, all unframed.
all S. 30 x 22 in. (76.2 x 55.9 cm)
Estimate $3,000-4,000
Including: Arbres (Black, Yellow and Blue); Arbres (Black and Yellow)
and Arbres (Black and Red)
58 JOAN MITCHELL 1926-1992
Bedford Series: Sides of a River I, 1981
Lithograph in colors, on Arches 88 paper, with full margins, signed and
numbered 66/70 in pencil (there were no artist’s proofs), published byTyler
Graphics Ltd., BedfordVillage, NewYork (with their blindstamp), in excellent
condition, framed.
I. 39 x 28 in. (99.1 x 71.1 cm)
S. 42 1/2 x 32 1/2 in. (108 x 82.6 cm)
Estimate $2,000-3,000
LITERATURE Tyler Graphics 366
59 JOAN MITCHELL 1926-1992
Champs (Gray, Black and Yellow), 1991
Lithograph in colors, on wove paper, the full sheet, signed and numbered 11/125
in pencil (there were also 25 artist’s proofs), published by Editions de la
Différence, Paris, staining in areas along the left sheet edge, otherwise in very
good condition, framed.
S. 30 x 22 in. (76.2 x 55.9 cm)
Estimate $1,200-1,500
60 JOAN MITCHELL 1925-1992
Champs (Gray, Black and Green), 1991
Lithograph in colors, on wove paper, the full sheet, signed and numbered 90/125
in pencil (there were also 25 artist’s proofs), published by Editions de la
Differénce, Paris, minor soiling, mat staining along the left sheet edge,
otherwise in very good condition, framed.
S. 30 x 22 in. (76.2 x 55.9 cm)
Estimate $1,200-1,500
61 JAMES BROOKS 1906-1992
Concord, from America: The Third Century, 1975
Screenprint in colors, on wove paper, with full margins, signed, dated ‘75’ and
numbered 184/200 in pencil (there were also 25 artist’s proofs), published by APC
Editions, NewYork, in excellent condition, unframed.
I. 28 1/2 x 20 1/2 in. (72.4 x 52.1 cm)
S. 30 x 22 in. (76.2 x 55.9 cm)
Estimate $500-700
59 60
61
62 WILLEM DE KOONING 1904-1997
Landing Place, 1971
Lithograph, on Akawara paper, with full margins, signed, dated ‘70’ and
numbered 50/54 in pencil (there were 15 artist’s proofs), published by Knoedler,
NewYork, in excellent condition, framed.
I. 23 3/8 x 31 1/2 in. (59.4 x 80 cm)
S. 28 x 37 in. (71.1 x 94 cm)
Estimate $4,000-6,000
LITERATURE Lanier Graham 6
63 AFTER WILLEM DE KOONING 1904-1997
Guild Hall East Hampton, 1970
Offset lithograph in colors with text, on smooth wove paper, with full margins,
signed and numbered 76/100 in pencil, occasional soiling and soft creasing
(primarily in the margins), two small pale blue stains at the lower right and left
edges, the palest mat staining on the reverse, taped to the overmat at the
reverse of the center and upper edges, otherwise in good condition, framed.
I. 27 1/8 x 37 1/8 in. (68.9 x 94.3 cm)
S. 32 7/8 x 39 in. (83.5 x 99.1 cm)
Estimate $2,000-3,000
64 PHILIP GUSTON 1913-1980
August, from Four on Plexiglas, 1966
Screenprint, on Plexiglas, the full sheet, signed and numbered 72/125, inscised
into the Plexiglas (there were also 16 artist’s proofs), published by Muliples, Inc.,
NewYork, soft scuffing, otherwise in very good condition, framed.
S. 30 x 40 in. (76.2 x 101.6 cm)
Estimate $2,000-3,000
63
64
65 CONRAD MARCA-RELLI 1913-2000
Autumn suite, 1974
The complete set of six lithographs with collage in colors, various papers and
fabrics, with full margins, all signed, dated ‘70’ and variously numbered in
pencil, from the edition of 50 (there were no recorded artist’s proofs), published
by Marlborough Graphics, NewYork, all with occasional minor creasing, the
colored papers slightly attenuated, a few with soiling and the collage lifting
in places, otherwise all in good condition, contained in original linen-covered
portfolio with artist’s name embossed on the front.
27 7/8 x 20 3/4 in. (70.8 x 52.7 cm)
Estimate $4,000-6,000
66 TERRY WINTERS b. 1949
Metal Virus, 2003
Mixograph in metallic ink, on handmade paper, with full margins, signed with
initials, dated ‘2003’ and numbered 47/75 in pencil (there were also 7 artist’s
proofs), published by Mixografia, Los Angeles, in excellent condition, framed.
I. 32 7/8 x 25 in. (83.5 x 63.5 cm)
S. 37 x 28 3/4 in. (94 x 73 cm)
Estimate $2,500-3,500
67 GÜNTHER FÖRG b. 1952
Untitled (bronze), 1988
Unique bronze relief with black patina, incised with signature and dated ‘1988’,
in excellent condition.
46 3/4 x 31 1/4 in. (118.7 x 79.4 cm)
Estimate $3,000-4,000
66
67
Lucio Fontana, Concetto Spaziale, 1960, oil on canvas
68 LEE BONTECOU b. 1931
An Untitled Print, 1981-82
Lithograph in colors, on Rives paper, with full margins, signed, dated ‘81-82’ and
numbered ‘2-3 P.P.’ in pencil (a printer’s proof, the edition was 14 and 5 artist’s
proofs), published by Universal Limited Art Editions, West Islip, NewYork (with
their blindstamp), occasional creasing in the margins, an area of rubbing and
skinning at the right sheet edge, otherwise in very good condition, framed.
I. 87 7/8 x 38 1/8 in. (223.2 x 96.8 cm)
S. 93 x 42 in. (236.2 x 106.7 cm)
Estimate $9,000-12,000
LITERATURE Esther Sparks 34
False Harbor,Yarmouth, Nova Scotia, photograph by Margaret Bontecou
An Untitled Print is the largest ‘worldscape’ print Lee Bontecou has
produced and shows the influence of her summers spent in Nova
Scotia while growing up and her fascination with nature and marine
life. Her father invented the first all-aluminum canoe and her
mother worked in a factory which wired submarine transmitters
duringWorldWar II.
Artist-critic Donald Judd, writing about Bontecou’s work in 1965,
remarked on its ability to encompass “something as social as war
to something as private as sex, making one an aspect of the other.”
Despite his overriding fascination with the powerful objecthood and
materialty of Bontecou’s sculpture, Judd could not help but point to
its allusive qualities.The distinctive sensibility and highly personal
vocabulary of forms and images in Bontecou’s work have
distinguished it even at points where it has coincided with
directions explored by her contemporaries or resonated with the
concerns and approaches of artists of a younger generation.
(Elizabeth A.T. Smith, Lee Bontecou, A Retrospective, Museum
of Contemporary Art, Chicago, and UCLA Hammer Museum,
Los Angeles, Harry N. Abrams, Inc., NewYork, 2003, p. 170)
70 JULIE MEHRETU b. 1970
Fracture, 2007
Etching with aquatint in colors, on wove paper, with full margins, signed,
dated ‘2007’ and numbered 31/45 in pencil (there were also 12 artist’s proofs),
published by Burnet Editions, NewYork (with their blindstamp), in excellent
condition, unframed.
I. 15 3/4 x 19 1/2 in. (40 x 49.5 cm)
S. 23 1/4 x 28 in. (59.1 x 71.1 cm)
Estimate $4,000-6,000
71 JULIE MEHRETU b. 1970
Untitled, 2006
Etching, engraving and drypoint in colors, on Somerset textured white paper,
with full margins, signed and numbered 22/60 in pencil (there was also an
edition of 25 in Roman numerals), published by Parkett Editions, Zurich and
NewYork, in excellent condition, unframed.
I. 16 x 19 1/2 in. (40.6 x 49.5 cm)
S. 23 1/8 x 28 1/8 in. (58.7 x 71.4 cm)
Estimate $4,000-6,000
LITERATURE Edition for Parkett 76
69
70
71
69 JULIE MEHRETU b. 1970
Rogue Ascension, 2002
Lithograph in colors, on Somerset Satin white paper and Denril vellum, with full
margins, signed, dated ‘02’ and numbered 13/35 in pencil (there were also 7
artist’s proofs), published by the New Museum, NewYork, pinned to the support
at the upper corners, otherwise in very good condition, framed.
I. 20 3/4 x 28 1/4 in. (52.7 x 71.8 cm)
S. 24 1/2 x 32 in. (62.2 x 81.3 cm)
Estimate $4,000-6,000
72
73
72 PAT STEIR b. 1938
Burial Mound, 1976
The complete set of seven etchings in sepia, on HMP handmade paper, with full
margins, all signed, dated ‘76’ and annotated ‘LP imp.’ in pencil on the reverse
(a printer’s proof, the edition was 35 and 5 artist’s proofs), published by Landfall
Press, Chicago, all in excellent condition, loose, contained in original linen
covered portfolio box.
11 3/4 x 11 3/4 in. (29.8 x 29.8 cm)
Estimate $2,000-3,000
LITERATURE Joseph Ruzicka 23-29
Including: Space III; Little Line II; Identity 6; I Don’t Know?; Being 5;
Meaning 4 and Introduction 1
73 JOYCE KOZLOFF b. 1942
Pictures and Borders III, 1977
Screenprint in colors, on Arches paper, with full margins, signed, titled, dated
‘1977’ and numbered 43/50 in pencil on the reverse, a spot of soiling at the upper
center margin, a few soft handling creases and spots of stray printing ink in the
margins, otherwise in very good condition, unframed.
I. 28 1/8 x 16 5/8 in. (71.4 x 42.2 cm)
S. 30 x 22 1/2 in. (76.2 x 57.2 cm)
Estimate $600-800
74 RICHARD TUTTLE b. 1941
Censorship portfolio, 2003
The complete set of seven lithographs in colors with embossing, on Lana
gravure paper, with full margins or the full sheet, all signed with initials, dated
‘03’ and numbered 25/34 in pencil (there were also 8 artist’s proofs), published
by Universal Limited Art Editions, West Islip, NewYork (all with their
blindstamp), all in excellent condition, each enclosed in original labeled paper
folder and contained in original wood veneer-covered foamcore box with title
and embellishment on the front (adhesive remains on front lower right).
19 1/2 x 20 in. (49.5 x 50.8 cm)
Estimate $3,000-4,000
Including: Monday; Tuesday; Wednesday; Thursday; Friday; Saturday
and Sunday
75 JOAN MIRÓ 1893-1983
Series II: blue and red, 1961
Lithograph in colors, on wove paper, the full sheet, signed and annotated ‘HC’
in pencil (an hors-commerce copy, the edition was 30), published by Maeght,
Paris, occasional soft handling creases, pale mat and time staining, the colors
slightly faded, a crease at the lower right corner, hinged to the support in
places along the reverse of the upper sheet edge (with slight puckering on the
front), otherwise in good condition, framed.
S. 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm)
Estimate $800-1,200
LITERATURE Maeght Editeur 293; see Patrick Cramer books 69
76 JOAN MIRÓ 1893-1983
International Rescue Committee, 1966
Lithograph in colors, onArches vellum paper, with full margins, signed and
numbered 86/250 in pencil (there was also an edition of 50 on Richard de Bas
paper), published by the International Rescue Committee,Washington D.C.,
pale light-staining, a small pale stain at the center right sheet edge, otherwise
in good condition, framed.
I. 13 5/8 x 19 5/8 in. (34.6 x 49.8 cm)
S. 19 1/2 x 25 1/2 in. (49.5 x 64.8 cm)
Estimate $2,000-4,000
LITERATURE Maeght Editeur 459
75
76
77 JOAN MIRÓ 1893-1983
Ubu Roi: Untitled (plate 13), 1966
Lithograph in colors, on wove paper, with full margins, signed and numbered
7/75 in pencil (there was also an edition of 205 with smaller margins),
published byTériade, Paris, a small abrasion at the upper center margin (less
than 1/8 in.), the palest mat staining, otherwise in very good condition, framed.
I. 16 x 24 3/8 in. (40.6 x 61.9 cm)
S. 21 x 29 3/8 in. (53.3 x 74.6 cm)
Estimate $5,000-7,000
LITERATURE Maeght Editeur 498; see Patrick Cramer books 108
78 JOAN MIRÓ 1893-1983
Ubu aux Baléares: two plates, 1971
Two lithographs in colors, onArches paper, with margins (deckle at bottom
edges), both signed and numbered 51/120 (there were also 6 hors commerce
in Roman numerals), published byTériade, Paris, both with a few foxmarks,
otherwise both in very good condition, both unframed.
both S. 19 3/4 x 25 7/8 in. (50.2 x 65.7 cm)
Estimate $2,500-3,500
LITERATURE Maeght Editeur 773 and 786; see Patrick Cramer books 146
77
78
79 INKA ESSENHIGH b. 1969
Country Western; Devil on the Highway; Beachscene and Tornado, 2001
Four etchings in brown, green/black, sienna and indigo respectively, on
Somerset paper, with full margins, all signed, dated ‘2001’ and numbered 8/25
in pencil (there were also 6 artist’s proofs), published by Burnet Editions, New
York (with their blindstamp), all in excellent condition, all framed.
all I. 8 7/8 x 6 7/8 in. (22.5 x 17.5 cm)
all S. 15 3/4 x 12 3/4 in. (40 x 32.4 cm)
Estimate $5,000-7,000
80 POL BURY 1922-2005
Guggenheim, 1972
Lithograph in colors, on wove paper, with full margins, signed and numbered
24/250 in white pencil, published by Maeght Editions, Paris, in excellent
condition, framed.
I. 24 3/4 x 34 1/2 in. (62.9 x 87.6 cm)
S. 25 3/8 x 35 1/8 in. (64.5 x 89.2 cm)
Estimate $400-600
81 ANISH KAPOOR b. 1954
Les objets d’artistes: A Vase, 1993
The complete three part vase consisting of two frosted-glass vessels and one
terra cotta base, incised ©ANISH KAPOOR 1993 BELGIUM on the underside
of the terra cotta base, from the edition of unlimited size, published by Slegten
&Toegemann, Brussels, with minor soiling, otherwise in very good condition,
lacking booklet and box.
configured without base: 11 x 5 1/2 x 5 1/2 in. (27.9 x 14 x 14 cm)
configured with base: 5 1/2 x 9 x 8 in. (14 x 22.9 x 20.3 cm)
Estimate $4,000-6,000
82 ANISH KAPOOR b. 1954
Untitled #6, 1988
Aquatint and etching in colors, onAuvergne à la main laid paper, with full
margins, signed, dated ‘1988’, annotated ‘(6)’ and numbered 4/20 in pencil
(there were also 10 artist’s proofs), published by Crown Point Press, San
Francisco (with their blindstamp), hinge remains on the reverse of the upper
corners (showing through with rippling on the front), otherwise in very good
condition, unframed.
I. 17 1/4 x 13 1/2 in. (43.8 x 34.3 cm)
S. 25 3/4 x 19 3/4 in. (65.4 x 50.2 cm)
Estimate $1,500-2,000
80
81
82
85 JOSÉ BEDIA b. 1959
[Man] and [Woman], circa 1990
Two screenprints in silver ink, on watercolor paper, the full sheets, both signed
and numbered 45/100 in pencil, published by Villalobos Serigrafia Artstica SL.,
Pontevedra, Spain (with their stamp on the reverse), both with occasional
scuffing, a tear at upper right, [Man] with a small spot of white ink at lower
center image, the paper splitting at upper right, otherwise both in good
condition, both unframed.
both S. 10 7/8 x 13 7/8 in. (27.6 x 35.2 cm)
Estimate $200-400
83
85
84 SERGIO HERNÁNDEZ b. 1957
[Sin título] and [Sin título], circa 1985
Two etching and aquatints in colors, on wove paper, with full margins, both
signed and numbered 16/20 and 13/20 in pencil, occasional soft creasing,
foxmarks and minor soiling in the margins, one with a crease at the upper left
corner, otherwise both in very good condition, both unframed.
both I. 13 1/2 x 9 5/8 in. (34.3 x 24.4 cm)
both S. 20 7/8 x 15 1/4 in. (53 x 38.7 cm)
Estimate $800-1,000
84
83 DANIEL SENISE b. 1955
Menina/osso/cão; Flor and Levitação, 1999
Three aquatints in colors (two with embossing), on wove paper, with full
margins, all signed, dated ‘99’ and numbered ‘P.A V/V’ (Menina numbered
‘P.A. IV/V’) in pencil, published by Poligrafa, Barcelona, Menina with occasional
creasing and soiling in the margins (particularly the left margin), a tear at the
lower right margin corner, Flor with minor creasing and soiling in the margins,
Levitação with soiling and creasing in the margins, particularly the lower margin,
otherwise all in good condition, all unframed.
Menina I. 19 1/2 x 35 1/2 in. (49.5 x 90.2 cm)
Menina S. 25 3/4 x 41 1/8 in. (65.4 x 104.5 cm)
Flor I. 26 3/4 x 21 1/2 in. (67.9 x 54.6 cm)
Flor S. 34 3/4 x 26 5/8 in. (88.3 x 67.6 cm)
Levitação I. 22 1/2 x 30 1/4 in. (57.2 x 76.8 cm)
Levitação S. 28 1/2 x 36 in. (72.4 x 91.4 cm)
Estimate $2,000-3,000
86
87
86 MARCO ARCE b. 1968
Circulo rojo; Tigre con conejo and [Untitled], 2006
Nine etchings (three triptychs) with hand-painting in colors, on wove paper, the
full sheets, one of each three signed, two sets each annotated ‘1/3’-’3/3’
respectively in pencil on the reverse, all with minor soiling and spots of stray ink,
otherwise all in very good condition, all unframed.
all overall: 5 x 21 in. (12.7 x 53.3 cm)
Estimate $2,500-3,500
87 JULIÃO SARMENTO b. 1948
The House with the Upstairs in it, 1996-98
The complete set of eight etchings, on Somerset paper, with full margins,
with accompanying text by Stuart Morgan, all signed, dated ‘96/98’ and
numbered 23/26 in pencil, also numbered on a label affixed to the folder,
published by London Projects, London, all in excellent condition, loose,
contained in original black portfolio folder.
16 3/4 x 13 1/2 in. (42.5 x 34.3 cm)
Estimate $1,800-2,500
89 TAKASHI MURAKAMI b. 1962
Jellyfish Eyes, 2002
Offset lithograph in colors, on glossy wove paper, the full sheet, with the artist’s
swirl symbol in black ink within the image, numbered 145/250 in black ink on a
label affixed to the reverse, published by Kaikai Kiki,Tokyo, in excellent
condition, framed, contained in artist’s original circular frame and cardboard
shipping box.
S. diameter: 22 in. (55.9 cm)
Estimate $2,500-3,500
Artwork ©2002Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
88 TAKASHI MURAKAMI b. 1962
Oval (Peter Norton Christmas Project 2000, 2000
Polychromed plastic containing a mini cd, from the edition of 3,000, published
by the Peter Norton Family Christmas Project, in very good conditon.
11 x 7 1/2 x 7 in. (27.9 x 19.1 x 17.8 cm)
Estimate $2,000-3,000
Artwork ©2000Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
88
89
alternate view
90
91
92
90 TAKASHI MURAKAMI b. 1962
TanTan Bo and Jellyfish, 2004
Two offset lithographs in colors, on smooth wove paper, the full sheets, TanTan
Bo signed, dated ‘04’ and numbered 20/300 in black ink, Jellyfish signed and
numbered ‘87/300’ in black ink, both published by Kaikai Kiki,Tokyo, TanTan Bo
taped to the overmat along the reverse of the center sheet edges, Jellyfish with
a soft handling crease at the center left, otherwise both in very good condition,
TanTan Bo framed, Jellyfish unframed.
TanTan Bo S. 25 7/8 x 39 1/4 in. (65.7 x 99.7 cm)
Jellyfish S. 27 1/4 x 27 1/4 in. (69.2 x 69.2 cm)
Estimate $2,000-2,500
Artworks ©2001-2Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
91 TAKASHI MURAKAMI b. 1962
Reversed Double Helix Mega Power and Reversed Double Helix, 2005
Two offset lithographs in colors, on smooth wove paper, the full sheets, both
signed and numbered 35/300 and 216/300 in black marker, published by Kaikai
Kiki,Tokyo, (not Mega) with a repaired tear at lower right, slight creasing at the
lower corners, otherwise in excellent and very good condition respectively,
both framed.
Mega S. 28 1/4 x 28 1/4 in. (71.8 x 71.8 cm)
(not Mega) S. 40 1/2 x 28 1/2 in. (102.9 x 72.4 cm)
Estimate $1,500-2,500
Artworks ©2005Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
92 TAKASHI MURAKAMI b. 1962
Here Comes Media and Kiki with Moss, 2001 and 2004
Two offset lithographs in colors, on smooth wove paper, the full sheets, both
signed and numbered 59/300 and 38/300, published by Kaikai Kiki,Tokyo, Media
with several soft handling creases and abrasions (with associated ink loss),
creasing and ink loss at the lower left corner, wear along the sheet edges, Kiki
with very slight wear at the lower corners, otherwise in good and very good
condition respectively, both framed.
Media S. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm)
Kiki S. 27 x 27 1/8 in. (68.6 x 68.9 cm)
Estimate $1,500-2,500
Artworks ©2000-2001Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
93
94
96
95
93 TAKASHI MURAKAMI b. 1962
Homage to Francis Bacon (Study of Isabel Rawsthorne), 2004
Offset lithograph in colors, on smooth wove paper, the full sheet, signed, dated
‘04’ and numbered 220/300 in silver ink, published by Kaikai Kiki,Tokyo, minor
creasing in the lower right corner, otherwise in very good condition, framed.
S. 26 7/8 x 26 7/8 in. (68.3 x 68.3 cm)
Estimate $1,000-1,500
Artwork ©2002Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
94 TAKASHI MURAKAMI b. 1962
727-727, 2007
Offset lithograph in colors, on smooth wove paper, with full margins, signed and
numbered 11/300 in silver ink, published by Kaikai Kiki,Tokyo, a tear at the lower
right corner, minor creasing at the corners, minor wear in places along the sheet
edges, otherwise in good condition, framed.
I. 25 1/4 x 38 3/4 in. (64.1 x 98.4 cm)
S. 25 3/4 x 39 1/4 in. (65.4 x 99.7 cm)
Estimate $1,200-1,800
Artwork ©2006Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
95 TAKASHI MURAKAMI b. 1962
Hiropon and My Lonesome Cowboy, 2001
Two offset lithographs in colors, on smooth wove paper, the full sheets, both
signed and numbered 116/300 and 107/300 in black marker, published by Kaikai
Kiki,Tokyo, Cowboy with a small mark at the upper right corner, otherwise both
in very good conditon, framed.
both S. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm)
Estimate $1,000-1,500
Artworks ©1997-1998Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
96 TAKASHI MURAKAMI b. 1962
I open wide my eyes but see no scenery. I fix my gaze upon my heart. and My arms
and legs rot off and though my blood rushes forth, the tranquility of my heart shall
be prized above all., 2007
Two offset lithographs in colors, on smooth wove paper, the full sheets, both
signed, dated and numbered 66/330 and 65/300 in silver ink respectively,
published by Kaikai Kiki,Tokyo, My arms… with scuffing at the upper right
corner, a soft handling crease at the lower left, a soft crease at the upper left
corner, otherwise both in very good condition, both unframed.
both S. approx. 27 1/2 x 32 in. (69.9 x 81.3 cm.)
Estimate $1,500-2,500
Artworks ©2007Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
97
98
99
100
97 TAKASHI MURAKAMI b. 1962
ANDTHEN Ichimatsu Pattern, 2006
Offset lithograph in colors, on smooth wove paper, the full sheet, signed and
numbered 227/300 in silver ink, published by Kaikai Kiki,Tokyo, compound
creasing in the upper right corner, otherwise in good condition, unframed.
S. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm)
Estimate $1,000-1,500
Artwork ©2006Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
99 TAKASHI MURAKAMI b. 1962
72727, 2001
Laser print in colors, on smooth wove paper, with full margins, signed and
numbered 25/105 in pencil, published by Kaikai Kiki,Tokyo, in excellent
condition, unframed.
I. 14 5/8 x 9 3/8 in. (37.1 x 23.8 cm)
S. 16 1/2 x 11 5/8 in. (41.9 x 29.5 cm)
Estimate $400-600
Artworks ©2001Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
98 TAKASHI MURAKAMI b. 1962
Backbeard, 2004
Offset lithograph in colors, on smooth wove paper, the full sheet, signed, dated
‘04’ and numbered 178/300 in silver ink, published by Kaikai Kiki,Tokyo, in
excellent condition, unframed.
S. 26 7/8 x 26 7/8 in. (68.3 x 68.3 cm)
Estimate $700-900
Artwork ©2003Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
100 TAKASHI MURAKAMI b. 1962
Superflat Museum, 2000
Sixteen plastic shokugan figurines in colors, sealed in their original plastic
packaging, published by Kaikai Kiki,Tokyo, all in excellent condition, each
contained in the original printed cardboard boxes.
various sizes
Estimate $600-900
Artworks ©2000Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
Including: Melting DOB/Shine; Melting DOB/Positive; Kaikai Kiki &
Flower/Moss; Kaikai Kiki & Flower/Pink; Shacho; Masamune & Spica;
Flower Ball/Gold; Flower Ball/Silver; Mr. DOB & Mushrooms/Light
Blue; Mr. DOB & Mushroom/Indigo; Rumble-kun in a Jar;
Mushrooms; Mr. Oval the Mediator; Miss Ko2 and Machikado-kun.
101 DAVID WOJNAROWICZ 1954-1992
Four Elements: Fire and Water, 1990-91
Lithograph in colors, on Rives BFK paper, the full sheet, signed, dated ‘1990’,
titled and numbered X/XVI in pencil (there was also an edition of 24 in Arabic
numerals), co-published by Normal Editions Workshop and Illinois State
University, Normal, Illinois, in excellent condition, framed.
S. 22 1/2 x 29 3/4 in. (57.2 x 75.6 cm)
Estimate $1,500-2,000
102 PAUL LAFFOLEY b. 1940
The Alchemy of Breathing and Geochronmechane, 1992
Two screenprints in colors and metallic inks, on wove paper, Alchemy signed,
dated ‘1992’ and numbered 7/75 in pencil, both with the palest mat staining,
both with minor soiling and soft rubbing in the margins, Geochron with pale
scattered moisture staining in areas in the margins, a few nicks and creases
along the sheet edges, otherwise in good condition, both unframed.
Alchemy I. 20 3/8 x 27 1/8 in. (51.8 x 68.9 cm)
Alchemy S. 24 3/4 x 31 1/8 in. (62.9 x 79.1 cm)
Geochron I. 28 x 28 in. (71.1 x 71.1 cm)
Geochron S. 32 3/8 x 32 in. (82.2 x 81.3 cm)
Estimate $500-700
101
102
104 PETER DOIG b. 1959
Untitled, 2006
Lithograph in colors, on Somerset paper, with full margins, signed, dated
and annotated ‘PP1’ in pencil (the edition was 20 and 10 artist’s proofs in
Roman numerals), published by Landfall Press, Santa Fe (with their copyright
stamp on the reverse), a few soft handling creases, otherwise in very good
condition, unframed.
I. 37 3/4 x 24 in. (95.9 x 61 cm)
S. 42 x 28 1/4 in. (106.7 x 71.8 cm)
Estimate $3,000-5,000
103 DO HO SUH b. 1962
Untitled, 1998
Lithograph in blue/black, on wove paper, with full margins, signed, dated ‘98’
and annotated ‘A.P’ in pencil (one of three artist’s proofs, there was no edition),
published by the artist, in excellent condition, framed.
I. 20 7/8 x 29 1/4 in. (53 x 74.3 cm)
S. 22 x 30 in. (55.9 x 76.2 cm)
Estimate $2,000-3,000
103
104
detail of lot 103
105
106
105 JANE HAMMOND b. 1950
The Wonderfulness of Downtown, 1997
Lithograph and screenprint in colors with collage, on hand-torn Kasuiri,
Nepalese and CortleaText paper, the full sheet, signed, titled, dated ‘1996’ and
numbered 42/50 in black marker (there were also 10 artist’s proofs), published by
Universal Limited Art Editions, West Islip, NewYork, (with their blindstamp), in
excellent condition, framed.
S. 59 1/4 x 62 in. (150.5 x 157.5 cm)
Estimate $4,000-6,000
106 AFTER RENEÉ MAGRITTE 1898-1967
Magritte III: 8 lithographies portfolio, 2003
Eight lithographs in colors, on Rives BFK paper, with full margins, signed on
reverse by the publisher in pencil, numbered on the colophon and each with
initial and numbered 267/300 in pencil (there were also 45 hors-commerce
copies), published by Philippe Moreno, Paris, each with two Magritte Estate
blindstamps, all in excellent condition, loose, contained in original textured
red leather-covered folder with title, artist’s name and publisher embossed in
gold on the front.
20 1/8 x 25 1/8 (51.1 x 63.8 cm)
Estimate $3,000-4,000
Based on the original gouache paintings: La bataille de l’argonne,
1964; Le château des pyrénées, 1959; La voix du sang, 1959; Le
bouquet tout fait, 1957; La belle captive, 1931; Golconde, 1953;
Le printemps, 1965 and La page blanche, 1967.
107 ED RUSCHA b. 1937
Pico, Flower, Figueroa, from the MoCA portfolio, 1999
Aquatint and etching in colors, on wove paper, with full margins, signed, dated
‘1999’ and annotated ‘P.P. 1’ in pencil (a printer’s proof, the edition was 80 and
12 artist’s proofs), published by Lapis Press, Los Angeles (with their blindstamp),
to celebrate the twentieth anniversary of the Museum of Contemporary Art,
Los Angeles, in excellent condition, unframed.
I. 15 1/2 x 22 5/8 in. (39.4 x 57.5 cm)
S. 22 1/4 x 30 in. (56.5 x 76.2 cm)
Estimate $1,500-2,000
108 HAMISH FULTON b. 1946
Twilight Horizon, 1988
Woodcut in colors, on Japanese cream paper, with full margins, numbered 36/50
in pencil, a few faint pressure marks in places along the lower sheet edge,
otherwise in very good condition, framed.
I. 8 1/8 x 11 1/2 in. (20.6 x 29.2 cm)
S. 10 1/4 x 13 1/8 in. (26 x 33.3 cm)
Estimate $500-700
107
108
109 LAURA OWENS b. 1970
Untitled, 2004
Etching aquatint in colors with air-brush, on Somerset paper, the full sheet,
signed, dated ‘2004’, titled and numbered 2/35 in pencil on the reverse (there
were also 10 artist’s proofs), published by Simmelink/Sukimoto Editions,
Kingston, NewYork, in excellent condition, framed.
S. 33 x 29 1/4 in. (83.8 x 74.3 cm)
Estimate $3,500-4,500
109
110
∆ 110 THOMAS RUFF b. 1958
Nacht photos: Nacht 7 I, 1993
Grano-lithograph in colors, on Biber GS 300g paper, with full margins, signed
and numbered 22/45 in pencil on the reverse (there were also 8 artist’s proofs),
published by Edition Schellmann, Munich and NewYork, a small accretion
and a few pressure marks in the lower margin, otherwise in very good
condition, framed.
I. 23 1/4 x 24 1/2 in. (59.1 x 62.2 cm)
S. 28 x 29 1/4 in. (71.1 x 74.3 cm)
Estimate $1,500-2,500 •
111 APRIL GORNIK b. 1953
Rain and Dust, 1985
Etching and aquatint in colors, on wove paper, with full margins, signed, dated
‘1985’ and numbered 10/70 in pencil (there were an unrecorded number of artist’s
proofs), published by Hudson River Editions, Inc., South Nyack (with their
blindstamp), commissioned by the Jane Vorhees Zimmerli Art Museum,
occasional soft rubbing in the margins, otherwise in very good condition,
unframed.
I. 24 3/4 x 34 1/2 in. (62.9 x 87.6 cm)
S. 31 x 42 3/8 in. (78.7 x 107.6 cm)
Estimate $700-900
112 APRIL GORNIK b. 1953
Cascading Waterfall, 1998
Etching and aquatint, on wove paper watermark rooster, with full margins,
signed, dated ‘1998’ and titled in pencil, published by the Print Club of Cleveland
(with their blindstamp), soft handling creases in the margins, a crescent shaped
crease in the lower center margin, otherwise in very good condition, unframed.
I. 14 3/4 x 23 3/4 in. (37.5 x 60.3 cm)
S. 22 x 30 in. (55.9 x 76.2 cm)
Estimate $400-600
113 VARIOUS ARTISTSSonsbeek Portfolios: Grafiekmap 1, 2 and 3, 1993
The complete three sets of five prints in various media (fifteen total prints),
on various papers and one on fabric, with full margins or the full sheets, all
signed, dated and numbered 16/60 in pencil (the Ruppersberg in black ink),
published by Sonsbeek, Arnhem, Netherlands, all in excellent condition, loose,
contained in original cardboard folders screenprint on the front (scuffing).
21 x 26 1/2 in. (53.3 x 67.3 cm)
Estimate $1,200-1,800
Including: Grafiekmap 1: Pepe Espaliú; Christine & Irene
Hohenbüchler; Mike Kelley; Mark Manders and Eran Schaerf
Grafiekmap 2: Christina Assmann & Andreas Siekmann; Miroslaw
Balka; Kamagurka; Juan Muñoz and Allen Ruppersberg
Grafiekmap 3: Mario Airó; Alighiero e Boetti; Mark Dion; Anna
Gudjónsdótter &Till Krause and RW van de Wint
111 112
113
114
115
114 GEORG BASELITZ b. 1938
45-Dezember I & II; Grün I and Der Berg, 1989-91
Four woodcuts in green (Der Berg in green and black), on wove paper, with full
margins, all signed, dated ‘90’ or ‘91’ and numbered 11/30 (three) and 10/30 in
pencil, the three with adhesive remains at the reverse of the upper corners
(with associated skinning), otherwise all in very good condition, three unframed,
one framed.
Der Berg I. 39 1/2 x 27 3/8 in. (100.3 x 69.5 cm)
Der Berg S. 40 1/2 x 29 3/8 in. (102.9 x 74.6 cm)
three I. 24 1/2 x 11 3/4 in. (62.2 x 29.8 cm)
three S. 33 7/8 x 24 in. (86 x 61 cm)
Estimate $3,000-5,000
115 ARNULF RAINER b. 1929
Violette Furchen (Dark red); Roter Acker (Light red); Kopf Dahinter (Bright red,
large plate); Gekaemmt Bauch (Middle red) and Untitled (Black), 1971-73
Five etchings in colors, on wove paper with rooster watermark, with full margins,
each signed and numbered 32/35 (Black numbered 27/50) in pencil, published
by Sabina Knust Maximilian Verlag Editions, Munich, all with occasional soft
handling creases in the margins (mainly visible in raking light), Black with
very minor soiling in the margins, otherwise all in very good condition, four
unframed, one framed.
all I. various sizes
four S. 30 3/4 x 20 3/4 in. (78.1 x 52.7 cm)
Black S. 25 1/2 x 19 3/4 in. (64.8 x 50.2 cm)
Estimate $1,500-2,000
116 FRANZ WEST b. 1947
Untitled (Lamp), 1989
Welded iron multiple, electrical fittings, published by Metamemphis, Milan,
in good condition.
23 x 74 x 1 in. (58.4 x 188 x 2.5 cm)
Estimate $5,000-7,000
117 FRANZ WEST b. 1947
Untitled (Lamp), 1989
Welded iron multiple, electrical ceiling fittings, published by Metamemphis,
Milan, in good condition.
76 1/4 x 13 1/2 x 14 in. (193.7 x 34.3 x 35.6 cm)
Estimate $5,000-7,000
118 JORGE PARDO b. 1963
Untitled (In Honor of Scott Burton), from 1989 portfolio, 2000
Chromogenic print in colors, on Fugicolor crystal archive paper, the full sheet,
signed and numbered 14/75 in black marker (there were also 12 artist’s proofs),
published by the Estate Project for Artists with AIDS and Alliance for the Arts,
NewYork, in excellent condition, unframed.
S. 24 x 20 in. (61 x 50.8 cm)
Estimate $500-700
116 117
118
119 VITO ACCONCI b. 1940
Stones for a Wall set, 1977
The complete set of ten lithographs in colors, on handmade paper, the full
sheets, all signed, dated, titled and annotated ‘RTP-STONES FOR A WALL:
APPROVED’ in pencil (the right-to-print proof, the edition was 10 and 1 artist’s
proof), published by Landfall Press, Chicago (with their blindstamp and
copyright stamp on the reverse), all with minor surface soiling and occasional
stray printing ink at the sheet edges and on the reverse, otherwise all in very
good condition, all unframed.
all S. 30 x 23 3/8 in. (76.2 x 59.4 cm)
Estimate $3,000-4,000
120 VITO ACCONCI b. 1940
Red Mask; People Mask and End Mask, 1983
The complete set of three etching and aquatints in red, black and blue, on
Arches cover paper, the full sheets, from the edition of 30, published by
Graphicstudio, University of South Florida,Tampa, all in excellent condition,
framed together.
all S. 8 5/8 x 7 1/4 in. (21.9 x 18.4 cm)
Estimate $600-900
121 JONATHAN BOROFSKY b. 1942
Space Head, 1984
Lithograph and screenprint in colors, on Arches 88 paper, the full sheet, signed,
annotated ‘A 87/ 2816013’ and numbered 7/25 in pencil (there were also 6 artist’s
proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps),
hinged to the support in places along the reverse of the upper sheet edge (with
minor associated rippling on the front), otherwise in very good condition, framed.
S. 54 3/4 x 30 7/8 in. (139.1 x 78.4 cm)
Estimate $1,200-1,800
LITERATURE Gemini G.E.L. 1106
In addition to the signature and edition number, each print was
numbered consecutively with a seven digit “Borofsky number,”
conceived by the artist and utilized in many of his Gemini works.
120
121
122 LARRY BELL b. 1939
Drawings of the Solar Fountain: I and II, 1977
The complete set of two vapor drawing multiples, on glass, the full sheets, both
signed, dated ‘77’, annotated ‘Orr’ and ‘I’ and ‘II’ respectively and numbered 3/50
in unknown material (only 10 sets were made), published by Multiples, Inc., New
York, I with an accretion at the lower right image, both with the coating lifting
and cracking in places along the edges (II only along the lower edge), otherwise
both in good condition, both unframed.
both S. 36 x 47 3/4 in. (91.4 x 121.3 cm)
Estimate $2,000-3,000
The Solar Fountain was a glass, stainless steel, fog and light
sculpture created by Larry Bell and Eric Orr.The sculpture
generated steam through solar energy. In 1983 it was installed
in a pond in the Denver Sculpture Park and was taken down 15
years later.
123 GUILLERMO KUITCA b. 1961
Cuarta Pared, 1997
Lithograph and etching in brown with embossing, on Japanese paper, with full
margins, signed, dated ‘1997’ and numbered 19/35 in pencil (there were also 4
artist’s proofs in Roman numerals), published by Ediciones Poligrafa, Barcelona,
occasional creasing (primarily in the margins), the palest mat staining,
otherwise in good condition, unframed.
I. 14 x 20 3/8 in. (35.6 x 51.8 cm)
S. 22 1/4 x 30 1/8 in. (56.5 x 76.5 cm)
Estimate $1,000-1,500
122
123
125 LARRY BELL b. 1939
Mirage Construction #15, 1988
Unique mixed media work on canvas, mounted and stretched over wood
strainers (as issued), the full sheet, signed and dated ‘88’ in black paint on the
side, annotated #15 in black ink on the reverse (the series consisted of 22 unique
works), published by Gemini G.E.L., Los Angeles (with their copyright stamp on
the reverse), in excellent condition, unframed.
S. 27 x 22 x 3 in. (68.6 x 55.9 x 7.6 cm)
Estimate $1,200-1,800
LITERATURE Gemini G.E.L. 1369
124 LARRY BELL b. 1939
Mirage Construction #3, 1988
Unique mixed media work on canvas, mounted and stretched over wood
strainers (as issued), the full sheet, signed, dated ‘88’ in gray paint, annotated
#3 in pencil on the reverse (the series consisted of 22 unique works), published
by Gemini G.E.L., Los Angeles (with their copyright stamp on the reverse), very
minor soiling, a few spots of stray printing ink on the reverse, otherwise in very
good condition, unframed.
S. 27 x 22 x 1 1/2 in. (68.6 x 55.9 x 3.8 cm)
Estimate $1,200-1,800
LITERATURE Gemini G.E.L. 1369
126 STEPHEN HOLL b. 1947
Whale House—Martha’s Vineyard, 1986
Lithograph, on wove paper, with full margins, signed, dated ‘86’ and numbered
10/75 in pencil (there was also 1 artist’s proof), published by John Nichols
Printmakers and Publishers, NewYork, in excellent condition, unframed.
I. 13 1/4 x 42 3/8 in. (33.7 x 107.6 cm)
S. 15 3/4 x 45 in. (40 x 114.3 cm)
Estimate $400-600
125124
126
127 RACHEL WHITEREAD b. 1963
Mausoleum under Construction, from London Portfolio, 1992
Screenprint, on wove paper, with full margins, signed, titled and numbered
‘AP 19/20’ in pencil (an artist’s proof, the edition was 45), published by Paragon
Press, London, an area of the palest soiling at the center lower margin, in very
good condition, framed.
I. 21 7/8 x 31 in. (55.6 x 78.7 cm)
S. 27 7/8 x 34 3/4 in. (70.8 x 88.3 cm)
Estimate $1,200-1,800
128 RACHEL WHITEREAD b. 1963
Doorknob, 2001
Technogel multiple covered with black polyurethane film, signed and numbered
146/300 in blue ink on the accompanying information card, published by
Deutsche Guggenheim as Edition 17 for the exhibition Rachel Whiteread:
Transient Spaces, Berlin, very minor surface soiling, otherwise in very
good condition.
2 3/8 x 5 1/8 in. (6 x 13 cm)
Estimate $800-1,200
127
128
129
129 RACHEL WHITEREAD b. 1963
Secondhand, 2004
Stereolithograph of laser sintered white nylon multiple, numbered 49/400 (there
were also 60 artist’s proofs), published by Counter Editions, London, in very good
condition, contained in original custom fitted cardboard box (tape remains,
soiling and paper loss in places).
4 x 6 x 4 1/2 in. (10.2 x 15.2 x 11.4 cm)
Estimate $600-800
130 HIROSHI SUGIMOTO b. 1948
U.A. Walker Theatre, NewYork, 1978
Photoetching, on Rives BFK, with full margins, signed in pencil, numbered
0420/1000 on a label affixed to the case, published by Eyestorm and Sonnabend
Sundell Editions, London and NewYork, in excellent condition, unframed,
contained in original metal hinged case.
I. 11 1/2 x 14 3/4 in. (29.2 x 37.5 cm)
S. 17 x 21 in. (43.2 x 53.3 cm)
Estimate $800-1,200
131 REINHARD MUCHA b. 1950
Documenta-Edition, 1997
Aluminum, glass, screenprint and duotone offset print, signed and numbered
58/65 on a label affixed to the reverse (there were also 5 artist’s proofs),
published by documenta X editions and Edition Schellmann, Munich and
NewYork, in excellent condition.
S. 39 1/2 x 25 1/2 in. (100.3 x 64.8 cm)
Estimate $500-700
132 CHRISTO b. 1935
Wrapped Armchair, Project, 1977
Lithograph in colors, on Rives Couronne paper, the full sheet, signed and
numbered ‘AP 14/15’ in pencil (an artist’s proof, the edition was 100), published
by Abrams Original Editions, New York, a small orange stain in the lower
image, several creases in places across the lower image, otherwise in good
condition, unframed.
S. 21 3/4 x 27 3/4 in. (55.2 x 70.5 cm)
Estimate $1,000-1,500
LITERATURE Jörg Schellmann and Joséphine Benecke 88
130
131
132
133 VARIOUS ARTISTSIndominable Spirit portfolio, 1983-89
The complete set of ten prints in various photographic and print media, on
various papers, with full margins, all signed and numbered 13/50 in ink or pencil
(there were also 15 artist’s proofs), published by Photographers + Friends United
Against AIDS, NewYork to benefit the National Community AIDS Partnership
andThe American Foundation for AIDS Research, the Baldessari detached from
the mylar, a few with occasional soft handling creases, otherwise all in very
good condition, loose, contained in original black linen-covered box with
embossed red text and Barbara Kruger offset print inset on the front.
32 x 23 3/4 in. (81.3 x 60.3 cm)
Estimate $12,000-18,000
Including: John Baldessari, Blue Boy (with Yellow Boy: One with
Hawaiian Tie, One in Dark), 1989; Chuck Close, Sunflower, 1989; Jan
Groover, Untitled, 1989; Annette Lemieux, Apparition, 1989; Duane
Michals, Untitled, 1989; Richard Prince, Untitled, 1983; Robert
Rauschenberg, Untitled (from the Bleacher Series), 1989; Cindy
Sherman, Untitled, 1979/1989; Bruce Weber, NYC Studio, 1986 and
William Wegman, Second and Third Steps, 1989.
134 CHARLES RAY b. 1953
The Most Beautiful Woman in the World set, 1993
The complete set of nine unique photographs in colors, on Kodak Royal paper,
the full sheets, all stamped on the reverse ‘Charles Ray, 1993 Edition for Parkett
No. 37’ and numbered consecutively 73-81 in black ink, presumably numbered
9/60 (there was also an edition of 23 in Roman numerals), published by Parkett
Editions, Zurich and NewYork, all in very good condition, framed together,
lacking original signed and numbered envelope.
all S. 6 x 4 in. (15.2 x 10.2 cm)
Estimate $1,800-2,500
LITERATURE Edition for Parkett 37
135 VANESSA BEECROFT b. 1969
VB 08-36, 2000
Offset lithograph in colors with UV varnish and foil stamping, on wove paper,
the full sheet, signed, dated ‘00’ and numbered 270/300 in black marker on a
label affixed to the reverse, published by Cantz Editions, NewYork, in very good
condition, framed.
S. 36 1/2 x 53 3/4 in. (92.7 x 136.5 cm)
Estimate $900-1,200
134
135
137 SAM SAMORE b. 1963
Situation (Man with Cigarette pack on table), 1980
Black and white photograph on photo paper, the full sheet, signed and dated ‘Sam
Samore 1980s’, this work is from an edition of two, in excellent condition, framed.
S. 80 7/8 x 44 1/2 in. (205.4 x 113 cm)
Estimate $3,000-4,000
136 LAURIE SIMMONS b. 1949
Untitled (Dummy in Stairwell), 1994
Cibachrome print, on glossy photo paper, the full sheet, signed, dated ‘1994’,
titled and numbered 31/50 in pencil on the reverse (there were no artist’s
proofs), published by Art ResourcesTransfer, Inc., NewYork, in excellent
condition, framed.
S. 16 x 20 in. (40.6 x 50.8 cm)
Estimate $1,000-1,500
136
137
138 MAURIZIO CATTELAN b. 1960
Untitled, 2000
Digital photograph in black and white, on Uso Mano paper, with full margins,
signed and numbered 35/60 in black ink on the certificate (there was also an
edition of 22 in Roman numerals), published by Parkett Editions, Zurich and New
York, very slight wear at the upper right corner, otherwise in very good condition,
unframed, contained in original cardstock folder.
