modern & contemporary editions

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MODERN AND CONTEMPORARY

ED IT I ONSJUNE 2 2 0 0 9 N E W YO R K

WWW.PHILLIPSDEPURY.COM

RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)

Alex Katz, Ada, 1994, Lot 269 (detail)

Front Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)


ED IT I ONSJUNE 2 2 0 0 9 2pm N EW YO R K

Viewing

Wednesday May 27 – Saturday May 30 10am – 6pm

Sunday May 31 Noon – 6pm

Monday June 1 10am – 6pm

Tuesday June 2 Noon – 2pm

1

1 LARRY ZOX 1936-2006

Silkscreen from Banners (2); Untitled (broken horizontal); Untitled (2)

and Untitled suite, 1970

Eleven screenprints in colors, on wove paper, the full sheets and with full

margins, all signed and variously numbered in pencil, the Untitled suite

published by Chiron Press, NewYork (with their blindstamp), Banners published

by Multiples, Inc., NewYork, all with varying degrees of soiling, scuffing, soft

handling and other creases (occasionally with associated ink loss), occasional

minor accretions, two with tears at the sheet edges, otherwise all in good

condition, all unframed.

various sizes

Estimate $1,200-1,800 Sarah Morris, Rock Greek [Capital] (2002) sold at Phillips de Pury

& Company, February 29 2008 [lot 343]

2 AL HELD 1928-2005

Scholes I and II, 1991

Two screenprints in colors, on Arches cover paper, with full margins, both

signed and numbered 16/80 and 13/80 in pencil (there were also 15 artist’s

proofs), published by the Metropolitan Museum of Art, NewYork (with their

blindstamp), both in excellent condition, both unframed.

both I. 23 1/8 x 29 in. (58.7 x 73.7 cm)

both S. 28 7/8 x 34 in. (73.3 x 86.4 cm)

Estimate $1,800-2,500

3 LIAM GILLICK b. 1964

Literally No Place, 2001

The complete set of five Plexiglas and three aluminium plates in colors, signed

and numbered 66/70 in black ink on the accompanying certificate (there was

also an edition of 25 in Roman numerals), published by Parkett Editions, Zurich

and NewYork, a few of the Plexiglas plates with very minor scuffing, otherwise

all in very good condition, contained in original foam-lined cardboard box.

all 10 x 8 1/4 x 1/8 in. (25.4 x 21 x .3 cm)

Estimate $1,200-1,800

LITERATURE Edition for Parkett 61

4 ANNE APPLEBY b. 1954

Jasmine, 2000

Aquatint in colors with burnishing, on wove paper, with full margins, signed,

dated ‘2000’, titled and numbered 5/35 in pencil (there were also 10 artist’s

proofs), published by Crown Point Press, San Francisco (with their blindstamp),

in excellent condition, unframed.

I. 15 7/8 x 25 7/8 in. (40.3 x 65.7 cm)

S. 28 x 38 in. (71.1 x 96.5 cm)

Estimate $800-1,000

2

3

4

5 ELLSWORTH KELLY b. 1923

Blue with Yellow (Untitled), 1965

Lithograph in colors, on Arches paper, with full margins, signed and numbered

35/90 in pencil (there were no artist’s proofs), published by Galerie Adrien

Maeght, Paris, the sheet slightly toned, a crescent shaped crease at the upper

right margin (near the image), affixed to the support at the reverse of the upper

corners (slightly showing through), otherwise in very good condition, framed.

I. 15 1/2 x 12 1/8 in. (39.4 x 30.8 cm)

S. 25 1/2 x 19 in. (64.8 x 48.3 cm)

Estimate $2,500-3,500

LITERATURE Richard Axsom 31


Untitled (Green Curve, Philadelphia), 1993

Lithograph in green, on wove paper, the full sheet, signed and annotated ‘AP XI’

in pencil (an artist’s proof, the edition was 40), in excellent condition, unframed.

S. 21 1/2 x 18 in. (54.6 x 45.7 cm)

Estimate $2,500-3,500

5

6

7


Small Black Curve, 1996

Lithograph, on wove paper, with full margins, signed and numbered 18/56

in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L.,

Los Angeles (with their blindstamps), in excellent condition, unframed.

I. 16 x 19 1/2 in. (40.6 x 49.5 cm)

S. 22 x 25 in. (55.9 x 63.5 cm)

Estimate $2,500-3,500


Orange, 2004

Lithograph in orange, on wove paper, with full margins, signed and numbered

‘AP 9/44’ (an artist’s proof, the edition was 250), published by Gemini G.E.L.,

Los Angeles (with their blindstamps), in excellent condition, framed.

I. 11 1/2 x 7 3/4 in. (29.2 x 19.7 cm)

S. 16 x 12 in. (40.6 x 30.5 cm)

Estimate $2,000-3,000

9 LEON POLK SMITH 1906-1996

[3 screenprints], circa 1970

Three screenprints in colors, on heavy wove paper, the full sheets, all signed

and numbered 57/150, 61/150 and 57/150 respectively, all with occasional

scuffing, [Blue/Black] with a few nicks at the sheet edges (with associated ink

loss), otherwise all in good condition, all unframed.

all S. 33 x 23 1/4 in. (83.8 x 59.1 cm)

Estimate $1,200-1,800

8

9

10

11

10 MARY HEILMANN b. 1940

Sound of White Water; Earth/Air; African and Arbor Piece, 2000

Four lithographs in colors, on wove paper, with full margins, all signed, dated

‘00’, Sound of White Water and Earth/Air numbered 18/350 and African and Arbor

Piece numbered 17/350 in pencil (there were also 10 artist’s proofs), published

by the Public Art Fund, NewYork, all in excellent condition, all framed.

all I. 22 1/2 x 34 3/8 in. (57.2 x 87.3 cm)

all S. 27 x 38 3/8 in. (68.6 x 97.5 cm)

Estimate $2,000-3,000

11 MARY HEILMANN b. 1940

Hip Hop, 2002

Aquatint in colors, on Arches paper, with full margins, signed, dated ‘02’ and

numbered 9/25 in pencil (there were also 8 artist’s proofs), published by Pace

Editions, Inc., NewYork, in very good condition, framed.

I. 32 5/8 x 25 3/4 in. (82.9 x 65.4 cm)

S. 39 x 30 in. (99.1 x 76.2 cm)

Estimate $1,000-1,500

13 MARYLYN DINTENFASS b. 1943

Quadrille VI, 2002

Oil on paper monotype with hand-coloring, on Arches Cover paper, with full

margins, signed, dated ‘2002’ and titled in pencil, with the Lisa Mackie Studio,

NewYork, blindstamp, in excellent condition, framed.

I. 23 7/8 x 23 5/8 in. (60.6 x 60 cm)

S. 31 1/2 x 32 in. (80 x 81.3 cm)

Estimate $2,500-3,500

12 MARYLYN DINTENFASS b. 1943

Quadrille IV, 2002

Oil on paper monotype with hand-coloring, on Arches Cover paper, with full

margins, signed, dated ‘2002’ and titled in pencil, with the Lisa Mackie Studio,

NewYork, blindstamp, in excellent condition, framed.

I. 31 1/2 x 32 in. (80 x 81.3 cm)

S. 23 7/8 x 23 3/4 in. (60.6 x 60.3 cm)

Estimate $2,500-3,500

13

12

14

∆ 14 SOL LE WITT 1928-2007

Horizontal Wavy Lines, 1996

Aquatint in colors, on two sheets of Japanese paper, with full margins (printed

to one side of each), signed and numbered 7/36 in pencil (there were also 8

artist’s proofs), published by One Great Jones, NewYork, a very faint thinned

spot in the right panel at bottom right, very pale mottled staining in the top right

margin, otherwise in very good condition, shrink-wrapped.

I. 20 x 94 in. (50.8 x 238.8 cm)

S. 32 x 103 in. (81.3 x 261.6 cm)

Estimate $6,000-9,000

15

17

16

15 SOL LE WITT 1928-2007

Arcs from sides or corners, grids and circles series: two plates, 1972

Two screenprints in colors, on wove paper, with full margins, both signed

and annotated ‘AP 6’ in pencil (the edition was 100), published by Pio Monti,

Macerata, Italy, both in very good condition, both unframed.

both I. 13 7/8 x 13 7/8 in. (35.2 x 35.2 cm)

both S. 14 7/8 x 14 7/8 in. (37.8 x 37.8 cm)

Estimate $2,500-3,500

LITERATURE Tate Gallery S11

Including: (plate) 20. Blue grid, black circles, red arcs from four sides,

and yellow arcs from four corners; and (plate) 10. Yellow grid, red

circles, blue arcs from four sides, and black arcs from four corners

17 SOL LE WITT 1928-2007





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


Including: (plate) 7. Yellow grid, black circles, red arcs from four

sides, and blue arcs from four corners; and (plate) 14. Red grid, black

circles, blue arcs from four sides, and yellow arcs from four corners

16 SOL LE WITT 1928-2007





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


Including: (plate) 4. Black grid, blue circles, red arcs from four sides,

and yellow arcs from four corners; and (plate) 24. Blue grid, red

circles, yellow arcs from four sides, and black arcs from four corners

18 ROBERT RYMAN b. 1930

Prints 1969-1993 (the Catalogue Raisonné by Amy Baker Sandback) including

Untitled (six original etchings), 1993

The complete set of six etchings in shades of white, plus the Catalogue

Raisonné of the artist’s work from 1969-1993, the prints on wove paper, the full

sheets, one print signed, dated ‘93 and numbered 41/50, the catalogue raisonné

printed in an edition of 250, published by Parasol Press, NewYork, the prints in

excellent condition, all unframed, contained in original linen-covered fold-out

box with the artist’s name embossed on the front.

14 1/4 x 14 1/2 in. (36.2 x 36.8 cm)

Estimate $1,800-2,500

19 BRICE MARDEN b. 1938

Etchings to Rexroth: plate 9, 1986

Etching and aquatint, on Rives BFK paper, with full margins, signed, dated ‘89’,

inscribed ‘9’ and annotated ‘PP3’ in pencil (a printer’s proof, the edition was

45 and 10 artist’s proofs), published by Peter Blum Edition, NewYork, the palest

light-staining, otherwise in very good condition, unframed.

I. 8 x 6 7/8 in. (20.3 x 17.5 cm)

S. 19 1/2 x 15 3/4 in. (49.5 x 40 cm)

Estimate $2,000-3,000

LITERATURE Jeremy Lewison 40/9

20 MARK DI SUVERO b. 1933

Untitled, 1972

Torch-cut steel multiple in five pieces, signed with initials, dated and numbered

184/250 (engraved on the underside of one piece), published by Gemini G.E.L.,

Los Angeles (with their stamps), all pieces with varying degrees of rust and

oxidation, otherwise in very good condition, contained in original cardboard box.

9 7/8 x 7 7/8 in. (25.1 x 20 cm)

Estimate $3,000-4,000

LITERATURE Gemini G.E.L. 391

The configuation of this sculpture is variable and many sizes are

possible.The listed dimensions represent the sculpture at its most

compact arrangement, fit together like a puzzle.

18

19

20

two configurations

21 DONALD JUDD 1928-1994

Untitled (New Museum Multiple), 1986

Folded aluminum and black Plexiglas multiple, stamped ‘JUDD Bernstein Bros.

Inc’ and numbered, 7-40 on the reverse (there were also 10 artist’s proofs),

published by Brooke Alexander Editions, NewYork, to benefit the New Museum,

NewYork, occasional scuffing, an abrasion in the upper panel at right and a few

abrasions along the edges, otherwise in good condition.

27 3/4 x 28 x 3 in. (70.5 x 71.1 x 7.6 cm)

Estimate $20,000-30,000

LITERATURE Edition Schellmann 13

22

23

22 DONALD JUDD 1928-1994

Untitled: three plates, 1980

Three aquatints, on etching paper, with full margins, all signed and numbered

135/150 (Sch. 120), 135/150 (Sch. 121) and ‘A.P. 14/20’ (Sch. 122) in pencil (the

edition was 150 plus 20 artist’s proofs for all), published by the artist, all with

occasional soft handling creases, (Sch. 120) with minor surface soiling, (Sch.

122) with a crease at the lower right image, a few minute foxmarks in the

margins, otherwise all in very good condition, two framed, one unframed.

all I. 24 1/2 x 29 1/2 in. (62.2 x 74.9 cm)

all S. 29 1/2 x 34 3/8 in. (74.9 x 87.3 cm)

Estimate $4,000-6,000

LITERATURE Edition Schellmann 120-22

23 AGNES MARTIN 1912-2004

15A, 1973

Screenprint in gray, on Japanese rag paper, with full margins, signed and

numbered 13/50 in pencil (there were also 15 artist’s proofs lettered a-o),

published by Parasol Press, Ltd., NewYork, a few very soft handling creases,

glued to the support at the upper sheet corners (slightly showing through),

otherwise in very good condition, unframed.

I. 6 7/8 x 8 in. (17.5 x 20.3 cm)

S. 12 x 12 in. (30.5 x 30.5 cm)

Estimate $2,500-3,500

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

portfolio.The paper is slightly heavier and darker.

24 JOSEF ALBERS 1888-1976

Gray Instrumentation I: Gray Instrumentation I g, 1974

Screenprint in colors, on Arches 88 paper, with full margins, signed, titled and

numbered 8/36 in pencil (there were also 10 artist’s proofs), published byTyler

Graphics Ltd., BedfordVillage, NewYork (with their blindstamp), an area of

minor soiling in the upper grey square, two minute accretions in the upper left

margin, otherwise in very good condition, framed.

I. 11 x 11 in. (27.9 x 27.9 cm)

S. 19 x 19 in. (48.3 x 48.3 cm)

Estimate $1,000-1,500

LITERATURE Tyler Graphics 25; Brenda Danilowitz 225.7


The Critic and the Visual Arts, 1965

Screenprint poster in colors with text, on Rives BFK paper, with full margins

(folded back at top), signed, dated ‘65’ and numbered 80-100 in pencil (there

were also 7 artist’s proofs), published by Ives-Sillman, Inc., New Haven (with

their blindstamp), occasional minor scuffing and soft handling creases, soiling,

staining and creasing in the margins, folded under at the upper sheet (approx.

20 in.), taped to the overmat at the reverse of the upper and center edges,

otherwise in good condition, framed.

I. 25 x 25 in. (63.5 x 63.5 cm)

S. 40 x 29 5/8 in. (101.6 x 75.2 cm)

Estimate $1,000-1,500

LITERATURE Brenda Danilowitz 166

24

25


I-S e, 1970

Screenprint in colors, on German Etching paper, with full margins, signed with

initials, dated ‘70’, titled and numbered 82/125 in pencil (there were no artist’s

proofs), published by Ives-Sillman, Inc., New Haven (with their blindstamp),

slight rippling, two minor creases at the upper center and left center margins

(near the image, but not distracting), a small pale foxmark in the left margin,

otherwise in good condition, framed.

I. 13 5/8 x 13 5/8 in. (34.6 x 34.6 cm)

S. 21 1/2 x 21 1/2 in. (54.6 x 54.6 cm)

Estimate $1,000-1,500



Six Variants portfolio: I-S Va 3, 1969

Screenprint in colors, on Arches paper, with full margins, signed, dated ‘69’,

titled and numbered 89/150 in pencil (there were no artist’s proofs), published

by Ives-Sillman, Inc., New Haven (with their blindstamp), light-staining, two soft

handling creases and a pressure mark in the center of the bright green area, a

scuff in the center image (mainly visible in raking light), a soft crease and mat

staining along the extreme right sheet edge, otherwise in good condition, framed.

I. 24 x 27 3/4 in. (61 x 70.5 cm)

S. 27 7/8 x 35 5/8 in. (70.8 x 90.5 cm)

Estimate $1,000-1,500

LITERATURE Brenda Danilowitz 192.3


Six Variants portfolio: I-S Va 2, 1969

Screenprint in colors, on Arches paper, with full margins, signed, dated ‘69’,

titled and numbered 41/150 in pencil (there were no artist’s proofs), published

by Ives-Sillman, Inc., New Haven (with their blindstamp), pale light- and mat

staining, a few very minor handling creases in the margins, a few nicks in places

along the sheet edges, otherwise in good condition, framed.

I. 21 1/2 x 29 7/8 in. (54.6 x 75.9 cm)

S. 27 7/8 x 35 3/8 in. (70.8 x 89.9 cm)

Estimate $1,000-1,500

LITERATURE Brenda Danilowitz 192.2

26

27 28

29 SEAN SCULLY b. 1945

Untitled (Working Proof for π), 1994

Unique etching and aquatint in black and gray with collage, on Somerset and

wove paper, with full margins, signed, dated ‘94’, annotated ‘working proof’ and

with pencil notations in pencil (a unique work, apart from the final edition of 98

and 18 artist’s proofs), published by Bernd Klüser, Munich, occasional soiling

and staining in the margins, otherwise in very good condition, framed.

I. 15 7/8 x 19 3/4 in. (40.3 x 50.2 cm)

S. 22 1/4 x 31 in. (56.5 x 78.7 cm)

Estimate $5,000-7,000

LITERATURE see Dominique Tonneau-Ryckelynck 94005

30 JAMES SIENA b. 1958

Shifted Lattice, 2006

Screenprint in colors, on wove paper, with full margins, signed, dated ‘06’

and numbered 4/118 in pencil (there were also 18 artist’s proofs), published

by Lincoln Center List Poster and Print Program, NewYork, in excellent

condition, unframed.

I. 30 x 23 1/2 in. (76.2 x 59.7 cm)

S. 36 1/2 x 28 3/4 in. (92.7 x 73 cm)

Estimate $900-1,200

29

30

31 FRANK STELLA b. 1936

Imaginary Places: Calvinia, 1995

Mixed media print in colors, on handmade paper, the full sheet, signed, dated

‘95’ and numbered 16/50 in pencil (there were also 16 artist’s proofs), published

byTyler Graphics Ltd., Mount Kisco, NewYork (with their blindstamp), soiling

at the left sheet edges, otherwise in very good condition, unframed.

S. 20 5/8 x 52 in. (52.4 x 132.1 cm)

Estimate $5,000-7,000

32 FRANK STELLA b. 1936

Angriff, from Conspiracy: The Artist as Witness portfolio, 1971

Screenprint, on Fabriano paper, with full margins, signed, dated ’71 and

numbered 38/150 in pencil (there were also 25 artist’s proofs), published by David

R. Godine Publishers and the Center for Constitutional Rights, NewYork, a small

pale white scuff in the top outermost black band of the square, a pale black

scuff above the square (measuring 3/8 in.), hinged to the support at the reverse

of the upper corners (with slight puckering showing through on the front),

otherwise in good condition, unframed.

I. 10 x 10 1/2 in. (25.4 x 26.7 cm)

S. 18 x 24 in. (45.7 x 61 cm)

Estimate $700-900

LITERATURE Richard Axsom appendix I.C

31

32

33 HOWARD HODGKIN b. 1932

Lotus, 1980

Screenprint in colors with embossing, on Arches mould-made paper, with full

margins, signed, dated ‘80’ and numbered 42/100 in pencil (there were also 15

artist’s proofs), published by Bernard Jacobson Ltd., London, in excellent


I. 29 x 36 in. (73.7 x 91.4 cm)

S. 31 1/2 x 42 in. (80 x 106.7 cm)

Estimate $1,200-1,800

LITERATURE Liesbeth Heenk p. 222

33

34

35

35 SAM FRANCIS 1923-1994

Poèmes dans le ciel: Untitled, 1986

Lithograph in colors, on Rives BFK paper, the full sheet, signed and annotated

‘CTP’ in pencil (one of four presumably unique color trial proofs, the edition was

176), published by Philosophie des Arts and Francis Delille, Paris, in excellent

condition, framed.

S. 30 x 22 1/2 in. (76.2 x 57.2 cm)

Estimate $2,000-4,000

LITERATURE Connie Lembark L 269

34 SAM FRANCIS 1923-1994

Blue Blood Stone, 1960

Lithograph in colors, on Rives BFK paper, the full sheet, signed and numbered

20/50 in pencil (there were also an unknown number of artist’s proofs), published

by Kornfeld and Klipstein, Bern, the sheet slightly toned, soiling along the edges,

otherwise in very good condition, framed.

S. 35 5/8 x 24 7/8 in. (90.5 x 63.2 cm)

Estimate $2,000-3,000

LITERATURE Connie Lembark L7

36 ROBERT MOTHERWELL 1915-1991

El General, 1980

Lithograph in black an cream, on Kisuki Hanga Dosa handmade paper, the full

sheet, signed and numbered 2/49 in pencil (there were also 16 artist’s proofs in

Roman numerals), published byTyler Graphics, Ltd, BedfordVillage, NewYork

(with their blindstamp), in very good condition, unframed.

S. 40 1/2 x 37 1/4 in. (102.9 x 94.6 cm)

Estimate $1,200-1,600

LITERATURE Siri Engberg and Joan Banach 246


Untitled, from New York Portfolio, 1982

Lithograph in colors with embossing, on Arches Cover mould-made paper, the

full sheet, signed and numbered 136/250 in pencil (there were also a total of 70

artist’s proofs), published by NewYork Graphic Society, Greenwich, Connecticut,

occasional soft handling creases, creasing at the lower right corner, hinge

remains on the reverse of the corners (one with associated skinning, two with

associated staining slightly showing through on the front), otherwise in good


S. 30 x 22 3/8 in. (76.2 x 56.8 cm)

Estimate $800-1,000


36 37

38


Easter Day, 1979, 1980

Lithograph, on Lana paper, with full margins, signed and numbered 2/75 in pencil

(there were also 18 artist’s proofs in Roman numerals), published byTyler

Graphics, Ltd., BedfordVillage, NewYork (with their blindstamps), a few pale

scuffs in the margins, otherwise in very good condition, unframed.

I. 33 3/4 x 22 1/4 in. (85.7 x 56.5 cm)

S. 39 x 30 in. (99.1 x 76.2 cm)

Estimate $1,000-1,500


39 VICTOR VASARELY 1908-1997

Kedzi, 1990

Wood multiple with acrylic paint in colors, annotated ‘E.A.’ in black ink

(an artist’s proof, the edition was 175), a few small scuffs (some with associated

paint loss, primarily at the edges), minor soiling, otherwise in very good condition.

26 1/8 x 25 1/4 x 3 1/4 in. (66.4 x 64.1 x 8.3 cm)

Estimate $3,000-5,000


Untitled, 1990

Wood multiple with acrylic paint in colors, signed and numbered 49/175 in black

ink, a few small areas of paint loss in places along the edges, a small raised area

at the lower right corners of the front and back sides (with associated rubbing,

minor paint loss and soiling), the wood grain showing through in places,

otherwise in very good condition.

20 3/4 x 24 x 3 1/8 in. (52.7 x 61 x 7.9 cm)

Estimate $2,000-3,000

39

40


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


Figure 8, circa 1970

Wood multiple with acrylic paint in colors, numbered 29/175 in black ink, surface

soiling, several abrasions, scuffs and pressure marks (occasionally with

associated paint loss), paint loss in places along the edges (several touched-in),

otherwise in good condition.

26 7/8 x 13 1/4 x 2 3/8 in. (68.3 x 33.7 x 6 cm)

Estimate $1,500-2,500

41

42

Vasarely felt that art that required interpretation based on

experience would not be mass art, he chose to use forms that would

provide only visual sensations. He has advocated the return of art

to its role as an integral part of life and has conceived of his images

as infinitely multipliable in prints, sculptures, games and

architectural environments. Since his imagery is modular and serial,

it has the capacity for almost limitless variation. (Riva Castleman

Modern Art in Prints, Museum of Modern Art, NewYork, 1973, p. 60)

44 HARRY BERTOIA 1915-1978

Untitled, circa 1955

Monoprint, on Japanese paper, the full sheet, occasional soft handling

creases, the palest mat staining, a small pale moisture stain at the lower right

corner, otherwise in good condition, framed.

S. 12 7/8 x 24 1/4 in. (32.7 x 61.6 cm)

Estimate $2,500-3,500 •



Monoprint, on Japanese paper, with full margins, in excellent condition, framed.

I. 11 x 23 1/2 in. (27.9 x 59.7 cm)

S. 13 1/4 x 24 7/8 in. (33.7 x 63.2 cm)

Estimate $2,500-3,500 •

43

44

45

Harry Bertoia,Water Sculpture for the National Penn

Bank, Boyertown, Pennsylvania, 1974

The graphics are, perhaps, complimentary to the metal work.

In metal you have to go slowly, deliberately, you have to think out

most clearly what you want to do, because it’s too tough to make

changes, and you try to avoid making any changes. In the graphic

it is really the opposite. It’s like a dream—you go fast, you draw

lines, planes, smudges, throw ink, and so forth—so it becomes

some kind of somnambulistic medium—as if you were asleep and

you are doing it with no effort at all—it’s a wonderful feeling.

Harry Bertoia, lecture atVirginia Museum of FineArts, 1961



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 •


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


I. various sizes

all S. approx. 7 1/2 x 5 1/2 in. (19.1 x 14 cm)

Estimate $3,000-4,000 •Bertoia’s works on paper are usually classified either as drawings

or monoprints. Each is a single print, not part of an edition. He

often referred to graphics as ‘notes for future reference.’They are

separate but parallel activity to his sculpture, serving as a font of

ideas for metal pieces.The germ of each sculpture can be found

somewhere within the graphics, although in some cases there is

a lapse of time of up to thirty years between two- and three-

dimensional versions of an idea.The sureness of line throughout

Bertoia graphics gives them the strength even in the most

sensitive areas…In 1943, Harry Bertoia sold 100 monoprints to

Hilla Rebay, director ofThe Solomon R. Guggenheim Musem of

Nonobjective Paintings, NewYork City. (Nancy N. Schiffer andVal

O. Bertoia, TheWorld of Bertoia, Schiffer Publishing Ltd., Atglen,

Pennsylvania, 2003, pp. 19 and 21)

Harry Bertoia, Pod style abstract form

of stainless steel bundled wire, 1967

47 STANLEY WILLIAM HAYTER 1901-1988

Winged Figures (Personnages ailés), 1952

Engraving, etching and scorper in colors, on wove paper, with full margins,

signed, dated ‘52’, titled and annotated ‘Essai de Couleurs’ in pencil (a color trial

proof, the edition was 90 and 15 artist’s proofs), published by Kornfeld and

Klipstein, Bern, a small pale moisture stain at the upper right image corner and

surrounding margin, occasional pale staining, soiling and soft rubbing in the

margins, two repaired tears at upper right, soiling on the reverse, otherwise in

good condition, framed.

