Editions - Final Contemporary Art

MODERN AND CONTEMPORARY
EDITIONS
JUNE 2 2009 N E W YO R K
Alex Katz, Ada, 1994, Lot 269 (detail) Front Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)
MODERN AND CONTEMPORARY
EDITIONS
JUNE 2 2009 2pm N E W 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
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, New York (with their blindstamp), Banners published by Multiples, Inc., New York, 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]
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 artists proofs), published by the Metropolitan Museum of Art, New York (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
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 New York, 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
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 artists 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
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 artists 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

Untitled (Green Curve, Philadelphia), 1993 Lithograph in green, on wove paper, the full sheet, signed and annotated AP XI in pencil (an artists proof, the edition was 40), in excellent condition, unframed. S. 21 1/2 x 18 in. (54.6 x 45.7 cm)

Small Black Curve, 1996 Lithograph, on wove paper, with full margins, signed and numbered 18/56 in pencil (there were also 10 artists 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
Estimate $2,500-3,500

Orange, 2004 Lithograph in orange, on wove paper, with full margins, signed and numbered AP 9/44 (an artists 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
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
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 artists proofs), published by the Public Art Fund, New York, 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 artists proofs), published by Pace Editions, Inc., New York, 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
12
13
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, New York, 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)
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, New York, 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
Estimate $2,500-3,500
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 artists proofs), published by One Great Jones, New York, 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
15

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
16
16

Estimate $2,500-3,500
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
17
17

Estimate $2,500-3,500
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
18
18
ROBERT RYMAN b. 1930

Prints 1969-1993 (the Catalogue Raisonn by Amy Baker Sandback) including Untitled (six original etchings), 1993 The complete set of six etchings in shades of white, plus the Catalogue Raisonn of the artists work from 1969-1993, the prints on wove paper, the full sheets, one print signed, dated 93 and numbered 41/50, the catalogue raisonn printed in an edition of 250, published by Parasol Press, New York, the prints in excellent condition, all unframed, contained in original linen-covered fold-out box with the artists 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 printers proof, the edition was 45 and 10 artists proofs), published by Peter Blum Edition, New York, 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)
19
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.
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 artists proofs), published by Brooke Alexander Editions, New York, to benefit the New Museum, New York, 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
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 artists 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)
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 artists proofs lettered a-o), published by Parasol Press, Ltd., New York, 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 Estimate $4,000-6,000
This is a separate edition than plate 15 from On a Clear Day

LITERATURE Edition Schellmann 120-22
portfolio. The paper is slightly heavier and darker.
23
24
25
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 artists proofs), published by Tyler Graphics Ltd., Bedford Village, New York (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)
25

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 artists 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 Tyler Graphics 25; Brenda Danilowitz 225.7
Estimate $1,000-1,500
LITERATURE Brenda Danilowitz 166
26
26

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 artists 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
27
28
27

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 artists 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)
28

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 artists 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)

LITERATURE Brenda Danilowitz 192.2 LITERATURE Brenda Danilowitz 192.3
29
30
29
SEAN SCULLY b. 1945

Untitled (Working Proof for ), 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 artists proofs), published by Bernd Klser, 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 artists proofs), published by Lincoln Center List Poster and Print Program, New York, 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
31
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 artists proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (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)
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 artists proofs), published by David R. Godine Publishers and the Center for Constitutional Rights, New York, 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 $5,000-7,000
Estimate $700-900
LITERATURE Richard Axsom appendix I.C
32
33
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 artists 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
34
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 artists 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
35
35
SAM FRANCIS 1923-1994

Pomes 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
36
37
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 artists proofs in Roman numerals), published by Tyler Graphics, Ltd, Bedford Village, New York (with their blindstamp), in very good condition, unframed. S. 40 1/2 x 37 1/4 in. (102.9 x 94.6 cm)
37

Easter Day, 1979, 1980 Lithograph, on Lana paper, with full margins, signed and numbered 2/75 in pencil (there were also 18 artists proofs in Roman numerals), published by Tyler Graphics, Ltd., Bedford Village, New York (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)

LITERATURE Siri Engberg and Joan Banach 246 LITERATURE Siri Engberg and Joan Banach 244
38
38

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 artists proofs), published by New York 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
39
39
VICTOR VASARELY 1908-1997

Kedzi, 1990 Wood multiple with acrylic paint in colors, annotated E.A. in black ink (an artists 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)
40

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 $3,000-5,000
Estimate $2,000-3,000
40
41
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, New York, 1973, p. 60)
42
41

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

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
43
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
44
44

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
Harry Bertoia, Water Sculpture for the National Penn Bank, Boyertown, Pennsylvania, 1974
45
45

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)
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 its too tough to make changes, and you try to avoid making any changes. In the graphic it is really the opposite. Its like a dreamyou go fast, you draw lines, planes, smudges, throw ink, and so forthso it becomes some kind of somnambulistic mediumas if you were asleep and you are doing it with no effort at allits a wonderful feeling. Harry Bertoia, lecture at Virginia Museum of Fine Arts, 1961
Estimate $2,500-3,500
46

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
Bertoias 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 threedimensional versions of an idea.The sureness of line throughout Bertoia graphics gives them the strength even in the most sensitive areasIn 1943, Harry Bertoia sold 100 monoprints to Hilla Rebay, director ofThe Solomon R. Guggenheim Musem of Nonobjective Paintings, New York City. (Nancy N. Schiffer and Val O. Bertoia, The World 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 was one of the 20th centurys most influential printmakers. At Atelier 17, the studio he set up in Paris in 1927, he helped Picasso, Giacometti, Mir and others to create prints with an emphasis on experimentation in intaglio printmaking. From 1940-50 he lived in New York, 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 offharmonies 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 moir 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 Dsire Moorhead, Phaidon Press Limited, London, 1992, p. 16)
48
47
STANLEY WILLIAM HAYTER 1901-1988

Winged Figures (Personnages ails), 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 artists 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)
48

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 artists 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 Dsire Moorhead 188
Estimate $2,500-3,500
49
50
49

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 artists 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
50

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 artists proofs), published by the Laurel Gallery, New York, 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)
51
Estimate $600-800
51

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 artists 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
52
53
52

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)
53
GNTHER FRG 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
Estimate $3,000-5,000
54
55
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 artists proofs, the edition was 150), published by Pace Editions, Inc., New York, 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
55
HANS (JEAN) ARP 1886-1966