I. 12 1/2 x 9 1/2 in. (31.8 x 24.1 cm)
S. 16 1/8 x 12 7/8 in. (41 x 32.7 cm)
Estimate $2,500-3,500
LITERATURE Edition for Parkett 59
139 CHRISTOPHER WOOL b. 1955
My House II, 2000
Screenprint in colors, on matte custom art paper, with full margins, signed,
dated and numbered 8/100 in pencil (the series consists of three color
combinations, each in an edition of 100), published by Counter Editions, London,
creasing at the lower and upper right corners (with associated minor cracking
in the inks), otherwise in good condition, unframed.
I. 39 x 29 in. (99.1 x 73.7 cm)
S. 40 x 30 in. (101.6 x 76.2 cm)
Estimate $1,000-1,500
138
139
140
141
141 ALLAN MCCOLLUM b. 1944
Visable Markers, 1997
The complete set of six polymerized pigmented concrete tablets, all signed,
dated ‘1997’ and consecutively annotated ‘No. 1315 – No. 1320’ in black ink on
the felt pad on the underside (from an unlimited edition), published by I.C.
Editions, Inc., NewYork, all with minor scuffs and soiling, otherwise all in very
good condition.
all: 7 7/8 x 2 1/2 x 2 in. (20 x 6.4 x 5.1 cm)
Estimate $900-1,200
140 DAVID ROBBINS b. 1957
Talents, 1986
The complete set of sixteen headshots, on photo paper, the full sheets,
published by the artist, all in very good condition, each contained in original
artist’s frames (occasional scuffs, some with minor paint loss).
all with frame: 10 5/8 x 8 1/2 in. (27 x 21.6 cm)
Estimate $2,000-3,000
142 TOM FRIEDMAN b. 1965
Vanishing Point, 2006
Photogravure and embossing, on Somerset satin paper, the full sheet, signed
and numbered ‘p/p 2/3’ in pencil on the reverse (one of three printer’s proofs, the
edition was 12), published by Island Press, Washington University, St. Louis, a few
soft creases at the right sheet edge, otherwise in very good condition, framed.
S. 42 x 40 1/2 in. (106.7 x 102.9 cm)
Estimate $12,000-18,000
143 TOM FRIEDMAN b. 1965
Untitled (Dollar Bill), 2000
Inkjet print in colors, on Somerset velvet paper, with full margins, signed and
numbered 64/100 in pencil on the reverse (there were also 3 artist’s proofs),
published by the Fabric Workdshop and Museum, Philadelphia, in very good
condition, framed.
I. 13 3/8 x 33 1/2 in. (34 x 85.1 cm)
S. 21 1/4 x 41 1/8 in. (54 x 104.5 cm)
Estimate $5,000-7,000
144 TOM FRIEDMAN b. 1965
Untitled, 2002
Multiple consisting of seventy-five stacked and glued styrofoam cups hand-
painted in colors, signed and numbered 39/75 in black ink on the underside
(there was also an edition of 20 in Roman numerals), published by Parkett
Editions, Zurich and NewYork, in excellent condition.
40 1/2 x 3 x 3 in. (102.9 x 7.6 x 7.6 cm)
Estimate $2,500-3,500
LITERATURE Edition for Parkett 64
145 KEN PRICE b. 1935
Lunk, 2004
Cast bronze multiple painted in gold, inscised with initials and numbered 61/200
(there were also 13 artist’s proofs), published by the Frostig Collection, Pasadena,
in excellent condition.
4 x 4 x 4 in. (10.2 x 10.2 x 10.2 cm)
Estimate $1,200-1,800
146 PAUL MCCARTHY b. 1945
Xmas Pudding, 1999
Glass vessel filled with red rubber multiple, signed, dated, titled, inscribed and
numbered 10/10 in black paint, published by the artist, an area of adhesive
remains, the painted title rubbing off in places, otherwise in good condition.
5 x 5 1/2 x 5 1/2 in. (12.7 x 14 x 14 cm)
Estimate $600-900
147 NO LOT
145
146
Piero Manzoni, Merda d'Artista No. 049, 1961,
mixed media
148
149
148 DAVID SHRIGLEY b. 1968
Map of Sculpture Project in Münster, 1997
Screenprint, on Hanhemühle paper, with full margins, signed, dated ‘1997’
and numbered 52/60 in pencil on the reverse (there were also 4 artist’s proofs),
published by Fine Art Printmakers, Münster, in excellent condition, folded
(as issued), contained in original manila envelope with title printed on the front.
I. 28 1/4 x 38 3/4 in. (71.8 x 98.4 cm)
S. 30 1/4 x 41 3/4 in. (76.8 x 106 cm)
Estimate $500-700
149 STEVE GIANAKOS b. 1938
Missing Children portfolio, 1985
The complete set of eight lithographs in colors, on wove paper, the full sheets,
all signed with initials and numbered 10/41 in pencil, published by Solo Press Inc.
and Rutgers University Print Archives, NewYork and New Jersey, most with slight
creasing at the lower right corner, otherwise all in very good condition, loose,
contained in original paper folder with printed text on the front and ribbon tie.
all S. 16 x 13 1/4 in. (40.6 x 33.7 cm)
Estimate $700-900
detail of lot 148
150 FRED TOMASELLI b. 1956
After Echolocation #2, 2000
Digital iris print in colors, on heavy wove paper, with full margins, signed
and numbered 4/100 in pencil (there were an unknown number of artist’s proofs),
published by Dinaburg Arts, NewYork, in excellent condition, unframed.
I. 17 3/8 x 14 in. (44.1 x 35.6 cm)
S. 18 1/8 x 14 7/8 in. (46 x 37.8 cm)
Estimate $600-800
151 FRED TOMASELLI b. 1956
Untitled, 2004
Digital ink jet print in colors, on wove paper, with full margins, signed
and numbered 91/100 in pencil (there were also 25 artist’s proofs), published by
Carrie Waldman, in excellent condition, framed.
I. 9 5/8 x 6 1/4 in. (24.4 x 15.9 cm)
S. 11 x 8 1/2 in. (27.9 x 21.6 cm)
Estimate $300-400
152 KELLEY WALKER b. 1969
Maui, 2002
CD-rom containing printable color poster, and one archival inkjet print in colors
signed on the reverse, also signed in pencil on the certificate included in the cd
case, numbered 1 of 5, published by the artist, very slight scuffing on the
exterior of the cd case, otherwise in very good condition.
print dimensions variable
cd: 5 x 5 1/2 in. (12.7 x 14 cm)
Estimate $1,500-2,500
150
151
152
Kelley Walker made a series of these edition works starting around
2001.They consist of images from advertising and news sources
that have been downloaded from the internet. Walker then made
‘interventions’ to the images by the addition of sprays of toothpaste
or dots, as in this work.The concept behind the work is that the
purchaser can make further interventions to the piece through an
application within the CD-rom. One can reprint the image at
different sizes or even in different media.The purchaser also
receives archival inkjet print signed by the artist.
154 LAWRENCE WEINER b. 1942
& Across The Great Divide, 1991
The complete set of three baked enamel multiples in colors, on metal sheets,
all signed, dated ‘92’ and annotated ‘H.C. 3/4 A’ in black ink on a label affixed to
the reverse (an hors-commerce copy, the edition was 45), published by Brooke
Alexander Editions, NewYork, all in excellent condition, contained in original box.
36 1/2 x 12 3/4 in. (92.7 x 32.4 cm)
Estimate $3,000-4,000
153
154
153 EBERHARD HAVEKOST b. 1967
Windmesser 1.2 and 2.2; and Flugzeng, 2002
Three photo-lithographs in colors, on wove paper, with full margins, Windmesser
1.1 and Flugzeng signed, titled, dated and numbered 12/22 and 3/5 in pencil and
pen respectively, Windmesser both annotated ‘(1.2)’ and ‘(2.2)’ respectively in
pencil, all in very good condition, all framed.
Windmesser both I. 13 3/4 x 9 7/8 in. (34.9 x 25.1 cm)
Flugzeng I. 4 3/4 x 13 3/4 in. (12.1 x 34.9 cm)
all S. 16 1/2 x 11 5/8 in. (41.9 x 29.5 cm)
Estimate $700-900 •
155
156
156 VARIOUS ARTISTSChanterelle Menus, 2006-08
Five prints in photo, screenprint and lithograph, on various papers, with full
margins or the full sheets, the Lethbridge signed in black ink on the reverse,
from the approximate editions of 100 (the editions were not signed or numbered),
published as menu covers for the restaurant Chanterelle, NewYork, all but the
Barney with text and menu listed on the reverse, most with occasional handling
creases and minor soiling, theWalker with very slight ink loss at lower right,
otherwise all in good condition, all unframed.
various sizes
Estimate $1,400-1,800
Including: Matthew Barney; Annie Leibovitz; KaraWalker; Julian
Lethbridge and Julian Schnabel
155 ANDY WARHOL 1928-1987
Space Fruit: Still Lifes: Cantaloupe II, 1979
Unique screenprint in colors, on museum board paper, the full sheet, published
by Grippi/Zivian, Inc., NewYork, with the AndyWarhol Authentication Board, Inc.
inkstamp and numbered ‘Extra 191.177’, scuffing, occasional soiling in the upper
and lower sheet, otherwise in good condition, framed.
S. 32 1/8 x 39 3/4 in. (81.6 x 101 cm)
Estimate $4,000-6,000
LITERATURE see Frayda Feldman and Jörg Schellmann 198
157 ALLEN RUPPERSBERG b. 1944
Siste Viator, 1993
The complete set of twoWWII era bookends and 20 facsimile books withWWII
era bookplates, five titles in four languages (English, Dutch, Polish, German), one
book in each languge printed in its entirety, the others printed covers only, each
hand inscribed by the artist with a soldier’s name, from the unnumbered edition
of 50 (there were no artist’s proofs), published by the artist, very minor wear along
the edges of some of the book covers, otherwise in very good condition.
various sizes
Estimate $2,000-3,000
Siste Viator (Stop Traveler), a project for the Dutch city of Arnhem, revisiting the tragicWorldWar II battle in the area that
claimed the lives of eight thousand soldiers in nine days of September 1944.The project consisted of republishing twenty
popular books of the time, five from the best-seller list of each of the four countries most involved in the battle: Britain, the
Netherlands, Poland, and Germany. As Allan McCollum noted; “I doubt if anyone could portray his intention more beautifully
than he himself did in his proposal for the project:”
This work is a collection of narratives. It is about the telling of stories both fact and fiction. A memorial to individual memories
and the reading of books of the private imagination combined with the public, political history. A link is established between the
private experience and public memory. As this era of World War II recedes from the realm of immediate experience, I propose to
create in the public mind a new personal memory that is not just another replaceable image. Dignity in a memorial is usually
associated with stone and statue, with pose and gesture and with the body. I propose a similar attitude with words, as was once
done with an epitaph. A comparison of words, a collision of worlds, nationalities, ideas, ideals, and kinds of literature. This work
then is a reconstruction and an exhibition of history in free association to create a continuity between various narrative acts
which give shape to the random acts of history.
Allen Ruppersberg
158 RICHARD ARTSCHWAGER b. 1923
Book, 1987
Formica covered wood multiple, signed and numbered 6/40 in black ink on a
label affixed to the underside (there were also 8 artist’s proofs), published by
Brooke Alexander Editions to benefit the New Museum, NewYork, minor soiling,
scuffs an occasional minor nicks, moisture staining on the edges of the label
on the underside, otherwise in very good condition.
5 x 20 x 12 in. (12.7 x 50.8 x 30.5 cm)
Estimate $5,000-7,000
Facsimile of the Gutenberg Bible, Paris, 1986
159 CHRIS JOHANSON b. 1968
You Should All Know Something Before We Start on the Second Half
of Today’s Session, 2002
Aquatint in colors, on Somerset textured paper, with full margins, signed, dated
‘2002’ and numbered 5/25 in pencil (there were also 10 artist’s proofs), published
by Paulson Press, Berkeley, California (with their blindstamp), in excellent
condition, framed.
I. 26 1/2 x 35 1/2 in. (67.3 x 90.2 cm)
S. 35 x 42 3/4 in. (88.9 x 108.6 cm)
Estimate $1,500-2,500
160 ED RUSCHA b. 1937
News, Mews, Pews, Brews, Stews & Dues portfolio: News, 1970
Organic screenprint (black currant-pie filling, cherry-pie filling and unmixed raw
egg) in colors, on Silverbrook SnowWhite Antique Finish paper, with full
margins, signed, dated ‘1970’ and numbered 56/125 in pencil (there were also 25
artist’s proofs), published by Editions Alecto, London, occasional soiling and
creasing in the margins (particularly the corners), the palest time staining, hinge
remains on the reverse of the corners (slightly showing through), otherwise in
very good condition, unframed.
I. 17 7/8 x 27 in. (45.4 x 68.6 cm)
S. 23 x 31 5/8 in. (58.4 x 80.3 cm)
Estimate $2,000-3,000
LITERATURE Walker Art Center/Siri Engberg 34
159
160
161 JON KESSLER b. 1957
Der Kurs (The Curse), 1989
Mechanical multiple in wood, glass, newsprint and metal, signed, dated ‘89’
and annotated ‘ap’ in black marker on the reverse (one of 3 artist’s proofs,
the edition was 7), published by the artist, in excellent and working condition.
51 x 19 in. (129.5 x 48.3 cm)
Estimate $1,500-2,500
162 CHRISTIAN SCHUMANN b. 1970
Ah Geef Op!, 1996
Screenprint in colors, on wove paper, with full margins, signed, dated ‘96’
and numbered 48/60 in pencil (there were also 6 artist’s proofs), published by
Alexander Heinrici, NewYork, a few pressure marks in the margins, stray printing
ink in places on the reverse, otherwise in very good condition, unframed.
I. 31 x 40 1/2 in. (78.7 x 102.9 cm)
S. 35 1/8 x 43 7/8 in. (89.2 x 111.4 cm)
Estimate $900-1,200
161
162
163 MARTIN KIPPENBERGER 1953-1997
Tic-Tac-Toe, Tae-Kwon-Doe, 1990
The complete set of nine wooden stretchers by Imi Knoebel adapted by
Kippenberger, wrapped in plastic with latex tape (as issued), from the edition
of 30 (there were no recorded artist’s proofs), published by Santa Monica
Editions, California, all nine stretchers signed with initials, dated ‘6889’ and
numbered 360/1000, 451/1000, 520/1000, 626/1000, 674/1000, 719/1000, 832/1000,
897/1000 and 952/1000 by Knoebel in black marker on the reverse (Kippenberger
bought a large number of Knoebel’s “multiple” and transformed them into this
series), in excellent condition.
Estimate $8,000-12,000
LITERATURE Kunstverein Braunschweig e. V. and Museum van Hedendaagse
Kunst Antwerpen, Kippenberger Multiples 41, pp. 80-1 AndyWarhol, Flowers (in 9 parts), 1964
164 MARTIN KIPPENBERGER 1953-1997
Untitled (Self-Portrait), 1997
Aquatint and etching in colors, on Somerset paper, with full margins,
presumably a proof apart from the stamped edition of 24, with ‘NACHLASS
MARTIN KIPPENBERGER’ blindstamp, a few soft handling creases in the
margins, otherwise in very good condition, framed.
I. 29 7/8 x 24 3/4 in. (75.9 x 62.9 cm)
S. 37 3/4 x 30 3/8 in. (95.9 x 77.2 cm)
Estimate $8,000-12,000
Pablo Picasso, 1962, photograph
by David Douglas Duncan
165 MASAMI TERAOKA b. 1936
Namiyo at Hanauma Bay, 1985
Lithograph in colors, on wove paper, the full sheet, signed and numbered 149/150
in pencil on the reverse, published by Editions Press, San Francisco (with their
blindstamp), hinge remains in places along the reverse of the sheet edges (with
associated skinning), otherwise in very good condition, unframed.
S. 24 5/8 x 35 7/8 in. (62.5 x 91.1 cm)
Estimate $1,200-1,800
166 YINKA SHONIBARE, MBE b. 1962
Dreamscape, 2002
Digital photograph in colors, on Fugicolor Professional paper, with full margins,
signed, dated ‘2002’ and numbered 22/40 in black ball point pen on the reverse
(there were also 10 artist’s proofs), published by documenta XI editions and
Edition Schellmann, Munich and NewYork, offset pencil lines in places along the
perimeter of the image, otherwise in very good condition, framed.
I. 15 1/2 x 23 1/2 in. (39.4 x 59.7 cm)
S. 16 x 24 in. (40.6 x 61 cm)
Estimate $1,200-1,800
165
166
167
168
167 YAYOI KUSAMA b. 1929
Shoes (pink glitter), 1999
Screenprint in colors with glitter, on wove paper, with full margins, signed, dated
‘1999’, annotated in Japanese and numbered 12/60 in pencil, with two soft
creases at the lower right corner, otherwise in very good condition, framed.
I. 17 5/8 x 21 1/8 in. (44.8 x 53.7 cm)
S. 23 5/8 x 26 5/8 in. (60 x 67.6 cm)
Estimate $1,200-1,800
168 YAYOI KUSAMA b. 1929
Shoes (green glitter), 1999
Screenprint in colors with glitter, on wove paper, with full margins, signed, dated
‘1999’, annotated in Japanese and numbered 22/60 in pencil, with one soft
creases at the lower right corner, otherwise in very good condition, framed.
I. 17 5/8 x 21 1/8 in. (44.8 x 53.7 cm)
S. 23 5/8 x 26 5/8 in. (60 x 67.6 cm)
Estimate $1,200-1,800
169 PETER SAUL b. 1934
Schicago Justus, from Conspiracy: The Artist as Witness portfolio, 1971
Lithograph in colors, on Arches paper, the full sheet, signed, dated ‘71’ and
numbered 84/150 in pencil (there were also 25 artist’s proofs), published by David
R. Godine Publishers and the Center for Constitutional Rights, NewYork, two
minute spots of ink loss at the extreme sheet edge of the lower right corner,
otherwise in very good condition, unframed.
S. 18 x 24 in. (45.7 x 61 cm)
Estimate $700-900
170 SAUL STEINBERG 1914-1999
The General, from Peace Portfolio 1, 1970
Lithograph, on Rives paper, the full sheet, signed and numbered 145/175 in
pencil (there were also 15 artist’s proofs), published by the Academic and
Professional Action Committee for a Responsible Congress, NewYork,
occasional pressure marks, soft handling and printing creases, otherwise in
very good condition, unframed.
S. 21 x 26 in. (53.3 x 66 cm)
Estimate $400-600
171 NANCY DWYER b. 1954
No Answer, 1982
Screenprint in colors, on Rives BFK paper, with full margins, signed and
numbered 39/40 in pencil (there were also 5 artist’s proofs), published by Carl
Solway Gallery, Cincinnati, faint scuffing (mainly visible in raking light),
occasional soiling and soft handling creases in the margins, otherwise in very
good condition, unframed.
I. 13 1/2 x 15 1/2 in. (34.3 x 39.4 cm)
S. 30 1/8 x 22 1/8 in. (76.5 x 56.2 cm)
Estimate $200-300
169
170
171
172
173
174
175
172 RICHARD BOSMAN b. 1944
The Fall, 1983-84
Woodcut on Japanese paper, the full sheet, signed and numbered 22/32 in
pencil, published by Experimental Workshop, Emeryville, California, in very
good condition, framed.
S. 60 3/4 x 41 5/8 in. (154.3 x 105.7 cm).
Estimate $1,000-1,500
173 RICHARD BOSMAN b. 1944
Car Crash, 1984
Woodcut in colors, on Japanese paper, with full margins, signed and numbered
8/60 in pencil, published by Experimental Workshop, Emeryville, California, minor
creasing in places along the sheet edges, otherwise in good condition,
unframed.
I. 35 x 48 in. (88.9 x 121.9 cm)
S. 36 1/2 x 49 1/2 in. (92.7 x 125.7 cm)
Estimate $600-800
174 CHERYL LAEMMLE b. 1947
Untitled, circa 1980
Lithograph, on wove paper, with full margins, signed and numbered 3/50
in pencil, in excellent condition, unframed.
I. 29 x 20 3/8 in. (73.7 x 51.8 cm)
S. 35 1/2 x 25 in. (90.2 x 63.5 cm)
Estimate $200-300
175 ROBERT LONGO b. 1953
Flag, 1989
Lithograph, on wove paper, with full margins, signed, dated ‘89’, inscribed
‘for CR’ and numbered 31/50 in pencil, in excellent condition, framed.
I. 15 1/2 x 16 1/4 in. (39.4 x 41.3 cm)
S. 22 x 30 in. (55.9 x 76.2 cm)
Estimate $800-1,200
176
177
176 A.R. PENCK b. 1939
Quo vadis G.G.; Loch in der Mauer; Was sich ankundigt
and Standard West, 1982-89
Three aquatints and etchings in colors and one lithograph, on various papers,
with full margins, all signed and numbered 18/25; 33/35; 33/35 and 11/25 in pencil,
published by Sabine Knust MaximilianVerlag Editions, Munich, all generally in
very good condition, all framed.
various sizes
Estimate $1,000-1,500
177 JÖRG IMMENDORF 1945-2007
Babel series: plates 4, 15 and 18, 1987
Three linocuts in colors, on wove paper, with full margins, all signed, dated ‘87’
and numbered 6/7 in pencil (there was also an edition of 5 in Roman numerals),
published by Sabine Knust MaximilianVerlag Editions, Munich, all with hinge
remains on the reverse of the upper corners, otherwise all in very good
condition, all unframed.
all I. 15 7/8 x 13 7/8 in. (40.3 x 35.2 cm)
all S. 19 3/4 x 17 3/4 in. (50.2 x 45.1 cm)
Estimate $1,200-1,600
LITERATURE Beate Reifenscheid 1987.5.4, 1987.5.15 and 1987.5.18
178 KEITH HARING 1958-1990
Untitled I-VI suite, 1982
The complete set of six lithographs, on Rives BFK paper, with full margins, all
signed, dated ‘3.82’ and numbered 20-40 in red crayon (there were also 8 artist’s
proofs), published by Barbara Gladstone Editions, NewYork, all with occasional
soft handling creases and varying degrees of mat staining in places in the
margins and on the reverse, otherwise all in very good condition, all unframed.
all I. 33 3/8 x 22 5/8 in. (84.8 x 57.5 cm)
all S. 36 x 25 3/8 in. (91.4 x 64.5 cm)
Estimate $15,000-20,000
LITERATURE Edition Cantz pp. 18-21
179 JIM HODGES b. 1957
Really (In Honor of Felix Gonzales-Torres), from 1989 portfolio, 2000
Iris print in colors, on wove paper (with image on both sides), with full margins,
signed, dated ‘2000’, titled and numbered 14/75 in pencil (there were also 12
artist’s proofs), published by the Estate Project for Artists with AIDS and
Alliance for the Arts, NewYork, in excellent condition, unframed.
both I. 5 1/4 x 7 7/8 in. (13.3 x 20 cm)
S. 24 x 20 in. (61 x 50.8 cm)
Estimate $500-700
180 FRANCESCO CLEMENTE b. 1952
Untitled (Couple Entwined), from BAM Portfolio and Self-Portrait
in Four Parts (black), 1987 and 2004
One etching and one aquatint, on wove paper and Hiromi Shikibu Chine collé
to Hahnemüle, with full margins, both signed and numbered 9/75 and 29/30 in
pencil (there were also 15 and 6 artist’s proofs respectively), Couple published
by Parasol Press, NewYork, Self-Portrait published by the artist, both in excellent
condition, one unframed, one framed.
Couple I. 23 1/2 x 47 1/2 in. (59.7 x 120.7 cm)
Couple S. 27 1/2 x 55 3/8 in. (69.9 x 140.7 cm)
Portrait I. 9 3/4 x 19 1/2 in. (24.8 x 49.5 cm)
Portrait S. 18 1/4 x 27 3/4 in. (46.4 x 70.5 cm)
Estimate $1,000-1,500
179
180
181
181 ROSS BLECKNER b. 1949
[Cage], 1987
Lithograph in colors with woodcut in black and white, on thin wove paper,
the full sheet, signed and numbered 51/125 in pencil, in excellent condition,
unframed.
