Contemporary Art

Lot 1

1

Jackson pollock
Untitled.

Oxidized copper, 1938. 311 mm; 12¼ inches (diameter).

Provenance: Gifted by the artist to Wally Strautin (1898-1995), American abstract artist, New York; acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Exhibited: "Jackson Pollock: New Found Work", Yale University Art Gallery, New Haven, October 5-November 26, 1978, National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., December 22, 1978-February 11, 1979; The David and Alfred Smart Gallery, The University of Chicago, Chicago, March 12-May 6, 1979; "Jackson Pollock: Early Sketchbooks and Drawings", The Metropolitan Museum of Art, New York, October 27, 1997-February 8, 1998; "Jackson Pollock/David Smith: Paintings and Sculptures from the 1930s and 1940s", Washburn Gallery, New York, February 15-March 24, 2001 (illustrated).

Published: Francis V. O'Connor & Eugene V. Thaw, editors, Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings, and Other Works, Yale University Press, New Haven, 1978, volume 4, number 1047; Ellen G. Landau, Jackson Pollock, Harry N. Abrams Inc., New York, 1989, page 106; Nan Rosenthal, The Jackson Pollock Sketchbooks in The Metropolitan Museum of Art, The Metropolitan Museum of Art, New York, 1997, page 25, figure 16.

In 1932, Pollock (1912-1956) wrote to his father, “Sculptoring I think is my medium. I’ll never be satisfied until I am able to mould a mountain of stone, with the aid of a jack hammer, to fit my will.” While he created approximately 12 sculptures during his career (of which 6 are extant), sculpture preoccupied the artist throughout his life.

He started studying sculpture when he took a clay modeling class in high school. When he moved to New York in 1930, he continued his sculpture studies under Ahron Ben-Shmuel where he practiced direct carving. He also studied under the modernist figural sculptor Robert Laurent at the Arts Students League.

He turned to sculpture during times of personal crisis: in 1932-33, when his father was dying, when he became uncomfortably famous in 1949, and when he returned to drinking alcohol in 1951.

The present work dates from when he was receiving treatment for alcoholism and a nervous breakdown at New York Hospital’s psychiatric hospital from June through September 1938. It was a difficult time for the artist and he allegedly resisted therapy and resented being there. He also created one other copper plate during this time, which is held by held by the Addison Gallery of American Art, Andover, Massachusetts. The composition of the current work is based loosely on Michelangelo’s Creation of Man in the Sistine Chapel, the figure sitting with one fist clenched at his thigh atop an equine whose stick-like legs and head jut out from underneath him. Pollock had seen photographs of the frescoes and sketchbooks from this time (held at the Metropolitan Museum of Art, New York) show Pollock’s interest in how the Italian artist rendered the body. O’Connor, the co-editor of his catalogue raisonné and who held the present work in his collection for over 40 years, wrote of this sculpture, “Just as I have discovered that frontality in self-portraiture usually signals moments of transition when it is necessary to face up to the self, sculpture has a way, for the male at least, of supplying three-dimensional evidence of fitness—of conceiving something as tangible as one’s own person when the normally engendering self-image has fallen into eclipse.”

Pollock took a long break from sculpture in the 1940s, after which he became one of the most prominent Abstract Expressionist artists in America. It wasn't until he and his wife, the artist Lee Krasner, moved to the Springs, East Hampton, Long Island, in 1945 that he had the space to again take up sculpting. He started creating sculptures out of found objects on the beach (including natural objects such as twigs and sand), and many of these ephemeral sculptures are now lost. Sculpture also preoccupied him in the time leading up to his death—he was working with the artist Tony Smith (1912-1980) on three-dimensional works in July 1956, another difficult time that included a creative block, alcoholism and depression, shortly before his fatal car accident.

Estimate

$20,000 – $30,000

Lot 2

2

Jackson pollock
Untitled (Mexican Theme).

Watercolor, crayon and brush and ink on cream wove paper, 1939. 138x312 mm; 5½x12⅜ inches. Inscribed in pen by the artist's brother, Sanford Pollock, upper left recto.

Pollock (1912-1956) created this work for Wally Strautin, a close friend of his who was his neighbor in Greenwich Village, New York. At the time Pollock was living with his brother, Sanford, who had worked with the Mexican muralist David Alfaro Siqueiros (1896-1974) and likely inscribed the drawing in Spanish. There is a preliminary sketch for the work on one of Pollock's psychoanalytical drawings (see O'Connor/Thaw 3:520).

Provenance: Gifted by the artist to Wally Strautin (1898-1995), American abstract artist, New York; acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Exhibited: Galerie Dache, New York, October 1966; "Jackson Pollock: New Found Work", Yale University of Art Gallery, New Haven, October 5-November 26, 1978, National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., December 22,1978-February 11, 1979 and The David and Alfred Smart Gallery, The University of Chicago, Chicago, March 12-May 6, 1979; Munson-Williams-Proctor Institute, Utica, with the long-term loan label verso; Susan Teller Gallery, New York, with the label verso.

Published: Francis V. O'Connor and Eugene Victor Thaw, Jackson Pollock: a Catalogue Raisonné of Paintings, Drawings, and Other Works, 1978, volume 4, number 945.

Estimate

$15,000 – $20,000

Lot 3

3

Jackson pollock
Untitled.

Color crayons on wove paper, 1939-42. 215x90 mm; 8½x3⅝ inches.

This drawing is typical of Pollock's (1912-1956) work from the late 1930s / early 1940s when he interspersed shapes and volumes with words and numbers. Drawn on mimeograph paper, the sheet includes fragments of a WPA Federal Art Project press release on the verso; Pollock worked for the Federal Art Project from 1938-42.

Provenance: Gifted by the artist to Wally Strautin (1898-1995), American abstract artist, New York; acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Published: Francis V. O'Connor and Eugene Victor Thaw, Jackson Pollock: a Catalogue Raisonné of Paintings, Drawings, and Other Works, 1978, volume 3, number 628.

Estimate

$20,000 – $30,000

Lot 4

4

Jackson pollock
Greeting Card.

Color screenprint on Japan paper, 1949-50. 183x140 mm; 7¼x5½ inches (sheet), full margins. Inscribed and dated "Greetings 1950" in ink, lower margin. A very good impression.

Influenced by Jean Dubuffet (1901-1985) at the time he created this screenprint (Dubuffet's works were being shown in New York for the first time at the Pierre Matisse Gallery), Pollock (1912-1956) included an abstract figural motif within his typical pouring composition.

Provenance: Gifted by the artist to Wally Strautin (1898-1995), American abstract artist, New York; acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Published: Francis V. O'Connor and Eugene Victor Thaw, Jackson Pollock: a Catalogue Raisonné of Paintings, Drawings, and Other Works, 1978, volume 4, number 1089.

Estimate

$3,000 – $5,000

Lot 5

5

Jackson pollock
Parsons Gallery Poster.

Offset lithograph on cream wove paper, 1951. 435x558 mm; 17⅛x22 inches (sheet), full margins. Printed by Acme Press, New York. A very good impression of this scarce, early poster.

Provenance: Gifted by Lee Krasner (1908-1984) to Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Published: Francis V. O'Connor and Eugene Victor Thaw, Jackson Pollock: a Catalogue Raisonné of Paintings, Drawings, and Other Works, 1978, volume 4, number 1089.