Le Voilier dans la fort: 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
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
57
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 artists proofs), published by Editions de la Diffrence, 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
58

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 artists proofs), published by Tyler Graphics Ltd., Bedford Village, New York (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
60
59

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 artists proofs), published by Editions de la Diffrence, 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)
60

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 artists proofs), published by Editions de la Differnce, 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
Estimate $1,200-1,500
61
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 artists proofs), published by APC Editions, New York, 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
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 artists proofs), published by Knoedler, New York, 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
64
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)
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 artists proofs), published by Muliples, Inc., New York, soft scuffing, otherwise in very good condition, framed. S. 30 x 40 in. (76.2 x 101.6 cm)
Estimate $2,000-3,000
Estimate $2,000-3,000
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 artists proofs), published by Marlborough Graphics, New York, 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 artists 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
67
Lucio Fontana, Concetto Spaziale, 1960, oil on canvas
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 artists 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)
67
GNTHER FRG 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
Estimate $2,500-3,500
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 printers proof, the edition was 14 and 5 artists proofs), published by Universal Limited Art Editions, West Islip, New York (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)
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 during World War II. Artist-critic Donald Judd, writing about Bontecous 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 Bontecous sculpture, Judd could not help but point to its allusive qualities. The distinctive sensibility and highly personal vocabulary of forms and images in Bontecous 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., New York, 2003, p. 170)
Estimate $9,000-12,000
LITERATURE Esther Sparks 34
False Harbor, Yarmouth, Nova Scotia, photograph by Margaret Bontecou
69
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 artists proofs), published by the New Museum, New York, 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
70
70

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 artists proofs), published by Burnet Editions, New York (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
71

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 New York, 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
72
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 printers proof, the edition was 35 and 5 artists 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 Dont Know?; Being 5; Meaning 4 and Introduction 1
73
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 artists proofs), published by Universal Limited Art Editions, West Islip, New York (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
76
75
JOAN MIR 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)
76
JOAN MIR 1893-1983

International Rescue Committee, 1966 Lithograph in colors, on Arches 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 $800-1,200
LITERATURE Maeght Editeur 293; see Patrick Cramer books 69
Estimate $2,000-4,000
LITERATURE Maeght Editeur 459
77
78
77
JOAN MIR 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 byTriade, 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)
78
JOAN MIR 1893-1983

Ubu aux Balares: two plates, 1971 Two lithographs in colors, on Arches paper, with margins (deckle at bottom edges), both signed and numbered 51/120 (there were also 6 hors commerce in Roman numerals), published byTriade, 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)

LITERATURE Maeght Editeur 773 and 786; see Patrick Cramer books 146 LITERATURE Maeght Editeur 498; see Patrick Cramer books 108
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 artists 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
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
82
81
ANISH KAPOOR b. 1954

Les objets dartistes: 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, on Auvergne la main laid paper, with full margins, signed, dated 1988, annotated (6) and numbered 4/20 in pencil (there were also 10 artists 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
83
83
84
DANIEL SENISE b. 1955

Menina/osso/co; Flor and Levitao, 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, Levitao 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) Levitao I. 22 1/2 x 30 1/4 in. (57.2 x 76.8 cm) Levitao S. 28 1/2 x 36 in. (72.4 x 91.4 cm)
Estimate $2,000-3,000
84
85
SERGIO HERNNDEZ b. 1957

[Sin ttulo] and [Sin ttulo], 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
85
JOS 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
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)
87
JULIO 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)
88
alternate view
89
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)
89

Jellyfish Eyes, 2002 Offset lithograph in colors, on glossy wove paper, the full sheet, with the artists 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 artists original circular frame and cardboard shipping box. S. diameter: 22 in. (55.9 cm)
Estimate $2,000-3,000
Artwork 2000 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
Estimate $2,500-3,500
90
90

Tan Tan Bo and Jellyfish, 2004 Two offset lithographs in colors, on smooth wove paper, the full sheets, Tan Tan 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, Tan Tan 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, Tan Tan Bo framed, Jellyfish unframed. Tan Tan 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 2001-2 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
91
91

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 2005 Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.
92

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
92
93
93

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
94

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)
94
Estimate $1,200-1,800
95
96
95

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)
96

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 $1,000-1,500
Estimate $1,500-2,500
97
98
97

AND THEN 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
99
98

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
99

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
100
100

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
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
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)
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 $1,500-2,000
Estimate $500-700
102
103
104
detail of lot 103
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 artists 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
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 artists 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
105
105
JANE HAMMOND b. 1950

The Wonderfulness of Downtown, 1997 Lithograph and screenprint in colors with collage, on hand-torn Kasuiri, Nepalese and Cortlea Text paper, the full sheet, signed, titled, dated 1996 and numbered 42/50 in black marker (there were also 10 artists proofs), published by Universal Limited Art Editions, West Islip, New York, (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
106
AFTER RENE 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, artists 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 largonne, 1964; Le chteau des pyrnes, 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
108
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 printers proof, the edition was 80 and 12 artists 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)
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
Estimate $1,500-2,000
109
110
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 artists proofs), published by Simmelink/Sukimoto Editions, Kingston, New York, in excellent condition, framed. S. 33 x 29 1/4 in. (83.8 x 74.3 cm)
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 artists proofs), published by Edition Schellmann, Munich and New York, 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 $3,500-4,500
Estimate $1,500-2,500
111
112
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 artists 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)
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
Estimate $700-900
113
113
VARIOUS ARTISTS
Sonsbeek 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 Espali; Christine & Irene Hohenbchler; Mike Kelley; Mark Manders and Eran Schaerf Grafiekmap 2: Christina Assmann & Andreas Siekmann; Miroslaw Balka; Kamagurka; Juan Muoz and Allen Ruppersberg Grafiekmap 3: Mario Air; Alighiero e Boetti; Mark Dion; Anna Gudjnsdtter & Till Krause and RW van de Wint
114
114
GEORG BASELITZ b. 1938

45-Dezember I & II; Grn 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)
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)
115
116
117
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
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 artists proofs), published by the Estate Project for Artists with AIDS and Alliance for the Arts, New York, in excellent condition, unframed. S. 24 x 20 in. (61 x 50.8 cm)
Estimate $500-700
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 artists 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
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)
121
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 artists 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
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.
122
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)
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 artists 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 $2,000-3,000
Estimate $1,000-1,500
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
124
125
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)
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)