I. 15 3/4 x 12 7/8 in. (40 x 32.7 cm)

S. 23 3/4 x 19 3/4 in. (60.3 x 50.2 cm)

Estimate $2,500-3,500

LITERATURE Peter Black and Désirée Moorhead 205


Octopod, 1948-49

Engraving, etching and scorper, on Cranach paper, with full margins, one of

three proofs with scorper, a rich impression, the final edition was 50 and 5

artist’s proofs, minor soiling, creasing and spots of stray printing ink in the

margins, a pressure mark in the lower left margin, paper loss at the lower right

corner, soiling on the reverse, otherwise in good condition, unframed.

I. 14 7/8 x 17 5/8 in. (37.8 x 44.8 cm)

S. 20 x 24 3/4 in. (50.8 x 62.9 cm)

Estimate $1,500-2,500


47

48

StanleyWilliam Hayter was one of the 20th century’s most

influential printmakers. At Atelier 17, the studio he set up in Paris

in 1927, he helped Picasso, Giacometti, Miró and others to create

prints with an emphasis on experimentation in intaglio printmaking.

From 1940-50 he lived in NewYork, where he re-established his

workshop and was part of the Surrealist and Abstract Expressionist

movements. Alexander Calder, Roberto Matta, Jackson Pollock,

Robert Motherwell, Adolph Gottlieb, Mark Rothko and de Kooning,

among others came to work with him.

…Greens, blacks, oranges, pinks, violets and yellows created off-

harmonies unusual in intaglio printing, or in any printing for that

matter. I can remember artists and critics in the late 1940s agreeing

that Hayter was a wonderful engraver but that he had ‘no colour

sense’.Then, almost 20 years later, Op Art appeared with its

psychedelic colors, fluorescent accents swelling moiré patterns and

all-over optical dazzle. Hayter appeared as a precursor in the use of

dissonant colours, though he had in mind psychological justness

rather than mere ocular sensation. (Jacob Kainen The Prints of

Stanley William Hayter: A Complete Catalogue, Peter Black and

Désirée Moorhead, Phaidon Press Limited, London, 1992, p. 16)

50

51

49


Night Moth, from Laurels Number One portfolio, 1946

Engraving with aquatint, etching and scorper in colors, on Kochi paper, with full

margins, signed and numbered 144/300 in pencil (there were also 5 artist’s

proofs), published by the Laurel Gallery, NewYork, the palest light-staining, a

spot of stray printing ink in the upper margin (at the platemark), a small foxmark

at the upper left margin, minor soiling in the margins, pale mat staining along

the left and right edges, adhesive remains at the upper center and reverse of the

center left and right edges, otherwise in very good condition, unframed.

I. 5 7/8 x 4 1/2 in. (14.9 x 11.4 cm)

S. 11 1/2 x 8 5/8 in. (29.2 x 21.9 cm)

Estimate $600-800



Island, 1968

Engraving with etching and scorper in colors, on Rives BFK paper, with full

margins, signed, dated ‘68’, titled and numbered 21/50 in pencil (there were also

5 artist’s proofs), occasional soft rubbing, surface soiling and soft handling

creases in the margins, the palest time staining, taped to the support at the

upper corners, otherwise in good condition, framed.

I. 16 3/4 x 17 1/4 in. (42.5 x 43.8 cm)

S. 25 1/2 x 19 1/4 in. (64.8 x 48.9 cm)

Estimate $600-800



Death by Water, 1948

Engraving and scorper with plate tone, on Lauriat paper, with full margins (the

plate printed at a slight diagonal), signed, titled and numbered 21/50 in pencil

(there were also 5 artist’s proofs and a second edition of 25 in Roman numerals

printed in 1976), a stray printing ink and soiling in the margins (particularly at

the sheet edges), paper loss at the lower right corner, a few tears, repaired tears

and paper losses at the sheet edges, hinge remains on the reverse of the upper

corners, otherwise in good condition, framed.

I. 14 x 23 1/4 in. (35.6 x 59.1 cm)

S. 20 x 25 7/8 in. (50.8 x 65.7 cm)

Estimate $1,500-2,500



Schwarzer Kreis/Black Circle, 1933

Woodcut, on calendered wove paper, with full margins, signed, dated and titled

in German in pencil, from the edition of probably 20, printed at Ullstein Press,

Berlin, pale light-staining, a few small accretions in places at the center left,

upper left image and lower margin (with associated staining surrounding),

occasional creasing in the margins, tape remains along the reverse of the upper

sheet edge, otherwise in good condition, framed.

I. 10 1/4 x 14 1/8 in. (26 x 35.9 cm)

S. 14 x 19 3/4 in. (35.6 x 50.2 cm)

Estimate $3,000-5,000


53 GÜNTHER FÖRG b. 1952

Untitled 1 and 2, 1990

Two woodcuts in colors, on wove paper, with full margins, both signed, dated

‘90’ and numbered 12/20 in pencil, published by Santa Monica Editions,

California, soft creasing in places along the sheet edges, otherwise in excellent

condition, both unframed.

both I. 95 3/4 x 48 in. (243.2 x 121.9 cm)

both S. 100 x 52 in. (254 x 132.1 cm)

Estimate $5,000-7,000

52

53

54 LOUISE NEVELSON 1899-1988

Night Leaf, 1969

Cast polyester multiple in black, signed and annotated ‘A/P’ in black ink on

a label affixed to the reverse (one of 25 artist’s proofs, the edition was 150),

published by Pace Editions, Inc., NewYork, minor surface soiling, adhesive

remains on the reverse, otherwise in very good condition, framed.

12 3/4 x 12 3/4 x 2 1/4 in. (32.4 x 32.4 x 5.7 cm)

Estimate $2,000-3,000

LITERATURE Gene Baro 121

56 LEE KRASNER 1908-1984

Embrace, 1974

Screenprint in colors, on wove paper, the full sheet, signed and numbered

157/200 in pencil, occasional minor scuffing, several areas of soiling (primarily

near the sheet edges), offsetting on the reverse, otherwise in very good

condition, framed.

S. 39 7/8 x 24 7/8 in. (101.3 x 63.2 cm)

Estimate $900-1,200

54

55

56

55 HANS (JEAN) ARP 1886-1966

Le Voilier dans la forêt: Voilier IV, 1957

Woodcut in colors, on Rives BFK paper, with full margins, signed and numbered

18/50 in pencil, a few soft handling creases at the upper sheet, mat staining at the

extreme sheet edges and on the reverse, otherwise in good condition, framed.

I. 5 3/8 x 4 7/8 in. (13.7 x 12.4 cm)

S. 14 7/8 x 11 in. (37.8 x 27.9 cm)

Estimate $700-900

LITERATURE Wilhelm Arntz 218

57

58

57 JOAN MITCHELL 1926-1992

Arbres (Triptych), 1991

Three lithographs in colors, on Arches paper, the full sheets, all signed and

numbered variously from the edition of 125 in pencil (there were also 25

artist’s proofs), published by Editions de la Différence, Paris, all with very

minor soiling (primarily along the sheet edges), otherwise all in very good


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)


Bedford Series: Sides of a River I, 1981

Lithograph in colors, on Arches 88 paper, with full margins, signed and

numbered 66/70 in pencil (there were no artist’s proofs), published byTyler

Graphics Ltd., BedfordVillage, NewYork (with their blindstamp), in excellent

condition, framed.

I. 39 x 28 in. (99.1 x 71.1 cm)

S. 42 1/2 x 32 1/2 in. (108 x 82.6 cm)

Estimate $2,000-3,000

LITERATURE Tyler Graphics 366


Champs (Gray, Black and Yellow), 1991

Lithograph in colors, on wove paper, the full sheet, signed and numbered 11/125

in pencil (there were also 25 artist’s proofs), published by Editions de la

Différence, Paris, staining in areas along the left sheet edge, otherwise in very


S. 30 x 22 in. (76.2 x 55.9 cm)

Estimate $1,200-1,500


Champs (Gray, Black and Green), 1991


in pencil (there were also 25 artist’s proofs), published by Editions de la

Differénce, Paris, minor soiling, mat staining along the left sheet edge,


S. 30 x 22 in. (76.2 x 55.9 cm)

Estimate $1,200-1,500

61 JAMES BROOKS 1906-1992

Concord, from America: The Third Century, 1975

Screenprint in colors, on wove paper, with full margins, signed, dated ‘75’ and

numbered 184/200 in pencil (there were also 25 artist’s proofs), published by APC

Editions, NewYork, in excellent condition, unframed.

I. 28 1/2 x 20 1/2 in. (72.4 x 52.1 cm)

S. 30 x 22 in. (76.2 x 55.9 cm)

Estimate $500-700

59 60

61

62 WILLEM DE KOONING 1904-1997

Landing Place, 1971

Lithograph, on Akawara paper, with full margins, signed, dated ‘70’ and

numbered 50/54 in pencil (there were 15 artist’s proofs), published by Knoedler,

NewYork, in excellent condition, framed.

I. 23 3/8 x 31 1/2 in. (59.4 x 80 cm)

S. 28 x 37 in. (71.1 x 94 cm)

Estimate $4,000-6,000

LITERATURE Lanier Graham 6

63 AFTER WILLEM DE KOONING 1904-1997

Guild Hall East Hampton, 1970

Offset lithograph in colors with text, on smooth wove paper, with full margins,

signed and numbered 76/100 in pencil, occasional soiling and soft creasing

(primarily in the margins), two small pale blue stains at the lower right and left

edges, the palest mat staining on the reverse, taped to the overmat at the

reverse of the center and upper edges, otherwise in good condition, framed.

I. 27 1/8 x 37 1/8 in. (68.9 x 94.3 cm)

S. 32 7/8 x 39 in. (83.5 x 99.1 cm)

Estimate $2,000-3,000

64 PHILIP GUSTON 1913-1980

August, from Four on Plexiglas, 1966

Screenprint, on Plexiglas, the full sheet, signed and numbered 72/125, inscised

into the Plexiglas (there were also 16 artist’s proofs), published by Muliples, Inc.,

NewYork, soft scuffing, otherwise in very good condition, framed.

S. 30 x 40 in. (76.2 x 101.6 cm)

Estimate $2,000-3,000

63

64

65 CONRAD MARCA-RELLI 1913-2000

Autumn suite, 1974

The complete set of six lithographs with collage in colors, various papers and

fabrics, with full margins, all signed, dated ‘70’ and variously numbered in

pencil, from the edition of 50 (there were no recorded artist’s proofs), published

by Marlborough Graphics, NewYork, all with occasional minor creasing, the

colored papers slightly attenuated, a few with soiling and the collage lifting

in places, otherwise all in good condition, contained in original linen-covered

portfolio with artist’s name embossed on the front.

27 7/8 x 20 3/4 in. (70.8 x 52.7 cm)

Estimate $4,000-6,000

66 TERRY WINTERS b. 1949

Metal Virus, 2003

Mixograph in metallic ink, on handmade paper, with full margins, signed with

initials, dated ‘2003’ and numbered 47/75 in pencil (there were also 7 artist’s

proofs), published by Mixografia, Los Angeles, in excellent condition, framed.

I. 32 7/8 x 25 in. (83.5 x 63.5 cm)

S. 37 x 28 3/4 in. (94 x 73 cm)

Estimate $2,500-3,500

67 GÜNTHER FÖRG b. 1952

Untitled (bronze), 1988

Unique bronze relief with black patina, incised with signature and dated ‘1988’,

in excellent condition.

46 3/4 x 31 1/4 in. (118.7 x 79.4 cm)

Estimate $3,000-4,000

66

67

Lucio Fontana, Concetto Spaziale, 1960, oil on canvas

68 LEE BONTECOU b. 1931

An Untitled Print, 1981-82

Lithograph in colors, on Rives paper, with full margins, signed, dated ‘81-82’ and

numbered ‘2-3 P.P.’ in pencil (a printer’s proof, the edition was 14 and 5 artist’s

proofs), published by Universal Limited Art Editions, West Islip, NewYork (with

their blindstamp), occasional creasing in the margins, an area of rubbing and

skinning at the right sheet edge, otherwise in very good condition, framed.

I. 87 7/8 x 38 1/8 in. (223.2 x 96.8 cm)

S. 93 x 42 in. (236.2 x 106.7 cm)

Estimate $9,000-12,000

LITERATURE Esther Sparks 34

False Harbor,Yarmouth, Nova Scotia, photograph by Margaret Bontecou

An Untitled Print is the largest ‘worldscape’ print Lee Bontecou has

produced and shows the influence of her summers spent in Nova

Scotia while growing up and her fascination with nature and marine

life. Her father invented the first all-aluminum canoe and her

mother worked in a factory which wired submarine transmitters

duringWorldWar II.

Artist-critic Donald Judd, writing about Bontecou’s work in 1965,

remarked on its ability to encompass “something as social as war

to something as private as sex, making one an aspect of the other.”

Despite his overriding fascination with the powerful objecthood and

materialty of Bontecou’s sculpture, Judd could not help but point to

its allusive qualities.The distinctive sensibility and highly personal

vocabulary of forms and images in Bontecou’s work have

distinguished it even at points where it has coincided with

directions explored by her contemporaries or resonated with the

concerns and approaches of artists of a younger generation.

(Elizabeth A.T. Smith, Lee Bontecou, A Retrospective, Museum

of Contemporary Art, Chicago, and UCLA Hammer Museum,

Los Angeles, Harry N. Abrams, Inc., NewYork, 2003, p. 170)

70 JULIE MEHRETU b. 1970

Fracture, 2007

Etching with aquatint in colors, on wove paper, with full margins, signed,

dated ‘2007’ and numbered 31/45 in pencil (there were also 12 artist’s proofs),

published by Burnet Editions, NewYork (with their blindstamp), in excellent


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


Untitled, 2006

Etching, engraving and drypoint in colors, on Somerset textured white paper,

with full margins, signed and numbered 22/60 in pencil (there was also an

edition of 25 in Roman numerals), published by Parkett Editions, Zurich and

NewYork, in excellent condition, unframed.

I. 16 x 19 1/2 in. (40.6 x 49.5 cm)

S. 23 1/8 x 28 1/8 in. (58.7 x 71.4 cm)

Estimate $4,000-6,000


69

70

71


Rogue Ascension, 2002

Lithograph in colors, on Somerset Satin white paper and Denril vellum, with full


artist’s proofs), published by the New Museum, NewYork, pinned to the support

at the upper corners, otherwise in very good condition, framed.

I. 20 3/4 x 28 1/4 in. (52.7 x 71.8 cm)

S. 24 1/2 x 32 in. (62.2 x 81.3 cm)

Estimate $4,000-6,000

72

73

72 PAT STEIR b. 1938

Burial Mound, 1976

The complete set of seven etchings in sepia, on HMP handmade paper, with full

margins, all signed, dated ‘76’ and annotated ‘LP imp.’ in pencil on the reverse

(a printer’s proof, the edition was 35 and 5 artist’s proofs), published by Landfall

Press, Chicago, all in excellent condition, loose, contained in original linen

covered portfolio box.

11 3/4 x 11 3/4 in. (29.8 x 29.8 cm)

Estimate $2,000-3,000

LITERATURE Joseph Ruzicka 23-29

Including: Space III; Little Line II; Identity 6; I Don’t Know?; Being 5;

Meaning 4 and Introduction 1

73 JOYCE KOZLOFF b. 1942

Pictures and Borders III, 1977

Screenprint in colors, on Arches paper, with full margins, signed, titled, dated

‘1977’ and numbered 43/50 in pencil on the reverse, a spot of soiling at the upper

center margin, a few soft handling creases and spots of stray printing ink in the

margins, otherwise in very good condition, unframed.

I. 28 1/8 x 16 5/8 in. (71.4 x 42.2 cm)

S. 30 x 22 1/2 in. (76.2 x 57.2 cm)

Estimate $600-800

74 RICHARD TUTTLE b. 1941

Censorship portfolio, 2003

The complete set of seven lithographs in colors with embossing, on Lana

gravure paper, with full margins or the full sheet, all signed with initials, dated


by Universal Limited Art Editions, West Islip, NewYork (all with their

blindstamp), all in excellent condition, each enclosed in original labeled paper

folder and contained in original wood veneer-covered foamcore box with title

and embellishment on the front (adhesive remains on front lower right).

19 1/2 x 20 in. (49.5 x 50.8 cm)

Estimate $3,000-4,000

Including: Monday; Tuesday; Wednesday; Thursday; Friday; Saturday

and Sunday

75 JOAN MIRÓ 1893-1983

Series II: blue and red, 1961

Lithograph in colors, on wove paper, the full sheet, signed and annotated ‘HC’

in pencil (an hors-commerce copy, the edition was 30), published by Maeght,

Paris, occasional soft handling creases, pale mat and time staining, the colors

slightly faded, a crease at the lower right corner, hinged to the support in

places along the reverse of the upper sheet edge (with slight puckering on the

front), otherwise in good condition, framed.

S. 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm)

Estimate $800-1,200

LITERATURE Maeght Editeur 293; see Patrick Cramer books 69

76 JOAN MIRÓ 1893-1983

International Rescue Committee, 1966

Lithograph in colors, onArches vellum paper, with full margins, signed and

numbered 86/250 in pencil (there was also an edition of 50 on Richard de Bas

paper), published by the International Rescue Committee,Washington D.C.,

pale light-staining, a small pale stain at the center right sheet edge, otherwise

in good condition, framed.

I. 13 5/8 x 19 5/8 in. (34.6 x 49.8 cm)

S. 19 1/2 x 25 1/2 in. (49.5 x 64.8 cm)

Estimate $2,000-4,000

LITERATURE Maeght Editeur 459

75

76

77 JOAN MIRÓ 1893-1983

Ubu Roi: Untitled (plate 13), 1966

Lithograph in colors, on wove paper, with full margins, signed and numbered

7/75 in pencil (there was also an edition of 205 with smaller margins),

published byTériade, Paris, a small abrasion at the upper center margin (less

than 1/8 in.), the palest mat staining, otherwise in very good condition, framed.

I. 16 x 24 3/8 in. (40.6 x 61.9 cm)

S. 21 x 29 3/8 in. (53.3 x 74.6 cm)

Estimate $5,000-7,000

LITERATURE Maeght Editeur 498; see Patrick Cramer books 108

78 JOAN MIRÓ 1893-1983

Ubu aux Baléares: two plates, 1971

Two lithographs in colors, onArches paper, with margins (deckle at bottom

edges), both signed and numbered 51/120 (there were also 6 hors commerce

in Roman numerals), published byTériade, Paris, both with a few foxmarks,

otherwise both in very good condition, both unframed.

both S. 19 3/4 x 25 7/8 in. (50.2 x 65.7 cm)

Estimate $2,500-3,500

LITERATURE Maeght Editeur 773 and 786; see Patrick Cramer books 146

77

78

79 INKA ESSENHIGH b. 1969

Country Western; Devil on the Highway; Beachscene and Tornado, 2001

Four etchings in brown, green/black, sienna and indigo respectively, on

Somerset paper, with full margins, all signed, dated ‘2001’ and numbered 8/25

in pencil (there were also 6 artist’s proofs), published by Burnet Editions, New

York (with their blindstamp), all in excellent condition, all framed.

all I. 8 7/8 x 6 7/8 in. (22.5 x 17.5 cm)

all S. 15 3/4 x 12 3/4 in. (40 x 32.4 cm)

Estimate $5,000-7,000

80 POL BURY 1922-2005

Guggenheim, 1972

Lithograph in colors, on wove paper, with full margins, signed and numbered

24/250 in white pencil, published by Maeght Editions, Paris, in excellent

condition, framed.

I. 24 3/4 x 34 1/2 in. (62.9 x 87.6 cm)

S. 25 3/8 x 35 1/8 in. (64.5 x 89.2 cm)

Estimate $400-600

81 ANISH KAPOOR b. 1954

Les objets d’artistes: A Vase, 1993

The complete three part vase consisting of two frosted-glass vessels and one

terra cotta base, incised ©ANISH KAPOOR 1993 BELGIUM on the underside

of the terra cotta base, from the edition of unlimited size, published by Slegten

&Toegemann, Brussels, with minor soiling, otherwise in very good condition,

lacking booklet and box.

configured without base: 11 x 5 1/2 x 5 1/2 in. (27.9 x 14 x 14 cm)

configured with base: 5 1/2 x 9 x 8 in. (14 x 22.9 x 20.3 cm)

Estimate $4,000-6,000

82 ANISH KAPOOR b. 1954

Untitled #6, 1988

Aquatint and etching in colors, onAuvergne à la main laid paper, with full

margins, signed, dated ‘1988’, annotated ‘(6)’ and numbered 4/20 in pencil

(there were also 10 artist’s proofs), published by Crown Point Press, San

Francisco (with their blindstamp), hinge remains on the reverse of the upper

corners (showing through with rippling on the front), otherwise in very good


I. 17 1/4 x 13 1/2 in. (43.8 x 34.3 cm)

S. 25 3/4 x 19 3/4 in. (65.4 x 50.2 cm)

Estimate $1,500-2,000

80

81

82

85 JOSÉ BEDIA b. 1959

[Man] and [Woman], circa 1990

Two screenprints in silver ink, on watercolor paper, the full sheets, both signed

and numbered 45/100 in pencil, published by Villalobos Serigrafia Artstica SL.,

Pontevedra, Spain (with their stamp on the reverse), both with occasional

scuffing, a tear at upper right, [Man] with a small spot of white ink at lower

center image, the paper splitting at upper right, otherwise both in good


both S. 10 7/8 x 13 7/8 in. (27.6 x 35.2 cm)

Estimate $200-400

83

85

84 SERGIO HERNÁNDEZ b. 1957

[Sin título] and [Sin título], circa 1985

Two etching and aquatints in colors, on wove paper, with full margins, both

signed and numbered 16/20 and 13/20 in pencil, occasional soft creasing,

foxmarks and minor soiling in the margins, one with a crease at the upper left

corner, otherwise both in very good condition, both unframed.

both I. 13 1/2 x 9 5/8 in. (34.3 x 24.4 cm)

both S. 20 7/8 x 15 1/4 in. (53 x 38.7 cm)

Estimate $800-1,000

84

83 DANIEL SENISE b. 1955

Menina/osso/cão; Flor and Levitação, 1999

Three aquatints in colors (two with embossing), on wove paper, with full

margins, all signed, dated ‘99’ and numbered ‘P.A V/V’ (Menina numbered

‘P.A. IV/V’) in pencil, published by Poligrafa, Barcelona, Menina with occasional

creasing and soiling in the margins (particularly the left margin), a tear at the

lower right margin corner, Flor with minor creasing and soiling in the margins,

Levitação with soiling and creasing in the margins, particularly the lower margin,

otherwise all in good condition, all unframed.

Menina I. 19 1/2 x 35 1/2 in. (49.5 x 90.2 cm)

Menina S. 25 3/4 x 41 1/8 in. (65.4 x 104.5 cm)

Flor I. 26 3/4 x 21 1/2 in. (67.9 x 54.6 cm)

Flor S. 34 3/4 x 26 5/8 in. (88.3 x 67.6 cm)

Levitação I. 22 1/2 x 30 1/4 in. (57.2 x 76.8 cm)

Levitação S. 28 1/2 x 36 in. (72.4 x 91.4 cm)

Estimate $2,000-3,000

86

87

86 MARCO ARCE b. 1968

Circulo rojo; Tigre con conejo and [Untitled], 2006

Nine etchings (three triptychs) with hand-painting in colors, on wove paper, the

full sheets, one of each three signed, two sets each annotated ‘1/3’-’3/3’

respectively in pencil on the reverse, all with minor soiling and spots of stray ink,

otherwise all in very good condition, all unframed.

all overall: 5 x 21 in. (12.7 x 53.3 cm)

Estimate $2,500-3,500

87 JULIÃO SARMENTO b. 1948

The House with the Upstairs in it, 1996-98

The complete set of eight etchings, on Somerset paper, with full margins,

with accompanying text by Stuart Morgan, all signed, dated ‘96/98’ and

numbered 23/26 in pencil, also numbered on a label affixed to the folder,

published by London Projects, London, all in excellent condition, loose,

contained in original black portfolio folder.

16 3/4 x 13 1/2 in. (42.5 x 34.3 cm)

Estimate $1,800-2,500

89 TAKASHI MURAKAMI b. 1962

Jellyfish Eyes, 2002

Offset lithograph in colors, on glossy wove paper, the full sheet, with the artist’s

swirl symbol in black ink within the image, numbered 145/250 in black ink on a

label affixed to the reverse, published by Kaikai Kiki,Tokyo, in excellent

condition, framed, contained in artist’s original circular frame and cardboard

shipping box.

S. diameter: 22 in. (55.9 cm)

Estimate $2,500-3,500

Artwork ©2002Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.


Oval (Peter Norton Christmas Project 2000, 2000

Polychromed plastic containing a mini cd, from the edition of 3,000, published

by the Peter Norton Family Christmas Project, in very good conditon.

11 x 7 1/2 x 7 in. (27.9 x 19.1 x 17.8 cm)

Estimate $2,000-3,000


88

89

alternate view

90

91

92


TanTan Bo and Jellyfish, 2004

Two offset lithographs in colors, on smooth wove paper, the full sheets, TanTan

Bo signed, dated ‘04’ and numbered 20/300 in black ink, Jellyfish signed and

numbered ‘87/300’ in black ink, both published by Kaikai Kiki,Tokyo, TanTan Bo

taped to the overmat along the reverse of the center sheet edges, Jellyfish with

a soft handling crease at the center left, otherwise both in very good condition,

TanTan Bo framed, Jellyfish unframed.

TanTan Bo S. 25 7/8 x 39 1/4 in. (65.7 x 99.7 cm)

Jellyfish S. 27 1/4 x 27 1/4 in. (69.2 x 69.2 cm)

Estimate $2,000-2,500

Artworks ©2001-2Takashi Murakami/Kaikai Kiki Co., Ltd., All Rights Reserved.


Reversed Double Helix Mega Power and Reversed Double Helix, 2005

Two offset lithographs in colors, on smooth wove paper, the full sheets, both

signed and numbered 35/300 and 216/300 in black marker, published by Kaikai

Kiki,Tokyo, (not Mega) with a repaired tear at lower right, slight creasing at the

lower corners, otherwise in excellent and very good condition respectively,

both framed.

Mega S. 28 1/4 x 28 1/4 in. (71.8 x 71.8 cm)

(not Mega) S. 40 1/2 x 28 1/2 in. (102.9 x 72.4 cm)

Estimate $1,500-2,500

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


Here Comes Media and Kiki with Moss, 2001 and 2004


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


93

94

96

95


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



727-727, 2007

Offset lithograph in colors, on smooth wove paper, with full margins, signed and

numbered 11/300 in silver ink, published by Kaikai Kiki,Tokyo, a tear at the lower

right corner, minor creasing at the corners, minor wear in places along the sheet

edges, otherwise in good condition, framed.