S. 20 x 16 in. (50.8 x 40.6 cm)
Estimate $400-600
(side A)
182 GARY HUME b. 1962
Seahorse, 1998
Screenprint in colors, on Somerset paper, with full margins, signed titled
and numbered 27/35 in pencil (there were also 10 artist’s proofs), published
by Paragon Press, London, a small pressure mark in the center left margin,
two creases along the lower right margin to the corner, otherwise in good
condition, framed.
I. 35 5/8 x 26 5/8 in. (90.5 x 67.6 cm)
S. 42 1/2 x 32 1/2 in. (108 x 82.6 cm)
Estimate $2,000-3,000
LITERATURE White Cube/Paragon Press p. 52
183 GARY HUME b. 1962
Grey Leaves, 2004
Screenprint in colors, on Somerset paper, with full margins, signed, dated
‘04’, titled and numbered 206/250 in pencil (there were also 25 artist’s proofs),
published by Counter Editions, London, in excellent condition, framed.
I. 21 3/8 x 17 1/2 in. (54.3 x 44.5 cm)
S. 28 x 23 in. (71.1 x 58.4 cm)
Estimate $1,000-1,500
LITERATURE White Cube/Paragon Press p. 86
184 GARY HUME b. 1962
Fuzzy Snowman, 2000
Blue flocked ground with seven detachable white felt circles, on heavy wove
paper, with full margins, signed in blue ink on the reverse, published by
Momart, London, a few pale spots of stray color in the margins, two small
creases at the upper right corner (not affecting the flocking), otherwise in
very good condition, framed.
I. 10 1/8 x 6 7/8 in. (25.7 x 17.5 cm)
S. 10 3/4 x 7 3/8 in. (27.3 x 18.7 cm)
Estimate $700-900
182
183
184
185 CHUCK CLOSE b. 1940
Self-Portrait, 2007
Screenprint in colors, on SaundersWaterford HP paper, with full margins,
signed, dated and numbered 34/80 in pencil (there were also 18 artist’s proofs),
published by Pace Editions, Inc., NewYork, in excellent condition, framed.
I. 68 x 52 1/4 in. (172.7 x 132.7 cm)
S. 74 1/2 x 57 3/4 in. (189.2 x 146.7 cm)
Estimate $50,000-70,000
Rembrandt Peale, Self-Portrait, 1828, oil on canvas
186 CHUCK CLOSE b. 1940
Self-Portrait (Scribble), 2007
Lithograph and screenprint in colors, on Somerset paper, with full margins, signed,
dated ‘2007’ and numbered 18/118 in pencil (there were also 18 artist’s proofs),
published by Pace Editions, Inc., NewYork, in excellent condition, unframed.
I. 29 3/4 x 24 in. (75.6 x 61 cm)
S. 38 x 30 in. (96.5 x 76.2 cm)
Estimate $8,000-12,000
187 CHUCK CLOSE b. 1940
Self-Portrait/Scribble/Etching, 2000
Etching in colors, on Hahnemühle paper, with full margins, signed, dated ‘2000’
and numbered 50/60 in pencil (there were also 15 artist’s proofs), published by
Pace Editions, Inc., NewYork, in excellent condition, framed.
I. 9 3/4 x 8 1/8 in. (24.8 x 20.6 cm)
S. 18 1/4 x 15 1/4 in. (46.4 x 38.7 cm)
Estimate $5,000-7,000
186
187
Malcolm Morley, Vermeer—Portrait of the
Artist in his Studio, 1968, oil on canvas
188 CHUCK CLOSE b. 1940
Self-Portrait, 2000
Digital inkjet print from daguerreotype, on Crane Museo paper, with full
margins, signed, dated ‘2000’ and numbered 56/70 in pencil (there was also an
edition of 30 in Roman numerals), published by Parkett Editions, Zurich and New
York, in excellent condition, framed.
I. 15 1/2 x 12 in. (39.4 x 30.5 cm)
S. 22 x 16 7/8 in. (55.9 x 42.9 cm)
Estimate $1,500-2,500
LITERATURE Edition for Parkett 60
189 CHUCK CLOSE b. 1940
Untitled (In Honor of Peter Hujar), from 1989 portfolio, 2000
Digital iris print in colors, on smooth wove paper, with full margins, signed,
dated ‘2000’ and numbered 14/75 in pencil (there were also 12 artist’s proofs),
published by the Estate Project for Artist’s with AIDS and Alliance for the Arts,
NewYork, in excellent condition, unframed.
overall I. 12 x 20 in. (30.5 x 50.8 cm)
S. 18 x 24 in. (45.7 x 61 cm)
Estimate $1,000-1,500
190 CHUCK CLOSE b. 1940
Untitled, 2001
Digital iris print, on wove paper, with full margins, signed, dated ‘2001’
and numbered 33/100 in pencil (there were also 5 artist’s proofs), published
by Art of this Century and distributed by John Szoke Editions, NewYork,
in excellent condition, unframed.
overall I. 14 3/4 x 24 1/4 in. (37.5 x 61.6 cm)
S. 22 x 29 1/4 in. (55.9 x 74.3 cm)
Estimate $1,000-1,500
188
189 190
191 JASPER JOHNS b. 1930
The Seasons, 1989
Etching and aquatint, on Arches en tout cas paper, with full margins, signed,
dated ‘89’ and numbered 30/54 in pencil (there were also 12 artist’s proofs),
published by Universal Limited Art Editions, West Islip, NewYork (with their
blindstamp), in very good condition, framed.
I. 19 1/8 x 51 5/8 in. (48.6 x 131.1 cm)
S. 26 3/4 x 58 1/4 in. (67.9 x 148 cm)
Estimate $20,000-30,000
LITERATURE Universal Limited Art Editions 244
[Johns] came to California for a week and the weather was bad. A friend drove him to the airport and apologized for the gray
and gloomy weather. “That’s all right,’ he said, ‘Gray is my favorite color.’” (Michael Crichton, Jasper Johns, Whitney Museum
of American Art, Harry N. Abrams, NewYork, 1977, revised edition 1994, p. 16)
192 LUCIAN FREUD b. 1922
After Chardin (Small Plate), 2000
Etching, on Somerset paper, with full margins, signed with initials and numbered
64/80 in pencil (there were also 24 artist’s proofs), published by the Los Angeles
County Museum of Art, in excellent condition, unframed.
I. 6 x 7 7/8 in. (15.2 x 20 cm)
S. 15 x 20 in. (38.1 x 50.8 cm)
Estimate $5,000-7,000
LITERATURE Starr Figura/The Museum of Modern Art, p. 33Jean-Baptiste-Siméon Chardin, TheYoung Schoolmistress,
1736, oil painting
193 HENRI MATISSE 1869-1954
Figure endormie, châle sur les Jambes, 1929
Lithograph, on Arches paper, with full margins, signed and numbered 46/50 in
pencil, pale light-staining, pale stains and minor rubbing in the margins, a small
tear at the upper left sheet corner, two small repaired tears at the lower right
corner, otherwise in very good condition, framed.
I. 10 1/2 x 14 3/4 in. (26.7 x 37.5 cm)
S. 17 5/8 x 21 1/2 in. (44.8 x 54.6 cm)
Estimate $14,000-18,000
LITERATURE Claude Duthuit 511
Henri Matisse in his studio, Villa Alèsia, Paris,
1939, Bibliothèque Nationale de France, Paris
194 VIJA CELMINS b. 1938
Ocean with Cross #1, 2005
Screenprint, on RivesTextured Rag paper, with full margins, signed and numbered
68/108 in pencil (there were also 18 artist’s proofs), published by Lincoln Center
List Poster and Print Program, NewYork, in excellent condition, framed.
I. 17 1/2 x 22 1/2 in. (44.5 x 57.2 cm)
S. 24 x 28 1/2 in. (61 x 72.4 cm)
Estimate $6,000-8,000
195 ELLSWORTH KELLY b. 1923
Pear I (Poire I), 1965-66
Lithograph, on Rives BFK paper, with full margins, signed and numbered 26/75
in pencil (there were also 10 artist’s proofs), published by Maeght Editeur, Paris,
occasional minor soiling, an area of abrasion at the lower left sheet edge,
otherwise in very good condition, framed.
I. 24 x 16 in. (61 x 40.6 cm)
S. 35 3/8 x 24 in. (89.9 x 61 cm)
Estimate $5,000-7,000
LITERATURE Richard Axsom 45
194
195
196 PABLO PICASSO 1881-1973
Bull, 1957
Red earthenware plate painted in black and clear glaze, inscribed Edition
Picasso, Madoura, N. 107 and numbered 78/250, with the Edition Picasso and
Madoura Plein Feu pottery stamps on the underside, felt pads along the underside
rim, two dark spots in the center underside, otherwise in very good condition.
diameter: 14 5/8 in. (37.1 cm)
Estimate $4,000-6,000
LITERATURE Alain Ramié 392
197 PABLO PICASSO 1881-1973
Picador, 1952
Partially glazed white earthenware plate painted in black, from the edition of
500, inscribed Edition Picasso and with the Edition Picasso and Madoura Plein
Feu pottery stamps on the underside, in very good condition.
diameter: 8 1/4 in. (21 cm)
Estimate $1,500-2,500
LITERATURE Alain Ramié 160
196
197
198 WILLIAM BAILEY b. 1930
Still Life with Eggs, Candlestick and Bowl, from America: TheThird Century, 1976
Lithograph in colors, on wove paper, the full sheet, signed and numbered 141/200
in pencil on the reverse (there were also 25 artist’s proofs), published by APC
Editions, NewYork, a crease at the lower right corner, minute areas of ink loss
in places along the sheet edges, mat staining on the reverse, otherwise in very
good condition, unframed.
S. 30 x 22 in. (76.2 x 55.9 cm)
Estimate $600-800
199 CY TWOMBLY b. 1928
Natural History Part I Mushrooms: Plate No. III, 1974
Lithograph in colors with collage, hand-additions and other mixed media, on
Richard de Bas paper, the full sheet, signed with initials and numbered 79/98 in
pencil (there were also 17 artist’s proofs), published by PropyläenVerlag, Berlin,
a few pale stains at the sheet edge, otherwise in very good condition, framed.
S. 29 1/2 x 21 3/4 in. (74.9 x 55.2 cm)
Estimate $4,000-6,000
LITERATURE Heiner Bastian 44
198
199
200 ROBERT COTTINGHAM b. 1935
Bud, 1996
Lithograph in colors, on Rives BFK paper, with full margins, signed, dated ‘1996’,
titled and annotated ‘RTP’ in pencil (the right-to-print proof, the edition was 60
and 5 artist’s proofs), published by Landfall Press, Chicago (with their stamp
on the reverse), in excellent condition, unframed.
I. 42 x 41 7/8 in. (106.7 x 106.4 cm)
S. 46 x 46 in. (116.8 x 116.8 cm)
Estimate $2,500-3,500
201 RICHARD ESTES b. 1932
Urban Landscapes III: Cafeteria, Vatican, 1981
Screenprint in colors, on Fabriano Cottone paper, with full margins, signed and
numbered 187/250 in pencil (there were also 15 artist’s proofs), published by
Parasol Press, NewYork, scuffing, several small spots of ink loss (a few touched-
in), otherwise in good condition, unframed.
I. 14 1/8 x 20 in. (35.9 x 50.8 cm)
S. 19 3/4 x 27 1/2 in. (50.2 x 69.9 cm)
Estimate $600-800
LITERATURE John Arthur pp.120-21
200
201
202 JULIA JACQUETTE b. 1964
Four Sweets, 1995
Screenprint in colors, on heavy wove paper, with full margins, signed and
numbered 13/65 in pencil, published by Karen McCready Fine Art and Margarete
Roeder Gallery, NewYork, in excellent condition, unframed.
I. 14 x 23 1/2 in. (35.6 x 59.7 cm)
S. 18 1/2 x 27 1/2 in. (47 x 69.9 cm)
Estimate $1,000-1,500
Mister Softee truck, NewYork, photograph by Dan Carlson
203 KIKI SMITH b. 1954
Tattoo, 1995
Screenprint, on machine-made paper, with full margins, signed, dated ‘1995’ and
numbered 75/100 in pencil (there were no artist’s proofs), published by the artist,
occasional creasing and minor soiling particularly at the edges, otherwise in
good condition, framed.
I. 17 3/4 x 27 3/4 in. (45.1 x 70.5 cm)
S. 19 3/4 x 30 in. (50.2 x 76.2 cm)
Estimate $900-1,200
LITERATURE Museum of Modern Art/Wendy Weitman 76
204 JANE HAMMOND b. 1950
Body Language, 2001
Digital print in colors, onThai Mulberry paper, with full margins, signed, dated
‘2001’ and numbered 40/100 in pencil (there were also 20 artist’s proofs),
published by and to benefit Doctors of theWorld, NewYork, in excellent
condition, unframed.
I. 41 x 19 in. (104.1 x 48.3 cm)
S. 47 5/8 x 24 1/2 in. (121 x 62.2 cm)
Estimate $1,500-2,000
203
204
205 ROBERT GOBER b. 1954
Untitled, 1991
Lithograph in green, on J.B. Green paper, with full margins, signed, dated, and
numbered ‘P.P. 1/2’ in pencil (one of two printer’s proofs, the edition was 35 and
6 artist’s proofs), published by Maurice Sanchez, NewYork, in excellent
condition, unframed.
I. 13 1/2 x 10 7/8 in. (34.3 x 27.6 cm)
S. 17 7/8 x 13 3/4 in. (45.4 x 34.9 cm)
Estimate $2,000-3,000
206 JASPER JOHNS b. 1930
Untitled (Ruler), 1968
Screenprint in colors, on Rives BFK, with full margins, signed, dated ‘68’ and
numbered 32/110 in pencil (there were also 10 artist’s proofs), published by the
artist, the red slightly faded, minor rippling, pale time staining, otherwise in
good condition, framed.
S. 36 x 25 in. (91.4 x 63.5 cm)
Estimate $1,000-1,500
LITERATURE Universal Limited Art Editions 56
205
206
Man Ray, Presse-papier à Priarpe (1920)
207 LOUISE BOURGEOIS b. 1911
Hamlet and Ophelia, 1997
Lithograph in colors, on Arches paper, the full sheet, signed in initials, dated ‘97’
and numbered 17/50 in black pencil (there were also 20 artist’s proofs), published
by Brooklyn Academy of Music, NewYork, in excellent condition, framed.
S. 29 1/2 x 41 3/4 in. (74.9 x 106 cm)
Estimate $3,000-5,000
208 LOUISE BOURGEOIS b. 1911
Toi et Moi, 2006
Screenprint in red and black, on fabric, the full sheet, numbered 89/125 in black
ink (there were also 25 artist’s proofs), published by the artist, in excellent
condition, framed.
S. 7 3/4 x 10 3/4 in. (19.7 x 27.3 cm)
Estimate $1,200-1,800
207
208
210 FELIX GONZALEZ-TORRES 1957-1996
Untitled (Oscar Wilde), 1995
Photo-etching, on wove paper, the full sheet, signed, dated, and numbered
206/250 in pencil on the reverse (there were also 25 artist’s proofs), published by
the Solomon R. Guggenheim Museum, NewYork, in excellent condition, framed.
S. 4 5/8 x 6 3/8 in. (11.7 x 16.2 cm)
Estimate $1,200-1,800
LITERATURE Dietmar Elger 273
211 KATE SHEPHERD b. 1961
Paper Bedroom, 2006
Cut paper collage in colors, on heavy wove paper, with full margins, signed,
dated ‘06’ and numbered 4/30 in pencil (there were also 5 artist’s proofs),
published by Artists Space, NewYork, in excellent condition, unframed.
I. 12 3/4 x 9 3/8 in. (32.4 x 23.8 cm)
S. 13 5/8 x 10 3/8 in. (34.6 x 26.4 cm)
Estimate $500-700
209
210
211
209 SOPHIE CALLE b. 1953
The Dice, 2001
Multiple consisting of a plastic dice set in red leather box with satin lining
(printed with gold text), suede and leather interior, numbered 70/250, published
by Item, Paris, a small spot of soiling on the suede, otherwise in very good
condition.
dice: 1/4 x 1/4 x 1/4 in. (.6 x .6 x .6 cm)
box: 1 1/2 x 2 7/8 x 2 7/8 in. (3.8 x 7.3 x 7.3 cm)
Estimate $400-600
I have always liked others to make decisions for me. B. and I played
a game: on even-numbered days he made the decisions, on odd-
numbered days I did. When he left for the States he gave me a dice
to replace him.
Sophie Calle
212 KIKI SMITH b. 1954
Ballerina (Stretching Right), 2000
Etching and aquatint with collage in tissue and applied glitter, on Somerset
paper with rooster watermark, with full margins, signed, dated ‘2000’ and
numbered 18/24 in pencil (there were also 6 artist’s proofs), published by Pace
Editions, Inc., NewYork, in excellent condition, framed.
I. 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm)
S. 31 x 22 1/2 in. (78.7 x 57.2 cm)
Estimate $3,500-4,500
213 KIKI SMITH b. 1954
Ballerina (Stretching Left), 2000
Etching and aquatint with collage in tissue and applied glitter, on Somerset
paper with rooster watermark, with full margins, signed, dated ‘2002’ and
numbered 18/24 in pencil (there were also 6 artist’s proofs), published by Pace
Editions, Inc., NewYork, in excellent condition, framed.
I. 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm)
S. 31 x 22 1/2 in. (78.7 x 57.2 cm)
Estimate $3,500-4,500
214 KIKI SMITH b. 1954
Moment (C), 2006
Monotype with lithograph and hand-coloring in watercolor, gouache, stencil,
graphite and pressed leaves, on Crisbrook paper, the full sheet, signed annotated
‘C’ and dated ‘2006’ in pencil (the edition was 20 lettered A –T), published by
Universal Limited Art Editions,West Islip, NewYork (with their blindstamp), in
very good condition, framed, with a CD-rom containing animation.
S. 22 1/2 x 30 5/8 in. (57.2 x 77.8 cm)
Estimate $4,000-6,000
215 KIKI SMITH b. 1954
BluePrints: Dorothy, 1999
Etching and aquatint in blue and black, on Hahnemühle paper, with full margins,
signed, dated ‘1999’ and numbered 2/20 in pencil (there were also 7 artist’s
proofs), published byThirteen Moons, NewYork, in excellent condition, unframed.
I. 6 3/8 x 3 7/8 in. (16.2 x 9.8 cm)
S. 15 x 12 in. (38.1 x 30.5 cm)
Estimate $1,500-2,000
LITERATURE Wendy Weitman/Museum of Modern Art 118
216 KIKI SMITH b. 1954
Red Cap, 2001
Lithograph in colors with colored pencil additions, on Lana Gravure paper, the
full sheet, signed, dated ‘2001’ and numbered 16/36 in pencil (there were also
10 artist’s proofs), published by Universal Limited Art Editions, West Islip, New
York, in excellent condition, framed.
S. 20 x 28 in. (50.8 x 71.1 cm)
Estimate $2,500-3,500
LITERATURE Wendy Weitman/Museum of Modern Art 126
215
216
217 BRUCE NAUMAN b. 1941
Dead, 1975
Lithograph, on Arches 88 paper, with full margins, signed, dated ‘75’ and
annotated ‘P.P. II’ in pencil (the only printer’s proof, the edition was 15 and
7 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their
blindstamps), in excellent condition, framed.
I. 16 1/4 x 43 1/4 in. (41.3 x 109.9 cm)
S. 33 3/4 x 48 3/4 in. (85.7 x 123.8 cm)
Estimate $7,000-9,000
LITERATURE Christopher Cordes 30; Gemini G.E.L. 604
Bruce Nauman, One Hundred Live and Die, 1984,
neon tubing mounted on four metal monoliths
218 BRUCE NAUMAN b. 1941
Ah Ha, 1975
Screenprint, on Arches 88 paper, the full sheet, signed, dated ‘75’ and numbered
39/44 in pencil (there were also 11 artist’s proofs), published by Gemini G.E.L.,
Los Angeles (with their blindstamps), pale mat staining (visible only on the left
side), otherwise in very good condition, framed.
S. 29 1/2 x 41 in. (74.9 x 104.1 cm)
Estimate $3,000-5,000
LITERATURE Christopher Cordes 32; Gemini G.E.L. 606Man Ray, Perpetual Motive, 1970, metronome
and assemblage
220 BRUCE NAUMAN b. 1941
Record, from 7 Objects/69, 1969
Multimedia object comprising black plastic LP record (soundtrack from 1st
Violin Film; Violin Problem No. 2 and Rhythmic Stamping) contained in an album
cover screenprinted with photographs of the artist from the videotape Stamping
in the Studio (1968), signed, dated ‘1967’ and annotated ‘A, Proof’ in black
marker (one of 10 artist’s proofs, the edition was 100), published byTanglewood
Press, Inc., NewYork, a few minor scuffs, one corner with compound creasing,
very minor wear along the sleeve edges, otherwise in good condition, with
accompanying tag with text.
S. 12 3/8 x 12 3/8 in. (31.4 x 31.4 cm)
Estimate $300-400
LITERATURE Christopher Cordes Appendix p. 127
219
220
221
221 BRUCE NAUMAN b. 1941
Untitled (New Museum Image), 1992
Cibachrome photograph, on super gloss Fuji photo paper mounted to wove
paper (as issued), with full margins, signed, dated ‘92’ and numbered 28/150 in
black marker (there were also 25 artist’s proofs), published by the New Museum,
NewYork, in very good condition, unframed.
I. 19 x 19 1/8 in. (48.3 x 48.6 cm)
S. 20 5/8 x 20 1/8 in. (52.4 x 51.1 cm)
Estimate $1,500-2,000
219 BRUCE NAUMAN b. 1941
Partial Truth, 1997
Screenprint in colors with embossing, on Lana Gravure paper, with full margins,
signed, dated ‘97’ and numbered 33/50 in pencil (there were also 12 artist’s
proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), in
excellent condition, framed.
I. 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm)
S. 22 1/4 x 28 1/8 in. (56.5 x 71.4 cm)
Estimate $3,000-4,000
LITERATURE Gemini G.E.L. 1715
album cover (side A) (side B)
222 BARNABY FURNAS b. 1973
Boogie Man, 2006
Etching and aquatint in colors with hand-painting, on wove paper, with full
margins, signed, titled and numbered 22/40 in pencil (there were also 5 artist’s
proofs), published by Artists Space, NewYork, a pressure mark in the left
margin, otherwise in excellent condition, unframed.
I. 17 3/4 x 14 1/8 in. (45.1 x 35.9 cm)
S. 24 7/8 x 20 7/8 in. (63.2 x 53 cm)
Estimate $1,500-2,000
223 TRACEY EMIN b. 1963
Tattoos, 2002
Two A4 photocopies in color, on wove paper, the full sheets and with margins,
signed, dated ‘02’ and numbered 93/200 in pencil on the print with images
(there were no recorded artist’s proofs), published byWhite Cube Editions,
London, occasional soft handling creases, otherwise both in very good
condition, both unframed.
overall I. 8 1/2 x 7 in. (21.6 x 17.8 cm)
both S. 11 3/4 x 8 1/4 in. (29.8 x 21 cm)
Estimate $800-1,000
222
223
Arman, Hommage à Jimmy Hendrix,
1970, broken electric guitar in polyester
224
225
224 ROBERT RAUSCHENBERG 1925-2008
Suite of Nine Prints series: five plates, 1979
Five offset lithographs with screenprint and collage in colors, on Rives BFK
paper, the full sheets, all signed, dated ‘79’ and variously numbered from the
edition of 100 in pencil (there were also an unrecorded number of artist’s proofs),
published by Multiples, Inc., NewYork, all with the palest time staining,
otherwise all in very good condition, all unframed.
all S. 30 3/4 x 22 7/8 in. (78.1 x 58.1 cm)
Estimate $12,000-16,000
Including: Why you can’t tell #1; Two Reasons Birds Sing; One More
and Then we Will be Half Way There; More Distant Visible Part of the
Sea and People Have EnoughTrouble Without Being Intimidated by
an Artichoke
225 ROBERT RAUSCHENBERG 1925-2008
Umbrellas, 1983
Offset lithograph in colors with embossing, collage and pencil additions, on
wove paper, the full sheet, signed, dated ‘83’ and annotated ‘PP’ in gold marker
(a printer’s proof, the edition was 125 and 13 artist’s proofs), published by PACT
Institute for the Performing Arts, Clearwater, Florida, occasional soft handling
creases, the palest time staining, otherwise in very good condition, unframed.