LITERATURE Gemini G.E.L. 1369 LITERATURE Gemini G.E.L. 1369
126
126
STEPHEN HOLL b. 1947

Whale HouseMarthas Vineyard, 1986 Lithograph, on wove paper, with full margins, signed, dated 86 and numbered 10/75 in pencil (there was also 1 artists proof), published by John Nichols Printmakers and Publishers, New York, 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
127
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 artists 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)
128
Estimate $1,200-1,800
128

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
129
129

Secondhand, 2004 Stereolithograph of laser sintered white nylon multiple, numbered 49/400 (there were also 60 artists 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
131
130
HIROSHI SUGIMOTO b. 1948

U.A. Walker Theatre, New York, 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 New York, 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 artists proofs), published by documenta X editions and Edition Schellmann, Munich and New York, in excellent condition. S. 39 1/2 x 25 1/2 in. (100.3 x 64.8 cm)
Estimate $500-700
132
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 artists 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 Jrg Schellmann and Josphine Benecke 88
133
VARIOUS ARTISTS
Indominable 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 artists proofs), published by Photographers + Friends United Against AIDS, New York to benefit the National Community AIDS Partnership and The 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
135
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 New York, 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)
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, New York, in very good condition, framed. S. 36 1/2 x 53 3/4 in. (92.7 x 136.5 cm)
Estimate $900-1,200
Estimate $1,800-2,500
136
137
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 artists proofs), published by Art Resources Transfer, Inc., New York, in excellent condition, framed. S. 16 x 20 in. (40.6 x 50.8 cm)
Estimate $1,000-1,500
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
138
139
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
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
140
141
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 artists 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
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., New York, 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
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 printers 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

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 artists 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

Untitled, 2002 Multiple consisting of seventy-five stacked and glued styrofoam cups handpainted 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 New York, 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
145
146
Piero Manzoni, Merda d'Artista No. 049, 1961, mixed media
145
KEN PRICE b. 1935

Lunk, 2004 Cast bronze multiple painted in gold, inscised with initials and numbered 61/200 (there were also 13 artists 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)
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 $1,200-1,800
Estimate $600-900
147
NO LOT
148
detail of lot 148
148
DAVID SHRIGLEY b. 1968

Map of Sculpture Project in Mnster, 1997 Screenprint, on Hanhemhle paper, with full margins, signed, dated 1997 and numbered 52/60 in pencil on the reverse (there were also 4 artists proofs), published by Fine Art Printmakers, Mnster, 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)
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, New York and New Jersey, most with slight creasing at the lower right corner, otherwise all in very good condition, loose, contained in original paper folder with printed text on the front and ribbon tie. all S. 16 x 13 1/4 in. (40.6 x 33.7 cm)
Estimate $500-700
Estimate $700-900
149
150
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 artists proofs), published by Dinaburg Arts, New York, 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 artists 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)
151
Estimate $300-400
152
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)
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.
Estimate $1,500-2,500
153
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)
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, New York, 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
Estimate $700-900
154
155
156
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., New York, with the Andy Warhol 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)
156
VARIOUS ARTISTS
Chanterelle 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, New York, all but the Barney with text and menu listed on the reverse, most with occasional handling creases and minor soiling, the Walker with very slight ink loss at lower right, otherwise all in good condition, all unframed. various sizes
Estimate $4,000-6,000
LITERATURE see Frayda Feldman and Jrg Schellmann 198
Estimate $1,400-1,800
Including: Matthew Barney; Annie Leibovitz; Kara Walker; Julian Lethbridge and Julian Schnabel
157
ALLEN RUPPERSBERG b. 1944

Siste Viator, 1993 The complete set of two WWII era bookends and 20 facsimile books with WWII 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 soldiers name, from the unnumbered edition of 50 (there were no artists 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 tragic World War 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 artists proofs), published by Brooke Alexander Editions to benefit the New Museum, New York, 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
160
159
CHRIS JOHANSON b. 1968

You Should All Know Something Before We Start on the Second Half of Todays 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 artists 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)
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 Snow White Antique Finish paper, with full margins, signed, dated 1970 and numbered 56/125 in pencil (there were also 25 artists 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 $1,500-2,500
Estimate $2,000-3,000
LITERATURE Walker Art Center/Siri Engberg 34
161
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 artists 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 artists proofs), published by Alexander Heinrici, New York, 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
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 artists 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 Knoebels 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
Andy Warhol, 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
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
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 artists proofs), published by documenta XI editions and Edition Schellmann, Munich and New York, 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
167
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)
168
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
170
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 artists proofs), published by David R. Godine Publishers and the Center for Constitutional Rights, New York, 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
171
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 artists proofs), published by the Academic and Professional Action Committee for a Responsible Congress, New York, 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 artists 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
172
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
173
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)
174
Estimate $800-1,200
175
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 Maximilian Verlag Editions, Munich, all generally in very good condition, all framed. various sizes
177
JRG 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 Maximilian Verlag 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)

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 artists proofs), published by Barbara Gladstone Editions, New York, 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
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 artists proofs), published by the Estate Project for Artists with AIDS and Alliance for the Arts, New York, 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
(side A)
180
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 coll to Hahnemle, with full margins, both signed and numbered 9/75 and 29/30 in pencil (there were also 15 and 6 artists proofs respectively), Couple published by Parasol Press, New York, 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)
181
Estimate $1,000-1,500
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
182
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 artists 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
184
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 artists 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
185
CHUCK CLOSE b. 1940

Self-Portrait, 2007 Screenprint in colors, on Saunders Waterford HP paper, with full margins, signed, dated and numbered 34/80 in pencil (there were also 18 artists proofs), published by Pace Editions, Inc., New York, 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)
Rembrandt Peale, Self-Portrait, 1828, oil on canvas
Estimate $50,000-70,000
186
Malcolm Morley, VermeerPortrait of the Artist in his Studio, 1968, oil on canvas
187
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 artists proofs), published by Pace Editions, Inc., New York, 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 Hahnemhle paper, with full margins, signed, dated 2000 and numbered 50/60 in pencil (there were also 15 artists proofs), published by Pace Editions, Inc., New York, 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
188
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
189
190
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 artists proofs), published by the Estate Project for Artists with AIDS and Alliance for the Arts, New York, 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)
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 artists proofs), published by Art of this Century and distributed by John Szoke Editions, New York, 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
Estimate $1,000-1,500
[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. Thats all right, he said, Gray is my favorite color. (Michael Crichton, Jasper Johns, Whitney Museum of American Art, Harry N. Abrams, New York, 1977, revised edition 1994, p. 16)
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 artists proofs), published by Universal Limited Art Editions, West Islip, New York (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
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 artists 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
Jean-Baptiste-Simon Chardin, The Young Schoolmistress, 1736, oil painting
LITERATURE Starr Figura/The Museum of Modern Art, p. 33
193
HENRI MATISSE 1869-1954