I. 25 1/4 x 38 3/4 in. (64.1 x 98.4 cm)

S. 25 3/4 x 39 1/4 in. (65.4 x 99.7 cm)

Estimate $1,200-1,800



Hiropon and My Lonesome Cowboy, 2001


signed and numbered 116/300 and 107/300 in black marker, published by Kaikai

Kiki,Tokyo, Cowboy with a small mark at the upper right corner, otherwise both

in very good conditon, framed.

both S. 19 5/8 x 19 5/8 in. (49.8 x 49.8 cm)

Estimate $1,000-1,500



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


signed, dated and numbered 66/330 and 65/300 in silver ink respectively,

published by Kaikai Kiki,Tokyo, My arms… with scuffing at the upper right

corner, a soft handling crease at the lower left, a soft crease at the upper left

corner, otherwise both in very good condition, both unframed.

both S. approx. 27 1/2 x 32 in. (69.9 x 81.3 cm.)

Estimate $1,500-2,500


97

98

99

100


ANDTHEN Ichimatsu Pattern, 2006

Offset lithograph in colors, on smooth wove paper, the full sheet, signed and

numbered 227/300 in silver ink, published by Kaikai Kiki,Tokyo, compound

creasing in the upper right corner, otherwise in good condition, unframed.

S. 26 3/4 x 26 3/4 in. (67.9 x 67.9 cm)

Estimate $1,000-1,500



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


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



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



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 DAVID WOJNAROWICZ 1954-1992

Four Elements: Fire and Water, 1990-91

Lithograph in colors, on Rives BFK paper, the full sheet, signed, dated ‘1990’,

titled and numbered X/XVI in pencil (there was also an edition of 24 in Arabic

numerals), co-published by Normal Editions Workshop and Illinois State

University, Normal, Illinois, in excellent condition, framed.

S. 22 1/2 x 29 3/4 in. (57.2 x 75.6 cm)

Estimate $1,500-2,000

102 PAUL LAFFOLEY b. 1940

The Alchemy of Breathing and Geochronmechane, 1992

Two screenprints in colors and metallic inks, on wove paper, Alchemy signed,

dated ‘1992’ and numbered 7/75 in pencil, both with the palest mat staining,

both with minor soiling and soft rubbing in the margins, Geochron with pale

scattered moisture staining in areas in the margins, a few nicks and creases

along the sheet edges, otherwise in good condition, both unframed.

Alchemy I. 20 3/8 x 27 1/8 in. (51.8 x 68.9 cm)

Alchemy S. 24 3/4 x 31 1/8 in. (62.9 x 79.1 cm)

Geochron I. 28 x 28 in. (71.1 x 71.1 cm)

Geochron S. 32 3/8 x 32 in. (82.2 x 81.3 cm)

Estimate $500-700

101

102

104 PETER DOIG b. 1959

Untitled, 2006

Lithograph in colors, on Somerset paper, with full margins, signed, dated

and annotated ‘PP1’ in pencil (the edition was 20 and 10 artist’s proofs in

Roman numerals), published by Landfall Press, Santa Fe (with their copyright

stamp on the reverse), a few soft handling creases, otherwise in very good


I. 37 3/4 x 24 in. (95.9 x 61 cm)

S. 42 x 28 1/4 in. (106.7 x 71.8 cm)

Estimate $3,000-5,000

103 DO HO SUH b. 1962

Untitled, 1998

Lithograph in blue/black, on wove paper, with full margins, signed, dated ‘98’

and annotated ‘A.P’ in pencil (one of three artist’s proofs, there was no edition),

published by the artist, in excellent condition, framed.

I. 20 7/8 x 29 1/4 in. (53 x 74.3 cm)

S. 22 x 30 in. (55.9 x 76.2 cm)

Estimate $2,000-3,000

103

104

detail of lot 103

105

106

105 JANE HAMMOND b. 1950

The Wonderfulness of Downtown, 1997

Lithograph and screenprint in colors with collage, on hand-torn Kasuiri,

Nepalese and CortleaText paper, the full sheet, signed, titled, dated ‘1996’ and

numbered 42/50 in black marker (there were also 10 artist’s proofs), published by

Universal Limited Art Editions, West Islip, NewYork, (with their blindstamp), in

excellent condition, framed.

S. 59 1/4 x 62 in. (150.5 x 157.5 cm)

Estimate $4,000-6,000

106 AFTER RENEÉ MAGRITTE 1898-1967

Magritte III: 8 lithographies portfolio, 2003

Eight lithographs in colors, on Rives BFK paper, with full margins, signed on

reverse by the publisher in pencil, numbered on the colophon and each with

initial and numbered 267/300 in pencil (there were also 45 hors-commerce

copies), published by Philippe Moreno, Paris, each with two Magritte Estate

blindstamps, all in excellent condition, loose, contained in original textured

red leather-covered folder with title, artist’s name and publisher embossed in

gold on the front.

20 1/8 x 25 1/8 (51.1 x 63.8 cm)

Estimate $3,000-4,000

Based on the original gouache paintings: La bataille de l’argonne,

1964; Le château des pyrénées, 1959; La voix du sang, 1959; Le

bouquet tout fait, 1957; La belle captive, 1931; Golconde, 1953;

Le printemps, 1965 and La page blanche, 1967.

107 ED RUSCHA b. 1937

Pico, Flower, Figueroa, from the MoCA portfolio, 1999

Aquatint and etching in colors, on wove paper, with full margins, signed, dated

‘1999’ and annotated ‘P.P. 1’ in pencil (a printer’s proof, the edition was 80 and

12 artist’s proofs), published by Lapis Press, Los Angeles (with their blindstamp),

to celebrate the twentieth anniversary of the Museum of Contemporary Art,

Los Angeles, in excellent condition, unframed.

I. 15 1/2 x 22 5/8 in. (39.4 x 57.5 cm)

S. 22 1/4 x 30 in. (56.5 x 76.2 cm)

Estimate $1,500-2,000

108 HAMISH FULTON b. 1946

Twilight Horizon, 1988

Woodcut in colors, on Japanese cream paper, with full margins, numbered 36/50

in pencil, a few faint pressure marks in places along the lower sheet edge,


I. 8 1/8 x 11 1/2 in. (20.6 x 29.2 cm)

S. 10 1/4 x 13 1/8 in. (26 x 33.3 cm)

Estimate $500-700

107

108

109 LAURA OWENS b. 1970

Untitled, 2004

Etching aquatint in colors with air-brush, on Somerset paper, the full sheet,

signed, dated ‘2004’, titled and numbered 2/35 in pencil on the reverse (there

were also 10 artist’s proofs), published by Simmelink/Sukimoto Editions,

Kingston, NewYork, in excellent condition, framed.

S. 33 x 29 1/4 in. (83.8 x 74.3 cm)

Estimate $3,500-4,500

109

110

∆ 110 THOMAS RUFF b. 1958

Nacht photos: Nacht 7 I, 1993

Grano-lithograph in colors, on Biber GS 300g paper, with full margins, signed

and numbered 22/45 in pencil on the reverse (there were also 8 artist’s proofs),

published by Edition Schellmann, Munich and NewYork, a small accretion

and a few pressure marks in the lower margin, otherwise in very good

condition, framed.

I. 23 1/4 x 24 1/2 in. (59.1 x 62.2 cm)

S. 28 x 29 1/4 in. (71.1 x 74.3 cm)

Estimate $1,500-2,500 •

111 APRIL GORNIK b. 1953

Rain and Dust, 1985

Etching and aquatint in colors, on wove paper, with full margins, signed, dated

‘1985’ and numbered 10/70 in pencil (there were an unrecorded number of artist’s

proofs), published by Hudson River Editions, Inc., South Nyack (with their

blindstamp), commissioned by the Jane Vorhees Zimmerli Art Museum,

occasional soft rubbing in the margins, otherwise in very good condition,

unframed.

I. 24 3/4 x 34 1/2 in. (62.9 x 87.6 cm)

S. 31 x 42 3/8 in. (78.7 x 107.6 cm)

Estimate $700-900

112 APRIL GORNIK b. 1953

Cascading Waterfall, 1998

Etching and aquatint, on wove paper watermark rooster, with full margins,

signed, dated ‘1998’ and titled in pencil, published by the Print Club of Cleveland

(with their blindstamp), soft handling creases in the margins, a crescent shaped

crease in the lower center margin, otherwise in very good condition, unframed.

I. 14 3/4 x 23 3/4 in. (37.5 x 60.3 cm)

S. 22 x 30 in. (55.9 x 76.2 cm)

Estimate $400-600

113 VARIOUS ARTISTSSonsbeek Portfolios: Grafiekmap 1, 2 and 3, 1993

The complete three sets of five prints in various media (fifteen total prints),

on various papers and one on fabric, with full margins or the full sheets, all

signed, dated and numbered 16/60 in pencil (the Ruppersberg in black ink),

published by Sonsbeek, Arnhem, Netherlands, all in excellent condition, loose,

contained in original cardboard folders screenprint on the front (scuffing).

21 x 26 1/2 in. (53.3 x 67.3 cm)

Estimate $1,200-1,800

Including: Grafiekmap 1: Pepe Espaliú; Christine & Irene

Hohenbüchler; Mike Kelley; Mark Manders and Eran Schaerf

Grafiekmap 2: Christina Assmann & Andreas Siekmann; Miroslaw

Balka; Kamagurka; Juan Muñoz and Allen Ruppersberg

Grafiekmap 3: Mario Airó; Alighiero e Boetti; Mark Dion; Anna

Gudjónsdótter &Till Krause and RW van de Wint

111 112

113

114

115

114 GEORG BASELITZ b. 1938

45-Dezember I & II; Grün I and Der Berg, 1989-91

Four woodcuts in green (Der Berg in green and black), on wove paper, with full

margins, all signed, dated ‘90’ or ‘91’ and numbered 11/30 (three) and 10/30 in

pencil, the three with adhesive remains at the reverse of the upper corners

(with associated skinning), otherwise all in very good condition, three unframed,

one framed.

Der Berg I. 39 1/2 x 27 3/8 in. (100.3 x 69.5 cm)

Der Berg S. 40 1/2 x 29 3/8 in. (102.9 x 74.6 cm)

three I. 24 1/2 x 11 3/4 in. (62.2 x 29.8 cm)

three S. 33 7/8 x 24 in. (86 x 61 cm)

Estimate $3,000-5,000

115 ARNULF RAINER b. 1929

Violette Furchen (Dark red); Roter Acker (Light red); Kopf Dahinter (Bright red,

large plate); Gekaemmt Bauch (Middle red) and Untitled (Black), 1971-73

Five etchings in colors, on wove paper with rooster watermark, with full margins,

each signed and numbered 32/35 (Black numbered 27/50) in pencil, published

by Sabina Knust Maximilian Verlag Editions, Munich, all with occasional soft

handling creases in the margins (mainly visible in raking light), Black with

very minor soiling in the margins, otherwise all in very good condition, four

unframed, one framed.

all I. various sizes

four S. 30 3/4 x 20 3/4 in. (78.1 x 52.7 cm)

Black S. 25 1/2 x 19 3/4 in. (64.8 x 50.2 cm)

Estimate $1,500-2,000

116 FRANZ WEST b. 1947

Untitled (Lamp), 1989

Welded iron multiple, electrical fittings, published by Metamemphis, Milan,

in good condition.

23 x 74 x 1 in. (58.4 x 188 x 2.5 cm)

Estimate $5,000-7,000

117 FRANZ WEST b. 1947

Untitled (Lamp), 1989

Welded iron multiple, electrical ceiling fittings, published by Metamemphis,

Milan, in good condition.

76 1/4 x 13 1/2 x 14 in. (193.7 x 34.3 x 35.6 cm)

Estimate $5,000-7,000

118 JORGE PARDO b. 1963

Untitled (In Honor of Scott Burton), from 1989 portfolio, 2000

Chromogenic print in colors, on Fugicolor crystal archive paper, the full sheet,

signed and numbered 14/75 in black marker (there were also 12 artist’s proofs),

published by the Estate Project for Artists with AIDS and Alliance for the Arts,


S. 24 x 20 in. (61 x 50.8 cm)

Estimate $500-700

116 117

118

119 VITO ACCONCI b. 1940

Stones for a Wall set, 1977

The complete set of ten lithographs in colors, on handmade paper, the full

sheets, all signed, dated, titled and annotated ‘RTP-STONES FOR A WALL:

APPROVED’ in pencil (the right-to-print proof, the edition was 10 and 1 artist’s

proof), published by Landfall Press, Chicago (with their blindstamp and

copyright stamp on the reverse), all with minor surface soiling and occasional

stray printing ink at the sheet edges and on the reverse, otherwise all in very

good condition, all unframed.

all S. 30 x 23 3/8 in. (76.2 x 59.4 cm)

Estimate $3,000-4,000

120 VITO ACCONCI b. 1940

Red Mask; People Mask and End Mask, 1983

The complete set of three etching and aquatints in red, black and blue, on

Arches cover paper, the full sheets, from the edition of 30, published by

Graphicstudio, University of South Florida,Tampa, all in excellent condition,

framed together.

all S. 8 5/8 x 7 1/4 in. (21.9 x 18.4 cm)

Estimate $600-900

121 JONATHAN BOROFSKY b. 1942

Space Head, 1984

Lithograph and screenprint in colors, on Arches 88 paper, the full sheet, signed,

annotated ‘A 87/ 2816013’ and numbered 7/25 in pencil (there were also 6 artist’s

proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps),

hinged to the support in places along the reverse of the upper sheet edge (with

minor associated rippling on the front), otherwise in very good condition, framed.

S. 54 3/4 x 30 7/8 in. (139.1 x 78.4 cm)

Estimate $1,200-1,800


In addition to the signature and edition number, each print was

numbered consecutively with a seven digit “Borofsky number,”

conceived by the artist and utilized in many of his Gemini works.

120

121

122 LARRY BELL b. 1939

Drawings of the Solar Fountain: I and II, 1977

The complete set of two vapor drawing multiples, on glass, the full sheets, both

signed, dated ‘77’, annotated ‘Orr’ and ‘I’ and ‘II’ respectively and numbered 3/50

in unknown material (only 10 sets were made), published by Multiples, Inc., New

York, I with an accretion at the lower right image, both with the coating lifting

and cracking in places along the edges (II only along the lower edge), otherwise

both in good condition, both unframed.

both S. 36 x 47 3/4 in. (91.4 x 121.3 cm)

Estimate $2,000-3,000

The Solar Fountain was a glass, stainless steel, fog and light

sculpture created by Larry Bell and Eric Orr.The sculpture

generated steam through solar energy. In 1983 it was installed

in a pond in the Denver Sculpture Park and was taken down 15

years later.

123 GUILLERMO KUITCA b. 1961

Cuarta Pared, 1997

Lithograph and etching in brown with embossing, on Japanese paper, with full


artist’s proofs in Roman numerals), published by Ediciones Poligrafa, Barcelona,

occasional creasing (primarily in the margins), the palest mat staining,

otherwise in good condition, unframed.

I. 14 x 20 3/8 in. (35.6 x 51.8 cm)

S. 22 1/4 x 30 1/8 in. (56.5 x 76.5 cm)

Estimate $1,000-1,500

122

123


Mirage Construction #15, 1988

Unique mixed media work on canvas, mounted and stretched over wood

strainers (as issued), the full sheet, signed and dated ‘88’ in black paint on the

side, annotated #15 in black ink on the reverse (the series consisted of 22 unique

works), published by Gemini G.E.L., Los Angeles (with their copyright stamp on

the reverse), in excellent condition, unframed.

S. 27 x 22 x 3 in. (68.6 x 55.9 x 7.6 cm)

Estimate $1,200-1,800



Mirage Construction #3, 1988

Unique mixed media work on canvas, mounted and stretched over wood

strainers (as issued), the full sheet, signed, dated ‘88’ in gray paint, annotated

#3 in pencil on the reverse (the series consisted of 22 unique works), published

by Gemini G.E.L., Los Angeles (with their copyright stamp on the reverse), very

minor soiling, a few spots of stray printing ink on the reverse, otherwise in very

good condition, unframed.

S. 27 x 22 x 1 1/2 in. (68.6 x 55.9 x 3.8 cm)

Estimate $1,200-1,800


126 STEPHEN HOLL b. 1947

Whale House—Martha’s Vineyard, 1986

Lithograph, on wove paper, with full margins, signed, dated ‘86’ and numbered

10/75 in pencil (there was also 1 artist’s proof), published by John Nichols

Printmakers and Publishers, NewYork, in excellent condition, unframed.

I. 13 1/4 x 42 3/8 in. (33.7 x 107.6 cm)

S. 15 3/4 x 45 in. (40 x 114.3 cm)

Estimate $400-600

125124

126

127 RACHEL WHITEREAD b. 1963

Mausoleum under Construction, from London Portfolio, 1992

Screenprint, on wove paper, with full margins, signed, titled and numbered

‘AP 19/20’ in pencil (an artist’s proof, the edition was 45), published by Paragon

Press, London, an area of the palest soiling at the center lower margin, in very


I. 21 7/8 x 31 in. (55.6 x 78.7 cm)

S. 27 7/8 x 34 3/4 in. (70.8 x 88.3 cm)

Estimate $1,200-1,800


Doorknob, 2001

Technogel multiple covered with black polyurethane film, signed and numbered

146/300 in blue ink on the accompanying information card, published by

Deutsche Guggenheim as Edition 17 for the exhibition Rachel Whiteread:

Transient Spaces, Berlin, very minor surface soiling, otherwise in very

good condition.

2 3/8 x 5 1/8 in. (6 x 13 cm)

Estimate $800-1,200

127

128

129


Secondhand, 2004

Stereolithograph of laser sintered white nylon multiple, numbered 49/400 (there

were also 60 artist’s proofs), published by Counter Editions, London, in very good

condition, contained in original custom fitted cardboard box (tape remains,

soiling and paper loss in places).

4 x 6 x 4 1/2 in. (10.2 x 15.2 x 11.4 cm)

Estimate $600-800

130 HIROSHI SUGIMOTO b. 1948

U.A. Walker Theatre, NewYork, 1978

Photoetching, on Rives BFK, with full margins, signed in pencil, numbered

0420/1000 on a label affixed to the case, published by Eyestorm and Sonnabend

Sundell Editions, London and NewYork, in excellent condition, unframed,

contained in original metal hinged case.

I. 11 1/2 x 14 3/4 in. (29.2 x 37.5 cm)

S. 17 x 21 in. (43.2 x 53.3 cm)

Estimate $800-1,200

131 REINHARD MUCHA b. 1950

Documenta-Edition, 1997

Aluminum, glass, screenprint and duotone offset print, signed and numbered

58/65 on a label affixed to the reverse (there were also 5 artist’s proofs),

published by documenta X editions and Edition Schellmann, Munich and

NewYork, in excellent condition.

S. 39 1/2 x 25 1/2 in. (100.3 x 64.8 cm)

Estimate $500-700

132 CHRISTO b. 1935

Wrapped Armchair, Project, 1977

Lithograph in colors, on Rives Couronne paper, the full sheet, signed and

numbered ‘AP 14/15’ in pencil (an artist’s proof, the edition was 100), published

by Abrams Original Editions, New York, a small orange stain in the lower

image, several creases in places across the lower image, otherwise in good


S. 21 3/4 x 27 3/4 in. (55.2 x 70.5 cm)

Estimate $1,000-1,500

LITERATURE Jörg Schellmann and Joséphine Benecke 88

130

131

132

133 VARIOUS ARTISTSIndominable Spirit portfolio, 1983-89

The complete set of ten prints in various photographic and print media, on

various papers, with full margins, all signed and numbered 13/50 in ink or pencil

(there were also 15 artist’s proofs), published by Photographers + Friends United

Against AIDS, NewYork to benefit the National Community AIDS Partnership

andThe American Foundation for AIDS Research, the Baldessari detached from

the mylar, a few with occasional soft handling creases, otherwise all in very

good condition, loose, contained in original black linen-covered box with

embossed red text and Barbara Kruger offset print inset on the front.

32 x 23 3/4 in. (81.3 x 60.3 cm)

Estimate $12,000-18,000

Including: John Baldessari, Blue Boy (with Yellow Boy: One with

Hawaiian Tie, One in Dark), 1989; Chuck Close, Sunflower, 1989; Jan

Groover, Untitled, 1989; Annette Lemieux, Apparition, 1989; Duane

Michals, Untitled, 1989; Richard Prince, Untitled, 1983; Robert

Rauschenberg, Untitled (from the Bleacher Series), 1989; Cindy

Sherman, Untitled, 1979/1989; Bruce Weber, NYC Studio, 1986 and

William Wegman, Second and Third Steps, 1989.

134 CHARLES RAY b. 1953

The Most Beautiful Woman in the World set, 1993

The complete set of nine unique photographs in colors, on Kodak Royal paper,

the full sheets, all stamped on the reverse ‘Charles Ray, 1993 Edition for Parkett

No. 37’ and numbered consecutively 73-81 in black ink, presumably numbered

9/60 (there was also an edition of 23 in Roman numerals), published by Parkett

Editions, Zurich and NewYork, all in very good condition, framed together,

lacking original signed and numbered envelope.

all S. 6 x 4 in. (15.2 x 10.2 cm)

Estimate $1,800-2,500


135 VANESSA BEECROFT b. 1969

VB 08-36, 2000

Offset lithograph in colors with UV varnish and foil stamping, on wove paper,

the full sheet, signed, dated ‘00’ and numbered 270/300 in black marker on a

label affixed to the reverse, published by Cantz Editions, NewYork, in very good

condition, framed.

S. 36 1/2 x 53 3/4 in. (92.7 x 136.5 cm)

Estimate $900-1,200

134

135

137 SAM SAMORE b. 1963

Situation (Man with Cigarette pack on table), 1980

Black and white photograph on photo paper, the full sheet, signed and dated ‘Sam

Samore 1980s’, this work is from an edition of two, in excellent condition, framed.

S. 80 7/8 x 44 1/2 in. (205.4 x 113 cm)

Estimate $3,000-4,000

136 LAURIE SIMMONS b. 1949

Untitled (Dummy in Stairwell), 1994

Cibachrome print, on glossy photo paper, the full sheet, signed, dated ‘1994’,

titled and numbered 31/50 in pencil on the reverse (there were no artist’s

proofs), published by Art ResourcesTransfer, Inc., NewYork, in excellent

condition, framed.

S. 16 x 20 in. (40.6 x 50.8 cm)

Estimate $1,000-1,500

136

137

138 MAURIZIO CATTELAN b. 1960

Untitled, 2000

Digital photograph in black and white, on Uso Mano paper, with full margins,

signed and numbered 35/60 in black ink on the certificate (there was also an

edition of 22 in Roman numerals), published by Parkett Editions, Zurich and New

York, very slight wear at the upper right corner, otherwise in very good condition,

unframed, contained in original cardstock folder.

I. 12 1/2 x 9 1/2 in. (31.8 x 24.1 cm)

S. 16 1/8 x 12 7/8 in. (41 x 32.7 cm)

Estimate $2,500-3,500


139 CHRISTOPHER WOOL b. 1955

My House II, 2000

Screenprint in colors, on matte custom art paper, with full margins, signed,

dated and numbered 8/100 in pencil (the series consists of three color

combinations, each in an edition of 100), published by Counter Editions, London,

creasing at the lower and upper right corners (with associated minor cracking

in the inks), otherwise in good condition, unframed.

I. 39 x 29 in. (99.1 x 73.7 cm)

S. 40 x 30 in. (101.6 x 76.2 cm)

Estimate $1,000-1,500

138

139

140

141

141 ALLAN MCCOLLUM b. 1944

Visable Markers, 1997

The complete set of six polymerized pigmented concrete tablets, all signed,

dated ‘1997’ and consecutively annotated ‘No. 1315 – No. 1320’ in black ink on

the felt pad on the underside (from an unlimited edition), published by I.C.

Editions, Inc., NewYork, all with minor scuffs and soiling, otherwise all in very

good condition.

all: 7 7/8 x 2 1/2 x 2 in. (20 x 6.4 x 5.1 cm)

Estimate $900-1,200

140 DAVID ROBBINS b. 1957

Talents, 1986

The complete set of sixteen headshots, on photo paper, the full sheets,

published by the artist, all in very good condition, each contained in original

artist’s frames (occasional scuffs, some with minor paint loss).

all with frame: 10 5/8 x 8 1/2 in. (27 x 21.6 cm)

Estimate $2,000-3,000

142 TOM FRIEDMAN b. 1965

Vanishing Point, 2006

Photogravure and embossing, on Somerset satin paper, the full sheet, signed

and numbered ‘p/p 2/3’ in pencil on the reverse (one of three printer’s proofs, the

edition was 12), published by Island Press, Washington University, St. Louis, a few

soft creases at the right sheet edge, otherwise in very good condition, framed.

S. 42 x 40 1/2 in. (106.7 x 102.9 cm)

Estimate $12,000-18,000


Untitled (Dollar Bill), 2000

Inkjet print in colors, on Somerset velvet paper, with full margins, signed and

numbered 64/100 in pencil on the reverse (there were also 3 artist’s proofs),

published by the Fabric Workdshop and Museum, Philadelphia, in very good

condition, framed.

I. 13 3/8 x 33 1/2 in. (34 x 85.1 cm)

S. 21 1/4 x 41 1/8 in. (54 x 104.5 cm)

Estimate $5,000-7,000


Untitled, 2002

Multiple consisting of seventy-five stacked and glued styrofoam cups hand-

painted in colors, signed and numbered 39/75 in black ink on the underside

(there was also an edition of 20 in Roman numerals), published by Parkett

Editions, Zurich and NewYork, in excellent condition.

40 1/2 x 3 x 3 in. (102.9 x 7.6 x 7.6 cm)

Estimate $2,500-3,500


145 KEN PRICE b. 1935

Lunk, 2004

Cast bronze multiple painted in gold, inscised with initials and numbered 61/200

(there were also 13 artist’s proofs), published by the Frostig Collection, Pasadena,

in excellent condition.

4 x 4 x 4 in. (10.2 x 10.2 x 10.2 cm)

Estimate $1,200-1,800

146 PAUL MCCARTHY b. 1945

Xmas Pudding, 1999

Glass vessel filled with red rubber multiple, signed, dated, titled, inscribed and

numbered 10/10 in black paint, published by the artist, an area of adhesive

remains, the painted title rubbing off in places, otherwise in good condition.