By 1950, Pollock (1912-1956) was lionized by many, including the gallerist Betty Parsons and art critic Clement Greenberg, as the leader of the Abstract Expressionists. An exhibition in the same year at the Betty Parsons Gallery proved such: featuring his renowned "drip" paintings Autumn Rhythm and One, now at the Metropolitan Museum of Art and The Museum of Modern Art, New York, respectively. But in 1951, Parsons exhibited Pollock's newest work, a series of paintings devoid of color, completed exclusively in black enamel on untreated canvas. His seeming turn from abstract to figurative and "drip" painting to hands-on drawing baffled many in the art world and to some signaled his decline. Pollock reproduced designs for six of the black enamel paintings in screenprint to coincide with the exhibition. O'Connor/Thaw P 26.

With—JACKSON POLLOCK (after), Untitled, screenprint, circa 1983. 720x1510 mm; 28⅜x59½ inches (sheet), full margins. After Pollock's enamel painting on paper, circa 1950 (see O'Connor 797, now at the Staatsgalerie, Stuttgart).

This lot accompanied by ephemera collected by Francis V. O'Connor, including 16 exhibition posters, 1967-1990, including POLLOCK, STEINBERG, ARNOLD BELKIN, JACOB LAWRENCE, the latter two signed by the artists, and RABINOVITCH, with an original screenprint signed and numbered by the artist; 8 miscellaneous posters for various book announcements, speaking engagements, symposia, and events, including some signed by MARTIN CHARLOT, and MIRIAM and JOSÉ ARGUELLES; 2 color proofing sheets for O'Connor's publication on Pollock; and 9 works on paper by various artists, including JACOB KAINEN.

Estimate

$1,500 – $2,500

Lot 6

6

Francis v. o’connor
Three acrylic paintings.

Each on canvasboard. Each 350x250 mm; 13⅞x9⅞ inches.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Estimate

$1,500 – $2,500

Lot 7

7

Francis v. o’connor
Group of 4 abstract oil paintings.

Each on canvasboard. Each 355x252 mm; 13⅞x10 inches.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Estimate

$1,500 – $2,500

Lot 8

8

Francis v. o’connor
Group of 4 works.

Landscape, acrylic on canvasboard. Signed in acrylic, lower right recto * Untitled, acrylic on canvasboard, circa 1960. Signed and dated in ink, verso * French Cathedral Window, acrylic on canvasboard, 1960. Initialed in acrylic, lower left recto, and signed, dated and annotated in ink, verso * Untitled, watercolor on postcard.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Estimate

$1,500 – $2,500

Lot 9

9

Belisario contreras
Red Figuration.

Enamel on canvas, 1958-66. 610x910 mm; 24x36 inches. Signed and dated in ink, verso.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Contreras (1916-1990) came with his mother to the United States from Chile at the age of four. During World War II Contreras was part of the Ghost Army, a group of artists whose job was to create deceptive theatrical productions of military strength, fooling Axis troops into believing that they were fighting against a larger force. Artists were usually recruited from art schools and advertising agencies, with artists such as Bill Blass, Ellsworth Kelly, Arthur Singer and Art Kane, selected for their creativity and artistry.

Estimate

$1,000 – $1,500

Lot 10

10

Belisario contreras
White Figuration.

Oil and enamel on wood panel, 1966. 915x585 mm; 36x23 inches. Signed and dated in ink, verso.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Contreras (1916-1990) came with his mother to the United States from Chile at the age of four. During World War II Contreras was part of the Ghost Army, a group of artists whose job was to create deceptive theatrical productions of military strength, fooling Axis troops into believing that they were fighting against a larger force. Artists were usually recruited from art schools and advertising agencies, with artists such as Bill Blass, Ellsworth Kelly, Arthur Singer and Art Kane, selected for their creativity and artistry.

Estimate

$1,000 – $1,500

Lot 11

11

Belisario contreras
Garden Series No. 1.

Oil and collage on a tin sheet mounted to a thin wood panel, 1967. 2125x1055 mm; 83⅝x41½ inches.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Contreras (1916-1990) came with his mother to the United States from Chile at the age of four. During World War II Contreras was part of the Ghost Army, a group of artists whose job was to create deceptive theatrical productions of military strength, fooling Axis troops into believing that they were fighting against a larger force. Artists were usually recruited from art schools and advertising agencies, with artists such as Bill Blass, Ellsworth Kelly, Arthur Singer and Art Kane, selected for their creativity and artistry.

Estimate

$1,000 – $1,500

Lot 12

12

Belisario contreras
Two paintings.

Floral Patterns I, oil and enamel on paper mounted on wood panel, 1967. 585x915 mm; 23x36 inches. Signed and dated in ink, verso * Primavera (Spring) No. 11, oil on wood panel, 1977. 910x610 mm; 36x24 inches. Signed, dated and titled in ink, verso.

With—Double Frontal Portrait, Ravenna, watercolor with color pencils on cream wove paper, 1984. Signed, titled and dated in blue and black ink, lower left recto * Luxor Egypt, watercolor with pen and ink on cream wove paper, 1986. Signed, titled, and dated in ink, lower right recto * Untitled, watercolor with pen and ink and pastel with paper collage elements on wove paper. Various sizes and conditions.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Contreras (1916-1990) came with his mother to the United States from Chile at the age of four. During World War II Contreras was part of the Ghost Army, a group of artists whose job was to create deceptive theatrical productions of military strength, fooling Axis troops into believing that they were fighting against a larger force. Artists were usually recruited from art schools and advertising agencies, with artists such as Bill Blass, Ellsworth Kelly, Arthur Singer and Art Kane, selected for their creativity and artistry.

Estimate

$1,500 – $2,500

Lot 13

13

May wilson
Untitled.

Watercolor on fibrous handmade paper, 1960. 610x930 mm; 24x36¾ inches. Signed and dated in pencil, lower right recto.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Wilson (1905-1986) was an American visual artist and figure in the 1960s to 1990s New York avant-garde art world. A pioneer of the feminist and mail art movement, she is best known for her Surrealist junk assemblages and her "Ridiculous Portrait" photocollages. In 1956, her son, the author and critic Williams S. Wilson, gave to Ray Johnson, the founder of the New York Correspondence School, his mother's address. This began a friendship and artistic collaboration between Johnson and Wilson, which would last the remainder of her life. Wilson became an integral part of Johnson's mail art circle and was initiated into the New York avant-garde through letters and small works that she exchanged with Robert Watts, George Brecht, Ad Reinhardt, Leonard Cohen, Arman, and many others.

Estimate

$1,500 – $2,500

Lot 14

14

May wilson
Ruth.

Black painted scarf mounted on panel, 1962. 295x305 mm; 11¾x12 inches. Signed and titled in ink and dated in pencil, verso.

With—Untitled, color monoprint on Japan paper, circa 1962. 308x424 mm; 12⅛x16⅝ inches. Signed in pencil, verso.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Wilson (1905-1986) was an American visual artist and figure in the 1960s to 1990s New York avant-garde art world. A pioneer of the feminist and mail art movement, she is best known for her Surrealist junk assemblages and her "Ridiculous Portrait" photocollages. In 1956, her son, the author and critic Williams S. Wilson, gave to Ray Johnson, the founder of the New York Correspondence School, his mother's address. This began a friendship and artistic collaboration between Johnson and Wilson, which would last the remainder of her life. Wilson became an integral part of Johnson's mail art circle and was initiated into the New York avant-garde through letters and small works that she exchanged with Robert Watts, George Brecht, Ad Reinhardt, Leonard Cohen, Arman, and many others.