Figure endormie, chle 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)
Henri Matisse in his studio, Villa Alsia, Paris, 1939, Bibliothque Nationale de France, Paris
Estimate $14,000-18,000
LITERATURE Claude Duthuit 511
194
195
194
VIJA CELMINS b. 1938

Ocean with Cross #1, 2005 Screenprint, on Rives Textured Rag paper, with full margins, signed and numbered 68/108 in pencil (there were also 18 artists proofs), published by Lincoln Center List Poster and Print Program, New York, 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

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 artists 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
196
197
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)
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)

LITERATURE Alain Rami 160 LITERATURE Alain Rami 392
198
198
WILLIAM BAILEY b. 1930

Still Life with Eggs, Candlestick and Bowl, from America: The Third 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 artists proofs), published by APC Editions, New York, 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 artists proofs), published by Propylen Verlag, 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
199
200
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 artists 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)
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 artists proofs), published by Parasol Press, New York, scuffing, several small spots of ink loss (a few touchedin), 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 $2,500-3,500
Estimate $600-800
LITERATURE John Arthur pp.120-21
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, New York, 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, New York, photograph by Dan Carlson
203
204
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 artists 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, on Thai Mulberry paper, with full margins, signed, dated 2001 and numbered 40/100 in pencil (there were also 20 artists proofs), published by and to benefit Doctors of the World, New York, 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
205
Man Ray, Presse-papier Priarpe (1920)
206
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 printers proofs, the edition was 35 and 6 artists proofs), published by Maurice Sanchez, New York, 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 artists 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
207
208
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 artists proofs), published by Brooklyn Academy of Music, New York, in excellent condition, framed. S. 29 1/2 x 41 3/4 in. (74.9 x 106 cm)
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 artists 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 $3,000-5,000
Estimate $1,200-1,800
209
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 oddnumbered days I did. When he left for the States he gave me a dice to replace him. Sophie Calle
210
211
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 artists proofs), published by the Solomon R. Guggenheim Museum, New York, in excellent condition, framed. S. 4 5/8 x 6 3/8 in. (11.7 x 16.2 cm)
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 artists proofs), published by Artists Space, New York, 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 $1,200-1,800 Estimate $500-700

LITERATURE Dietmar Elger 273
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 artists proofs), published by Pace Editions, Inc., New York, 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 artists proofs), published by Pace Editions, Inc., New York, 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, New York (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
215
KIKI SMITH b. 1954

BluePrints: Dorothy, 1999 Etching and aquatint in blue and black, on Hahnemhle paper, with full margins, signed, dated 1999 and numbered 2/20 in pencil (there were also 7 artists proofs), published by Thirteen Moons, New York, 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)
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 artists 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 $1,500-2,000
LITERATURE Wendy Weitman/Museum of Modern Art 118
Estimate $2,500-3,500
LITERATURE Wendy Weitman/Museum of Modern Art 126
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 printers proof, the edition was 15 and 7 artists 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

Ah Ha, 1975 Screenprint, on Arches 88 paper, the full sheet, signed, dated 75 and numbered 39/44 in pencil (there were also 11 artists 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
Man Ray, Perpetual Motive, 1970, metronome and assemblage
LITERATURE Christopher Cordes 32; Gemini G.E.L. 606
219
219

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 artists 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)
221
Estimate $3,000-4,000
220
album cover (side A)
(side B)
220

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 artists proofs, the edition was 100), published by Tanglewood Press, Inc., New York, 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)
221

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 artists proofs), published by the New Museum, New York, 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
Estimate $300-400
LITERATURE Christopher Cordes Appendix p. 127
222
Arman, Hommage Jimmy Hendrix, 1970, broken electric guitar in polyester
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 artists proofs), published by Artists Space, New York, 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)
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 artists proofs), published by White 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 $1,500-2,000 Estimate $800-1,000
223
224
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 artists proofs), published by Multiples, Inc., New York, 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)
225
Estimate $12,000-16,000
Including: Why you cant 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 Enough Trouble Without Being Intimidated by an Artichoke
225

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 printers proof, the edition was 125 and 13 artists 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
227
226

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, New York, 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)
227

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 printers proof, the edition was 100 and an unrecorded number of artists 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)
228
229
228

People Have Enough Trouble 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 artists proofs), published by Multiples, Inc., New York, the palest time staining, otherwise in very good condition, unframed. S. 30 1/2 x 23 in. (77.5 x 58.4 cm)
229

People Have Enough Trouble 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 artists proofs), published by Multiples, Inc., New York, in very good condition, unframed. S. 30 1/2 x 23 in. (77.5 x 58.4 cm)
Estimate $1,000-1,500
Estimate $1,800-2,500
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, New York, 1961
231
232
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 artists proofs), published by HKL Ltd., Boston and New York, for the List Art Poster Program, New York, 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)
232
ROY LICHTENSTEIN 1923-1997

Salute to Airmail, 1968 Gold-plated bronze multiple, incised with initials and annotated AP-6 (an artists proof, the edition was 50), published by International Collectors Society, New York, 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 Estimate $900-1,200

LITERATURE Richard Axsom and David Platzker 49
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 artists 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
Roy Lichtenstein, Ceramic Sculpture 16,
Estimate $15,000-20,000
1965, glazed ceramic
234
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 artists proofs), published by Edition Schellmann, Munich and New York, 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)
235
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 artists 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
236
237
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 artists 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
238
VARIOUS ARTISTS
Early 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, New York, 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 Jrg Schellmann II.6 and II.7;
Lichtensteins: Mary Lee Corlett II.6 and appendix 3
Including: Andy Warhol Flowers and Liz; Roy Lichtenstein Shipboard Girl and Foot Medication Poster; and James Rosenquist F-111 exhibition poster
239
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 artists 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)
240

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 artists 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)
240
241
242
241

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 artists 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)
242