5 x 5 1/2 x 5 1/2 in. (12.7 x 14 x 14 cm)

Estimate $600-900

147 NO LOT

145

146

Piero Manzoni, Merda d'Artista No. 049, 1961,

mixed media

148

149

148 DAVID SHRIGLEY b. 1968

Map of Sculpture Project in Münster, 1997

Screenprint, on Hanhemühle paper, with full margins, signed, dated ‘1997’

and numbered 52/60 in pencil on the reverse (there were also 4 artist’s proofs),

published by Fine Art Printmakers, Münster, in excellent condition, folded

(as issued), contained in original manila envelope with title printed on the front.

I. 28 1/4 x 38 3/4 in. (71.8 x 98.4 cm)

S. 30 1/4 x 41 3/4 in. (76.8 x 106 cm)

Estimate $500-700

149 STEVE GIANAKOS b. 1938

Missing Children portfolio, 1985

The complete set of eight lithographs in colors, on wove paper, the full sheets,

all signed with initials and numbered 10/41 in pencil, published by Solo Press Inc.

and Rutgers University Print Archives, NewYork and New Jersey, most with slight

creasing at the lower right corner, otherwise all in very good condition, loose,

contained in original paper folder with printed text on the front and ribbon tie.

all S. 16 x 13 1/4 in. (40.6 x 33.7 cm)

Estimate $700-900

detail of lot 148

150 FRED TOMASELLI b. 1956

After Echolocation #2, 2000

Digital iris print in colors, on heavy wove paper, with full margins, signed

and numbered 4/100 in pencil (there were an unknown number of artist’s proofs),

published by Dinaburg Arts, NewYork, in excellent condition, unframed.

I. 17 3/8 x 14 in. (44.1 x 35.6 cm)

S. 18 1/8 x 14 7/8 in. (46 x 37.8 cm)

Estimate $600-800

151 FRED TOMASELLI b. 1956

Untitled, 2004

Digital ink jet print in colors, on wove paper, with full margins, signed

and numbered 91/100 in pencil (there were also 25 artist’s proofs), published by

Carrie Waldman, in excellent condition, framed.

I. 9 5/8 x 6 1/4 in. (24.4 x 15.9 cm)

S. 11 x 8 1/2 in. (27.9 x 21.6 cm)

Estimate $300-400

152 KELLEY WALKER b. 1969

Maui, 2002

CD-rom containing printable color poster, and one archival inkjet print in colors

signed on the reverse, also signed in pencil on the certificate included in the cd

case, numbered 1 of 5, published by the artist, very slight scuffing on the

exterior of the cd case, otherwise in very good condition.

print dimensions variable

cd: 5 x 5 1/2 in. (12.7 x 14 cm)

Estimate $1,500-2,500

150

151

152

Kelley Walker made a series of these edition works starting around

2001.They consist of images from advertising and news sources

that have been downloaded from the internet. Walker then made

‘interventions’ to the images by the addition of sprays of toothpaste

or dots, as in this work.The concept behind the work is that the

purchaser can make further interventions to the piece through an

application within the CD-rom. One can reprint the image at

different sizes or even in different media.The purchaser also

receives archival inkjet print signed by the artist.

154 LAWRENCE WEINER b. 1942

& Across The Great Divide, 1991

The complete set of three baked enamel multiples in colors, on metal sheets,

all signed, dated ‘92’ and annotated ‘H.C. 3/4 A’ in black ink on a label affixed to

the reverse (an hors-commerce copy, the edition was 45), published by Brooke

Alexander Editions, NewYork, all in excellent condition, contained in original box.

36 1/2 x 12 3/4 in. (92.7 x 32.4 cm)

Estimate $3,000-4,000

153

154

153 EBERHARD HAVEKOST b. 1967

Windmesser 1.2 and 2.2; and Flugzeng, 2002

Three photo-lithographs in colors, on wove paper, with full margins, Windmesser

1.1 and Flugzeng signed, titled, dated and numbered 12/22 and 3/5 in pencil and

pen respectively, Windmesser both annotated ‘(1.2)’ and ‘(2.2)’ respectively in

pencil, all in very good condition, all framed.

Windmesser both I. 13 3/4 x 9 7/8 in. (34.9 x 25.1 cm)

Flugzeng I. 4 3/4 x 13 3/4 in. (12.1 x 34.9 cm)

all S. 16 1/2 x 11 5/8 in. (41.9 x 29.5 cm)

Estimate $700-900 •

155

156

156 VARIOUS ARTISTSChanterelle Menus, 2006-08

Five prints in photo, screenprint and lithograph, on various papers, with full

margins or the full sheets, the Lethbridge signed in black ink on the reverse,

from the approximate editions of 100 (the editions were not signed or numbered),

published as menu covers for the restaurant Chanterelle, NewYork, all but the

Barney with text and menu listed on the reverse, most with occasional handling

creases and minor soiling, theWalker with very slight ink loss at lower right,

otherwise all in good condition, all unframed.

various sizes

Estimate $1,400-1,800

Including: Matthew Barney; Annie Leibovitz; KaraWalker; Julian

Lethbridge and Julian Schnabel

155 ANDY WARHOL 1928-1987

Space Fruit: Still Lifes: Cantaloupe II, 1979

Unique screenprint in colors, on museum board paper, the full sheet, published

by Grippi/Zivian, Inc., NewYork, with the AndyWarhol Authentication Board, Inc.

inkstamp and numbered ‘Extra 191.177’, scuffing, occasional soiling in the upper

and lower sheet, otherwise in good condition, framed.

S. 32 1/8 x 39 3/4 in. (81.6 x 101 cm)

Estimate $4,000-6,000

LITERATURE see Frayda Feldman and Jörg Schellmann 198

157 ALLEN RUPPERSBERG b. 1944

Siste Viator, 1993

The complete set of twoWWII era bookends and 20 facsimile books withWWII

era bookplates, five titles in four languages (English, Dutch, Polish, German), one

book in each languge printed in its entirety, the others printed covers only, each

hand inscribed by the artist with a soldier’s name, from the unnumbered edition

of 50 (there were no artist’s proofs), published by the artist, very minor wear along

the edges of some of the book covers, otherwise in very good condition.

various sizes

Estimate $2,000-3,000

Siste Viator (Stop Traveler), a project for the Dutch city of Arnhem, revisiting the tragicWorldWar II battle in the area that

claimed the lives of eight thousand soldiers in nine days of September 1944.The project consisted of republishing twenty

popular books of the time, five from the best-seller list of each of the four countries most involved in the battle: Britain, the

Netherlands, Poland, and Germany. As Allan McCollum noted; “I doubt if anyone could portray his intention more beautifully

than he himself did in his proposal for the project:”

This work is a collection of narratives. It is about the telling of stories both fact and fiction. A memorial to individual memories

and the reading of books of the private imagination combined with the public, political history. A link is established between the

private experience and public memory. As this era of World War II recedes from the realm of immediate experience, I propose to

create in the public mind a new personal memory that is not just another replaceable image. Dignity in a memorial is usually

associated with stone and statue, with pose and gesture and with the body. I propose a similar attitude with words, as was once

done with an epitaph. A comparison of words, a collision of worlds, nationalities, ideas, ideals, and kinds of literature. This work

then is a reconstruction and an exhibition of history in free association to create a continuity between various narrative acts

which give shape to the random acts of history.

Allen Ruppersberg

158 RICHARD ARTSCHWAGER b. 1923

Book, 1987

Formica covered wood multiple, signed and numbered 6/40 in black ink on a

label affixed to the underside (there were also 8 artist’s proofs), published by

Brooke Alexander Editions to benefit the New Museum, NewYork, minor soiling,

scuffs an occasional minor nicks, moisture staining on the edges of the label

on the underside, otherwise in very good condition.

5 x 20 x 12 in. (12.7 x 50.8 x 30.5 cm)

Estimate $5,000-7,000

Facsimile of the Gutenberg Bible, Paris, 1986

159 CHRIS JOHANSON b. 1968

You Should All Know Something Before We Start on the Second Half

of Today’s Session, 2002

Aquatint in colors, on Somerset textured paper, with full margins, signed, dated


by Paulson Press, Berkeley, California (with their blindstamp), in excellent

condition, framed.

I. 26 1/2 x 35 1/2 in. (67.3 x 90.2 cm)

S. 35 x 42 3/4 in. (88.9 x 108.6 cm)

Estimate $1,500-2,500

160 ED RUSCHA b. 1937

News, Mews, Pews, Brews, Stews & Dues portfolio: News, 1970

Organic screenprint (black currant-pie filling, cherry-pie filling and unmixed raw

egg) in colors, on Silverbrook SnowWhite Antique Finish paper, with full


artist’s proofs), published by Editions Alecto, London, occasional soiling and

creasing in the margins (particularly the corners), the palest time staining, hinge

remains on the reverse of the corners (slightly showing through), otherwise in

very good condition, unframed.

I. 17 7/8 x 27 in. (45.4 x 68.6 cm)

S. 23 x 31 5/8 in. (58.4 x 80.3 cm)

Estimate $2,000-3,000

LITERATURE Walker Art Center/Siri Engberg 34

159

160

161 JON KESSLER b. 1957

Der Kurs (The Curse), 1989

Mechanical multiple in wood, glass, newsprint and metal, signed, dated ‘89’

and annotated ‘ap’ in black marker on the reverse (one of 3 artist’s proofs,

the edition was 7), published by the artist, in excellent and working condition.

51 x 19 in. (129.5 x 48.3 cm)

Estimate $1,500-2,500

162 CHRISTIAN SCHUMANN b. 1970

Ah Geef Op!, 1996

Screenprint in colors, on wove paper, with full margins, signed, dated ‘96’


Alexander Heinrici, NewYork, a few pressure marks in the margins, stray printing

ink in places on the reverse, otherwise in very good condition, unframed.

I. 31 x 40 1/2 in. (78.7 x 102.9 cm)

S. 35 1/8 x 43 7/8 in. (89.2 x 111.4 cm)

Estimate $900-1,200

161

162

163 MARTIN KIPPENBERGER 1953-1997

Tic-Tac-Toe, Tae-Kwon-Doe, 1990

The complete set of nine wooden stretchers by Imi Knoebel adapted by

Kippenberger, wrapped in plastic with latex tape (as issued), from the edition

of 30 (there were no recorded artist’s proofs), published by Santa Monica

Editions, California, all nine stretchers signed with initials, dated ‘6889’ and

numbered 360/1000, 451/1000, 520/1000, 626/1000, 674/1000, 719/1000, 832/1000,

897/1000 and 952/1000 by Knoebel in black marker on the reverse (Kippenberger

bought a large number of Knoebel’s “multiple” and transformed them into this

series), in excellent condition.

Estimate $8,000-12,000

LITERATURE Kunstverein Braunschweig e. V. and Museum van Hedendaagse

Kunst Antwerpen, Kippenberger Multiples 41, pp. 80-1 AndyWarhol, Flowers (in 9 parts), 1964

164 MARTIN KIPPENBERGER 1953-1997

Untitled (Self-Portrait), 1997

Aquatint and etching in colors, on Somerset paper, with full margins,

presumably a proof apart from the stamped edition of 24, with ‘NACHLASS

MARTIN KIPPENBERGER’ blindstamp, a few soft handling creases in the

margins, otherwise in very good condition, framed.

I. 29 7/8 x 24 3/4 in. (75.9 x 62.9 cm)

S. 37 3/4 x 30 3/8 in. (95.9 x 77.2 cm)

Estimate $8,000-12,000

Pablo Picasso, 1962, photograph

by David Douglas Duncan

165 MASAMI TERAOKA b. 1936

Namiyo at Hanauma Bay, 1985


in pencil on the reverse, published by Editions Press, San Francisco (with their

blindstamp), hinge remains in places along the reverse of the sheet edges (with

associated skinning), otherwise in very good condition, unframed.

S. 24 5/8 x 35 7/8 in. (62.5 x 91.1 cm)

Estimate $1,200-1,800

166 YINKA SHONIBARE, MBE b. 1962

Dreamscape, 2002

Digital photograph in colors, on Fugicolor Professional paper, with full margins,

signed, dated ‘2002’ and numbered 22/40 in black ball point pen on the reverse

(there were also 10 artist’s proofs), published by documenta XI editions and

Edition Schellmann, Munich and NewYork, offset pencil lines in places along the

perimeter of the image, otherwise in very good condition, framed.

I. 15 1/2 x 23 1/2 in. (39.4 x 59.7 cm)

S. 16 x 24 in. (40.6 x 61 cm)

Estimate $1,200-1,800

165

166

167

168

167 YAYOI KUSAMA b. 1929

Shoes (pink glitter), 1999

Screenprint in colors with glitter, on wove paper, with full margins, signed, dated

‘1999’, annotated in Japanese and numbered 12/60 in pencil, with two soft

creases at the lower right corner, otherwise in very good condition, framed.

I. 17 5/8 x 21 1/8 in. (44.8 x 53.7 cm)

S. 23 5/8 x 26 5/8 in. (60 x 67.6 cm)

Estimate $1,200-1,800

168 YAYOI KUSAMA b. 1929

Shoes (green glitter), 1999

Screenprint in colors with glitter, on wove paper, with full margins, signed, dated

‘1999’, annotated in Japanese and numbered 22/60 in pencil, with one soft

creases at the lower right corner, otherwise in very good condition, framed.

I. 17 5/8 x 21 1/8 in. (44.8 x 53.7 cm)

S. 23 5/8 x 26 5/8 in. (60 x 67.6 cm)

Estimate $1,200-1,800

169 PETER SAUL b. 1934

Schicago Justus, from Conspiracy: The Artist as Witness portfolio, 1971

Lithograph in colors, on Arches paper, the full sheet, signed, dated ‘71’ and

numbered 84/150 in pencil (there were also 25 artist’s proofs), published by David

R. Godine Publishers and the Center for Constitutional Rights, NewYork, two

minute spots of ink loss at the extreme sheet edge of the lower right corner,


S. 18 x 24 in. (45.7 x 61 cm)

Estimate $700-900

170 SAUL STEINBERG 1914-1999

The General, from Peace Portfolio 1, 1970

Lithograph, on Rives paper, the full sheet, signed and numbered 145/175 in

pencil (there were also 15 artist’s proofs), published by the Academic and

Professional Action Committee for a Responsible Congress, NewYork,

occasional pressure marks, soft handling and printing creases, otherwise in


S. 21 x 26 in. (53.3 x 66 cm)

Estimate $400-600

171 NANCY DWYER b. 1954

No Answer, 1982

Screenprint in colors, on Rives BFK paper, with full margins, signed and

numbered 39/40 in pencil (there were also 5 artist’s proofs), published by Carl

Solway Gallery, Cincinnati, faint scuffing (mainly visible in raking light),

occasional soiling and soft handling creases in the margins, otherwise in very


I. 13 1/2 x 15 1/2 in. (34.3 x 39.4 cm)

S. 30 1/8 x 22 1/8 in. (76.5 x 56.2 cm)

Estimate $200-300

169

170

171

172

173

174

175

172 RICHARD BOSMAN b. 1944

The Fall, 1983-84

Woodcut on Japanese paper, the full sheet, signed and numbered 22/32 in

pencil, published by Experimental Workshop, Emeryville, California, in very


S. 60 3/4 x 41 5/8 in. (154.3 x 105.7 cm).

Estimate $1,000-1,500

173 RICHARD BOSMAN b. 1944

Car Crash, 1984

Woodcut in colors, on Japanese paper, with full margins, signed and numbered

8/60 in pencil, published by Experimental Workshop, Emeryville, California, minor

creasing in places along the sheet edges, otherwise in good condition,

unframed.

I. 35 x 48 in. (88.9 x 121.9 cm)

S. 36 1/2 x 49 1/2 in. (92.7 x 125.7 cm)

Estimate $600-800

174 CHERYL LAEMMLE b. 1947


Lithograph, on wove paper, with full margins, signed and numbered 3/50

in pencil, in excellent condition, unframed.

I. 29 x 20 3/8 in. (73.7 x 51.8 cm)

S. 35 1/2 x 25 in. (90.2 x 63.5 cm)

Estimate $200-300

175 ROBERT LONGO b. 1953

Flag, 1989

Lithograph, on wove paper, with full margins, signed, dated ‘89’, inscribed

‘for CR’ and numbered 31/50 in pencil, in excellent condition, framed.

I. 15 1/2 x 16 1/4 in. (39.4 x 41.3 cm)

S. 22 x 30 in. (55.9 x 76.2 cm)

Estimate $800-1,200

176

177

176 A.R. PENCK b. 1939

Quo vadis G.G.; Loch in der Mauer; Was sich ankundigt

and Standard West, 1982-89

Three aquatints and etchings in colors and one lithograph, on various papers,

with full margins, all signed and numbered 18/25; 33/35; 33/35 and 11/25 in pencil,

published by Sabine Knust MaximilianVerlag Editions, Munich, all generally in

very good condition, all framed.

various sizes

Estimate $1,000-1,500

177 JÖRG IMMENDORF 1945-2007

Babel series: plates 4, 15 and 18, 1987

Three linocuts in colors, on wove paper, with full margins, all signed, dated ‘87’

and numbered 6/7 in pencil (there was also an edition of 5 in Roman numerals),

published by Sabine Knust MaximilianVerlag Editions, Munich, all with hinge

remains on the reverse of the upper corners, otherwise all in very good


all I. 15 7/8 x 13 7/8 in. (40.3 x 35.2 cm)

all S. 19 3/4 x 17 3/4 in. (50.2 x 45.1 cm)

Estimate $1,200-1,600

LITERATURE Beate Reifenscheid 1987.5.4, 1987.5.15 and 1987.5.18

178 KEITH HARING 1958-1990

Untitled I-VI suite, 1982

The complete set of six lithographs, on Rives BFK paper, with full margins, all

signed, dated ‘3.82’ and numbered 20-40 in red crayon (there were also 8 artist’s

proofs), published by Barbara Gladstone Editions, NewYork, all with occasional

soft handling creases and varying degrees of mat staining in places in the

margins and on the reverse, otherwise all in very good condition, all unframed.

all I. 33 3/8 x 22 5/8 in. (84.8 x 57.5 cm)

all S. 36 x 25 3/8 in. (91.4 x 64.5 cm)

Estimate $15,000-20,000

LITERATURE Edition Cantz pp. 18-21

179 JIM HODGES b. 1957

Really (In Honor of Felix Gonzales-Torres), from 1989 portfolio, 2000

Iris print in colors, on wove paper (with image on both sides), with full margins,

signed, dated ‘2000’, titled and numbered 14/75 in pencil (there were also 12

artist’s proofs), published by the Estate Project for Artists with AIDS and

Alliance for the Arts, NewYork, in excellent condition, unframed.

both I. 5 1/4 x 7 7/8 in. (13.3 x 20 cm)

S. 24 x 20 in. (61 x 50.8 cm)

Estimate $500-700

180 FRANCESCO CLEMENTE b. 1952

Untitled (Couple Entwined), from BAM Portfolio and Self-Portrait

in Four Parts (black), 1987 and 2004

One etching and one aquatint, on wove paper and Hiromi Shikibu Chine collé

to Hahnemüle, with full margins, both signed and numbered 9/75 and 29/30 in

pencil (there were also 15 and 6 artist’s proofs respectively), Couple published

by Parasol Press, NewYork, Self-Portrait published by the artist, both in excellent

condition, one unframed, one framed.

Couple I. 23 1/2 x 47 1/2 in. (59.7 x 120.7 cm)

Couple S. 27 1/2 x 55 3/8 in. (69.9 x 140.7 cm)

Portrait I. 9 3/4 x 19 1/2 in. (24.8 x 49.5 cm)

Portrait S. 18 1/4 x 27 3/4 in. (46.4 x 70.5 cm)

Estimate $1,000-1,500

179

180

181

181 ROSS BLECKNER b. 1949

[Cage], 1987

Lithograph in colors with woodcut in black and white, on thin wove paper,

the full sheet, signed and numbered 51/125 in pencil, in excellent condition,

unframed.

S. 20 x 16 in. (50.8 x 40.6 cm)

Estimate $400-600

(side A)

182 GARY HUME b. 1962

Seahorse, 1998

Screenprint in colors, on Somerset paper, with full margins, signed titled


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


Grey Leaves, 2004

Screenprint in colors, on Somerset paper, with full margins, signed, dated

‘04’, titled and numbered 206/250 in pencil (there were also 25 artist’s proofs),

published by Counter Editions, London, in excellent condition, framed.

I. 21 3/8 x 17 1/2 in. (54.3 x 44.5 cm)

S. 28 x 23 in. (71.1 x 58.4 cm)

Estimate $1,000-1,500

LITERATURE White Cube/Paragon Press p. 86


Fuzzy Snowman, 2000

Blue flocked ground with seven detachable white felt circles, on heavy wove

paper, with full margins, signed in blue ink on the reverse, published by

Momart, London, a few pale spots of stray color in the margins, two small

creases at the upper right corner (not affecting the flocking), otherwise in

very good condition, framed.

I. 10 1/8 x 6 7/8 in. (25.7 x 17.5 cm)

S. 10 3/4 x 7 3/8 in. (27.3 x 18.7 cm)

Estimate $700-900

182

183

184

185 CHUCK CLOSE b. 1940

Self-Portrait, 2007

Screenprint in colors, on SaundersWaterford HP paper, with full margins,

signed, dated and numbered 34/80 in pencil (there were also 18 artist’s proofs),

published by Pace Editions, Inc., NewYork, in excellent condition, framed.

I. 68 x 52 1/4 in. (172.7 x 132.7 cm)

S. 74 1/2 x 57 3/4 in. (189.2 x 146.7 cm)

Estimate $50,000-70,000

Rembrandt Peale, Self-Portrait, 1828, oil on canvas


Self-Portrait (Scribble), 2007

Lithograph and screenprint in colors, on Somerset paper, with full margins, signed,


published by Pace Editions, Inc., NewYork, in excellent condition, unframed.

I. 29 3/4 x 24 in. (75.6 x 61 cm)

S. 38 x 30 in. (96.5 x 76.2 cm)

Estimate $8,000-12,000


Self-Portrait/Scribble/Etching, 2000

Etching in colors, on Hahnemühle paper, with full margins, signed, dated ‘2000’


Pace Editions, Inc., NewYork, in excellent condition, framed.

I. 9 3/4 x 8 1/8 in. (24.8 x 20.6 cm)

S. 18 1/4 x 15 1/4 in. (46.4 x 38.7 cm)

Estimate $5,000-7,000

186

187

Malcolm Morley, Vermeer—Portrait of the

Artist in his Studio, 1968, oil on canvas


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



Untitled (In Honor of Peter Hujar), from 1989 portfolio, 2000

Digital iris print in colors, on smooth wove paper, with full margins, signed,


published by the Estate Project for Artist’s with AIDS and Alliance for the Arts,


overall I. 12 x 20 in. (30.5 x 50.8 cm)

S. 18 x 24 in. (45.7 x 61 cm)

Estimate $1,000-1,500


Untitled, 2001

Digital iris print, on wove paper, with full margins, signed, dated ‘2001’


by Art of this Century and distributed by John Szoke Editions, NewYork,

in excellent condition, unframed.

overall I. 14 3/4 x 24 1/4 in. (37.5 x 61.6 cm)

S. 22 x 29 1/4 in. (55.9 x 74.3 cm)

Estimate $1,000-1,500

188

189 190

191 JASPER JOHNS b. 1930

The Seasons, 1989

Etching and aquatint, on Arches en tout cas paper, with full margins, signed,


published by Universal Limited Art Editions, West Islip, NewYork (with their

blindstamp), in very good condition, framed.

I. 19 1/8 x 51 5/8 in. (48.6 x 131.1 cm)

S. 26 3/4 x 58 1/4 in. (67.9 x 148 cm)

Estimate $20,000-30,000

LITERATURE Universal Limited Art Editions 244

[Johns] came to California for a week and the weather was bad. A friend drove him to the airport and apologized for the gray

and gloomy weather. “That’s all right,’ he said, ‘Gray is my favorite color.’” (Michael Crichton, Jasper Johns, Whitney Museum

of American Art, Harry N. Abrams, NewYork, 1977, revised edition 1994, p. 16)

192 LUCIAN FREUD b. 1922

After Chardin (Small Plate), 2000

Etching, on Somerset paper, with full margins, signed with initials and numbered

64/80 in pencil (there were also 24 artist’s proofs), published by the Los Angeles

County Museum of Art, in excellent condition, unframed.

I. 6 x 7 7/8 in. (15.2 x 20 cm)

S. 15 x 20 in. (38.1 x 50.8 cm)

Estimate $5,000-7,000

LITERATURE Starr Figura/The Museum of Modern Art, p. 33Jean-Baptiste-Siméon Chardin, TheYoung Schoolmistress,

1736, oil painting

193 HENRI MATISSE 1869-1954

Figure endormie, châle sur les Jambes, 1929

Lithograph, on Arches paper, with full margins, signed and numbered 46/50 in

pencil, pale light-staining, pale stains and minor rubbing in the margins, a small

tear at the upper left sheet corner, two small repaired tears at the lower right

corner, otherwise in very good condition, framed.

I. 10 1/2 x 14 3/4 in. (26.7 x 37.5 cm)

S. 17 5/8 x 21 1/2 in. (44.8 x 54.6 cm)

Estimate $14,000-18,000

LITERATURE Claude Duthuit 511

Henri Matisse in his studio, Villa Alèsia, Paris,

1939, Bibliothèque Nationale de France, Paris

194 VIJA CELMINS b. 1938

Ocean with Cross #1, 2005

Screenprint, on RivesTextured Rag paper, with full margins, signed and numbered

68/108 in pencil (there were also 18 artist’s proofs), published by Lincoln Center

List Poster and Print Program, NewYork, in excellent condition, framed.