Estimate

$1,500 – $2,500

Lot 15

15

Charles seliger
Group of 4 ink drawings.

Maze, 1988. Signed and dated in ink, lower center recto * Untitled, 1989. Signed and dated in ink, lower center recto * Untitled, 1991. Signed and dated in ink, lower right recto * Self Portrait, 1992. Signed, dated and titled in ink, recto. Various sizes and conditions.

Provenance: Gifted by the artist to Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Seliger (1926-2009) was an Abstract Expressionist artist, born and raised in Manhattan. He was one of the original generation of Abstract Expressionist artists connected with the New York School and was one of the youngest artists to exhibit at Peggy Guggenheim's The Art of This Century Gallery, New York (the forerunner to the Betty Parsons Gallery). In 1943, Seliger met and befriended Jimmy Ernst the son of Max Ernst (married to Peggy Guggenheim at the time), and who at the age of 23 years was just a few years older than Seliger. Drawn into the circle of the avant-garde in New York through his friendship with Ernst, Seliger's paintings attracted the attention of Howard Putzel who worked with Peggy Guggenheim. At 19, Seliger was included in Putzel’s groundbreaking exhibition "A Problem for Critics" at the 67 Gallery, New York. Also in 1945 he had his first solo show at the Art of This Century Gallery. Seliger showed his paintings there until 1947 when Guggenheim closed the gallery and returned to Europe (the representation of her artists was taken over by Betty Parsons). At the age of only twenty Seliger's oil painting Natural History: Form within Rock, 1946, was acquired by the Museum of Modern Art, New York, for the permanent collection.

Seliger was known for his small, jewel-like paintings (unlike most artists from the New York School who worked in large-scale formats). He was a veteran of more than 45 solo exhibitions at important contemporary galleries and museums. In 1950 he joined the Willard Gallery, New York, who represented important contemporary artists of the time including David Smith, Morris Graves and others. He formed close friendships with many of the Willard Gallery artists, including Mark Tobey, Lyonel Feininger and Norman Lewis. Seliger had his first museum exhibition, at the De Young Museum, San Francisco, in 1949. In 1986, he was the subject of a retrospective exhibition at the Solomon R. Guggenheim Museum, New York.

Estimate

$1,000 – $1,500

Lot 16

16

Charles seliger
Three acrylic paintings.

The Letter V That is Occasionally Left Out of Francis V. O'Connor's Name, 1996 * Cryptic Images, 2001 * Winter, 2008. Each on canvasboard. Each signed, titled and dated in ink, verso. Various sizes and conditions.

Provenance: Gifted by the artist to Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Seliger (1926-2009) was an Abstract Expressionist artist, born and raised in Manhattan. He was one of the original generation of Abstract Expressionist artists connected with the New York School and was one of the youngest artists to exhibit at Peggy Guggenheim's The Art of This Century Gallery, New York (the forerunner to the Betty Parsons Gallery). In 1943, Seliger met and befriended Jimmy Ernst the son of Max Ernst (married to Peggy Guggenheim at the time), and who at the age of 23 years was just a few years older than Seliger. Drawn into the circle of the avant-garde in New York through his friendship with Ernst, Seliger's paintings attracted the attention of Howard Putzel who worked with Peggy Guggenheim. At 19, Seliger was included in Putzel’s groundbreaking exhibition "A Problem for Critics" at the 67 Gallery, New York. Also in 1945 he had his first solo show at the Art of This Century Gallery. Seliger showed his paintings there until 1947 when Guggenheim closed the gallery and returned to Europe (the representation of her artists was taken over by Betty Parsons). At the age of only twenty Seliger's oil painting Natural History: Form within Rock, 1946, was acquired by the Museum of Modern Art, New York, for the permanent collection.

Seliger was known for his small, jewel-like paintings (unlike most artists from the New York School who worked in large-scale formats). He was a veteran of more than 45 solo exhibitions at important contemporary galleries and museums. In 1950 he joined the Willard Gallery, New York, who represented important contemporary artists of the time including David Smith, Morris Graves and others. He formed close friendships with many of the Willard Gallery artists, including Mark Tobey, Lyonel Feininger and Norman Lewis. Seliger had his first museum exhibition, at the De Young Museum, San Francisco, in 1949. In 1986, he was the subject of a retrospective exhibition at the Solomon R. Guggenheim Museum, New York.

Estimate

$1,500 – $2,500

Lot 17

17

Charles seliger
Group of 4 acrylic paintings.

Fossil Series, on canvas, 1991 * Earth Impression, on canvasboard, 1994 * Earthen Glow, on canvasboard, 1999 * Earth Medallion, on canvasboard, 2006. Each signed, titled and dated in ink, verso. Various sizes and conditions.

Provenance: Gifted by the artist to Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Seliger (1926-2009) was an Abstract Expressionist artist, born and raised in Manhattan. He was one of the original generation of Abstract Expressionist artists connected with the New York School and was one of the youngest artists to exhibit at Peggy Guggenheim's The Art of This Century Gallery, New York (the forerunner to the Betty Parsons Gallery). In 1943, Seliger met and befriended Jimmy Ernst the son of Max Ernst (married to Peggy Guggenheim at the time), and who at the age of 23 years was just a few years older than Seliger. Drawn into the circle of the avant-garde in New York through his friendship with Ernst, Seliger's paintings attracted the attention of Howard Putzel who worked with Peggy Guggenheim. At 19, Seliger was included in Putzel’s groundbreaking exhibition "A Problem for Critics" at the 67 Gallery, New York. Also in 1945 he had his first solo show at the Art of This Century Gallery. Seliger showed his paintings there until 1947 when Guggenheim closed the gallery and returned to Europe (the representation of her artists was taken over by Betty Parsons). At the age of only twenty Seliger's oil painting Natural History: Form within Rock, 1946, was acquired by the Museum of Modern Art, New York, for the permanent collection.

Seliger was known for his small, jewel-like paintings (unlike most artists from the New York School who worked in large-scale formats). He was a veteran of more than 45 solo exhibitions at important contemporary galleries and museums. In 1950 he joined the Willard Gallery, New York, who represented important contemporary artists of the time including David Smith, Morris Graves and others. He formed close friendships with many of the Willard Gallery artists, including Mark Tobey, Lyonel Feininger and Norman Lewis. Seliger had his first museum exhibition, at the De Young Museum, San Francisco, in 1949. In 1986, he was the subject of a retrospective exhibition at the Solomon R. Guggenheim Museum, New York.

Estimate

$1,500 – $2,500

Lot 18

18

Charles seliger
Group of 4 acrylic paintings.

Lunar Series, on canvasboard, 1998. Signed, titled and dated in ink, verso * Solstice Series, on canvasboard, 2002. Signed, titled and dated in ink, verso * Astral Images, on canvasboard, 2004. Signed, titled and dated in ink, verso * Untitled, on paper, 2004-06. Signed and dated "04" and "06" in pencil, recto. Various sizes and conditions.