S. 28 1/4 x 20 in. (71.8 x 50.8 cm)
Estimate $1,500-2,000
226 ROBERT RAUSCHENBERG 1925-2008
Watermark, 1973
Offset lithograph in colors with screenprint in white, on Arches paper, with full
margins, signed, dated ‘73’ and numbered 180/250 in pencil (there was also an
edition of 21 in Roman numerals), published by Brooke Alexander Editions,
NewYork, light-staining, a few spots of soiling in the margins, taped to the
overmat in places along tthe reverse of the sheet edges, otherwise in good
condition, framed.
I. 30 x 22 1/4 in. (76.2 x 56.5 cm)
S. 35 x 24 3/8 in. (88.9 x 61.9 cm)
Estimate $1,200-1,800
227 ROBERT RAUSCHENBERG 1925-2008
From the Seat of Authority, 1979
Offset lithograph in colors with collage, on wove paper, the full sheet, signed,
dated ‘79’ and numbered ‘PP 5/6’ in pencil (a printer’s proof, the edition was 100
and an unrecorded number of artist’s proofs), published by Multiples, Inc., New
York, occasional soft handling creases, minor surface soiling (particularly at the
sheet edges), minor skinning at the reverse of the upper corners, otherwise in
very good condition, unframed.
S. 30 1/2 x 23 in. (77.5 x 58.4 cm)
Estimate $1,800-2,500
228 ROBERT RAUSCHENBERG 1925-2008
People Have EnoughTrouble Without Being Intimidated by an Artichoke, 1979
Offset lithograph in colors, on wove paper, the full sheet, signed, dated ‘79’ and
numbered 60/100 in pencil (there were also an unrecorded number of artist’s
proofs), published by Multiples, Inc., NewYork, the palest time staining,
otherwise in very good condition, unframed.
S. 30 1/2 x 23 in. (77.5 x 58.4 cm)
Estimate $1,000-1,500
229 ROBERT RAUSCHENBERG 1925-2008
People Have EnoughTrouble Without Being Intimidated by an Artichoke, 1979
Offset lithograph in colors with collage, on wove paper, the full sheet, signed,
dated ‘79’ and numbered 100/100 in pencil (there were also an unrecorded
number of artist’s proofs), published by Multiples, Inc., NewYork, in very good
condition, unframed.
S. 30 1/2 x 23 in. (77.5 x 58.4 cm)
Estimate $1,800-2,500
226 227
229228
230 CLAES OLDENBURG b. 1929
The Store (Poster), 1961
Letterpress in red and black, on heavy wove paper, with full margins, from the
edition of unknown size (most copies unsigned or uninitialed, all copies
unnumbered), published by the artist in cooperation with Green Gallery, New
York, pale mat staining (affecting the image), occasional minor soiling and spots
of stray printing ink, occasional nicks and splits along the extreme sheet edges,
a small tear at the lower left sheet corner, offset ink on the reverse, otherwise
in good condition, unframed.
I. 26 3/8 x 20 1/4 in. (67 x 51.4 cm)
S. 28 1/4 x 22 in. (71.8 x 55.9 cm)
Estimate $1,200-1,800
LITERATURE Richard Axsom and David Platzker 20 Claes Oldenburg painting Store works at the Ray Gun
Mfg. Co., 107 East Second Street, NewYork, 1961
231 CLAES OLDENBURG b. 1929
Scissors as Monument, from National Collection of Fine Arts portfolio, 1967
Lithograph in colors, on thick Arches paper, the full sheet, signed and numbered
144/144 in pencil (there were also 9 artist’s proofs), published by HKL Ltd.,
Boston and NewYork, for the List Art Poster Program, NewYork, the sheet
toned, pale moisture staining at the upper right corner, time staining, otherwise
in good condition, framed.
S. 29 3/4 x 20 in. (75.6 x 50.8 cm)
Estimate $900-1,200
LITERATURE Richard Axsom and David Platzker 49
232 ROY LICHTENSTEIN 1923-1997
Salute to Airmail, 1968
Gold-plated bronze multiple, incised with initials and annotated ‘AP-6’ (an
artist’s proof, the edition was 50), published by International Collectors Society,
NewYork, occasional scuffing on the base, all over even wear to patina,
otherwise in very good condition.
including base: 5 3/4 x 3 1/2 x 1 3/8 in. (14.6 x 8.9 x 3.5 cm)
Estimate $4,000-6,000
231
232
233 ROY LICHTENSTEIN 1923-1997
Tea set, 1984
15 ceramic dishes, including one teapot with lid, one sugarbowl with lid, one
creamer, four teacups, four saucers and four dessert plates, each with the
artist’s printed signature, numbered 3/100 on the underside of the sugarbowl,
creamer and teapot, published by Rosenthal Limitiere Kunstreihen, Germany
(each with their stamp on the underside), several with a few areas of scuffing
(particularly in the silver glaze of the plates), one cup with a spot of very pale
staining in the interior, a few with very minor soiling, otherwise in
very good condition, lacking two sets of teacups, saucers and plates.
various sizes
Estimate $15,000-20,000Roy Lichtenstein, Ceramic Sculpture 16,
1965, glazed ceramic
234 LARRY RIVERS 1923-2002
Dutch Masters Cigar Box, 1970
Mixed media multiple of cardboard, canvas, aluminum foil, board and paper
collage in colors, signed and numbered 33/35 in black ink and pencil respectively
(there were also 5 artist’s proofs), published by Edition Schellmann, Munich and
NewYork, soiling and minor staining, the two outside figures creased at the
heads, otherwise in good condition.
10 x 13 x 16 in. (25.4 x 33 x 40.6 cm)
Estimate $2,500-3,500
LITERATURE Edition Schellmann p. 239
235 GLENN BROWN b. 1966
Untitled, 2004
Giclee print in colors, on superdry satin paper, reverse mounted to Plexiglas
(as issued), with full margins, signed and numbered 101/200 in black marker
on the reverse (there were no recorded artist’s proofs), published by Serpentine
Gallery, London, in excellent condition, unframed.
I. 22 1/2 x 14 5/8 in. (57.2 x 37.1 cm)
S. 29 x 21 in. (73.7 x 53.3 cm)
Estimate $600-800
234
235
236 MICHELANGELO PISTOLETTO b. 1933
Specchio de toeletta, 1975
Screenprint in colors, on mirror-finished steel, the full sheet, signed and
numbered 423/450 in black ink on the reverse, minor surface soiling, occasional
scuffing, otherwise in good condition, unframed.
S. 39 1/4 x 27 1/2 in. (99.7 x 69.9 cm)
Estimate $3,000-5,000
237 RICHARD HAMILTON b. 1922
Self-Portrait, 1967
Screenprint in colors, on Schollershammer paper, with full margins, signed and
numbered 70/75 in pencil (there were also some artist’s proofs), published by the
artist, a dark scuff at the lower left edge, minor creasing at the corners, hinge
remains in places on the reverse, otherwise in very good condition, unframed.
I. 11 1/8 x 8 3/8 in. (28.3 x 21.3 cm)
S. 20 3/4 x 15 3/4 in. (52.7 x 40 cm)
Estimate $2,000-3,000
LITERATURE Etienne Lullin 62
236
237
238 VARIOUS ARTISTSEarly prints from Leo Castelli Gallery, 1964-65
Five offset lithographs in colors, on wove paper, with full margins, all signed in
pencil or black ink (some dated), from various edition sizes, all published by Leo
Castelli Gallery, NewYork, all with the colors faded, light- and time staining, Liz
with minor rippling, two abrasions with associated ink loss in the hair (at upper
and lower right), moisture staining at the lower left corner (slightly affecting the
image), creases in places along the edges (particularly the lower right corner);
Flowers with a foxmark at the reverse of the lower left (showing through in the
yellow flower on the front), areas of scattered reverse staining in the margins;
F-111 with mat staining, occasional soiling, a moisture stain along the lower
center edge (affecting the image, with associated rippling), a few pale foxmarks
at the lower left corner, very pale scattered reverse staining along the left sheet
edge, two small losses at the lower right sheet corner; Shipboard Girl with
occasional scuffs, areas of soiling and reverse scattered staining, a few small
paper losses along the left sheet edge; Foot Medication with moisture staining
along the lower sheet edge, one framed, four unframed.
various sizes
Estimate $15,000-20,000
LITERATURE Warhols: Frayda Feldman and Jörg Schellmann II.6 and II.7;
Lichtensteins: Mary Lee Corlett II.6 and appendix 3
Including: AndyWarhol Flowers and Liz; Roy Lichtenstein Shipboard
Girl and Foot Medication Poster; and James Rosenquist F-111
exhibition poster
239 TOM WESSELMANN 1931-2004
New Bedroom Blonde Doodle, 1991
Screenprint in colors, on Arches 88 paper, with full margins, signed and
numbered 20/100 in pencil (there were also 12 artist’s proofs), published by
International Images, Inc., Putney, Vermont (with their blindstamp), a very soft
handling crease in the right margin, otherwise in excellent condition, unframed.
I. 24 3/4 x 27 in. (62.9 x 68.6 cm)
S. 30 x 35 in. (76.2 x 88.9 cm)
Estimate $5,000-7,000
240 TOM WESSELMANN 1931-2004
Country Bouquet with Blue, 1991
Screenprint in colors, on Arches 88 paper, the full sheet, signed and numbered
15/100 in pencil (there were also 12 artist’s proofs), published by International
Images, Inc., Putney, Vermont, with occasional minor scuffing, very slight ink
loss in places along the lower edge, otherwise in very good condition, unframed.
S. 38 x 30 in. (96.5 x 76.2 cm)
Estimate $4,000-6,000
239
240
241 TOM WESSELMANN 1931-2004
Monica Nude with Purple Robe, 1990
Aquatint with embossing, on Rives BFK paper, with full margins, signed and
numbered 35/75 in pencil (there were also 12 artist’s proofs), published by
International Images, Inc., Putney, Vermont, in very good condition, unframed.
I. 20 1/2 x 49 in. (52.1 x 124.5 cm)
S. 36 3/4 x 59 7/8 in. (93.3 x 152.1 cm)
Estimate $7,000-9,000
242 TOM WESSELMANN 1931-2004
Monica Lying Down on Robe, 1990
Lithograph, on wove paper, with full margins, signed and numbered 4/40 in
pencil (there were also 12 artist’s proofs), published by International Images,
Inc., Putney, Vermont, in very good condition, unframed.
I. 26 1/2 x 63 in. (67.3 x 160 cm)
S. 42 x 72 in. (106.7 x 182.9 cm)
Estimate $3,000-4,000
241
242
243 TOM WESSELMANN 1931-2004
Still Life with Lichtenstein andTwo Oranges, from Portfolio 90, 1993
Screenprint in colors, on Museum Board, with full margins, signed and
numbered 8/90 in pencil (there were also 12 artist’s proofs), published by
International Images, Inc., Putney, Vermont (with their blindstamp), two pale
scuffs in the lower right and lower center margin, otherwise in very good
condition, unframed.
I. 33 x 54 1/4 in. (83.8 x 137.8 cm)
S. 42 x 59 in. (106.7 x 149.9 cm)
Estimate $8,000-12,000
PROPERTY OF WILLIAMS COLLEGE ART INVESTMENT FUND
244 TOM WESSELMANN 1931-2004
Thames Scene with Power Station, 1990
Screenprint in colors, on wove paper, with full margins, signed and numbered
‘DP I/III’ in pencil (one of three dedication proofs, the edition was 60 and 12
artist’s proofs), published by International Images, Inc., Putney, Vermont (with
their blindstamp), occasional wear along the edges, otherwise in very good
condition, unframed.
I. 44 3/8 x 89 7/8 in. (112.7 x 228.3 cm)
S. 57 x 99 1/2 in. (144.8 x 252.7 cm)
Estimate $3,000-5,000
243
244
245 TOM WESSELMANN 1931-2004
Still Life with Lilies and Mixed Fruit, 1998
Screenprint in colors, on Coventry paper, with full margins, signed and
numbered 74/100 in pencil (there were also 12 artist’s proofs), published by
Cooper Square Prints, NewYork, a small crescent shaped crease at the right
edge, otherwise in very good condition, unframed.
I. 23 1/2 x 29 3/4 in. (59.7 x 75.6 cm)
S. 31 3/4 x 38 in. (80.6 x 96.5 cm)
Estimate $5,000-7,000
246 TOM WESSELMANN 1931-2004
Jeannie’s Backyard, East Hampton, 1989
Screenprint, on heavy wove paper, with full margins, signed and numbered 67/100
in pencil (there were also 12 artist’s proofs), published by International Images,
Inc., Putney,Vermont (with their blindstamp), occasional soiling and scuffing in
the margins, nicks and abrasions in places along the edges, compound creasing
at the upper left corner, otherwise in good condition, unframed.
I. 53 7/8 x 64 in. (136.8 x 162.6 cm)
S. 58 7/8 x 72 7/8 in. (149.5 x 185.1 cm)
Estimate $2,500-3,500
245
246
247
248
249
247 JAMES ROSENQUIST b. 1933
Carousel; Rouge Pad, 2nd State; Black Star and Tide, 1978-79
Four etching and aquatints in colors with pochoir, Rouge Pad also with embossing
and hand-coloring, on Pescia Italia paper, with full margins, all signed, titled,
dated ‘1978’ or ‘1979’ and numbered 51/78, 2/78, ‘10/24 A.P.’ and 24/78 respectively
in pencil (the editions were 78 for all and 15 and 24 artist’s proofs for three and
Black Star respectively), published by Multiples Inc., NewYork, all with occasional
soft handling creases, creasing in places along the edges, Carousel with an area
of soiling in the right image, two faint spots of soiling at the extreme right edge,
Rouge Pad with a small rubbed area at the lower center margin, a spot of stray
printing ink at the center left sheet edge, Black Star with offset pencil lines in the
margins, otherwise all in good condition, all unframed.
all I. 17 5/8 x 35 3/4 in. (44.8 x 90.8 cm)
all S. 22 1/2 x 39 3/4 in. (57.2 x 101 cm)
Estimate $2,000-3,000
LITERATURE Constance Glenn 131, 134A, 139 and 171
248 JAMES ROSENQUIST b. 1933
Miles, from America: TheThird Century portfolio, 1976
Lithograph and screenprint in colors, on Arches paper, the full sheet, signed,
dated ‘1975’, titled and numbered 138/200 in pencil (there were also 25 artist’s
proofs), published by Graphicstudio, University of South Florida,Tampa, the
palest time staining, offsetting on the reverse, otherwise in very good condition,
unframed.
S. 30 x 22 1/4 in. (76.2 x 56.5 cm)
Estimate $700-900
LITERATURE Constance Glenn 88
249 JAMES ROSENQUIST b. 1933
For Love, from 11 Pop Artists, Volume III, 1965
Screenprint in colors, on heavy wove paper, with full margins, signed and
numbered 155/200 in pencil (there was also an edition of 50 in Roman numerals
and an unrecorded number of artist’s proofs), published by Original Editions,
NewYork, occasional scuffing and soft handling creases, minor compound
creasing at the lower left corner, a few nicks along the edges, an area of
scattered brown staining on the reverse of the center left sheet, otherwise
in good condition, unframed.
I. 35 1/8 x 26 1/8 in. (89.2 x 66.4 cm)
S. 35 1/2 x 26 5/8 in. (90.2 x 67.6 cm)
Estimate $900-1,200
LITERATURE Constance Glenn 13
250 JAMES ROSENQUIST b. 1933
Ice Point, from Art and Sport portfolio, 1983
Lithograph in colors, on Arches Cover paper, the full sheet, signed, dated ‘1983’,
titled and numbered 95/150 in pencil (there were also 25 artist’s proofs), published
byVisconti/LazoVujic for the 1984Winter Olympic Games in Sarajevo,Yugoslavia,
an area of soiling at upper right, otherwise in very good condition, unframed.
S. 33 3/8 x 24 3/8 in. (84.8 x 61.9 cm)
Estimate $1,200-1,800
LITERATURE Constance Glenn 202
251 GEORGE SEGAL 1924-2000
Sleeping Woman, 1970
Plaster multiple, numbered 58/125 in black marker (slightly faded), published
by Pace Editions, Inc., NewYork, minor surface soiling, otherwise in very good
condition, framed.
15 1/4 x 13 1/2 x 7 in. (38.7 x 34.3 x 17.8 cm)
Estimate $1,500-2,500
250
251
James Rosenquist, Vanity Fair for Gordon Matta Clark, 1978,
oil and mixed media on canvas
PROPERTY FROMA PRIVATE COLLECTION
252 ANDY WARHOL 1928-1987
Self-Portrait, 1966
Offset lithograph, on silver coated paper, the full sheet, signed and numbered
267/300 in black ball-point pen on the reverse, with theAndyWarhol
Authentication Board, Inc., inkstamp and numbered ‘A183.032’ on the reverse,
a few scuffs, nicks and creases (some with associated minor ink loss),
otherwise in very good condition, framed.
S. 23 x 23 in. (58.4 x 58.4 cm)
Estimate $12,000-18,000
LITERATURE Frayda Feldman and Jörg Schellman 16
253 ANDY WARHOL 1928-1987
Mao, 1972
Screenprint in colors, on Beckett HighWhite paper, the full sheet, signed in
ball-point pen and stamp numbered 221/250 on the reverse (there were also 50
artist’s proofs), co-published by Castelli Graphics and Multiples, Inc., New
York, with theWarhol copyright stamp on the reverse, mat staining along the
upper sheet edge, otherwise in very good condition, unframed.
S. 36 x 36 in. (91.4 x 91.4 cm)
Estimate $20,000-30,000
LITERATURE Frayda Feldman and Jörg Schellmann 94
PROPERTY FROMA PRIVATE COLLECTION
254 ANDY WARHOL 1928-1987
Electric Chairs, 1971
The complete set of ten screenprints in colors, on wove paper, the full sheets,
all signed and dated ‘71’ in black ball-point pen and stamp numbered 201/250
on the reverse (there were also 50 artist’s proofs in Roman numerals),
published by Bruno Bischofberger, Zurich (with their copyright stamp on the
reverse), all with theAndyWarholAuthentication Board, Inc. stamps on the
reverse, all in excellent condition, all unframed.
all S. 35 1/2 x 48 in. (90.2 x 121.9 cm)
Estimate $40,000-60,000
LITERATURE Frayda Feldman and Jörg Schellmann 74-83
Thursday, December 12, 1985 The Boston Museum returned the
Electric Chair painting because they said the shade of red was off.
It was slightly different, and I told them that would make it more
interesting, but they still wanted to send it back for me to think
about it. If they had it next to the black panel it wouldn’t matter
anyway. I think they’re just procrastinating. But it costs around
$4,000 every time you ship it somewhere with the insurance and
everything. And Fred was going to Atlanta.
Monday, January 20, 1986 Jean-Michel woke me up at 6:00 this
morning and I went back to sleep and now my tongue can hardly
move. He’s got problems because he’s trying to get Shenge out of
the house, he says he’s supporting him for three years, but the main
reason is that (laughs) Shenge is now painting like he is. They’re
copies of his paintings. Jennifer’s away. And oh, Jean-Michel must
be so hard to live with. I told him I’d had dinner with Kenny and the
Chows and he wanted to know why I didn’t invite him and I said that
I’d called him three days ago and he didn’t call back. Fred said that
the Boston Museum people were still vague about whether they
were going to buy the Big Electric Chair or not.
AndyWarhol, The AndyWarhol Diaries, edited by Pat Hackett,
Warner Books, Inc., 1989, p. 699 and p. 709
PROPERTY FROM A PRIVATE COLLECTION
255 ANDY WARHOL 1928-1987
Cowboys and Indians: Indian Head Nickel, 1986
Unique screenprint in colors, on Lenox Museum Board paper, the full sheet,
signed, and numbered ‘TP 12/36’ in pencil (a trial proof, the edition was 250 and
50 artist’s proofs), published by Gaultney, Klineman Art, Inc., NewYork, with the
AndyWarhol Authentication Board Inc. inkstamp and numbered ‘A124-036’ on
the reverse, a few minor scuffs, a minute abrasion at the face by the hair (with
associated ink loss), a soft crease at lower right corner (with slight ink loss),
otherwise in very good condition, framed.
S. 38 x 38 in. (96.5 x 96.5 cm)
Estimate $20,000-30,000
LITERATURE Frayda Feldman and Jörg Schellmann 385B
256 ANDY WARHOL 1928-1987
Ads: Volkswagen, 1985
Screenprint in colors, on Lenox Museum Board paper, the full sheet, signed and
numbered 125/190 in pencil (there were also 30 artist’s proofs and an edition of
10 in Roman numerals), published by Ronald Feldman Fine Arts, Inc., NewYork,
occasional scuffing, areas of faint moisture staining at the center image and
along the sheet edges (visible in raking light), occasional ink loss in places along
the sheet edges, affixed to the support, otherwise in good condition, framed.
S. 38 x 38 in. (96.5 x 96.5 cm)
Estimate $4,000-6,000
LITERATURE Frayda Feldman and Jörg Schellmann 358
257 ANDY WARHOL 1928-1987
Carter Burden, 1977
Screenprint, on Italia paper, the full sheet, signed in pencil, an unnumbered
proof aside from the edition of 200, published by AndyWarhol Enterprises, Inc.,
NewYork, to raise funds for the Carter Burden campaign for president of the
NewYork City Council, horizontal creasing throughout, occasional pale foxing,
pale time staining, moisture staining along the reverse of the lower sheet edge
(slightly showing through in places on the front), unframed.
S. 40 x 28 1/8 in. (101.6 x 71.4 cm)
Estimate $2,000-4,000
LITERATURE Frayda Feldman and Jörg Schellmann 156
256
257
PROPERTY OF BOB COLACELLO, EAST HAMPTON
258 ANDY WARHOL 1928-1987
Mao Wallpaper, 1974
Multi-image screenprint in colors, on wallpaper, the full sheet, signed in felt pen,
from the unlimited edition, published by Factory Additions, NewYork, 1979,
minor creasing in the lower sheet, zig-zag stitching along the extreme sheet
edges, otherwise in very good condition, framed.
S. 74 x 29 1/2 in. (188 x 74.9 cm)
Estimate $6,000-9,000
LITERATURE Frayda Feldman and Jörg Schellmann 125A
259 ANDY WARHOL 1928-1987
Lincoln Center Ticket, 1967
Screenprint in colors, on wove paper, the full sheet, from the unsigned edition
of 500 (there was also a signed edition of 200 on opaque acrylic), published by
Lincoln Center List Poster and Print Program, NewYork, occasional creases and
scuffs and nicks along the sheet edges (a few with associated ink loss), mat
staining on the reverse, otherwise in good condition, framed.
S. 45 x 24 in. (114.3 x 61 cm)
Estimate $1,000-1,500
LITERATURE Frayda Feldman and Jörg Schellmann 19
258
259
260
260 ANDY WARHOL 1928-1987
The Philosophy of Andy Warhol (From A to B & Back Again), 1975
The first edition book by AndyWarhol in hard-cover, signed on the paper
wrapper, cover page and page 92 in black ink, published by Harcourt Brace
Jovanovich, NewYork and London, occasional foxing throughout, the signatures
offsetting onto proceeding pages, minor scuffing and wear on the paper
wrapper, otherwise in good condition.