I. 17 1/2 x 22 1/2 in. (44.5 x 57.2 cm)

S. 24 x 28 1/2 in. (61 x 72.4 cm)

Estimate $6,000-8,000


Pear I (Poire I), 1965-66

Lithograph, on Rives BFK paper, with full margins, signed and numbered 26/75

in pencil (there were also 10 artist’s proofs), published by Maeght Editeur, Paris,

occasional minor soiling, an area of abrasion at the lower left sheet edge,


I. 24 x 16 in. (61 x 40.6 cm)

S. 35 3/8 x 24 in. (89.9 x 61 cm)

Estimate $5,000-7,000

LITERATURE Richard Axsom 45

194

195

196 PABLO PICASSO 1881-1973

Bull, 1957

Red earthenware plate painted in black and clear glaze, inscribed Edition

Picasso, Madoura, N. 107 and numbered 78/250, with the Edition Picasso and

Madoura Plein Feu pottery stamps on the underside, felt pads along the underside

rim, two dark spots in the center underside, otherwise in very good condition.

diameter: 14 5/8 in. (37.1 cm)

Estimate $4,000-6,000

LITERATURE Alain Ramié 392

197 PABLO PICASSO 1881-1973

Picador, 1952

Partially glazed white earthenware plate painted in black, from the edition of

500, inscribed Edition Picasso and with the Edition Picasso and Madoura Plein

Feu pottery stamps on the underside, in very good condition.

diameter: 8 1/4 in. (21 cm)

Estimate $1,500-2,500

LITERATURE Alain Ramié 160

196

197

198 WILLIAM BAILEY b. 1930

Still Life with Eggs, Candlestick and Bowl, from America: TheThird Century, 1976


in pencil on the reverse (there were also 25 artist’s proofs), published by APC

Editions, NewYork, a crease at the lower right corner, minute areas of ink loss

in places along the sheet edges, mat staining on the reverse, otherwise in very


S. 30 x 22 in. (76.2 x 55.9 cm)

Estimate $600-800

199 CY TWOMBLY b. 1928

Natural History Part I Mushrooms: Plate No. III, 1974

Lithograph in colors with collage, hand-additions and other mixed media, on

Richard de Bas paper, the full sheet, signed with initials and numbered 79/98 in

pencil (there were also 17 artist’s proofs), published by PropyläenVerlag, Berlin,

a few pale stains at the sheet edge, otherwise in very good condition, framed.

S. 29 1/2 x 21 3/4 in. (74.9 x 55.2 cm)

Estimate $4,000-6,000

LITERATURE Heiner Bastian 44

198

199

200 ROBERT COTTINGHAM b. 1935

Bud, 1996

Lithograph in colors, on Rives BFK paper, with full margins, signed, dated ‘1996’,

titled and annotated ‘RTP’ in pencil (the right-to-print proof, the edition was 60

and 5 artist’s proofs), published by Landfall Press, Chicago (with their stamp

on the reverse), in excellent condition, unframed.

I. 42 x 41 7/8 in. (106.7 x 106.4 cm)

S. 46 x 46 in. (116.8 x 116.8 cm)

Estimate $2,500-3,500

201 RICHARD ESTES b. 1932

Urban Landscapes III: Cafeteria, Vatican, 1981

Screenprint in colors, on Fabriano Cottone paper, with full margins, signed and

numbered 187/250 in pencil (there were also 15 artist’s proofs), published by

Parasol Press, NewYork, scuffing, several small spots of ink loss (a few touched-

in), otherwise in good condition, unframed.

I. 14 1/8 x 20 in. (35.9 x 50.8 cm)

S. 19 3/4 x 27 1/2 in. (50.2 x 69.9 cm)

Estimate $600-800

LITERATURE John Arthur pp.120-21

200

201

202 JULIA JACQUETTE b. 1964

Four Sweets, 1995

Screenprint in colors, on heavy wove paper, with full margins, signed and

numbered 13/65 in pencil, published by Karen McCready Fine Art and Margarete

Roeder Gallery, NewYork, in excellent condition, unframed.

I. 14 x 23 1/2 in. (35.6 x 59.7 cm)

S. 18 1/2 x 27 1/2 in. (47 x 69.9 cm)

Estimate $1,000-1,500

Mister Softee truck, NewYork, photograph by Dan Carlson

203 KIKI SMITH b. 1954

Tattoo, 1995

Screenprint, on machine-made paper, with full margins, signed, dated ‘1995’ and

numbered 75/100 in pencil (there were no artist’s proofs), published by the artist,

occasional creasing and minor soiling particularly at the edges, otherwise in


I. 17 3/4 x 27 3/4 in. (45.1 x 70.5 cm)

S. 19 3/4 x 30 in. (50.2 x 76.2 cm)

Estimate $900-1,200

LITERATURE Museum of Modern Art/Wendy Weitman 76

204 JANE HAMMOND b. 1950

Body Language, 2001

Digital print in colors, onThai Mulberry paper, with full margins, signed, dated

‘2001’ and numbered 40/100 in pencil (there were also 20 artist’s proofs),

published by and to benefit Doctors of theWorld, NewYork, in excellent


I. 41 x 19 in. (104.1 x 48.3 cm)

S. 47 5/8 x 24 1/2 in. (121 x 62.2 cm)

Estimate $1,500-2,000

203

204

205 ROBERT GOBER b. 1954

Untitled, 1991

Lithograph in green, on J.B. Green paper, with full margins, signed, dated, and

numbered ‘P.P. 1/2’ in pencil (one of two printer’s proofs, the edition was 35 and

6 artist’s proofs), published by Maurice Sanchez, NewYork, in excellent


I. 13 1/2 x 10 7/8 in. (34.3 x 27.6 cm)

S. 17 7/8 x 13 3/4 in. (45.4 x 34.9 cm)

Estimate $2,000-3,000

206 JASPER JOHNS b. 1930

Untitled (Ruler), 1968

Screenprint in colors, on Rives BFK, with full margins, signed, dated ‘68’ and

numbered 32/110 in pencil (there were also 10 artist’s proofs), published by the

artist, the red slightly faded, minor rippling, pale time staining, otherwise in


S. 36 x 25 in. (91.4 x 63.5 cm)

Estimate $1,000-1,500

LITERATURE Universal Limited Art Editions 56

205

206

Man Ray, Presse-papier à Priarpe (1920)

207 LOUISE BOURGEOIS b. 1911

Hamlet and Ophelia, 1997

Lithograph in colors, on Arches paper, the full sheet, signed in initials, dated ‘97’

and numbered 17/50 in black pencil (there were also 20 artist’s proofs), published

by Brooklyn Academy of Music, NewYork, in excellent condition, framed.

S. 29 1/2 x 41 3/4 in. (74.9 x 106 cm)

Estimate $3,000-5,000

208 LOUISE BOURGEOIS b. 1911

Toi et Moi, 2006

Screenprint in red and black, on fabric, the full sheet, numbered 89/125 in black

ink (there were also 25 artist’s proofs), published by the artist, in excellent

condition, framed.

S. 7 3/4 x 10 3/4 in. (19.7 x 27.3 cm)

Estimate $1,200-1,800

207

208

210 FELIX GONZALEZ-TORRES 1957-1996

Untitled (Oscar Wilde), 1995

Photo-etching, on wove paper, the full sheet, signed, dated, and numbered

206/250 in pencil on the reverse (there were also 25 artist’s proofs), published by

the Solomon R. Guggenheim Museum, NewYork, in excellent condition, framed.

S. 4 5/8 x 6 3/8 in. (11.7 x 16.2 cm)

Estimate $1,200-1,800

LITERATURE Dietmar Elger 273

211 KATE SHEPHERD b. 1961

Paper Bedroom, 2006

Cut paper collage in colors, on heavy wove paper, with full margins, signed,


published by Artists Space, NewYork, in excellent condition, unframed.

I. 12 3/4 x 9 3/8 in. (32.4 x 23.8 cm)

S. 13 5/8 x 10 3/8 in. (34.6 x 26.4 cm)

Estimate $500-700

209

210

211

209 SOPHIE CALLE b. 1953

The Dice, 2001

Multiple consisting of a plastic dice set in red leather box with satin lining

(printed with gold text), suede and leather interior, numbered 70/250, published

by Item, Paris, a small spot of soiling on the suede, otherwise in very good

condition.

dice: 1/4 x 1/4 x 1/4 in. (.6 x .6 x .6 cm)

box: 1 1/2 x 2 7/8 x 2 7/8 in. (3.8 x 7.3 x 7.3 cm)

Estimate $400-600

I have always liked others to make decisions for me. B. and I played

a game: on even-numbered days he made the decisions, on odd-

numbered days I did. When he left for the States he gave me a dice

to replace him.

Sophie Calle


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


Editions, Inc., NewYork, in excellent condition, framed.

I. 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm)

S. 31 x 22 1/2 in. (78.7 x 57.2 cm)

Estimate $3,500-4,500


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


Editions, Inc., NewYork, in excellent condition, framed.

I. 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm)

S. 31 x 22 1/2 in. (78.7 x 57.2 cm)

Estimate $3,500-4,500


Moment (C), 2006

Monotype with lithograph and hand-coloring in watercolor, gouache, stencil,

graphite and pressed leaves, on Crisbrook paper, the full sheet, signed annotated

‘C’ and dated ‘2006’ in pencil (the edition was 20 lettered A –T), published by

Universal Limited Art Editions,West Islip, NewYork (with their blindstamp), in

very good condition, framed, with a CD-rom containing animation.

S. 22 1/2 x 30 5/8 in. (57.2 x 77.8 cm)

Estimate $4,000-6,000


BluePrints: Dorothy, 1999

Etching and aquatint in blue and black, on Hahnemühle paper, with full margins,

signed, dated ‘1999’ and numbered 2/20 in pencil (there were also 7 artist’s

proofs), published byThirteen Moons, NewYork, in excellent condition, unframed.

I. 6 3/8 x 3 7/8 in. (16.2 x 9.8 cm)

S. 15 x 12 in. (38.1 x 30.5 cm)

Estimate $1,500-2,000

LITERATURE Wendy Weitman/Museum of Modern Art 118


Red Cap, 2001

Lithograph in colors with colored pencil additions, on Lana Gravure paper, the

full sheet, signed, dated ‘2001’ and numbered 16/36 in pencil (there were also

10 artist’s proofs), published by Universal Limited Art Editions, West Islip, New

York, in excellent condition, framed.

S. 20 x 28 in. (50.8 x 71.1 cm)

Estimate $2,500-3,500

LITERATURE Wendy Weitman/Museum of Modern Art 126

215

216

217 BRUCE NAUMAN b. 1941

Dead, 1975

Lithograph, on Arches 88 paper, with full margins, signed, dated ‘75’ and

annotated ‘P.P. II’ in pencil (the only printer’s proof, the edition was 15 and

7 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their

blindstamps), in excellent condition, framed.

I. 16 1/4 x 43 1/4 in. (41.3 x 109.9 cm)

S. 33 3/4 x 48 3/4 in. (85.7 x 123.8 cm)

Estimate $7,000-9,000

LITERATURE Christopher Cordes 30; Gemini G.E.L. 604

Bruce Nauman, One Hundred Live and Die, 1984,

neon tubing mounted on four metal monoliths


Ah Ha, 1975

Screenprint, on Arches 88 paper, the full sheet, signed, dated ‘75’ and numbered

39/44 in pencil (there were also 11 artist’s proofs), published by Gemini G.E.L.,

Los Angeles (with their blindstamps), pale mat staining (visible only on the left

side), otherwise in very good condition, framed.

S. 29 1/2 x 41 in. (74.9 x 104.1 cm)

Estimate $3,000-5,000

LITERATURE Christopher Cordes 32; Gemini G.E.L. 606Man Ray, Perpetual Motive, 1970, metronome

and assemblage


Record, from 7 Objects/69, 1969

Multimedia object comprising black plastic LP record (soundtrack from 1st

Violin Film; Violin Problem No. 2 and Rhythmic Stamping) contained in an album

cover screenprinted with photographs of the artist from the videotape Stamping

in the Studio (1968), signed, dated ‘1967’ and annotated ‘A, Proof’ in black

marker (one of 10 artist’s proofs, the edition was 100), published byTanglewood

Press, Inc., NewYork, a few minor scuffs, one corner with compound creasing,

very minor wear along the sleeve edges, otherwise in good condition, with

accompanying tag with text.

S. 12 3/8 x 12 3/8 in. (31.4 x 31.4 cm)

Estimate $300-400

LITERATURE Christopher Cordes Appendix p. 127

219

220

221


Untitled (New Museum Image), 1992

Cibachrome photograph, on super gloss Fuji photo paper mounted to wove

paper (as issued), with full margins, signed, dated ‘92’ and numbered 28/150 in

black marker (there were also 25 artist’s proofs), published by the New Museum,

NewYork, in very good condition, unframed.

I. 19 x 19 1/8 in. (48.3 x 48.6 cm)

S. 20 5/8 x 20 1/8 in. (52.4 x 51.1 cm)

Estimate $1,500-2,000


Partial Truth, 1997

Screenprint in colors with embossing, on Lana Gravure paper, with full margins,

signed, dated ‘97’ and numbered 33/50 in pencil (there were also 12 artist’s

proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), in

excellent condition, framed.

I. 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm)

S. 22 1/4 x 28 1/8 in. (56.5 x 71.4 cm)

Estimate $3,000-4,000


album cover (side A) (side B)

222 BARNABY FURNAS b. 1973

Boogie Man, 2006

Etching and aquatint in colors with hand-painting, on wove paper, with full

margins, signed, titled and numbered 22/40 in pencil (there were also 5 artist’s

proofs), published by Artists Space, NewYork, a pressure mark in the left

margin, otherwise in excellent condition, unframed.

I. 17 3/4 x 14 1/8 in. (45.1 x 35.9 cm)

S. 24 7/8 x 20 7/8 in. (63.2 x 53 cm)

Estimate $1,500-2,000

223 TRACEY EMIN b. 1963

Tattoos, 2002

Two A4 photocopies in color, on wove paper, the full sheets and with margins,

signed, dated ‘02’ and numbered 93/200 in pencil on the print with images

(there were no recorded artist’s proofs), published byWhite Cube Editions,

London, occasional soft handling creases, otherwise both in very good


overall I. 8 1/2 x 7 in. (21.6 x 17.8 cm)

both S. 11 3/4 x 8 1/4 in. (29.8 x 21 cm)

Estimate $800-1,000

222

223

Arman, Hommage à Jimmy Hendrix,

1970, broken electric guitar in polyester

224

225

224 ROBERT RAUSCHENBERG 1925-2008

Suite of Nine Prints series: five plates, 1979

Five offset lithographs with screenprint and collage in colors, on Rives BFK

paper, the full sheets, all signed, dated ‘79’ and variously numbered from the

edition of 100 in pencil (there were also an unrecorded number of artist’s proofs),

published by Multiples, Inc., NewYork, all with the palest time staining,

otherwise all in very good condition, all unframed.

all S. 30 3/4 x 22 7/8 in. (78.1 x 58.1 cm)

Estimate $12,000-16,000

Including: Why you can’t tell #1; Two Reasons Birds Sing; One More

and Then we Will be Half Way There; More Distant Visible Part of the

Sea and People Have EnoughTrouble Without Being Intimidated by

an Artichoke


Umbrellas, 1983

Offset lithograph in colors with embossing, collage and pencil additions, on

wove paper, the full sheet, signed, dated ‘83’ and annotated ‘PP’ in gold marker

(a printer’s proof, the edition was 125 and 13 artist’s proofs), published by PACT

Institute for the Performing Arts, Clearwater, Florida, occasional soft handling

creases, the palest time staining, otherwise in very good condition, unframed.

S. 28 1/4 x 20 in. (71.8 x 50.8 cm)

Estimate $1,500-2,000


Watermark, 1973

Offset lithograph in colors with screenprint in white, on Arches paper, with full

margins, signed, dated ‘73’ and numbered 180/250 in pencil (there was also an

edition of 21 in Roman numerals), published by Brooke Alexander Editions,

NewYork, light-staining, a few spots of soiling in the margins, taped to the

overmat in places along tthe reverse of the sheet edges, otherwise in good

condition, framed.

I. 30 x 22 1/4 in. (76.2 x 56.5 cm)

S. 35 x 24 3/8 in. (88.9 x 61.9 cm)

Estimate $1,200-1,800


From the Seat of Authority, 1979

Offset lithograph in colors with collage, on wove paper, the full sheet, signed,

dated ‘79’ and numbered ‘PP 5/6’ in pencil (a printer’s proof, the edition was 100

and an unrecorded number of artist’s proofs), published by Multiples, Inc., New

York, occasional soft handling creases, minor surface soiling (particularly at the

sheet edges), minor skinning at the reverse of the upper corners, otherwise in


S. 30 1/2 x 23 in. (77.5 x 58.4 cm)

Estimate $1,800-2,500


People Have EnoughTrouble Without Being Intimidated by an Artichoke, 1979

Offset lithograph in colors, on wove paper, the full sheet, signed, dated ‘79’ and

numbered 60/100 in pencil (there were also an unrecorded number of artist’s

proofs), published by Multiples, Inc., NewYork, the palest time staining,


S. 30 1/2 x 23 in. (77.5 x 58.4 cm)

Estimate $1,000-1,500


People Have EnoughTrouble Without Being Intimidated by an Artichoke, 1979

Offset lithograph in colors with collage, on wove paper, the full sheet, signed,

dated ‘79’ and numbered 100/100 in pencil (there were also an unrecorded

number of artist’s proofs), published by Multiples, Inc., NewYork, in very good


S. 30 1/2 x 23 in. (77.5 x 58.4 cm)

Estimate $1,800-2,500

226 227

229228

230 CLAES OLDENBURG b. 1929

The Store (Poster), 1961

Letterpress in red and black, on heavy wove paper, with full margins, from the

edition of unknown size (most copies unsigned or uninitialed, all copies

unnumbered), published by the artist in cooperation with Green Gallery, New

York, pale mat staining (affecting the image), occasional minor soiling and spots

of stray printing ink, occasional nicks and splits along the extreme sheet edges,

a small tear at the lower left sheet corner, offset ink on the reverse, otherwise

in good condition, unframed.

I. 26 3/8 x 20 1/4 in. (67 x 51.4 cm)

S. 28 1/4 x 22 in. (71.8 x 55.9 cm)

Estimate $1,200-1,800

LITERATURE Richard Axsom and David Platzker 20 Claes Oldenburg painting Store works at the Ray Gun

Mfg. Co., 107 East Second Street, NewYork, 1961

231 CLAES OLDENBURG b. 1929

Scissors as Monument, from National Collection of Fine Arts portfolio, 1967

Lithograph in colors, on thick Arches paper, the full sheet, signed and numbered

144/144 in pencil (there were also 9 artist’s proofs), published by HKL Ltd.,

Boston and NewYork, for the List Art Poster Program, NewYork, the sheet

toned, pale moisture staining at the upper right corner, time staining, otherwise

in good condition, framed.

S. 29 3/4 x 20 in. (75.6 x 50.8 cm)

Estimate $900-1,200

LITERATURE Richard Axsom and David Platzker 49

232 ROY LICHTENSTEIN 1923-1997

Salute to Airmail, 1968

Gold-plated bronze multiple, incised with initials and annotated ‘AP-6’ (an

artist’s proof, the edition was 50), published by International Collectors Society,

NewYork, occasional scuffing on the base, all over even wear to patina,

otherwise in very good condition.

including base: 5 3/4 x 3 1/2 x 1 3/8 in. (14.6 x 8.9 x 3.5 cm)

Estimate $4,000-6,000

231

232

233 ROY LICHTENSTEIN 1923-1997

Tea set, 1984

15 ceramic dishes, including one teapot with lid, one sugarbowl with lid, one

creamer, four teacups, four saucers and four dessert plates, each with the

artist’s printed signature, numbered 3/100 on the underside of the sugarbowl,

creamer and teapot, published by Rosenthal Limitiere Kunstreihen, Germany

(each with their stamp on the underside), several with a few areas of scuffing

(particularly in the silver glaze of the plates), one cup with a spot of very pale

staining in the interior, a few with very minor soiling, otherwise in

very good condition, lacking two sets of teacups, saucers and plates.

various sizes

Estimate $15,000-20,000Roy Lichtenstein, Ceramic Sculpture 16,

1965, glazed ceramic

234 LARRY RIVERS 1923-2002

Dutch Masters Cigar Box, 1970

Mixed media multiple of cardboard, canvas, aluminum foil, board and paper

collage in colors, signed and numbered 33/35 in black ink and pencil respectively

(there were also 5 artist’s proofs), published by Edition Schellmann, Munich and

NewYork, soiling and minor staining, the two outside figures creased at the

heads, otherwise in good condition.

10 x 13 x 16 in. (25.4 x 33 x 40.6 cm)

Estimate $2,500-3,500

LITERATURE Edition Schellmann p. 239

235 GLENN BROWN b. 1966

Untitled, 2004

Giclee print in colors, on superdry satin paper, reverse mounted to Plexiglas

(as issued), with full margins, signed and numbered 101/200 in black marker

on the reverse (there were no recorded artist’s proofs), published by Serpentine

Gallery, London, in excellent condition, unframed.

I. 22 1/2 x 14 5/8 in. (57.2 x 37.1 cm)

S. 29 x 21 in. (73.7 x 53.3 cm)

Estimate $600-800

234

235

236 MICHELANGELO PISTOLETTO b. 1933

Specchio de toeletta, 1975

Screenprint in colors, on mirror-finished steel, the full sheet, signed and

numbered 423/450 in black ink on the reverse, minor surface soiling, occasional

scuffing, otherwise in good condition, unframed.

S. 39 1/4 x 27 1/2 in. (99.7 x 69.9 cm)

Estimate $3,000-5,000

237 RICHARD HAMILTON b. 1922

Self-Portrait, 1967

Screenprint in colors, on Schollershammer paper, with full margins, signed and

numbered 70/75 in pencil (there were also some artist’s proofs), published by the

artist, a dark scuff at the lower left edge, minor creasing at the corners, hinge

remains in places on the reverse, otherwise in very good condition, unframed.

I. 11 1/8 x 8 3/8 in. (28.3 x 21.3 cm)

S. 20 3/4 x 15 3/4 in. (52.7 x 40 cm)

Estimate $2,000-3,000

LITERATURE Etienne Lullin 62

236

237

238 VARIOUS ARTISTSEarly prints from Leo Castelli Gallery, 1964-65

Five offset lithographs in colors, on wove paper, with full margins, all signed in

pencil or black ink (some dated), from various edition sizes, all published by Leo

Castelli Gallery, NewYork, all with the colors faded, light- and time staining, Liz

with minor rippling, two abrasions with associated ink loss in the hair (at upper

and lower right), moisture staining at the lower left corner (slightly affecting the

image), creases in places along the edges (particularly the lower right corner);

Flowers with a foxmark at the reverse of the lower left (showing through in the

yellow flower on the front), areas of scattered reverse staining in the margins;

F-111 with mat staining, occasional soiling, a moisture stain along the lower

center edge (affecting the image, with associated rippling), a few pale foxmarks

at the lower left corner, very pale scattered reverse staining along the left sheet

edge, two small losses at the lower right sheet corner; Shipboard Girl with

occasional scuffs, areas of soiling and reverse scattered staining, a few small

paper losses along the left sheet edge; Foot Medication with moisture staining

along the lower sheet edge, one framed, four unframed.

various sizes

Estimate $15,000-20,000

LITERATURE Warhols: Frayda Feldman and Jörg Schellmann II.6 and II.7;

Lichtensteins: Mary Lee Corlett II.6 and appendix 3

Including: AndyWarhol Flowers and Liz; Roy Lichtenstein Shipboard

Girl and Foot Medication Poster; and James Rosenquist F-111

exhibition poster

239 TOM WESSELMANN 1931-2004

New Bedroom Blonde Doodle, 1991

Screenprint in colors, on Arches 88 paper, with full margins, signed and


International Images, Inc., Putney, Vermont (with their blindstamp), a very soft

handling crease in the right margin, otherwise in excellent condition, unframed.

I. 24 3/4 x 27 in. (62.9 x 68.6 cm)

S. 30 x 35 in. (76.2 x 88.9 cm)

Estimate $5,000-7,000


Country Bouquet with Blue, 1991

Screenprint in colors, on Arches 88 paper, the full sheet, signed and numbered

15/100 in pencil (there were also 12 artist’s proofs), published by International

Images, Inc., Putney, Vermont, with occasional minor scuffing, very slight ink

loss in places along the lower edge, otherwise in very good condition, unframed.

S. 38 x 30 in. (96.5 x 76.2 cm)

Estimate $4,000-6,000

239

240


Monica Nude with Purple Robe, 1990

Aquatint with embossing, on Rives BFK paper, with full margins, signed and


International Images, Inc., Putney, Vermont, in very good condition, unframed.

I. 20 1/2 x 49 in. (52.1 x 124.5 cm)

S. 36 3/4 x 59 7/8 in. (93.3 x 152.1 cm)

Estimate $7,000-9,000


Monica Lying Down on Robe, 1990

Lithograph, on wove paper, with full margins, signed and numbered 4/40 in

pencil (there were also 12 artist’s proofs), published by International Images,

Inc., Putney, Vermont, in very good condition, unframed.

I. 26 1/2 x 63 in. (67.3 x 160 cm)

S. 42 x 72 in. (106.7 x 182.9 cm)

Estimate $3,000-4,000

241

242


Still Life with Lichtenstein andTwo Oranges, from Portfolio 90, 1993

Screenprint in colors, on Museum Board, with full margins, signed and


International Images, Inc., Putney, Vermont (with their blindstamp), two pale

scuffs in the lower right and lower center margin, otherwise in very good


I. 33 x 54 1/4 in. (83.8 x 137.8 cm)

S. 42 x 59 in. (106.7 x 149.9 cm)

Estimate $8,000-12,000

PROPERTY OF WILLIAMS COLLEGE ART INVESTMENT FUND


Thames Scene with Power Station, 1990

Screenprint in colors, on wove paper, with full margins, signed and numbered

‘DP I/III’ in pencil (one of three dedication proofs, the edition was 60 and 12

artist’s proofs), published by International Images, Inc., Putney, Vermont (with

their blindstamp), occasional wear along the edges, otherwise in very good


I. 44 3/8 x 89 7/8 in. (112.7 x 228.3 cm)

S. 57 x 99 1/2 in. (144.8 x 252.7 cm)

Estimate $3,000-5,000

243

244


Still Life with Lilies and Mixed Fruit, 1998

Screenprint in colors, on Coventry paper, with full margins, signed and


Cooper Square Prints, NewYork, a small crescent shaped crease at the right

edge, otherwise in very good condition, unframed.

I. 23 1/2 x 29 3/4 in. (59.7 x 75.6 cm)

S. 31 3/4 x 38 in. (80.6 x 96.5 cm)

Estimate $5,000-7,000


Jeannie’s Backyard, East Hampton, 1989

Screenprint, on heavy wove paper, with full margins, signed and numbered 67/100

in pencil (there were also 12 artist’s proofs), published by International Images,

Inc., Putney,Vermont (with their blindstamp), occasional soiling and scuffing in

the margins, nicks and abrasions in places along the edges, compound creasing

at the upper left corner, otherwise in good condition, unframed.

