Contemporary Art
Officers
Todd Weyman
Vice President & Director, Prints & Drawings
tweyman@swanngalleries.com
(212) 254-4710 ext. 33
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Dept. Manager & Client Relations
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(212) 254-4710 ext. 51
Sarah McMillan
Cataloguer
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(212) 254-4710 ext. 28
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Cataloguer
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(212) 254-4710 ext. 58
Gabriella Moreno
Administrator
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(212) 254-4710 ext. 50
George S. Lowry
Chairman
Nicholas D. Lowry
President, Principal Auctioneer
924899
Andrew M. Ansorge
Vice President & Controller
Alexandra Mann-Nelson
Chief Marketing Officer
2030704
Todd Weyman
Vice President & Director, Prints & Drawings
1214107
Nigel Freeman
Vice President & Director, African American Art
Rick Stattler
Vice President & Director, Books & Manuscripts
Administration
Andrew M. Ansorge
Vice President & Controller
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Ariel Kim
Client Accounting
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Diana Gibaldi
Operations Manager
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Communications Manager
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Shipping Manager
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Abstract Expressionism
Adolph gottlieb
Germination #2.
Color lithograph on Arches, 1969. 560x760 mm; 22⅛x30 inches (sheet), full margins. Signed, dated and numbered 53/65 in pencil, lower margin. Published by Marlborough Graphics, Inc., New York. A very good impression. Associated American Artists 60.
Estimate
$2,500 – $3,500
Adolph gottlieb
Night Glow.
Color etching and aquatint on Fabriano paper, 1971. 610x453 mm; 24x17⅞ inches, full margins. Signed, dated and numbered 44/65 in pencil, lower margin. A very good impression of this scarce print with strong colors.
According to Associated American Artists, “While the discs pulsate in the upper portion of the Bursts, configurations of brush strokes erupt below. Deeply bitten arc-like surfaces of the brush strokes . . . suggest a more unpredictable and violent action than the glowing pulsations of the discs . . . Gottlieb (1903-1974) posits two vital and opposing forces. And while each has the potential to subsume the other, he has discovered a unifying structure that allows them to function in a relationship of complementary equilibrium.” Associated American Artists 66.
Estimate
$2,000 – $3,000
Adolph gottlieb
Orange Oval.
Color screenprint on white wove paper, 1972. 480x610 mm; 18¾x23⅝ inches, full margins. Signed, dated and numbered 75/150 in pencil, lower margin. A superb impression with strong colors.
After high school, Gottlieb (1903-1974) attended the Art Students League in New York and traveled Europe in the early 1920s. He became friends with Mark Rothko (1903-1970) in the 1930s and the two often worked and exhibited together when possible. He and Rothko were founding members of the group of artists known as The Ten, who began meeting together in New York in 1934.
Around the early 1930s, Gottlieb also became interested in etching, buying an old press from a junk shop and printing proofs for his own enjoyment, in extremely small editions, most of those which survive are from the early 1940s. These early etchings show strong ties to the Surrealist prints of Joan Miró (1893-1983), Kurt Seligmann (1900-1962) and Yves Tanguy (1900-1955). Whether or not Jackson Pollock (1912-1956) ever knew these early etchings by Gottlieb hasn’t been determined, though there are certainly affinities with Pollock’s 1944-45 intaglio prints from Atelier 17. Associated American Artists 72.
Estimate
$2,500 – $3,500
"Dehner (1901-1994) studied for several years at the Art Students League and there met the American modernist sculptor David Smith, whom she married in 1940. She explored more progressive art forms similar to Smith's interests, adhering to abstract and cubist tendencies rather than representational imagery. The couple moved to Bolton Landing, in upstate New York, where, gradually Dehner's art became secondary to her duties as a wife (her painting series 'Life on the Farm' and a group of black ink drawings she called the 'Damnation Series,' mid-1940s, serves as a psychological reflection of the mundanity of her life then). Their marriage was deteriorating at Bolton Landing; they separated in 1950 and divorced a year later. Subsequently, Dehner fully resumed her career as an artist, studying printmaking at Atelier 17 and returning to painting and sculpture with renewed creative energy."
4
Dorothy dehner
Letter to Minos.
Color etching, aquatint and embossing on cream wove paper, 1986. 60x125 mm; 2⅜x4⅞ inches, full margins. Signed, dated, titled and numbered 3/50 in pencil, lower margin. A very good impression of this extremely scarce etching.
Gift from the artist to current owner, private collection, New Paltz, New York.
Estimate
$1,500 – $2,500
Dorothy dehner
Outer Space.
Cast paper relief with hand coloring in pencil, 1987. 297x510 mm; 11¾x20⅛ inches (sheet), full margins. Signed, dated, titled and numbered 5/50 in pencil, lower margin. A very good example of this scarce multiple with hand coloring.
Gift from the artist to current owner, private collection, New Paltz, New York.
Estimate
$2,000 – $3,000
Dorothy dehner
Untitled.
Cast silver sculpture on solid clear resin cube, 1972. 110 mm; 4½ inches (height, excluding cube). Incised artist’s signature and date on the upper side of the sculpture base.
Gift from the artist to current owner, private collection, New Paltz, New York.
Estimate
$3,000 – $5,000
Dorothy dehner
Untitled.
Watercolor, gouache and ink on cream wove paper, 1945. 120x145 mm; 4¾x6 inches. Initialed and dated in ink, lower left recto. Signed and dated in ink, verso.
Ex-collection private collection, Chicago.
Estimate
$1,200 – $1,800
Dorothy dehner
What Happens to Squares.
Engraving and roulette on Rives, circa 1952-53. 126x150 mm; 5x6¼ inches, full margins. Artist’s proof, aside from the edition of 35. Signed, titled, dated “‘55” and inscribed “A.P.” in pencil, lower margin. A superb, early proof impression of this extremely scarce engraving, with sharp plate edges and printer’s ink fingerprints on the verso and sheet edges recto.
Estimate
$1,500 – $2,500
Dorothy dehner
Inside the Rocket.
Etching on cream wove paper, 1955. 50x75 mm; 2x3 inches, full margins. Signed, dated, titled and numbered 15/20 in pencil, lower margin. Printed at Atelier 17, New York. A very good impression of this scarce etching.
Gift from the artist to current owner, private collection, New Paltz, New York.
Estimate
$1,000 – $1,500
Dorothy dehner
Untitled.
Wood sculpture, 1978. 150x75x100 mm; 6x3x4 inches. Incised artist’s signature and date on the side of the long, pointed element.
Gift from the artist to current owner, private collection, New Paltz, New York.
Estimate
$2,000 – $3,000
Dorothy dehner
Untitled.
Watercolor on cream laid paper, 1956. 975x640 mm; 38½x25¼ inches. Signed and dated in ink, lower left recto.
Ex-collection private collection, Chicago.
Estimate
$3,000 – $5,000
Dorothy dehner
New York Landscape.
Etching on Rives, circa 1955. 225x302 mm; 8⅞x11⅞ inches, full margins. Artist’s proof, aside from the edition of 50. Signed, titled, dated “‘59” and inscribed “A.P.” in pencil, lower margin, and counter signed and annotated with the artist’s studio address “41 Union Sq. #821” in pencil, left margin. A brilliant impression of this extremely scarce, early etching with sharp, inky plate edges and ink finger prints in the margins on the sheet edges.
Estimate
$2,000 – $3,000
Dorothy dehner
Water Study.
Watercolor and gouache on cream wove paper, 1960. 585x687 mm; 23¼x27¼ inches. Signed, titled and dated in pencil, lower margin.
Ex-collection private collection, Chicago.
Estimate
$3,000 – $5,000
John von wicht
Haven (Harbor).
Color crayons, pastels, watercolor and gouache on thin cream Japan paper, circa 1945-50. 625x885 mm; 24¾x35 inches. Signed in black crayon, lower left recto, and titled in pencil, lower right recto.
Ex-collection private collection, Chicago.
Von Wicht (1888-1970) was born in Germany and studied at the Bauhaus in Weimar. He immigrated to the United States in the 1930s, settling in New York and working under the auspices of the WPA alongside artists such as Stuart Davis (1892-1964) and Byron Browne (1907-1961). By the 1940s, Von Wicht was among to first wave of New York-based artists to embrace Abstract Expressionism, to which he adhered throughout the rest of his career.
Estimate
$1,500 – $2,500
Lee bontecou
Untitled.
Color screenprint on heavy wove paper, 1973. 227x304 mm; 9x12 inches (sheet), full margins. Printer’s proof, aside from the edition of 300. Signed and inscribed “AC 21-30” in white pencil, lower right. Printed at Styria Studio, New York. Published by Experiments in Art and Technology, New York. From The New York Collection for Stockholm Portfolio. With the black ink copyright stamp verso. A superb impression.
Estimate
$2,000 – $3,000
Richard diebenkorn
Six Softground Etchings, #1.
Soft-ground etching on Rives, 1978. 278x200 mm; 11x8 inches, full margins. Initialed, dated, titled “#1” and numbered 12/35 in pencil, lower margin. Printed and published by Crown Point Press, Oakland, with the blind stamp lower margin. A very good impression.
Estimate
$2,500 – $3,500
Richard diebenkorn
Untitled.
Lithograph on Arches Cover paper, 1991. 455x385 mm; 17¾x15 inches (sheet), full margins. Initialed, dated and numbered 71/75 in pencil, lower margin. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamp lower right. A very good impression. Gemini 15.11.
Estimate
$2,000 – $3,000
Richard diebenkorn
Untitled #3.
Lithograph on Hahnemühle German etching paper, 1993. 175x280 mm; 7x11 inches, full margins. With the artist’s estate ink stamp and numbered 25/68 in pencil, lower margin. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamp lower right and the ink stamp verso. A very good impression. Gemini 15.14.
Estimate
$1,500 – $2,500
Richard diebenkorn
Untitled #5.
Lithograph on Hahnemühle German etching paper, 1993. 180x280 mm; 7⅛x11 inches, full margins. With the artist’s estate ink stamp and numbered 25/68 in pencil, lower margin. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamp lower right and the ink stamp verso. A very good impression. Gemini 15.16.
Estimate
$1,500 – $2,500
Richard diebenkorn
Untitled (for Harvey Gantt).
Color lithograph on Rives BFK, 1990-91. 128x169 mm; 5x6⅝ inches, full margins. Initialed, dated and numbered 28/250 in pencil, lower margin. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamp lower right, and the ink stamp verso. From Harvey Gantt. A very good, dark impression.
This work was published to benefit the campaign of Harvey Gantt (born 1943), the American architect and politician, who ran for a U. S. Senate seat in North Carolina in 1990. Gemini 15.9.
Estimate
$1,500 – $2,500
Richard diebenkorn
Seated Woman in a Striped Dress.
Lithograph on on Rives BFK, 1965. 686x520 mm; 27x20½ inches, full margins. Initialed, dated and numbered 85/100 in pen and black ink, lower margin. Printed and published by Original Press, San Francisco, with the blind stamps lower right. A superb, dark impression of this scarce, early lithograph.
Estimate
$3,000 – $5,000
Richard diebenkorn
Seated Nude.
Lithograph on Rives BFK, 1965. 668x508 mm; 26¼x20 inches, full margins. Initialed, dated and numbered 77/100 in pencil, lower margin. Printed and published by Original Press, San Francisco, with the blind stamps lower right. A very good impression of this scarce, early lithograph.
Estimate
$3,000 – $5,000
Louise nevelson
Seated Nude.
Pen and ink on paper, 1934. 463x295 mm; 18¼x11⅝ inches. Signed and dated in ink, lower right.
Acquired Pace Gallery, New York, 1971 by the current owner, private collection, Columbus, Ohio.
Estimate
$2,000 – $3,000
"During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted. When staying in New Jersey, both Albert and Ted would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique."
24
Louise nevelson
Two Seated Women.
Pen and ink on thin wove tracing paper, circa 1930. 213x293 mm; 8⅜x11⅝ inches. Signed in ink, lower right recto.
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted. When staying in New Jersey, both Albert and Ted would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique.
Estimate
$2,000 – $3,000
Louise nevelson
Reclining Nude.
Pen and ink on paper, circa 1930. 365x570 mm; 14½x22⅜ inches. Signed in ink, upper right recto.
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted. When staying in New Jersey, both Albert and Ted would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique.
Estimate
$2,000 – $3,000
Louise nevelson
Three Standing Nudes.
Pen and ink on paper, circa 1930. 437x230 mm; 17¼x9 inches. Signed in ink, lower right recto.
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted, when staying in New Jersey would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique.
Estimate
$3,000 – $5,000
Louise nevelson
Two Standing Nudes.
Pen and ink on paper, circa 1930. 390x248 mm;15⅜x9¾ inches. Signed in ink, lower center recto.
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted. When staying in New Jersey, both Albert and Ted would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique.
Estimate
$2,000 – $3,000
Louise nevelson
Two Standing Nudes.
Pen and ink on paper, circa 1930. 405x235 mm; 16x9¼ inches. Signed in ink, lower right.
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted. When staying in New Jersey, both Albert and Ted would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique.
Estimate
$2,000 – $3,000
Louise nevelson
Two Nudes.
Pen and ink on paper, circa 1930. 420x300 mm; 16⅝x11⅞ inches. Signed in ink, upper left verso.
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted, when staying in New Jersey would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique.
Estimate
$2,000 – $3,000
Louise nevelson
Seated Nude.
Pen and brush and ink on paper, circa 1930. 300x200 mm; 11¾x7⅞ inches. Signed in ink, lower right recto.
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted. When staying in New Jersey, both Albert and Ted would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique.
Estimate
$2,500 – $3,500
Louise nevelson
Noble Lady.
Etching, 1955. 500x405 mm; 19¾x15½ inches, full margins. Artist’s proof, aside from the edition of 200. Signed, titled “Portrait” and numbered 1/30. A very good impression of this scarce proof.
According to Baro, “The artist printed an unknown number of proofs as Portrait on various papers at Atelier 17.”
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted. When staying in New Jersey, both Albert and Ted would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique. Baro 19.
Estimate
$1,000 – $1,500
Louise nevelson
Untitled.
Etching and aquatint on Rives BFK, 1965-66. 345x453 mm; 13⅝x17⅞ inches, full margins. One of only several artist’s proofs, there was no published edition. Printed by Hollander’s Workshop, Inc., New York. With The Estate of Louise Nevelson blue ink stamp, verso. A very good, richly-inked proof.
Estimate
$1,500 – $2,500
Louise nevelson
Untitled.
Color screenprint with varnish additions, 1973. 260x190 mm; 10¼x7½ inches, full margins. Signed and numbered 224/300 in pencil, lower margin. Printed by Styria Studio, New York. Published by Experiments in Art and Technology, New York. From The New York Collection for Stockholm. A very good impression with strong colors. Baro 108.
Estimate
$1,500 – $2,500
Louise nevelson
Facade.
Group of 6 photographic collages on cardstock, one photographic and screenprint collage on yellow wove paper and one screenprint collage on cream wove paper, 1966. The six collages on cardstock: 760x510 mm; 30x20¼ inches; the collage on yellow wove paper: 585x445 mm23x17½ inches; the collage on cream wove paper: 587x480 mm; 23¼x19 inches. The collage on cream wove paper with geometric studies in pencil, verso.
The original collage maquettes for 7 (of 12) screenprints for the Facade Portfolio, 1966 (see Baro 73, 74, 76, 78–2 collages, 80, 81 and 82).
According to Baro, “The portfolio of twelve prints entitled Facade were done in homage to Edith Sitwell. The title of each print is the title of one of the poems of the Sitwell suite of the same name . . . Each print is a photographic collage silkscreened on paper, color paper and acetate, with additional collage elements. The portfolio was executed in an edition of 125 signed and numbered copies; four of the prints on colored paper with collage elements were done in an edition of 150; the were 7 complete sets of artist’s proofs. The portfolio was printed by Chiron Press, New York, and published by Harry N. Abrams, New York, in collaboration with Pace Editions, Inc., [New York].”
Ex-collection Stephen Poleskie, Chiron Press, New York.
Estimate
$5,000 – $8,000
Louise nevelson
Nevelson’s World.
Portfolio with complete text, color screenprint, painted wood multiple front cover and numerous illustrations, 1983. 335x305 mm; 13¼x12¼ inches (sheets), the screenprint loose, the other sheets bound as issued.
The screenprint signed, dated and numbered 88/100 in pencil, lower margin. Initialed and numbered 85/100 with a metal point in the metal title plate. Published by Hudson Hills, New York, in association with the Whitney Museum of American Art, New York.
Estimate
$4,000 – $6,000
Louise nevelson
Untitled.
Color lithograph on Rives BFK, 1967. 920x1440 mm; 36½x56¾ inches (sheet), full margins. Signed, dated and numbered 13/20 in red pencil, lower margin. Published by Tamarind Lithography Workshop, Los Angeles. A very good impression of this large, scarce lithograph.
We have found only one other impression at auction in the past 30 years. Baro 98.
Estimate
$3,000 – $5,000
Louise nevelson
Untitled.
Color screenprint on white wove paper, 1984. 863x610 mm; 34x24 inches, full margins. Signed, dated and numbered 12/105 in pencil, lower margin. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Louise nevelson
Essences #17.
Soft-ground etching on Arches, 1977. 895x600 mm; 35¼x23¾ inches, full margins. Signed, titled, dated and numbered 9/30 in pencil, lower margin. Printed by Mohammad Omar Khalil, New York, with the blind stamp lower right. Published by Pace Editions, Inc., New York. A superb, well-inked impression of this large, scarce etching.
Estimate
$1,500 – $2,500
Willem de kooning
Untitled.
Color screenprint on Arches, 1975. 587x737 mm; 23¼x29 inches, full margins. Artist’s proof, aside from the edition of 25. Signed, dedicated and inscribed “A.P.” in pencil, lower margin. Printed by Ives-Sillman, New Haven, with the blind stamp, lower left. A very good impression of this extremely scarce print.
Estimate
$7,000 – $10,000
Willem de kooning
Sketchbook with two color drawings.
Crayon on white wove watercolor paper and ink drawing on the cover of the sketchbook, circa 1965. 303x230 mm; 11⅞x9 inches.
With—A sheet of the artist’s letterhead on typewriter paper with correction fluid, circa 1965. 280x215 mm; 11x8½ inches.
Ex-collection the artist Conrad Fried (1920-2009), Elaine de Kooning’s brother, Sullivan County, New York; private collection, Sullivan County, New York.
Estimate
$3,000 – $5,000
Willem de kooning
Clam Digger.
Lithograph on J. B. Green paper, 1971. 1030x724 mm; 40½x28½ inches (sheet), full margins. Signed, dated and numbered 14/34 in pencil, lower margin. Printed by Hollander’s Workshop, Inc., New York, with the blind stamp lower right. Published by Knoedler, New York. A very good impression of this large, scarce lithograph. Graham 10.
Estimate
$5,000 – $8,000
Willem de kooning
Landing Place.
Lithograph on Akawara paper, 1971. 610x810 mm; 24x32 inches, full margins. Signed, dated “‘70” and numbered 29/54 in pencil, lower margin. Printed by Hollander’s Workshop, Inc., New York, with the blind stamp lower left. Published by Knoedler, New York, with the blind stamp lower right. A very good impression of this large, scarce lithograph. Graham 6.
Estimate
$7,000 – $10,000
Willem de kooning
Reflections: To Kermit for Our Trip to Japan.
Lithograph on Akawara paper, 1971. 1156x800 mm; 45½x31½ inches, full margins. One of 7 numbered artist’s proofs, aside from the edition of 28. Signed, dated, inscribed “AP II/VII” and dedicated in pencil, lower margin. Printed by Hollander’s Workshop, Inc., New York, with the blind stamp lower left. Published by Knoedler, New York. A superb impression of this large, scarce lithograph. Graham 22.
Estimate
$12,000 – $18,000
Willem de kooning
The Man and the Big Blond.
Color offset lithograph on white wove paper, 1982. 540x690 mm; 21¼x27⅛ inches, full margins. Signed in pencil, lower right, and numbered 146/150 in pencil, lower left. Published by The Rainbow Art Foundation, New York. A very good impression with strong colors.
Estimate
$8,000 – $12,000
Willem de kooning
Untitled (Two Standing Figures).
Pen and ink and wash on white wove paper. 228x150 mm; 9¼x6 inches.
Ex-collection Joan Ward, New York; private collection, Reykjavik.
Exhibited Matthew Marks Gallery, New York, “Willem de Kooning: Drawings and Sculpture,” October 31-December 19, 1998, with the label.
Estimate
$15,000 – $20,000
Elaine de kooning
Untitled.
Watercolor on wove paper, circa 1980. 305x227 mm; 12x8⅞ inches. Signed in watercolor, lower right recto.
Ex-collection the artist Conrad Fried (1920-2009), Elaine de Kooning’s brother, Sullivan County, New York; private collection, Sullivan County, New York.
Estimate
$4,000 – $6,000
Elaine de kooning
Untitled.
Oil on silk, circa 1980-85. 750x725 mm; 29½x28½ inches. Signed in oil, lower right recto.
Ex-collection the artist Conrad Fried (1920-2009), Elaine de Kooning’s brother, Sullivan County, New York; private collection, Sullivan County, New York.
Estimate
$20,000 – $30,000
Elaine de kooning
Untitled (Cave).
Bronze relief sculpture, circa 1985, cast circa 1992-95. 380x330x30 mm; 15x13x1½ inches. Edition of 13. Incised artist's signature, lower center recto. With the foundry mark "RD" lower left edge.
Ex-collection the artist Conrad Fried (1920-2009), Elaine de Kooning's brother, Sullivan County, New York; private collection, Sullivan County, New York.
This bronze relief was designed by de Kooning (1918-1989) toward the end of her long, illustrious career as an artist; there is another cast of the bronze on the artist's gravestone at the Green River Cemetery, East Hampton, New York. The bronze was cast posthumously, in an edition of 13, under the direction of Conrad Fried, from a wax model in the artist's studio.
Estimate
$25,000 – $35,000
Robert motherwell
Paris Review.
Color screenprint on Beckett Cartridge paper, 1965. 765x560 mm; 30x22 inches, full margins. Signed and numbered 148/150 in pencil, lower right. Printed by Chiron Press, New York. Published by the Paris Review, New York. A very good impression. Belknap App. 9.
Estimate
$2,000 – $3,000
Robert motherwell
Untitled.
Color lithograph on buff Arches Cover, 1966. 502x362 mm; 19¾x14¼ inches, full margins. Initialed and numbered 72/100 in pencil, lower margin. Printed and published by Hollander’s Workshop, Inc., New York, with the blind stamp lower right. From Portfolio 9. A very good impression of this scarce, early lithograph. Belknap 27.
Estimate
$3,000 – $5,000
Robert motherwell
Summer Trident.
Color lithograph on Japanese Kozo Chine appliqué on Rives BFK, 1990. 172x184 mm; 6¾x7¼ inches, full margins. Initialed and numbered 96/200 in pencil, lower right. Co-published by the artist, Gemini G. E. L., Los Angeles, and Ronald Feldman Gallery, New York. From Harvey Gantt . A very good impression.
This work was published to benefit the campaign of Harvey Gantt (born 1943), the American architect and politician, who ran for a U. S. Senate seat in North Carolina in 1990. Belknap 505.
Estimate
$1,500 – $2,500
Robert motherwell
Africa Suite #10.
Color screenprint on J. B. Green paper, 1970. 795x595 mm; 31¼x23⅜ inches, full margins. Initialed and numbered 69/150 in pencil, lower margin, and with the artist’s blind stamp lower right. Printed by Kelpra Studio, London, with the ink stamp verso. Published by Marlborough Graphics, Inc., New York. From the same-titled series. A very good impression. Belknap 49.
Estimate
$2,000 – $3,000
Robert motherwell
The Basque Suite #1.
Color screenprint on J. B. Green paper, 1970-71. 571x442 mm; 22½x17⅜ inches, full margins. Initialed and numbered 90/150 in pencil, lower right. Printed by Kelpra Studio, London. Published by Marlborough Graphics, Inc., London. From the same-titled suite. A very good impression with strong colors. Belknap 50.
Estimate
$3,000 – $5,000
Robert motherwell
The Basque Suite #5.
Color screenprint on J. B. Green paper, 1970-71. 571x442 mm; 22½x17⅜ inches, full margins. Initialed and numbered 71/150 in pencil, lower right. Printed by Kelpra Studio, London. Published by Marlborough Graphics, Inc., London. From the same-titled suite. A very good impression with strong colors. Belknap 54.
Estimate
$3,000 – $5,000
Robert motherwell
Primal Sign I.
Color aquatint and lift-ground etching on cream Whatman, 1979-80. 596x457 mm; 23½x18 inches, full margins. Signed and numbered 38/60 in pencil, lower margin. Printed by Catherine Mousley, New York. Published by Brooke Alexander, Inc., New York. A very good impression. Belknap 223.
Estimate
$2,000 – $3,000
Robert motherwell
Primal Sign II.
Color aquatint and lift-ground etching on German Etching paper, 1979-80. 595x250 mm; 23½x9¾ inches, full margins. Artist’s proof, aside from the edition of 45. Initialed and inscribed “ap IX/X” in ink, lower right. Printed by Catherine Mousley at the artist’s studio, Greenwich, with the artist’s blind stamp lower right. Published by Petersburg Press, New York. A very good, richly-inked impression of this scarce print. Belknap 235.
Estimate
$2,000 – $3,000
Robert motherwell
Primal Sign III.
Color aquatint and lift-ground etching on Arches Cover paper, 1979-80. 600x250 mm; 23¾x9¾ inches, full margins. Artist’s proof, aside from the edition of 35. Initialed and inscribed “ap I/X” in ink, lower right. Printed by Catherine Mousley at the artist’s studio, Greenwich, with the artist’s blind stamp lower right. Published by Petersburg Press, New York. A very good, richly-inked impression of this scarce print. Belknap 236.
Estimate
$2,000 – $3,000
Robert motherwell
Primal Sign IV.
Color aquatint and lift-ground etching on German Etching paper, 1979-80. 585x296 mm; 23x11⅝ inches, full margins. Initialed and numbered 45/62 in ink, lower right. Printed by Catherine Mousley, in the artist’s studio, Greenwich. Published by Petersburg Press, New York. A very good impression with strong colors. Belknap 237.
Estimate
$2,000 – $3,000
Robert motherwell
Black Flag.
Etching and stencil on Hawthorne of Larroque handmade paper, 1982-83. 299x395 mm; 11¾x15¼ inches, full margins. The bon à tirer impression, aside from the edition of 42. Initialed and inscribed “B.A.T.” in pencil, lower right. Printed by Catherine Mousley at the artist’s studio, Greenwich. Published by Tyler Graphics, Ltd., Mount Kisco. A very good impression. Belknap 262.
Estimate
$1,500 – $2,500
Robert motherwell
Octavio Paz, Three Poems.
Portfolio with complete text and 27 color lithographs on Arches, 1987. 545x455 mm; 21½x17⅞ inches (sheets), full margins, bound as issued. Edition of 750. Signed by Motherwell and Paz and numbered “589” in pencil, on the justification page. Printed by Trestle Editions, New York. Published by The Limited Editions Club, New York. Original linen portfolio cover and box. Very good impressions.
Motherwell (1915-1991) and Paz (1914-1998) were close friends and often dedicated works to each other. This collaboration arose from a visit by Motherwell to Mexico in 1967, having already sojourned there in 1941. The portfolio was first published in 1981-82. The current edition comprises text in Spanish and English printed in two colors. Belknap 354-380.
Estimate
$2,500 – $3,500
Robert motherwell
Wave.
Color lithograph on Somerset wove paper, 1989. 988x1386 mm; 38⅞x54⅝ inches (sheet), full margins. Signed and numbered 70/92 in pencil, lower margin. Printed by Lee Funderburg, Tyler Graphics, Ltd., Mount Kisco. Published by Tyler Graphics, Ltd., Mount Kisco. A very good impression of this large lithograph. Belknap 413.
Estimate
$15,000 – $20,000
Helen frankenthaler
What Red Lines Can Do.
Color screenprint on White Arches handmade coldpress paper, 1970. 978x660 mm; 38½x26 inches, full margins. Artist’s proof, aside from the edition of 75. Signed, numbered 17/24 and inscribed “AP” and “ss” in pencil, lower right. Printed by Maurel Studios, New York. Published by Multiples, Inc., New York. From the same-titled series. A very good impression.
According to Harrison, in the four screenprints in this series, “Frankenthaler manipulated the same image, varying the colors of the lower loop and thereby changing the way in which the lines and forms are perceived in relationship to one another. Moreover, by working with a small area of drawn image that opens up and outward on a large sheet, she achieved strong play between the densely saturated colors and the negative space in which they are so precariously balanced. The surface is further activated by the inverted V-image, drawn with crayon skipping across the fine mesh of the screen.” Harrison 25.
Estimate
$3,000 – $5,000
Helen frankenthaler
Lilac Sweep.