8 1/2 x 5 7/8 in. (21.6 x 14.9 cm)
Estimate $500-700
261 JEFF KOONS b. 1955
Puppy, 1992
Dried flower, resin and plastic multiple, from the edition of unknown size,
published byTAMCB Guggenheim Museum, Bilbao, occasional minor flower
loss, minor soiling on the base, otherwise in very good condition, contained
in original clear plastic box.
7 1/2 x 4 1/2 x 8 in. (19.1 x 11.4 x 20.3 cm)
Estimate $600-900
263 JEFF KOONS b. 1955
Signature Plate, 1989
Porcelain plate with decal image multiple, numbered 48/80 (there was also
an edition of 50 in Roman numerals), published by Parkett Editions, Zurich and
NewYork, surface soiling (primarily on the underside), otherwise in very good
condition.
diameter: 11 in. (27.9 cm)
Estimate $1,200-1,800
LITERATURE Edition for Parkett 19
264 JEFF KOONS b. 1955
Puppy Plate, 1992
Porcelain plate enamelled in colors, signed and numberedVIII/XXV on the
reverse (an artist’s proof, the edition was 125), published by the San Francisco
Museum of Modern Art, in very good condition, contained in original styrofoam
box with cardboard sleeve (minor soiling).
11 x 15 in. (27.9 x 38.1 cm)
Estimate $1,000-1,500
262 JEFF KOONS b. 1955
Cracked Egg, 2008
Chromed-metal multiple in red, from the edition of unknown size, published by
Los Angeles Contemporary Museum of Art as a gala invitation, with minor paint
loss along the crack, otherwise in very good condition, contained in original
black cardboard box with accompanying cards.
4 3/4 x 3 x 3 in. (12.1 x 7.6 x 7.6 cm)
Estimate $600-900
261
262
264263
265 JIM DINE b. 1935
Nancy Outside in July I, II, III, V, XIX, XX, XXI and XXIII, 1978-81
Eight etching and aquatints some in colors, some with roulette, hand-coloring
or additions, on various papers, with full margins, all signed, dated ‘1978’ or
‘1981’ and variously numbered in pencil, there were various editions and
various artist’s proofs, published by Pace Editions, Inc., NewYork, a few with
occasional soft handling creases, one with very pale mat staining, most with
hinge or adhesive remains in places on the reverse, otherwise all in very good
condition, all unframed.
various sizes
Estimate $9,000-12,000
LITERATURE Ellen D’Oench & Jean Feinberg 18-20, 22, 100-102 and 104
266 JIM DINE b. 1935
The Big Black and White Woodcut Tree, 1981
Woodcut, on JapaneseToyoshi paper, with full margins, signed, dated ‘1981’
and numbered 2/25 in pencil (there were also 6 artist’s proofs), published by
Universal Limited Art Editions, West Islip, NewYork, (with their blindstamp),
in very good condition, framed.
I. 48 5/8 x 36 1/4 in. (123.5 x 92.1 cm)
S. 57 3/4 x 42 in. (146.7 x 106.7 cm)
Estimate $1,000-1,500
LITERATURE Ellen D’Oench & Jean Feinberg 85
267 JIM DINE b. 1935
Wall Chart II, 1974
Lithograph in colors, on Rives paper, with full margins, signed, dated ‘1974’
and numbered 42/75 in pencil (there were also 15 artist’s proofs), published by
Petersburg Press, London, minor surface soiling, a repaired tear at upper right
(slightly affecting the image), adhesive remains at the reverse of the upper
corners, otherwise in good condition, unframed.
I. 41 3/4 x 30 in. (106 x 76.2 cm)
S. 48 1/4 x 35 in. (122.6 x 88.9 cm)
Estimate $2,000-3,000
LITERATURE Williams College 167
268 MALCOLM MORLEY b. 1931
Untitled, 1965
Screenprint in colors, on Rives BFK paper, with full margins, signed and
numbered 27/100 in pencil, published by Brooke Alexander Editions, NewYork,
scuffing (particularly visible in the black inks), occasional creasing (with
associated ink loss), creasing and soiling in the margins, several small holes and
abrasions in the margins, a few stains in the lower margin, splitting and several
tears at the sheet edges, time staining, soiling on the reverse, unframed.
I. 36 3/4 x 27 in. (93.3 x 68.6 cm)
S. 46 x 35 in. (116.8 x 88.9 cm)
Estimate $300-500
266 267
268
269 ALEX KATZ b. 1927
Ada, 1994
Lithograph and screenprint in colors, on wove paper, the full sheet, signed and
numbered ‘A.P 22/40’ in pencil (an artist’s proof, the edition was 100), published
by Editions de laTempête, Paris, in excellent condition, framed.
S. 26 x 26 1/4 in. (66 x 66.7 cm)
Estimate $2,500-3,500
270 ALEX KATZ b. 1927
Grey Dress, 1992
Screenprint in colors, on Arches paper, the full sheet, signed and numbered
105/150 in pencil (there were also 18 artist’s proofs), published by Chalk and
Vermillion, Greenwich, Connecticut, in excellent condition, framed.
S. 36 x 28 in. (91.4 x 71.1 cm)
Estimate $2,500-3,500
269
270
271 ALEX KATZ b. 1927
Alex and Ada the 1960’s to the 1980’s: Green Jacket, 1990
Screenprint in colors, on wove paper, the full sheet, signed and numbered
114/150 in pencil (there were also 30 artist’s proofs), published by Gaultney,
Klineman, NewYork, in very good condition, unframed.
S. 36 x 24 in. (91.4 x 61 cm)
Estimate $800-1,200
272 ALEX KATZ b. 1927
Alex and Ada the 1960’s to the 1980’s: Sweatshirt II, 1990
Screenprint in colors, on wove paper, with full margins, signed and numbered
114/150 (there were also 30 artist’s proofs), published by Gaultney, Klineman,
NewYork, very slight creasing at the lower right corner (with the slightest ink
loss), otherwise in very good condition, unframed.
S. 35 7/8 x 28 5/8 in. (91.1 x 72.7 cm).
Estimate $800-1,200
271 272
273 ALEX KATZ b. 1927
Spruce, 1994
Aquatint in colors, on wove paper, the full sheet, signed and numbered ‘AP 8/12’
in pencil (an artist’s proof, the edition was 40), published by Simmelink-Sukimoto
Editions, Kingston, NewYork, a sticker at the reverse of the upper sheet edge,
otherwise in very good condition, unframed.
S. 47 x 35 3/8 in. (119.4 x 89.9 cm)
Estimate $3,000-4,000
274 ALEX KATZ b. 1927
Camp, from The Carnegie Hall 100th Anniversary portfolio, 1990
Woodcut in colors, on Japanese paper, the full sheet, signed and numbered 22/60
in pencil (there were also 13 artist’s proofs), published by Carnegie Hall, New
York, minor rippling, taped to the overmat in places along the reverse of the
edges, otherwise in very good condition, framed.
S. 59 3/4 x 40 in. (151.8 x 101.6 cm)
Estimate $800-1,000
273
274
275
275 ALEX KATZ b. 1927
Lake Wesserunsett IV, 1972
Screenprint in colors, on American Etching paper, the full sheet, signed and
numbered 6/30 in pencil, published by Brooke Alexander Editions and
Marlborough Graphics, NewYork, minor surface soiling, two scuffs at the upper
right, otherwise in very good condition, unframed.
S. 30 x 36 in. (76.2 x 91.4 cm)
Estimate $1,500-2,000
LITERATURE Nicholas Maravell 61
276 DONALD SULTAN b. 1951
Visual Poetics, 1998
The complete set of six screenprints, on Coventry rag paper, with full margins,
plus 24 bound reproductions, with accompanying poetry by Robert Creely, each
print signed with initials and dated 62/395 in pencil (there were also 25 artist’s
proofs), published by Marco Fine Arts Studio, El Segundo, California, all in very
good condition, the prints loose and the book bound (as issued), contained in
original leather binding with artist’s name embossed on the front in red.
22 1/2 x 17 1/2 in. (57.2 x 44.5 cm)
Estimate $4,000-5,000
277 DONALD SULTAN b. 1951
Flowers and Lines, 2005
Etching, on wove paper, with full margins, signed with initials, titled, dated
‘Oct 31 2005’ and numbered 6/40 in pencil, published by the artist to benefit
Friends Seminary, NewYork, in excellent condition, framed.
I. 8 7/8 x 10 3/8 in. (22.5 x 26.4 cm)
S. 14 x 15 in. (35.6 x 38.1 cm)
Estimate $500-700
278 DONALD SULTAN b. 1951
Black and Blue, 2007
Aquatint in colors, on wove paper with staff watermark, with full margins,
signed, titled, dated ‘Oct 10 2007’ and numbered 89/100 in pencil, in excellent
condition, unframed.
I. 11 7/8 x 11 7/8 in. (30.2 x 30.2 cm)
S. 22 3/4 x 21 1/4 in. (57.8 x 54 cm)
Estimate $500-700
276
277
278
279 JENNIFER BARTLETT b. 1941
The Four Seasons, 1990-93
The complete set of four screenprints in colors, on Kurotani Hosho paper, with
full margins, all signed, dated ‘93’ and annotated ‘RTP’ in pencil (the right-to-
print proof, the edition was 62 and 12, 17 and 18 artist’s proofs in Roman
numerals), co-published by the artist and Simca Print Artists, NewYork (with
their blindstamp), all with occasional soft rubbing in the margins, otherwise all
in very good condition, all framed.
all I. 31 3/8 x 31 1/8 in. (79.7 x 79.1 cm)
all S. 33 3/8 x 34 5/8 in. (84.8 x 87.9 cm)
Estimate $3,000-5,000
LITERATURE The Orlando Museum of Art 17-20
Including: Autumn; Winter; Spring and Summer
280 ERIC FISCHL b. 1948
Floating Islands, 1985
The complete set of five aquatints with drypoint in colors, on Zerkall paper, the
full sheets, all signed and numbered 10/45 in pencil (there were also 10 artist’s
proofs for all), published by Peter Blum Editions, NewYork, all with hinge
remains at the reverse of the upper corners, otherwise in very good condition,
loose, lacking the title, justification and green cloth-covered portfolio.
yellow S. 22 5/8 x 16 5/8 in. (57.5 x 42.2 cm)
other four S. 11 1/2 x 31 1/2 in. (29.2 x 80 cm)
Estimate $3,000-5,000
End of Sale
Have a great summer! See you in November
INDEX
Acconci,V. 119, 120
Albers, J. 24, 25, 26, 27, 28, 52
Appleby,A. 4
Arce, M. 86
Arp, J. 55
Artschwager, R. 158
Bailey,W. 198
Bartlett, J. 279
Baselitz, G. 114
Bedia, J. 85
Beecroft,V. 135
Bell, L. 122, 124, 125
Bertoia, H. 43, 44, 45, 46
Bleckner, R. 181
Bontecou, L. 68
Borofksy, J. 121
Bosman, R. 172, 173
Bourgeois, L. 207, 208
Brooks, J. 61
Brown, G. 235
Bury, P. 80
Calle, S. 209
Cattelan, M. 138
Celmins,V. 194
Christo 132
Clemente, F. 180
Close, C. 185, 186, 187, 188, 189, 190
Cottingham, R. 200
Dine, J. 265, 266, 267
Dintenfass, M. 12, 13
Doig, P. 104
Dwyer, N. 171
Emin,T. 223
Essenhigh, I. 79
Estes, R. 201
Fischl, E. 280
Förg, G. 53, 67
Francis, S. 34, 35
Freud, L. 192
Friedman,T. 142, 143, 144
Fulton, H. 108
Furnas, B. 222
Gianakos, S. 149
Gillick, L. 3
Gober, R. 205
Gonzalez-Torres, F. 210
Gornik,A. 111, 112
Guston, P. 64
Hamilton, R. 237
Hammond, J. 105, 204
Haring, K. 178
Havekost, E. 153
Hayter, S.W. 47, 48, 49, 50, 51
Heilmann, M. 10, 11
Held,A. 2
Hernandez, S. 84
Hodges, J. 179
Hodgkin, H. 33
Holl, S. 126
Hume, G. 182, 183, 184
Immendorf, J. 177
Jacquette, J. 202
Johanson, C. 159
Johns, J. 191, 206
Judd, D. 21, 22
Kapoor,A. 81, 82
Katz,A. 269, 270, 271, 272, 273, 274, 275
Kelly, E. 5, 6, 7, 8, 195
Kessler, J. 161
Kippenberger, M. 163, 164
Kooning,W.de 62
Kooning,W. de (after) 63
Koons, J. 261, 262, 263, 264
Kozloff, J. 73
Krasner, L. 56
Kuitca, G. 123
Kusama,Y. 167, 168
Laemmle, C. 174
Laffoley, P. 102
LeWitt, S. 14, 15, 16, 17
Lichtenstein, R. 232, 233
Longo, R. 175
Magritte, H. (after) 106
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 144
Marca-Relli, C. 65
Marden, B. 19
Martin,A. 23
Matisse, H. 193
Mc Carthy, P. 146
Mc Collum,A. 141
Mehretu, J. 69, 70, 71
Miró, J. 75, 76, 77, 78
Mitchell, J. 57, 58, 59, 60
Morley, M. 268
Motherwell, R. 36, 37, 38
Mucha, R. 131
Murakami,T. 88, 89, 90, 91, 92, 93, 94, 95,
96, 97, 98, 99,100
Nauman, B. 217, 218, 219, 220, 221
Nevelson, L. 54
Oldenburg, C. 230, 231
Owens, L. 109
Pardo, J. 118
Penck,A. R. 176
Picasso, P. 196, 197
Pistoletto, M. 236
Polk Smith, L. 9
Price, K. 145
Rainer,A. 115
Rauschenberg, R. 224, 225, 226,
227, 228, 229
Ray, C. 134
Rivers, L. 234
Robbins, D. 140
Rosenquist, J. 247, 248, 249, 250
Ruff,T. 110
Ruppersburg,A. 157
Ruscha, E. 107, 160
Ryman, R. 18
Samore, S. 137
Sarmento, J. 87
Saul, P. 169
Schumann, C. 162
Scully, S. 29
Segal, G. 251
Senise, D. 83
Shepherd, K. 211
Shonibare,Y. 166
Shrigley, D. 148
Siena, J. 30
Simmons, L. 136
Smith, K. 203, 212, 213, 214, 215, 216
Steinberg, S. 170
Steir, P. 72
Stella, F. 31, 32
Sugimoto, H. 130
Suh, D. H. 103
Sultan, D. 276, 277, 278
Suvero, M. di 20
Teraoka, M. 165
Tomaselli, F. 150, 151
Tuttle, R. 74
Twombly, C. 199
VariousArtists 113, 133, 156, 238
Vasarely,V. 39, 40, 41, 42
Walker, K. 152
Warhol,A. 155, 252, 253, 254, 255, 256,
257, 258, 259, 260
Weiner, L. 154
Wesselmann,T. 239, 240, 241, 242, 243,
244, 245, 246
West, F. 116, 117
Whiteread, R. 127, 128, 129
Winters,T. 66
Wojnarowicz, D. 101
Wool, C. 139
Zox, L. 1
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 145
WHAT IS A PRINT?
An original print is a work of art on paper which has been conceived by the
artist to be realized as a print, rather than as a photographic reproduction
of a work in another medium. Prints are produced by drawing or carving a
composition on a hard surface (the MATRIX) such as a wood block, metal plate,
or stone.This surface is then inked and the image is transferred to paper by the
application of pressure, thus creating an “IMPRESSION” or print. Unlike
paintings or drawings, prints usually exist in multiple impressions, each of which
is pulled from the inked surface.The total number of impressions made is called
an edition. Artists began to sign and number each impression around the start of
the 20th century.
GLOSSARY
We thank the International Fine Print Dealers Association for use of their official
printmaking glossary.
Aquatint. An intaglio process used to produce areas of tone or shadow rather than
lines, it is often combined with etching.The metal plate is covered with a waxy
ground or resin that is granular rather than solid (as in etching). Acid is applied
which “bites” into the metal between the granules to produce areas which will catch
the ink when it is wiped across the plate.The use of different resins with grains in
varying densities will produce different degrees of darkness. Portions of the plate
can be protected with varnish in order to expose the plate to multiple bitings without
affecting the entire composition.
SPITBITE AQUATINT involves painting strong acid directly onto the aquatint
ground of a prepared plate. Saliva, ethylene glycol or Kodak Photoflo solution is
used to control the strength of the acid applied.Traditionally, a clean brush was
coated with saliva, dipped into nitric acid and brushed onto the ground, hence the
term “spitbite.”
Chine-collé, literally translated “Chinese glue,” is a technique that allows the
artist or printmaker to print with thin delicate papers, such as rice paper or linen.
Prior to printing, a water-soluble glue or paste is applied to the back of the lighter
paper which is then placed against a heavier printmaking paper.The pressure of the
press transfers the image to the delicate surface of the paper which adheres to the
dampened heavier paper at the same time.
Counterproofs are made by placing a dampened sheet of paper on top of a pastel
and applying pressure to transfer the pastel image.
Digital Prints:Artists who use a computer to create or manipulate their works
often use a large-scale ink jet printer to print them.These complex printers use a
sophisticated print head to disperse the ink on the paper in a fine mist of minute
droplets in order to deliver a continuous tone image.The distinction as to whether
a digital print is an “original print” is determined by whether the work was created
by the artist to be realized as a print. A digital print of a work that originated as a
painting or drawing is a reproduction and therefore is not an original print.
Drypoint prints are created by scratching a drawing into a metal plate with a
needle or sharp tool.This intaglio technique gives the artist the greatest freedom
of line, from the most delicate hairline to the heaviest gash.As the artist incises
lines into the plate, metal shavings called “burr” are pushed up to the surface of the
plate and sit along the lines incised. In drypoint, the burr is not scraped away before
printing but stays on the surface of the plate to print a velvety cloud of ink until it
is worn away by repeated printings. Drypoint plates (particularly the burr on them)
wear more quickly than etched or engraved plates and therefore allow for fewer
satisfactory impressions and show far greater differences from first impression
to last.
Numbering.While the numbering of individual impressions can be found as early
as the late nineteenth century, it did not become standard practice until the mid-
1960’s.Today, all limited edition prints should be numbered.The numbering is
transcribed as a fraction with the first number signifying the number of the
individual impression and the second representing the total number of prints in the
edition.The numbering sequence is not intended to reflect the order of printing;
prints are not numbered as they come off the press but some time later, after the ink
has dried.The edition number does not include proofs (see PROOFS), but only the
total in the numbered edition
Editions
POSTHUMOUS EDITION. Edition printed after the death of the artist. It has
usually been authorized by the artist’s heirs or is the product of a publisher who
purchased the matrix from the artist. It should be limited in some way (though not
necessarily hand-numbered) or it becomes simply a limitless restrike. Posthumous
editions of prints that were pencil signed in their original edition frequently bear
stamped signatures authorized by the artist’s heirs or the publisher.
RESTRIKES. Later impressions that have not been authorized by the artist or the
artist's heirs.While some restrikes are of good appearance, the excessive printing
of the matrix tends to wear it out and many restrikes are only ghostly images of what
the print is supposed to be. In the case of images that may be intrinsically valuable
(i.e. Rembrandt etchings), the worn-out copper plate is frequently reworked several
centuries later so that while the restrike may be said to have come from the original
plate, there is hardly anything left of the original work on the plate, even the plate
signature often being re-etched by someone else.
SECOND EDITION. A second edition is a later printing, usually authorized by the
artist or by the heirs, from the original matrix, after an edition of declared number
has already been printed. It should be annotated as a second, or subsequent,
edition. Sometimes second editions are made, many years after the first, because
the artist originally printed only four or five impressions, hardly amounting to an
edition at all. A photographically produced replica of the original print, whether
printed in a limited edition or not, is not a second edition; it is a reproduction.
Engraving is an intaglio technique in which the metal plate is marked or incised
with a tool called a burin.As the burin is moved across the plate, copper shavings,
called “burr,” are forced to either side of the lines being created.These are usually
cleaned from the plate before inking.The engraved plate is covered in ink and then
wiped so that only the engraved lines contain the ink.An engraved line may be deep
or fine, has a sharp and clean appearance, and tapers to an end.
Wood Engravings are a form of relief printing in which the areas of the
composition that are not to receive ink are carved away with fine engraving tools.
Ink is applied to the raised surface and the composition transferred to paper with
a press or by hand burnishing or rubbing. Incredible precision and detail is possible
with this technique.
Etching has been a favored intaglio technique for artists for centuries because the
method of inscribing the image is so similar to drawing with a pencil or pen.After
a metal plate has been coated with a waxy substance called a “ground,” the artist
draws through the ground with a stylus to expose the metal.The plate is then
immersed in an acid bath, which chemically dissolves or “bites” the exposed metal.
The ground is removed before the plate is inked and printed. Etched lines usually
have blunt rather than tapering ends.
Linocut, a form of relief printing, is a variation of the woodcut technique.The
artist’s composition is cut into the surface of linoleum often backed by wood for
reinforcement. Areas which are not to receive ink are carved away and separate
blocks must be carved for each color used. Since the blocks possess a smooth
surface rather than a woodgrain, the resulting prints are characterized by a
smoother texture in the printed areas.
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 146
HORS COMMERCE PROOF. Impressions annotated H.C. are supposedly “not
for sale.”These “proofs” started to appear on the market as extensions of editions
printed in the late 1960’s.They may differ from the edition by being printed on a
different paper or with a variant inking; they may also not differ at all. Publishers
sometimes use such impressions as exhibition copies, thereby preserving the
numbered impressions from rough usage.
PRINTER'S PROOF. A complimentary proof given to the printer.There can be
from one to several of these proofs, depending upon the number of printers involved
and the generosity of the artist.
TRIAL PROOF. An impression pulled before the edition in order to see what the
print looks like at that stage of development, after which the artist may go back to
the matrix and make adjustments.There can be any number of trial proofs,
depending upon how a particular artist works, but it is usually a small number and
each one usually differs from the others. In French, a trial proof is called an épreuve
d'essai, in German a probedruck.
Publisher.A publisher provides the financial support to produce and market an
artist’s prints. A publisher brings together artist and printer (assuming the artist
does not do his own printing).The printer may also himself be a publisher.
Publishers date back to the sixteenth century and the great majority of original
prints made in the nineteenth century were commissioned and brought to market
by publishers.
Screenprints (Serigraphy). In this process, a separate screen is required for
each color in the artist's composition and the same piece of paper must be printed
with each of them in turn. For each screen, a pattern of fabric or paper is cut and
attached to the mesh to block the flow of that particular color to the sheet of paper
beneath it. A squeegee is used to force the paint through the exposed areas of the
mesh.This technique is often referred to as serigraphy, a term coined to distinguish
between commercial and artistic screenprinting.
Signatures.The very earliest prints were not signed at all, although by the late
fifteenth century many artists indicated their authorship of a print by incorporating
a signature or monogram into the matrix design, what is called “signed in the plate”
or a “plate signature.”While some prints were pencil signed as early as the late
eighteenth century, the practice of signing one's work in pencil or ink did not really
become common practice until the 1880’s.Today it is customary for original prints
to be signed.When a print is described simply as “signed” it should mean that is
signed in pencil, ink or crayon; a plate signature should not be described as
“signed.”A stamped signature should be described as such.
Woodcut is a relief technique using a side-grained plank of wood in which the non-
printing areas of the composition are cut away below the surface with a knife or
gouge.While woodcuts were first seen in ninth-century China,Western artists have
made woodcut prints since the fourteenth century. In the seventeenth and
eighteenth centuries, Japanese artists using these techniques reached an
exceptional level of artistic achievement, what is known as the ukiyo-e period or
style.
COLORWOODCUTS involve the use of separate blocks for each color, often
with enormous complexity using multiple blocks and overlapping.
WHITE LINEWOODCUTS were the product of a technique developed by artists
in the Provincetown art colony around 1915. By cutting a groove between each color
in the composition, the artists were able to produce a color woodcut from a single
block.The desired colors are painted on the raised areas while the groove, which
is devoid of ink, prints as a blank or “white” line delimiting each area of color.