I. 53 7/8 x 64 in. (136.8 x 162.6 cm)

S. 58 7/8 x 72 7/8 in. (149.5 x 185.1 cm)

Estimate $2,500-3,500

245

246

247

248

249

247 JAMES ROSENQUIST b. 1933

Carousel; Rouge Pad, 2nd State; Black Star and Tide, 1978-79

Four etching and aquatints in colors with pochoir, Rouge Pad also with embossing

and hand-coloring, on Pescia Italia paper, with full margins, all signed, titled,

dated ‘1978’ or ‘1979’ and numbered 51/78, 2/78, ‘10/24 A.P.’ and 24/78 respectively

in pencil (the editions were 78 for all and 15 and 24 artist’s proofs for three and

Black Star respectively), published by Multiples Inc., NewYork, all with occasional

soft handling creases, creasing in places along the edges, Carousel with an area

of soiling in the right image, two faint spots of soiling at the extreme right edge,

Rouge Pad with a small rubbed area at the lower center margin, a spot of stray

printing ink at the center left sheet edge, Black Star with offset pencil lines in the

margins, otherwise all in good condition, all unframed.

all I. 17 5/8 x 35 3/4 in. (44.8 x 90.8 cm)

all S. 22 1/2 x 39 3/4 in. (57.2 x 101 cm)

Estimate $2,000-3,000

LITERATURE Constance Glenn 131, 134A, 139 and 171


Miles, from America: TheThird Century portfolio, 1976

Lithograph and screenprint in colors, on Arches paper, the full sheet, signed,

dated ‘1975’, titled and numbered 138/200 in pencil (there were also 25 artist’s

proofs), published by Graphicstudio, University of South Florida,Tampa, the

palest time staining, offsetting on the reverse, otherwise in very good condition,

unframed.

S. 30 x 22 1/4 in. (76.2 x 56.5 cm)

Estimate $700-900

LITERATURE Constance Glenn 88


For Love, from 11 Pop Artists, Volume III, 1965

Screenprint in colors, on heavy wove paper, with full margins, signed and

numbered 155/200 in pencil (there was also an edition of 50 in Roman numerals

and an unrecorded number of artist’s proofs), published by Original Editions,

NewYork, occasional scuffing and soft handling creases, minor compound

creasing at the lower left corner, a few nicks along the edges, an area of

scattered brown staining on the reverse of the center left sheet, otherwise

in good condition, unframed.

I. 35 1/8 x 26 1/8 in. (89.2 x 66.4 cm)

S. 35 1/2 x 26 5/8 in. (90.2 x 67.6 cm)

Estimate $900-1,200



Ice Point, from Art and Sport portfolio, 1983

Lithograph in colors, on Arches Cover paper, the full sheet, signed, dated ‘1983’,

titled and numbered 95/150 in pencil (there were also 25 artist’s proofs), published

byVisconti/LazoVujic for the 1984Winter Olympic Games in Sarajevo,Yugoslavia,

an area of soiling at upper right, otherwise in very good condition, unframed.

S. 33 3/8 x 24 3/8 in. (84.8 x 61.9 cm)

Estimate $1,200-1,800


251 GEORGE SEGAL 1924-2000

Sleeping Woman, 1970

Plaster multiple, numbered 58/125 in black marker (slightly faded), published

by Pace Editions, Inc., NewYork, minor surface soiling, otherwise in very good

condition, framed.

15 1/4 x 13 1/2 x 7 in. (38.7 x 34.3 x 17.8 cm)

Estimate $1,500-2,500

250

251

James Rosenquist, Vanity Fair for Gordon Matta Clark, 1978,

oil and mixed media on canvas

PROPERTY FROMA PRIVATE COLLECTION


Self-Portrait, 1966

Offset lithograph, on silver coated paper, the full sheet, signed and numbered

267/300 in black ball-point pen on the reverse, with theAndyWarhol

Authentication Board, Inc., inkstamp and numbered ‘A183.032’ on the reverse,

a few scuffs, nicks and creases (some with associated minor ink loss),


S. 23 x 23 in. (58.4 x 58.4 cm)

Estimate $12,000-18,000

LITERATURE Frayda Feldman and Jörg Schellman 16


Mao, 1972

Screenprint in colors, on Beckett HighWhite paper, the full sheet, signed in

ball-point pen and stamp numbered 221/250 on the reverse (there were also 50

artist’s proofs), co-published by Castelli Graphics and Multiples, Inc., New

York, with theWarhol copyright stamp on the reverse, mat staining along the

upper sheet edge, otherwise in very good condition, unframed.

S. 36 x 36 in. (91.4 x 91.4 cm)

Estimate $20,000-30,000

LITERATURE Frayda Feldman and Jörg Schellmann 94

PROPERTY FROMA PRIVATE COLLECTION


Electric Chairs, 1971

The complete set of ten screenprints in colors, on wove paper, the full sheets,

all signed and dated ‘71’ in black ball-point pen and stamp numbered 201/250

on the reverse (there were also 50 artist’s proofs in Roman numerals),

published by Bruno Bischofberger, Zurich (with their copyright stamp on the

reverse), all with theAndyWarholAuthentication Board, Inc. stamps on the

reverse, all in excellent condition, all unframed.

all S. 35 1/2 x 48 in. (90.2 x 121.9 cm)

Estimate $40,000-60,000

LITERATURE Frayda Feldman and Jörg Schellmann 74-83

Thursday, December 12, 1985 The Boston Museum returned the

Electric Chair painting because they said the shade of red was off.

It was slightly different, and I told them that would make it more

interesting, but they still wanted to send it back for me to think

about it. If they had it next to the black panel it wouldn’t matter

anyway. I think they’re just procrastinating. But it costs around

$4,000 every time you ship it somewhere with the insurance and

everything. And Fred was going to Atlanta.

Monday, January 20, 1986 Jean-Michel woke me up at 6:00 this

morning and I went back to sleep and now my tongue can hardly

move. He’s got problems because he’s trying to get Shenge out of

the house, he says he’s supporting him for three years, but the main

reason is that (laughs) Shenge is now painting like he is. They’re

copies of his paintings. Jennifer’s away. And oh, Jean-Michel must

be so hard to live with. I told him I’d had dinner with Kenny and the

Chows and he wanted to know why I didn’t invite him and I said that

I’d called him three days ago and he didn’t call back. Fred said that

the Boston Museum people were still vague about whether they

were going to buy the Big Electric Chair or not.

AndyWarhol, The AndyWarhol Diaries, edited by Pat Hackett,

Warner Books, Inc., 1989, p. 699 and p. 709

PROPERTY FROM A PRIVATE COLLECTION


Cowboys and Indians: Indian Head Nickel, 1986

Unique screenprint in colors, on Lenox Museum Board paper, the full sheet,

signed, and numbered ‘TP 12/36’ in pencil (a trial proof, the edition was 250 and

50 artist’s proofs), published by Gaultney, Klineman Art, Inc., NewYork, with the

AndyWarhol Authentication Board Inc. inkstamp and numbered ‘A124-036’ on

the reverse, a few minor scuffs, a minute abrasion at the face by the hair (with

associated ink loss), a soft crease at lower right corner (with slight ink loss),


S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $20,000-30,000

LITERATURE Frayda Feldman and Jörg Schellmann 385B


Ads: Volkswagen, 1985

Screenprint in colors, on Lenox Museum Board paper, the full sheet, signed and

numbered 125/190 in pencil (there were also 30 artist’s proofs and an edition of

10 in Roman numerals), published by Ronald Feldman Fine Arts, Inc., NewYork,

occasional scuffing, areas of faint moisture staining at the center image and

along the sheet edges (visible in raking light), occasional ink loss in places along

the sheet edges, affixed to the support, otherwise in good condition, framed.

S. 38 x 38 in. (96.5 x 96.5 cm)

Estimate $4,000-6,000



Carter Burden, 1977

Screenprint, on Italia paper, the full sheet, signed in pencil, an unnumbered

proof aside from the edition of 200, published by AndyWarhol Enterprises, Inc.,

NewYork, to raise funds for the Carter Burden campaign for president of the

NewYork City Council, horizontal creasing throughout, occasional pale foxing,

pale time staining, moisture staining along the reverse of the lower sheet edge

(slightly showing through in places on the front), unframed.

S. 40 x 28 1/8 in. (101.6 x 71.4 cm)

Estimate $2,000-4,000


256

257

PROPERTY OF BOB COLACELLO, EAST HAMPTON


Mao Wallpaper, 1974

Multi-image screenprint in colors, on wallpaper, the full sheet, signed in felt pen,

from the unlimited edition, published by Factory Additions, NewYork, 1979,

minor creasing in the lower sheet, zig-zag stitching along the extreme sheet

edges, otherwise in very good condition, framed.

S. 74 x 29 1/2 in. (188 x 74.9 cm)

Estimate $6,000-9,000

LITERATURE Frayda Feldman and Jörg Schellmann 125A


Lincoln Center Ticket, 1967

Screenprint in colors, on wove paper, the full sheet, from the unsigned edition

of 500 (there was also a signed edition of 200 on opaque acrylic), published by

Lincoln Center List Poster and Print Program, NewYork, occasional creases and

scuffs and nicks along the sheet edges (a few with associated ink loss), mat

staining on the reverse, otherwise in good condition, framed.

S. 45 x 24 in. (114.3 x 61 cm)

Estimate $1,000-1,500


258

259

260


The Philosophy of Andy Warhol (From A to B & Back Again), 1975

The first edition book by AndyWarhol in hard-cover, signed on the paper

wrapper, cover page and page 92 in black ink, published by Harcourt Brace

Jovanovich, NewYork and London, occasional foxing throughout, the signatures

offsetting onto proceeding pages, minor scuffing and wear on the paper

wrapper, otherwise in good condition.

8 1/2 x 5 7/8 in. (21.6 x 14.9 cm)

Estimate $500-700

261 JEFF KOONS b. 1955

Puppy, 1992

Dried flower, resin and plastic multiple, from the edition of unknown size,

published byTAMCB Guggenheim Museum, Bilbao, occasional minor flower

loss, minor soiling on the base, otherwise in very good condition, contained

in original clear plastic box.

7 1/2 x 4 1/2 x 8 in. (19.1 x 11.4 x 20.3 cm)

Estimate $600-900


Signature Plate, 1989

Porcelain plate with decal image multiple, numbered 48/80 (there was also

an edition of 50 in Roman numerals), published by Parkett Editions, Zurich and

NewYork, surface soiling (primarily on the underside), otherwise in very good

condition.

diameter: 11 in. (27.9 cm)

Estimate $1,200-1,800



Puppy Plate, 1992

Porcelain plate enamelled in colors, signed and numberedVIII/XXV on the

reverse (an artist’s proof, the edition was 125), published by the San Francisco

Museum of Modern Art, in very good condition, contained in original styrofoam

box with cardboard sleeve (minor soiling).

11 x 15 in. (27.9 x 38.1 cm)

Estimate $1,000-1,500


Cracked Egg, 2008

Chromed-metal multiple in red, from the edition of unknown size, published by

Los Angeles Contemporary Museum of Art as a gala invitation, with minor paint

loss along the crack, otherwise in very good condition, contained in original

black cardboard box with accompanying cards.

4 3/4 x 3 x 3 in. (12.1 x 7.6 x 7.6 cm)

Estimate $600-900

261

262

264263

265 JIM DINE b. 1935

Nancy Outside in July I, II, III, V, XIX, XX, XXI and XXIII, 1978-81

Eight etching and aquatints some in colors, some with roulette, hand-coloring

or additions, on various papers, with full margins, all signed, dated ‘1978’ or

‘1981’ and variously numbered in pencil, there were various editions and

various artist’s proofs, published by Pace Editions, Inc., NewYork, a few with

occasional soft handling creases, one with very pale mat staining, most with

hinge or adhesive remains in places on the reverse, otherwise all in very good


various sizes

Estimate $9,000-12,000

LITERATURE Ellen D’Oench & Jean Feinberg 18-20, 22, 100-102 and 104


The Big Black and White Woodcut Tree, 1981

Woodcut, on JapaneseToyoshi paper, with full margins, signed, dated ‘1981’


Universal Limited Art Editions, West Islip, NewYork, (with their blindstamp),

in very good condition, framed.

I. 48 5/8 x 36 1/4 in. (123.5 x 92.1 cm)

S. 57 3/4 x 42 in. (146.7 x 106.7 cm)

Estimate $1,000-1,500

LITERATURE Ellen D’Oench & Jean Feinberg 85


Wall Chart II, 1974

Lithograph in colors, on Rives paper, with full margins, signed, dated ‘1974’


Petersburg Press, London, minor surface soiling, a repaired tear at upper right

(slightly affecting the image), adhesive remains at the reverse of the upper

corners, otherwise in good condition, unframed.

I. 41 3/4 x 30 in. (106 x 76.2 cm)

S. 48 1/4 x 35 in. (122.6 x 88.9 cm)

Estimate $2,000-3,000

LITERATURE Williams College 167

268 MALCOLM MORLEY b. 1931

Untitled, 1965

Screenprint in colors, on Rives BFK paper, with full margins, signed and

numbered 27/100 in pencil, published by Brooke Alexander Editions, NewYork,

scuffing (particularly visible in the black inks), occasional creasing (with

associated ink loss), creasing and soiling in the margins, several small holes and

abrasions in the margins, a few stains in the lower margin, splitting and several

tears at the sheet edges, time staining, soiling on the reverse, unframed.

I. 36 3/4 x 27 in. (93.3 x 68.6 cm)

S. 46 x 35 in. (116.8 x 88.9 cm)

Estimate $300-500

266 267

268

269 ALEX KATZ b. 1927

Ada, 1994

Lithograph and screenprint in colors, on wove paper, the full sheet, signed and

numbered ‘A.P 22/40’ in pencil (an artist’s proof, the edition was 100), published

by Editions de laTempête, Paris, in excellent condition, framed.

S. 26 x 26 1/4 in. (66 x 66.7 cm)

Estimate $2,500-3,500


Grey Dress, 1992

Screenprint in colors, on Arches paper, the full sheet, signed and numbered

105/150 in pencil (there were also 18 artist’s proofs), published by Chalk and

Vermillion, Greenwich, Connecticut, in excellent condition, framed.

S. 36 x 28 in. (91.4 x 71.1 cm)

Estimate $2,500-3,500

269

270


Alex and Ada the 1960’s to the 1980’s: Green Jacket, 1990

Screenprint in colors, on wove paper, the full sheet, signed and numbered

114/150 in pencil (there were also 30 artist’s proofs), published by Gaultney,

Klineman, NewYork, in very good condition, unframed.

S. 36 x 24 in. (91.4 x 61 cm)

Estimate $800-1,200


Alex and Ada the 1960’s to the 1980’s: Sweatshirt II, 1990

Screenprint in colors, on wove paper, with full margins, signed and numbered

114/150 (there were also 30 artist’s proofs), published by Gaultney, Klineman,

NewYork, very slight creasing at the lower right corner (with the slightest ink

loss), otherwise in very good condition, unframed.

S. 35 7/8 x 28 5/8 in. (91.1 x 72.7 cm).

Estimate $800-1,200

271 272


Spruce, 1994

Aquatint in colors, on wove paper, the full sheet, signed and numbered ‘AP 8/12’

in pencil (an artist’s proof, the edition was 40), published by Simmelink-Sukimoto

Editions, Kingston, NewYork, a sticker at the reverse of the upper sheet edge,


S. 47 x 35 3/8 in. (119.4 x 89.9 cm)

Estimate $3,000-4,000


Camp, from The Carnegie Hall 100th Anniversary portfolio, 1990

Woodcut in colors, on Japanese paper, the full sheet, signed and numbered 22/60

in pencil (there were also 13 artist’s proofs), published by Carnegie Hall, New

York, minor rippling, taped to the overmat in places along the reverse of the

edges, otherwise in very good condition, framed.

S. 59 3/4 x 40 in. (151.8 x 101.6 cm)

Estimate $800-1,000

273

274

275


Lake Wesserunsett IV, 1972

Screenprint in colors, on American Etching paper, the full sheet, signed and

numbered 6/30 in pencil, published by Brooke Alexander Editions and

Marlborough Graphics, NewYork, minor surface soiling, two scuffs at the upper

right, otherwise in very good condition, unframed.

S. 30 x 36 in. (76.2 x 91.4 cm)

Estimate $1,500-2,000

LITERATURE Nicholas Maravell 61

276 DONALD SULTAN b. 1951

Visual Poetics, 1998

The complete set of six screenprints, on Coventry rag paper, with full margins,

plus 24 bound reproductions, with accompanying poetry by Robert Creely, each

print signed with initials and dated 62/395 in pencil (there were also 25 artist’s

proofs), published by Marco Fine Arts Studio, El Segundo, California, all in very

good condition, the prints loose and the book bound (as issued), contained in

original leather binding with artist’s name embossed on the front in red.

22 1/2 x 17 1/2 in. (57.2 x 44.5 cm)

Estimate $4,000-5,000


Flowers and Lines, 2005

Etching, on wove paper, with full margins, signed with initials, titled, dated

‘Oct 31 2005’ and numbered 6/40 in pencil, published by the artist to benefit

Friends Seminary, NewYork, in excellent condition, framed.

I. 8 7/8 x 10 3/8 in. (22.5 x 26.4 cm)

S. 14 x 15 in. (35.6 x 38.1 cm)

Estimate $500-700


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


I. 11 7/8 x 11 7/8 in. (30.2 x 30.2 cm)

S. 22 3/4 x 21 1/4 in. (57.8 x 54 cm)

Estimate $500-700

276

277

278

279 JENNIFER BARTLETT b. 1941

The Four Seasons, 1990-93

The complete set of four screenprints in colors, on Kurotani Hosho paper, with

full margins, all signed, dated ‘93’ and annotated ‘RTP’ in pencil (the right-to-

print proof, the edition was 62 and 12, 17 and 18 artist’s proofs in Roman

numerals), co-published by the artist and Simca Print Artists, NewYork (with

their blindstamp), all with occasional soft rubbing in the margins, otherwise all

in very good condition, all framed.

all I. 31 3/8 x 31 1/8 in. (79.7 x 79.1 cm)

all S. 33 3/8 x 34 5/8 in. (84.8 x 87.9 cm)

Estimate $3,000-5,000

LITERATURE The Orlando Museum of Art 17-20

Including: Autumn; Winter; Spring and Summer

280 ERIC FISCHL b. 1948

Floating Islands, 1985

The complete set of five aquatints with drypoint in colors, on Zerkall paper, the

full sheets, all signed and numbered 10/45 in pencil (there were also 10 artist’s

proofs for all), published by Peter Blum Editions, NewYork, all with hinge

remains at the reverse of the upper corners, otherwise in very good condition,

loose, lacking the title, justification and green cloth-covered portfolio.

yellow S. 22 5/8 x 16 5/8 in. (57.5 x 42.2 cm)

other four S. 11 1/2 x 31 1/2 in. (29.2 x 80 cm)

Estimate $3,000-5,000

End of Sale

Have a great summer! See you in November

INDEX

Acconci,V. 119, 120

Albers, J. 24, 25, 26, 27, 28, 52

Appleby,A. 4

Arce, M. 86

Arp, J. 55

Artschwager, R. 158

Bailey,W. 198

Bartlett, J. 279

Baselitz, G. 114

Bedia, J. 85

Beecroft,V. 135

Bell, L. 122, 124, 125

Bertoia, H. 43, 44, 45, 46

Bleckner, R. 181

Bontecou, L. 68

Borofksy, J. 121

Bosman, R. 172, 173

Bourgeois, L. 207, 208

Brooks, J. 61

Brown, G. 235

Bury, P. 80

Calle, S. 209

Cattelan, M. 138

Celmins,V. 194

Christo 132

Clemente, F. 180

Close, C. 185, 186, 187, 188, 189, 190

Cottingham, R. 200

Dine, J. 265, 266, 267

Dintenfass, M. 12, 13

Doig, P. 104

Dwyer, N. 171

Emin,T. 223

Essenhigh, I. 79

Estes, R. 201

Fischl, E. 280

Förg, G. 53, 67

Francis, S. 34, 35

Freud, L. 192

Friedman,T. 142, 143, 144

Fulton, H. 108

Furnas, B. 222

Gianakos, S. 149

Gillick, L. 3

Gober, R. 205

Gonzalez-Torres, F. 210

Gornik,A. 111, 112

Guston, P. 64

Hamilton, R. 237

Hammond, J. 105, 204

Haring, K. 178

Havekost, E. 153

Hayter, S.W. 47, 48, 49, 50, 51

Heilmann, M. 10, 11

Held,A. 2

Hernandez, S. 84

Hodges, J. 179

Hodgkin, H. 33

Holl, S. 126

Hume, G. 182, 183, 184

Immendorf, J. 177

Jacquette, J. 202

Johanson, C. 159

Johns, J. 191, 206

Judd, D. 21, 22

Kapoor,A. 81, 82

Katz,A. 269, 270, 271, 272, 273, 274, 275

Kelly, E. 5, 6, 7, 8, 195

Kessler, J. 161

Kippenberger, M. 163, 164

Kooning,W.de 62

Kooning,W. de (after) 63

Koons, J. 261, 262, 263, 264

Kozloff, J. 73

Krasner, L. 56

Kuitca, G. 123

Kusama,Y. 167, 168

Laemmle, C. 174

Laffoley, P. 102

LeWitt, S. 14, 15, 16, 17

Lichtenstein, R. 232, 233

Longo, R. 175

Magritte, H. (after) 106

e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 144

Marca-Relli, C. 65

Marden, B. 19

Martin,A. 23

Matisse, H. 193

Mc Carthy, P. 146

Mc Collum,A. 141

Mehretu, J. 69, 70, 71

Miró, J. 75, 76, 77, 78

Mitchell, J. 57, 58, 59, 60

Morley, M. 268

Motherwell, R. 36, 37, 38

Mucha, R. 131

Murakami,T. 88, 89, 90, 91, 92, 93, 94, 95,

96, 97, 98, 99,100

Nauman, B. 217, 218, 219, 220, 221

Nevelson, L. 54

Oldenburg, C. 230, 231

Owens, L. 109

Pardo, J. 118

Penck,A. R. 176

Picasso, P. 196, 197

Pistoletto, M. 236

Polk Smith, L. 9

Price, K. 145

Rainer,A. 115

Rauschenberg, R. 224, 225, 226,

227, 228, 229

Ray, C. 134

Rivers, L. 234

Robbins, D. 140

Rosenquist, J. 247, 248, 249, 250

Ruff,T. 110

Ruppersburg,A. 157

Ruscha, E. 107, 160

Ryman, R. 18

Samore, S. 137

Sarmento, J. 87

Saul, P. 169

Schumann, C. 162

Scully, S. 29

Segal, G. 251

Senise, D. 83

Shepherd, K. 211

Shonibare,Y. 166

Shrigley, D. 148

Siena, J. 30

Simmons, L. 136

Smith, K. 203, 212, 213, 214, 215, 216

Steinberg, S. 170

Steir, P. 72

Stella, F. 31, 32

Sugimoto, H. 130

Suh, D. H. 103

Sultan, D. 276, 277, 278

Suvero, M. di 20

Teraoka, M. 165

Tomaselli, F. 150, 151

Tuttle, R. 74

Twombly, C. 199

VariousArtists 113, 133, 156, 238

Vasarely,V. 39, 40, 41, 42

Walker, K. 152

Warhol,A. 155, 252, 253, 254, 255, 256,

257, 258, 259, 260

Weiner, L. 154

Wesselmann,T. 239, 240, 241, 242, 243,

244, 245, 246

West, F. 116, 117

Whiteread, R. 127, 128, 129

Winters,T. 66

Wojnarowicz, D. 101

Wool, C. 139

Zox, L. 1


WHAT IS A PRINT?

An original print is a work of art on paper which has been conceived by the

artist to be realized as a print, rather than as a photographic reproduction

of a work in another medium. Prints are produced by drawing or carving a

composition on a hard surface (the MATRIX) such as a wood block, metal plate,

or stone.This surface is then inked and the image is transferred to paper by the

application of pressure, thus creating an “IMPRESSION” or print. Unlike

paintings or drawings, prints usually exist in multiple impressions, each of which

is pulled from the inked surface.The total number of impressions made is called

an edition. Artists began to sign and number each impression around the start of

the 20th century.

GLOSSARY

We thank the International Fine Print Dealers Association for use of their official

printmaking glossary.

Aquatint. An intaglio process used to produce areas of tone or shadow rather than

lines, it is often combined with etching.The metal plate is covered with a waxy

ground or resin that is granular rather than solid (as in etching). Acid is applied

which “bites” into the metal between the granules to produce areas which will catch

the ink when it is wiped across the plate.The use of different resins with grains in

varying densities will produce different degrees of darkness. Portions of the plate

can be protected with varnish in order to expose the plate to multiple bitings without

affecting the entire composition.

SPITBITE AQUATINT involves painting strong acid directly onto the aquatint

ground of a prepared plate. Saliva, ethylene glycol or Kodak Photoflo solution is

used to control the strength of the acid applied.Traditionally, a clean brush was

coated with saliva, dipped into nitric acid and brushed onto the ground, hence the

term “spitbite.”

Chine-collé, literally translated “Chinese glue,” is a technique that allows the

artist or printmaker to print with thin delicate papers, such as rice paper or linen.

Prior to printing, a water-soluble glue or paste is applied to the back of the lighter

paper which is then placed against a heavier printmaking paper.The pressure of the

press transfers the image to the delicate surface of the paper which adheres to the

dampened heavier paper at the same time.

Counterproofs are made by placing a dampened sheet of paper on top of a pastel

and applying pressure to transfer the pastel image.

Digital Prints:Artists who use a computer to create or manipulate their works

often use a large-scale ink jet printer to print them.These complex printers use a

sophisticated print head to disperse the ink on the paper in a fine mist of minute

droplets in order to deliver a continuous tone image.The distinction as to whether

a digital print is an “original print” is determined by whether the work was created

by the artist to be realized as a print. A digital print of a work that originated as a

painting or drawing is a reproduction and therefore is not an original print.

Drypoint prints are created by scratching a drawing into a metal plate with a

needle or sharp tool.This intaglio technique gives the artist the greatest freedom

of line, from the most delicate hairline to the heaviest gash.As the artist incises

lines into the plate, metal shavings called “burr” are pushed up to the surface of the

plate and sit along the lines incised. In drypoint, the burr is not scraped away before

printing but stays on the surface of the plate to print a velvety cloud of ink until it

is worn away by repeated printings. Drypoint plates (particularly the burr on them)

wear more quickly than etched or engraved plates and therefore allow for fewer

satisfactory impressions and show far greater differences from first impression

to last.