Color lithograph on Fabriano Artistico natural white paper, 2003-06. 407x510 mm; 16x20 inches, full margins. Signed and numbered 16/35 in pencil, lower margin. Printed and published by ULAE, Bay Shore, New York, with the blind stamp lower left. A very good impression of this scarce lithograph.
Estimate
$4,000 – $6,000
Helen frankenthaler
Untitled (Cleveland Orchestra Print).
Color screenprint on White Arches Cover paper, 1978. 572x762 mm; 22½x30 inches (sheet), full margins. Signed and numbered 7/150 in pencil, lower margin. Printed and published by Tyler Graphics, Ltd., Bedford Village, New York. A very good impression.
According to Harrison, “To achieve the brushstroke marks that give the print its painterly quality, the artist drew directly on the screens with liquid tusche. This method of screen making allowed her the gestural freedom that is not available in either the hand-cut film process or photo-stencil methods.” Harrison 70.
Estimate
$3,000 – $5,000
Tiber press
The Poems * Salute * Odes * Permanently.
Group of 4 volumes, each with 3 color screenprints hors texte, color screenprint title page and color screenprint front cover on Hahnemühle paper, 1960. 445x355 mm; 17⅝x14 inches (sheets), bound as issued. Each an edition of 200. Each signed by the artist and author in ink and numbered “38” on the justification page. Published by Tiber Press, New York.
Including The Poems, with color screenprints by Joan Mitchell and poems by John Ashbery * Salute, with color screenprints by Grace Hartigan and poems by James Schuyler * Odes, with color screenprints by Michael Goldberg and poems by Frank O’Hara * Permanently, with color screenprints by Alfred Leslie and poems by Kenneth Koch. With the original olive linen bound slipcase. Superb, richly-inked impressions of these very scarce, early prints with vibrant colors.
Estimate
$4,000 – $6,000
Joan mitchell
Champs (Grey).
Color lithograph on Arches, 1991. 762x563 mm; 30x22⅛ inches (sheet), full margins. Signed and numbered 16/125 in pencil, lower margin. Printed by Atelier Bordas, Paris. Published by Éditions Jean Fournier, Paris. A very good impression.
Estimate
$2,000 – $3,000
Joan mitchell
Arbres (Black and Yellow).
Color lithograph on Arches, 1991-92. 762x562 mm; 30x22⅛ inches (sheet), full margins. Signed and numbered 90/125 in pencil, lower margin. Printed by Atelier Bordas, Paris. Co-published by Éditions Jean Fournier and Éditions de la Différence, Paris. A very good impression with strong colors.
Estimate
$3,000 – $5,000
Joan mitchell
Arbres (Black and Red).
Color lithograph on Arches, 1991-92. 770x562 mm; 30¼x22 inches (sheet), full margins. Signed and numbered 40/125 in pencil, lower margin. Printed by Atelier Bordas, Paris. Co-published by Éditions Jean Fournier and Éditions de la Différence, Paris. A very good impression with strong colors.
Estimate
$4,000 – $6,000
Joan mitchell
Arbres (Black, Yellow and Blue).
Color lithograph on Arches, 1990. 760x563 mm; 30x22⅛ inches (sheet), full margins. Signed and numbered 21/125 in pencil, lower margin. Printed by Atelier Bordas, Paris. Co-published by Éditions Jean Fournier and Éditions de la Différence, Paris. A very good impression with strong colors.
Estimate
$7,000 – $10,000
Joan mitchell
Sunflower VII.
Color etching and aquatint on Arches, 1972. 683x435 mm; 27x17¼ inches, full margins. Signed and numbered 65/75 in pencil, lower margin. Printed and published by Maeght, Paris. A very good impression.
Estimate
$5,000 – $8,000
Joan mitchell
Sides of a River III.
Color lithograph on white Arches 88, mould-made paper, 1981. 1080x826 mm; 42½x32½ inches (sheet), full margins. Signed and numbered 66/70 in pencil, lower right. Printed and published by Tyler Graphics, Ltd., Mount Kisco, with the blind stamp lower right. From Bedford Series. A very good impression of this large lithograph. Tyler 368.
Estimate
$15,000 – $20,000
Joan mitchell
Brush.
Color lithograph on white Arches 88, mould-made paper, 1981. 1080x826 mm; 42½x32½ inches, full margins. Signed and numbered 21/70 in pencil, lower right. Printed and published by Tyler Graphics, Ltd., Mount Kisco, with the blind stamp lower right. From Bedford Series. A very good impression of this large lithograph with strong colors. Tyler 372.
Estimate
$20,000 – $30,000
Joan mitchell
Poems.
Portfolio with complete text and 8 color lithographs in-texte, 2 double-page, on TGL handmade paper, 1992. 490x360 mm; 19¼x14¼ inches (sheets), full margins, loose as issued.
Signed by Joan Mitchell and Nathan Kernan, the author, and numbered 44/76 in pencil, on the justification page. Printed and published by Tyler Graphics, Ltd., Mount Kisco. Original pink paper wrappers, handmade from the artist’s recycled lithographs with blue printed title, and burgundy cloth portfolio with pink handmade paper label and blue printed title. Superb impressions with vibrant colors.
Estimate
$6,000 – $9,000
Pierre soulages (after)
Composition en Brune et Jaune (Peinture 1947).
Color lithograph on Arches, 1960. 740x475 mm; 29¼x18¾ inches, full margins. Signed and numbered 121/150 in pencil, lower margin. Published by Fernand Mourlot, Paris. A very good impression with strong colors.
This color lithograph is based on Soulages' (born 1919) same-titled oil, 1947.
Estimate
$5,000 – $8,000
Conrad marca-relli
Untitled (Figures with a Horse).
Oil on canvas, circa 1950. 260x480 mm; 10¼x19 inches.
Ex-collection Dean Borghi Fine Art, New York, with the label on the frame back.
Estimate
$5,000 – $8,000
Arnulf neuwirth
Ohne titel.
Oil on canvas, circa 1950. 810x915 mm; 32x36 inches. Signed in ink on the stretcher bar verso.
Ex-collection private collection, New York.
Neuwirth (1912-2012) was an Austrian artist and founder in 1946 of the Viennese avant-garde artist group Der Kreis, as well as its president from 1950 to 1972. He studied at the Academy of Fine Arts in Vienna with the sculptor Karl Sterrer (1885-1972) and worked in Paris from 1937 to 1939. Neuwirth was a well-traveled artist. He lived on Gran Canaria, one of Spain’s Canary Islands, off northwestern Africa, during the early 1940s, and also visited North Africa and South America, then resided the U.S. in 1950, where he came under the influence of Abstract Expressionism, evidenced by the current work. From the mid-1950s onward, until his retirement as an artist, Neuwirth taught at the Modeschule der Stadt Wien, and his style shifted away from abstract toward more representational work, imbued with influences from Surrealism. At a career-spanning, 70-year retrospective exhibition of his work, "In the Paradise of Pictures," 2002, at the Kunsthalle Krems, held on his 90th birthday, Neuwirth was honored with the Great Golden Decoration of Honor of the Federal State of Lower Austria.
Estimate
$2,000 – $3,000
Max ackermann
Glückliche Zeichen.
Color screenprint on heavy cream wove paper, 1958. 485x360 mm; 19¼x14¼ inches, full margins. Signed, dated and numbered 9/100 in pencil, lower margin. A very good impression with vibrant colors.
Ackermann (1887-1975) studied under the Belgian Art Noveau master Henry van de Velde (1863-1957) and later trained in Dresden (with Franz van Stuck, 1863-1928) and Stuttgart. In Munich, early in his career, Ackermann was a member of Der Blaue Reiter from 1918-19 and exhibited with Kandinsky in the 1920s. During the late 1920s, he spent time in Paris, where he became friends with Piet Mondrian (1906-1944). Ackermann was deemed a degenerate artist by the Nazi government in 1933 and was forbidden from teaching and exhibiting; most of his works were also confiscated and destroyed. Nevertheless, he retreated to the countryside and continued his abstract work at Hornstaad on Lake Constance, which became a thriving artists’ colony. After World War II, Ackermann resettled in Stuttgart and became among the leading mid-century abstract artists in Germany.
Estimate
$1,000 – $1,500
Friedel dzubas
Untitled.
Oil on canvas, circa 1950. 585x230 mm; 23x9⅛ inches. Signed “Friedelbald” in oil, lower right recto.
Acquired from the artist’s son by the current owner, private collection, New York.
Dzubas (1915-1994) was born in Germany and fled his native country in 1939 to move to New York. He had no formal artistic training, but started his artistic career in the United States. He shared a studio with Helen Frankenthaler (1928-2011) from 1952-53, and during this time he also started to exhibit his work, including at the famous Ninth Street Show in 1951. At this early time in his career he frequently signed his work “Friedelbald” as this was before he changed his name to Friedel.
Often considered part of the Color Field movement, his work differed from others in the group as he juxtaposed and crossed forms over gesso leaving them saturated—many artists in the movement diluted their colors. He exhibited his work at significant galleries during his lifetime, including Tibor De Nagy, Leo Castelli Gallery and André Emmerich. Numerous prominent museums have exhibited his work during the last several decades and continue to hold his paintings in their permanent collections, such as the Metropolitan Museum of Art and the Musuem of Modern Art, New York.
Estimate
$10,000 – $15,000
Leon wall
Remembrance.
Oil on canvas, 1959. 730x1325 mm; 29x52¼ inches. Signed and dated in oil, lower right recto, and titled and dated “Jan. 2 ‘59” in oil, on the stretcher verso.
Ex-collection Betty Parsons Gallery, New York, with the label; private collection, New Jersey.
Wall (1916-1980) was born in Pittston, Pennsylvania and studied at the National Academy of Design and the Art Students League. Early in his career, like many other American artists of his generation, he painted in a Social Realist style. He won a Tiffany Fellowship and worked at the Metropolitan Museum of Art specializing in Persian Art. In the 1950s he embraced Abstract Expressionism, gaining early prominence and exhibiting at the Betty Parsons Gallery (known for their early promotion of Abstract Expressionism).
Estimate
$1,500 – $2,500
Doug ohlson
Untitled.
Acrylic on canvas, 1962. 408x357 mm; 16¼x14 inches. Signed, dated and dedicated “For Harriet” in ink, verso.
Ex-collection Harriet Lyons, Portland, Oregon.
Estimate
$5,000 – $8,000
Doug ohlson
Untitled.
Acrylic on canvas, 1958. 1210x1010 mm; 47¾x39¾ inches. Signed in acrylic, lower right recto.
Ex-collection Harriet Lyons, Portland, Oregon.
Ohlson (1936-2010) was born in Cherokee, Iowa. He attended Bethel College, completed a tour of duty with the United States Marines, then enrolled at the University of Minnesota where he graduated in 1961 with a degree in studio art. He promptly moved to New York where he started his career as an artist and initially came under the influence of Abstract Expressionism. His mature, mid-career work, with its hard-edged geometric compositions, explored the relationship between colors (see lots 206 and 207). From 1964 onward, he exhibited his work consistently in New York, including the Museum of Modern Art’s 1968 exhibition “The Art of the Real: 1948-1968” that explored the recent history of geometric art in the United States.
Estimate
$15,000 – $20,000
Yvonne thomas
The Captain.
Oil on canvas, 1958. 355x458 mm; 14x18 inches. Initialed in oil, upper right recto. Signed, titled and dated in oil, verso.
Ex-collection Stuttman Gallery, New York, with the label; private collection, New Mexico.
Thomas (1913-2009), born in France, emigrated to the United States in 1925. After working as a commerical artist, she decided to pursue painting full time. She studied at the Cooper-Union School of Art, the Art Students League, and at the short-lived Subjects of the Artists School, under Willem de Kooning, Hans Hofmann, Robert Motherwell and Mark Rothko. Thomas exhibited with the New York School at the legendary 1951 Ninth Street Show. In her gestural works, she conveyed her emotions, memories and natural spirit through the use of sweeping color and bold brushstrokes. Throughout her career, she experimented with many styles, from action painting to geometric, solid planes of color. Thomas is now widely recognized as being at the forefront of the Abstract Expressionism movement in New York.
Estimate
$5,000 – $8,000
Hans moller
Blue Coast.
Oil on canvas, 1959. 408x765 mm; 16x30¼ inches. Signed and dated in oil, lower right recto.
Ex-collection Otto Gerson, New York; Marlborough-Gerson Gallery, New York; Marlborough Gallery, New York; private collection, New York.
Moller (1905-2000) was born in Germany and emigrated to the United States in 1936 where he worked as an artist and graphic designer. In the 1940s Moller was among the many artists who turned to abstraction. Moller’s version of Abstract Expressionism was rooted in the spiritualism of color, much like Wassily Kandinsky (1866-1944). During the late 1950s Moller divided his time between New York and the artist colony on Monhegan Island, Maine. The island provided a natural, dramatic backdrop for Moller’s luminous, richly-colored paintings of patterned and abstract landscapes.
Estimate
$1,500 – $2,500
Xavier gonzalez
The Clearing—Tropic of Cancer.
Oil on canvas, 1962. 870x1120 mm; 34x44 inches. Initialed in oil, lower right recto. Signed, titled and dated in oil, verso.
Ex-collection the artist’s estate, New York; The Art Students League, New York.
Gonzalez (1898-1993) was born in Almeria, Spain and lived in Argentina and Mexico before studying at the Art Institute of Chicago from 1921 to 1923 and settling in the United States. During the 1930s, he completed commissions as a muralist for the WPA, mostly in Louisiana. He worked in a variety of styles throughout his career, creating figurative and abstract works in both sculpture and painting. He taught art around the United States, even establishing a summer school on Cape Cod, Massachusetts, and his work is included in museums across the United States including the Metropolitan Museum of Art and the Whitney Museum of American Art, New York.
Estimate
$2,000 – $3,000
Mercedes matter
Bethel, Connecticut.
Oil on canvas board, circa 1964-65. 330x406 mm; 13x16 inches. With the artist’s estate ink stamp, verso.
Ex-collection the artist’s estate, New York; Mark Borghi Fine Art Gallery, New York, with the label; private collection, New Jersey.
Matter (1913-2001) received art training from her father, the painter Arthur Beecher Carles (1882-1952) and also studied under Alexander Archipenko and Hans Hofmann. She worked with Fernand Léger, who would become a close friend, in New York, on his mural for the French Line passenger ship company and again privately on another mural. Léger introduced her to Herbert Matter (1907-1984), the Swiss graphic designer and photographer whom she married in 1939. She was a formative member of the American Abstract Artists and after working for the WPA in the late 1930s, Matter became active in the New York School circle of young artists, including Jackson Pollock, Lee Krasner, Philip Guston, and Elaine and Willem de Kooning. Matter was a driving force behind the creation of the New York Studio School in 1964, which stressed the importance of artistic development in the studio over headline-grabbing experimentation.
Estimate
$8,000 – $12,000
Anna walinska
After Tintoretto: Worship of the Golden Calf.
Watercolor and gouache on paper, 1965. 480x610 mm; 18⅞x24 inches. Signed and dated in watercolor, lower right recto and titled in pencil, verso.
Ex-collection the estate of the artist, by descent to current owner; private collection, New York.
Walinska (1906-1997) was born in London to a family of activists; her father was a labor leader and her mother was a sculptor, poet and activist. Her family moved to Brooklyn in 1914 and she grew up in a home surrounded by the Russian intelligentsia in New York. At age 12 she began her artistic studies at the National Academy of Design and the Art Students League. From 1926-30, she lived in Paris, studying art and exhibiting at the Salon des Independents. She worked as an exhibit curator for the Federal Art Project and founded the Guild Art Gallery, New York, giving Arshile Gorky (1904-1948) his first solo show. Walinska is known for her colorful, semi-abstract works of art, many of which were influenced by her travels around the world, which included time spent in Burma.
Estimate
$1,500 – $2,500
Lucille brown greene
Apotheosis: Nature.
Mixed-media, oil and collage with paper and cloth on masonite, 1961. 1215x915 mm; 48x36¼ inches. Signed in oil, lower right recto, counter signed and titled in oil, verso.
Ex-collection Galerie Internationale, New York, with the label verso; private collection, New York; private collection, Chicago.
Greene (1903-1906) was a pioneering west coast Abstract Expressionist. Born in Los Angeles, she graduated from University of California at Los Angeles and studied during the 1940s with Stanton MacDonald Wright, Millard Sheets and Richard Haines. Her first solo exhibition, “Lucille Brown Greene Paintings,” was shown at the Long Beach Museum of Art, Long Beach, California, in 1957, and she exhibited nationally in the following decades. Greene resided most of her career in Long Beach and was also an art instructor at Santa Monica City College and board member/juror for the California Watercolor Society.
Estimate
$2,000 – $3,000
John hultberg
Untitled.
Oil on canvas, 1954. 975x1300 mm; 38½x51¼ inches, Signed and dated “Paris 1954” in oil, verso.
Ex-collection Martha Jackson Gallery, New York, with the label; Marlborough Gallery, New York, with the label; private collection, New York.
Hultberg (1922-2005) was born in Berkeley, California and studied at Fresno State College, graduating in 1943, before serving in the Navy during World War II. After the war, he studied at the California School of Fine Arts under Mark Rothko and Clyfford Still. He gained success early in his career in the 1950s and won first prize at the Corcoran Biennial in Washington in 1955. Though initially he was associated with the Bay Area Figurative Movement, he also worked in the Abstract Expressionist style as well as Surrealism and Realism. In 1971, he moved to Monhegan Island, Maine and much of his work from that period reflects his time there. His work is included in the permanent collections of major museums such as the Guggenheim Museum, Metropolitan Museum of Art and the Whitney Museum of American Art, New York.
Estimate
$2,000 – $3,000
John hultberg
Rectangles.
Oil on canvas, 1957. 1020x1270 mm; 40¼x50 inches. Signed and dated in oil, verso.
Ex-collection Martha Jackson Gallery, New York, with the label; Marlborough Gallery, New York, with the label; private collection, New York.
Estimate
$2,000 – $3,000
Boris lovet-lorski
Ceremonial.
Oil on canvas, circa 1960. 1070x1275 mm; 42x50 inches. Signed and annotated in ink, verso, and with the artist’s printed label, verso.
Ex-collection World House Galleries Corp., New York, with the label; private collection, New Jersey.
Lovet-Lorski (1894-1973) is primarily known for his Art Deco sculpture and portrait busts, though he also practiced printmaking, drawing and painting where it related to his scultpural works during his early career. Lovet-Lorski developed arthritis in the late 1930s which worsened with age; in the late 1950s he could no longer raise his arms above his head. With his sculptural output diminished, he turned to painting. His late-career abstract paintings, like the current work, echo the mythological and fantasy subject matter of his Art Deco works while channelling the artist’s “innermost self,” his memories, and his interest in natural beauty.
Estimate
$2,000 – $3,000
Po kim
Untitled.
Oil on canvas, circa 1960. 510x582 mm; 20¼x23 inches. Signed in oil, lower right recto.
Ex-collection private collection, New York.
Kim (1917-2014) was a Korean-American artist, born in Changnyeong, Korea. He was among the first of a generation of Korean artists who moved to the United States in the 1950s and is one of the earliest-known Korean artists to permanently work and reside in New York. Kim’s Eastern and Western artistic training enabled him to develop a unique visual fusion of both traditions while he explored different styles throughout his career, from Abstract Expressionism in the 1950s, to realist still-life drawings in the 1970s and large-scale Neo-Expressionistic figurative and allegorical works from the 1980s onward. Kim was immersed in the downtown New York art scene of the 1950s, interacting with many of the New York School artists active at the time. In this environment, he pursued Abstract Expressionism with a lyrical, sweeping, calligraphic style, evinced by the current masterful oil painting.
Among the downtown art scene he met his future wife, the artist Sylvia Wald (1915-2011). Together with the artist Lenore Tawney, they purchased a house at 37 East 4th Street, which they renovated with artist studios and gallery. In 1978, Kim and Wald purchased the building at 417 Lafayette Street, where they lived and worked until their deaths. They established the Sylvia Wald and Po Kim Art Gallery, a non-profit art foundation, which is still located there today.
Estimate
$8,000 – $12,000
Joachim probst
Motif (from Campbell Series).
Oil on canvas, 1971. 430x440 mm; 17x17¼ inches. Signed, titled, dated and inscribed “65A” in oil, verso.
Ex-collection private collection, New Jersey.
Probst (1913-1980) was an East Village, New York mainstay during the ascent of Abstract Expressionism, a bohemian artist whose friends included Willem de Kooning, Jackson Pollock and Franz Kline. Probst’s work pursued two distinct paths, one was figurative expressionism in which he portrayed Biblical and spiritual themes, albeit not subject driven, the other was purely non-objective. The latter evidently had some influence on Kline, their relationship is repeatedly noted by Probst in his extensive private journal, discovered after his death, and evidenced by Kline’s seminal Abstract Expressionist oil painting, Probst I, 1960, now in the Museum of Fine Arts, Boston.
Estimate
$1,000 – $1,500
Joachim probst
Motif (from Campbell Series).
Oil on canvas, 1971. 433x435 mm; 17x17¼ inches. Signed, dated, titled and inscribed “#124A” in oil, verso.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Lloyd ney
Abstract (Figure).
Watercolor on paper, 1962. 600x450 mm; 23¾x17¾ inches. Signed and dated in ink, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,200 – $1,800
Lester johnson
Green Still Life.
Oil on canvas, circa 1960. 610x520 mm; 24x20½ inches. Signed and titled in oil, verso.
Ex-collection private collection, New Jersey.
Estimate
$5,000 – $8,000
European Abstraction, Art Brut & COBRA
Ruth francken
Untitled, No. 254 (Burning Point Series).
Watercolor, gouache and charcoal on heavy white wove paper, 1987. 1000x700 mm; 39½x27¾ inches. Dated and annotated “No. 254” in pencil, verso. With the “Salon Ruth Francken” estate ink stamp, verso.
Born in Prague and exiled in Vienna during the interwar years, Francken (1924-2006) studied painting with Arthur Segal from 1939-40 at the Ruskin School in Oxford, England, and lived in New York from 1940 to 1950 (she became an American citizen in 1942), taking classes at the Art Students League, before settling in Paris in 1952. Francken is generally considered an Abstract Expressionist artist, though her later work also focused on sculpture, collage of different textiles with related techniques and furniture design. Her work from the late 1960s to the early 1970s is marked by an obsession with technology, as developed in her series of photo-metallic reliefs and collages. While sometimes included among the Pop artists for these 1960s/1970s works, the over-arching interest of much of her creative output is the association of industrial language and its conflictual relationship with fine art.
Estimate
$1,500 – $2,500
Ruth francken
Untitled, No. 30.
Oil on canvas, 1989. 820x1215 mm; 32½x48 inches. Dated and annotated “No. 30” in ink, on the stretcher verso. With the “Salon Ruth Francken” estate ink stamp, on the stretcher verso.
Born in Prague and exiled in Vienna during the interwar years, Francken (1924-2006) studied painting with Arthur Segal from 1939-40 at the Ruskin School in Oxford, England, and lived in New York from 1940 to 1950 (she became an American citizen in 1942), taking classes at the Art Students League, before settling in Paris in 1952. Francken is generally considered an Abstract Expressionist artist, though her later work also focused on sculpture, collage of different textiles with related techniques and furniture design. Her work from the late 1960s to the early 1970s is marked by an obsession with technology, as developed in her series of photo-metallic reliefs and collages. While sometimes included among the Pop artists for these 1960s/1970s works, the over-arching interest of much of her creative output is the association of industrial language and its conflictual relationship with fine art.
Estimate
$2,000 – $3,000
Hans hartung
Farandole.
Lithograph on Guarro paper, 1971. 487x740 mm; 19¼x29¼ inches (sheet), full margins. The deluxe Roman numeral edition of 75, aside from the deluxe Arabic numeral edition of 75 and the regular trade edition of 100, with the soft central vertical fold as issued. Signed and numbered XLV/LXXV in white pencil, lower margin. Printed and published by Ediciones Polígrafa, Barcelona. From the same-titled suite. A very good impression.
Estimate
$1,200 – $1,800
Lucio fontana
Senza titolo.
Color lithograph on white wove paper, 1959-60. 495x365 mm; 19½x14½ inches (sheet), full margins. Signed and numbered 1/50 in pencil, lower margin. Printed by Il Torchio, Milan, with the blind stamp lower right. A very good impression of this scarce, early lithograph. Ruhé/Rigo L-15.
Estimate
$3,000 – $5,000
Pierre alechinsky
Milano.
Color aquatint on Larroque white wove paper, 1990. 980x670 mm; 38¾x26½ inches (sheet), full margins. Signed, titled, dated and numbered 6/99 in pencil, lower margin. Printed by Dutrou, Paris. Published by Éditions RLD, Paris. A very good impression.
Estimate
$1,500 – $2,500
Mark tobey
Flame of Colors.
Color lithograph on Arches, 1974. 426x298 mm; 16¾x11¾ inches, full margins. Signed and numbered 43/150 in pencil, lower margin. Printed by Mourlot, Paris. Published by Transworld Art, Geneva. From Homage to Tobey.
With—Psaltery (2nd Form), etching on Rives BFK, 1974. 354x275 mm; 14x11 inches, full margins. Artist’s proof, aside from the edition of 150. Signed and inscribed “EA 3/22” in pencil, lower margin. Both very good impressions.
Estimate
$1,500 – $2,500
Mark tobey
October.
Color lithograph on Arches, 1970-71. 431x674 mm; 17x26½ inches, full margins. Signed, dated and numbered 42/200 in pencil, lower margin. Printed by Kurt Meier, Basel. Published by Galerie Beyeler, Basel. A very good impression with strong colors.
With—Summer Joy, color aquatint on Auvergne paper, 1971. 338x260 mm; 13¼x10¼ inches, full margins. Signed, dated and numbered 22.96 in pencil, lower margin.
Estimate
$2,000 – $3,000
Mark tobey
Two lithographs: Mandarin and Flowers * Ritual
Color lithograph on warm cream wove paper, 1973. 495x695 mm; 19½x27¼ inches, full margins. Signed, dated and numbered 15/95 in pencil, lower margin. A very good impression with strong colors.
With—Ritual, lithograph, 1973. 318x260 mm; 12½x10¼ inches, full margins. Signed, dated and numbered 73/80 in pencil, lower margin.
Estimate
$1,200 – $1,800
Mark tobey
Sonata.
Color screenprint on Auvergne paper, 1975. 403x500 mm; 16x19¾ inches, full margins. Signed and numbered 37/100 in pencil, lower margin. Published by Edition de Beauclair, Frankfurst am Main, with the blind stamp lower left. A very good, richly-inked impression with strong colors. Heidenheim 52.
Estimate
$1,000 – $1,500
Krishna reddy
Pastoral.
Aquatint, etching and embossing on cream wove paper, 1959. 370x480 mm; 14¾x18¾ inches, full margins. Artist’s proof. Signed and inscribed “Epreuve d’artiste” in pencil, lower margin. A very good impression.
According to Reddy (1925-2018), “I was inspired by Beethoven’s “Pastorale” to work this plate. The power of the music exploded into an extraordinary space embedded with shapes. In the skeleton of interwoven structures, strange forms and shapes emerged which I tried to perfect by carving with scrapers and burins. The more I worked the more dynamic the landscape became” (Krishna Reddy: A Retrospective, Bronx Museum of the Arts, New York, 1981, 67-68).
Estimate
$1,500 – $2,500
Krishna reddy
Woman and Parting Son.
Color aquatint, etching and embossing on cream wove paper, 1971. 45x440 mm; 13⅝x8x17⅜ inches, full margins. Signed and numbered 98/100 in pencil, lower margin. A very good impression of this extremely scarce print.
Estimate
$1,500 – $2,500
Krishna reddy
Water Lilies.
Color aquatint, etching and embossing on cream wove paper, 1960. 335x450 mm; 13¼x18 inches, full margins. Artist’s proof. Signed and inscribed “Epreuve d’artiste” in pencil, lower margin. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Zao wou-ki
Sans titre.
Color aquatint and etching on Rives, 1974. 295x220 mm; 11¾x8¾ inches, full margins. The bon à tirer proof, aside from the 80. Signed, inscribed “Bon à tirer” and annotated with printing notes in pencil, lower margin. Printed by Bellini, Paris. Published by A.M.G. and Yves Rivière, Paris. From the deluxe edition of Marquet, Zao Wou-ki, Les Estampes. A superb impression of this very scarce proof. Ågerup 263.
Estimate
$2,500 – $3,500
Zao wou-ki
Sans titre.
Color aquatint and etching on Arches, 1967. 268x538 mm; 10½x21¼ inches, full margins. Signed, dated and numbered 26/90 in pencil, lower margin. Printed and published by Lacourière and Frélaut, Paris. A very good impression with strong colors. Ågerup 171.
Estimate
$2,500 – $3,500
Zao wou-ki
Sans titre.
Color lithograph on Arches, 1973. 410x320 mm; 16¼x12¾ inches, full margins. Signed and numbered 30/50 in pencil, lower margin. Printed by Mourlot, Paris. Published by Université de Genève, Geneva. A very good impression with strong colors. Ågerup 235.