Lithography. Literally, “stone drawing,” the artist draws or paints the composition
on the flat surface of a stone with a greasy crayon or liquid.The design is chemically
fixed on the stone with a weak solution of acid and gum arabic. In printing, the stone
is flooded with water which is absorbed everywhere except where repelled by the
greasy ink. Oil-based printer’s ink is then rolled on the stone, which is repelled in
turn by the water soaked areas and accepted only by the drawn design.The stone is
then run through the press with paper under light pressure, the final print showing
neither a raised nor embossed quality but lying entirely on the surface of the paper.
The design may be divided among several stones, properly registered, to produce
through multiple printings a lithograph in more than one color. A transfer lithograph
(French, autographie) employs the same technique, but the design is drawn on
specially prepared transfer paper with a lithographic crayon and is later
mechanically transferred to the stone.
A ZINCOGRAPH is the same as a lithograph, but uses a zinc plate rather than
a stone.
Matrix. From the Latin word mater, meaning mother, the matrix is the form or
surface on which the image to be printed is prepared, for example, a woodblock,
a linoleum block, a metal plate, a lithographic stone or a mesh screen.
Mezzotint is another intaglio technique used to create areas of tone or shadow
rather than lines. In this method, the entire surface of the plate is abraded by a
spiked tool called a rocker so that, if inked at that point, the entire plate would print
in solid black.The artist then works “from black to white” by scraping or burnishing
areas so that they will hold less or no ink, yielding modulated tones
Monoprint/Monotype.As their names imply, monoprints and monotypes (the
words are often used interchangeably but shouldn’t be) are prints that have an
edition of one, though sometimes a second, weaker impression can be taken from
the matrix.
A MONOPRINT is made by taking an already etched and inked plate and adding
to the composition by manipulating additional ink on the surface of the plate.This
produces an impression different in appearance from a conventionally printed
impression from the same plate. Since it is virtually impossible to manipulate the
additional ink in exactly the same way for each impression, every monoprint
impression will be different.
A MONOTYPE is made by drawing a design in printing ink on any smooth surface,
then covering that matrix with a sheet of paper and passing it through a press.The
resulting image will be an exact reverse of the original drawing, but relatively flatter
because of the pressure of the press.
Pochoir is a direct method of adding hand-coloring to an impression through a
stencil.The stencil itself is usually knife-cut from thin coated paper, paperboard,
plastic, or metal and the ink or paint is applied with a brush through the stencil
to the paper beneath.
Proofs
ARTIST'S PROOFS.This practice dates back to the era when an artist
commissioned to execute a print was provided with lodging, living expenses, and
a printing studio with workmen, supplies and paper.The artist was given a portion
of the edition (to sell) as payment for his work.Today, though artists get paid for
their editions, the tradition has persisted and a certain number of impressions are
put aside for the artist. Artist's proofs are annotated as such or asA.P., or Épreuve
d'Artiste or E.A.
BON ÀTIRER PROOF. Literally, the “ok-to-print proof.” If the artist is not
printing his own edition, the bon à tirer (sometimes abbreviated as b.a.t.) is the final
trial proof, the one that the artist has approved, telling the printer that this is the way
they want the edition to look.There is only one of these proofs for an edition.
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 147
GUIDE FOR PROSPECTIVE BUYERS
Buying at AuctionThe following pages are designed to offer you information on how to buy at auctionat Phillips de Pury & Company. Our staff will be happy to assist you.
Conditions of SaleThe Conditions of Sale andAuthorshipWarranty which appear later in thiscatalogue govern the auction. Bidders are strongly encouraged to read them as theyoutline the legal relationship among Phillips, the seller and the buyer and describethe terms upon which property is bought at auction. Please be advised that Phillipsde Pury & Company generally acts as agent for the seller.
Buyer’s PremiumPhillips de Pury & Company charges the successful bidder a commission, or buyer’spremium, on the hammer price of each lot sold.The buyer’s premium is payable bythe buyer as part of the total purchase price at the following rates: 25% of thehammer price up to and including $50,000, 20% of the portion of the hammer priceabove $50,000 up to and including $1,000,000 and 12% of the portion of the hammerprice above $1,000,000.
1 Prior to Auction
Catalogue SubscriptionsIf you would like to purchase a catalogue for this auction or any other Phillips dePury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.
Pre-Sale EstimatesPre-Sale estimates are intended as a guide for prospective buyers.Any bid withinthe high and low estimate range should, in our opinion, offer a chance of success.However, many lots achieve prices below or above the pre-sale estimates.Where“Estimate on Request” appears, please contact the specialist department for furtherinformation. It is advisable to contact us closer to the time of the auction asestimates can be subject to revision. Pre-sale estimates do not include the buyer’spremium or any applicable taxes.
Pre-Sale Estimates in Pounds Sterling and EurosAlthough the sale is conducted in US dollars, the pre-sale estimates in the auctioncatalogues may also be printed in pounds sterling and/or euros. Since the exchangerate is that at the time of catalogue production and not at the date of auction, youshould treat estimates in pounds sterling or euros as a guide only.
Catalogue EntriesPhillips may print in the catalogue entry the history of ownership of a work of art,as well as the exhibition history of the property and references to the work in artpublications.While we are careful in the cataloguing process, provenance, exhibitionand literature references may not be exhaustive and in some cases we mayintentionally refrain from disclosing the identity of previous owners. Please notethat all dimensions of the property set forth in the catalogue entry are approximate.
Condition of LotsOur catalogues include references to condition only in the descriptions of multipleworks (e.g., prints). Such references, though, do not amount to a full description ofcondition.The absence of reference to the condition of a lot in the catalogue entrydoes not imply that the lot is free from faults or imperfections. Solely as aconvenience to clients, Phillips de Pury & Company may provide condition reports.In preparing such reports, our specialists assess the condition in a mannerappropriate to the estimated value of the property and the nature of the auction inwhich it is included.While condition reports are prepared honestly and carefully, ourstaff are not professional restorers or trained conservators.We therefore encourageall prospective buyers to inspect the property at the pre-sale exhibitions andrecommend, particularly in the case of any lot of significant value, that you retainyour own restorer or professional advisor to report to you on the property’s conditionprior to bidding.Any prospective buyer of photographs or prints should alwaysrequest a condition report because all such property is sold unframed, unlessotherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury& Company accepts no liability for the condition of the frame. If we sell any lotunframed, we will be pleased to refer the purchaser to a professional framer.
Pre-AuctionViewingPre-auction viewings are open to the public and free of charge. Our specialistsare available to give advice and condition reports at viewings or by appointment.
Electrical and Mechanical LotsAll lots with electrical and/or mechanical features are sold on the basis of theirdecorative value only and should not be assumed to be operative. It is essential that,prior to any intended use, the electrical system is verified and approved by aqualified electrician.
Symbol KeyThe following key explains the symbols you may see inside this catalogue.
O Guaranteed PropertyThe seller of lots with this symbol has been guaranteed a minimum price.Theguarantee may be provided by Phillips de Pury & Company, by a third party or jointlyby us and a third party. Phillips de Pury & Company and third parties providing orparticipating in a guarantee may benefit financially if a guaranteed lot is soldsuccessfully and may incur a loss if the sale is not successful.
∆ Property inWhich Phillips de Pury & Company Has an Ownership InterestLots with this symbol indicate that Phillips de Pury & Company owns the lot inwhole or in part or has an economic interest in the lot equivalent to an ownershipinterest.
• No ReserveUnless indicated by a •, all lots in this catalogue are offered subject to a reserve.A reserve is the confidential value established between Phillips de Pury & Companyand the seller and below which a lot may not be sold.The reserve for each lot isgenerally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.
2 Bidding in the Sale
Bidding at AuctionBids may be executed during the auction in person by paddle or by telephone orprior to the sale in writing by absentee bid.
Bidding in PersonTo bid in person, you will need to register for and collect a paddle before the auctionbegins. Proof of identity in the form of government issued identification willbe required, as will an original signature.We may also require that you furnish uswith a bank reference. New clients are encouraged to register at least 48 hours inadvance of a sale to allow sufficient time for us to process your information.All lotssold will be invoiced to the name and address to which the paddle has beenregistered and invoices cannot be transferred to other names and addresses. Pleasedo not misplace your paddle. In the event you lose it, inform a Phillips de Pury &Company staff member immediately. At the end of the auction, please return yourpaddle to the registration desk.
Bidding byTelephoneIf you cannot attend the auction, you may bid live on the telephone with one of ourmulti-lingual staff members.This service must be arranged at least 24 hours inadvance of the sale and is available for lots whose low pre-sale estimate is at least$1000.Telephone bids may be recorded. By bidding on the telephone, you consent tothe recording of your conversation.We suggest that you leave a maximum bid,excluding the buyer’s premium and any applicable taxes, which we can execute onyour behalf in the event we are unable to reach you by telephone.
Absentee BidsIf you are unable to attend the auction and cannot participate by telephone, Phillipsde Pury & Company will be happy to execute written bids on your behalf. A biddingform can be found at the back of this catalogue.This service is free and confidential.Bids must be placed in the currency of the sale. Our staff will attempt to execute anabsentee bid at the lowest possible price taking into account the reserve and otherbidders.Always indicate a maximum bid, excluding the buyer’s premium and anyapplicable taxes. Unlimited bids will not be accepted.Any absentee bid must bereceived at least 24 hours in advance of the sale. In the event of identical bids, theearliest bid received will take precedence.
Employee BiddingEmployees of Phillips de Pury & Company and our affiliated companies, includingthe auctioneer, may bid at the auction by placing absentee bids so long as they donot know the reserve when submitting their absentee bids and otherwise complywith our employee bidding procedures.
Bidding IncrementsBidding generally opens below the low estimate and advances in increments of upto 10%, subject to the auctioneer’s discretion.Absentee bids that do not conformto the increments set below may be lowered to the next bidding increment.
$50 to $1,000 by $50s$1,000 to $2,000 by $100s$2,000 to $3,000 by $200s$3,000 to $5,000 by $200s, 500, 800
(i.e. $4,200, 4,500, 4,800)$5,000 to $10,000 by $500s$10,000 to $20,000 by $1,000s$20,000 to $30,000 by $2,000s$30,000 to $50,000 by $2,000s, 5,000, 8,000$50,000 to $100,000 by $5,000s$100,000 to $200,000 by $10,000sabove $200,000 auctioneer’s discretion
The auctioneer may vary the increments during the course of the auction at hisor her own discretion.
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 148
AUCTION 3 JUNE 2009 11am NEW YORK
Viewing 27 May – 2 June
Phillips de Pury & Company 450 West 15 Street NewYork
Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039
www.phillipsdepury.com
LILIAN DAUBISSE Hérisson, 2004 Estimate $20,000-30,000
DESIG N
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 149
3 TheAuction
Conditions of SaleAs noted above, the auction is governed by the Conditions of Sale andAuthorshipWarranty. All prospective bidders should read them carefully.They may be amendedby saleroom addendum or auctioneer’s announcement.
Interested Parties AnnouncementIn situations where a person allowed to bid on a lot has a direct or indirect interestin such lot, such as the beneficiary or executor of an estate selling the lot, a jointowner of the lot or a party providing or participating in a guarantee on the lot,Phillips de Pury & Company will make an announcement in the saleroom thatinterested parties may bid on the lot.
Consecutive and Responsive BiddingThe auctioneer may open the bidding on any lot by placing a bid on behalf of theseller.The auctioneer may further bid on behalf of the seller up to the amount of thereserve by placing consecutive bids or bids in response to other bidders.
4 After the Auction
PaymentBuyers are required to pay for purchases immediately following the auction unlessother arrangements are agreed with Phillips de Pury & Company in writing inadvance of the sale. Payments must be made in US dollars either by cash, checkdrawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions ofSale. It is our corporate policy not to make or accept single or multiple paymentsin cash or cash equivalents in excess of US$10,000.
Credit CardsAs a courtesy to clients, Phillips de Pury & Company will acceptAmerican Express,Visa and Mastercard to pay for invoices of $10,000 or less.
CollectionIt is our policy to request proof of identity on collection of a lot. A lot will be releasedto the buyer or the buyer’s authorized representative when Phillips de Pury &Company has received full and cleared payment and we are not owed any otheramount by the buyer. Promptly after the auction, we will transfer all lots to ourwarehouse located at 29-09 37thAvenue in Long Island City, Queens, NewYork.Allpurchased lots should be collected at this location during our regular weekdaybusiness hours.As a courtesy to clients, we will upon request transfer purchasedlots suitable for hand carry back to our premises at 450West 15th Street, NewYork,NewYork for collection within 30 days following the date of the auction.We will levyremoval, interest, storage and handling charges on uncollected lots.
Loss or DamageBuyers are reminded that Phillips de Pury & Company accepts liability for loss ordamage to lots for a maximum of five days following the auction.
Transport and ShippingAs a free service for buyers, Phillips de Pury & Company will wrap purchased lotsfor hand carry only.We will, at the buyer’s expense, either provide packing, handlingand shipping services or coordinate with shipping agents instructed by the buyer inorder to facilitate such services for property purchased at Phillips de Pury &Company. Please refer to Paragraph 7 of the Conditions of Sale for moreinformation.
Export and Import LicensesBefore bidding for any property, prospective bidders are advised to makeindependent inquiries as to whether a license is required to export the property fromthe United States or to import it into another country. It is the buyer’s soleresponsibility to comply with all import and export laws and to obtain any necessarylicenses or permits.The denial of any required license or permit or any delay inobtaining such documentation will not justify the cancellation of the sale or anydelay in making full payment for the lot.
Endangered SpeciesItems made of or incorporating plant or animal material, such as coral, crocodile,ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage orvalue, may require a license or certificate prior to exportation and additionallicenses or certificates upon importation to any foreign country. Please note that theability to obtain an export license or certificate does not ensure the ability to obtainan import license or certificate in another country, and vice versa.We suggest thatprospective bidders check with their own government regarding wildlife importrequirements prior to placing a bid. It is the buyer’s sole responsibility to obtain anynecessary export or import licenses or certificates as well as any other requireddocumentation.The denial of any required license or certificate or any delay inobtaining such documentation will not justify the cancellation of the sale or anydelay in making full payment for the lot.
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 150
Phillips de Pury & Company 450 West 15 Street NewYork
Enquiries KellyTroester +1 212 940 1221 ktroester@phillipsdepury.com
www.phillipsdepury.com
PROPERTY FROM A PRIVATE COLLECTIONHENRI MATISSE
Nu au coussin bleu à côté d’une cheminée (Claude Duthuit 454), 1925
Lithograph onArches MDM laid paper, with full margins (deckle on four sides)
signed and annotated `epr. d'artiste 9/10' in pencil
Image 25 1/8 x 18 3/4 in. (63.8 x 47.6 cm); Sheet 29 1/2 x 22 1/8 in. (74.9 x 56.2 cm)
Available for sale
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 151
CONDITIONS OF SALE
The Conditions of Sale andAuthorshipWarranty set forth below govern therelationship between bidders and buyers, on the one hand, and Phillips de Pury &Company and sellers, on the other hand.All prospective buyers should read theseConditions of Sale andAuthorshipWarranty carefully before bidding.
1 IntroductionEach lot in this catalogue is offered for sale and sold subject to: (a) the Conditionsof Sale andAuthorshipWarranty; (b) additional notices and terms printed in otherplaces in this catalogue, including the Guide for Prospective Buyers, and (c)supplements to this catalogue or other written material posted by Phillips de Pury& Company in the saleroom, in each case as amended by any addendum orannouncement by the auctioneer prior to the auction
By bidding at the auction, whether in person, through an agent, by written bid, bytelephone bid or other means, bidders and buyers agree to be bound by theseConditions of Sale, as so changed or supplemented, andAuthorshipWarranty.
These Conditions of Sale, as so changed or supplemented, andAuthorshipWarrantycontain all the terms on which Phillips de Pury & Company and the seller contractwith the buyer.
2 Phillips de Pury & Company asAgentPhillips de Pury & Company acts as an agent for the seller, unless otherwiseindicated in this catalogue or at the time of auction. On occasion, Phillips de Pury& Company may own a lot, in which case we will act in a principal capacity as aconsignor, or may have a legal, beneficial or financial interest in a lot as a securedcreditor or otherwise.
3 Catalogue Descriptions and Condition of PropertyLots are sold subject to theAuthorshipWarranty, as described in the catalogue(unless such description is changed or supplemented, as provided in Paragraph 1above) and in the condition that they are in at the time of the sale on the followingbasis.
(a)The knowledge of Phillips de Pury & Company in relation to each lot is partiallydependent on information provided to us by the seller, and Phillips de Pury &Company is not able to and does not carry out exhaustive due diligence on each lot.Prospective buyers acknowledge this fact and accept responsibility for carrying outinspections and investigations to satisfy themselves as to the lots in which they maybe interested. Notwithstanding the foregoing, we shall exercise such reasonablecare when making express statements in catalogue descriptions or conditionreports as is consistent with our role as auctioneer of lots in this sale and in light of(i) the information provided to us by the seller, (ii) scholarship and technicalknowledge and (iii) the generally accepted opinions of relevant experts, in each caseat the time any such express statement is made.
(b) Each lot offered for sale at Phillips de Pury & Company is available forinspection by prospective buyers prior to the auction. Phillips de Pury & Companyaccepts bids on lots on the basis that bidders (and independent experts on theirbehalf, to the extent appropriate given the nature and value of the lot and thebidder’s own expertise) have fully inspected the lot prior to bidding and havesatisfied themselves as to both the condition of the lot and the accuracy of itsdescription. .
(c) Prospective buyers acknowledge that many lots are of an age and type whichmeans that they are not in perfect condition.As a courtesy to clients, Phillips dePury & Company may prepare and provide condition reports to assist prospectivebuyers when they are inspecting lots. Catalogue descriptions and condition reportsmay make reference to particular imperfections of a lot, but bidders should note thatlots may have other faults not expressly referred to in the catalogue or conditionreport. All dimensions are approximate. Illustrations are for identification purposesonly and cannot be used as precise indications of size or to convey full informationas to the actual condition of lots.
(d) Information provided to prospective buyers in respect of any lot, including anypre-sale estimate, whether written or oral, and information in any catalogue,condition or other report, commentary or valuation, is not a representation of factbut rather a statement of opinion held by Phillips de Pury & Company.Any pre-saleestimate may not be relied on as a prediction of the selling price or value of the lotand may be revised from time to time by Phillips de Pury & Company in our absolutediscretion. Neither Phillips de Pury & Company nor any of our affiliated companiesshall be liable for any difference between the pre-sale estimates for any lot and theactual price achieved at auction or upon resale.
4 Bidding at Auction(a) Phillips de Pury & Company has absolute discretion to refuse admission to theauction or participation in the sale. All bidders must register for a paddle prior tobidding, supplying such information and references as required by Phillips de Pury& Company.
(b)As a convenience to bidders who cannot attend the auction in person, Phillips dePury & Company may, if so instructed by the bidder, execute written absentee bidson a bidder’s behalf. Absentee bidders are required to submit bids on the “AbsenteeBid Form,” a copy of which is printed in this catalogue or otherwise available from
Phillips de Pury & Company. Bids must be placed in the currency of the sale.Thebidder must clearly indicate the maximum amount he or she intends to bid, excludingthe buyer’s premium and any applicable sales or use taxes.The auctioneer will notaccept an instruction to execute an absentee bid which does not indicate suchmaximum bid. Our staff will attempt to execute an absentee bid at the lowestpossible price taking into account the reserve and other bidders.Any absentee bidmust be received at least 24 hours in advance of the sale. In the event of identicalbids, the earliest bid received will take precedence.
(c)Telephone bidders are required to submit bids on the “Telephone Bid Form,” acopy of which is printed in this catalogue or otherwise available from Phillips dePury & Company.Telephone bidding is available for lots whose low pre-sale estimateis at least $1000. Phillips de Pury & Company reserves the right to require writtenconfirmation of a successful bid from a telephone bidder by fax or otherwiseimmediately after such bid is accepted by the auctioneer.Telephone bids may berecorded and, by bidding on the telephone, a bidder consents to the recording of theconversation.
(d)When making a bid, whether in person, by absentee bid or on the telephone, abidder accepts personal liability to pay the purchase price, as described more fullyin Paragraph 6 (a) below, plus all other applicable charges unless it has beenexplicitly agreed in writing with Phillips de Pury & Company before thecommencement of the auction that the bidder is acting as agent on behalf of anidentified third party acceptable to Phillips de Pury & Company and that we will onlylook to the principal for such payment.
(e)Arranging absentee and telephone bids is a free service provided by Phillips dePury & Company to prospective buyers.While we undertake to exercise reasonablecare in undertaking such activity, we cannot accept liability for failure to executesuch bids except where such failure is caused by our willful misconduct.
(f) Employees of Phillips de Pury & Company and our affiliated companies, includingthe auctioneer, may bid at the auction by placing absentee bids so long as they donot know the reserve when submitting their absentee bids and otherwise complywith our employee bidding procedures.
5 Conduct of the Auction(a) Unless otherwise indicated by the symbol • each lot is offered subject to areserve, which is the confidential minimum selling price agreed by Phillips de Pury& Company with the seller.The reserve will not exceed the low pre-sale estimate atthe time of the auction.
(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes theremay be error or dispute and take such other action as he or she deems reasonablyappropriate.
(c)The auctioneer will commence and advance the bidding at levels and inincrements he or she considers appropriate. In order to protect the reserve on anylot, the auctioneer may place one or more bids on behalf of the seller up to thereserve without indicating he or she is doing so, either by placing consecutive bidsor bids in response to other bidders.
(d)The sale will be conducted in US dollars and payment is due in US dollars. Forthe benefit of international clients, pre-sale estimates in the auction catalogue maybe shown in pounds sterling and/or euros and, if so, will reflect approximateexchange rates.Accordingly, estimates in pounds sterling or euros should betreated only as a guide.
(e) Subject to the auctioneer’s reasonable discretion, the highest bidder acceptedby the auctioneer will be the buyer and the striking of the hammer marks theacceptance of the highest bid and the conclusion of a contract for sale between theseller and the buyer. Risk and responsibility for the lot passes to the buyer as setforth in Paragraph 7 below.
(f) If a lot is not sold, the auctioneer will announce that it has been “passed,”“withdrawn,” “returned to owner” or “bought-in.”
(g)Any post-auction sale of lots offered at auction shall incorporate theseConditions of Sale andAuthorshipWarranty as if sold in the auction.
6 Purchase Price and Payment(a)The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’spremium and any applicable sales tax (the “Purchase Price”).The buyer’s premiumis 25% of the hammer price up to and including $50,000, 20% of the portion of thehammer price above $50,000 up to and including $1,000,000 and 12% of the portion ofthe hammer price above $1,000,000.
(b) Sales tax, use tax and excise and other taxes are payable in accordance withapplicable law.All prices, fees, charges and expenses set out in these Conditionsof Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company willonly accept valid resale certificates from US dealers as proof of exemption fromsales tax.All foreign buyers should contact the ClientAccounting Department abouttax matters.
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 152
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 153
(c) Unless otherwise agreed, a buyer is required to pay for a purchased lotimmediately following the auction regardless of any intention to obtain an exportor import license or other permit for such lot. Payments must be made by theinvoiced party in US dollars either by cash, check drawn on a US bankor wire transfer, as follows:
(i) Phillips de Pury & Company will accept payment in cash provided that thetotal amount paid in cash or cash equivalents does not exceed US$10,000.Buyers paying in cash should do so in person at our ClientAccounting Deskat 450West 15th Street,Third Floor, during regular weekday business hours.
(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank andthe buyer provides to us acceptable government issued identification. Checksand banker’s drafts should be made payable to “Phillips de Pury & CompanyLLC.” If payment is sent by mail, please send the check or banker’s draft to theattention of the ClientAccounting Department at 450West 15th Street, NewYork, NY 10011 and make sure that the sale and lot number is written on thecheck. Checks or banker’s drafts drawn by third parties will not be accepted.