Provenance: Gifted by the artist to Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Seliger (1926-2009) was an Abstract Expressionist artist, born and raised in Manhattan. He was one of the original generation of Abstract Expressionist artists connected with the New York School and was one of the youngest artists to exhibit at Peggy Guggenheim's The Art of This Century Gallery, New York (the forerunner to the Betty Parsons Gallery). In 1943, Seliger met and befriended Jimmy Ernst the son of Max Ernst (married to Peggy Guggenheim at the time), and who at the age of 23 years was just a few years older than Seliger. Drawn into the circle of the avant-garde in New York through his friendship with Ernst, Seliger's paintings attracted the attention of Howard Putzel who worked with Peggy Guggenheim. At 19, Seliger was included in Putzel’s groundbreaking exhibition "A Problem for Critics" at the 67 Gallery, New York. Also in 1945 he had his first solo show at the Art of This Century Gallery. Seliger showed his paintings there until 1947 when Guggenheim closed the gallery and returned to Europe (the representation of her artists was taken over by Betty Parsons). At the age of only twenty Seliger's oil painting Natural History: Form within Rock, 1946, was acquired by the Museum of Modern Art, New York, for the permanent collection.

Seliger was known for his small, jewel-like paintings (unlike most artists from the New York School who worked in large-scale formats). He was a veteran of more than 45 solo exhibitions at important contemporary galleries and museums. In 1950 he joined the Willard Gallery, New York, who represented important contemporary artists of the time including David Smith, Morris Graves and others. He formed close friendships with many of the Willard Gallery artists, including Mark Tobey, Lyonel Feininger and Norman Lewis. Seliger had his first museum exhibition, at the De Young Museum, San Francisco, in 1949. In 1986, he was the subject of a retrospective exhibition at the Solomon R. Guggenheim Museum, New York.

Estimate

$1,500 – $2,500

Lot 19

19

Albert berne
Group of 4 acrylic paintings.

Hathor, 1970 * Black Phallus, 1973 * Black Tree, 1973 * Ovals Fighting Shadow, 1973. Each on canvasboard. Each approximately 762x610 mm; 30x24 inches. Each signed and dated in acrylic, lower right recto and dedicated with Francis V. O'Connor's address in ink, verso.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Estimate

$1,000 – $1,500

Lot 20

20

Robin larsen
Spirit Catcher’s Journey Book.

Pen and ink and watercolor on 12 concertina-folded sheets mounted on cream wove paper, 1976. 380x2260 mm; 15x89 inches. Signed and dated in ink, lower right recto, and each sheet inscribed and dated in ink.

With—LETTERIO CALAPAI, Sprouts, etching, 1966. 43x53 mm; 1⅝x2⅛ inches, full margins. An Hors commerce impression, aside from the edition of 50. Signed, titled and inscribed "(H.C.)" in pencil, lower margin and dedicated "Holiday Greetings from Jean & Letterio," and dated "Dec. '70" in ink, verso * MARGARET THOMAS HAGGERTY, GLAD (Gladiola), crayon on wove paper, circa 1983. 150x98 mm; 5⅞x3⅞ inches. Signed "M. Thomas" and titled in blue ink, verso.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Estimate

$1,000 – $1,500

Lot 21

21

Patrick mcelroy
Untitled (Horse and Figures).

Bronze relief, double-sided on a limestone base, 1981. 160 mm; 6¼ inches (diameter). Incised with the artist's signature, bottom edge.

With— Untitled (Cemetery Scene), cloisonne plate with enamel and copper. 197 mm; 7¾ inches (diameter).

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Estimate

$1,000 – $1,500

Lot 22

22

China marks
Group of 7 prints.

Untitled (Figures), offset lithograph on beige wove paper, 1978-79. Artist's proof. Signed and inscribed "Artist's proof" in pencil, lower margin * Wishing you a very sentimental Valentine's Day, linoleum cut and relief print in red, 1978. Signed, dated, numbered 5/30 and inscribed in red pencil, lower margin * Risk all for Love!, woodcut on Japan paper, 1979. Signed, titled, dated and numbered 2/35 in pencil, lower margin * Untitled (Kissing), offset lithograph, circa 1980 * Let us celebrate the permutations of love!, color offset lithograph with additions in watercolor, 1980. Signed, dated, numbered 19/35 and inscribed in pencil, lower margin * May you flourish!, lithograph with pen and ink, 1980. Signed "Love, China," dated, and inscribed in pencil, lower margin * Won't you be mine?, color offset lithograph on mylar, 1981. Signed, dated, numbered 23/25, and inscribed in ink, lower margin. Very good impressions. Various sizes and conditions.

With—A plaster cast after Jackson Pollock's Untitled, copper (see lot 1). Incised "Cast 9-17-78 CM for F.V.O'C.", verso.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Estimate

$1,500 – $2,500

Lot 23

23

Joseph solman
Portrait of Francis V. O’Connor.

Watercolor and gouache on cream wove paper, circa 1972. 603x455 mm; 24x18 inches. Initialed in watercolor, lower right recto, and dedicated in crayon, lower left recto.

With—SAMUEL NORKIN. Portrait of Francis V. O'Connor, felt-tip pen and color inks on cream wove paper, 1982. Signed and dedicated in ink, lower recto, and dated in pencil, verso. 605x480 mm; 23¾x19 inches.

Provenance: Acquired by Francis V. O'Connor (1937-2017), New York-based art historian, poet, artist and co-editor of the Jackson Pollock catalogue raisonné (published in 1978); gifted by bequest to the current owner.

Estimate

$2,000 – $3,000

Lot 24

24

Adolph gottlieb
Flurry.

Color screenprint on white wove paper, 1967. 425x720 mm; 16¾x28½ inches, full margins. Signed, dated and numbered 74/75 in pencil, lower margin. Published by Marlborough Graphics, Inc., New York. A very good impression with strong colors. Associated American Artists 59.

Estimate

$3,000 – $5,000

Lot 25

25

Adolph gottlieb
Untitled.

Color monotype on handmade paper, circa 1970. 302x252 mm; 12x10 inches, full margins. Signed and dedicated in pencil, lower right. A very good impression.

Estimate

$7,000 – $10,000

Lot 26

26

Adolph gottlieb
Red Ground.

Color screenprint on white wove paper, 1967. 770x565 mm; 30¼x22¼ inches, full margins. One of 5 numbered artist’s proofs, aside from the edition of 75. Signed, dated, inscribed “artist’s proof” and numbered II/V in pencil, lower margin. A superb, richly-inked impression of this scarce print with vibrant colors. Associated American Artists 44.

Estimate

$4,000 – $6,000

Lot 27

27

Adolph gottlieb
Blue Night.

Color screenprint on white wove paper, 1970. 610x458 mm; 24x18 inches, full margins. Signed, dated and numbered 178/200 in pencil, lower margin. Printed and published by Marlborough Graphics, Inc., London. A superb impression with vibrant colors. Associated American Artists 68.

Estimate

$2,000 – $3,000

Lot 28

28

Adolph gottlieb
Signs.

Color screenprint on white wove paper, 1967. 460x610 mm; 18x24 inches (sheet), full margins. Signed, dated and numbered 65/75 in pencil, lower margin. Published by Marlborough Graphics, Inc., New York. A superb impression of this scarce screenprint with vibrant colors. Associated American Artists 52.