Estimate
$2,000 – $3,000
Zao wou-ki
Sans titre.
Color lithograph on Arches, 1974. 500x500 mm; 19¾x19¾ inches, full margins. Signed, dated and numbered 88/95 in pencil, lower margin. Printed by Bellini, Paris. Published by Galerie de France, Paris. A very good impression of this large lithograph with strong colors. Ågerup 266.
Estimate
$4,000 – $6,000
Zao wou-ki
À la Gloire de l’Image et Art Poétique.
Color lithograph on Arches, 1976. 397x670 mm; 15⅝x26⅜ inches, full margins. Artist’s proof, aside from the edition of 99. Signed, dated and inscribed “E.A.” in pencil, lower margin. Printed by Bellini, Paris. Ediciones Polígrafa, Barcelona. From the same-titled portfolio. A very good impression. Ågerup 280.
Estimate
$3,000 – $5,000
Zao wou-ki
À la Gloire de l’Image et Art Poétique.
Color lithograph on Arches, 1976. 405x670 mm; 16x26½ inches, full margins. Signed, dated and numbered 72/99 in pencil, lower margin. Printed by Bellini, Paris. Published by Ediciones Polígrafa, Barcelona. From the same-titled portfolio. A very good impression. Ågerup 271.
Estimate
$3,000 – $5,000
Johannes avramidis
Ohne titel (Kopf).
Bronze, circa 1960. 330 mm; 13 inches (height).
Ex-collection Otto Gerson, New York; Marlborough-Gerson Gallery, New York; Marlborough Gallery, New York; private collection, New York.
Avramidis (1922-2016) was a Greek-Austrian sculptor who studied painting at the Academy of Fine Arts, Vienna from 1945-49 and sculpture at Fritz Wotrubas’ (1907-1975) sculpture classes from 1953-56. He was inspired by classical antiquity and Italian Renaissance sculpture, which greatly valued a figure’s proportions. Avramidis blended abstraction with figuration often creating forms with heightened texture and sensuality. He noted of his work, “My work demonstrates the execution of an objective, that is to say, of a perfectly graspable form. This form is the primary prerequisite for creating a work of art. In this I try to remove any personal stylistic influences from my work. The only real references in my work are to Antiquity and Early Italian Renaissance.”
Estimate
$7,000 – $10,000
Jean dubuffet
La fleur du barbe.
Portfolio with complete text and 5 collotypes, 1960. 490x320 mm; 19¼x12⅝ inches (folded sheets), full margins, loose as issued. Edition of 500. Numbered “235” in pencil on the justification page. Printed by Duval, Paris. Original paper wrapper and pasteboard box. Very good impressions. Webel 775-799.
Estimate
$1,000 – $1,500
Jean dubuffet
Profil à droite.
Color lithograph on Arches, 1962. 520x380 mm; 20½x15 inches, full margins. Signed, dated and numbered 28/30 in pencil, lower margin. Printed by Serge Lozingot, Paris. A superb, richly-inked impression of this very scarce lithograph with strong colors. Webel 822.
Estimate
$8,000 – $12,000
Jean dubuffet
Protestator (Green).
Color screenprint on Hollandais paper, 1973. 500x335 mm; 19¾x13¾ inches, full margins. Initialed, dated and numbered 22/100 in pencil, lower margin. Published by Pace Editions, Inc., New York. From Présences Fugaces. A very good impression with vibrant colors. Webel 1161.
Estimate
$4,000 – $6,000
"Stankiewicz made two-faced Janus heads, sculptures with two primary surfaces and exaggerated facial expressions. With their grotesque and scary facial features, these stelae often bore names like 'Double Booger for a Little John,' or 'The Suicide.' The first of these was later described as a 'spirit trap' for a person the artist detested."
119
Richard stankiewicz
Double Booger for a Little John.
Steel sculpture, 1961. 770x525x230 mm; 30½x20¾x9¼ inches (including base). With the artist’s initials and dated “1961-10” on the upper side of the base.
Ex-collection private collection, Chicago.
Published Donadio, “Miracle in the Scrap Heap: The Sculpture of Richard Stankiewicz,” Addison Gallery of American Art at the Phillips Academy, Andover, Massachusetts, 2003, page 39 (illustrated).
According to Donadio, describing Stankiewicz’s work from the beginning of the 1960s, “He made heads that took the Urchin form, a section of cylindrical pipe, which he treated like a tunnel and filled with assorted discards of hardware. But at the same time he made two-faced Janus heads, sculptures with two primary surfaces and exaggerated facial expressions. With their grotesque and scary facial features, these stelae often bore names like Double Booger for a Little John, or The Suicide. The first of these was later described as a “spirit trap” for a person the artist detested. The latter may have been a meditation on the death of Ernest Hemingway, whose suicide was front-page news in the summer of 1961. The contrast between his untitled and his named works was becoming extreme.”
Estimate
$15,000 – $20,000
Karel appel
Deux Figures.
Color lithograph on Arches, 1969. 500x640 mm; 19¼x25¼ inches, full margins. Signed, dated and numbered 48/75 in pencil, lower margin. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Karel appel
Mouse on a Table.
Color lithograph on white wove paper, 1971. 835x578 mm 33x22¾ inches, full margins. Signed, dated and numbered 33/100 in pencil, lower margin. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Karel appel
Clown Flower.
Painted wood multiple, 1978. 1250x1000x270 mm; 49½x39½x11 inches. Signed in oil, lower recto, and numbered 7/8 in oil, lower verso.
Ex-collection private collection, California.
Published Visser and Hagenberg, Karel Appel, The Complete Sculptures, New York, 1990, Number 78-012 (another example illustrated).
Estimate
$10,000 – $15,000
Karel appel
Flying High in the Night Sky.
Color pochoir and carborundum on heavy white wove paper, 1977. 740x880 mm; 29¼x34¾ inches (sheet), full margins. Signed, dated and numbered 80/110 in white crayon, lower margin. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Karel appel
Collection of 13 color lithographs and screenprints.
Including 4 impressions in different colors of Floating Passion Flower; 4 impressions in different colors of Singing Hands; 5 impressions in different colors of The Kiss. Some with silver foil collage. Each 755x1040 mm; 29¾x41 inches (sheets), full margins. Each signed, two dated, one numbered 3/60 and one inscribed “Trial Proof” in pencil, lower margin. Most published by London Arts, Detroit and London, some with the red ink stamp, verso. Two published by Editions Press, San Francisco, with the blind stamp lower left. With the cover sheet for The Sunshine People, 1974; and the portfolio cover for Golden Gate, 1975. Various sizes and conditions. Very good impressions with vibrant colors.
Estimate
$6,000 – $9,000
Friedensreich hundertwasser
Das falsche Augenlid.
Color lithograph on Arches, 1967. 490x615 mm; 19¼x24¼ inches, full margins. Signed and numbered 67/100 in pencil, lower margin. Printed by Mourlot, Paris. Published by Hanover Gallery, London. A very good impression with strong colors. Koschatzky 29.
Estimate
$2,500 – $3,500
Friedensreich hundertwasser
Flooded Sleep.
Color woodcut on Japan paper, 1973. 385x520 mm; 15⅛x20½ inches, full margins. Signed, annotated and numbered 99/200 in ink, lower left. Printed by Ichuikawa Surishi, Tokyo. Published by Gruener Janura AG, Glarus. From Midori No Namida. A very good impression with strong colors. Koschatzky 62.
Estimate
$3,000 – $5,000
Robert goodnough
Blue Color Vertical.
Oil and acrylic on canvas, 1975. 2130x1020 mm; 84x40 inches. Signed, titled, dated and annotated in oil, verso.
Ex-collection private collection, Chicago.
Estimate
$4,000 – $6,000
Robert goodnough
Portfolio #1-#4.
Complete set of 4 color screenprints on smooth white wove paper, 1973. Each 560x760 mm; 22x30 inches, full margins. Each signed, dated and numbered 149/150 in pencil, lower margin. Each published by Pace Editions, Inc., New York. Very good impressions with strong colors.
Estimate
$1,500 – $2,500
Robert goodnough
Untitled (Abstract Boat Collage).
Paper collage on cardstock, 1966. 405x495 mm; 16x19½ inches. Signed and dated in ink, lower right recto, and counter signed, dated and inscribed “Abstract Boat Collage” in ink, verso.
Ex-collection private collection, Chicago.
Estimate
$1,500 – $2,500
Sam francis
Blue Bones.
Color lithograph on Rives BFK, 1964. 448x337 mm; 17⅝x13¼ inches (sheet), full margins. Edition of 101. Signed in pencil, lower right. Printed by Emil Matthieu Atelier, Zurich. Published by William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts, Kansas City. A very good impression with strong colors. Lembark 77.
Estimate
$2,500 – $3,500
Sam francis
An 8 Set–4.
Color lithograph on Rives BFK, 1964. 279x381 mm; 11x15 inches (sheet), full margins. Printer’s proof, aside from the edition of 100. Signed and inscribed “printer’s proof” in pencil, lower margin. Printed by Joseph Zirker at Joseph Press, Los Angeles, with the blind stamp lower left. Published by the Pasadena Art Museum, California, with the blind stamp lower left. From Pasadena Box. A very good impression of this early lithograph with strong colors. Lembark 60.
Estimate
$2,500 – $3,500
Sam francis
Untitled.
Color lithograph on Rives BFK, 1986. 759x559 mm; 29¾x22 inches (sheet), full margins. One of 20 numbered hors commerce impressions, aside from the edition of 176. Signed and inscribed “H.C. 10/20” in pencil, lower margin. Printed by Desjobert, Paris. Published by Philosophie des Arts, Paris. From Michel Waldberg: Poèmes dans le ciel. A very good impression. Lembark 273.
Estimate
$4,000 – $6,000
Sam francis
Untitled (SF-346).
Color lithograph on Waterleaf white wove paper. 1991. 760x1180 mm; 29¾x46¼ inches (sheet), full margins. Artist’s proof, aside from the edition of 100. Signed and inscribed “AP” in pencil, lower margin. Published by Art Multi and Editions Sedcome, Paris. A superb impression of this large lithograph with vibrant colors.
Estimate
$5,000 – $8,000
Paul jenkins
Seeing Voice Welsh Heart.
Three (of 6) color lithographs on BFK Rives, 1965. Each 380x270 mm; 15x10¾ inches, full margins. Each an artist’s proof, aside from the edition of 150. Each signed and inscribed “Epreuve d’artiste” in pencil, lower margin. Printed by Mourlot, Paris. Published by Galerie Karl Flinker, Paris. From the same-titled portfolio. Very good impressions.
Estimate
$1,500 – $2,500
Paul jenkins
Two color lithographs.
Regiment March, 1971. 680x535 mm; 26¾x21¼ inches, full margins. Artist’s proof. Signed, titled, dated and inscribed “Trial Proof” lower left * Untitled, 1971. 690x490 mm; 26¾x19¼ inches (sheet), full margins. Artist’s proof. Signed, dated and inscribed “Trial Proof” in pencil, lower right. Very good impressions with strong colors.
Estimate
$1,500 – $2,500
Paul jenkins
Sheffield Blue.
Color lithograph on Somerset rag paper, 1981. 965x750 mm; 28x29½ inches (sheet), full margins. Signed, dated and numbered 125/150 in pencil, lower left. Published by Sword Street Press, Toronto, with the blind stamp lower right. From Primary Colours Canada. A very good impression of this large lithograph with strong colors.
Estimate
$1,500 – $2,500
Paul jenkins
At Stroke of Twelve.
Color lithograph on Rives BFK, 1999. 535x425 mm; 21x16¾ inches, full margins. Signed, titled, dated and numbered 116/200 in pencil, lower margin. Printed by Atelier Franck Bordas, Paris. Published by The Print Club of New York, New York. A very good impression with strong colors.
Estimate
$1,000 – $1,500
William h. alpert
Abstract Composition.
Acrylic on canvas. 305x303 mm; 12x11⅞ inches.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
William h. alpert
Untitled.
Watercolor on white wove paper, 2000. 765x573 mm; 30¼x22½ inches. Dated in pencil, lower right recto. With the artist’s estate ink stamp, verso.
Ex-collection the artist’s estate, New York; Wade Gallery, Washington, D.C., with the label; private collection, New Jersey.
“Bill” Alpert (1934-2015) was an abstract painter who also worked on wood constructions starting in the 1970s. After receiving his MFA from the University of California at Los Angeles in 1965, Alpert began to exhibit locally and in New York. His work was often experimental, as he tried different pigment formulations and drying methods. Alpert secluded himself from the art world in the late 1980s, shunning the commercial galleries, and instead taught painting at the Cooper-Union School of Art in New York.
Estimate
$1,000 – $1,500
James brooks
Concord.
Color screenprint on wove paper, 1975. 715x520 mm; 28¼x20⅜ inches, full margins. Signed, dated and numbered 50/200 in pencil, lower margin. Printed by Styria Studio, New York, with the blind stamp lower right. Published by APC Editions, New York. From America: The Third Century. A very good impression with vibrant colors.
Estimate
$1,000 – $1,500
John chamberlain
Flashback I.
Color screenprint on Rives BFK, 1981. 486x372 mm; 19¼x14¾ inches, full margins. Signed and numbered LXIV/LXXV in pencil, lower margin. Published by London Arts, Inc., Detroit, with the blind stamp lower left. From the same-titled portfolio. A very good impression with strong colors.
Estimate
$1,500 – $2,500
John chamberlain
Two color monotypes.
Both on Arches, circa 1990. Both 1055x750 mm; 41½x29½ inches (sheets), full margins. Both signed and titled in pencil, lower margin, and with the artist’s signature black ink stamp, lower right. Both published by Novak Graphics, Toronto, with the blind stamps lower right recto and ink stamp verso. Both superb impressions with vibrant colors.
Estimate
$3,000 – $5,000
John chamberlain
Last Form of Servitude.
Color monotype on Arches, circa 1990. 750x1055 mm; 29½x41½ inches (sheet), full margins. Signed and titled in pencil, lower margin, and with the artist’s signature black ink stamp, lower right. Published by Novak Graphics, Toronto. A superb impression with vibrant colors.
Estimate
$3,000 – $5,000
John chamberlain
Lineup #36.
Color screenprint on Somerset white wove paper, 1998. 555x750 mm; 22x29¾ inches (sheet), full margins. Signed, dated and numbered 60/63 in pencil, lower margin. Published by Pace Prints, New York. A very good impression with vibrant colors.
Estimate
$1,500 – $2,500
Adja yunkers
Falling Birds.
Color lithograph and screenprint on handmade rag paper, 1978. 720x555 mm; 28⅜x21⅞ inches, full margins. Signed, dated, titled and numbered 77/100 in pencil, lower margin and with the artist’s blind stamp lower right and watermark. Published by Vermillion Editions Ltd., Minneapolis, with the blind stamp lower left. A very good impression with strong colors.
Estimate
$1,200 – $1,800
Natvar bhavsar
Untitled.
Color screenprint on white wove paper, 1968. 545x545 mm; 21½x21½ inches, full margins. Signed, dated “69” and numbered 12/20 in pencil, lower margin. A very good impression with strong colors.
Bhavsar (born 1934) is an Indian-American artist, who received his early training in India before studying toward a MFA at the University of Pennsylvania School of Design and settling permanently in New York during the mid-1960s. He has worked successfully in both Abstract Expressionist and Color Field styles; his paintings appear in numerous private and public collections, including the collections of the Museum of Fine Arts, Boston, the Metropolitan Museum of Art, New York, the Philadelphia Museum of Art and the Solomon R. Guggenheim Museum, New York.
Estimate
$1,000 – $1,500
Theodoros stamos
Two color screenprints.
Untitled * Untitled. Both printed on J. B. Green Imperial paper, circa 1972. Both 770x565 mm; 30⅜x22¼ inches (sheet), full margins. Both an edition of 75. Both signed and numbered in pencil, lower edge. Both printed by Kelpra Studio, London, with the ink stamp verso. Both published by Marlborough Graphics. Inc., New York. Very good impressions with strong colors.
Estimate
$1,500 – $2,500
James lechay
Untitled (Color Field).
Watercolor on paper. 645x510 mm; 25½x20⅛ inches. Signed in pencil, lower right.
Ex-collection private collection, New Jersey.
Lechay (1907-2001), having little formal art instruction, is generally considered a self-taught artist. He worked for the Easel Project, part of the WPA during the Great Depression; his early works are imbued with the Social Realist style of this era. Though he was in the same circle as Mark Rothko (1903-1970) and Jackson Pollock (1912-1956), and appreciated their pure abstraction, Lechay never completely strayed from representational art. Nevertheless some works in his œuvre like the current watercolor explore the psychology of tonality with a nod toward Rothko’s abstraction.
Estimate
$3,000 – $5,000
Sonia delaunay
Couleur et Rythme.
Color aquatint and etching on wove paper, circa 1970. 495x396 mm; 19½x15½ inches, full margins. Signed and numbered 11/125 in pencil, lower margin. A very good, well-inked impression with strong colors.
Estimate
$1,500 – $2,500
Sonia delaunay
Rencontre.
Color lithograph on wove paper, 1964-69. 570x385 mm; 22½x15¼ inches, full margins. Signed, dated and numbered 16/100 in pencil, lower margin. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Sonia delaunay
Syncopé.
Color lithograph on Arches, 1972. 525x465 mm; 20⅝x18⅜ inches, full margins. Signed, dated and numbered 35/75 in pencil, lower margin. A very good impression.
Estimate
$2,000 – $3,000
André bloc
Sans titre.
Marble sculpture, 1959. 508x457x368 mm; 20x18x14½ inches.
Ex-collection Otto Gerson, New York; Marlborough-Gerson Gallery, New York; Marlborough Gallery, New York; private collection, New York.
Bloc (1896-1966) was born in Algeria and moved to France in 1898, where he later studied engineering and architecture, coming under the influence of Le Corbusier (1887-1965) in the early 1920s. He worked in art publishing during the 1920s and 1930s, founding several important journals, including L’Architecture d’Aujourd’hui, before turning to sculpture in the 1940s. He created his first large sculptures in Paris between 1949 and 1956. In 1951, in company with several other artists, Bloc formed the group Espace, the goal of which was to bring the ideals of constructivism and neo-plasticism to urbanism and design. Artists and urbanists such as Jean Dewasne, Etienne Bóthy, Jean Gorin, Félix Del Marle, Edgard Pillet, Victor Vasarely and Sonia Delaunay were also members of the group. Bloc focused primarily on sculpture and design during the 1950s up until his death in 1966. In 1959 he participated at “II. documenta” in Kassel, Germany, the second edition of the ground-breaking international quinquennial contemporary art exhibition.
Estimate
$3,000 – $5,000
Philip guston
Inscapes: Words and Images.
Color screenprint on Lenox 100% rag paper, 1977. 1020x765 mm; 40x30 inches, full margins. Signed and numbered 8/100 in pencil, lower margin. Printed by Chromacomp, Inc., New York. Published by the Smithsonian Associates Art Collectors Program, Smithsonian Institution, Washington, D.C., to commemorate the same-titled 1976 festival held in Washington, D.C. to celebrate the collaboration of poetry and visual arts. A very good impression with strong colors.
Estimate
$2,500 – $3,500
Alexander Calder & Kinetic Sculpture
Alexander calder
La Récolte (Harvest).
Aquatint on Rives BFK, 1962. 400x645 mm; 15¾x25½ inches, full margins. Signed and numbered 58/90 in pencil, lower margin. Published by Maeght, Paris. A superb impression of this scarce, early etching, with strong contrasts.
Estimate
$2,500 – $3,500
Alexander calder
Sun Face, Moon Face.
Color lithograph on white wove paper, circa 1965. 500x654 mm; 19⅝x25¾ inches (sheet), full margins. Signed in ink (attenuated) and numbered 92/100 in pencil, lower right. Printed by Mourlot, Paris. Published by Maeght, Paris. A very good impression.
Estimate
$1,000 – $1,500
Alexander calder
Les Oignons.
Color lithograph on Arches, 1965. 520x718 mm; 20½x28¼ inches (sheet), full margins. Signed and numbered 39/100 in pencil, lower margin. Published by Maeght, Paris. A very good impression with strong colors.
Estimate
$2,500 – $3,500
Alexander calder
Spirals.
Color lithograph on Rives BFK, 1969. 890x600 mm; 35x23⅝ inches (sheet), full margins. Signed and numbered 42/120 in pencil, lower margin. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Alexander calder
Sun with Planets.
Color lithograph on Arches, 1973. 520x705 mm; 20½x27¾ inches (sheet), full margins. Signed and numbered 71/125 in pencil, lower margin. Published by Maeght, Paris. A very good impression with strong colors.
Estimate
$2,000 – $3,000
Alexander calder
Presenza Grafica.
Color aquatint and etching on Fabriano Rosaspina paper, 1972. 915x954 mm; 36x37½ inches (sheet), full margins. Signed and numbered 15/90 in pencil, lower margin. Printed and published by 2RC Edizioni d’Arte, Rome, with the blind stamp lower right. A very good, richly-inked impression of this large, extremely scarce color print.
Calder’s (1898-1976) largest etching. We have found fewer than 10 other impressions at auction in the past 30 years.
Estimate
$7,000 – $10,000
Alexander calder
Circles and Waves.
Color lithograph on white wove paper, 1970. 580x767 mm; 22¾x30¼ inches (sheet), full margins. Artist’s proof, aside from the edition of 100. Signed and inscribed “EA” in pencil, lower margin. A very good impression with strong colors.
Estimate
$2,000 – $3,000
Alexander calder
Our Unfinished Revolution (Octopus).
Color lithograph on Arches, 1975-76. 760x555 mm; 30x21¾ inches (sheet), full margins. Signed and numbered 2/175 in pencil, lower margin. Printed by Mourlot, Paris. Published by Alba Editions, Inc., New York. From the same-titled portfolio. A very good impression with vibrant colors.
Estimate
$2,000 – $3,000
Alexander calder
Dolphin.
Color lithograph on white wove paper, 1975. 660x978 mm; 26x38½ inches (sheet), full margins. Signed and numbered 59/75 in pencil, lower margin. A very good impression of this large lithograph with strong colors.
Estimate
$3,000 – $5,000
Alexander calder
Le Jardin Fantastique.
Color lithograph on white wove paper, 1975. 535x730 mm; 23x31 inches, full margins. Artist’s proof, aside from the edition of 90. Signed and inscribed “EA” in pencil, lower margin. A very good impression with strong colors.
Estimate
$3,000 – $5,000
Alexander calder
Circus Rider.
Color lithograph on white wove paper, circa 1969. 577x777 mm; 22¾x30⅝ inches (sheet), full margins. Artist’s proof, aside from the edition of 100. Signed and inscribed “EA” in pencil, lower margin. A very good impression with strong colors.
Estimate
$2,000 – $3,000
Alexander calder
The Acrobats.
Color lithograph on Arches, 1975. 470x250 mm; 18½x9⅞ inches, full margins. Signed and numbered 54/150 in pencil, lower margin. Published by Maeght, Paris. A very good impression.
Estimate
$1,500 – $2,500
Alexander calder
Our Unfinished Revolution (Elephants).
Color lithograph on Arches, 1975. 490x740 mm; 19¼x29¼ inches, full margins. Signed and numbered 2/175 in pencil, lower margin. Printed by Mourlot, Paris. Published by Alba Editions, Inc., New York. From the same-titled portfolio. A very good impression with strong colors.
Estimate
$2,000 – $3,000
Alexander calder
Lion Tamer.
Color lithograph on white wove paper, circa 1974. 530x710 mm; 20¾x28 inches, full margins. Signed and numbered 55/75 in pencil, lower margin. A very good impression with strong colors.
Estimate
$2,000 – $3,000
Alexander calder
Red Moon and Black Sun.
Color lithograph on white wove paper, circa 1970. 590x805 mm; 23¼x31¾ inches, full margins. Signed and numbered 19/100 in pencil, lower margin. A very good impression of this large lithograph with strong colors.
Estimate
$2,500 – $3,500
Alexander calder
Our Unfinished Revolution (Star).
Color lithograph on Arches, 1975-76. 555x760 mm; 21¾x30 inches (sheet), full margins. Signed and numbered 2/175 in pencil, lower margin. Printed by Mourlot, Paris. Published by Alba Editions, Inc., New York. From the same-titled portfolio. A very good impression with vibrant colors.
Estimate
$2,000 – $3,000
Alexander calder
Our Unfinished Revolution.
Portfolio with complete text and 10 color lithographs, 1975-76. 555x760 mm; 21⅞x30 inches (sheets), full margins, loose as issued.
One of 250 copies, with the printed signature and date on offset paper. Printed by Mourlot, Paris. Published by Alba Editions, Inc., New York.
Original card portfolio printed with cover designed by the artist.
The Our Unfinished Revolution portfolio was created to aid the National Emergency Civil Liberties Committee on its 25th anniversary.
Estimate
$5,000 – $8,000
Alexander calder
Homage to Euclid.
Color lithograph on white wove paper, 1973. 520x720 mm; 20½x28¼ inches (sheet), full margins. Signed and numbered 85/100 in pencil, lower margin. Published by Éditions de la Différence, Paris. A very good impression with vibrant colors.
Estimate
$2,500 – $3,500
Alexander calder
Squash Blossoms.
Color lithograph on white wove paper, circa 1973. 335x220 mm; 13⅛x8¾ inches (sheet), full margins. Signed and numbered 22/100 in pencil, lower margin. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Alexander calder
Ballons et Cerfs Volants.
Color lithograph on white wove paper, circa 1970. 380x286 mm; 15x11¼ inches, full margins. Signed and numbered XVI/XL in pencil, lower margin. A very good impression with strong colors.
Estimate
$2,000 – $3,000
Alexander calder
Flying Colors (Plate X)..
Color lithograph on Arches, 1973. 593x860 mm; 23⅜x33⅞ inches (sheet), full margins. The deluxe, pencil-signed edition of 100, aside from the regular unsigned edition. Signed and numbered 56/100 in pencil, lower margin. From the same-titled portfolio designed for Braniff International Airways, Dallas. A very good impression with vibrant colors.
Estimate
$2,000 – $3,000
Alexander calder
Flying Colors.
Set of 5 (of 6) color lithographs on wove paper, 1974. 508x660 mm; 20x26 inches (sheets). Each with the Flying Colors Collection embossed stamp, lower right. Commissioned by Braniff Airways, Dallas. Very good impressions.
Calder (1898-1976) collaborated with Braniff Airways, 1974-75, to design a flying canvas for the airlines Boeing 727 fleet.
Estimate
$2,000 – $3,000
Manuel marín
Sans titre (rouge).
Painted steel stabile, circa 2000. 540x920 mm; 21¼x36¼ inches. With the artist’s incised signature on the base.
Estimate
$4,000 – $6,000
Manuel marín
Sans titre (bleu).
Painted steel stabile, circa 2000. 660x830 mm; 26x32⅝ inches. With the artist’s incised signature on the base.
Estimate
$4,000 – $6,000
Manuel marín
Sans titre (disque bleu).
Painted steel stabile, circa 2000. 660x950 mm; 26x37⅜ inches. With the artist’s incised signature on the base.
Estimate
$4,000 – $6,000
Manuel marín
Sans titre.
Painted steel mobile, circa 2000. 1790 mm; 70½ inches (furthest distance end to end). With the artist’s incised signature on the largest element.
Marín (1942-2007) was born in Spain where he trained as a bullfighter in his teens. After traveling to London in 1962, where he worked with Henry Moore (1898-1986), Marín moved to New York in 1964 and, six years later, had his first solo exhibition at the Alan Brown Gallery, Scarsdale, New York.
Estimate
$6,000 – $9,000
George rickey
Apollo and Daphne.
Etching, aquatint and engraving with hand coloring in watercolor on cream wove paper, 1947. 200x303 mm; 8x12 inches, full margins. Artist’s proof for an unrealized edition. Signed, titled, dated and inscribed “A. P.” in pencil, lower margin. A brilliant, richly-inked impression of this exceedingly scarce, early etching, with strong colors, crisp, inky plate edges and fingerprint ink smudges in the margins.
There are impressions of this subject, both with and without hand coloring, in the Smithsonian American Art Museum, Washington, D.C., gifted by the artist.
Rickey (1907-2002) is celebrated among the foremost American kinetic sculptors. Born in South Bend, Indiana, he was reared in the United Kingdom and graduated with a history degree from Balliol College, Oxford, where he also studied frequently at the Ruskin School of Drawing. Rickey furthered his artistic training, at the advice of his father, a Singer Sewing Machine Company executive, in Paris at the Académie L’Hote and Académie Moderne, studying modern painting and drawing. He returned to the U.S. in 1930 and began the first in a series of art teaching positions before he was drafted and served in the U.S. Army Air Force (1942-45). In 1946, Rickey returned to Muhlenberg College, Allentown, Pennsylvania, to become the chairman of the art department (which he had help organize in 1941).