Monica Lying Down on Robe, 1990 Lithograph, on wove paper, with full margins, signed and numbered 4/40 in pencil (there were also 12 artists 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 $7,000-9,000
Estimate $3,000-4,000
243
244
PROPERTY OF WILLIAMS COLLEGE ART INVESTMENT FUND
243

Still Life with Lichtenstein and Two 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 artists 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)
244

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 artists 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 $8,000-12,000
Estimate $3,000-5,000
245
245

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 artists proofs), published by Cooper Square Prints, New York, 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)
246

Jeannies Backyard, East Hampton, 1989 Screenprint, on heavy wove paper, with full margins, signed and numbered 67/100 in pencil (there were also 12 artists 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)
246
247
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 artists proofs for three and Black Star respectively), published by Multiples Inc., New York, all with occasional soft handling creases, creasing in places along the edges, Carousel with an area of soiling in the right image, two faint spots of soiling at the extreme right edge, Rouge Pad with a small rubbed area at the lower center margin, a spot of stray printing ink at the center left sheet edge, Black Star with offset pencil lines in the margins, otherwise all in good 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)
248

Miles, from America: The Third 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 artists 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
Estimate $2,000-3,000
LITERATURE Constance Glenn 131, 134A, 139 and 171
249

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 artists proofs), published by Original Editions, New York, 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)
248
Estimate $900-1,200
249
250
250

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 artists proofs), published by Visconti/Lazo Vujic for the 1984 Winter 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
James Rosenquist, Vanity Fair for Gordon Matta Clark, 1978, oil and mixed media on canvas
251
251
GEORGE SEGAL 1924-2000

Sleeping Woman, 1970 Plaster multiple, numbered 58/125 in black marker (slightly faded), published by Pace Editions, Inc., New York, 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
PROPERTY FROM A PRIVATE COLLECTION
252

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 the Andy Warhol 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 Jrg Schellman 16
253

Mao, 1972 Screenprint in colors, on Beckett High White paper, the full sheet, signed in ball-point pen and stamp numbered 221/250 on the reverse (there were also 50 artists proofs), co-published by Castelli Graphics and Multiples, Inc., New York, with the Warhol 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 Jrg Schellmann 94
254

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 artists proofs in Roman numerals), published by Bruno Bischofberger, Zurich (with their copyright stamp on the reverse), all with the Andy Warhol Authentication 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 Jrg 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 wouldnt matter anyway. I think theyre 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. Hes got problems because hes trying to get Shenge out of the house, he says hes supporting him for three years, but the main reason is that (laughs) Shenge is now painting like he is. Theyre copies of his paintings. Jennifers away. And oh, Jean-Michel must be so hard to live with. I told him Id had dinner with Kenny and the Chows and he wanted to know why I didnt invite him and I said that Id called him three days ago and he didnt 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.
Andy Warhol, The Andy Warhol Diaries, edited by Pat Hackett, Warner Books, Inc., 1989, p. 699 and p. 709
255

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 artists proofs), published by Gaultney, Klineman Art, Inc., New York, with the Andy Warhol 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 Jrg Schellmann 385B
256
257
256

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 artists proofs and an edition of 10 in Roman numerals), published by Ronald Feldman Fine Arts, Inc., New York, 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
257

Carter Burden, 1977 Screenprint, on Italia paper, the full sheet, signed in pencil, an unnumbered proof aside from the edition of 200, published by Andy Warhol Enterprises, Inc., New York, to raise funds for the Carter Burden campaign for president of the New York 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
258
PROPERTY OF BOB COLACELLO, EAST HAMPTON
258

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, New York, 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 Jrg Schellmann 125A
259

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, New York, 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
260

The Philosophy of Andy Warhol (From A to B & Back Again), 1975 The first edition book by Andy Warhol in hard-cover, signed on the paper wrapper, cover page and page 92 in black ink, published by Harcourt Brace Jovanovich, New York 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
259 260
261
262
261
JEFF KOONS b. 1955

Puppy, 1992 Dried flower, resin and plastic multiple, from the edition of unknown size, published by TAMCB 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)
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
Estimate $600-900
263
264
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 New York, surface soiling (primarily on the underside), otherwise in very good condition. diameter: 11 in. (27.9 cm)
264
JEFF KOONS b. 1955

Puppy Plate, 1992 Porcelain plate enamelled in colors, signed and numbered VIII/XXV on the reverse (an artists 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 $1,200-1,800
Estimate $1,000-1,500
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 artists proofs, published by Pace Editions, Inc., New York, 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 DOench & Jean Feinberg 18-20, 22, 100-102 and 104
266
267
266
JIM DINE b. 1935

The Big Black and White Woodcut Tree, 1981 Woodcut, on Japanese Toyoshi paper, with full margins, signed, dated 1981 and numbered 2/25 in pencil (there were also 6 artists proofs), published by Universal Limited Art Editions, West Islip, New York, (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)
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 artists 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)

LITERATURE Ellen DOench & Jean Feinberg 85 LITERATURE Williams College 167
268
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, New York, 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
269
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 artists proof, the edition was 100), published by Editions de la Tempte, Paris, in excellent condition, framed. S. 26 x 26 1/4 in. (66 x 66.7 cm)
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 artists 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
Estimate $2,500-3,500
270
271
272
271
ALEX KATZ b. 1927

Alex and Ada the 1960s to the 1980s: Green Jacket, 1990 Screenprint in colors, on wove paper, the full sheet, signed and numbered 114/150 in pencil (there were also 30 artists proofs), published by Gaultney, Klineman, New York, in very good condition, unframed. S. 36 x 24 in. (91.4 x 61 cm)
272
ALEX KATZ b. 1927

Alex and Ada the 1960s to the 1980s: Sweatshirt II, 1990 Screenprint in colors, on wove paper, with full margins, signed and numbered 114/150 (there were also 30 artists proofs), published by Gaultney, Klineman, New York, 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 Estimate $800-1,200
273
274
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 artists proof, the edition was 40), published by Simmelink-Sukimoto Editions, Kingston, New York, 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)
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 artists 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 $3,000-4,000
Estimate $800-1,000
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, New York, 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
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 artists 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 artists name embossed on the front in red. 22 1/2 x 17 1/2 in. (57.2 x 44.5 cm)
277
Estimate $4,000-5,000
278
277

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, New York, 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)
278