Estimate

$3,000 – $5,000

Lot 29

29

Willem de kooning
The Preacher.

Lithograph on Arches buff paper, 1971. 643x482 mm; 27x19 inches, full margins. One of 22 numbered artist’s proofs, aside from the edition of 60. Signed, dated, inscribed “A.P.” and numbered X/XXII in pencil, lower margin. Printed at Hollander’s Workshop, Inc., New York. Co-published by Hollander’s Workshop, Inc., and Xavier Fourcade, M. Knoedler and Co., New York, with the blind stamp lower right. A very good, richly-inked impression of this scarce lithograph. Graham 27.

Estimate

$5,000 – $8,000

Lot 30

30

Willem de kooning
Standing Figure.

Charcoal on light tan wove paper, circa 1965-70. 522x403 mm; 20¾x16 inches. Signed and dedicated in pencil, lower recto.

Provenance: Gift from the artist to Patsy Southgate, New York; private collection, New York; sold Christie’s, New York, July 9, 2019, sale 17443, lot 19.

Southgate (1920-1998) was a central figure in the New York School of Abstract Expressionist artists. She was married to the author Peter Matthiessen from 1951-56, and after their divorce married the artist Michael Goldberg, himself a fixture in the New York School, and became a close friend of the poet Frank O’Hara. Southgate, who O’Hara once called “the Grace Kelly of the New York School,” played an important and under-examined role in O’Hara’s career and imagination, appearing in many of his poems.

Southgate and de Kooning (1904-1997) had many artist and author friends in common in New York during the 1950s and soon thereafter became close friends themselves as neighbors in their adopted hamlet of Springs, on eastern Long Island (Southgate also knew Jackson Pollock and Lee Krasner), from the early 1960s onward. As Southgate recalled in her eulogy of de Kooning, “When Bill moved out of the city and into a house right down the road from me, in the early sixties, Elaine stayed in New York. I’d see him on his old-fashioned bicycle, a quixotic, bare-headed figure pedaling very slowly: a man without a car, and a good thing, too—he was generally headed for the liquor store. When he painted, Bill was ferociously concentrated, but in real life, and even when he was drunk, he seemed shy and at loose ends, although he never missed a trick. He’d come over—I’d have stashed my liquor in the oven—and we’d dance and listen to operas, both of us hoping desperately that he would stay sober,” (New Yorker, March 31, 1997, page 34).

Estimate

$15,000 – $20,000

Lot 31

31

Willem de kooning
Untitled (Two Figures).

Offset lithograph on cream wove paper, 1973. 565x760 mm; 22¼x30 inches (sheet), full margins. Signed in ink, lower right, and numbered 93/100 in pencil, lower left. Printed by Ives-Silliman, New Haven, with the blind stamp lower right. Published by Abrams Original Editions, New York.

Estimate

$3,000 – $5,000

Lot 32

32

Willem de kooning
Woman at Clearwater Beach.

Lithograph on J. B. Green cream wove paper, 1971. 716x1028 mm; 28¼x40½ inches (sheet), full margins. Signed, dated and numbered 13/44 in pencil, lower margin. Printed by Fred Genis, Hollander’s Workshop, Inc., New York, with the blind stamp lower left. Published by Knoedler, New York, with the blind stamp lower right. A superb, richly-inked impression of this large, scarce lithograph.

This is the first lithograph that de Kooning (1904-1997) made with the renowned lithographic printer Irwin Hollander, who had trained at Tamarind Lithography Workshop in California and then opened a studio on East 10th Street in New York in 1964.

According to Hollander, “It was not until [de Kooning] returned from his trip to Japan that he responded to do a body of lithographs. Perhaps the seeing and feeling of calligraphy, sumi brush painting and Zen inspired him sufficiently to do prints. Whatever, the results were beautiful . . . We worked for a year together in 1970 and 1971, proofing 38 images, of which 24 were editioned.” Graham 5.

Estimate

$7,000 – $10,000

Lot 33

33

Willem de kooning
Untitled (Beach).

Color screenprint on Arches, 1972. 855x582 mm; 33¾x23 inches, full margins. Signed and numbered 9/75 in pencil, lower margin. Printed by Ives-Sillman, New Haven, with the blind stamp lower right. Published by the Yale University Press, New Haven. A very good impression of this scarce print with strong colors.

Estimate

$8,000 – $12,000

Lot 34

34

Willem de kooning
Quatre Lithographies.

Portfolio with 4 color lithographs on Arches, 1986. 720x630 mm; 28⅜x24¾ inches (sheets), full margins. Each color lithograph signed, dated and numbered 46/100 in pencil, lower margin and numbered in pencil on the justification page. Printed by Arte Estampe, Paris. Published by Éditions de la Différence, Paris. Original blue cloth covered portfolio case. Very good impressions of this scarce complete set with strong colors.

We have found only 12 complete sets at auction in the past 30 years.

Published to coincide with a monograph on de Kooning (1904-1997) and based on the artist’s recent paintings. According to Gagosian Gallery, New York, where there was a retrospective exhibition of de Kooning’s late career paintings, “Willem de Kooning, Ten Paintings, 1983–1985,” November 8–December 21, 2013, “The paintings that de Kooning made from 1980 onwards are commonly said to characterize his ‘late style.’ In fact, it was not until 1983 that a far greater change occurred in his practice. It was only then that he condensed the rich and tactile painterly qualities of his earlier work into ever-narrower bands of prismatic colors set against variously toned whites, connoting at once surface and space. His characteristic marks of revision—scraping, visible underpainting, pigment feathering, glazing, and puckering—often remain, but in much more stripped-down, crisply graphic formats. New is the extent to which narrow bands and thin, mobile lines of vivid color cause the surface to seem to buckle and turn in space, while shaping an elusive figuration.”

The exhibition curator, John Elderfield, Chief Curator Emeritus of Painting and Sculpture at the Museum of Modern Art, New York, also remarked, “These were very highly regarded when they were first exhibited in the 1980s, and they resonate even more today. De Kooning truly reinvented himself in these extraordinary canvases. He had the confidence to give up the lush painterliness and visibly reworked appearance of his earlier works in favor of something more reductive; but they remain not only spatially complex, but also extremely physical pictures, both visually open and densely embodied.”

Estimate

$100,000 – $150,000

Lot 35

35

Elaine de kooning
Untitled.

Color screenprint on white wove paper, 1964-65. 515x614 mm; 20½x24¼ inches (sheet), full margins. Intended edition of 200, though significantly fewer impressions have been found, indicating an unrealized edition. Signed and dated “65” in ink, lower right. Printed by Stephen Poleskie, Chiron Press, New York. Published by Tanglewood Press, New York. A superb impression with vibrant colors.

According to the printer Poleskie, “At that time we were close friends and she (de Kooning) was one of the first to work with me in my print shop. I recently found some photographs of her in my studio, Chiron Press. Eddie (Johnson) was also a sculptor and a filmmaker. We collaborated on a movie called The Bird Film, which was widely shown back then at places like The Bridge Cinema in New York and the Yale Film Festival . . . Elaine de Kooning (1918-1989) was an associate producer, and many of the movie’s scenes were shot on her farm at Livingston Manor in upstate New York. Eddie also took the photographs that appeared in Life magazine when Elaine painted her famous, or infamous, portrait of President John F. Kennedy.