Numbering.While the numbering of individual impressions can be found as early

as the late nineteenth century, it did not become standard practice until the mid-

1960’s.Today, all limited edition prints should be numbered.The numbering is

transcribed as a fraction with the first number signifying the number of the

individual impression and the second representing the total number of prints in the

edition.The numbering sequence is not intended to reflect the order of printing;

prints are not numbered as they come off the press but some time later, after the ink

has dried.The edition number does not include proofs (see PROOFS), but only the

total in the numbered edition

Editions

POSTHUMOUS EDITION. Edition printed after the death of the artist. It has

usually been authorized by the artist’s heirs or is the product of a publisher who

purchased the matrix from the artist. It should be limited in some way (though not

necessarily hand-numbered) or it becomes simply a limitless restrike. Posthumous

editions of prints that were pencil signed in their original edition frequently bear

stamped signatures authorized by the artist’s heirs or the publisher.

RESTRIKES. Later impressions that have not been authorized by the artist or the

artist's heirs.While some restrikes are of good appearance, the excessive printing

of the matrix tends to wear it out and many restrikes are only ghostly images of what

the print is supposed to be. In the case of images that may be intrinsically valuable

(i.e. Rembrandt etchings), the worn-out copper plate is frequently reworked several

centuries later so that while the restrike may be said to have come from the original

plate, there is hardly anything left of the original work on the plate, even the plate

signature often being re-etched by someone else.

SECOND EDITION. A second edition is a later printing, usually authorized by the

artist or by the heirs, from the original matrix, after an edition of declared number

has already been printed. It should be annotated as a second, or subsequent,

edition. Sometimes second editions are made, many years after the first, because

the artist originally printed only four or five impressions, hardly amounting to an

edition at all. A photographically produced replica of the original print, whether

printed in a limited edition or not, is not a second edition; it is a reproduction.

Engraving is an intaglio technique in which the metal plate is marked or incised

with a tool called a burin.As the burin is moved across the plate, copper shavings,

called “burr,” are forced to either side of the lines being created.These are usually

cleaned from the plate before inking.The engraved plate is covered in ink and then

wiped so that only the engraved lines contain the ink.An engraved line may be deep

or fine, has a sharp and clean appearance, and tapers to an end.

Wood Engravings are a form of relief printing in which the areas of the

composition that are not to receive ink are carved away with fine engraving tools.

Ink is applied to the raised surface and the composition transferred to paper with

a press or by hand burnishing or rubbing. Incredible precision and detail is possible

with this technique.

Etching has been a favored intaglio technique for artists for centuries because the

method of inscribing the image is so similar to drawing with a pencil or pen.After

a metal plate has been coated with a waxy substance called a “ground,” the artist

draws through the ground with a stylus to expose the metal.The plate is then

immersed in an acid bath, which chemically dissolves or “bites” the exposed metal.

The ground is removed before the plate is inked and printed. Etched lines usually

have blunt rather than tapering ends.

Linocut, a form of relief printing, is a variation of the woodcut technique.The

artist’s composition is cut into the surface of linoleum often backed by wood for

reinforcement. Areas which are not to receive ink are carved away and separate

blocks must be carved for each color used. Since the blocks possess a smooth

surface rather than a woodgrain, the resulting prints are characterized by a

smoother texture in the printed areas.


HORS COMMERCE PROOF. Impressions annotated H.C. are supposedly “not

for sale.”These “proofs” started to appear on the market as extensions of editions

printed in the late 1960’s.They may differ from the edition by being printed on a

different paper or with a variant inking; they may also not differ at all. Publishers

sometimes use such impressions as exhibition copies, thereby preserving the

numbered impressions from rough usage.

PRINTER'S PROOF. A complimentary proof given to the printer.There can be

from one to several of these proofs, depending upon the number of printers involved

and the generosity of the artist.

TRIAL PROOF. An impression pulled before the edition in order to see what the

print looks like at that stage of development, after which the artist may go back to

the matrix and make adjustments.There can be any number of trial proofs,

depending upon how a particular artist works, but it is usually a small number and

each one usually differs from the others. In French, a trial proof is called an épreuve

d'essai, in German a probedruck.

Publisher.A publisher provides the financial support to produce and market an

artist’s prints. A publisher brings together artist and printer (assuming the artist

does not do his own printing).The printer may also himself be a publisher.

Publishers date back to the sixteenth century and the great majority of original

prints made in the nineteenth century were commissioned and brought to market

by publishers.

Screenprints (Serigraphy). In this process, a separate screen is required for

each color in the artist's composition and the same piece of paper must be printed

with each of them in turn. For each screen, a pattern of fabric or paper is cut and

attached to the mesh to block the flow of that particular color to the sheet of paper

beneath it. A squeegee is used to force the paint through the exposed areas of the

mesh.This technique is often referred to as serigraphy, a term coined to distinguish

between commercial and artistic screenprinting.

Signatures.The very earliest prints were not signed at all, although by the late

fifteenth century many artists indicated their authorship of a print by incorporating

a signature or monogram into the matrix design, what is called “signed in the plate”

or a “plate signature.”While some prints were pencil signed as early as the late

eighteenth century, the practice of signing one's work in pencil or ink did not really

become common practice until the 1880’s.Today it is customary for original prints

to be signed.When a print is described simply as “signed” it should mean that is

signed in pencil, ink or crayon; a plate signature should not be described as

“signed.”A stamped signature should be described as such.

Woodcut is a relief technique using a side-grained plank of wood in which the non-

printing areas of the composition are cut away below the surface with a knife or

gouge.While woodcuts were first seen in ninth-century China,Western artists have

made woodcut prints since the fourteenth century. In the seventeenth and

eighteenth centuries, Japanese artists using these techniques reached an

exceptional level of artistic achievement, what is known as the ukiyo-e period or

style.

COLORWOODCUTS involve the use of separate blocks for each color, often

with enormous complexity using multiple blocks and overlapping.

WHITE LINEWOODCUTS were the product of a technique developed by artists

in the Provincetown art colony around 1915. By cutting a groove between each color

in the composition, the artists were able to produce a color woodcut from a single

block.The desired colors are painted on the raised areas while the groove, which

is devoid of ink, prints as a blank or “white” line delimiting each area of color.

Lithography. Literally, “stone drawing,” the artist draws or paints the composition

on the flat surface of a stone with a greasy crayon or liquid.The design is chemically

fixed on the stone with a weak solution of acid and gum arabic. In printing, the stone

is flooded with water which is absorbed everywhere except where repelled by the

greasy ink. Oil-based printer’s ink is then rolled on the stone, which is repelled in

turn by the water soaked areas and accepted only by the drawn design.The stone is

then run through the press with paper under light pressure, the final print showing

neither a raised nor embossed quality but lying entirely on the surface of the paper.

The design may be divided among several stones, properly registered, to produce

through multiple printings a lithograph in more than one color. A transfer lithograph

(French, autographie) employs the same technique, but the design is drawn on

specially prepared transfer paper with a lithographic crayon and is later

mechanically transferred to the stone.

A ZINCOGRAPH is the same as a lithograph, but uses a zinc plate rather than

a stone.

Matrix. From the Latin word mater, meaning mother, the matrix is the form or

surface on which the image to be printed is prepared, for example, a woodblock,

a linoleum block, a metal plate, a lithographic stone or a mesh screen.

Mezzotint is another intaglio technique used to create areas of tone or shadow

rather than lines. In this method, the entire surface of the plate is abraded by a

spiked tool called a rocker so that, if inked at that point, the entire plate would print

in solid black.The artist then works “from black to white” by scraping or burnishing

areas so that they will hold less or no ink, yielding modulated tones

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

words are often used interchangeably but shouldn’t be) are prints that have an

edition of one, though sometimes a second, weaker impression can be taken from

the matrix.

A MONOPRINT is made by taking an already etched and inked plate and adding

to the composition by manipulating additional ink on the surface of the plate.This

produces an impression different in appearance from a conventionally printed

impression from the same plate. Since it is virtually impossible to manipulate the

additional ink in exactly the same way for each impression, every monoprint

impression will be different.

A MONOTYPE is made by drawing a design in printing ink on any smooth surface,

then covering that matrix with a sheet of paper and passing it through a press.The

resulting image will be an exact reverse of the original drawing, but relatively flatter

because of the pressure of the press.

Pochoir is a direct method of adding hand-coloring to an impression through a

stencil.The stencil itself is usually knife-cut from thin coated paper, paperboard,

plastic, or metal and the ink or paint is applied with a brush through the stencil

to the paper beneath.

Proofs

ARTIST'S PROOFS.This practice dates back to the era when an artist

commissioned to execute a print was provided with lodging, living expenses, and

a printing studio with workmen, supplies and paper.The artist was given a portion

of the edition (to sell) as payment for his work.Today, though artists get paid for

their editions, the tradition has persisted and a certain number of impressions are

put aside for the artist. Artist's proofs are annotated as such or asA.P., or Épreuve

d'Artiste or E.A.

BON ÀTIRER PROOF. Literally, the “ok-to-print proof.” If the artist is not

printing his own edition, the bon à tirer (sometimes abbreviated as b.a.t.) is the final

trial proof, the one that the artist has approved, telling the printer that this is the way

they want the edition to look.There is only one of these proofs for an edition.


GUIDE FOR PROSPECTIVE BUYERS

Buying at AuctionThe following pages are designed to offer you information on how to buy at auctionat Phillips de Pury & Company. Our staff will be happy to assist you.

Conditions of SaleThe Conditions of Sale andAuthorshipWarranty which appear later in thiscatalogue govern the auction. Bidders are strongly encouraged to read them as theyoutline the legal relationship among Phillips, the seller and the buyer and describethe terms upon which property is bought at auction. Please be advised that Phillipsde Pury & Company generally acts as agent for the seller.

Buyer’s PremiumPhillips de Pury & Company charges the successful bidder a commission, or buyer’spremium, on the hammer price of each lot sold.The buyer’s premium is payable bythe buyer as part of the total purchase price at the following rates: 25% of thehammer price up to and including $50,000, 20% of the portion of the hammer priceabove $50,000 up to and including $1,000,000 and 12% of the portion of the hammerprice above $1,000,000.

1 Prior to Auction

Catalogue SubscriptionsIf you would like to purchase a catalogue for this auction or any other Phillips dePury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

Pre-Sale EstimatesPre-Sale estimates are intended as a guide for prospective buyers.Any bid withinthe high and low estimate range should, in our opinion, offer a chance of success.However, many lots achieve prices below or above the pre-sale estimates.Where“Estimate on Request” appears, please contact the specialist department for furtherinformation. It is advisable to contact us closer to the time of the auction asestimates can be subject to revision. Pre-sale estimates do not include the buyer’spremium or any applicable taxes.

Pre-Sale Estimates in Pounds Sterling and EurosAlthough the sale is conducted in US dollars, the pre-sale estimates in the auctioncatalogues may also be printed in pounds sterling and/or euros. Since the exchangerate is that at the time of catalogue production and not at the date of auction, youshould treat estimates in pounds sterling or euros as a guide only.

Catalogue EntriesPhillips may print in the catalogue entry the history of ownership of a work of art,as well as the exhibition history of the property and references to the work in artpublications.While we are careful in the cataloguing process, provenance, exhibitionand literature references may not be exhaustive and in some cases we mayintentionally refrain from disclosing the identity of previous owners. Please notethat all dimensions of the property set forth in the catalogue entry are approximate.

Condition of LotsOur catalogues include references to condition only in the descriptions of multipleworks (e.g., prints). Such references, though, do not amount to a full description ofcondition.The absence of reference to the condition of a lot in the catalogue entrydoes not imply that the lot is free from faults or imperfections. Solely as aconvenience to clients, Phillips de Pury & Company may provide condition reports.In preparing such reports, our specialists assess the condition in a mannerappropriate to the estimated value of the property and the nature of the auction inwhich it is included.While condition reports are prepared honestly and carefully, ourstaff are not professional restorers or trained conservators.We therefore encourageall prospective buyers to inspect the property at the pre-sale exhibitions andrecommend, particularly in the case of any lot of significant value, that you retainyour own restorer or professional advisor to report to you on the property’s conditionprior to bidding.Any prospective buyer of photographs or prints should alwaysrequest a condition report because all such property is sold unframed, unlessotherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury& Company accepts no liability for the condition of the frame. If we sell any lotunframed, we will be pleased to refer the purchaser to a professional framer.

Pre-AuctionViewingPre-auction viewings are open to the public and free of charge. Our specialistsare available to give advice and condition reports at viewings or by appointment.

Electrical and Mechanical LotsAll lots with electrical and/or mechanical features are sold on the basis of theirdecorative value only and should not be assumed to be operative. It is essential that,prior to any intended use, the electrical system is verified and approved by aqualified electrician.

Symbol KeyThe following key explains the symbols you may see inside this catalogue.

O Guaranteed PropertyThe seller of lots with this symbol has been guaranteed a minimum price.Theguarantee may be provided by Phillips de Pury & Company, by a third party or jointlyby us and a third party. Phillips de Pury & Company and third parties providing orparticipating in a guarantee may benefit financially if a guaranteed lot is soldsuccessfully and may incur a loss if the sale is not successful.

∆ Property inWhich Phillips de Pury & Company Has an Ownership InterestLots with this symbol indicate that Phillips de Pury & Company owns the lot inwhole or in part or has an economic interest in the lot equivalent to an ownershipinterest.

• No ReserveUnless indicated by a •, all lots in this catalogue are offered subject to a reserve.A reserve is the confidential value established between Phillips de Pury & Companyand the seller and below which a lot may not be sold.The reserve for each lot isgenerally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

2 Bidding in the Sale

Bidding at AuctionBids may be executed during the auction in person by paddle or by telephone orprior to the sale in writing by absentee bid.

Bidding in PersonTo bid in person, you will need to register for and collect a paddle before the auctionbegins. Proof of identity in the form of government issued identification willbe required, as will an original signature.We may also require that you furnish uswith a bank reference. New clients are encouraged to register at least 48 hours inadvance of a sale to allow sufficient time for us to process your information.All lotssold will be invoiced to the name and address to which the paddle has beenregistered and invoices cannot be transferred to other names and addresses. Pleasedo not misplace your paddle. In the event you lose it, inform a Phillips de Pury &Company staff member immediately. At the end of the auction, please return yourpaddle to the registration desk.

Bidding byTelephoneIf you cannot attend the auction, you may bid live on the telephone with one of ourmulti-lingual staff members.This service must be arranged at least 24 hours inadvance of the sale and is available for lots whose low pre-sale estimate is at least$1000.Telephone bids may be recorded. By bidding on the telephone, you consent tothe recording of your conversation.We suggest that you leave a maximum bid,excluding the buyer’s premium and any applicable taxes, which we can execute onyour behalf in the event we are unable to reach you by telephone.

Absentee BidsIf you are unable to attend the auction and cannot participate by telephone, Phillipsde Pury & Company will be happy to execute written bids on your behalf. A biddingform can be found at the back of this catalogue.This service is free and confidential.Bids must be placed in the currency of the sale. Our staff will attempt to execute anabsentee bid at the lowest possible price taking into account the reserve and otherbidders.Always indicate a maximum bid, excluding the buyer’s premium and anyapplicable taxes. Unlimited bids will not be accepted.Any absentee bid must bereceived at least 24 hours in advance of the sale. In the event of identical bids, theearliest bid received will take precedence.

Employee BiddingEmployees of Phillips de Pury & Company and our affiliated companies, includingthe auctioneer, may bid at the auction by placing absentee bids so long as they donot know the reserve when submitting their absentee bids and otherwise complywith our employee bidding procedures.

Bidding IncrementsBidding generally opens below the low estimate and advances in increments of upto 10%, subject to the auctioneer’s discretion.Absentee bids that do not conformto the increments set below may be lowered to the next bidding increment.

$50 to $1,000 by $50s$1,000 to $2,000 by $100s$2,000 to $3,000 by $200s$3,000 to $5,000 by $200s, 500, 800

(i.e. $4,200, 4,500, 4,800)$5,000 to $10,000 by $500s$10,000 to $20,000 by $1,000s$20,000 to $30,000 by $2,000s$30,000 to $50,000 by $2,000s, 5,000, 8,000$50,000 to $100,000 by $5,000s$100,000 to $200,000 by $10,000sabove $200,000 auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at hisor her own discretion.


AUCTION 3 JUNE 2009 11am NEW YORK

Viewing 27 May – 2 June

Phillips de Pury & Company 450 West 15 Street NewYork

Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039

www.phillipsdepury.com

LILIAN DAUBISSE Hérisson, 2004 Estimate $20,000-30,000

DESIG N


3 TheAuction

Conditions of SaleAs noted above, the auction is governed by the Conditions of Sale andAuthorshipWarranty. All prospective bidders should read them carefully.They may be amendedby saleroom addendum or auctioneer’s announcement.

Interested Parties AnnouncementIn situations where a person allowed to bid on a lot has a direct or indirect interestin such lot, such as the beneficiary or executor of an estate selling the lot, a jointowner of the lot or a party providing or participating in a guarantee on the lot,Phillips de Pury & Company will make an announcement in the saleroom thatinterested parties may bid on the lot.

Consecutive and Responsive BiddingThe auctioneer may open the bidding on any lot by placing a bid on behalf of theseller.The auctioneer may further bid on behalf of the seller up to the amount of thereserve by placing consecutive bids or bids in response to other bidders.

4 After the Auction

PaymentBuyers are required to pay for purchases immediately following the auction unlessother arrangements are agreed with Phillips de Pury & Company in writing inadvance of the sale. Payments must be made in US dollars either by cash, checkdrawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions ofSale. It is our corporate policy not to make or accept single or multiple paymentsin cash or cash equivalents in excess of US$10,000.

Credit CardsAs a courtesy to clients, Phillips de Pury & Company will acceptAmerican Express,Visa and Mastercard to pay for invoices of $10,000 or less.

CollectionIt is our policy to request proof of identity on collection of a lot. A lot will be releasedto the buyer or the buyer’s authorized representative when Phillips de Pury &Company has received full and cleared payment and we are not owed any otheramount by the buyer. Promptly after the auction, we will transfer all lots to ourwarehouse located at 29-09 37thAvenue in Long Island City, Queens, NewYork.Allpurchased lots should be collected at this location during our regular weekdaybusiness hours.As a courtesy to clients, we will upon request transfer purchasedlots suitable for hand carry back to our premises at 450West 15th Street, NewYork,NewYork for collection within 30 days following the date of the auction.We will levyremoval, interest, storage and handling charges on uncollected lots.

Loss or DamageBuyers are reminded that Phillips de Pury & Company accepts liability for loss ordamage to lots for a maximum of five days following the auction.

Transport and ShippingAs a free service for buyers, Phillips de Pury & Company will wrap purchased lotsfor hand carry only.We will, at the buyer’s expense, either provide packing, handlingand shipping services or coordinate with shipping agents instructed by the buyer inorder to facilitate such services for property purchased at Phillips de Pury &Company. Please refer to Paragraph 7 of the Conditions of Sale for moreinformation.

Export and Import LicensesBefore bidding for any property, prospective bidders are advised to makeindependent inquiries as to whether a license is required to export the property fromthe United States or to import it into another country. It is the buyer’s soleresponsibility to comply with all import and export laws and to obtain any necessarylicenses or permits.The denial of any required license or permit or any delay inobtaining such documentation will not justify the cancellation of the sale or anydelay in making full payment for the lot.

Endangered SpeciesItems made of or incorporating plant or animal material, such as coral, crocodile,ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage orvalue, may require a license or certificate prior to exportation and additionallicenses or certificates upon importation to any foreign country. Please note that theability to obtain an export license or certificate does not ensure the ability to obtainan import license or certificate in another country, and vice versa.We suggest thatprospective bidders check with their own government regarding wildlife importrequirements prior to placing a bid. It is the buyer’s sole responsibility to obtain anynecessary export or import licenses or certificates as well as any other requireddocumentation.The denial of any required license or certificate or any delay inobtaining such documentation will not justify the cancellation of the sale or anydelay in making full payment for the lot.


Phillips de Pury & Company 450 West 15 Street NewYork

Enquiries KellyTroester +1 212 940 1221 [email protected]


PROPERTY FROM A PRIVATE COLLECTIONHENRI MATISSE

Nu au coussin bleu à côté d’une cheminée (Claude Duthuit 454), 1925

Lithograph onArches MDM laid paper, with full margins (deckle on four sides)

signed and annotated `epr. d'artiste 9/10' in pencil

Image 25 1/8 x 18 3/4 in. (63.8 x 47.6 cm); Sheet 29 1/2 x 22 1/8 in. (74.9 x 56.2 cm)

Available for sale


CONDITIONS OF SALE

The Conditions of Sale andAuthorshipWarranty set forth below govern therelationship between bidders and buyers, on the one hand, and Phillips de Pury &Company and sellers, on the other hand.All prospective buyers should read theseConditions of Sale andAuthorshipWarranty carefully before bidding.

1 IntroductionEach lot in this catalogue is offered for sale and sold subject to: (a) the Conditionsof Sale andAuthorshipWarranty; (b) additional notices and terms printed in otherplaces in this catalogue, including the Guide for Prospective Buyers, and (c)supplements to this catalogue or other written material posted by Phillips de Pury& Company in the saleroom, in each case as amended by any addendum orannouncement by the auctioneer prior to the auction

By bidding at the auction, whether in person, through an agent, by written bid, bytelephone bid or other means, bidders and buyers agree to be bound by theseConditions of Sale, as so changed or supplemented, andAuthorshipWarranty.

These Conditions of Sale, as so changed or supplemented, andAuthorshipWarrantycontain all the terms on which Phillips de Pury & Company and the seller contractwith the buyer.

2 Phillips de Pury & Company asAgentPhillips de Pury & Company acts as an agent for the seller, unless otherwiseindicated in this catalogue or at the time of auction. On occasion, Phillips de Pury& Company may own a lot, in which case we will act in a principal capacity as aconsignor, or may have a legal, beneficial or financial interest in a lot as a securedcreditor or otherwise.

3 Catalogue Descriptions and Condition of PropertyLots are sold subject to theAuthorshipWarranty, as described in the catalogue(unless such description is changed or supplemented, as provided in Paragraph 1above) and in the condition that they are in at the time of the sale on the followingbasis.

(a)The knowledge of Phillips de Pury & Company in relation to each lot is partiallydependent on information provided to us by the seller, and Phillips de Pury &Company is not able to and does not carry out exhaustive due diligence on each lot.Prospective buyers acknowledge this fact and accept responsibility for carrying outinspections and investigations to satisfy themselves as to the lots in which they maybe interested. Notwithstanding the foregoing, we shall exercise such reasonablecare when making express statements in catalogue descriptions or conditionreports as is consistent with our role as auctioneer of lots in this sale and in light of(i) the information provided to us by the seller, (ii) scholarship and technicalknowledge and (iii) the generally accepted opinions of relevant experts, in each caseat the time any such express statement is made.

(b) Each lot offered for sale at Phillips de Pury & Company is available forinspection by prospective buyers prior to the auction. Phillips de Pury & Companyaccepts bids on lots on the basis that bidders (and independent experts on theirbehalf, to the extent appropriate given the nature and value of the lot and thebidder’s own expertise) have fully inspected the lot prior to bidding and havesatisfied themselves as to both the condition of the lot and the accuracy of itsdescription. .

(c) Prospective buyers acknowledge that many lots are of an age and type whichmeans that they are not in perfect condition.As a courtesy to clients, Phillips dePury & Company may prepare and provide condition reports to assist prospectivebuyers when they are inspecting lots. Catalogue descriptions and condition reportsmay make reference to particular imperfections of a lot, but bidders should note thatlots may have other faults not expressly referred to in the catalogue or conditionreport. All dimensions are approximate. Illustrations are for identification purposesonly and cannot be used as precise indications of size or to convey full informationas to the actual condition of lots.

(d) Information provided to prospective buyers in respect of any lot, including anypre-sale estimate, whether written or oral, and information in any catalogue,condition or other report, commentary or valuation, is not a representation of factbut rather a statement of opinion held by Phillips de Pury & Company.Any pre-saleestimate may not be relied on as a prediction of the selling price or value of the lotand may be revised from time to time by Phillips de Pury & Company in our absolutediscretion. Neither Phillips de Pury & Company nor any of our affiliated companiesshall be liable for any difference between the pre-sale estimates for any lot and theactual price achieved at auction or upon resale.

4 Bidding at Auction(a) Phillips de Pury & Company has absolute discretion to refuse admission to theauction or participation in the sale. All bidders must register for a paddle prior tobidding, supplying such information and references as required by Phillips de Pury& Company.

(b)As a convenience to bidders who cannot attend the auction in person, Phillips dePury & Company may, if so instructed by the bidder, execute written absentee bidson a bidder’s behalf. Absentee bidders are required to submit bids on the “AbsenteeBid Form,” a copy of which is printed in this catalogue or otherwise available from

Phillips de Pury & Company. Bids must be placed in the currency of the sale.Thebidder must clearly indicate the maximum amount he or she intends to bid, excludingthe buyer’s premium and any applicable sales or use taxes.The auctioneer will notaccept an instruction to execute an absentee bid which does not indicate suchmaximum bid. Our staff will attempt to execute an absentee bid at the lowestpossible price taking into account the reserve and other bidders.Any absentee bidmust be received at least 24 hours in advance of the sale. In the event of identicalbids, the earliest bid received will take precedence.

(c)Telephone bidders are required to submit bids on the “Telephone Bid Form,” acopy of which is printed in this catalogue or otherwise available from Phillips dePury & Company.Telephone bidding is available for lots whose low pre-sale estimateis at least $1000. Phillips de Pury & Company reserves the right to require writtenconfirmation of a successful bid from a telephone bidder by fax or otherwiseimmediately after such bid is accepted by the auctioneer.Telephone bids may berecorded and, by bidding on the telephone, a bidder consents to the recording of theconversation.

(d)When making a bid, whether in person, by absentee bid or on the telephone, abidder accepts personal liability to pay the purchase price, as described more fullyin Paragraph 6 (a) below, plus all other applicable charges unless it has beenexplicitly agreed in writing with Phillips de Pury & Company before thecommencement of the auction that the bidder is acting as agent on behalf of anidentified third party acceptable to Phillips de Pury & Company and that we will onlylook to the principal for such payment.

(e)Arranging absentee and telephone bids is a free service provided by Phillips dePury & Company to prospective buyers.While we undertake to exercise reasonablecare in undertaking such activity, we cannot accept liability for failure to executesuch bids except where such failure is caused by our willful misconduct.