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
Estimate $500-700
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-toprint proof, the edition was 62 and 12, 17 and 18 artists proofs in Roman numerals), co-published by the artist and Simca Print Artists, New York (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 artists proofs for all), published by Peter Blum Editions, New York, 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
e5413p144p159_ks.qxd:Clean
4/24/09
10:25 AM
Page 144
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 Beecrof t, 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 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 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 Immendorf, J. 177 Hernandez, S. 84 Hodges, J. 179 Hodgkin, H. 33 Holl, S. 126 Hume, G. 182, 183, 184 Gianakos, S. 149 Gillick, L. 3 Gober, R. 205 Gonzalez-Torres, F. 210 Gornik, A. 111, 112 Guston, P. 64
Dine, J. 265, 266, 267 Dintenf ass, M. 12, 13 Doig, P. 104 Dwyer, N. 171
Jacquette, J. 202 Johanson, C. 159 Johns, J. 191, 206 Judd, D. 21, 22
Emin,T. 223 Essenhigh, I. 79 Estes, R. 201
Kapoor, A. 81, 82 Katz, A. 269, 270, 271, 272, 273, 274, 275 Kelly, E. 5, 6, 7, 8, 195 Kessler, J. 161
Fischl, E. 280 Frg, G. 53, 67 Francis, S. 34, 35 Freud, L. 192 Friedman,T. 142, 143, 144 Fulton, H. 108 Furnas, B. 222
Kippenberger, M. 163, 164 Kooning,W. de 62 Kooning, W. de (af ter) 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. (af ter) 106
4/24/09
10:25 AM
Page 145
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 Mir, 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
Sarmento, J. 87 Saul, P. 169 Schumann, C. 162 Scully, S. 29 Segal, G. 251 Senise, D. 83 Shepherd, K. 211 Shonibare,Y. 166
Nauman, B. 217, 218, 219, 220, 221 Nevelson, L. 54
Shrigley, D. 148 Siena, J. 30 Simmons, L. 136
Oldenburg, C. 230, 231 Owens, L. 109
Smith, K. 203, 212, 213, 214, 215, 216 Steinberg, S. 170 Steir, P. 72
Pardo, J. 118 Penck, A. R. 176 Picasso, P. 196, 197 Pistoletto, M. 236 Polk Smith, L. 9 Price, K. 145
Stella, F. 31, 32 Sugimoto, H. 130 Suh, D. H. 103 Sultan, D. 276, 277, 278 Suvero, M. di 20
Teraoka, M. 165 Rainer, A. 115 Rauschenberg, R. 224, 225, 226,

227, 228, 229
Tomaselli, F. 150, 151 Tuttle, R. 74 Twombly, C. 199
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 Walker, K. 152 Warhol, A. 155, 252, 253, 254, 255, 256,
257, 258, 259, 260
Various Artists 113, 133, 156, 238 Vasarely, V. 39, 40, 41, 42
Weiner, L. 154 Wesselmann,T. 239, 240, 241, 242, 243,
Samore, S. 137
244, 245, 246
West, F. 116, 117 Whiteread, R. 127, 128, 129 Winters,T. 66 Wojnarowicz, D. 101 Wool, C. 139
Zox, L. 1
4/24/09
10:25 AM
Page 146
WHAT IS A PRINT?
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 mid1960s.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
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.
Editions POSTHUMOUS EDITION. Edition printed after the death of the artist. It has
usually been authorized by the artists heirs or is the product of a publisher who
GLOSSARY
We thank the International Fine Print Dealers Association for use of their official printmaking glossary.
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 artists heirs or the publisher.
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.
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.
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.
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
Chine-coll, 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.
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
Counterproofs are made by placing a dampened sheet of paper on top of a pastel

and applying pressure to transfer the pastel image.
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 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. 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
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.
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

artists 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.
4/24/09
10:25 AM
Page 147
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 printers 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.
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 1960s.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 preuve d'essai, in German a probedruck.
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.
Publisher. A publisher provides the financial support to produce and market an

artists 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
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
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
Monoprint/Monotype. As their names imply, monoprints and monotypes (the

words are often used interchangeably but shouldnt 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.
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 1880s.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 nonPochoir 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. 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.
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 as A.P., or preuve d'Artiste or E.A.
COLOR WOODCUTS involve the use of separate blocks for each color, often
with enormous complexity using multiple blocks and overlapping.
WHITE LINE WOODCUTS 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.
BON TIRER PROOF. Literally, the ok-to-print proof. If the artist is not
printing his own edition, the bon 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.
4/24/09
10:25 AM
Page 148
GUIDE FOR PROSPECTIVE BUYERS

Buying at Auction The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you. Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller. Buyers Premium Phillips de Pury & Company charges the successful bidder a commission, or buyers premium, on the hammer price of each lot sold.The buyers premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. 1 Prior to Auction
Symbol Key The following key explains the symbols you may see inside this catalogue. O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price.The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. Property in Which Phillips de Pury & Company Has an Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. No Reserve Unless indicated by a , all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips de Pury & Company and the seller and below which a lot may not be sold.The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low presale estimate.
2 Bidding in the Sale Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010. Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where Estimate on Request appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyers premium or any applicable taxes. Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition.The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the propertys condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician. Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members.This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000.Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyers premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue.This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyers premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneers discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000 by $50s by $100s by $200s by $200s, 500, 800 (i.e. $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneers discretion
The auctioneer may vary the increments during the course of the auction at his or her own discretion.
4/24/09
10:25 AM
Page 149
DESIG N
AUCTION 3 JUNE 2009 11am NEW YORK Viewing 27 May 2 June
Phillips de Pury & Company 450 West 15 Street New York Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com
LILIAN DAUBISSE Hrisson, 2004 Estimate $20,000-30,000
4/24/09
10:25 AM
Page 150
3 The Auction Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully.They may be amended by saleroom addendum or auctioneers announcement. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. 4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyers authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyers expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyers sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits.The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyers sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation.The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.
4/24/09
10:25 AM
Page 151