Elaine’s screenprint was done from her “bulls” series. It was printed in six colors, and Elaine made all the stencils herself, with my help and supervision, using the tusche and glue technique. This process is quite time consuming, and few of the artists I worked with back then were willing to put in the effort required to make a print this way. Elaine and I made a lot of test prints and pulled proofs in many different color combinations. Elaine was a true painter at heart . . . [she] was one of the few artists that actually got her hands dirty making a print.”

A series of seven progressive proofs of this subject were sold at Swann, June 4, 2009, sale 2182, lot 252. One of the proofs was printed on a sheet over the image Seascape (I), screenprint printed in blue, 1964-65, by Roy Lichtenstein that was also printed at Chiron Press at the time (Corlett 36).

Estimate

$3,000 – $5,000

Lot 36

36

Lee kransner
Untitled.

Color lithograph on Arches, 1970. 526x655 mm; 20¾x25⅞ inches (sheet), full margins. Signed and numbered 73/175 in pencil, lower margin. Printed by Mourlot Graphics, Ltd., New York. Published by the Academic and Professional Action Committee for a Responsible Congress, New York. From Peace Portfolio I. A very good impression. Williams 18.

With—A group of 5 color screenprints. STANLEY WILLIAM HAYTER, Allegro. Signed, dated and numbered 73/175 in pencil, lower right margin (Black/Moorhead 226) * HERBERT FERBER, Untitled. Signed, dated and numbered 73/175 in pencil, lower margin * LARRY ZOX, Untitled. Signed and numbered 73/175 in pencil * GEORGE ORTMAN, Untitled, 2 impressions. Both signed and numbered 73/175 and 58/175, respectively, in pencil, lower margin. Each 1970. Each from Peace Portfolio I. Very good impressions.

Estimate

$3,000 – $5,000

Lot 37

37

Vaclav vytlacil
Untitled (Colorado).

Color pastels, gouache, pencil and acrylic on cream wove paper, 1951-53. 457x610 mm; 18x24 inches. Signed and dated “1951” and “1953” in pencil, lower right recto and inscribed with the artist’s name, “Sparkill, N.Y. Winter 1951” and “#1204-35” in pencil, verso.

Provenance: Private collection, New Jersey.

Estimate

$1,500 – $2,500

Lot 38

38

Vaclav vytlacil
Two figure studies.

Reclining Model * Seated Model. Both pastel, watercolor and pencil on thin wove paper, 1968. Both 215x278 mm; 8½x11 inches. Both signed and dated in pencil, verso.

Provenance: Private collection, New Jersey.

Estimate

$1,000 – $1,500

Lot 39

39

Vaclav vytlacil
Three color pastel drawings.

Each color pastels and pencil on thin wove paper mounted on kraft paper, circa 1968. 255x200 mm; 10x8 inches. Each signed in pen and ink, verso.

Provenance: Private collection, New Jersey.

Vytlacil (1892-1984) completed several works based on flamenco dancers throughout the 1960s.

Estimate

$1,000 – $1,500

Lot 40

40

Vaclav vytlacil
Untitled (Harbor).

Color pastels and brush on cream wove paper with prepared white acrylic ground, 1970. 510x670 mm; 20x26⅜ inches. Signed and dated in pencil, lower right recto.

Provenance: Private collection, New Jersey.

Estimate

$1,500 – $2,500

Lot 41

41

Yvonne thomas
Composition II.

Oil on canvas, 1957. 355x455 mm; 14x18 inches. Initialed in oil, lower right recto, and signed, titled and dated in pen and ink, verso.

Provenance: Private collection, Florida.

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

$8,000 – $12,000

Lot 42

42

Mary abbott
Untitled.

Oil on canvas, 1950s. 305x400 mm; 12x15¾ inches. Incised signature, lower right recto.

Provenance: Gifted by the artist to the artist Sibylle-Maria Pfaffenbichler; acquired from the above by the current owner, private collection, New York, circa 2010.

Estimate

$10,000 – $15,000

Lot 43

43

Mary abbott
Untitled.

Oil on canvas, 1950s. 310x380 mm; 12¼x15¼ inches. Signed in oil, lower right recto.

Provenance: Private collection, New York.

This work was painted in Haiti or St. Croix where Abbott (1921-2019) spent winters with her second husband, Tom Clyde, in the 1950s. While on their honeymoon, they fell in love with the Caribbean and during their time there Abbott would frequent the markets, villages and wander the countryside. She often sketched during these outings and this work is likely a study or preliminary work for a larger unidentified canvas she would have finished in New York. Her work from this time period has a hallucinatory quality, which is attributed to her occasionally taking peyote while on her walks. In her work she captured her emotional response to the world around her, rearranging elements of the natural world in abstraction.

Estimate

$8,000 – $12,000

Lot 44

44

Mary abbott
Untitled (Landscape).

Oil stick on white wove paper. 298x418 mm; 11¾x16½ inches. Signed in pencil, lower right recto.

Provenance: The artist’s estate, Southampton; acquired from the above by the current owner, private collection, New York.

Estimate

$3,000 – $5,000

Lot 45

45

Mary abbott
Two portraits.

Both oil sticks on canvas with prepared white ground mounted on board. Both 610x508 mm; 24x20 inches. One signed in oil stick, lower right recto.

Provenance: The artist’s estate, Southampton; acquired from the above by the current owner, private collection, New York.

Estimate

$1,500 – $2,500

Lot 46

46

Richard diebenkorn
Seated Woman in Chemise.

Lithograph on Rives BFK, 1965. 640x465 mm; 25¼x18¼ inches, full margins. Artist’s proof, aside from the edition of 100. Initialed, dated and inscribed “a.p. II” in pen and black ink, lower margin. Printed and published by Original Press, San Francisco, with the blind stamp lower left. A very good impression of this scarce, early lithograph.

Estimate

$4,000 – $6,000

Lot 47

47

Richard diebenkorn
Seated Woman.

Lithograph, 1965. 640x500 mm; 25¼x19¾ inches, full margins. Initialed, dated and numbered 49/100 in ink, lower margin. Printed and published by Original Press, San Francisco, with the blind stamps lower right. A superb, richly-inked impression of this scarce, early lithograph.

Estimate

$4,000 – $6,000

Lot 48

48

Mercedes matter
Standing Male Model.

Charcoal on cream wove paper, 1938. 630x480 mm; 25x19 inches.

Provenance: 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 (1887-1964) and Hans Hofmann (1880-1966). She worked with Fernand Léger (1881-1955), 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

$3,000 – $5,000

Lot 49

49

Mercedes matter
Seated Male Model.

Charcoal on cream wove paper, 1938. 630x480 mm; 25x19 inches.

Provenance: 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 (1887-1964) and Hans Hofmann (1880-1966). She worked with Fernand Léger (1881-1955), 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

$3,000 – $5,000

Lot 50

50

Mercedes matter
Untitled.

Color pastels on cream wove paper. 300x205 mm; 11⅞x8⅛ inches.

Provenance: Artist’s estate, with the ink stamp on the frame back; 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 (1887-1964) and Hans Hofmann (1880-1966). She worked with Fernand Léger (1881-1955), 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

$4,000 – $6,000

Lot 51

51

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 “15” 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. Original olive linen bound slipcase. Superb, richly-inked impressions of these very scarce, early prints with vibrant colors.