Rickey began experimenting with kinetic sculpture in 1945. His first sculpture was exhibited in New York in 1951 at The Metropolitan Museum of Art group show American Sculpture. The MoMA purchased his stainless steel sculpture Two Lines Temporal I, 1964, after then director Alfred Barr had seen it at the exhibition Documenta III in Kassel, Germany.
Rickey created the current etching, along with several other versions of the mythological subject Apollo and Daphne, while studying printmaking during the fall of 1947 with Mauricio Lasansky (1914-2012) at the University of Iowa. He left his teaching position at Muhlenberg College the following year and focused his work on sculpture from the 1950s onward, settling with his family to East Chatham, New York, by 1960, and ultimately becoming among the leading kinetic sculptors of the 20th century.
Estimate
$2,000 – $3,000
George rickey
Untitled.
Lithograph on white Arches Cover paper, 1971. 460x385 mm; 18¼x15¼ inches, full margins. One of 5 numbered artist’s proofs, aside from the edition of 35. Signed, dated and numbered V/V in pencil, lower margin. Printed and published by the Tamarind Institute, Albuquerque. A very good impression of this extremely scarce lithograph. Tamarind 71-128.
Estimate
$1,200 – $1,800
George rickey
Weathervane.
Stainless steel kinetic sculpture on marble base, 1976. 650x875x22 mm; 25½x34½x8½ inches (including base). Incised with the artist’s signature and date and numbered 5/47, upper side of the long horizontal element, and additionally numbered 5/47 on the stainless steel base.
Published Jorn Merkert and Ursula Prinz, George Rickey in Berlin 1967-1992, Berlin, 1992, page 365.
Estimate
$12,000 – $18,000
Harry bertoia
Sculpture Study, Dandelion.
Monotype on Japan paper, circa 1960. 240x550 mm; 9½x21⅝ inches, full margins. A very good impression.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Harry bertoia
Sculpture Study, Cylinder Spray.
Monotype printed in dark green ink on Japan paper, circa 1960. 610x280 mm; 24x11 inches, full margins. A very good impression.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Harry bertoia
Sculpture Study, Round Spray.
Monotype printed in brown on Japan paper, circa 1960. 155x520 mm; 6⅛x20½ inches, full margins. A very good impression.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Color Theory, Post-Painterly Abstraction & Op-Art
Arthur luiz piza
Sans titre.
Oil and mixed-media collage on canvas, circa 1960. 325x218 mm; 13x8½ inches. Signed in oil, lower right recto.
Ex-collection private collection, Arizona.
With a certificate of authenticity from Catherine de Léobardy, Fond de dotation Arthur Luiz Piza, Paris, dated November 7, 2018.
Estimate
$15,000 – $20,000
Arthur luiz piza
Jacaré.
Color aquatint and embossing on Arches, 1973. 785x600 mm; 31x23¾ inches (sheet), full margins. Signed and numbered 89/99 in pencil, lower margin. Published by La Hune, Paris. A superb impression with vibrant colors. Masrour 176.
Estimate
$1,000 – $1,500
Arthur luiz piza
Three color aquatints.
Espace, 1965. Signed and numbered 19/120 in pencil, lower margin. Published by L’Oeuvre Gravée, Paris * Comète rouge, 1968. Signed, titled and numbered 25/210 in pencil, lower margin. Published by the International Graphic Arts Society, New York * Clat du bleu, 1976. Signed and numbered 20/99 in pencil, lower margin. Published by Champvallins, Paris. Various sizes and conditions. Very good impressions. Masrour 99, 123 and 194.
Estimate
$1,200 – $1,800
Solomon ethe
Grid Abstraction.
Oil on canvas, 1962-63. 920x770 mm; 36¼x30½ inches. Signed and dated in oil, verso.
Ex-collection the artist’s estate, New York; private collection, New Jersey.
A career economist, Ethe (born 1924) collected artworks by Fernand Léger, Kurt Schwitters, Paul Klee, Joseph Cornell, and leading Post-Impressionist artists, occasionally lending to The Museum of Modern Art, New York. Ethe started to create his own art in the 1960s, drawing inspiration from his own collection—non-representational forms with the gestural qualities of Léger paired with the experimental color theories and vibrations of Piet Mondrian and Kasimir Malevich.
Estimate
$4,000 – $6,000
Robert ryman
Test Plate #3.
Aquatint and etching on white wove paper, 1990. 400x296 mm; 15¾x11¾ inches, full margins. Numbered 53/75 in pencil, lower right. Published by Parasol Press, Ltd., New York. From BAM III. A very good impression.
Estimate
$1,500 – $2,500
Agnes martin
Paintings and Drawings: Stedelijk Museum Portfolio.
Portfolio with complete text in 2 bound volumes and 10 lithographs on vellum, 1990. Each lithograph 298x298 mm; 11¾x11¾ inches (sheets), full margins, loose as issued. Edition of 2500. Printed by Lecturis, Eindhoven. Published by Nemela & Lenzen GmbH, Mönchengladbach & Stedelijk Museum, Amsterdam. Original card portfolio folder. Very good impressions.
Estimate
$4,000 – $6,000
Kenneth noland
Marron.
Color aquatint and etching on Guarro paper, 1990. 375x562 mm; 14¾x22⅛ inches, full margins. Initialed and numbered 48/50 in pencil, lower margin. Printed and published by Ediciones Polígrafa, Barcelona, with the blind stamp lower right. A very good impression with strong colors.
Estimate
$2,000 – $3,000
Kenneth noland
Roy.
Color aquatint and etching on Guarro paper, 1990. 560x368 mm; 22¼x14½ inches, full margins. Initialed and numbered 36/50 in white pencil, lower corners. Printed and published by Ediciones Polígrafa, Barcelona, with the blind stamp lower right. A superb impression of this very scarce etching with strong colors.
Estimate
$2,000 – $3,000
Cy twombly
Untitled.
Color screenprint on cream wove paper, 1973. 302x227 mm; 11⅞x8⅞ inches, full margins. Initialed, dated and numbered 135/300 in pencil, lower verso. Printed by Styria Studio, New York. Published by Experiments in Art & Technology, New York. From The New York Collection for Stockholm. A very good impression. Bastian 38.
Estimate
$3,000 – $5,000
Brigitte matchinsky-denninghoff
Ohne titel (62/2).
Brass and sheet metal, 1962. 419x89x80 mm; 16½x3½x3¼ inches. Incised artist’s initials and “62/2” on the underside of the brass base.
Ex-collection Marlborough Gallery, New York; private collection, New York.
Estimate
$5,000 – $8,000
Brigitte matchinsky-denninghoff
Division II.
Brass and sheet metal on stone base, 1963. 1200x635x584 mm; 47¼x25x23 inches.
Ex-collection Marlborough Gallery, New York; private collection, New York.
Matschinsky-Denninghoff (1923-2011), born Meier-Denninghoff in Berlin, studied at art schools in Berlin and Munich. She was a co-founder of the Munich group “ZEN 49” in 1949, a member of the Deutscher Künstlerbund and also worked as a studio assistant for the British modernist sculptor Henry Moore (1898-1986) and the Russian-French constructivist sculptor Antoine Pevsner (1884-1962). She met Martin Matschinsky (born 1921) in 1952 at the Darmstadt-based experimental theater of Gustav Rudolf Sellner, where Meier-Denninghoff worked as a scenographer and Matschinsky as an actor. The couple married in 1959 and started working together, primarily in sculpture. The same year, they exhibited their collaborative work at “II. documenta” in Kassel and received the Prix Bourdelle Award. During the 1960s, the couple developed their characteristic technique of elegant shimmering, curved, chromium-nickel tubes that were set together in bundles, seemingly weightless, as monumental outdoor sculptures.
Estimate
$15,000 – $20,000
Gego
Lo Nunca Proyectado.
Three (of 6) embossings on Arches, 1964. 263x263 mm; 10⅜x10⅜ inches (sheet, folded), full margins. Signed by the artist and Alfredo Silva Estrada in pencil and numbered 6/17 in ink, lower margin. Printed by Pratt Graphics Center, New York.
Gego (born Gertrud Goldschmidt, 1912-1994) created this series in a collaboration with poet Alfredo Silva Estrada (1933-2009). Gego was a leading figure in Venezuelan abstraction in the 1960s and 1970s. She was born in Hamburg and studied engineering at the University of Stuttgart in 1938. Facing increasing Nazi persecution, her family was Jewish and her German citizenship was nullified in 1935, she moved to Venezuela in 1939 and became a citizen in 1952. Gego made her first sculpture in 1957, steeped in the burgeoning Caracas avant-garde art scene, and went on to become a leading practitioner of kinetic sculpture. Her work is interested in space, transparency and structure highlighting the contrast of oppositions such as light and darkness and stasis and dynamism. In the current works, which are three-dimensional relief prints, she collaborated with poet Alfredo Silva Estrada whose poem echoes the themes in Gego’s artistic output.
Estimate
$5,000 – $8,000
Jesús rafael soto
Composition (Vibration Diamond).
Color screenprint on heavy wove paper, circa 1970. 890x890 mm; 35x35 inches (sheet, diamond-shaped), full margins. Signed and numbered 14/200 in pencil, lower center. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Jesús rafael soto
Caroni.
Color screenprint on heavy white wove paper, 1971. 840x595 mm; 33¼x23½ inches (sheet), full margins. Signed and numbered 47/175 in pencil, lower margin. Published by Denise René and Hans Meyer, Paris, with the blind stamp lower left. From the same-titled portfolio. A very good impression with vibrant colors.
Estimate
$1,200 – $1,800
Anni albers
Study For Hooked Rug.
Color screenprint on Cartiere Miliani of Fabriano Umbria Italia paper, 1983. 580x450 mm; 22¾x17⅞ inches, full margins. Signed, dated “1964-83” and numbered 67/125 in pencil, lower margin. Printed by Muggiò, Milan. Published by Fausta Squatriti Editore, Milan. From Connections. A very good impression.
Estimate
$1,500 – $2,500
Johannes itten
Abstrakte Komposition.
Gouache, ink and color pencils on Arches, 1962. 380x280 mm; 15x11 inches. Signed and dated in pencil, lower left recto, and with the artist’s signature purple ink stamp twice verso.
Ex-collection private collection, New York.
Estimate
$5,000 – $8,000
Johannes itten
Group of 4 color prints.
Ohne Titel, lithograph, circa 1960 * Komposition, screenprint, 1962. Signed and dated in pencil, lower right * Grün-Rot-Gelb-Komposition, screenprint, 1966. Signed and dated in pencil, lower right * Ohne Titel Plakat für Ausstellung Baden-Baden, screenprint, 1965. Signed and numbered 87/100 in pencil, lower margin. Various sizes and conditions.
Estimate
$1,500 – $2,500
Josef albers
EA.
Color screenprint on German Etching paper, 1973. 260x352 mm; 10¼x13⅞ inches, full margins. Initialed, titled, dated and numbered 9/100 in pencil, lower margin. Printed by Sirocco Screenprints, New Haven. Published by Ives-Sillman, Inc., New Haven. A very good impression with strong colors.
Based on the 1928 glass picture Bowers. Danilowitz 222.
Estimate
$3,000 – $5,000
Josef albers
Interaction of Color.
Portfolio with complete text folder, bound text volume and 80 color screenprints, 1963. 330x255 mm; 12⅞x9⅜ inches (sheets), full margins, loose as issued.
The German edition. Published by Josef Keller, Starnberg. Original cream linen slipcase. The screenprints with fresh, strong colors. Danilowitz page 20.
Estimate
$6,000 – $9,000
Terry parmelee
Three color screenprints.
Summer in the Village, 1969. Signed, dated, titled and numbered 10/20 in pencil, lower margin * Acapulco, 1970. Signed, dated, titled and numbered 5/15 in pencil, lower margin * Desert City, 1971. Signed, dated, titled and numbered 2/24 in pencil, lower margin. Various sizes and conditions. Very good impressions with vibrant colors.
Parmelee (born 1929) is a prolific printmaker who worked in a variety of media throughout her career. In 1966, she studied woodcut under Carol Summers (who revolutionized the technique in the mid-20th century) and later graduated with an MA in Fine Art from American University, Washington, D.C. in 1967. She is known for bold, colorful abstraction, exploring the psychological effects of different colors and the symbolism of different shapes. Parmelee 19, 21 and 30.
Estimate
$1,000 – $1,500
Doug ohlson
Untitled.
Acrylic on canvas, 1964. 408x253 mm; 19x10 inches. Signed, dated, dedicated “for Al & Harriet” and inscribed “NY” in ink, verso.
Ex-collection Harriet Lyons, Portland, Oregon.
Estimate
$7,000 – $10,000
Doug ohlson
Three color screenprints.
Each 1968. Each 558x460 mm; 22x18⅛ inches (sheet), full margins. Each an edition of 50. Each signed, dated and numbered in pencil, lower right. Very good impressions with strong colors.
With—Maquette for Panel Painting, paper collage, 1968. 230x210 mm; 9x8¼ inches. Dated in pencil, upper right recto.
Each ex-collection Harriet Lyons, Portland, Oregon.
Estimate
$1,000 – $1,500
Gene davis
Untitled.
Color screenprint on wove paper, 1973. 880x630 mm; 34⅝x24⅞ inches (sheet), full margins. Signed, dated and numbered 11/150 in pencil, lower margin. A very good impression.
Estimate
$1,500 – $2,500
Gene davis
Series 2.
Group of 4 (of 6) color screenprints on canvas laminated to board, as issued, 1968. Three 765x505 mm; 30¼x20 inches, full margins; one 505x765 mm; 20x30¼ inches, full margins. Artist’s proofs, aside from the edition of 150. Each signed and inscribed “A/P” in ink, and titled with the ink stamp, verso. Published by Petersburg Press, Ltd., London, with the labels.
Includes: Zebra * Battle for Grown Ups * Black Pop Corn * Ianthe. Very good impressions with strong colors.
Estimate
$3,000 – $5,000
Gene davis
Series I.
Complete set of 6 color screenprints on canvas laminated to board, as issued, 1968. Three 610x765 mm; 24¼x30¼ inches, full margins; three 765x610 mm; 30¼x24¼ inches, full margins. Artist’s proofs, aside from the edition of 150. Each signed and inscribed “A/P” in ink, and titled with the ink stamp, verso. Published by Petersburg Press, Ltd., London, with the labels.
Includes: Tarzan * Jack in the Box * Graf Zeppelin * King Kong * Bullet Proof * John Barley Corn. Very good impressions with strong colors.
Estimate
$5,000 – $8,000
Frank stella
Zambesi.
Lithograph on Barcham Green etching paper, 1967. 380x560 mm; 15x22 inches (sheet), full margins. Signed, dated and numbered 64/100 in pencil, lower right. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamp lower right. From the </i>Black Series II</i>. A very good impression. Axsom 16.
Estimate
$1,500 – $2,500
Frank stella
The Whale-Watch Shawl.
Color screenprint on Italian silk shawl, 1994. 1371x1371 mm; 54x54 inches. Edition of 650. Signed and dated in ink, lower center. Printed and published by Tyler Graphics, Ltd., Mount Kisco, New York.
Estimate
$2,500 – $3,500
Françoise gilot
The Four Elements.
Set of 4 color lithographs on buff Arches Cover paper, 1977. Each 432x381 mm; 17x15 inches (sheets), full margins. Each signed, titled and numbered 95/100 in pencil, lower margin. Printed and published by the Tamarind Institute, Albuquerque. Very good impressions with strong colors.
Estimate
$1,500 – $2,500
Marisol escobar
Three painted cast paper masks.
Untitled (Autobiography), two casts, 1980-81. Both 445x375 mm; 17½x14¾ inches. Both an edition of 30. Both signed, numbered and dated in pencil, lower right * Untitled (Artist’s Fingers and Face), 1981. 505x410 mm; 19⅞x16⅛ inches. Artist’s proof, aside from a likely edition of 30. Signed, dated and inscribed “AP” in pencil, lower right.
Each ex-collection private collection, New Jersey.
Masks and guises in the Parisian-born, Venezuelan-American sculptor Marisol’s (Marisol Escobar, 1930-2016) work let the artist appropriate different female identities, usually drawn from upper and middle class gender roles. She was described as an “enigma” in the press throughout her career, nevertheless the majority of her sculptural œuvre, like the current works, used casts of her own face. Bridging artistic movements and avoiding style-defining characterization, Marisol mimicked the imaginary construct of what it means to be a woman, as well as the role of the ‘artist,’ utilizing the spontaneous gesture of expression of Action Painting along with the cool and collected artistic intent of Pop Art.
Estimate
$6,000 – $9,000
Marisol escobar
Untitled.
Cast paper with acrylic and rope multiple, 1981. 755x150 mm; 29¾x6 inches. Artist’s proof. Signed, dated and inscribed “AP” in pen and ink on the lower edge.
Ex-collection private collection, New Jersey.
Estimate
$3,000 – $5,000
Jirí kolár
Untitled (Hungarian Apricot).
Collage on postcard, 1964. 225x150 mm; 8⅞x6 inches. Initialed and dated in ink, lower right recto.
With—A copy of the exhibition catalogue, Jirí Kolár, New York, 1975.
Acquired directly from the artist, Prague; private collection, New York; thence by descent to current owner, private collection, California.
Estimate
$2,000 – $3,000
Joseph cornell
Untitled (Derby Hat).
Color photogravure on wove paper, 1972. 337x262 mm; 13¼x10½ inches, full margins. Numbered 104/125 in pencil, lower left, and with the artist’s ink stamp signature and estate blind stamp lower right. From Prints for Phoenix House. A superb impression.
Estimate
$2,000 – $3,000
Joseph cornell
Hotel du Nord.
Color screenprint on wove paper, 1972. 375x280 mm; 14¾x11 inches, full margins. Signed and numbered 37/125 in pencil, lower margin. Published by Brooke Alexander Editions, New York. A very good impression.
Estimate
$3,000 – $5,000
John cage
Not Wanting to Say Anything About Marcel.
Plexigram I-VIII, multiple comprising 8 screenprints on Plexiglas and a detachable walnut base, 1969. A Bon à tirer proof, aside from the edition of 125. Inscribed “IV. Bon À Tirer for Irwin Hollander” in blue ink on the instruction page and signed and inscribed in pencil, on the base. Each Plexiglas panel 355x510 mm; 14x20¼ inches. Printed by Irwin Hollander, New York. Published by EYE Editions, Cincinnati. Original black pasteboard portfolio box.
Ex-collection the Estate of Irwin Hollander, New York.
Estimate
$2,000 – $3,000
H .c. westermann
Death Ship of No Port.
Color lithograph on Arches, 1967. 457x610 mm; 18x24 inches, full margins. Signed, dated and numbered 17/50 in pencil, lower margin. Printed by Jack Lemon, Landfall Press, Chicago, with the blind stamp lower left. Published by Kansas City Art Institute, Kansas City. From the same-titled portfolio. A very good impression with strong colors. Adrian 12.
Estimate
$1,500 – $2,500
Corita kent
Come Alive!
Color screenprint on cream wove paper, 1967. 336x587 mm; 13¼x23¼ inches (sheet), full margins. Signed in ink, lower right. A superb impression with vibrant colors. Kent Archive 67-33.
Estimate
$2,000 – $3,000
Joseph beuys
Triptychon (Triptych).
Lithograph on tan card stock, 1981. 760x560 mm; 29⅞x22 inches (sheet), full margins. Signed and numbered 90/90 in pencil, lower left. Published by Edition Schellmann & Klüser, Munich. From the same-titled series. A very good impression. Schellmann 373.
Estimate
$2,000 – $3,000
Richard artschwager
Sailors.
Screenprint on cream wove paper, 1972. 630x450 mm; 25x17¾ inches (sheet), full margins. Signed, dated and numbered 108/180 in pencil, lower margin. Printed by Styria Studio, Ltd., New York, with the blind stamp lower right. Published by the German Art Dealer Association, Cologne. A very good impression.
This screenprint is based on Artschwager’s (1923-2013) Sailors, acrylic on 4 Celotex panels, 1966 (see Gross, Richard Artschwager!, New York, 2012, page 39, number 39).
Estimate
$1,000 – $1,500
Jasper johns
Zone.
Color lithograph on Angoumois paper, 1972. 1118x737 mm; 44x29 inches (sheet), full margins. Signed, dated and numbered 54/65 in pencil, lower margin. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamps lower right. A very good impression of this large, scarce lithograph. Field 105.
Estimate
$7,000 – $10,000
Jasper johns
Untitled.
Color screenprint on Patapar printing parchment, 1977. 241x238 mm; 9½x9⅜ inches, full margins. Edition of 3000. Printed by Simca Prints, Tokyo and New York. Published by Brooke Alexander, Inc., New York. A superb impression with strong colors, with the original catalogue in fine condition.
Printed as the cover for the catalogue Jasper Johns/Screenprints by Brooke Alexander, Inc., New York, with an essay by Richard S. Field. Complete copies are now scarce, since many wrappers have been removed for framing. Field 260.
Estimate
$2,500 – $3,500
Jasper johns
After Holbein (Associated Artists Against Torture).
Color lithograph on Arches, 1993. 565x765 mm; 22¼x30¼ inches (sheet), full margins. Signed, dated and numbered 125/150 in pencil, lower margin. Printed and published by ULAE, Bay Shore, New York. A superb impression with strong colors.
Estimate
$5,000 – $8,000
Robert rauschenberg
Test Stone 3.
Color lithograph on Barcham Green, 1967. 585x790 mm; 23x31 inches (sheet), full margins. Signed, dated and 71/71 in pencil, lower center. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamps lower right and the ink stamp verso. From Booster and Seven Studies. A superb impression of this scarce, early lithograph, with strong colors. Foster 43.
Estimate
$4,000 – $6,000
Robert rauschenberg
Test Stone 6.
Color lithograph on Domestic Etching paper, 1967. 1141x813 mm; 45x32 inches, full margins. Artist’s proof, aside from the edition of 44. Signed, dated and inscribed “A.P. IV” in pencil, lower right. Published by Gemini G. E. L., Los Angeles, with the blind stamps lower right and the ink stamp verso. From Booster and Seven Studies. A superb impression of this very scarce, early lithograph. Foster 45.
Estimate
$5,000 – $8,000
Robert rauschenberg
Sky Hook.
Lithograph on Special Arjomari paper, 1969. 1223x870 mm; 48x34 inches, full margins. Signed, dated and numbered 24/52 in pencil, lower margin. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamps lower right. A superb, richly-inked impression of this large, scarce lithograph. Foster 87.
Estimate
$2,500 – $3,500
Robert rauschenberg
CORE Poster.
Color screenprint with varnish overlay on white wove paper, 1965. 915x610 mm; 36x24 inches, full margins. Signed, dated and numbered 187/200 in felt-tip pen and black ink, lower right. A very good impression of this early print. Foster 32.
Estimate
$5,000 – $8,000
Robert rauschenberg
Untitled.
Color offset lithograph on wove paper, 1968. 847x635 mm; 33⅜x25 inches, full margins. Edition of 300. Signed, dated and dedicated “Big S. + Little S.” in felt-tip pen and red ink, lower right. Printed and published by Quarry, Local One/Amalgamated Lithographers of America and Color Lithographers Service, Inc., New York, with the blind stamps lower right. A very good impression. Foster 63.
Estimate
$1,500 – $2,500
Robert rauschenberg
The Tramp.
Color aquatint, embossing and collage on cream wove paper, 1974. 781x565 mm; 30¾x22⅛ inches (sheet), full margins. Signed, dated and numbered 283/300 (partially effaced) in pencil, lower right. Published by Untitled Press, Inc., Captiva Island, Florida, with the blind stamp lower left and the ink stamp verso. A very good impression.
Estimate
$1,200 – $1,800
Robert rauschenberg
Piece for Tropic.
Color lithograph on newspaper, 1979. 320x540 mm; 12⅝x21¼ inches. The deluxe edition of 100 signed and numbered impressions, aside from the regular edition of 650,000. Signed, dated and numbered 42/100 in pencil, upper right.
A color lithograph created for the cover of the end-of-decade issue of Tropic Magazine in the Miami Herald.
Estimate
$1,500 – $2,500
Robert rauschenberg
Broken Harp / Untitled (Harp).
Color screenprint on cream wove paper, 1989. 910x815 mm; 36x32 inches, full margins. Signed, dated and numbered 330/500 in pencil, lower left. Published by Dallas Cares/The American Foundation for AIDS Research. A very good impression with strong colors.
Estimate
$2,500 – $3,500
Robert rauschenberg
Tag.
Color screenprint, offset lithograph and embossing on white wove paper, 1997. 470x400 mm; 18½x15¾ inches, full margins. Signed, dated and numbered 391/500 in pencil, lower margin. Published by the Solomon R. Guggenheim Museum, New York. A very good impression.
Estimate
$1,000 – $1,500
Pop Art
Andy warhol
Shoe.
Brush and black ink and wash with additions in gray and white gouache on cream wove paper, 1954. 278x215 mm; 11x8½ inches. An advertising design for Harper’s Bazar, with the ink stamp and Warhol’s name and date in pencil, lower right verso.
Ex-collection private collection, New York.
Estimate
$3,000 – $5,000
Andy warhol
Two drawings.
Both brush and black ink and wash with additions in white gouache on cream wove paper, 1955. Both 355x278 mm; 14x11 inches. Both advertising designs for Harper’s Bazar, with the ink stamp and Warhol’s name and date in pencil, upper left verso.
Both ex-collection private collection, New York.
Estimate
$4,000 – $6,000
Andy warhol
S & H Green Stamps.
Color offset lithograph on wove paper, 1965. 570x560 mm; 22¼x22 inches (sheet), full margins. Edition of 6000. Printed by Eugene Feldman, Philadelphia. Published by the Institute of Contemporary Art, Philadelphia, with the printed text verso. A very good impression.
The mailing announcement for Warhol’s (1928-1987) exhibition at the Institute of Contemporary Art, Philadelphia, October 8-November 21, 1965. Feldman 9.
Estimate
$1,500 – $2,500
Andy warhol
Flowers.
Color offset lithograph on wove paper, 1964. 584x584 mm; 23x23 inches (sheet), full margins. Signed and dated in ball-point pen and ink, lower right. Printed by Total Color, New York. Published by Leo Castelli Gallery, New York. A very good impression of this early print with strong colors. Feldman 6.
Estimate
$25,000 – $35,000
Andy warhol
Electric Chair.
Color screenprint on wove paper, 1971. 902x1219 mm; 35½x48 inches, full margins. Signed and dated in ball-point pen and ink and numbered 139/250 with the ink stamp, verso. Printed by Silkprint Kettner, Zurich. Published by Bruno Bischofberger, Zurich. From the same-titled series. A very good impression with strong colors. Feldman 77.
Estimate
$12,000 – $18,000
Andy warhol
Mick Jagger.
Color screenprint on Arches Aquarelle (Rough) paper, 1975. 1110x735 mm; 43½x29 inches (sheet), full margins. Signed by Andy Warhol and numbered 127/250 in pencil, lower margin, and signed by Mick Jagger in felt-tip pen and black ink, lower left. Printed by Alexander Heinrici, New York. Published by Seabird Editions, London, with the ink stamp verso. A very good impression with strong colors. Feldman 140.
Estimate
$30,000 – $50,000
Andy warhol
Magazine and History.
Color screenprint and offset lithograph on Rives, 1983. 851x698 mm; 33½x27½ inches (sheet), full margins. Signed and numbered 475/500 in pencil, lower margin. Printed by Dr. Cantz’sche Druckerei and Frank Kicherer, Stuttgart. Published by Burda Verlag, Munich. A very good impression with strong colors. Feldman 304 A.
Estimate
$5,000 – $8,000
Andy warhol
Committee 2000.
Color screenprint on Lenox Museum Board, 1982. 762x508 mm; 30x20 inches, full margins. Signed and numbered 188/2000 in pencil, lower right. Printed by Rupert Jasen Smith, New York, with the blind stamp lower left. Published by Committee 2000, Munich. A very good impression with strong colors. Feldman 289.
Estimate
$7,000 – $10,000
Andy warhol
Perrier (Pink).
Color offset lithograph on graphic art paper, 1983. 368x488 mm; 14½x19¼ inches (sheet), full margins. Printed by Rupert Jasen Smith, New York. Published by La Source Perrier, Vergèze, France. A good impression with strong colors. Feldman IIIB.22.
Estimate
$1,000 – $1,500
Andy warhol
Perrier (White).
Color offset lithograph on graphic art paper, 1983. 445x593 mm; 17½x23⅜ inches (sheet), full margins. Printed by Rupert Jasen Smith, New York. Published by La Source Perrier, Vergèze, France. A good impression with strong colors. Feldman IIIB.22[d].
Estimate
$1,000 – $1,500
Andy warhol
Blackglama (Judy Garland).
Color screenprint on Lenox Museum Board, 1985. 965x965 mm; 38x38 inches (sheet), full margins. A unique exhibition proof, aside from the regular edition of 190 plus 30 artist’s proofs. Signed, inscribed “EP” and numbered 2/5 in pencil, lower left. Printed by Rupert Jasen Smith, New York, with the blind stamp lower right. Published by Robert Feldman Fine Arts, Inc., New York, with the blind stamp lower right and the ink stamp verso. From Ads. With the Great Lakes Mink Association copyright stamp verso. A superb impression with strong colors. Feldman 351.