HENRI MATISSE Nu au coussin bleu ct dune chemine (Claude Duthuit 454), 1925 Lithograph on Arches 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
Phillips de Pury & Company 450 West 15 Street New York Enquiries Kelly Troester +1 212 940 1221 ktroester@phillipsdepury.com www.phillipsdepury.com
4/24/09
10:25 AM
Page 152
CONDITIONS OF SALE
The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. 1 Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. 2 Phillips de Pury & Company as Agent Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a)The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidders own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. . (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 Bidding at Auction (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidders behalf. Absentee bidders are required to submit bids on the Absentee Bid Form, a copy of which is printed in this catalogue or otherwise available from
Phillips de Pury & Company. Bids must be placed in the currency of the sale.The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyers premium and any applicable sales or use taxes.The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c)Telephone bidders are required to submit bids on the Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company.Telephone bidding is available for lots whose low pre-sale estimate is at least $1000. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer.Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 Conduct of the Auction each lot is offered subject to a (a) Unless otherwise indicated by the symbol reserve, which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller.The reserve will not exceed the low pre-sale estimate at the time of the auction.
(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, reoffer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c)The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. (d)The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. (e) Subject to the auctioneers reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been passed, withdrawn, returned to owner or bought-in. (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a)The buyer agrees to pay us, in addition to the hammer price of the lot, the buyers premium and any applicable sales tax (the Purchase Price).The buyers premium is 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.
4/24/09
10:25 AM
Page 153
4/24/09
10:25 AM
Page 154
(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street,Third Floor, during regular weekday business hours. (ii) Personal checks and bankers drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and bankers drafts should be made payable to Phillips de Pury & Company LLC. If payment is sent by mail, please send the check or bankers draft to the attention of the Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or bankers drafts drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no.: 58347736 Please reference the relevant sale and lot number. (d)Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyers unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b)The buyer must arrange for collection of a purchased lot within five days of the date of the auction. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyers risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We will, at the buyers expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyers risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers.Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyers authorized representative. 8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de
Pury & Companys reasonable discretion.The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Companys premises or elsewhere at the buyers sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyers property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyers property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendors commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Companys reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyers premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyers premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyers agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyers property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the buyers property has been delivered to an affiliated company by way of pledge. 10 Rescission by Phillips de Pury & Company Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the sellers representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Companys election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale.. 11 Export, Import and Endangered Species Licenses and Permits Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyers responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. 12 Client Information In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as "sensitive," they agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client's express consent. If you would
4/24/09
10:25 AM
Page 155
like further information on our policies on personal data or wish to make corrections to your information, please contact us at +1 212 940 1228. If you would prefer not to receive details of future events please call the above number. 13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 General (a)These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c)These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyers successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 16 Law and Jurisdiction (a)ThThe rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules. (b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.
AUTHORSHIP WARRANTY
Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot.This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyers expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d)The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid.This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law.This means that none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.
4/24/09
10:25 AM
Page 156
SPECIALIST & SERVICE DEPARTMENTS
Contemporary Art Michael McGinnis Worldwide Director +44 20 7318 4091 Aileen Agopian Director New York +1 212 940 1255 Jean-Michel Placent New York +1 212 940 1263 Timothy Malyk Head of Under the Influence New York +1 212 940 1258 Chin-Chin Yap New York +1 212 940 1250 Christina Floyd New York +1 212 940 1340 Veronica Collins New York +1 212 940 1252 Sarah Mudge Head of Part II New York +1 212 940 1259 Roxana Bruno New York +1 212 940 1229 Sara Davidson New York +1 212 940 1262 Derrick Mead New York +1 212 940 1272 Maria Bueno New York +1 212 940 1261 Peter Flores New York +1 212 940 1223 (Uli) Zhiheng Huang New York +1 212 940 1288 Eugenia Ballv New York +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 OConnor 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 Phillippa Willison London +44 20 7318 4070
Modern and Contemporary Editions Kelly Troester Worldwide Co-Director +1 212 940 1221 Cary Leibowitz Worldwide Co-Director +1 212 940 1222 Jannah Greenblatt New York +1 212 940 1332 Joy Deibert New York +1 212 940 1333
Saturday@Phillips Tobias Sirtl Director +44 20 7318 4095 Alex W. Smith New York +1 212 940 1276 Anne Huntington New York +1 212 940 1210 Arianna Jacobs London + 44 20 7318 4054 George ODell 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 New York +1 212 940 1292
Business Development Alexander Gilkes New York +1 212 940 1398
Executive Assistant to Simon de Pury Helen Rohwedder London +44 20 7318 4042
Executive Assistant to Bernd Runge Jewelry Nazgol Jahan Worldwide Director +1 212 940 1283 Carolin Bulgari Geneva +41 22 906 80 00 Carmela Manoli New York +1 212 940 1302 Heather Zises New York +1 212 940 1290 Lane Mclean London +44 20 7318 4032 Veronica Lota Geneva +41 22 906 80 05 Press and Public Relations Ariel Childs Head London +44 20 7318 4028 Ccile Demtchenko Paris +33 1 42 78 67 77 Contemporary Jewelry Rachel Mattes New York +1 212 940 1285 Exhibitions London +44 20 7318 4023 New York +1 212 940 1301 Photographs Charlie Scheips Worldwide Director +1 212 940 1244 Vanessa Kramer New York +1 212 940 1243 Caroline Shea New York +1 212 940 1247 Sarah Krueger New York +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 International Specialists and Representatives Dr. Michaela Neumeister Munich +49 89 238 88 48 10 Olivier Vrankenne 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 Design Alexander Payne Worldwide Director +44 20 7318 4052 Marcus Tremonto New York +1 212 940 1268 Alex Heminway Director New York +1 212 940 1269 Tara DeWitt New York +1 212 940 1265 Meaghan Roddy New York +1 212 940 1266 Stephanie Abraitis New York +1 212 940 1268 Ben Williams 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 Florence Uchida New York +1 917 902 2714 Nadia Breuer Sopher New York & Australia +1 917 319 4741 Mimi Won Techentin Los Angeles +1 310 600 9192 Maya McLaughlin Los Angeles +1 323 791 1771 Tatiana Beliaeva Moscow +7 985 969 9292 Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804 Lulu Al-Sabah Dubai +44 77 9518 8878 Lydia Limmerick Dubai +44 79 2048 1110 Private Sales Christina Scheublein New York +1 212 940 1248 Johanna Frydman London +44 20 7318 4024
4/24/09
10:25 AM
Page 157
PHILLIPS de PURY & COMPANY CONTACTS
Chairman Simon de Pury
Advisory Board Maria Bell Janna Bullock
Chief Executive Officer Bernd Runge
Lisa Eisner Lapo Elkann Ben Elliot
Senior Partners Michael McGinnis Dr. Michaela Neumeister
Lady Elena Foster H.I.H. Francesca von Habsburg Marc Jacobs Malcolm McLaren
Partners Aileen Agopian Sean Cleary Alexander Payne Rodman Primack Olivier Vrankenne Tiffany Wood
Ernest Mourmans Aby Rosen Christiane zu Salm Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz
WORLDWIDE OFFICES
NEW YORK 450 West 15 Street New York NY 10011 USA +1 212 940 1200 +1 212 924 5403 fax
MUNICH Maximiliansplatz 12a 80333 Munich Germany Shirin Kranz +49 89 238 88 48 0 +49 89 238 88 48 15 fax
LONDON Howick Place London SW1P 1BB United Kingdom +44 20 7318 4010 +44 20 7318 4011 fax
BERLIN Auguststrasse 19 10117 Berlin Germany Rolf Moritz Estermann Natalia Kazmierczak +49 30 880 018 42 +49 30 880 018 43 fax
PARIS 28, rue Michel Le Comte 75003 Paris France Ccile Demtchenko +33 1 42 78 67 77 +33 1 42 78 23 07 fax GENEVA 23, quai des Bergues 1201 Geneva Switzerland Carolin Bulgari +41 22 906 80 00 +41 22 906 80 01 fax
4/24/09
10:25 AM
Page 158
SALE INFORMATION
MODERN a nd CONTEMPORARY EDITIONS
Auction Tuesday June 2 2009 at 2pm
Worldwide Directors KellyTroester New York +1 212 940 1221 Cary Leibowitz New York +1 212 940 1222
Viewing & Auction Location 450 West 15 Street New York NY 10011 Cataloguer Jannah Greenblatt New York +1 212 940 1332 Viewing Wednesday May 27 Saturday May 30 10am 6pm Sunday May 31 Noon 6pm Monday June 1 10am 6pm Tuesday June 2 Noon 2pm Property Manager Adam Sipe New York +1 212 940 1284 Sale Designation In sending written bids or making inquiries please refer to this sale as NY030109 or Modern and Contemporary Editions. Absentee and Telephone Bids Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax bids@phillipsdepury.com Catalogues $60 at the Gallery / 30 Client Accounting Catalogue Subscriptions Allyson Melchor +1 212 940 1240 +44 20 7318 4039 catalogues@phillipsdepury.com Sylvia Leitao New York +1 212 940 1231 Barbara Doupal New York +1 212 940 1232 Nicole Rodriguez New York +1 212 940 1235 Administrator Joy Deibert New York +1 212 940 1220 +1 212 940 1213 f ax
Client Services +1 212 940 1200
Shipping Beth Petriello New York +1 212 940 1373
E-mail Addresses All Phillips de Pury & Company e-mails are first initial and last name @phillipsdepury.com (e.g., jdeibert@phillipsdepury.com) Auctioneers www.phillipsdepury.com Aileen Agopian 1199037 Christina L. Floyd 1238278 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 Kelley Walker, Maui, 2002, Lot 152 (detail) Back Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail) Photography Kent Pell Morten Smidt Sarah Mudge 1301805 Alexander Gilkes 1308958 Ellen Stelter UK Rodman Primack UK Principal Auctioneer Simon de Pury 0874341
4/24/09
10:25 AM
Page 159
Do Ho Suh, Untitled, 1998, Lot 103 (detail)
Kelley Walker, Maui, 2002, Lot 152 (detail)
W W W. P H I L L I P S D E P U RY. C O M
RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)