Estimate

$3,000 – $5,000

Lot 52

52

Joan mitchell
Untitled (Blue Line).

Color screenprint on white wove paper, 1959-60. 438x356mm; 17¼x14 inches, wide margins. Edition of only approximately 18. Published by Tiber Press, New York. A superb, richly-inked impression with strong colors.

Estimate

$5,000 – $8,000

Lot 53

53

Joan mitchell
Bedford I.

Color lithograph on Arches 88 paper, 1981. 1015x760 mm; 40x29¾ inches, full margins. Signed and numbered 53/70 in pencil, lower right. Printed and published by Tyler Graphics, Ltd., Mount Kisco, with the blind stamp lower right and the workshop number in pencil, verso. From the Bedford Series. A superb impression with strong colors. Tyler 363.

Estimate

$20,000 – $30,000

Lot 54

54

Joan mitchell
Little Tree.

Color lithograph on white wove paper, 1992. 206x181 mm; 8x7 inches (sheet), full margins. Edition of 1000. Printed by Tyler Graphics, Ltd., Mount Kisco. Published by the artist and Tyler Graphics, Ltd., Mount Kisco. A very good impression with fresh colors.

Estimate

$1,500 – $2,500

Lot 55

55

Joan mitchell
Arbres (Black and Red).

Color lithograph on Arches, 1991-92. 770x562 mm; 30½x22 inches (sheet), full margins. Signed and numbered 119/125 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

Lot 56

56

Joan mitchell
Champs (Black, Gray and Green).

Color lithograph on white wove paper, 1991-92. 762x562 mm; 29¾x22¼ inches (sheet), full margins. Signed and numbered 88/125 in pencil, lower margin. Printed by Atelier Bordas, Paris. Published by Éditions Jean Fournier and Éditions de la Différence, Paris. A very good impression with strong colors.

Estimate

$4,000 – $6,000

Lot 57

57

James brooks
Hemp.

Oil with paper collage on canvas, circa 1955. 613x915 mm; 24¼x36 inches. Signed and titled in pencil, on the stretcher bar verso.

Provenance: Private collection, Tennessee.

Estimate

$20,000 – $30,000

Lot 58

58

James brooks
Concord.

Color screenprint on wove paper, 1975. 715x520 mm; 28¼x20⅜ inches, full margins. Signed, dated and numbered 97/200 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

Lot 59

59

Robert motherwell
Untitled.

Gouache and pencil on wove paper, circa 1952. 253x284 mm; 10x11¼ inches. Initialed in pencil, upper left recto.

Provenance: Marisa del Re Gallery, Inc., New York, with the labels; private collection, New York; private collection, New Jersey.

Estimate

$15,000 – $20,000

Lot 60

60

Robert motherwell
The Basque Suite #10.

Color screenprint on J. B. Green paper, 1970-71. 571x442 mm; 22½x17⅜ inches, full margins. Initialed and numbered 115/150 in pencil, lower right. Printed by Kelpra Studio, London, with the ink stamp verso. Published by Marlborough Graphics, Inc., London, with the blind stamp lower left. A very good impression with strong colors. Belknap 59.

Estimate

$3,000 – $5,000

Lot 61

61

Robert motherwell
The Basque Suite #1.

Color screenprint on J. B. Green paper, 1970-71. 571x442 mm; 22½x17½ inches, full margins. Initialed and numbered 79/150 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

Lot 62

62

Robert motherwell
The Basque Suite #2.

Color screenprint on J. B. Green paper, 1970-71. 571x442 mm; 22½x17½ inches, full margins. Initialed and numbered 100/150 in pencil, lower right. Printed by Kelpra Studio, London. Published by Marlborough Graphics, Inc., London. A very good impression with strong colors. Belknap 51.

Estimate

$3,000 – $5,000

Lot 63

63

Robert motherwell
Untitled.

Lithograph on Arches, 1966. 480x360 mm; 19x14 inches, full margins. Signed and numbered 32/225 in pencil, lower margin. Printed by Irwin Hollander, New York, with the blind stamp lower right. Published by Tanglewood Press, New York. From New York International. A very good impression of this early lithograph. Belknap 28.

Estimate

$2,000 – $3,000

Lot 64

64

Robert motherwell
Tallith for Meyer Shapiro.

Lift-ground etching and aquatint on Arches Cover paper, 1973. 900x605 mm; 35½x23⅞ inches, full margins. Signed and numbered 81/100 in pencil, lower right. Printed by Catherine Mousely, New York. Published by The Committee to Endow a Chair in Honor of Meyer Shapiro at Columbia University, New York. Belknap 111.

Estimate

$2,000 – $3,000

Lot 65

65

Robert motherwell
Monster.

Lithograph on white wove paper, 1974-75. 1035x780 mm; 40¾x30¾ inches (sheet), full margins. Artist’s proof, aside from the edition of 26. Initialed and inscribed “trial proof III” in pencil, upper right. With the artist’s blind stamp, lower left. Printed and published by Tyler Graphics, Bedford, with the blind stamp lower right. A very good impression. Belknap 139.

Estimate

$4,000 – $6,000

Lot 66

66

Robert motherwell
Untitled.

Color monotype on cream wove paper, 1976. 505x603 mm; 20x23¾ inches, full margins. Signed, dated and dedicated in pencil, lower margin. A very good impression.

The dedicatee is the art dealer Brooke Alexander who, with his then wife Carolyn, founded his eponymously-named New York gallery in 1968. The gallery began publishing limited edition prints soon after and since its inception has published more than 1500 editions, including many works by Motherwell (1915-1991).

A similar color monotype to the current work sold at Christie’s, New York, May 10, 1994, lot 619.

Estimate

$5,000 – $8,000

Lot 67

67

Robert motherwell
Black on Black.

Lithograph on handmade Kitakata Chine collé on black Arches Cover paper, 1978. 554x408 mm; 21½x16 inches, full margins. Signed and numbered 33/58 in pencil, lower right. Printed by Robert Bigelow in the artist’s studio, Greenwich, with the blind stamp lower right. Published by Brooke Alexander, Inc., New York. A very good impression. Belknap 191.

Estimate

$2,500 – $3,500

Lot 68

68

Robert motherwell
Untitled.

Color monotype printed in orange and lithograph printed in black on handmade Kitakata Chine collé with hand-coloring by the artist on handmade tan Auvergne à la Main paper, 1978. 660x502 mm; 26x19¾ inches (sheet), full margins. One of 6 numbered artist’s proofs, aside from the edition of 29. Signed, inscribed “ap” and numbered VI/VI in pencil, lower margin. Printed by Robert Bigelow in the artist’s studio, Greenwich, with the blind stamp lower right. Published by Brooke Alexander, Inc., New York. A very good impression of this extremely scarce print. Belknap 193.

Estimate

$5,000 – $8,000

Lot 69

69

Robert motherwell
Untitled.

Color lithograph on handmade Kitakata Chine collé on J. B. Green paper, 1978. 482x385 mm; 19x15¼ inches, full margins. Signed and numbered 6/46 in pencil, lower right. Printed by Robert Bigelow at the artist’s studio, Greenwich, with the blind stamp lower right. Published by Brooke Alexander, Inc., New York. A very good impression of this scarce lithograph with strong colors. Belknap 194.

Estimate

$3,000 – $5,000

Lot 70

70

Robert motherwell
Oy/Yo.