Estimate
$30,000 – $50,000
Andy warhol (after)
Chanel No. 5 (Black)
Double-sided color offset lithograph poster, 1997. 1745x1185 mm; 68¾x46⅝ inches (sheet), full margins.
In 1985 Warhol (1928-1987) designed a series of nine limited edition screenprints, including Chanel (Feldman 354), which depicts the company's iconic perfume bottle against a two-colored background. In 1997, the company revisited this image to use in an advertising campaign. The resulting posters exist in two sizes. This is the larger format, intended for use in French bus shelters.
Estimate
$1,000 – $1,500
Andy warhol
Marilyn (Announcement).
Color screenprint, 1981. 175x176 mm; 6⅞x6⅞ (folded sheet). Signed in felt-tip pen and black ink, recto. The announcement for “Andy Warhol, A Print Retrospective, 1963-1981,” at Castelli Graphics, New York, 1981.
Based on the artist’s same-titled suite of screenprints from 1967, see Feldman 22-31.
Estimate
$4,000 – $6,000
Roy lichtenstein
Brushstroke.
Color offset lithograph poster on smooth white wove paper, 1965. 580x732 mm; 23x28⅞ inches, full margins. Signed in pencil, lower right. Printed by Chiron Press, New York. Published by Poster Originals, Ltd., New York. Corlett II 5.
Estimate
$5,000 – $8,000
Roy lichtenstein
Whaam!
Two color offset lithographs, diptych, 1967. Each panel 627x735 mm; 24¾x29 inches, full margins. Edition of 3000. Signed in pencil, lower right on the second panel. Printed by Lautrec Photolitho, Leeds. Published by The Tate Gallery, London.
According to Corlett, “This is a reproduction of the Whaam! (1963) painting in the collection of the Tate Gallery, London.” Corlett App. 7.
Estimate
$7,000 – $10,000
Roy lichtenstein
As I Opened Fire.
Three color offset lithographs, triptych, 1966. Each 610x497 mm; 24x19⅝ inches, full margins. Printed by Drukkerj Luii & Co., Amsterdam. Published by the Stedelijk Museum, Amsterdam. Very good impressions. Corlett App. 5.
Estimate
$1,500 – $2,500
Roy lichtenstein
Stedelijk Museum Poster.
Color offset lithograph on white wove paper, 1967. 792x635 mm; 31¼x25¼ inches (sheet), full margins. The deluxe edition of approximately 550 before letters, aside from the poster edition of 5000. Signed in pencil, lower right. Published by Stedelijk Museum, Amsterdam, and Poster Originals, New York.
According to Corlett, “550 impressions without the typography at the bottom were printed on a heavier paper, at least some with the bottom margin trimmed so that the sheet measures 31¼ inches in height. Some were signed by the artist.” Corlett III 23b.
Estimate
$4,000 – $6,000
Roy lichtenstein
Aspen Winter Jazz.
Color screenprint poster, 1967. 1015x660 mm; 40x26 inches (sheet), full margins. Signed and numbered 240/300 in ink, lower right. Printed by Chiron Press, New York. Co-published by the artist and Leo Castelli Gallery, New York. A very good impression with strong colors. Corlett 44.
Estimate
$5,000 – $8,000
Robert indiana
Numbers.
Complete set of 4 color screenprints on wood panels in wood box with screenprint cover, 1966. Each panel: 223x225x20 mm; 9x9x1 inches; box: 275x275x90 mm; 11x11x3½ inches (overall). Signed, dated and numbered 3/50 in felt-tip pen and black ink (the edition numbering crossed out; the edition was abandoned due to production and material difficulties), and extensively annotated in pencil, underside of box cover. Printed by Stephen Poleskie, Chiron Press, New York.
The scale and color combinations of the numbers in this box set correspond to those in Indiana’s (1928-2018) iconic Exploding Numbers, set of 4 oils on canvas, 1964-66, now in a private collection. This box was likely based on these panels and was created during the time Indiana was working with Poleskie at Chiron Press, New York, on the Paris Review Poster, color screenprint, 1965, and Purim: The Four Facets of Esther I and II, color screenprints, 1967.
Only one other Numbers set has previously been offered at auction, this was sold at Swann Auction Galleries, November 19, 2020, sale number 2522, lot 222, and was ex-collection Stephen Poleskie, Chiron Press, New York.
Estimate
$15,000 – $20,000
Robert indiana
Purim: The Four Facets of Esther.
Pencil and pen and ink on Bainbridge Bristol Studio illustration board, 1967. 765x562 mm; 30¼x22¼ inches. Inscribed “Steve: Note Color of Stars & Backgrounds are Reversed” in orange pencil, lower margin recto, dated “Mar. 11, 1967” with a rubber ink stamp, lower left recto, and annotated throughout with color and size notes in pencil and color pencil.
Ex-collection Stephen Poleskie, Chiron Press, New York.
Indiana’s (1928-2018) study for the same-titled color screenprint, issued in two color versions, in 1967. According to Sheehan, “These prints were commissioned by The Jewish Museum, New York, for its annual fundraising celebration in conjunction with the Jewish holiday of Purim. The subject for this print was taken from the Book of Esther.” Both color versions of the screenprint were printed at the Chiron Press, one in an edition of 90 and the other in an edition of 60 (see Sheehan 35 and 36).
Estimate
$7,000 – $10,000
Portfolio
City Center of Music and Drama.
Complete portfolio with 7 color screenprints and text, 1968. 890x635 mm; 35x25 inches (sheets), full margins, loose as issued.
One of 144 numbered copies, from a total edition of 153. Each print signed and numbered 75/144 in pencil, lower margin. Published by HKL, Ltd., New York. Original decorative paste board portfolio.
Includes prints by ANUSZKIEWICZ, DINE (Galerie Mikro 69), INDIANA, LAING, NESBITT, SEGAL and YOUNGERMAN.
Estimate
$5,000 – $8,000
Robert indiana
Indiana in Lewiston.
Color screenprint on white wove paper, 1991. 1300x522 mm; 40½x20½ inches, full margins. Edition of 150. Signed and dated in pencil, lower right. A very good impression of this large print with strong colors.
Estimate
$1,000 – $1,500
Robert indiana
Wall: Right Stone IV.
Color lithograph on Rives BFK, 1990. 825x490 mm; 32½x19¼ inches, full margins. One of 2 numbered printer’s proofs, aside from the edition of only 10 in this color combination (there is a total edition of 46 printed in four color variations). Signed, titled, dated and inscribed “PP 2/2” in pencil, lower margin. Printed and published by Vinalhaven Press, Vinalhaven, Maine. A very good impression with strong colors. Sheehan 141 IV.
Estimate
$1,500 – $2,500
Robert indiana
Love (Black, Gray and White).
Color pressed paper pulp. 640x635 mm; 25¼x25 inches (sheet), full margins. Signed in pencil, lower right, and counter signed in pencil, verso.
Estimate
$3,000 – $5,000
James rosenquist
Paris Review.
Color screenprint on white wove paper, 1967. 745x745 mm; 29½x29½ inches, full margins. Signed, dated and numbered 1/150 in pencil, lower margin. Printed by Chiron Press, New York. Published by the Paris Review, New York. A very good impression with strong colors.
Estimate
$1,500 – $2,500
James rosenquist
Pushbuttons.
Color lithograph on Hodgkinson handmade Oatmeal paper, 1972. 787x927 mm; 31x36½ inches, full margins. Signed, titled, dated and numbered 12/75 in pencil, lower margin. Printed and published by Petersburg Press, London. A very good impression. Glenn 51.
Estimate
$1,500 – $2,500
James rosenquist
Zone.
Lithograph on Hodgkinson handmade paper, 1972. 705x720 mm; 27¾x28¼ inches, full margins. Signed, dated, titled and numbered 15/66 in pencil, lower margin. Printed and published by Petersburg Press, London. A very good impression.
Rosenquist (1933-2017) adapted the subject of his iconic Pop art, same-titled oil on canvas, 1960-61, now in the Philadelphia Museum of Art, for this lithograph. Glenn 53.
Estimate
$3,000 – $5,000
James rosenquist
Strawberry Sunglasses.
Color lithograph Arches Cover paper, 1974. 927x1883 mm; 36½x74¼ inches, full margins. Signed, titled, dated and numbered 11/79 in pencil, lower margin. Printed by Styria Studio, New York, with the blind stamp lower right. Published by Multiples, Inc., and Castelli Graphics, New York, with the blind stamp lower right. A very good impression of this large, scarce lithograph. Glenn 79.
Estimate
$4,000 – $6,000
James rosenquist
Pale Lamps.
Color aquatint, etching and pochoir on Pescia Italia white wove paper, 1978. 447x907 mm; 17¾x36 inches, full margins. Signed, titled, dated and numbered 68/78 in pencil, lower margin. Printed by Flatstone Studio, Tampa, and Brand X Editions, Long Island City. Published by Multiples, Inc., New York. A superb impression with vibrant colors. Glenn 141.
Estimate
$2,000 – $3,000
James rosenquist
Star Ladder (2nd State).
Color etching and aquatint on Pescia Italia white wove paper, 1978. 581x1013 mm; 22¾x39¼ inches, full margins. Signed, dated, inscribed “2 state” and numbered 10/78 in pencil, lower margin. Printed by Aripeka, Ltd., Editions, Florida. Published by Multiples, Inc., New York. A very good impression. Glenn 136 A.
Estimate
$1,000 – $1,500
James rosenquist
4 Off for Pavilion.
Color lithograph on white wove paper, 1985. 635x635 mm; 25x25 inches, full margins. Artist’s proof, aside from the edition of 250. Signed, titled, dated and inscribed “AP 5/9” in white pencil, lower margin. A very good impression with strong colors.
Estimate
$2,500 – $3,500
James rosenquist
Katonah Muse.
Color offset lithograph on wove paper, 1993. 680x490 mm; 26¾x19¼ inches, full margins. One of 20 numbered artist’s proofs, aside from the edition of 100. Signed, titled, dated and inscribed “AP 5/20” in pencil, lower margin. Published by Tyler Graphics, Ltd., Mount Kisco, with the blind stamp lower left. A very good impression.
Estimate
$1,200 – $1,800
James rosenquist
Gift Wrapped Doll.
Color lithograph on white wove paper, 1993. 608x608 mm; 24x24 inches, full margins. One of 24 numbered artist’s proofs, aside from the edition of 100. Signed, titled, dated, inscribed “AP” and numbered 3/24 in pencil, lower margin. Printed and published by Tyler Graphics, Ltd., Mount Kisco, with the blind stamp lower right. A superb impression with vibrant colors.
Estimate
$1,500 – $2,500
Ed ruscha
Group of 10 artist’s books.
Some Los Angeles Apartments, two copies, 1965. Second printing. Edition of 3000. Printed by Anderson, Ritchie & Simon, Los Angeles * Every Building on the Sunset Strip, 1966. Second printing. Edition of 5000. Printed by Dick de Rusha, Los Angeles * Thirtyfour Parking Lots, 1967. Second printing. Edition of 2000. Printed by G.R. Huttner Lithography, Burbank * Nine Swimming Pools and a Broken Glass, 1968. Second printing. Edition of 2000. Printed by G.R. Huttner Lithography, Burbank * Real Estate Opportunities, 1970. Edition of 4000. Printed by G.R. Huttner Lithography, Burbank * A Few Palm Trees, three copies, 1971. Edition of 3900. Printed by G.R. Huttner Lithography, Burbank * Records, 1971. Edition of 2000. Printed by G.R. Huttner Lithography, Burbank. Each complete with text and offset lithographs. Each published by the artist. Each bound as issued. Various sizes and conditions. Engberg B3, B4, B5, B8, B12, B13 and B15.
Estimate
$8,000 – $12,000
Ed ruscha
Every Building on the Sunset Strip.
Offset lithograph printed on 9 joined sheets folded and glued, 1966. 180x140 mm; 7⅛x5½ inches (folded sheets), full margins. Second printing. Edition of 5000. Signed and dedicated in black ink on the slipcase. Printed by Cinema Center Printing Co., Hollywood. Published by the artist. Original mylar slipcase and paper strip, as issued.
With—Royal Road Test, offset printed volume, 1967. 241x160 mm; 9½x6¼ inches (sheets), full margins. Fourth printing. Edition of 1500. Signed and dedicated in ink on the inside cover and opposite the title page. Printed by G.R. Huttner Lithography, Burbank. Published by the artist. Spiral bound as issued. Very good impressions. Engberg B4 and B6.
Estimate
$3,000 – $5,000
Ed ruscha
Me and The.
Cloth-covered hardbound book with gilded gold edges and airbrushed text on the fore-edge, 2002. 135x182 mm; 5⅜x7⅛ inches. Signed, dated and numbered 77/230 in pencil on the colophon, attached to the rear cover. Printed by Graphicstudio, Tampa.
Estimate
$1,500 – $2,500
Jim dine
Car Crash II.
Lithograph on Rives BFK, 1960. 760x560 mm; 30x22¼ inches (sheet), full margins. Signed, titled and numbered 29/33 in pencil, lower margin. Published by Martha Jackson Gallery, New York. A very good impression of this extremely scarce, early lithograph. Galerie Mikro 2.
Estimate
$1,500 – $2,500
Jim dine
The Poet Assassinated.
Portfolio with complete text, 8 color pochoirs and numerous photographic illustrations on Euroset offset paper, 1968. 252x203 mm; 10x8 inches (sheets), full margins, loose as issued.
Edition of 250. Signed by the artist and the translator, Ron Padgett, and numbered in ink on the justification page. One pochoir signed in ink and numbered 169/250 in pencil, lower margin; seven pochoirs initialed and numbered 169/250 in pencil, lower margin. Published by Tanglewood Press, New York.
Estimate
$3,000 – $5,000
Jim dine
Palette III.
Etching on Fabriano paper, 1969. 710x510 mm; 28x20¼ inches (sheet), full margins. Signed and numbered 28/75 in pencil, lower right. Published by Petersburg Press, New York and London. From Four Palettes. Original Plexiglas frame with the publisher’s ink stamp, verso.
Exhibited Nassau County Museum of Art, Roslyn, “Graphics,” February 3-May 3, 1992, with the label on the frame back. A very good impression. Galerie Mikro 58.
Estimate
$1,000 – $1,500
Jim dine and lee friedlander
Photographs and Etchings XIII.
Silver print photograph by Friedlander and etching by Dine on a single sheet of Hodgkinson handmade Waterleaf paper, 1969. 455x755 mm; 18x29¾ inches (sheet), full margins. Signed by Friedlander and Dine and numbered 60/75 in pencil, lower margin. Printed by the artists, New York. Published by Petersburg Press, London. From the same-titled portfolio. A very good impression. Galerie Mikro 55n.
Estimate
$1,500 – $2,500
Jim dine
Emma Bovary.
Unique color lithograph, 1972. 760x1015 mm; 29⅞x40 inches (sheet), full margins. The unique trial proof for an unrealized edition, the project in collaboration with Petersburg Press, Ltd., London. Signed, dated and inscribed “Trial Proof” in pencil, lower center. A very good impression.
Estimate
$3,000 – $5,000
Jim dine
Self Portrait Hand Painted in Paris.
Etching, drypoint and electric tools with hand painting in color and clear acrylic on Arches Aquarelle, 1979. 160x140 mm; 6¼x5½ inches, full margins. Signed, dated and numbered 21/25 in pencil, lower margin. Printed by Crommelynck, Paris. Published by Pace Editions, New York. A very good richly-inked impression. D’Oench/Feinberg 50.
Estimate
$1,000 – $1,500
Jim dine
Glyptotek.
Set of 10 (of 14) color aquatints with etching on Rives BFK, 1987-88. 800x605 mm; 31½x23¾ inches (sheets), full margins. Each signed, dated “1989” and numbered 32/60 in pencil, lower left. Printed by Kurt Zein and Wicktor Libicky, Vienna. Co-published by the artist, Pace Editions, Inc., and Waddington Graphics, New York and London. Superb, richly-inked impressions. Carpenter 167.
Estimate
$4,000 – $6,000
Christo
Monuments.
Set of 7 (of 10) offset lithographs (one in color) on Bristol board, 1968. Each 695x540 mm; 27½x21⅜ inches (sheets), full margins. Each signed and numbered 46/100 in pencil, lower margin. Printed by Haarhaus, Cologne. Published by Galerie Der Spiegel, Cologne. Very good impressions. Schellmann 15 and 17-22.
Estimate
$5,000 – $8,000
Christo
Wrapped Monument to Vittorio Emanuele.
Color lithograph on Guarro paper, 1975. 716x553 mm; 28x22 inches (sheet), full margins. An hors commerce impression, aside from the edition of 75. Signed and inscribed “H.C” in pencil, upper right. Printed and published by Ediciones Polígrafa, Barcelona. From Wrapped Monument to Vittorio Emanuele, Project for Piazza Del Duomo, Milano. Schellmann 42.
Estimate
$1,500 – $2,500
Christo
Orange Store Front, Project.
Color lithograph on Arches with collage of brown wrapping paper, 1979. 267x230 mm; 10½x9 inches, full margins. Signed and numbered 46/100 in pencil, lower right. Printed and published by Ediciones Polígrafa, Barcelona. From Fifteen Years of Polígrafa. A very good impression. Schellmann 102.
Estimate
$1,500 – $2,500
Christo
Surrounded Islands, Biscayne Bay, Greater Miami, Florida (Close View).
Dye-transfer color photograph, 1980-1983. 365x557 mm; 14⅜x21⅞ inches, full margins. Signed by Christo and the photographer, Wolfgang Volz in ink, lower margin.
A documentary photograph of Surrounded Islands, which utilized 6.5 million square feet of woven polypropylene fabric surrounding 11 islands in Biscayne Bay, Florida.
Estimate
$2,000 – $3,000
Claes oldenburg
Woman Entwined in Giant Electric Cord (Edition A).
Soft-ground etching and spit-bite aquatint on Rives BFK, 1976. 768x546 mm; 30¼x21½ inches, full margins. Signed and numbered 38/50 in pencil, lower margin. Printed and published by Petersburg Press, London and New York.
Based on the same-titled drawing from 1967.
A very good impression of this scarce print. We have found only 2 other impressions at auction in the past 30 years. Axsom 160.1.
Estimate
$1,000 – $1,500
Larry rivers
The Donkey and the Darling by Terry Southern.
Portfolio with complete text and 52 color lithographs, 1967-77. 445x525 mm; 17½x20⅝ inches (sheets), full margins, loose as issued.
One of 35 numbered copies on handmade paper watermarked with the signatures of the artist and author. Each print signed by the artist and author, dated and numbered XXII/XXXV in pencil, lower margin. Published by ULAE, Bay Shore, with the blind stamp lower margin.
Original green lacquered wood box with green glass set into the cover. Sparks 59-115.
Estimate
$4,000 – $6,000
Keith haring
Two Barking Dogs.
Felt-tip pen and black and gold ink, on the inside cover of Keith Haring, Tony Shafrazi Gallery catalogue, 1982. 225x225 mm; 8⅞x8⅞ inches. Signed and dated in gold ink, lower left.
Ex-collection private collection, Tokyo.
Estimate
$10,000 – $15,000
Keith haring
Keith Haring: Into 1984/Tony Shafrazi Gallery.
Color offset lithograph, 1984. 880x580 mm, 34¾x22¾ inches, full margins. Signed and dated in silver ink, lower center. Haring Posters 12.
Estimate
$4,000 – $6,000
Keith haring
Dancer (Montreux Jazz Festival).
Color screenprint on smooth white wove paper, 1983. 865x630 mm; 34¼x25 inches (sheet). The deluxe edition of 80, before the printed signature lower right and the regular poster edition. Signed, dated and numbered 57/80 in pencil, lower right. Printed by Serigraphie Uldry, Bern. Published by the Montreux Jazz Festival, Montreux. The sheet trimmed to outside the black border line, removing the text lower margin and green border. Littmann 27.
Estimate
$10,000 – $15,000
Keith haring
Shafrazi Gallery Poster.
Color offset lithograph on white wove paper, 1988. 635x870 mm; 25x34¼ inches, full margins. Signed in felt-tip pen and black ink, lower right. A very good impression.
Estimate
$1,500 – $2,500
Keith haring
Fight Aids Worldwide.
Color lithograph on white wove paper, 1990. 280x215 mm; 11x8½ inches (sheet), full margins. Numbered 188/1000 in pencil, lower left. Printed by Emiliano Sorini, New York, with the blind stamp lower right. Published by The World Federation of United Nations Associations, New York, with the blind stamp lower right. A very good impression. Littmann page 168.
Estimate
$1,500 – $2,500
Allan d’arcangelo
Smoke Dreams.
Color screenprint on white wove paper, 1980. 560x810 mm; 22¼x32 inches, full margins. Signed, titled, dated and numbered 189/250 in pencil, lower margin. A very good impression with vibrant colors.
Estimate
$1,500 – $2,500
Mimmo rotella
Marilyn 3.
Color screenprint on white wove paper, 1991. 655x490 mm; 26x19½ inches, full margins. Artist’s proof, aside from the edition of 300. Signed and inscribed “A. P.” in pencil, lower margin. A very good impression.
Estimate
$1,500 – $2,500
Red grooms
Seated Nude.
Watercolor, gouache and black chalk on cream laid paper, 1964. 740x570 mm; 29¼x22½ inches. Signed and dated in ink, lower right recto.
Ex-collection private collection, Chicago.
Estimate
$2,000 – $3,000
Red grooms
Mango Mango.
Color screenprint on Arches Cover paper, 1973. 1030x735 mm; 40½x29 inches (sheet), full margins. Signed, dated and numbered 138/250 in pencil, lower margin. Printed by Chromacomp, Inc., New York. Published by Kitty Meyers, New York, for the benefit of Nicaraguan earthquake victims. A very good impression with strong colors. Knestrick 40.
Estimate
$1,000 – $1,500
Red grooms
De Kooning Breaks Through.
Three-dimensional color lithograph on Rives BFK wove paper, cut-out, glued and mounted in original Plexiglas case, 1987. 1194x838x222 mm; 47x33x8¾ inches, full margins. Signed and numbered 20/75 in red crayon, lower margin. Printed and published by Sharks Lithography, Ltd., Boulder. A superb impression with strong colors. Knestrick 112.
Estimate
$3,000 – $5,000
Red grooms
Wyoming Target (Self-Portrait).
Watercolor on white wove paper, 1988. 460x605 mm; 18⅛x23⅞ inches. Signed and dated in pencil, upper left recto.
Ex-collection Marlborough Gallery, New York, with a copy of the label; private collection, California.
Estimate
$10,000 – $15,000
Don nice
Three watercolor and gouache drawings.
Woodchuck, watercolor on paper, 1977. Signed, titled and dated, recto * Badger, watercolor on paper, 2002. Signed, titled and dated, recto * Raccoon, gouache on paper, 1977. Signed, titled and dated, recto. Various sizes and conditions.
Each acquired directly from the artist, private collection, Toledo, Ohio; by descent to the current owner, private collection, New York.
Estimate
$3,000 – $5,000
Don nice
Two watercolors on paper.
Rattlesnake, 1989. 870x695 mm; 34¼x27⅜ inches. Signed, titled and dated in pencil, recto * Rabbit, 1997. 610x505 mm;24x19¾ inches. Signed and dated in pencil, recto.
With—Two additional watercolors on paper. Snail, 2007. 255x354 mm; 10x14 inches * Robin, 2006. 305x253 mm; 12x10 inches. Both signed and dated in pencil, recto.
Rattlesnake, ex-collection John Berggruen Gallery, San Francisco; private collection, Toledo, Ohio; by descent to the current owner, private collection, New York.
Rabbit * Snail * Robin, each acquired directly from the artist, private collection, Toledo, Ohio; by descent to the current owner, private collection, New York.
Estimate
$2,000 – $3,000
Photorealism & New Realism
John salt
Riviera 2.
Oil on canvas, 1969. 1360x1750 mm; 53½x69 inches. Signed, titled and dated in ink, on the stretcher verso.
Ex-collection OK Harris Gallery, New York, with the label and the inventory number “OK #3” on the stretcher verso; acquired directly from OK Harris Gallery by private collection, New York, 1969; thence by descent to the current owner.
Salt (born 1937) is a pioneer of the Photorealist school. Born in Birmingham, England, he studied art at the Birmingham School of Art from 1952-58 and the Slade School of Art in London from 1958-60. He moved to the United States in 1966 to teach at the Maryland Institute College of Art, Baltimore, where he worked under Grace Hartigan (1922-2008) who influenced his early Abstract Expressionist paintings.
During his time in Baltimore, he discovered the work of photographers Garry Winogrand (1928-1984) and Lee Friedlander (born 1934). He admired their documentary style and adapted some of their photographs to paintings in a photorealist manner eliminating any trace of Expressionist sensibilities.
He began taking his own photographs and his work from that point onward focused on automobiles, often wrecked or decrepit in rural settings. To create his paintings, Salt draws an outline onto the canvas using a photograph projected from a slide. Color is added using an airbrush, with stencils used to get a precise effect. This eliminates the hand of the artist and removes any trace of self-expression. He continues to paint American scenes despite returning to England in 1978.
Estimate
$30,000 – $50,000
Richard estes
Qualicraft Shoes.
Color screenprint on Fabriano Cottone paper mounted on museum board, as issued, 1974. 900x1252 mm; 35½x49¼ inches (sheet), full margins. Signed and numbered 65/100 in pencil, lower center. Published by Parasol Press, Ltd., New York. A superb impression of this large screenprint with vibrant colors.
Estimate
$3,000 – $5,000
Richard estes
Salzburg Cathedral.
Color screenprint on cream wove paper, 1972. 505x370 mm; 20x14½ inches, full margins. Signed and numbered 82/250 in pencil, lower margin. Printed by Edition Domberger, Stuttgart. Published by Parasol Press, Ltd., New York. From Urban Landscapes I. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Richard estes
Two color screenprints.
New York Pressing Machinery, 1979. 500x328 mm; 19⅝x12⅞ inches, full margins. Signed and numbered 52/100 in pencil, lower margin. Published by Parasol Press, Ltd., New York. From Urban Landscapes II * Andy Capp, 1982. 490x440 mm; 19⅛x17¼ inches, full margins. Signed and numbered 226/250 in pencil, lower margin. Co-published by Parasol Press, Ltd., New York, and V & R Graphics, Long Island. Very good impressions.
Estimate
$2,000 – $3,000
Howard kanovitz
Two color screenprints.
André Champagne. 583x800 mm; 23x31½ inches, full margins. Signed and numbered 40/100 in pencil, lower margin * Street Scene. 605x800 mm; 24x31½ inches, full margins. Signed and numbered 76/100 in pencil, lower margin. Both 1972. Both very good impressions with strong colors.
Kanovitz (1929-2009) was a pioneering artist in the Photorealist and Hyperrealist movements of the 1960s and 1970s. Initially attracted to downtown New York avant-garde scene, and as an assistant to Franz Kline (1910-1962), he exhibited successfully with the Abstract Expressionists at the fabled Tenth Street galleries, the Tanager and Hansa, and in the Stable Gallery annuals, where he had his first one-man show in 1962. The 1963 death of his father was pivotal in his artistic career, and thereafter he began using photographs as source material, either appropriated from the media or taken himself. In 1972, the Americans Chuck Close, Richard Estes and Kanovitz were chosen to join Europeans Gerhard Richter, Sigmar Polke, Malcolm Morley and Franz Gertsch, in the groundbreaking international art exposition “documenta V,” in Kassel, Germany, as the pre-eminent exponents of this new photo-based painting which came to be known as Photorealism.
Estimate
$1,000 – $1,500
Wayne thiebaud
Candy Counter.
Color linoleum cut on Arches, 1970. 470x640 mm; 18½x25⅛ inches, full margins. Signed, dated and numbered 8/50 in pencil, lower margin. Published by Parasol Press, Ltd., New York. From Seven Still-Lifes and a Rabbit. A very good, well-inked impression.
Estimate
$5,000 – $8,000
Lowell nesbitt
Three color lithographs.
Katz Studio. Signed, dated and numbered 57/99 in pencil, lower margin * Katz Studio with Dog. Signed, dated and numbered 7/99 in pencil, lower margin * Studio with Orange Chair. Signed, dated and numbered 2/99 in pencil, lower margin.
Nesbitt (1933-1993) was asscoiated with both Photorealism and Pop Art. He often painted the studio interiors of fellow New York artists including Claes Oldenburg (born 1929), Helen Frankenthaler (1928-2011), Any Warhol (1928-1987), Robert Indiana (1928-2018) and Alex Katz (born 1927).
Estimate
$1,000 – $1,500
Lowell nesbitt
IBM #729.
Oil on canvas, 1965. 2035x1525 mm; 80x60 inches. Signed, titled and dated in oil, verso.
Ex-collection the artist’s estate; New York; private collection, New York.
Exhibited “Computers and Art,” Everson Museum of Art, Syracuse, New York; IBM Gallery of Science and Art, New York; the Center for the Fine Arts, Miami, 1988.