(iii) Payment by wire transfer may be sent directly to Phillips de Pury &Company. Bank transfer details:
Citibank322West 23rd Street, NewYork, NY 10011SWIFT Code: CITIUS33ABA Routing: 021 000 089For the account of Phillips de Pury & Company LLCAccount no.: 58347736
Please reference the relevant sale and lot number.
(d)Title in a purchased lot will not pass until Phillips de Pury & Company hasreceived the Purchase Price for that lot in cleared funds. Phillips de Pury &Company is not obliged to release a lot to the buyer until title in the lot has passedand appropriate identification has been provided, and any earlier release does notaffect the passing of title or the buyer’s unconditional obligation to pay thePurchase Price.
7 Collection of Property(a) Phillips de Pury & Company will not release a lot to the buyer until we havereceived payment of its Purchase Price in full in cleared funds, the buyer has paidall outstanding amounts due to Phillips de Pury & Company or any of our affiliatedcompanies, including any charges payable pursuant to Paragraph 8 (a) below, andthe buyer has satisfied such other terms as we in our sole discretion shall require,including completing any anti-money laundering or anti-terrorism financing checks.As soon as a buyer has satisfied all of the foregoing conditions, he or she shouldcontact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange forcollection of purchased property.
(b)The buyer must arrange for collection of a purchased lot within five days of thedate of the auction. Promptly after the auction, we will transfer all lots to ourwarehouse located at 29-09 37thAvenue in Long Island City, Queens, NewYork.Allpurchased lots should be collected at this location during our regular weekdaybusiness hours.As a courtesy to clients, Phillips de Pury & Company will uponrequest transfer on a bi-weekly basis purchased lots suitable for hand carry back toour premises at 450West 15th Street, NewYork, NewYork for collection within 30days following the date of the auction. Purchased lots are at the buyer’s risk,including the responsibility for insurance, from the earlier to occur of (i) the date ofcollection or (ii) five days after the auction. Until risk passes, Phillips de Pury &Company will compensate the buyer for any loss or damage to a purchased lot up toa maximum of the Purchase Price paid, subject to our usual exclusions for loss ordamage to property.
(c)As a courtesy to clients, Phillips de Pury & Company will, without charge, wrappurchased lots for hand carry only.We will, at the buyer’s expense, either providepacking, handling, insurance and shipping services or coordinate with shippingagents instructed by the buyer in order to facilitate such services for propertybought at Phillips de Pury & Company.Any such instruction, whether or not made atour recommendation, is entirely at the buyer’s risk and responsibility, and we will notbe liable for acts or omissions of third party packers or shippers.Third partyshippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 9246477 at least 24 hours in advance of collection in order to schedule pickup.
(d) Phillips de Pury & Company will require presentation of government issuedidentification prior to release of a lot to the buyer or the buyer’s authorizedrepresentative.
8 Failure to Collect Purchases(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30days of the auction, the buyer will incur a late collection fee of $35, storage chargesof $5 per day and pro rated insurance charges of .1% of the Purchase Price permonth on each uncollected lot.
(b) If a purchased lot is paid for but not collected within six months of the auction,the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale ofthe item by auction or private sale, with estimates and a reserve set at Phillips de
Pury & Company’s reasonable discretion.The proceeds of such sale will be appliedto pay for storage charges and any other outstanding costs and expenses owed bythe buyer to Phillips de Pury & Company or our affiliated companies and theremainder will be forfeited unless collected by the buyer within two years of theoriginal auction.
9 Remedies for Non-Payment(a)Without prejudice to any rights the seller may have, if the buyer without prioragreement fails to make payment of the Purchase Price for a lot in cleared fundswithin five days of the auction, Phillips de Pury & Company may in our solediscretion exercise one or more of the following remedies: (i) store the lot at Phillipsde Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense atthe same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot,retaining any partial payment of the Purchase Price as liquidated damages; (iii)reject future bids from the buyer or render such bids subject to payment of adeposit; (iv) charge interest at 12% per annum from the date payment became dueuntil the date the Purchase Price is received in cleared funds; (v) subject tonotification of the buyer, exercise a lien over any of the buyer’s property which is inthe possession of Phillips de Pury & Company and instruct our affiliated companiesto exercise a lien over any of the buyer’s property which is in their possession and, ineach case, no earlier than 30 days from the date of such notice, arrange the sale ofsuch property and apply the proceeds to the amount owed to Phillips de Pury &Company or any of our affiliated companies after the deduction from sale proceedsof our standard vendor’s commission and all sale-related expenses; (vi) resell the lotby auction or private sale, with estimates and a reserve set at Phillips de Pury &Company’s reasonable discretion, it being understood that in the event such resaleis for less than the original hammer price and buyer’s premium for that lot, the buyerwill remain liable for the shortfall together with all costs incurred in such resale;(vii) commence legal proceedings to recover the hammer price and buyer’s premiumfor that lot, together with interest and the costs of such proceedings; or (viii) releasethe name and address of the buyer to the seller to enable the seller to commencelegal proceedings to recover the amounts due and legal costs.
(b)As security to us for full payment by the buyer of all outstanding amounts dueto Phillips de Pury & Company and our affiliated companies, Phillips de Pury &Company retains, and the buyer grants to us, a security interest in each lotpurchased at auction by the buyer and in any other property or money of the buyer in,or coming into, our possession or the possession of one of our affiliated companies.We may apply such money or deal with such property as the Uniform CommercialCode or other applicable law permits a secured creditor to do. In the event that weexercise a lien over property in our possession because the buyer is in default to oneof our affiliated companies, we will so notify the buyer. Our security interest in anyindividual lot will terminate upon actual delivery of the lot to the buyer or the buyer’sagent.
(c) In the event the buyer is in default of payment to any of our affiliated companies,the buyer also irrevocably authorizes Phillips de Pury & Company to pledge thebuyer’s property in our possession by actual or constructive delivery to our affiliatedcompany as security for the payment of any outstanding amount due. Phillips dePury & Company will notify the buyer if the buyer’s property has been delivered to anaffiliated company by way of pledge.
10 Rescission by Phillips de Pury & CompanyPhillips de Pury & Company shall have the right, but not the obligation, to rescind asale without notice to the buyer if we reasonably believe that there is a materialbreach of the seller’s representations and warranties or theAuthorshipWarranty oran adverse claim is made by a third party. Upon notice of Phillips de Pury &Company’s election to rescind the sale, the buyer will promptly return the lot toPhillips de Pury & Company, and we will then refund the Purchase Price paid to us.As described more fully in Paragraph 13 below, the refund shall constitute the soleremedy and recourse of the buyer against Phillips de Pury & Company and the sellerwith respect to such rescinded sale..
11 Export, Import and Endangered Species Licenses and PermitsBefore bidding for any property, prospective buyers are advised to make their owninquiries as to whether a license is required to export a lot from the United States orto import it into another country. Prospective buyers are advised that somecountries prohibit the import of property made of or incorporating plant or animalmaterial, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell,irrespective of age, percentage or value.Accordingly, prior to bidding, prospectivebuyers considering export of purchased lots should familiarize themselves withrelevant export and import regulations of the countries concerned. It is solely thebuyer’s responsibility to comply with these laws and to obtain any necessary export,import and endangered species licenses or permits. Failure to obtain a license orpermit or delay in so doing will not justify the cancellation of the sale or any delay inmaking full payment for the lot.
12 Client InformationIn connection with the management and operation of our business and themarketing and supply of auction related services, or as required by law, we may askclients to provide personal information about themselves or obtain informationabout clients from third parties (e.g., credit information). If clients provide us withinformation that is defined by law as "sensitive," they agree that Phillips de Pury &Company and our affiliated companies may use it for the above purposes. Phillips dePury & Company and our affiliated companies will not use or process sensitiveinformation for any other purpose without the client's express consent. If you would
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 154
like further information on our policies on personal data or wish to make correctionsto your information, please contact us at +1 212 940 1228. If you would prefer not toreceive details of future events please call the above number.
13 Limitation of Liability(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury &Company, our affiliated companies and the seller to the buyer in connection with thesale of a lot shall be limited to the Purchase Price actually paid by the buyer for thelot.
(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury &Company, any of our affiliated companies or the seller (i) is liable for any errors oromissions, whether orally or in writing, in information provided to prospectivebuyers by Phillips de Pury & Company or any of our affiliated companies or (ii)accepts responsibility to any bidder in respect of acts or omissions, whethernegligent or otherwise, by Phillips de Pury & Company or any of our affiliatedcompanies in connection with the conduct of the auction or for any other matterrelating to the sale of any lot.
(c)All warranties other than theAuthorshipWarranty, express or implied, includingany warranty of satisfactory quality and fitness for purpose, are specificallyexcluded by Phillips de Pury & Company, our affiliated companies and the seller tothe fullest extent permitted by law.
(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any ofour affiliated companies or the seller shall be liable to the buyer for any loss ordamage beyond the refund of the Purchase Price referred to in subparagraph (a)above, whether such loss or damage is characterized as direct, indirect, special,incidental or consequential, or for the payment of interest on the Purchase Price tothe fullest extent permitted by law.
(e) No provision in these Conditions of Sale shall be deemed to exclude or limit theliability of Phillips de Pury & Company or any of our affiliated companies to thebuyer in respect of any fraud or fraudulent misrepresentation made by any of us or inrespect of death or personal injury caused by our negligent acts or omissions.
14 CopyrightThe copyright in all images, illustrations and written materials produced by or forPhillips de Pury & Company relating to a lot, including the contents of thiscatalogue, is and shall remain at all times the property of Phillips de Pury &Company and such images and materials may not be used by the buyer or any otherparty without our prior written consent. Phillips de Pury & Company and the sellermake no representations or warranties that the buyer of a lot will acquire anycopyright or other reproduction rights in it.
15 General(a)These Conditions of Sale, as changed or supplemented as provided in Paragraph1 above, andAuthorshipWarranty set out the entire agreement between the partieswith respect to the transactions contemplated herein and supersede all prior andcontemporaneous written, oral or implied understandings, representations andagreements.
(b) Notices to Phillips de Pury & Company shall be in writing and addressed to thedepartment in charge of the sale, quoting the reference number specified at thebeginning of the sale catalogue. Notices to clients shall be addressed to the lastaddress notified by them in writing to Phillips de Pury & Company.
(c)These Conditions of Sale are not assignable by any buyer without our priorwritten consent but are binding on the buyer’s successors, assigns andrepresentatives.
(d) Should any provision of these Conditions of Sale be held void, invalid orunenforceable for any reason, the remaining provisions shall remain in full force andeffect. No failure by any party to exercise, nor any delay in exercising, any right orremedy under these Conditions of Sale shall act as a waiver or release thereof inwhole or in part.
16 Law and Jurisdiction(a)ThThe rights and obligations of the parties with respect to these Conditions ofSale andAuthorshipWarranty, the conduct of the auction and any matters related toany of the foregoing shall be governed by and interpreted in accordance with laws ofthe State of NewYork, excluding its conflicts of law rules.
(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusivejurisdiction of the (i) state courts of the State of NewYork located in NewYork Cityand (ii) the federal courts for the Southern and Eastern Districts of NewYork tosettle all disputes arising in connection with all aspects of all matters ortransactions to which these Conditions of Sale andAuthorshipWarranty relate orapply.
(c)All bidders and sellers irrevocably consent to service of process or any otherdocuments in connection with proceedings in any court by facsimile transmission,personal service, delivery by mail or in any other manner permitted by NewYork lawor the law of the place of service, at the last address of the bidder or seller known toPhillips de Pury & Company.
AUTHORSHIPWARRANTY
Phillips de Pury & Company warrants the authorship of property in this auctioncatalogue for a period of five years from date of sale by Phillips de Pury & Company,subject to the exclusions and limitations set forth below.
(a) Phillips de Pury & Company gives thisAuthorshipWarranty only to the originalbuyer of record (i.e., the registered successful bidder) of any lot.ThisAuthorshipWarranty does not extend to (i) subsequent owners of the property, includingpurchasers or recipients by way of gift from the original buyer, heirs, successors,beneficiaries and assigns; (ii) property created prior to 1870, unless the property isdetermined to be counterfeit (defined as a forgery made less than 50 years ago withan intent to deceive) and has a value at the date of the claim under this warrantywhich is materially less than the Purchase Price paid; (iii) property where thedescription in the catalogue states that there is a conflict of opinion on theauthorship of the property; (iv) property where our attribution of authorship was onthe date of sale consistent with the generally accepted opinions of specialists,scholars or other experts; or (v) property whose description or dating is provedinaccurate by means of scientific methods or tests not generally accepted for use atthe time of the publication of the catalogue or which were at such time deemedunreasonably expensive or impractical to use.
(b) In any claim for breach of theAuthorshipWarranty, Phillips de Pury & Companyreserves the right, as a condition to rescinding any sale under this warranty, torequire the buyer to provide to us at the buyer’s expense the written opinions of tworecognized experts approved in advance by Phillips de Pury & Company.We shallnot be bound by any expert report produced by the buyer and reserve the right toconsult our own experts at our expense. If Phillips de Pury & Company agrees torescind a sale under theAuthorshipWarranty, we shall refund to the buyer thereasonable costs charged by the experts commissioned by the buyer and approvedin advance by us.
(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer maybring a claim for breach of theAuthorshipWarranty provided that (i) he or she hasnotified Phillips de Pury & Company in writing within three months of receiving anyinformation which causes the buyer to question the authorship of the lot, specifyingthe auction in which the property was included, the lot number in the auctioncatalogue and the reasons why the authorship of the lot is being questioned and(ii) the buyer returns the lot to Phillips de Pury & Company in the same conditionas at the time of its auction and is able to transfer good and marketable title in thelot free from any third party claim arising after the date of the auction.
(d)The buyer understands and agrees that the exclusive remedy for any breach oftheAuthorshipWarranty shall be rescission of the sale and refund of the originalPurchase Price paid.This remedy shall constitute the sole remedy and recourse ofthe buyer against Phillips de Pury & Company, any of our affiliated companies andthe seller and is in lieu of any other remedy available as a matter of law.This meansthat none of Phillips de Pury & Company, any of our affiliated companies or theseller shall be liable for loss or damage beyond the remedy expressly provided inthisAuthorshipWarranty, whether such loss or damage is characterized as direct,indirect, special, incidental or consequential, or for the payment of interest on theoriginal Purchase Price.
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 155
SPECIALIST & SERVICE DEPARTMENTS
Contemporary Art
Michael McGinnis Worldwide Director +44 20 7318 4091
AileenAgopian Director NewYork +1 212 940 1255
Jean-Michel Placent NewYork +1 212 940 1263
Timothy Malyk Head of Under the Influence NewYork +1 212 940 1258
Chin-ChinYap NewYork +1 212 940 1250
Christina Floyd NewYork +1 212 940 1340
Veronica Collins NewYork +1 212 940 1252
Sarah Mudge Head of Part II NewYork +1 212 940 1259
Roxana Bruno NewYork +1 212 940 1229
Sara Davidson NewYork +1 212 940 1262
Derrick Mead NewYork +1 212 940 1272
Maria Bueno NewYork +1 212 940 1261
Peter Flores NewYork +1 212 940 1223
(Uli) Zhiheng Huang NewYork +1 212 940 1288
Eugenia Ballvé NewYork +1 212 940 1303
Anthony McNerney Head of Evening Sale London +44 20 7318 4067
Peter Sumner Head of Day Sale London +44 20 7318 4063
Laetitia Catoir London + 44 20 7318 4064
SilkeTaprogge London +44 20 7318 4012
Ivgenia Naiman London +44 20 7318 4071
Fiona Biberstein London +44 20 7318 4013
Siobhan O’Connor London +44 20 7318 4093
Catherine Higgs London +44 20 7318 4089
Raphael Lepine London +44 20 7318 4078
TanyaTikhnenko London +44 20 7318 4065
Sarah Buchwald London +44 20 7318 4085
PhillippaWillison London +44 20 7318 4070
Jewelry
Nazgol Jahan Worldwide Director +1 212 940 1283
Carolin Bulgari Geneva +41 22 906 80 00
Carmela Manoli NewYork +1 212 940 1302
Heather Zises NewYork +1 212 940 1290
Lane Mclean London +44 20 7318 4032
Veronica Lota Geneva +41 22 906 80 05
Contemporary Jewelry
Rachel Mattes NewYork +1 212 940 1285
Photographs
Charlie Scheips Worldwide Director +1 212 940 1244
Vanessa Kramer NewYork +1 212 940 1243
Caroline Shea NewYork +1 212 940 1247
Sarah Krueger NewYork +1 212 940 1245
Kelly Padden London +44 20 7318 4018
Ben Adams London +44 20 7318 4077
Alexandra Bibby London +44 20 7318 4087
Helen Hayman London +44 20 7318 4092
Design
Alexander Payne Worldwide Director +44 20 7318 4052
MarcusTremonto NewYork +1 212 940 1268
Alex Heminway Director NewYork +1 212 940 1269
Tara DeWitt NewYork +1 212 940 1265
Meaghan Roddy NewYork +1 212 940 1266
Stephanie Abraitis NewYork +1 212 940 1268
BenWilliams London +44 20 7318 4027
Domenico Raimondo London +44 20 7318 4016
Ellen Stelter London +44 20 7318 4021
Marcus McDonald London +44 20 7318 4014
Modern and Contemporary Editions
KellyTroester Worldwide Co-Director +1 212 940 1221
Cary Leibowitz Worldwide Co-Director +1 212 940 1222
Jannah Greenblatt NewYork +1 212 940 1332
Joy Deibert NewYork +1 212 940 1333
Saturday@Phillips
Tobias Sirtl Director +44 20 7318 4095
AlexW. Smith NewYork +1 212 940 1276
Anne Huntington NewYork +1 212 940 1210
Arianna Jacobs London + 44 20 7318 4054
George O’Dell London +44 20 7318 4040
Steve Agin (Consultant) +1 908 475 1796
Balthasar de Pury (Consultant) Geneva +41 79 250 86 81
Chairman London
Rodman Primack London +44 20 7318 4017
Managing Directors
Finn Dombernowsky London +44 20 7318 4034
Charlie Horne NewYork +1 212 940 1292
Business Development
Alexander Gilkes NewYork +1 212 940 1398
Executive Assistant to Simon de Pury
Helen Rohwedder London +44 20 7318 4042
Executive Assistant to Bernd Runge
Johanna Frydman London +44 20 7318 4024
Private Sales
Christina Scheublein NewYork +1 212 940 1248
Press and Public Relations
Ariel Childs Head London +44 20 7318 4028
Cécile Demtchenko Paris +33 1 42 78 67 77
Exhibitions
London +44 20 7318 4023 NewYork +1 212 940 1301
International Specialists and Representatives
Dr. Michaela Neumeister Munich +49 89 238 88 48 10
OlivierVrankenne Brussels & Paris +32 486 43 43 44
Leonie Moschner Paris +33 6 85 53 92 03
Tamara Corm Paris & London +33 6 75 07 04 71
Ivgenia Naiman London +44 20 7318 4071
Brooke de Ocampo London +44 777 551 7060
Laura Garbarino Milan +39 339 478 9671
Eugenia Bertele Milan +39 02 3669 5895
Florence Uchida NewYork +1 917 902 2714
Nadia Breuer Sopher NewYork & Australia +1 917 319 4741
MimiWonTechentin Los Angeles +1 310 600 9192
Maya McLaughlin Los Angeles +1 323 791 1771
Tatiana Beliaeva Moscow +7 985 969 9292
JeremyWingfield Shanghai/Beijing +86 135 0118 2804
Lulu Al-Sabah Dubai +44 77 9518 8878
Lydia Limmerick Dubai +44 79 2048 1110
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 156
PHILLIPS de PURY & COMPANY CONTACTS
Chairman
Simon de Pury
Chief Executive Officer
Bernd Runge
Senior Partners
Michael McGinnis
Dr. Michaela Neumeister
Partners
Aileen Agopian
Sean Cleary
Alexander Payne
Rodman Primack
OlivierVrankenne
TiffanyWood
WORLDWIDE OFFICES
NEWYORK
450West 15 Street NewYork NY 10011 USA
+1 212 940 1200 +1 212 924 5403 fax
LONDON
Howick Place London SW1P 1BB United Kingdom
+44 20 7318 4010 +44 20 7318 4011 fax
PARIS
28, rue Michel Le Comte 75003 Paris France
Cécile Demtchenko +33 1 42 78 67 77 +33 1 42 78 23 07 fax
Advisory Board
Maria Bell
Janna Bullock
Lisa Eisner
Lapo Elkann
Ben Elliot
Lady Elena Foster
H.I.H. Francesca von Habsburg
Marc Jacobs
Malcolm McLaren
Ernest Mourmans
Aby Rosen
Christiane zu Salm
Princess Gloria vonThurn undTaxis
Jean MichelWilmotte
Anita Zabludowicz
MUNICH
Maximiliansplatz 12a 80333 Munich Germany
Shirin Kranz +49 89 238 88 48 0 +49 89 238 88 48 15 fax
BERLIN
Auguststrasse 19 10117 Berlin Germany
Rolf Moritz Estermann Natalia Kazmierczak
+49 30 880 018 42 +49 30 880 018 43 fax
GENEVA
23, quai des Bergues 1201 Geneva Switzerland
Carolin Bulgari +41 22 906 80 00 +41 22 906 80 01 fax
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 157
SALE INFORMATION
MODERN and CONTEMPORARY EDITIONS
Auction
Tuesday June 2 2009 at 2pm
Viewing &Auction Location
450West 15 Street NewYork NY 10011
Viewing
Wednesday May 27 – Saturday May 30 10am – 6pm
Sunday May 31 Noon – 6pm
Monday June 1 10am – 6pm
Tuesday June 2 Noon – 2pm
Sale Designation
In sending written bids or making inquiries please refer to this sale
as NY030109 or Modern and Contemporary Editions.
Catalogues $60 at the Gallery / £30
Catalogue Subscriptions
Allyson Melchor +1 212 940 1240 +44 20 7318 4039
catalogues@phillipsdepury.com
Client Services +1 212 940 1200
E-mail Addresses
All Phillips de Pury & Company e-mails are
first initial and last name @phillipsdepury.com
(e.g., jdeibert@phillipsdepury.com)
www.phillipsdepury.com
Front Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)
Inside Front Cover Alex Katz, Ada, 1994, Lot 269 (detail)
Title Page Various printmakers
Last Page Do Ho Suh, Untitled, 1998, Lot 103 (detail)
Inside Back Cover KelleyWalker, Maui, 2002, Lot 152 (detail)
Back Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)
Worldwide Directors
KellyTroester New York +1 212 940 1221
Cary Leibowitz New York +1 212 940 1222
Cataloguer
Jannah Greenblatt New York +1 212 940 1332
Administrator
Joy Deibert New York +1 212 940 1220 +1 212 940 1213 fax
Property Manager
Adam Sipe New York +1 212 940 1284
Absentee and Telephone Bids
Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax
bids@phillipsdepury.com
Client Accounting
Sylvia Leitao New York +1 212 940 1231
Barbara Doupal New York +1 212 940 1232
Nicole Rodriguez New York +1 212 940 1235
Shipping
Beth Petriello New York +1 212 940 1373
Principal Auctioneer
Simon de Pury 0874341
Auctioneers
AileenAgopian 1199037
Christina L. Floyd 1238278
Sarah Mudge 1301805
Alexander Gilkes 1308958
Ellen Stelter UK
Rodman Primack UK
Photography
Kent Pell
Morten Smidt
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 158
Do Ho Suh, Untitled, 1998, Lot 103 (detail)
e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 159
KelleyWalker, Maui, 2002, Lot 152 (detail)
Alex Katz, Ada, 1994, Lot 269 (detail)
Front Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)
JU
NE
22
00
9N
EW
YO
RK
NY
03
01
09
EDITIONSM
OD
ER
NA
ND
CO
NT
EM
PO
RA
RY
MODERN AND CONTEMPORARY
ED IT I ONSJUNE 2 2 0 0 9 N E W YO R K
WWW.PHILLIPSDEPURY.COM
RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)
top related