(f) Employees of Phillips de Pury & Company and our affiliated companies, includingthe auctioneer, may bid at the auction by placing absentee bids so long as they donot know the reserve when submitting their absentee bids and otherwise complywith our employee bidding procedures.

5 Conduct of the Auction(a) Unless otherwise indicated by the symbol • each lot is offered subject to areserve, which is the confidential minimum selling price agreed by Phillips de Pury& Company with the seller.The reserve will not exceed the low pre-sale estimate atthe time of the auction.

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes theremay be error or dispute and take such other action as he or she deems reasonablyappropriate.

(c)The auctioneer will commence and advance the bidding at levels and inincrements he or she considers appropriate. In order to protect the reserve on anylot, the auctioneer may place one or more bids on behalf of the seller up to thereserve without indicating he or she is doing so, either by placing consecutive bidsor bids in response to other bidders.

(d)The sale will be conducted in US dollars and payment is due in US dollars. Forthe benefit of international clients, pre-sale estimates in the auction catalogue maybe shown in pounds sterling and/or euros and, if so, will reflect approximateexchange rates.Accordingly, estimates in pounds sterling or euros should betreated only as a guide.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder acceptedby the auctioneer will be the buyer and the striking of the hammer marks theacceptance of the highest bid and the conclusion of a contract for sale between theseller and the buyer. Risk and responsibility for the lot passes to the buyer as setforth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,”“withdrawn,” “returned to owner” or “bought-in.”

(g)Any post-auction sale of lots offered at auction shall incorporate theseConditions of Sale andAuthorshipWarranty as if sold in the auction.

6 Purchase Price and Payment(a)The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’spremium and any applicable sales tax (the “Purchase Price”).The buyer’s premiumis 25% of the hammer price up to and including $50,000, 20% of the portion of thehammer price above $50,000 up to and including $1,000,000 and 12% of the portion ofthe hammer price above $1,000,000.

(b) Sales tax, use tax and excise and other taxes are payable in accordance withapplicable law.All prices, fees, charges and expenses set out in these Conditionsof Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company willonly accept valid resale certificates from US dealers as proof of exemption fromsales tax.All foreign buyers should contact the ClientAccounting Department abouttax matters.


(c) Unless otherwise agreed, a buyer is required to pay for a purchased lotimmediately following the auction regardless of any intention to obtain an exportor import license or other permit for such lot. Payments must be made by theinvoiced party in US dollars either by cash, check drawn on a US bankor wire transfer, as follows:

(i) Phillips de Pury & Company will accept payment in cash provided that thetotal amount paid in cash or cash equivalents does not exceed US$10,000.Buyers paying in cash should do so in person at our ClientAccounting Deskat 450West 15th Street,Third Floor, during regular weekday business hours.

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank andthe buyer provides to us acceptable government issued identification. Checksand banker’s drafts should be made payable to “Phillips de Pury & CompanyLLC.” If payment is sent by mail, please send the check or banker’s draft to theattention of the ClientAccounting Department at 450West 15th Street, NewYork, NY 10011 and make sure that the sale and lot number is written on thecheck. Checks or banker’s drafts drawn by third parties will not be accepted.

(iii) Payment by wire transfer may be sent directly to Phillips de Pury &Company. Bank transfer details:

Citibank322West 23rd Street, NewYork, NY 10011SWIFT Code: CITIUS33ABA Routing: 021 000 089For the account of Phillips de Pury & Company LLCAccount no.: 58347736

Please reference the relevant sale and lot number.

(d)Title in a purchased lot will not pass until Phillips de Pury & Company hasreceived the Purchase Price for that lot in cleared funds. Phillips de Pury &Company is not obliged to release a lot to the buyer until title in the lot has passedand appropriate identification has been provided, and any earlier release does notaffect the passing of title or the buyer’s unconditional obligation to pay thePurchase Price.

7 Collection of Property(a) Phillips de Pury & Company will not release a lot to the buyer until we havereceived payment of its Purchase Price in full in cleared funds, the buyer has paidall outstanding amounts due to Phillips de Pury & Company or any of our affiliatedcompanies, including any charges payable pursuant to Paragraph 8 (a) below, andthe buyer has satisfied such other terms as we in our sole discretion shall require,including completing any anti-money laundering or anti-terrorism financing checks.As soon as a buyer has satisfied all of the foregoing conditions, he or she shouldcontact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange forcollection of purchased property.

(b)The buyer must arrange for collection of a purchased lot within five days of thedate of the auction. Promptly after the auction, we will transfer all lots to ourwarehouse located at 29-09 37thAvenue in Long Island City, Queens, NewYork.Allpurchased lots should be collected at this location during our regular weekdaybusiness hours.As a courtesy to clients, Phillips de Pury & Company will uponrequest transfer on a bi-weekly basis purchased lots suitable for hand carry back toour premises at 450West 15th Street, NewYork, NewYork for collection within 30days following the date of the auction. Purchased lots are at the buyer’s risk,including the responsibility for insurance, from the earlier to occur of (i) the date ofcollection or (ii) five days after the auction. Until risk passes, Phillips de Pury &Company will compensate the buyer for any loss or damage to a purchased lot up toa maximum of the Purchase Price paid, subject to our usual exclusions for loss ordamage to property.

(c)As a courtesy to clients, Phillips de Pury & Company will, without charge, wrappurchased lots for hand carry only.We will, at the buyer’s expense, either providepacking, handling, insurance and shipping services or coordinate with shippingagents instructed by the buyer in order to facilitate such services for propertybought at Phillips de Pury & Company.Any such instruction, whether or not made atour recommendation, is entirely at the buyer’s risk and responsibility, and we will notbe liable for acts or omissions of third party packers or shippers.Third partyshippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 9246477 at least 24 hours in advance of collection in order to schedule pickup.

(d) Phillips de Pury & Company will require presentation of government issuedidentification prior to release of a lot to the buyer or the buyer’s authorizedrepresentative.

8 Failure to Collect Purchases(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30days of the auction, the buyer will incur a late collection fee of $35, storage chargesof $5 per day and pro rated insurance charges of .1% of the Purchase Price permonth on each uncollected lot.

(b) If a purchased lot is paid for but not collected within six months of the auction,the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale ofthe item by auction or private sale, with estimates and a reserve set at Phillips de

Pury & Company’s reasonable discretion.The proceeds of such sale will be appliedto pay for storage charges and any other outstanding costs and expenses owed bythe buyer to Phillips de Pury & Company or our affiliated companies and theremainder will be forfeited unless collected by the buyer within two years of theoriginal auction.

9 Remedies for Non-Payment(a)Without prejudice to any rights the seller may have, if the buyer without prioragreement fails to make payment of the Purchase Price for a lot in cleared fundswithin five days of the auction, Phillips de Pury & Company may in our solediscretion exercise one or more of the following remedies: (i) store the lot at Phillipsde Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense atthe same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot,retaining any partial payment of the Purchase Price as liquidated damages; (iii)reject future bids from the buyer or render such bids subject to payment of adeposit; (iv) charge interest at 12% per annum from the date payment became dueuntil the date the Purchase Price is received in cleared funds; (v) subject tonotification of the buyer, exercise a lien over any of the buyer’s property which is inthe possession of Phillips de Pury & Company and instruct our affiliated companiesto exercise a lien over any of the buyer’s property which is in their possession and, ineach case, no earlier than 30 days from the date of such notice, arrange the sale ofsuch property and apply the proceeds to the amount owed to Phillips de Pury &Company or any of our affiliated companies after the deduction from sale proceedsof our standard vendor’s commission and all sale-related expenses; (vi) resell the lotby auction or private sale, with estimates and a reserve set at Phillips de Pury &Company’s reasonable discretion, it being understood that in the event such resaleis for less than the original hammer price and buyer’s premium for that lot, the buyerwill remain liable for the shortfall together with all costs incurred in such resale;(vii) commence legal proceedings to recover the hammer price and buyer’s premiumfor that lot, together with interest and the costs of such proceedings; or (viii) releasethe name and address of the buyer to the seller to enable the seller to commencelegal proceedings to recover the amounts due and legal costs.

(b)As security to us for full payment by the buyer of all outstanding amounts dueto Phillips de Pury & Company and our affiliated companies, Phillips de Pury &Company retains, and the buyer grants to us, a security interest in each lotpurchased at auction by the buyer and in any other property or money of the buyer in,or coming into, our possession or the possession of one of our affiliated companies.We may apply such money or deal with such property as the Uniform CommercialCode or other applicable law permits a secured creditor to do. In the event that weexercise a lien over property in our possession because the buyer is in default to oneof our affiliated companies, we will so notify the buyer. Our security interest in anyindividual lot will terminate upon actual delivery of the lot to the buyer or the buyer’sagent.

(c) In the event the buyer is in default of payment to any of our affiliated companies,the buyer also irrevocably authorizes Phillips de Pury & Company to pledge thebuyer’s property in our possession by actual or constructive delivery to our affiliatedcompany as security for the payment of any outstanding amount due. Phillips dePury & Company will notify the buyer if the buyer’s property has been delivered to anaffiliated company by way of pledge.

10 Rescission by Phillips de Pury & CompanyPhillips de Pury & Company shall have the right, but not the obligation, to rescind asale without notice to the buyer if we reasonably believe that there is a materialbreach of the seller’s representations and warranties or theAuthorshipWarranty oran adverse claim is made by a third party. Upon notice of Phillips de Pury &Company’s election to rescind the sale, the buyer will promptly return the lot toPhillips de Pury & Company, and we will then refund the Purchase Price paid to us.As described more fully in Paragraph 13 below, the refund shall constitute the soleremedy and recourse of the buyer against Phillips de Pury & Company and the sellerwith respect to such rescinded sale..

11 Export, Import and Endangered Species Licenses and PermitsBefore bidding for any property, prospective buyers are advised to make their owninquiries as to whether a license is required to export a lot from the United States orto import it into another country. Prospective buyers are advised that somecountries prohibit the import of property made of or incorporating plant or animalmaterial, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell,irrespective of age, percentage or value.Accordingly, prior to bidding, prospectivebuyers considering export of purchased lots should familiarize themselves withrelevant export and import regulations of the countries concerned. It is solely thebuyer’s responsibility to comply with these laws and to obtain any necessary export,import and endangered species licenses or permits. Failure to obtain a license orpermit or delay in so doing will not justify the cancellation of the sale or any delay inmaking full payment for the lot.

12 Client InformationIn connection with the management and operation of our business and themarketing and supply of auction related services, or as required by law, we may askclients to provide personal information about themselves or obtain informationabout clients from third parties (e.g., credit information). If clients provide us withinformation that is defined by law as "sensitive," they agree that Phillips de Pury &Company and our affiliated companies may use it for the above purposes. Phillips dePury & Company and our affiliated companies will not use or process sensitiveinformation for any other purpose without the client's express consent. If you would


like further information on our policies on personal data or wish to make correctionsto your information, please contact us at +1 212 940 1228. If you would prefer not toreceive details of future events please call the above number.

13 Limitation of Liability(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury &Company, our affiliated companies and the seller to the buyer in connection with thesale of a lot shall be limited to the Purchase Price actually paid by the buyer for thelot.

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury &Company, any of our affiliated companies or the seller (i) is liable for any errors oromissions, whether orally or in writing, in information provided to prospectivebuyers by Phillips de Pury & Company or any of our affiliated companies or (ii)accepts responsibility to any bidder in respect of acts or omissions, whethernegligent or otherwise, by Phillips de Pury & Company or any of our affiliatedcompanies in connection with the conduct of the auction or for any other matterrelating to the sale of any lot.

(c)All warranties other than theAuthorshipWarranty, express or implied, includingany warranty of satisfactory quality and fitness for purpose, are specificallyexcluded by Phillips de Pury & Company, our affiliated companies and the seller tothe fullest extent permitted by law.

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any ofour affiliated companies or the seller shall be liable to the buyer for any loss ordamage beyond the refund of the Purchase Price referred to in subparagraph (a)above, whether such loss or damage is characterized as direct, indirect, special,incidental or consequential, or for the payment of interest on the Purchase Price tothe fullest extent permitted by law.

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit theliability of Phillips de Pury & Company or any of our affiliated companies to thebuyer in respect of any fraud or fraudulent misrepresentation made by any of us or inrespect of death or personal injury caused by our negligent acts or omissions.

14 CopyrightThe copyright in all images, illustrations and written materials produced by or forPhillips de Pury & Company relating to a lot, including the contents of thiscatalogue, is and shall remain at all times the property of Phillips de Pury &Company and such images and materials may not be used by the buyer or any otherparty without our prior written consent. Phillips de Pury & Company and the sellermake no representations or warranties that the buyer of a lot will acquire anycopyright or other reproduction rights in it.

15 General(a)These Conditions of Sale, as changed or supplemented as provided in Paragraph1 above, andAuthorshipWarranty set out the entire agreement between the partieswith respect to the transactions contemplated herein and supersede all prior andcontemporaneous written, oral or implied understandings, representations andagreements.

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to thedepartment in charge of the sale, quoting the reference number specified at thebeginning of the sale catalogue. Notices to clients shall be addressed to the lastaddress notified by them in writing to Phillips de Pury & Company.

(c)These Conditions of Sale are not assignable by any buyer without our priorwritten consent but are binding on the buyer’s successors, assigns andrepresentatives.

(d) Should any provision of these Conditions of Sale be held void, invalid orunenforceable for any reason, the remaining provisions shall remain in full force andeffect. No failure by any party to exercise, nor any delay in exercising, any right orremedy under these Conditions of Sale shall act as a waiver or release thereof inwhole or in part.

16 Law and Jurisdiction(a)ThThe rights and obligations of the parties with respect to these Conditions ofSale andAuthorshipWarranty, the conduct of the auction and any matters related toany of the foregoing shall be governed by and interpreted in accordance with laws ofthe State of NewYork, excluding its conflicts of law rules.

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusivejurisdiction of the (i) state courts of the State of NewYork located in NewYork Cityand (ii) the federal courts for the Southern and Eastern Districts of NewYork tosettle all disputes arising in connection with all aspects of all matters ortransactions to which these Conditions of Sale andAuthorshipWarranty relate orapply.

(c)All bidders and sellers irrevocably consent to service of process or any otherdocuments in connection with proceedings in any court by facsimile transmission,personal service, delivery by mail or in any other manner permitted by NewYork lawor the law of the place of service, at the last address of the bidder or seller known toPhillips de Pury & Company.

AUTHORSHIPWARRANTY

Phillips de Pury & Company warrants the authorship of property in this auctioncatalogue for a period of five years from date of sale by Phillips de Pury & Company,subject to the exclusions and limitations set forth below.

(a) Phillips de Pury & Company gives thisAuthorshipWarranty only to the originalbuyer of record (i.e., the registered successful bidder) of any lot.ThisAuthorshipWarranty does not extend to (i) subsequent owners of the property, includingpurchasers or recipients by way of gift from the original buyer, heirs, successors,beneficiaries and assigns; (ii) property created prior to 1870, unless the property isdetermined to be counterfeit (defined as a forgery made less than 50 years ago withan intent to deceive) and has a value at the date of the claim under this warrantywhich is materially less than the Purchase Price paid; (iii) property where thedescription in the catalogue states that there is a conflict of opinion on theauthorship of the property; (iv) property where our attribution of authorship was onthe date of sale consistent with the generally accepted opinions of specialists,scholars or other experts; or (v) property whose description or dating is provedinaccurate by means of scientific methods or tests not generally accepted for use atthe time of the publication of the catalogue or which were at such time deemedunreasonably expensive or impractical to use.

(b) In any claim for breach of theAuthorshipWarranty, Phillips de Pury & Companyreserves the right, as a condition to rescinding any sale under this warranty, torequire the buyer to provide to us at the buyer’s expense the written opinions of tworecognized experts approved in advance by Phillips de Pury & Company.We shallnot be bound by any expert report produced by the buyer and reserve the right toconsult our own experts at our expense. If Phillips de Pury & Company agrees torescind a sale under theAuthorshipWarranty, we shall refund to the buyer thereasonable costs charged by the experts commissioned by the buyer and approvedin advance by us.

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer maybring a claim for breach of theAuthorshipWarranty provided that (i) he or she hasnotified Phillips de Pury & Company in writing within three months of receiving anyinformation which causes the buyer to question the authorship of the lot, specifyingthe auction in which the property was included, the lot number in the auctioncatalogue and the reasons why the authorship of the lot is being questioned and(ii) the buyer returns the lot to Phillips de Pury & Company in the same conditionas at the time of its auction and is able to transfer good and marketable title in thelot free from any third party claim arising after the date of the auction.

(d)The buyer understands and agrees that the exclusive remedy for any breach oftheAuthorshipWarranty shall be rescission of the sale and refund of the originalPurchase Price paid.This remedy shall constitute the sole remedy and recourse ofthe buyer against Phillips de Pury & Company, any of our affiliated companies andthe seller and is in lieu of any other remedy available as a matter of law.This meansthat none of Phillips de Pury & Company, any of our affiliated companies or theseller shall be liable for loss or damage beyond the remedy expressly provided inthisAuthorshipWarranty, whether such loss or damage is characterized as direct,indirect, special, incidental or consequential, or for the payment of interest on theoriginal Purchase Price.


SPECIALIST & SERVICE DEPARTMENTS

Contemporary Art

Michael McGinnis Worldwide Director +44 20 7318 4091

AileenAgopian Director NewYork +1 212 940 1255

Jean-Michel Placent NewYork +1 212 940 1263

Timothy Malyk Head of Under the Influence NewYork +1 212 940 1258

Chin-ChinYap NewYork +1 212 940 1250

Christina Floyd NewYork +1 212 940 1340

Veronica Collins NewYork +1 212 940 1252

Sarah Mudge Head of Part II NewYork +1 212 940 1259

Roxana Bruno NewYork +1 212 940 1229

Sara Davidson NewYork +1 212 940 1262

Derrick Mead NewYork +1 212 940 1272

Maria Bueno NewYork +1 212 940 1261

Peter Flores NewYork +1 212 940 1223

(Uli) Zhiheng Huang NewYork +1 212 940 1288

Eugenia Ballvé NewYork +1 212 940 1303

Anthony McNerney Head of Evening Sale London +44 20 7318 4067

Peter Sumner Head of Day Sale London +44 20 7318 4063

Laetitia Catoir London + 44 20 7318 4064

SilkeTaprogge London +44 20 7318 4012

Ivgenia Naiman London +44 20 7318 4071

Fiona Biberstein London +44 20 7318 4013

Siobhan O’Connor London +44 20 7318 4093

Catherine Higgs London +44 20 7318 4089

Raphael Lepine London +44 20 7318 4078

TanyaTikhnenko London +44 20 7318 4065

Sarah Buchwald London +44 20 7318 4085

PhillippaWillison London +44 20 7318 4070

Jewelry

Nazgol Jahan Worldwide Director +1 212 940 1283

Carolin Bulgari Geneva +41 22 906 80 00

Carmela Manoli NewYork +1 212 940 1302

Heather Zises NewYork +1 212 940 1290

Lane Mclean London +44 20 7318 4032

Veronica Lota Geneva +41 22 906 80 05

Contemporary Jewelry

Rachel Mattes NewYork +1 212 940 1285

Photographs

Charlie Scheips Worldwide Director +1 212 940 1244

Vanessa Kramer NewYork +1 212 940 1243

Caroline Shea NewYork +1 212 940 1247

Sarah Krueger NewYork +1 212 940 1245

Kelly Padden London +44 20 7318 4018

Ben Adams London +44 20 7318 4077

Alexandra Bibby London +44 20 7318 4087

Helen Hayman London +44 20 7318 4092

Design

Alexander Payne Worldwide Director +44 20 7318 4052

MarcusTremonto NewYork +1 212 940 1268

Alex Heminway Director NewYork +1 212 940 1269

Tara DeWitt NewYork +1 212 940 1265

Meaghan Roddy NewYork +1 212 940 1266

Stephanie Abraitis NewYork +1 212 940 1268

BenWilliams London +44 20 7318 4027

Domenico Raimondo London +44 20 7318 4016

Ellen Stelter London +44 20 7318 4021

Marcus McDonald London +44 20 7318 4014

Modern and Contemporary Editions

KellyTroester Worldwide Co-Director +1 212 940 1221

Cary Leibowitz Worldwide Co-Director +1 212 940 1222

Jannah Greenblatt NewYork +1 212 940 1332

Joy Deibert NewYork +1 212 940 1333

Saturday@Phillips

Tobias Sirtl Director +44 20 7318 4095

AlexW. Smith NewYork +1 212 940 1276

Anne Huntington NewYork +1 212 940 1210

Arianna Jacobs London + 44 20 7318 4054

George O’Dell London +44 20 7318 4040

Steve Agin (Consultant) +1 908 475 1796

Balthasar de Pury (Consultant) Geneva +41 79 250 86 81

Chairman London

Rodman Primack London +44 20 7318 4017

Managing Directors

Finn Dombernowsky London +44 20 7318 4034

Charlie Horne NewYork +1 212 940 1292

Business Development

Alexander Gilkes NewYork +1 212 940 1398

Executive Assistant to Simon de Pury

Helen Rohwedder London +44 20 7318 4042

Executive Assistant to Bernd Runge

Johanna Frydman London +44 20 7318 4024

Private Sales

Christina Scheublein NewYork +1 212 940 1248

Press and Public Relations

Ariel Childs Head London +44 20 7318 4028

Cécile Demtchenko Paris +33 1 42 78 67 77

Exhibitions

London +44 20 7318 4023 NewYork +1 212 940 1301

International Specialists and Representatives

Dr. Michaela Neumeister Munich +49 89 238 88 48 10

OlivierVrankenne Brussels & Paris +32 486 43 43 44

Leonie Moschner Paris +33 6 85 53 92 03

Tamara Corm Paris & London +33 6 75 07 04 71

Ivgenia Naiman London +44 20 7318 4071

Brooke de Ocampo London +44 777 551 7060

Laura Garbarino Milan +39 339 478 9671

Eugenia Bertele Milan +39 02 3669 5895

Florence Uchida NewYork +1 917 902 2714

Nadia Breuer Sopher NewYork & Australia +1 917 319 4741

MimiWonTechentin Los Angeles +1 310 600 9192

Maya McLaughlin Los Angeles +1 323 791 1771

Tatiana Beliaeva Moscow +7 985 969 9292

JeremyWingfield Shanghai/Beijing +86 135 0118 2804

Lulu Al-Sabah Dubai +44 77 9518 8878

Lydia Limmerick Dubai +44 79 2048 1110


PHILLIPS de PURY & COMPANY CONTACTS

Chairman

Simon de Pury

Chief Executive Officer

Bernd Runge

Senior Partners

Michael McGinnis

Dr. Michaela Neumeister

Partners

Aileen Agopian

Sean Cleary

Alexander Payne

Rodman Primack

OlivierVrankenne

TiffanyWood

WORLDWIDE OFFICES

NEWYORK

450West 15 Street NewYork NY 10011 USA

+1 212 940 1200 +1 212 924 5403 fax

LONDON

Howick Place London SW1P 1BB United Kingdom

+44 20 7318 4010 +44 20 7318 4011 fax

PARIS

28, rue Michel Le Comte 75003 Paris France

Cécile Demtchenko +33 1 42 78 67 77 +33 1 42 78 23 07 fax

Advisory Board

Maria Bell

Janna Bullock

Lisa Eisner

Lapo Elkann

Ben Elliot

Lady Elena Foster

H.I.H. Francesca von Habsburg

Marc Jacobs

Malcolm McLaren

Ernest Mourmans

Aby Rosen

Christiane zu Salm

Princess Gloria vonThurn undTaxis

Jean MichelWilmotte

Anita Zabludowicz

MUNICH

Maximiliansplatz 12a 80333 Munich Germany

Shirin Kranz +49 89 238 88 48 0 +49 89 238 88 48 15 fax

BERLIN

Auguststrasse 19 10117 Berlin Germany

Rolf Moritz Estermann Natalia Kazmierczak

+49 30 880 018 42 +49 30 880 018 43 fax

GENEVA

23, quai des Bergues 1201 Geneva Switzerland

Carolin Bulgari +41 22 906 80 00 +41 22 906 80 01 fax


SALE INFORMATION

MODERN and CONTEMPORARY EDITIONS

Auction

Tuesday June 2 2009 at 2pm

Viewing &Auction Location

450West 15 Street NewYork NY 10011

Viewing

Wednesday May 27 – Saturday May 30 10am – 6pm

Sunday May 31 Noon – 6pm

Monday June 1 10am – 6pm

Tuesday June 2 Noon – 2pm

Sale Designation

In sending written bids or making inquiries please refer to this sale

as NY030109 or Modern and Contemporary Editions.

Catalogues $60 at the Gallery / £30

Catalogue Subscriptions

Allyson Melchor +1 212 940 1240 +44 20 7318 4039

[email protected]

Client Services +1 212 940 1200

E-mail Addresses

All Phillips de Pury & Company e-mails are

first initial and last name @phillipsdepury.com

(e.g., [email protected])



Inside Front Cover Alex Katz, Ada, 1994, Lot 269 (detail)

Title Page Various printmakers

Last Page Do Ho Suh, Untitled, 1998, Lot 103 (detail)

Inside Back Cover KelleyWalker, Maui, 2002, Lot 152 (detail)

Back Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)

Worldwide Directors

KellyTroester New York +1 212 940 1221

Cary Leibowitz New York +1 212 940 1222

Cataloguer

Jannah Greenblatt New York +1 212 940 1332

Administrator

Joy Deibert New York +1 212 940 1220 +1 212 940 1213 fax

Property Manager

Adam Sipe New York +1 212 940 1284

Absentee and Telephone Bids

Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax

[email protected]

Client Accounting

Sylvia Leitao New York +1 212 940 1231

Barbara Doupal New York +1 212 940 1232

Nicole Rodriguez New York +1 212 940 1235

Shipping

Beth Petriello New York +1 212 940 1373

Principal Auctioneer

Simon de Pury 0874341

Auctioneers

AileenAgopian 1199037

Christina L. Floyd 1238278

Sarah Mudge 1301805

Alexander Gilkes 1308958

Ellen Stelter UK

Rodman Primack UK

Photography

Kent Pell

Morten Smidt


Do Ho Suh, Untitled, 1998, Lot 103 (detail)


KelleyWalker, Maui, 2002, Lot 152 (detail)

Alex Katz, Ada, 1994, Lot 269 (detail)


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WWW.PHILLIPSDEPURY.COM

RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)

modern & contemporary editions

Documents

untitled suite

arches paper

untitled green curve

excellent condition

good condition

zurichand newyork

ellsworth kelly

censorship portfolio