Published in Goodman, Digital Visions: Computers and Art, New York, 1988.
The “Computers and Art” exhibition was a groundbreaking event, described by one critic as, “A circus-like extravaganza of visual and aural effects . . . at the IBM Gallery of Science and Art. Everything from a water sculpture that responds to both programmed music and hand-clapping, to a drawing machine that creates images of plants and people, can be seen and experimented with in ‘Computers and Art,’ a truly fascinating exhibition devoted to the computer and its importance in the making of art today. There are 141 works in all, including several collaborative pieces, by more than 150 painters, sculptors, architects, and video artists, all of whom have utilized computers at some point in the creative process. These works represent almost every stylistic approach, from traditional oil paintings to ‘high-tech’ video and 3-D ‘synthetic’ images, and include examples by, among others, Andy Warhol, Philip Pearlstein, Robert Rauschenberg, Larry Rivers, and Kenneth Noland.”
Estimate
$4,000 – $6,000
Robert cottingham
Rolling Stock, For Leslie C.
Color aquatint on Somerset Satin, 1992. 308x308 mm; 12¼x12¼ inches, full margins. Signed, dated, titled and numbered 43/60 in pencil, lower margin. Published by Creative Works Editions, Kyoto. From the same-titled portfolio. A very good impression with strong colors.
Estimate
$1,000 – $1,500
Robert cottingham
Barrera Rosa’s.
Etching and drypoint on ivory wove paper, 1986. 340x950 mm; 13⅜x37½ inches, full margins. Artist’s proof, aside from the edition of 29. Signed, titled, dated and inscribed “AP 2/3” in pencil, lower margin. Printed by Harlan & Weaver, New York, with the blind stamp lower right. Published by Signet Arts, St. Louis. From the same-titled portfolio. A very good impression.
Estimate
$2,000 – $3,000
Robert cottingham
One Way.
Color screenprint, 1984. 630x505 mm; 24¾x20 inches, full margins. Artist’s proof, aside from the edition of 28. Signed, titled, dated and inscribed “T.P.” in pencil, lower margin. A very good impression.
With—Art, color offset lithograph,1973. 532x532 mm; 21x21 inches, full margins. Edition of 1000. Signed in pencil, lower right.
Estimate
$1,200 – $1,800
Rits van kooten
World Trade Center.
Oil on canvas, 1974. 1095x1100 mm; 43⅛x43¼ inches. Signed and dated in ink on the stretcher bar verso.
Ex-collection private collection, New York.
Van Kooten (1941-2005) was born in Lochem in the Netherlands and studied painting and architecture in the Netherlands and Belgium. Over the span of his career, he painted numerous architectural scenes including approximately forty-two of the World Trade Center.
Estimate
$1,500 – $2,500
Fairfield porter
Street Scene.
Color lithograph on Arches, 1969. 565x762 mm; 22¼x30 inches, full margins. Signed and numbered 25/100 in pencil, lower margin. Printed by Mourlot, New York. Published by Brooke Alexander, Inc., New York.
Porter’s (1907-1975) first color lithograph. A very good impression with strong colors. Ludman 18.
Estimate
$2,000 – $3,000
Fairfield porter
Ocean II (The Gale).
Color lithograph on Arches, 1974. 515x645 mm; 20¼x25½ inches, full margins. Artist’s proof, aside from the edition of 70. Signed and inscribed “artist’s proof” in pencil, lower margin. Printed by Resam Press, New York. Published by Brooke Alexander, Inc., New York. A very good impression with strong colors. Ludman 27.
Estimate
$2,000 – $3,000
Fairfield porter
Apple Blossoms II and III.
Two color lithographs on Arches, 1974. Each 514x641 mm; 20¼x25 inches, full margins. Both signed, inscribed “II” or “III” and numbered 27/50 or 36/50 in pencil, lower margin. Both printed by Resam Press, New York. Both published by Brooke Alexander, Inc., New York. Both very good impressions with strong colors. Ludman 28.
Property from the estate of Anne E. C. Porter, both with the estate stamp, verso.
Estimate
$2,000 – $3,000
Alex katz
Rowboat.
Oil, color pencil and pencil on paper, 1966. 227x287 mm; 9x11¼ inches. Signed in pencil, lower left recto.
Katz’s (born 1927) study for the same-titled color screenprint and color screenprint poster (see below). According to the artist, “The Rowboat image comes out of a collage. Next I did a painting of it and then by doing a print, this image was almost back into a collage,” (Maravell, Alex Katz, The Complete Prints, New York, 1983, catalogue number 14).
With—Rowboat, color screenprint on rose-toned wove paper, 1966. 265x331 mm; 10½x13⅛ inches, full margins. Edition of approximately 500. Signed and dedicated “For Steve–Alex” in pencil, lower left * Rowboat Poster, color screenprint on rose-toned wove paper, 1966. 545x343 mm; 21½x13½ inches (sheet), full margins. Edition of approximately 500. Both printed by Stephen Poleskie, Chiron Press, New York. Both published by Fischbach Gallery, New. Very good impressions. Maravell 14 and 15.
Each ex-collection Stephen Poleskie, Chiron Press, New York.
Estimate
$20,000 – $30,000
Alex katz
The Swimmer.
Aquatint on German Etching paper, 1974. 714x914 mm; 28⅛x36 inches, full margins. Signed and numbered 59/84 in pencil, lower right. Printed by Prawat Laucheron, New York. Co-published by Brooke Alexander, Inc., and Marlborough Graphics, Inc., New York. A very good, well-inked impression. Maravell 75.
Estimate
$3,000 – $5,000
Alex katz
Bicycle Rider.
Color lithograph on Fabriano Tiepolo paper, 1982. 560x760 mm; 22x30 inches (sheet), full margins. The deluxe edition of 35, aside from the regular edition of 250. Signed and numbered XXXIII/XXXV in pencil, lower left. Printed by Christopher Erikson, New York. Published by The New York Graphic Arts Society, Greenwich, Connecticut. A very good impression. Maravell 130.
Estimate
$3,000 – $5,000
Alex katz
Jessica.
Color woodcut on Hosho paper, 1994. 180x180 mm; 7⅛x7⅛ inches, full margins. Signed and numbered 44/200 in pencil, lower margin. Printed by John C. Erickson, New York. Published by The Print Club of New York, Inc., New York. A very good impression with strong colors.
Estimate
$1,000 – $1,500
Alice neel
The Accountant (Marvin).
Color lithograph on Arches, 1981. 557x643 mm; 22x25½ inches, full margins. Signed, titled, dated and numbered 1/175 in pencil, lower margin. Published by Eleanor Ettinger, Inc., New York, with the blind stamp lower left. A very good impression with strong colors.
Neel (1900-1984) is known as one of the premier American portrait artists of the 20th century for her images of family, friends, lovers, fellow artists and others, filled with psychological acumen and emotional intensity.
Estimate
$2,000 – $3,000
Feminist Art from the Collection of Harriet Lyons
Alice neel
Portrait of Harriet Lyons.
Color crayons, watercolor, gouache and pencil on heavy cream wove Arches, 1974. 1020x647 mm; 40¼x25½ inches. Signed and dated in black crayon, lower right recto.
Ex-collection Harriet Lyons, Portland, Oregon.
Neel (1900-1984) is known as one of the premier American portrait artists of the 20th century for her images of family, friends, lovers, fellow artists and others, filled with psychological acumen and emotional intensity. Born in Pennsylvania, she studied at the Philadelphia School of Design for Women in the early 1920s where she realized her affinitiy for portraiture. In 1932, she moved to New York after a brief period living in Havana, Cuba. During the 1930s she worked for the WPA, but struggled to support herself as an artist during the first nearly three decades of her career. As Abstract Expressionism surged to popularity during the 1950s, Neel rejected artistic trends and remained committed to portraiture in her characteristic expressive style. Around 1960 she began gaining recognition for her work, and her career flourished with the advent and support of the women’s rights movement in the late 1960s and 1970s. By 1974 she was the subject of a major retrospective at the Whitney Museum of Art Art, New York, and she continues to be recognized as a major figure in 20th Century American art.
Neel was interested in subjects of different socio-economic and cultural backgrounds and her sitters ranged from the elite, such as art critic and Museum of Modern art curator Frank O’Hara, to her neighbors in Spanish Harlem. In the current work, she depicts Harriet Lyons, a founding editor of Ms. Magazine, journalist, and art collector. By 1970, Lyons had been involved with a consciousness-raising group of art professionals, which included curators, artists and art historians. In 1971, she wrote a cover story for the Village Voice about women’s sexuality in art at a time when women were starting to challenge male definitions of art. A leading figure in the feminist movement, she supported female artists through her writing, personal art collection and activism, which included being a member of the Board of Advisors to the New York Feminist Art Institute alongside Alice Neel that launched in 1979.
Lyons recalled, in a 2005 Feminist Art Institute interview, “I wrote a cover story for the Village Voice about women’s sexuality in art, women artists exploring sexual and female imagery. The whole idea and question of a unique female imagery has been posed. This was a time of guerilla tactics and street theater to break down barriers to women’s equality. Female artists were talking about where they were coming from and what their work was about. While these discussions could get heated, it never escalated to the behavior I had witnessed among male artists in the ‘60s, especially at post-openings loft parties. Liquored up, these guys would invariably come to blows arguing about art (and who was flirting with whose wife or girlfriend). The point is that women, too, had strong theories about art, and in the ’70s were finally raising their voices against the male definitions of art and the separation of fine art and craft (any work made by a woman that involved stitchery was ‘craft’). Women were making huge breakthroughs and expressions in their art specific to women. The whole question of a woman’s imagery was hotly debated. Clearly, the time had come to publicly address the male biases in art-making and how artists were educated. To that end, two members of our consciousness-raising group were behind pioneering institutions: The New Museum of Contemporary Art, founded by Marcia Tucker in 1977, and the New York Feminist Art Institute, spearheaded by Nancy Azara and launched in 1979. The latter came out of long, probing discussions of women’s experiences in art education and the studio. Those who were trained at the Art Students League, School of Visual Artists, Parsons, RISD, the Philadelphia School of Art, all had similar experiences about how rigid the sense of what art was, what the techniques were, what the imagery was. They all expressed being very much reined in by this overwhelming male model. They never had female teachers. The only women they saw were models or other female students.”
Estimate
$20,000 – $30,000
Mary beth edelson
Some Living American Women Artists / Last Supper.
Offset lithograph, 1972. 637x965 mm; 25⅛x38 inches (sheet), full margins. Signed, numbered 286/1000 and inscribed “2nd Ed.” in pencil, lower right.
Ex-collection Harriet Lyons, Portland, Oregon.
Estimate
$1,000 – $1,500
Judy chicago
Red Flag.
Photolithograph on wove paper, 1971. 400x505 mm; 15¾x19⅞ inches, full margins. Signed, dated, titled and numbered 16/94 in pencil, lower margin. Printed by the Litho Shop, Santa Monica, with the blind stamps lower right. A very good impression.
Ex-collection Harriet Lyons, Portland, Oregon.
Red Flag was the first print edition which the artist signed “Judy Chicago.” Claiming her own identity, Judy Gerowitz (born 1939) announced that she was changing her married surname in Artforum in October 1970. A controversial image, Red Flag is considered to be the first direct depiction of menstruation in western art.
Estimate
$1,000 – $1,500
Miriam schapiro
Tidy Art.
Femmage (acrylic and fabric collage) on Strathmore Aquarius paper, 1976. 760x562 mm; 29⅞x22⅛ inches. Signed, titled and dated in ink, verso.
Ex-collection Harriet Lyons, Portland, Oregon.
Estimate
$1,500 – $2,500
Pat steir
Space.
Oil, charcoal, colored pencils and lipstick on Rives BFK, circa 1970. 485x660 mm; 19⅛x26 inches.
Ex-collection Harriet Lyons, Portland, Oregon.
Estimate
$2,000 – $3,000
Pat steir
Gone—The Blue.
Watercolor and pencil on wove paper, 1972. 480x660 mm; 18⅞x26 inches. Signed and dated in pencil, lower right recto.
Ex-collection Harriet Lyons, Portland, Oregon.
Estimate
$2,000 – $3,000
Pat steir
Wish #2 Breadfruit.
Color lithograph on wove paper, 1974. 807x817 mm; 31½x32⅛ inches (sheet), full margins. Artist’s proof, aside from the edition of 50. Signed, titled, dated and inscribed “AP” in pencil, lower left. Published by Landfall Press, Chicago. A very good impression.
Ex-collection Harriet Lyons, Portland, Oregon.
Estimate
$1,000 – $1,500
Linda stein
Two color offset lithographs.
Gloria 449, 2003. 150x455 mm; 5⅞x18⅞ inches, full margins. Artist’s proof, aside from the edition of 85. Signed, titled and inscribed “A.P.” in pencil, lower margin * Bella 408, 2003. 235x485 mm; 9¼x19⅛ inches, full margins. Signed, titled and numbered 3/85 in pencil, lower margin. Both from Mood Portraits of Women of Courage. Both very good impressions.
Both ex-collection Harriet Lyons, Portland, Oregon.
Estimate
$1,000 – $1,500
British Contemporary Art & Printmakers
Frank auerbach
Self-Portrait * The Brazen Serpent.
Pencil on cream wove paper, double-sided, 1954. 215x275 mm; 8½x10⅞ inches. Signed and dated in ball-point pen and blue ink, upper right recto.
Gift from the artist to David Sylvester, London; sold Sotheby’s, London, “David Sylvester: The Private Collection,” sale LO2959, lot 33; Leslie J. Sacks, Los Angeles, from the former sale; by descent to the Estate of Leslie J. Sacks, Los Angeles, 2013.
The Brazen Serpent is a study of Peter Paul Rubens’ same-titled oil painting; the Self-Portrait studies are after Rembrandt.
Estimate
$5,000 – $8,000
Bernard meadows
Molloy.
Portfolio with wood box and containers, plastic molded sculptural multiples and associated metal hanging elements, plastic molded sculptural lid, 30 (of 35) color aquatints with etching and 30 (of 35) text booklets, 1966. 380x395x170 mm; 15x15½x6¾ inches, overall (all of the elements and booklets loose, as issued).
Edition of 106. Signed and inscribed “No. 6” in ink, on the justification label, underside of the box lid. Printed by Robbe, Paris; the plastic molded sculptural multiples fabricated by Bioplastique, Chilly-Mazarin; the box produced by Adine, Paris. Published by Éditions Claude Givaudan, Geneva.
Meadows (1915-2005) was a prominent British modernist sculptor and one of eight British artists represented in the “New Aspects of British Sculpture” exhibited in 1952 at the XXVIth Venice Biennale (which also who included Robert Adams, Kenneth Armitage and Lynn Chadwick). He was Henry Moore’s (1898-1986) first studio assistant before becoming a Professor of Sculpture at the Royal College of Art, London, for twenty years, then returning to assist Moore in 1977 as the elder artist’s health began to fail. Following Moore’s death, Meadows became an acting director of the Henry Moore Foundation.
In the mid-1960s Meadows took on a commission from the publisher Givaudan to illustrate Samuel Beckett’s novel Molloy, the first of three novels–the Beckett Trilogy–initially written in Paris between 1947 and 1950. In his own words, Meadows chose Molloy, because he thought it was, “A completely impossible book to illustrate . . . I tried . . . I looked upon it as being a series of etchings parallel to what Beckett’s attitude might have been, but it was a bit far fetched.” The complete boxed portfolio, a true multiple in every sense, echoes Marcel Duchamp’s (1887-1968) Boîte-en-valise, created between 1935 and 1940 in a deluxe edition of 20, a portable miniature monograph including 69 reproductions of the artist’s own work. Reflecting on the project, and his collaboration with the publisher Givaudan, Meadows noted that he made a series of 35 color aquatints with etching as the covers for each of the booklets that were intended to hang, “On a certain Meccano-like contraption which Givaudan had thought up. It was all a bit silly, and I think Beckett thought it was silly too! . . . The box which contained the `Meccano’ set, and copies of . . . the whole book, Molloy, was cut into 35 pieces; Givaudan cut it into pieces, so he seemed to think that they were the natural breaks, but I didn’t see that and I don’t think that Beckett saw it either . . . . I looked upon it as being a series of etchings parallel to what Beckett’s attitude might have been, but it was a bit far fetched.”
Estimate
$2,500 – $3,500
David hockney
Peter.
Etching on J. B. Green mould-made paper, 1969. 687x543 mm; 27⅛x21⅜ inches, full margins. Signed, dated and numbered 57/75 in pencil, lower margin. Printed by Maurice Payne, London. Published by Petersburg Press, London. A very good impression with strong contrasts.
The model is Peter Schlesinger, Hockney’s (born 1937) companion at the time. Scottish Arts Council 110.
Estimate
$5,000 – $8,000
David hockney
Celia Reclining.
Lithograph on Twinrocker handmade paper, 1979. 510x445 mm; 20x17½ inches, full margins. Signed, dated and numbered 99/100 in pencil, lower right. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamp lower right. A very good impression. Scottish Arts Council 225.
Estimate
$5,000 – $8,000
David hockney
Celia in the Director’s Chair.
Lithograph on Kurotani paper, 1980. 1065x960 mm; 41⅞x37¾ inches (sheet), full margins. Signed, dated and numbered 98/100 in pencil, lower margin. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamp lower right. A very good impression. Tokyo 244.
Estimate
$10,000 – $15,000
David hockney (after)
A Diver (Australian National Gallery Poster).
Color offset lithograph on heavy white wove paper, 1982. 810x1340 mm; 32x53 inches (sheet), full margins. Printed by Petersburg Press, London. Published by the National Gallery of Australia, Canberra. A very good impression of this large print with strong colors.
This poster was produced on the occasion of the Hockney’s 1982 exhibit at the National Gallery of Australia and was based on A Diver, Paper Pool 17, 12 joined hand colored pressed paper pulp sheets, 1978, printed by Tyler Graphics, Ltd., Mount Kisco, and published by Petersburg Press, London. Baggot 93.
Estimate
$1,500 – $2,500
Ivor abrahams
Oxford Gardens.
Portfolio with 10 color screenprints, 1977. 265x380 mm; 10½x15 inches (sheets), full margins. Each signed, dated and numbered 214/250 in pencil, lower margin. Printed by Advanced Graphics, London, with the blind stamp on the title page. Published by Bernard Jacobson, Ltd., London. Original blue cardstock folder.
With—Untitled, color screenprint on Crisbrook Handmade paper, 1976. 445x594 mm; 17½x23⅜ inches, full margins. Signed, dated and numbered 97/100 in pencil, lower margin. From For John Constable. Published by Bernard Jacobson Ltd., London.
Estimate
$1,000 – $1,500
Ivor abrahams
Brick Wall * Garden Steps.
Two color pastels, chalk, acrylic and varnish on card, 1978. Brick Wall. 497x755 mm; 19⅝x29¾ inches. Signed and dated in black chalk, lower right recto * Garden Steps. 1010x730 mm; 39¾x28¾ inches. Signed and dated in pencil and incised, lower right recto.
Estimate
$1,500 – $2,500
Ivor abrahams
E. A. Poe: Tales and Poems.
Portfolio with 20 color screenprints on wove paper, 1976. 490x360 mm; 19¼x14⅛ inches (sheets), full margins, loose as issued. Each print signed, dated and numbered 92/100 in pencil, lower margin. Printed by Advanced Graphics, London, with the blind stamp on each sheet. Published by Bernard Jacobson, Ltd., London. Original pasteboard portfolio case. Very good impressions with strong colors.
Estimate
$1,000 – $1,500
Ivor abrahams
Pathways.
Portfolio with 6 color lithographs on white wove paper and embossed color lithograph inside front cover, 1975. 610x610 mm; 24¼x24¼ inches (sheets), full margins, loose as issued. Each signed, dated and numbered 20/55 in pencil, lower margin. Published by Bernard Jacobson, Ltd., London. Original printed black linen portfolio. Very good impressions with strong colors.
Estimate
$800 – $1,200
William tillyer
The Courthope Collection.
Portfolio with complete text and 10 color etchings with aquatint on Arches, 1977. 490x390 mm; 19¼x15⅜ inches, full margins, loose as issued. Signed, dated and numbered 52/60 in pencil, lower margin. Printed by Homer Frankland Editions, Glaisdale, Yorkshire. Published by Bernard Jacobson, Ltd., London. Original black pasteboard portfolio. Very good impressions with strong colors.
Estimate
$1,500 – $2,500
Malcolm morley
Arles/Miami.
Portfolio with complete text and 5 color lithographs on Arches, 1973. 865x630 mm; 34x24¾ inches (sheets), full margins, loose as issued. Each lithograph signed and numbered 63/150 in pencil, lower margin and numbered in pencil, on the justification page. Printed by Shorewood Atelier, New York. Original red leatherette folder. Very good impressions with strong colors.
Estimate
$1,000 – $1,500
Peter blake
Side-Show.
Portfolio with complete text and 5 wood engravings on Japanese Tonosawa handmade paper, 1975-78. 290x230 mm; 11½x9¼ inches (sheets), full margins, loose as issued.
Each wood engraving signed and numbered 29/100 in pencil, lower margin. Printed by White Ink Studios, London. Published by Waddington Graphics, London. Original beige linen portfolio. Very good impressions.
Estimate
$3,000 – $5,000
Richard hamilton
Fashion Plate.
Color offset lithograph with screenprint, collage and pochoir, retouched with cosmetics by the artist, on Fabriano wove etching paper, 1969-70. 750x605 mm; 29½x23⅞ inches, full margins. Signed and numbered 12/70 in pencil, lower right. Published by Professional Prints A.G., Zug (Petersburg Press S.A.), London. A very good impression with strong colors. Lullin 76.
Estimate
$8,000 – $12,000
Richard hamilton
Berlin Interior.
Photogravure, etching, engraving, aquatint and roulette on Rives BFK, 1979. 494x693 mm; 19½x27¼ inches, full margins. Signed and numbered 9/100 in pencil, lower right. Printed by the artist and Aldo Crommelynck at Atelier Crommelynck, Paris. Published by Waddington Graphics, London.
This work depicts the apartment of René Block (born 1942), the noted art dealer and publisher who celebrated printmaking. Starting with collaged photographs, Hamilton (1922-2011) used photogravure to tranfer the image on to the plate and embellished the work with intaglio techniques. Lullin 109.
Estimate
$1,500 – $2,500
Richard hamilton
Interior with Monochromes.
Color screenprint and colloytpe on white Ivorex wove paper, 1979. 473x530 mm; 18⅝x20⅞ inches, full margins. Signed and numbered 55/96 in pencil, lower right. Published by Waddington Graphics, London. A very good impression. Lullin 110.
Estimate
$3,000 – $5,000
Richard hamilton
Putting on de Stijl.
Color collotype and screenprint on white Ivorex wove paper, 1979. 300x420 mm; 11⅞x16½ inches, full margins. Signed and numbered 49/90 in pencil, lower left. Published by Waddington Graphics, London. A very good impression with strong colors. Lullin 111.
Estimate
$2,500 – $3,500
Richard hamilton
Motel I.
Etching and aquatint on Rives BFK, 1979. 277x350 mm; 11x13⅝ inches, full margins. Signed and numbered 30/40 in pencil, lower right. Published by Waddington Graphics, London, with the blind stamp lower right. A very good impression. Lullin 112.
Estimate
$1,500 – $2,500
Richard hamilton
Motel II.
Color etching and aquatint on Rives BFK, 1979. 275x347 mm; 11x13⅞ inches, full margins. Signed and numbered 10/40 in pencil, lower right. Published by Waddington Graphics, London. A very good impression. Lullin 113.
Estimate
$1,500 – $2,500
Richard hamilton
Guggenheim (White).
Vacuum-formed acrylic and cellulose multiple, 1970. 594x594x105 mm; 23½x23½x4½ inches. Edition of 117 (from an intended edition of 750). Signed and numbered “30” in felt-tip pen and black ink on the verso. Produced by the firm Reif, Relo-Kunsts, Lorrach. Published by Xartcollection, Zurich, with the justification printing verso. Lullin M 4.
Estimate
$10,000 – $15,000
Richard hamilton
The Transmogrifications of Bloom.
Soft-ground etching and aquatint on Hahnemühle paper, 1984-85. 528x408 mm; 20¾x16⅛ inches, full margins. Signed and numbered 24/120 in pencil, lower margin. Published by Waddington Graphics, London. A very good impression with strong contrasts. Lullin 143.
Estimate
$2,000 – $3,000
Steven campbell
Two drawings.
Study for Hannibal Crossing the Alps, brush and ink on joined sheets of wove paper, 1983. 2717x2736 mm; 107x107¾ inches * Untitled Study, brush and ink, acrylic and paper collage on joined sheets of wove paper, 1983.
The oil painting Hannibal Crossing the Alps is in the permanent collection of the Palmer Museum of Art, Penn State University, University Park, Pennsylvania.
Both ex-collection private collection, New York.
Campbell (1953-2007) was a Scottish artist whose mature figurative works typically focused on the surreal ridiculousness of the English gentleman. He was a key figure in the renaissance in Scottish art in the 1980s, which saw Glasgow, where he settled, become one of the major international centers for contemporary art at the time.
Estimate
$3,000 – $5,000
Francis bacon
Triptych.
Three color aquatints with etching on Guarro paper, triptych, 1981. Each 385x295 mm; 15¼x11¾ inches, full margins. Each signed and numbered 6/99 in pencil, lower margin. Printed and published by Ediciones Polígrafa, Barcelona. Superb, richly-inked impressions with strong colors.
Triptych is based on the same-titled, three-part work painted by Bacon (1909-1992) from 1974 to 1977. This mysterious work, one of the last in a series of triptychs that Bacon painted following the suicide of his long-time companion, George Dyer, in 1971 (Dyer killed himself in the Paris hotel room where he and Bacon were staying on the eve of the opening of a landmark retrospective of Bacon’s work at the Grand Palais), is believed to represent Dyer struggling on a beach and in an interior. Sabatier 4.
Estimate
$30,000 – $50,000
John hoyland
Group of 4 prints.
Yellow and Pink, color screenprint on white wove paper, 1971. Signed, dated and numbered 40/100 in pencil, lower margin. Published by Waddington Graphics, London. From New York Suite * Ochre-Pink, color etching, aquatint and carborundum, 1971. Signed, dated and numbered 8/40 in pencil, lower margin * Orange-Pink, color screenprint, 1971. Signed, dated and numbered 75/75 in pencil, lower margin * Brown-Beige-Pink, color lithograph, 1975. Artist’s proof, aside from the edition of 100. Signed, dated and inscribed “A/P” in pencil, lower margin. Various sizes and conditions. Very good impressions.
Estimate
$2,000 – $3,000
Patrick heron
Small Red: January 1973: 1.
Color screenprint on white wove paper, 1973. 425x520 mm; 16¾x20¾ inches, full margins. Signed, dated and numbered 56/72 in pencil, lower margin. Printed by Kelpra Studio, London, with the ink stamp verso. From the same-titled series. A very good impression with strong colors.
Estimate
$2,500 – $3,500
Patrick caulfield
Interior: Morning.
Color screenprint on white wove paper, 1971. 710x580 mm; 28x23 inches, full margins. Signed and numbered 52/100 in pencil, lower right. Printed by Kelpra Studio, London, with the ink stamp verso. Published by Leslie Waddington Prints, London. From Interiors. A very good impression. Cristea 18.
Estimate
$2,000 – $3,000
Patrick caulfield
Interior: Noon.
Color screenprint on white wove paper, 1971. 710x584 mm; 28x23 inches, full margins. Signed and numbered 32/100 in pencil, lower right. Printed by Kelpra Studio, London, with the ink stamp verso. Published by Leslie Waddington Prints, London. From Interiors. A very good impression with strong colors. Cristea 19.
Estimate
$2,000 – $3,000
Patrick caulfield
Quelques Poèmes de Jules Laforgue.
Bound portfolio with complete text, 22 color screenprints on Neobond papier synthétique and an additional suite of 6 color screenprints on Neobond papier synthétique, 1973. 400x355 mm; 15¾x14 inches (sheets), full margins.
One of 200 copies, the French edition, from a total edition of 500. Signed, numbered 113/200 and inscribed “Edition B” in pencil, on the justification page. Each of the color screenprints in the additional suite signed and numbered 113/200 in pencil, verso. Printed by Christopher Betambeau, London. Published by Petersburg Press, London. Original gray leather folders and binding. Superb impressions with vibrant colors. Cristea 38.
Estimate
$4,000 – $6,000
Patrick hughes
Group of 4 color screenprints.
Darkness Falls, 1976. Signed, titled, dated and numbered 53/100 in pencil, lower margin * Leaf Art,1975. Signed, titled, dated and numbered 47/50 in pencil, lower margin * Pink Art, 1975. Signed, titled, dated and numbered 10/50 in pencil, lower margin * Midnight Blue, 1974. Signed, titled, dated and numbered 47/75 in pencil, lower margin. Various sizes and conditions. Very good impressions with strong colors.
Estimate
$1,000 – $1,500
Kenneth martin
Three color screenprints.