Editions - Final Contemporary Art

Caricato da

Informazioni sul documento

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

Editions - Final Contemporary Art

Caricato da

Copyright:

Formati disponibili

MODERN AND CONTEMPORARY

MODERN AND CONTEMPORARY

LARRY ZOX 1936-2006

LIAM GILLICK b. 1964

ANNE APPLEBY b. 1954

ELLSWORTH KELLY b. 1923

ELLSWORTH KELLY b. 1923

ELLSWORTH KELLY b. 1923

ELLSWORTH KELLY b. 1923

LEON POLK SMITH 1906-1996

MARY HEILMANN b. 1940

MARY HEILMANN b. 1940

MARYLYN DINTENFASS b. 1943

MARYLYN DINTENFASS b. 1943

SOL LE WITT 1928-2007

SOL LE WITT 1928-2007

SOL LE WITT 1928-2007

SOL LE WITT 1928-2007

ROBERT RYMAN b. 1930

BRICE MARDEN b. 1938

MARK DI SUVERO b. 1933

DONALD JUDD 1928-1994

DONALD JUDD 1928-1994

AGNES MARTIN 1912-2004

Estimate $2,500-3,500 Estimate $4,000-6,000

This is a separate edition than plate 15 from On a Clear Day

portfolio. The paper is slightly heavier and darker.

JOSEF ALBERS 1888-1976

JOSEF ALBERS 1888-1976

JOSEF ALBERS 1888-1976

JOSEF ALBERS 1888-1976

JOSEF ALBERS 1888-1976

Estimate $1,000-1,500 Estimate $1,000-1,500

SEAN SCULLY b. 1945

JAMES SIENA b. 1958

FRANK STELLA b. 1936

FRANK STELLA b. 1936

HOWARD HODGKIN b. 1932

SAM FRANCIS 1923-1994

SAM FRANCIS 1923-1994

ROBERT MOTHERWELL 1915-1991

ROBERT MOTHERWELL 1915-1991

Estimate $1,200-1,600 Estimate $1,000-1,500

ROBERT MOTHERWELL 1915-1991

VICTOR VASARELY 1908-1997

VICTOR VASARELY 1908-1997

VICTOR VASARELY 1908-1997

VICTOR VASARELY 1908-1997

HARRY BERTOIA 1915-1978

HARRY BERTOIA 1915-1978

HARRY BERTOIA 1915-1978

HARRY BERTOIA 1915-1978

STANLEY WILLIAM HAYTER 1901-1988

STANLEY WILLIAM HAYTER 1901-1988

STANLEY WILLIAM HAYTER 1901-1988

STANLEY WILLIAM HAYTER 1901-1988

STANLEY WILLIAM HAYTER 1901-1988

JOSEF ALBERS 1888-1976

GNTHER FRG b. 1952

LOUISE NEVELSON 1899-1988

HANS (JEAN) ARP 1886-1966

LEE KRASNER 1908-1984

JOAN MITCHELL 1926-1992