I. 540x560 mm; 21¼x21⅞ inches, full margins. Signed, dated and numbered 19/61 in pencil, lower margin * II. 540x540 mm; 21¼x21¼ inches, full margins. Signed, dated and numbered 19/61 in pencil, lower margin * IV. 550x550 mm; 21½x21½ inches, full margins. Signed, dated and numbered 53/91 in pencil, lower margin. Each 1977. Printed by Kelpra Studio, London, with the ink stamp verso. Each from Rotation “Frankfurt”. Very good impressions with strong colors.
Estimate
$1,500 – $2,500
Stephen buckley
Two suites of color etchings.
September Suite, complete set of 11 color etchings, 1977. Various sized sheets, loose as issued. Each print signed, dated and numbered 30/50 in pencil, lower margin * Ten Colored Etchings, complete set of 10 color etchings, 1980. 28xx240 mm; 11x9½ inches (sheets), full margins, loose as issued. Each etching signed, dated and numbered 26/40 in pencil, verso. Original paper folder and pasteboard slip cover. Both printed by J. C. Editions, London, each print with the blind stamp. Both published by Bernard Jacobson, Ltd., London. Very good impressions.
Estimate
$1,500 – $2,500
Terry frost
Three color screenprints.
Yellow, Red and Black for Lorca, 1987. Signed, dated and numbered 32/75 in pencil, lower margin * Brown, Blue and Black Descending, 1981. Signed, dated and numbered 33/75 in pencil, lower margin * Suspended Red, Yellow and Black, 1987. Signed, dated and numbered 31/75 in pencil, lower margin. Various sizes and conditions. Very good impressions.
Estimate
$1,500 – $2,500
Victor pasmore
Points of Contact No. 38.
Color screenprint on Arches, 1984. 440x415 mm; 17½x16½ inches, full margins. Signed, dated and numbered 27/70 in pencil, lower margin. Printed by Kelpra Studio, London, with the blind stamp lower right. Published by Marlborough Graphics, Inc., London. A very good impression. Lynton G 26.
Estimate
$1,500 – $2,500
Victor pasmore
Senza Titolo 11.
Color aquatint and etching, 1989. 290x425 mm; 11⅜x16¾ inches, full margins. Signed, dated and numbered 29/90 in pencil, lower margin. Printed by Vigna Antoniniana, Rome, with the blind stamp lower left. Published by Marlborough Fine Art, London and 2RC Edizioni d’Arte, Rome, with the 2RC blind stamp lower left. A very good impression. Marlborough 21.
Estimate
$1,000 – $1,500
James nares
Two Figures.
Oil on canvas, circa 1985. 1520x457 mm; 60x18 inches. Signed in oil, verso.
Ex-collection Philip Brennen estate, New York; private collection, New York.
Estimate
$1,500 – $2,500
James nares
Untitled.
Oil on paper, 2000. 605x480 mm; 23⅞x19 inches. Signed and dated in pencil, lower recto.
Ex-collection private collection, New York.
Estimate
$2,000 – $3,000
Howard hodgkin
But He Did Stop Smoking, He Didn’t Miss Cigarettes at All.
Color aquatint with hand coloring in watercolor and gouache on Fabriano Ingres, 1990. 300x850 mm; 11¾x33½ inches (sheet), full margins. The deluxe edition of 50, aside from the book edition of 200. Initialed and numbered 50/50 in pencil, lower center. Hand-colored and printed by Jack Shirreff at 107 Workshop, Wiltshire. Published by Karsten Schubert, London. From The Way We Live Now. A very good impression with vibrant colors.
Estimate
$2,000 – $3,000
Minimalism & Abstract Sculpture
Peter young
Number 9–1970.
Acrylic on canvas stretched on hickory, 1970. 460x490 mm; 18x19 inches. Signed, titled and dated in pen and ink, verso. With a Museum of Modern Art Lending Service, New York, label on the frame back.
Ex-collection Noah Goldowsky, Inc., New York, with the label on the frame back; private collection, Buffalo.
Exhibited Albright-Knox Gallery, Buffalo, “Six Painters,” October 5-November 14, 1971, page 83 (illustrated).
Estimate
$2,000 – $3,000
Minoru niizuma
Untitled.
Marble sculpture, 1972. 875x361x385 mm; 32¼x14x15 inches. Incised initial and dated underside of the base.
Ex-collection private collection, Chicago.
Niizuma (1930-1998) was a Japanese abstract sculptor. He graduated from the Tokyo National University of Fine Arts and Music in 1955 before moving to New York in 1959 to establish himself as an artist. Niizuma worked mainly in marble, in designs that varied from geometric to organic, blending an influence of the Asian tradition and western contemporary minimalist art. He was a fine art instructor at the Brooklyn Museum Art School, 1964-70, and an adjunct professor of fine art at Columbia University, New York, 1972-84. Examples of his sculpture are held by many prominent public collections throughout the world, including the Hirshhorn Museum and Sculpture Garden, Washington, D.C., The Museum of Modern Art, New York, the Solomon R. Guggenheim Museum, New York, the National Museum of Modern Art, Tokyo, and the Calouste Gulbenkian Foundation, Lisbon.
Estimate
$7,000 – $10,000
Bryan hunt
Concorde Window.
Oil, pencil and foil on heavy wove paper, 1979. 571x749 mm; 22½x29 inches. Signed, titled and dated in pencil, lower margin recto. Dedicated “To Ed Downe, C.O.D.” in pencil, extreme lower right recto.
Ex-collection the artist; Edward Reynolds Downe, Jr., New York; sold Wright, Chicago, November 19, 2002, lot 266; private collection, New Jersey.
Exhibited “1976-1986: Ten Years of Collecting Contemporary Art, Sellections from the Edward R. Downe, Jr. Collection,” November 13, 1986-January 18, 1987, Wellesley College Museum, Wellesley, Massachusetts.
Published Taylor “1976-1986: Ten Years of Collecting Contemporary Art, Selections from the Edward R. Downe, Jr. Collection”, Wellesley, 1986, page 96 (illustrated).
Estimate
$1,200 – $1,800
Alan saret
Hollow Flux Encounter.
Color pencils on paper, 1983. 570x760 mm; 22½x30 inches. Signed, titled and dated in pencil, verso.
Ex-collection private collection, New Jersey.
Saret (born 1944) was one of the founding proponents of process art in the late 1960s. The current work, one of a series of what Saret termed a “gang drawing,” was created by the artist drawing with a fistful of color pencils. The result is a composition of gestural marks and a clearly evident artistic process.
Estimate
$3,000 – $5,000
Alan saret
Sprung Release Cast-In.
Pencil on Arches, 1983. 570x765 mm; 22½x30⅛ inches. Signed, titled, dated and inscribed “Dec. 27 35/50” in pencil, verso.
Ex-collection private collection, New Jersey.
Saret (born 1944) was one of the founding proponents of process art in the late 1960s. The current work, one of a series of what Saret termed a “gang drawing,” was created by the artist drawing with a fistful of color pencils. The result is a composition of gestural marks and a clearly evident artistic process.
Estimate
$3,000 – $5,000
Francis n. souza
Untitled (Head).
Felt-tip pen and ink with chemical solvent on magazine paper mounted on thin wove paper, 1970. 305x455 mm; 12⅛x18 inches. Signed and dated in ballpoint pen, upper left recto.
Ex-collection private collection, Washington, D.C.; private collection; Maryland.
Souza (1924-2002), a prominent Goan artist and a founding member of the Progressive Artists’ Group of Bombay, developed a chemical solvent to distort images on printed paper without destroying the ink layer. His art, which blended Expressionism with post-war Art Brut and British Neo-romanticism, became increasingly popular in India and Europe, especially in the U.K. where he received numerous exhibitions, during the 1950s. From 1967, Souza resided and worked in New York before returning to India shortly before his death. Known for his “heads” drawn on magazine, poster, and gift wrap, Souza used a Kellogg’s Raisin Bran advertisement which appeared in the May 1970 issue of Reader’s Digest for the current work.
Estimate
$1,500 – $2,500
Robert natkin
Untitled.
Acrylic on Museum Board, 1977. 810x870 mm; 32x34⅜ inches. Signed and dated in pencil, recto.
Ex-collection private collection, Manchester, New Hampshire.
With—Untitled, color screenprint. 990x660 mm; 39x26 inches, full margins. Signed, numbered 31/100 and dedicated in pencil, lower margin.
Estimate
$1,500 – $2,500
Robert natkin
Blending Tones.
Acrylic on canvas, circa 1975. 490x915 mm; 19¼x36 inches. Signed in acrylic, lower left recto.
Ex-collection private collection, Manchester, Vermont.
Estimate
$2,000 – $3,000
Paul sharits
Untitled.
Acrylic on Plexiglas, circa 1970-80. 885x885 mm; 35x35 inches.
Ex-collection private collection, Buffalo.
Estimate
$4,000 – $6,000
Charles hinman
Album No. 1.
Portfolio with complete text and 8 color screenprints with embossing on wove paper, 1974. 650x870 mm; 25⅝x34¼ inches (sheets), full margins, loose as issued.
Each screenprint signed and numbered 81/200 in pencil, lower margin, and numbered 81 in pencil on the colophon. Printed by L’Atelier Silium, Paris. Published by Editions Denise René, Paris and New York, each print with the blind stamp. Original linen portfolio case. Very good impressions with strong colors.
Estimate
$1,500 – $2,500
Nicholas krushenick
Untitled.
Color screenprint on aluminum, 1968. 910x900 mm; 35⅞x35⅝ inches (panel), full margins. Unique artist’s proof. Incised with the artist’s signature, date and inscribed “Artist’s proof,” lower left. Ex-collection Pace Gallery, New York with the label on the frame back.
Estimate
$1,000 – $1,500
Philippe scrive
Untitled.
Multiple with interlocking pieces of polished aluminum, 1971. 710x640 mm; 28x25¼ inches. Incised with the artist’s signature, date, numbered 1/100 and the foundry name, Blanchet, Paris, on the lower edge.
Estimate
$1,500 – $2,500
Sol lewitt
Lincoln Center Print.
Color screenprint on Somerset Satin White, 300 Gram paper, 1998. 902x711 mm; 35½x28 inches, full margins. Signed and numbered 73/108 in pencil, lower right. Printed by Watanabe Studio, Ltd., Brooklyn. Published by the Lincoln Center/List Poster and Print Program, New York. A very good impression with strong colors. Krakow 1998.04.
Estimate
$5,000 – $8,000
Sol lewitt
Distorted Cubes (D).
Color linoleum cut on Somerset Velvet Radiant White paper, 2001. 875x1065 mm; 34⅛x41⅝ inches, full margins. Signed and numbered 31/50 in pencil, lower margin. Printed by Watanabe Studio, Ltd., Brooklyn. Published by Pace Editions, Inc., New York. A very good impression with vibrant colors. Krakow 2001.01.
Estimate
$3,000 – $5,000
Sol lewitt
Shul Print (Six Pointed Star).
Color linoleum cut on Somerset Satin White paper, 2005. 584x584 mm; 23x23 inches, full margins. Signed and numbered 63/175 in pencil, lower right. Printed by Watanabe Studio, Ltd., Newburgh, New York. Published by the artist. A very good impression with vibrant colors. Krakow 2005.05.
Estimate
$1,500 – $2,500
Sol lewitt
Double Cubes in Grays and Colors Superimposed.
Color screenprint on Arches Cover paper, 1989. 406x724 mm; 16x28½ inches, full margins. Signed and numbered 74/150 in pencil, lower right. Printed by Watanabe Studio, Ltd., Brooklyn. Published by Friends of the Philadelphia Museum of Art, Philadelphia. A very good impression. Krakow 1989.02.
Estimate
$2,000 – $3,000
Shozo nagano
Untitled.
Oil on canvas stretched and mounted on cut, geometric-shaped wood, 1978. 1155x1740 mm; 45½x68½ inches. Signed and dated in oil, lower center verso.
Ex-collection private collection, Chicago.
Nagano (1928-2008) was a Japanese-born artist who studied at Kanazawa Fine Arts University during the turbulent era of the occupation of Japan and began showing his work in Tokyo galleries as part of the “Timism” group of Japanese abstract artists. In the early 1960s he decided to live the life of an expatriate artist and sailed across the Pacific on a tramp steamer bound for Santiago, Chile. By 1965 he had settled in New York, living in a tenement on the Lower East Side, unable to afford canvas he painted on bed sheets. By this time, he’d begun experimenting with the geometric, shaped canvas format that has come to characterize his work and for which his popularity gained at galleries and public collections in New York and throughout the United States.
Estimate
$4,000 – $6,000
Tony rosenthal
Maquette for T-Square (b).
Oxidized steel, 1975-76. 510x420x345 mm; 20x16½x13½ inches.
Ex-collection private collection, Buffalo.
A study for the large-scale outdoor steel sculpture by Rosenthal (1914-2009) at the Cranbrook Art Museum, Bloomfield Hills.
Estimate
$3,000 – $5,000
Harvey quaytman
Untitled.
Acrylic, balsa wood and charcoal on ragboard, 1977. 1016x812 mm; 40x32 inches. Signed and dated in charcoal, lower right recto.
Ex-collection Nielsen Gallery, Boston, with the label on the frame back; private collection, Massachusetts.
Quaytman (1937-2002) was born in Queens and studied at Syracuse University before finishing his BFA at Tufts University and the School of Museum of Fine Arts, Boston in 1959. He moved to New York where he began an artistic career that focused on abstraction, rejecting the artistic trends of the time such as Pop Art of Neo-Expressionism, to further explore how abstraction could incorporate texture as well as color. In the 1970s, he found his distinctive style composed of unconventional shapes with bold but simple color palettes.
Estimate
$1,500 – $2,500
Isaac witkin
Study for Yantra.
Bronze sculpture, 1975. 140x591x445 mm; 5½x23¼x17½ inches. Incised artist’s signature, date and numbered 1/3 near the base.
Acquired directly from the artist by Marlborough Gallery, New York, 1978; private collection, New York.
The study for the same-titled, monumental, outdoor steel sculpture, 1977, at the Wichita Art Museum, Kansas.
Estimate
$3,000 – $5,000
Isaac witkin
Study for Untitled Sculpture.
Steel sculpture, 1976. 191x432x330 mm; 7½x17x13 inches. Incised artist’s signature, date and numbered 1/3 on the lower corner of the L-shaped element.
Acquired directly from the artist by Marlborough Gallery, New York, 1978; private collection, New York.
Estimate
$3,000 – $5,000
Isaac witkin
Everglades.
Steel sculpture, 1977. 216x629x565 mm; 8½x24¾x22¼ inches.
Acquired directly from the artist by Marlborough Gallery, New York; private collection, New York.
The maquette for the same-titled, monumental outdoor sculpture by Witkin (1936-2006) located in Pynchon Plaza Park in Springfield, Massachusetts.
Estimate
$3,000 – $5,000
Dan flavin
Sailing Across Gardiner’s Bay Near Lionhead Beach (to Thomas Moran).
Lithograph with an embossment on Somerset Satin white wove paper, 1982. 460x605 mm; 18¼x24 inches, full margins. Signed, titled, dated and numbered “another of 100 (18)” in pencil, lower margin. Printed by Hampton Editions, Ltd., Sag Harbor. Published by the Southampton Hospital, Long Island, New York. From The Southampton Hospital Portfolio. A very good impression.
Estimate
$1,200 – $1,800
Stephen edlich
Untitled, “A la Gare des Chantie.”
Paper, wood and charcoal on Chine-collé on white wove paper, 1980. 655x505 mm; 25¾x19¾ inches. Signed, titled, date and inscribed in pen and ink, lower left recto.
Ex-collection Marlborough Gallery, New York; Hokin Gallery, Palm Beach; with the labels on the frame back; private collection, New York.
Estimate
$1,000 – $1,500
Stephen edlich
Untitled, “Institute, 13625 Aix-en-Provence.”
Acrylic polymer, paper and charcoal on Chine-collé on white wove paper, 1971-80. 650x505 mm; 25¾x19¾ inches. Signed, titled, dated and inscribed in pen and ink, lower center.
Ex-collection Marlborough Gallery, New York, with the label on the frame back; private collection, New York.
Estimate
$1,000 – $1,500
Mary heilmann
Cut.
Color aquatint on handmade paper, 1990. 398x293 mm; 15½x11½ inches, full margins. Initialed, dated and numbered 30/30 in pencil, verso. Published by Pace Editions, Inc., New York. From Untitled. A very good impression.
Estimate
$1,200 – $1,800
Varujan boghosian
The Rose.
Mixed-media relief sculpture with painted wooden balls, painted metal rose, dark stained wood shelf, wood support and frame, 2002. 450x647x72 mm; 18x25½x3 inches. Signed, titled and dated in ink, verso.
Acquired directly from the artist by the current owner, private collection, Vermont.
Estimate
$3,000 – $5,000
Jules olitski
Key of Acco 2.
Acrylic and pastel on paper, 1981. 787x591 mm; 31x23¼ inches. 31x23¼ inches.
Ex-collection André Emmerich Gallery, Inc, New York, with the label on the frame back; sold Christie’s New York, sale 2418, March 1, 2011, lot 160; private collection, Larchmont.
Estimate
$7,000 – $10,000
Jules olitski
Two color screenprints.
Magenta/Orange with Tan * Pink/Blue with Orange, Tan and Yellow. Both 1970. Both 890x660 mm; 35x26 inches (sheets), full margins. Both signed, dated and numbered 40/150 in pencil, lower margin. Both published by Waddington Graphics, Ltd., London. Both from Graphics Suite Number One. Very good impressions.
Estimate
$1,500 – $2,500
Otto rogers
The Mystic Spiral.
Acrylic on canvas, 1980. 1525x1530 mm; 60x60¼ inches. Signed, dated and inscribed “May-June 4 Series” in acrylic, verso.
Ex-collection Marlborough-Godard Gallery, Toronto, with the label.
Estimate
$4,000 – $6,000
James seawright
Focus.
Concave mirror and plaster relief sculpture, 1985. 660x660 mm; 26x26 inches. Signed, titled and dated in ink, verso.
Ex-collection private collection, New York.
Seawright (born 1936) was born in Jackson, Mississippi and from a young age was fascinated by machines and creating objects by hand. He joined the Navy where he continued to learn about machinery and technology, skills he would later put to use in his sculpture. He moved to New York in 1961, scouring the streets for electronic items that he could use in his interactive sculptures. Seen as a pioneer of kinetic and electric sculpture, he often incorporated mirrors and electronic parts into his sculpture. His work is held in the Solomon R. Guggenheim Museum, New York, the Whitney Museum of American Art, New York, and The Museum of Modern Art, New York, among others.
Estimate
$1,500 – $2,500
James brown
Stabat Mater (Brown) II.
Mixed-media, dispersion on lead, mounted on wood, 1988-89. 1300x905 mm; 51x35½ inches. Signed, titled and dated “Paris 1988-89” in pencil, verso.
Ex-collection Leo Castelli Gallery, New York, with the label.
Estimate
$7,000 – $10,000
James brown
Stabat Mater (Brown) XVI.
Mixed-media, dispersion on lead, mounted on wood, 1988-89. 1300x905 mm; 51x35½ inches. Signed, titled and dated “Paris 1988-89” in pencil, verso.
Ex-collection Leo Castelli Gallery, New York, with the label.
Estimate
$7,000 – $10,000
Richard serra
Ballast II.
Etching on handmade copperplate warm white paper, 2011. 762x590 mm; 30x23¼ inches (sheet), full margins. Signed, dated and numbered 33/45 in pencil, verso. Printed and published by Gemini G. E. L., Los Angeles, with the ink stamp verso. A very good, richly-inked impression. Gemini RS10-3500.
Estimate
$4,000 – $6,000
Richard serra
Untitled (Film Forum Print).
Screenprint on PTI Supra 100 paper, 1990. 623x450 mm; 24½x17¾ inches, full margins. Signed, dated and numbered 335/500 in pencil, lower left. Printed by Gemini G. E. L., Los Angeles, with the blind stamps lower right. Published by Film Forum, New York. A very good impression. Gemini 1417.
Estimate
$2,500 – $3,500
Mark di suvero
Longing.
Saw-cut nickel-plated aluminum multiple in four parts, 1981. 26½x22¾x½ inches (overall). With the artist’s incised signature on one piece, and each piece numbered 38/75. Published by Gemini G. E. L., Los Angeles. Gemini 937.
Estimate
$2,500 – $3,500
Gary stephan
Planet (Portfolio).
Complete set of 6 color etchings on Chine-collé, 1988. Largest 605x453 mm; 23¾x18 inches, full margins. Each signed, dated and numbered II/X in pencil, lower margin. Very good impressions.
Estimate
$1,500 – $2,500
Francisca sutil
Forces No. 4.
Handmade paper collage comprised of cotton pulp and pigments, 1983. 1527x1020 mm; 60x40 inches. Signed and dated in ink, lower right recto.
Ex-collection The Reader’s Digest Association, Inc., New York; private collection, New York.
Exhibited Nohra Haime Gallery, New York, 1985, with the label; and Galeria Epoca, Santiago, Chile, 1985.
Published Tully, Francisca Sutil: Recent Handmade Paper Paintings, New York, 1985 (illustrated).
Estimate
$3,000 – $5,000
Thomas nozkowski
Untitled #1-6.
Complete set of 6 color aquatints with etching on white wove paper, 2002. 550x740 mm; 21¾x29¼ inches (sheets), full margins. Edition of 25. Each signed, dated, numbered and annotated in pencil, verso. Published by Simmelink/Sukimoto Editions, Los Angeles. Superb impressions with vibrant colors.
Estimate
$2,000 – $3,000
Lois lane
Six Aquatints.
Portfolio with complete text and 6 aquatints (5 printed in colors) on Rives BFK, 1979. 755x565 mm; 29¾x22¼ inches (sheets), loose as issued.
Each signed. dated, and numbered 24/45 in pencil, verso. Printed by Aeropress, New York, with the blind stamp lower right. Published by Parasol Press, Ltd., New York. Original gray linen portfolio. Very good impressions.
Estimate
$1,200 – $1,800
Charles searles
Eyeway II.
Color offset lithograph, 2004. 460x610 mm; 18⅛x24 inches, full margins. Signed, dated, titled and numbered 7/30 in pencil, lower margin. Printed and published by Brandywine Workshop, Philadelphia. A very good impression with strong colors.
Estimate
$1,000 – $1,500
Charles searles
Untitled.
Acrylic and wood, 1989. 390x490 mm; 15⅜x19¼ inches. Signed and dated on the underside.
Ex-collection private collection, New Jersey.
Searles’ (1937-2004) rhythmic and colorful sculptures of animalistic forms draw on the artist’s memories and knowledge of traditional West African sculpture and spiritualism. They are constructed to convey the potential for movement and at the same time, stability by being anchored by a solid base.
Estimate
$3,000 – $5,000
Bram bogart
Fleur d’Atelier.
Mixed-media construction, 1990. 560x560x110 mm; 22¼x22¼x4½ inches. Signed, titled and dated “Nov. 1990” in oil, verso, and signed in oil, lower right side.
Acquired directly from the artist in 2002, Marlborough Gallery, New York; private collection, New York.
Estimate
$15,000 – $20,000
Neo-Expressionism & the Pictures Generation
Jennifer bartlett
Series III, Set 3.
Two color enamel over screenprint grids on steel plate, 1972. Each plate 305x305 mm; 12x12 inches. Titled in ink, verso.
Ex-collection private collection, Connecticut.
Estimate
$3,000 – $5,000
Nancy graves
Lincoln Center, 10th Annual Community Holiday Festival.
Color screenprint on wove paper, 1980. 605x765 mm; 24x30¼ inches, full margins. Signed, dated and numbered 62/144 in pencil, lower margin. Published by the Lincoln Center/List Poster and Print Program, New York. A very good impression of this large print with strong colors.
Estimate
$1,200 – $1,800
Pat steir
Kyoto Chrysanthemum.
Color woodcut on cream wove paper, 1982. 370x518 mm; 14½x20¼ inches, full margins. Signed, dated and numbered 7/200 in pencil, lower margin. Printed by Tadashi Toda at Shi-un-do Print Shop, Kyoto. Published by Crown Point Press, Oakland. A very good impression with strong colors.
Estimate
$1,200 – $1,800
Sam middleton
Untitled.
Gouache, watercolor, crayon, pencil and paper collage on cream wove paper mounted on cardstock, 1988. 220x278 mm; 8¾x11 inches. Signed and dated in pencil, lower right recto.
Ex-collection private collection, The Netherlands; private collection, New York.
Estimate
$1,500 – $2,500
Sam middleton
The Blues Singer.
Color offset lithograph on wove paper, 2 impressions, 2005. 500x920 mm; 19⅝x36¼ inches, full margins. Both signed, dated and numbered from an edition of 75 in pencil, lower margin. Co-printed by Andre Tournois and Bernard Ruygrok, Amsterdam.
With—Untitled, color lithograph, 1973. 380x530 mm; 15x20⅞ inches, full margins. Signed, dated and numbered 13/100 in pencil, lower margin. Very good impressions.
Estimate
$2,000 – $3,000
Sam middleton
Group of 4 color lithographs.
Fried Bananas, 1988. Signed, dated and numbered 48/75 in pencil, lower margin * Untitled, 1971. Signed, dated and numbered 15/21 in pencil, lower margin * Coleman Hawkins * Dizzy Gillespie Both 1979. Both an artist’s proof aside from the edition of 50. Both signed, dated and inscribed “E/A” in pencil, lower margin. Both from Jazz Impressions. Various sizes and conditions. Very good impressions.
Estimate
$3,000 – $5,000
David diao
Untitled.
Acrylic on canvas, 1989. 1680x2595 mm; 66x102 inches. Signed, dated and annotated in acrylic, verso.
Ex-collection private collection, Chicago.
Estimate
$5,000 – $8,000
Mark sheinkman
Untitled #3.
Mixed-media on linen, 1991-92. 1830x1210 mm; 72x48 inches. Signed, titled and dated in ink and with the artist’s studio ink stamp, on the stretcher verso.
Ex-collection private collection, New York.
Estimate
$3,000 – $5,000
Vija celmins
Comet.
Linoleum cut on Fabriano Tiepolo paper, 1992. 363x425 mm; 14¼x16¾ inches, full margins. Signed and numbered 9/80 in pencil, lower margin. Printed and published by Oberon Press, New York, with the blind stamp lower left. From Skowhegan Suite. A very good impression of this scarce print.
Estimate
$12,000 – $18,000
Chuck close
Keith/Four Times.
Color lithograph printed in black and cream on Arches, 1975. 758x2032 mm; 30x80 inches. Signed, titled, dated and numbered 50/50 in pencil, lower margin. Published by Parasol Press, Ltd., New York, with the blind stamp. A very good impression.
Estimate
$4,000 – $6,000
Jonathan borofsky
Stick Man.
Color lithograph on Arches 88 paper, 1983-86. 1333x959 mm; 52½x37¾ inches (sheet), full margins. Signed, dated, numbered 12/27 and inscribed with the artist’s 7-digit number “2803980” in pencil, lower margin. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamps lower right. A very good impression of this large lithograph. Gemini JB83-1074.
Estimate
$1,500 – $2,500
Jonathan borofsky
Space Head.
Color lithograph and screenprint on Arches 88 paper, 1983-84. 1397x787 mm; 55x31 inches (sheet), full margins. Signed, dated, numbered 20/25 and inscribed with the artist’s 7-digit number “2816026” in pencil, lower margin. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamps lower right. A very good impression with fresh colors. Gemini JB83-1075.
Estimate
$1,000 – $1,500
Jonathan borofsky
Three prints.
Pied Piper, screenprint on white wove paper, 1976-80. Signed, dated and numbered 16/36 in pencil, lower margin * Split Head with Hammering Man, lithograph, 1979-80. Signed, dated and inscribed with the artist’s 7-digit number “2688108” in pencil, lower margin. Printed by the California Institute of the Arts, Valencia. Published by the artist * Self-Portrait, color lithograph on Arches 88 paper, 1982-84. Signed, dated and numbered 19/23 in pencil, lower margin. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamps lower right. Gemini JB82-1049. Various sizes and conditions. Very good impressions.
Estimate
$1,500 – $2,500
Dieter roth
Two drawings.
Self Portrait as Printer * Self Portrait as Sprinter. Both pencil and felt-tip pen and ink on wove paper, 1980. 227x328 mm; 9x12⅞ inches. Both signed and dated in pencil, lower center recto.
With—Gesammelte Werke Bands 20 & 40 (Collected Works Volume 20 + 40). The deluxe 2 volume set., published by H. Mayer, Stuttgart, 1972 and 1979.
Ex-collection private collection, Connecticut.
Estimate
$3,000 – $5,000
Miquel barceló
Narciso.
Two color lithographs on cream wove paper, diptych, 1984. Both 460x690 mm; 18x27¼ inches (sheet), full margins. Signed and numbered 67/100 in pencil, lower margin on the lower sheet. Very good impressions with strong colors.
Estimate
$1,500 – $2,500
Donald baechler
Self Portrait.
Acrylic, oil, pencil and collage on wove paper, 1983. 495x455 mm; 19½x18⅞ inches. Signed and dated in pencil, verso.
Ex-collection Michael H. Lord Gallery, Milwaukee, with the label on the frame back.
Estimate
$2,000 – $3,000
Nicole eisenman
Piss Canvas.
India ink on heavy wove paper, 1993. 280x320 mm; 11⅛x12½ inches. Signed in pencil, verso.
Ex-collection Shoshana Wayne Gallery, Santa Monica, with the label on the frame back.
Estimate
$5,000 – $8,000
Walter robinson
Brats.
Acrylic on canvas, 1984-85. 760x760 mm; 30x30 inches. Signed, dated and titled in acrylic, verso.
Ex-collection Semaphore Gallery, New York; private collection, New York.
Estimate
$1,500 – $2,500
Walter robinson
Steve K.
Acrylic on canvas, 1984. 610x610 mm; 24x24 inches. Signed, titled and dated in acrylic verso.
Ex-collection private collection, New York.
Estimate
$1,500 – $2,500
Alan belcher
Painting (Encare).
Assemblage with Plexiglas and color photographs, 1985. 305x305x85 mm; 12x12x3½ inches. Signed, titled and dated in felt-tip pen and ink, verso.
Ex-collection private collection, New York.
Estimate
$1,000 – $1,500
Robert longo
Untitled (for Joseph Beuys).
Color lithograph on Somerset Satin rag paper, 1986. 813x610 mm; 32x24 inches (sheet), full margins. Signed, dated and numbered 58/90 in pencil, lower margin. Co-published by Galerie Bernd Kluaer, Munich, and Editions Schellmann, New York. A very good impression with strong colors.
Estimate
$1,200 – $1,800
Robert longo
Rick.
Lithograph on Arches Cover paper, 1994. 1016x597 mm; 40x23½ inches, full margins. Signed, dated and numbered 125/170 in pencil, lower margin. Published by Greenpeace, New York. A very good impression.
Estimate
$12,000 – $18,000
Robert longo
Untitled (Eric).
Archival pigment print on Canson Platine fiber paper, 2014. 375x255 mm; 14¾x10 inches, full margins. Signed, dated “1981/2014” and numbered 42/75 in pencil, verso. Printed by Adamson Editions, Washington, D.C. From Men in Cities. A very good impression.
Estimate
$3,000 – $5,000
Robert longo
Untitled (Cindy).
Archival pigment print on Canson Platine fiber paper, 2014. 375x255 mm; 14¾x10 inches, full margins. Signed, dated “1981/2014” and numbered 42/75 in pencil, verso. Printed by Adamson Editions, Washington, D.C. From Men in Cities. A very good impression.
Estimate
$3,000 – $5,000
John baldessari
The Intersection Series: Person on Horse and Person Falling from Horse, with Audience.
Chromogenic print on archival paper, 2002. 265x268 mm; 10⅜x10½ inches, full margins. Signed, dated and numbered 86/150 in ink, lower margin. Published by Texte zur Kunst, Berlin. From Intersection Series. A very good impression.
Estimate
$1,500 – $2,500
John baldessari
Two Opponents (Blue and Yellow).
Color screenprint on Rives BFK, 2004. 302x302 mm; 11⅞x11⅞ inches (sheet), full margins. Signed, dated and numbered 51/165 in pencil, lower center. Printed and published by Gemini G. E. L., Los Angeles, with the blind stamps lower right. From Artists Coming Together to Benefit Democratic Presidential Candidates (ACT). A very good impression with strong colors. Schnitzer 113.
Estimate
$4,000 – $6,000
Barbara kruger
Untitled (Surveillance is your Busywork).
Color lithograph, 1983. 280x710; 11x28 inches (sheet), full margins.
An unused New York Subway placard poster for the project on U.S. public transportation enacted by Kruger in the 1980s.
Estimate
$1,500 – $2,500
Cindy sherman
Untitled (Mother Embracing Children).
Silverprint of a photograph collage, 1976-1989. 252x202 mm; 9⅞x8 inches (sheet), full margins. Signed in ink, lower left recto and numbered 81/200 in pencil, verso. Published by Printed Matter, New York. In the artist’s original leatherette frame.
Estimate
$1,500 – $2,500
Cindy sherman
Untitled (For Parkett no. 29).
Printed padded silk, 1991. 210x170 mm; 8¼x6¾ inches. Signed and numbered 84/100 in ink, verso. Published by Parkett Publishers, Zürich and New York. In the artist’s original gilt-wood frame. A very good impression.
Estimate
$1,000 – $1,500
Kiki smith
Silent Work.
Screenprint and rubber stamp on handmade Nepalese paper, 1992. 413x335 mm; 16¼x13¼ inches, full margins. Signed and numbered 48/150 in pencil, lower right. Published by MAK Galerie Österreichisches Museum für angewandte Kunst, Vienna. A very good impression.
Estimate
$1,000 – $1,500
Robert graham
MOCA Torso.
Bronze on artist’s base with metal stand, 1992-95. 280x114 mm; 11x4½ inches (without stand). Edition of 3500, each with a unique patina. Incised with the artist’s signature, numbered “8” and inscribed “CARIOSM” under the base.
Ex-collection Hokin Gallery, Bay Harbor Islands; sold Christie’s, New York, sale 15882, lot 190, to private collection, Concord.
Estimate
$2,000 – $3,000
Eric fischl
Soul In Flight: A Memorial to Arthur Ashe.
Photolithograph on wove paper, 2000. 556x386 mm; 21⅞x15¼ inches, full margins. Signed and numbered 4/20 in pencil, lower margin.
Fischl’s (born 1948) same-titled sculpture honoring Arthur Ashe (1943-1993) is located in Flushing Meadows Corona Park, Queens, New York.
Estimate
$1,000 – $1,500
Eric fischl
Two Girls Dancing.
Color lithograph on smooth cream wove paper, 2011. 690x760 mm; 27x30 inches (sheet), full margins. Signed and numbered 74/100 in pencil, lower margin. Published by Lococo Fine Art Publisher, St. Louis, with the ink stamp verso. A very good impression with strong colors.
Estimate
$1,000 – $1,500
Eric fischl
Annie, Gwen, Lilly, Pam and Tulip.
Portfolio with complete text and 9 color lithographs on Rives BFK, 1986. 510x380 mm; 20⅛x15 inches (sheets), full margins, bound as issued.
One of 145 copies. Signed by artist and the author, Jamaica Kincaid, in ink on the justification page. Printed by Palisades Press, Jersey City. Published by the Library Fellows of the Whitney Museum of American Art, New York . Original black linen and green paper covered slipcase.
Estimate
$2,000 – $3,000
David salle
Untitled V.
Color aquatint and soft-ground etching on Hahnemuhle wove paper, 1990. 340x505 mm; 13⅜x19⅞ inches, full margins. Signed, dated, inscribed “V” and numbered 41/50 in pencil, lower margin. Printed by Aldo Crommelynck, Paris, with the blind stamp. Published by Parasol Press, Ltd., Portland. From Universe Mender. A very good impression with strong colors.
Estimate
$1,000 – $1,500
Frederick j. brown
Happy Birthday (Holidays).
Color crayon and pen and ink on thick wove paper, 1990. 500x305 mm; 19⅝x12 inches. Signed and dated in pen and blue ink, lower right recto.
Ex-collection Marlborough Gallery, New York; private collection, New York.
Brown (1945-2012) was a Chicago-born, New York-based artist whose style was lossely figurative abstract expressionist. He was raised near the steel mills on Chicago’s Southside and was exposed to the blues through musicians in the neighborhood such as Muddy Waters, Howlin’ Wolf and Memphis Slim. In 1970, Brown moved to New York and began to collaborate on multi-media projects with other artists including jazz musicians. During the 1980s, he focused much of his work on creating portraits of jazz and blues musicians, including popular artists such as Ornette Coleman, Louis Armstrong, Billie Holiday and Lionel Hampton in addition to less well-known jazz and blues artists, exhibiting many of these works through Marlborough Gallery, New York.
Estimate
$1,500 – $2,500
Francesco clemente
Conception.
Color aquatint and etching on Fabriano Rosaspina paper, 1987. 875x645 mm; 34½x25½ inches, full margins. Signed and numbered 44/45 in pencil, lower center. Printed by Vigna Antoniniana, Rome. Published by 2RC Edizioni d’Arte, Rome. A superb, richly-inked impression with strong colors.
Estimate
$1,000 – $1,500
Helen marden
Untitled.
Watercolor and gouache on paper. 290x205 mm; 11½x8 inches.
Acquired Stair Galleries, Hudson, April 2, 2016, lot 419 by the current owner, private collection, Larchmont.
Estimate
$2,000 – $3,000
Ah allen.
AH Allen.
Bound volume with complete text and 32 prints, including offset lithographs, screenprints, c-prints, duotones and silver prints, on Somerset Velvet paper, 1998. 355x300 (sheets), bound as issued. Signed by the contributors on the signature page, in pencil, Burroughs’, Ginsberg’s and Kerouac’s signatures printed. Project coordinated by Anna Condo and numbered 53/200 in pencil on the colophon. Printed by The Grenfall Press, New York, Siena Studio, New York, Brand X Editions, Long Island City, Fine Art Publishing, Ltd., London, Allethaire Press, Hadley, Massachusetts, Green Rhino, Brooklyn, Megargee/ Van der linde, New York and Laumont Labs, New York. Published by A/C Editions, New York. Original blue textured slipcase.
Includes prints by BAECHLER, BOURGEIOIS, CLEMENTE, CONDO, FRANK, GOLDIN, KEROUAC, MARDEN, OLDENBURG, ONO, PAIK, SERRA, and TÀPIES.
A deluxe, profusely illustrated book dedicated to the life and poetry of Allen Ginsberg (1926-1997).
Estimate
$4,000 – $6,000
Donald sultan
Pomegranates, May 1990.
Aquatint on Somerset White paper, 1990. 1016x762 mm; 40x30 inches, full margins. Initialed, titled, dated and numbered 17/60. Printed by Gregory Burnet and Maurice Payne at IME Studios, New York. Published by Waddington Graphics, London. From the same-titled portfolio. A very good impression. Walker 63.
Estimate
$1,500 – $2,500
Donald sultan
Two color screenprints.
Apples, 1989 * Squash, 1991. Both 307x307 mm; 12x12 inches, full margins. Both signed, titled and dated in pencil, left margin, and numbered 55/125 in pencil, lower right. Both printed by Watanabe Studio, New York. Both published by Parasol Press, Ltd., New York. Both from Fruits and Flowers. Very good impressions with fresh colors.
Estimate
$1,500 – $2,500
Donald sultan
Visual Poetics.
Portfolio with complete text, 6 color screenprints and numerous color illustrations, 1998. 560x340 mm; 22x14⅛ inches (sheets), full margins, the screenprints loose, the text and illustrations bound as issued.
One of 395 numbered copies. Each print initialed and numbered 76/395 in pencil, lower margin, the frontispiece numbered in pencil, lower center. Printed and published by Marco Fine Arts Contemporary Atelier, Los Angeles, with their blind stamp on each print, lower left. Original black leather binding and cloth clamshell box.
Estimate
$3,000 – $5,000
Susan rothenberg
Face.
Digital pigment print on white wove paper, 2001. 711x940 mm; 28x37 inches, full margins. The “Right to Print” proof, aside from the edition of 100. Signed, dated “7/30/01” and inscribed “RTP” in pencil, lower left. Printed by Brand X Editions, New York. Published by Médecins Sans Frontières (Doctors Without Borders), New York. A very good impression with vibrant colors.
Estimate
$1,500 – $2,500
The Last Two Decades: Koons, Doig, Cattelan, Hirst, Banksy & Kusama
Ross bleckner
Dream and Do, III.
Set of 3 color screenprints on museum board, 1997. 827x105 mm; 32½x41½ inches (sheets), ful margins. Each print signed and numbered 11/75 in pencil, lower left and with the copyright ink stamp, verso. Printed by Studio Heinrici, New York. Published by Lococo Mulder Fine Art Publishers, St. Louis. Very good impressions with strong colors.
Estimate
$3,000 – $5,000
Hunt slonem
Bird with Flowers.
Watercolor on paper, 1992 1260x970 mm; 49⅝x38¼ inches. Signed and dated in pencil, lower right recto.
Acquired directly from the artist, private collection, Toledo, Ohio; by descent to the current owner, private collection, New York.
Estimate
$2,000 – $3,000
Hunt slonem
Parrots and Toucans.
Watercolor on paper, 1993. 1260x970 mm; 49⅝x38¼ inches. Signed and dated in pencil, lower right recto.
Acquired directly from the artist, private collection, Toledo, Ohio; by descent to the current owner, private collection, New York.
Estimate
$2,000 – $3,000
Hunt slonem
Rabbits.
Oil on panel, 2013. 965x815 mm; 38¼x32¼ inches. Signed and dated in oil, verso.
Ex-collection private collection, New York.
Estimate
$5,000 – $8,000
George condo
More Sketches of Spain–For Miles Davis, III.
Etching and aquatint on Guarro paper, 1991. 480x565 mm; 19x22½ inches, full margins. Signed and numbered 31/40 in pencil, lower margin. Printed by Alexandre Tornabell de Amer, Gerona. Published by Alexander Kahan, New York. From the same-titled suite. A very good impression.
Estimate
$1,500 – $2,500
George condo
More Sketches of Spain—For Miles Davis, IV.
Etching and aquatint on Guarro paper, 1991. 480x565 mm; 19x22½ inches, full margins. One of 5 numbered hors commerce impressions, aside from the edition of 40. Signed and inscribed “HC 5/5” in pencil, lower margin. Printed by Alexandre Tornabell de Amer, Gerona. Published by Alexander Kahan, New York. From the same-titled suite. A very good impression.
Estimate
$1,500 – $2,500
George condo
Untitled (Mental States Playing Card Drawing).
Color pencil on card, 2011. 88x63 mm; 3½x2½ inches. Signed and dated in color pencil, upper left recto. Within a box set and with one pack of playing cards, as issued. Published for the exhibition “George Condo: Mental States” at Hayward Gallery, London, October 18, 2011-January 8, 2012.
Ex-collection Sprueth Magers, London and Berlin, with the label; private collection, Pennsylvania.
Estimate
$6,000 – $9,000
Anton henning
Picasso in Manker No. 5.
Oil on canvas with collage, 2009. 500x600 mm; 19⅝x23⅝ inches. Initialed and dated in oil, lower right.
Ex-collection Haunch of Venison Gallery, London; private collection, New York.
Estimate
$3,000 – $5,000
Julião sarmento
A Body to Touch.
Mixed-media on canvas, 2006. 1905x1905 mm; 75x75 inches. Signed, titled, dated “Capa Rota 2006” and annotated with the artist’s inventory number “# 1828” in oil, verso.
Ex-collection Sean Kelly Gallery, New York, with the label on the stretcher verso; private collection, New York.
Sarmento (born 1948) was born in Lisbon, Portugal and studied architecture and painting in the mid-1960s at the Escola Superior de Belas Artes in Lisbon, leaving before attaining his degree in frustration with the school’s conservative approach. He lived and worked around the world, including the United States and Morocco, before returning to Portugal to work as an artist. He has employed sculpture, film, installation and painting, with the body central to his work. Often rendered in androgynous and simplified forms, the bodies he depicts reflect on desire and intimacy as well as the possessive aspect of the male gaze.
Estimate
$15,000 – $20,000
Christiane baumgartner
Final Cut.
Portfolio with 4 woodcuts and 12 color screenprints on Arches Bütten paper, 2006. 470x595 mm; 18½x23½ inches (sheet), full margins, loose as issued.
Signed, numbered and dated 12/25 on the justification page. Each print signed, titled, dated and numbered in pencil, verso. Printed by Hartmut Tauer, Auenheim, and Jürgen Kasch and Rolf Freier, Museum für Bruckkunst, Leipzig. Original green clamshell box. Very good impressions.
Estimate
$3,000 – $5,000
Günther förg
Architektur II.
Group of 3 (of 5) color heliogravures on heavy white wove paper, 1993. Each 912x643 mm; 36x25½ inches, full margins. Each signed, dated and numbered 45/60 in pencil, lower margin. Published by Achenbach Art Edition, Düsseldorf. Superb, richly-inked impressions of these large prints with vibrant colors.
Estimate
$1,500 – $2,500
Günther förg
Composition (Blau-Orange).
Color screenprint on heavy white wove paper, 1993. 915x650 mm; 36¼x26 inches, full margins. Signed, dated and numbered 107/130 in pencil, lower margin. A very good impression of this large print.
Estimate
$1,500 – $2,500
Imi knoebel
Untitled.
Color lithograph with hand stenciling on Somerset Velvet paper, 1996. 500x355 mm; 19¾x14 inches, full margins. Initialed and numbered 24/60 in pencil, verso. Co-published by Brooke Alexander Editions, New York, and Sabine Knust Maximilian Verlag, Munich. A very good impression.
Estimate
$1,500 – $2,500
Christopher wool
Untitled (Griffelkunst).
Color screenprint on white wove paper, 2016. 800x700 mm; 31½x27½ inches (sheet), full margins. Edition of 495. Signed and dated in pencil, lower right. Printed by Atelier für Siebdruck, Bern. Published by Edition Griffelkunst, Hamburg, with the printed justification verso. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Dan miller
Untitled (DM 287).
Acrylic and ink on paper, 2013. 745x560 mm; 29¾x22 inches.
Acquired ArtGivesBack, San Francisco, November 4, 2019, lot 20 (courtesy of Creative Growth, Oakland); private collection, New York.
Estimate
$3,000 – $5,000
Julie mehretu
Untitled (Pulse).
Color lithograph on white wove paper, 2013. 406x508 mm; 16x20 inches, full margins. Signed, dated and numbered 86/100 in pencil, lower margin. Published by Texte Zur Kunst, Berlin. A very good impression with strong colors.
Estimate
$5,000 – $8,000
Tauba auerbach
Edition Bergen Kunsthall.
Color screenprint on heavy black wove paper, 2012. 860x662 mm; 34x26¼ inches (sheet), full margins. Signed, dated and numbered 6/120 in pencil, lower margin. Published by Bergen Kunsthall, Bergen, Norway. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Carlos cruz diez
Chromointerférence, Série Mariana 1.
Color screenprint on cardstock mounted on board and Plexiglas in the artist’s original frame, 2000. 295x595 mm; 11¾x23½ inches, full margins. Signed in pencil and numbered 2/8 on the label, verso. A very good impression.
Estimate
$5,000 – $8,000
Vik muniz
Metaphysical Interior with Large Factory, after Giorgio de Chirico.
Digital C-print, 2010. 695x508 mm; 27¼x20 inches, full margins. Edition of 25. With a certificate of authenticity from the artist’s studio with the ink stamp. From Pictures of Paper. A superb impression.
Estimate
$1,500 – $2,500
Peter doig
Haus der Bilder.
Color aquatint and etching on Zerkall paper, 2004. 195x137 mm; 7¾x5½ inches, full margins. Signed and dated in pencil, lower right. Proofed by the artist and Fritze Margull, Port of Spain, Trinidad, printed by Fritze Margull, Berlin. Published by Griffelkunst, Hamburg. From Black Palms. A superb impression with strong colors.
The figure in this image was derived from a painting by Honoré Daumier, The Print Collector, circa 1857-63, in the Art Institute of Chicago.
Estimate
$2,000 – $3,000
Peter doig
Fisherman.
Color aquatint and etching on Zerkall paper, 2004. 197x145 mm; 7⅞x5¾ inches, full margins. Signed and dated in pencil, lower right. Proofed by the artist and Fritze Margull, Port of Spain, Trinidad and printed by Fritze Margull, Berlin. Published by Griffelkunst, Hamburg. From Black Palms. A superb impression with vibrant colors.
According to the artist, the Black Palms series, “Came about whilst working with the printer Fritze Margull. He came down to Port of Spain, Trinidad where I have set up house and studio. We built a small make shift studio in the corner of a large warehouse space–we had a small table top press that we used to proof the plates with. The images for the etchings for the most part are relatively new ones for me although I have made some drawings, and water colours using similar imagery. I am in the process of using the images to make larger scale paintings now. I have found that making etchings prior to making paintings is a useful way to familiarize myself with the subject and imagery,” (Griffelkunst). Doig (born 1959) notes that the compositions for many of the images were actually derived from a set of old postcards he’d bought in London showing various Indian scenes, which he in turn combined with his Trinidad experiences. In the case of Pelican, “The figure dragging the dead pelican was dragging a fishing net in the Indian post card–I saw a man killing and dragging a pelican along a beach here [Trinidad]; dinner,” (Griffelkunst).
Estimate
$2,000 – $3,000
Peter doig
Bather.
Digital pigment print on Somerset Radiant White Velvet 330gsm paper, 2020. 1280x970 mm; 50½x38¼ inches (sheets), full margins. Signed, dated and numbered 21/123 in pencil, lower right. Published by the Vienna Secession, Association of Visual Artists, Vienna, Austria. A superb impression of this large print with vibrant colors.
Doig (born 1959) exhibited two paintings from his recent “Bather” theme at the Vienna Sucession in 2019, one of which is the basis for this print. The images are a homage to the American modernist painter, Marsden Hartley (1877-1943), though Doig has utilized a photograph of Robert Mitchum on a beach in Trinidad (where the artist currently lives and works). Mitchum is nearly unrecognizable in Doig’s representation, a dark moonlit sea and a nude, kneeling woman to his right adding an air of mystery to the scene.
Estimate
$5,000 – $8,000
Kara walker
Freedom, a Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times.
Bound pop-up book, with offset lithographs and 5 laser-cut, pop-up silhouettes on wove paper, 1997. 230x198 mm; 9⅛x7¾ inches (sheets, bound as issued). Edition of 4000. Printed by Typecraft, Inc., Pasadena. Published by The Peter Norton Christmas Project, Santa Monica.
Each year, the Peter Norton family commissions an art edition to celebrate the Christmas season and holidays. The book was privately published and gifted to friends. Another copy of this book is in the collection of the National Gallery of Art, Washington, D.C.
Estimate
$3,000 – $5,000
Kara walker
The Emancipation Approximation (Scene #9).
Color screenprint on Somerset 500G paper, 2000. 1120x862 mm; 44⅛x33⅞ inches (sheet), full margins. Edition of 20 plus 5 artist’s proofs. Signed, dated and numbered XII/XXV in pencil, verso. Printed by Jean Yves Noblet, New York. Published by Jenkins Sikkema Editions, New York. From the same-titled series. A very good impression with strong colors.
Estimate
$8,000 – $12,000
Kara walker
Pack-Mules in the Mountains.
Screenprint and offset lithograph on Somerset Textured paper, 2005. 865x610 mm; 34x24 inches, full margins. Edition of 35 plus 10 artist’s proofs. Signed, dated and numbered 33/35 in pencil, lower right. Printed and published by The LeRoy Neiman Center for Print Studies, New York. From Harper’s Pictorial History of the Civil War (Annotated). A very good impression.
Estimate
$8,000 – $12,000
Maurizio cattelan, massimiliano gioni and ali subotnick
The 1:6 Scale Wrong Gallery.
Multiple with wood, brass, steel, aluminum, resin, plastic, glass and electric lighting with power cord, additional brass multiple, photo-screenprint on glass, C-print on paper with an acrylic frame, inkjet print on drawing paper and group of 4 miniature store signs on acetate, 2005.
Numbered 262/2500 and with the artist’s copyright ink stamp on the underside. Published by Cerealart Multiples, Philadelphia.
Includes works by Lawrence Weiner, Adam McEwen, Elizabeth Peyton, Tommy White, Shirana Shahbazi and Andreas Slominski, each in the original, individual printed card board packaging, as well as the “Wrong Gallery Times” newspaper printed on pink paper, the printed “Wrong Gallery Technical Information” sheet and additional light bulbs
This work is a 1:6 scale reproduction of The Wrong Gallery which was located in Chelsea, New York, at 516 A ½ West 20th Street from 2002-2005. The location satirized the lavishness and glitz of contemporary exhibition spaces. The Wrong Gallery measured only two-and-a-half square meters, and though it never actually opened, “visitors” could peer through the glass front door at rotating “exhibitions” that featured programming conceptualized by Cattelan, Subotnick and Gioni. Another replica of The Wrong Gallery has since reopened, even smaller at only one square meter, at the Tate Modern, London.
Estimate
$2,000 – $3,000
Takashi murakami
Flower * Flower 2.
Two color offset lithographs, 2002. 525x520 mm; 20⅝x20½ inches (sheet), full margins. Both an edition of 300. Both signed and numbered in ink, lower right. Both printed and published by Kaikai Kiki, Tokyo, with the copyright, lower center.
Estimate
$1,500 – $2,500
Takashi murakami
Champagne Supernova: Blue * I Look Back and There, My Beautiful Memories.
Two color offset lithographs, 2013. Both 530x738 mm; 29x20⅞ inches (sheet), full margins. Both an edition of 300. Both signed and numbered in metallic ink, lower right. Both printed and published by Kaikai Kiki, Tokyo, with the copyright, lower center.
Estimate
$2,000 – $3,000
Takashi murakami
Three color offset lithographs.
A Field of Flowers Seen from the Stairs to Heaven, 2018 * A Little Flower Painting: Yellow, White & Purple Flowers, 2017 * A Little Flower Painting: Pink, Purple & Many Other Colors, 2017. 550x440 mm; 21⅝17⅜ inches (sheet), full margins. Each an edition of 300. Each signed and numbered in silver metallic ink, lower right. Each printed and published by Kaikai Kiki, Tokyo, with the copyright, lower center.
Estimate
$2,000 – $3,000
Takashi murakami
And Then x 6-Red: The Polke Method * Lapis Lazuli: Superflat Method.
Two color offset lithographs, 2013. Both 500x500 mm; 19⅝x19⅝ inches (sheets), full margins. Both an edition of 300. Both signed and numbered in black in, lower right. Both printed and published by Kaikai Kiki, Tokyo, with the copyright, lower left.
Estimate
$2,000 – $3,000
Takashi murakami
We Are the Jocular Clan.
Set of 10 color offset lithographs, 2018. 498x498 mm; 19⅝ inches (sheet), full margins. Each an edition of 300. Each signed and numbered in ink, lower right. Printed and published by Kaikai Kiki, Tokyo, with the copyright lower center.
Estimate
$3,000 – $5,000
Jeff koons
Puppy.
Glazed white porcelain vase, 1998. 450 mm; 17¾ inches (height). Edition of 3000. With the artist’s incised signature, date and edition number 1840/3000 on the base. Published by Art of This Century, New York and Paris. Original packaging.
Estimate
$10,000 – $15,000
Jeff koons
Balloon Dog (Blue).
Metallic porcelain multiple, 2002. 255x255 mm; 10⅛x10⅛ inches. Edition of 2300. Numbered 1776/2300 on the base. Produced by Bernardaud, Limoges. Published by the Los Angeles Museum of Contemporary Art, with the label verso. Original plastic stand and packaging.
Estimate
$7,000 – $10,000
Jeff koons
Balloon Dog (Yellow).
Metallic porcelain multiple, 2015. 255x255 mm; 10⅛x10⅛ inches. Edition of 2300. Numbered 829/2300 on the base. With the original printed booklet numbered 829/2300 in ink on the justification page. Produced by Bernardaud, Limoges. Published by the Los Angeles County Museum of Contemporary Art, with the label verso. Original plastic stand and packaging.
Estimate
$7,000 – $10,000
Damien hirst
Forever (Small).
Laminated Giclée print on aluminum composite panel, 2020. 390x390 mm; 15½x15½ inches. With the artist’s printed signature and numbered 994/2573 on the justification label verso. Published by Heni Editions, London. Original packaging.
Estimate
$2,000 – $3,000
Damien hirst
Fruitful (Small).
Laminated Giclée print on aluminum composite panel, 2020. 390x390 mm; 15½x15½ inches. With the artist’s printed signature and numbered 1453/3308 on the justification label verso. Published by Heni Editions, London. Original packaging.
Estimate
$2,000 – $3,000
Rachel whiteread
Gold Leaf.
Bronze and gold leaf multiple, 2012. 140x95 mm; 5½x3¾ inches. Stamped with the artist’s initials and numbered 6/30 on the underside and signed and numbered in ink on the certificate. Published for the commission of Whiteread’s Tree of Life for the Whitechapel Gallery façade, London. Original pasteboard presentation box.
Estimate
$6,000 – $9,000
Banksy
10 Pound Bank Note.
Di-faced tenner, 2004. 74x143 mm; 2⅞x5⅝ inches (sheet). With the artist’s ink stamp signature. Published by Santa’s Ghetto, London, for the 2004 exhibition of Banksy’s work.
Estimate
$2,000 – $3,000
Banksy
10 Pound Bank Note.
Di-faced tenner, 2 impressions, 2004. Both 74x143 mm; 2⅞x5⅝ inches (sheet). Published by Santa’s Ghetto, London, for the 2004 exhibition of Banksy’s work.