Color etching and aquatint with paper collage on buff Rives BFK, 1978. 502x397 mm; 19¾x15⅝ inches, full margins. Signed and numbered 21/78 in pencil, lower right. Printed by Robert Bigelow at the artist’s studio, Greenwich, with the blind stamp lower right. Published by Brooke Alexander, Inc., New York. A very good impression.

The words “Oy/Yo” are printed in red on the collage element, a piece of hand torn black Ingres paper. The words first appeared in Motherwell’s printed oeuvre in 1971 in the livre d’artiste, A la Pintura (see Belknap 97). The word “yo” (Spanish for I) appears twice on the plate. Its reversal is a visual pun on the necessity to write backwards on the plate to have it print forwards. The second time the word is doubly reversed, that is, both the letters and their order are backward, created an additional verbal pun, the Spanish word yo has become the Hebrew oy. Belknap 196.

Estimate

$2,000 – $3,000

Lot 71

71

Robert motherwell
The Dalton Print.

Lithograph on light tan Rives BFK, 1979. 560x435 mm; 22x17⅛ inches, full margins. One of 20 numbered artist’s proofs, aside from the edition of 150. Initialed, inscribed “AP” and numbered VI/XX in ink, lower left recto. Printed and published by Tyler Graphics, Ltd., Bedford, with the blind stamp lower right. A very good impression. Belknap 208.

Estimate

$2,000 – $3,000

Lot 72

72

Robert motherwell
St. Michael II.

Color lithograph, screenprint and monotype on Arches Cover, 1975-79. 1530x450 mm; 60¼x17¾ inches (sheet), full margins. Initialed and numbered 4/46 in white pencil, lower left. Printed and published by Tyler Graphics, Ltd., Mount Kisco, with the blind stamp. A very good impression with strong colors.

According to Belknap, Motherwell (1915-1991) proceeded his color lithograph Bastos, 1974-75, the first instance in his printed work when he incorporated a cigarette package wrapper, with the St. Michael series, four different versions of a color lithograph using the enlarged label of an obscure Belgian cigarette package. Belknap 205.

Estimate

$4,000 – $6,000

Lot 73

73

Robert motherwell
Glass Garden.

Aquatint and etching printed in black with greenish tan Chine collé of Moriki paper on Hawthorne of Larroque handmade paper, 1979-84. 249x572 mm; 9¾x22½ inches, full margins. One of two numbered printer’s proofs, aside from the edition of 59. Signed, inscribed “PP” and numbered I/II in pencil, lower right. Printed by Catherine Mosley at the artist’s studio, Greenwich, with the artist’s blind stamp lower right. Published by Tyler Graphics, Ltd., Mount Kisco. A very good impression of this scarce etching. Belknap 312.

Estimate

$3,000 – $5,000

Lot 74

74

Robert motherwell
Glass Garden.

Aquatint and etching printed in black with green Chine collé of Moriki paper on Hawthorne of Larroque handmade paper, 1979-84. 249x572 mm; 9¾x22½ inches, full margins. Signed and numbered 47/59 in pencil, lower right margin. Printed by Catherine Mosley at the artist’s studio, Greenwich, with the artist’s blind stamp lower right. Published by Tyler Graphics, Ltd., Mount Kisco. A very good impression of this scarce etching. Belknap 312.

Estimate

$2,500 – $3,500

Lot 75

75

Robert motherwell
Springtime Dissonance.

Color aquatint and lift-ground etching, 1979-80. 298x500 mm; 11¾x19¾ inches, full margins. Initialed and numbered 9/30 in ink, upper right. Printed by Catherine Mousley in the artist’s studio, with the blind stamp lower right. Published by Brooke Alexander, Inc., New York. A superb impression with strong colors. Belknap 224.

Estimate

$4,000 – $6,000

Lot 76

76

Robert motherwell
Black Mountain (State II Red).

Color etching and aquatint on Hawthorne of Larroque handmade paper, 1982-83. 451x598 mm; 17¾x23½ inches, full margins. Signed and numbered 1/32 in pencil, lower right. Printed by Catherine Mousley in the artist’s studio, Greenwich, with the blind stamp lower right. Published by Tyler Graphics, Ltd., Mount Kisco. A very good impression of this scarce etching with strong colors. Belknap 267.

Estimate

$8,000 – $12,000

Lot 77

77

Robert motherwell
At the Edge.

Color aquatint with lift-ground etching on Auvergne à la Main handmade paper, 1984. 405x470 mm; 15¾x18½ inches, full margins. Signed and numbered 29/34 in pencil, lower right. Printed by Catherine Mosley at the artist’s studio, Greenwich, with the artist’s blind stamp lower right. Published by Tyler Graphics, Ltd., Mount Kisco. A very good impression of this scarce print with strong colors. Belknap 315.

Estimate

$8,000 – $12,000

Lot 78

78

Robert motherwell
Australian Stone.

Color aquatint on handmade Moriki Chine collé on Hawthorne of Larroque handmade paper, 1984. 449x597 mm; 17⅝x23½ inches, full margins. Signed and numbered 26/52 in ink, upper right. Printed by Catherine Mosley at the artist’s studio, Greenwich, with the artist’s blind stamp lower right. Published by Tyler Graphics, Ltd., Mount Kisco. A very good impression of this scarce etching with strong colors. Belknap 314.

Estimate

$4,000 – $6,000

Lot 79

79

Robert motherwell
Beau Geste I.

Color lithograph on Duchene Moutarde paper, 1989. 559x380 mm; 21⅞x15 inches, full margins. An hors commerce impression, aside from the edition of 100. Initialed and inscribed “HC” in pencil, upper right. Printed by Trestle Editions, Ltd., New York. Published by Daniel Papierski, Paris. From the same-titled suite. A very good impression with strong colors. Belknap 417.

Estimate

$2,000 – $3,000

Lot 80

80

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

Lot 81

81

Helen frankenthaler
White Portal.

Color lithograph on Arches, 1967. 480x360mm; 19x14¼ inches, full margins. The only printer’s proof cited by Harrison, aside from the edition of only 18. Signed, dated and inscribed “Printers Proof” in pencil, lower margin. Printed and published by ULAE, West Islip, with the blind stamp lower left. A superb impression of this extremely scarce, early lithograph. Harrison 10.

Estimate

$5,000 – $8,000

Lot 82

82

Helen frankenthaler
Midnight.

Color aquatint and drypoint on White Magnani paper, 1987. 495x400 mm; 19½x15¾ inches, full margins. Signed, dated and numbered 3/71 in pencil, lower margin. Printed by Raffaele d’Orsogna, Vigna Antoniniana Stamperia d’Arte, Rome, with the blind stamp lower left. Published by 2RC Edizioni d’Arte, Rome, with the blind stamp lower left. A superb impression with strong colors. Harrison 123.

Estimate

$8,000 – $12,000

Lot 83

83

Gertude greene
Untitled.

Oil and tempera with collage on wove paper, circa 1935. 480x608 mm; 19x24 inches. Signed in tempera, lower right recto.

Provenance: Acquired from Tree Gallery, Chicago; private collection, South Carolina.

Estimate

$4,000 – $6,000

Lot 84

84

Dorothy dehner
Untitled (Three Horizontal Totems).

Watercolor and pen and ink on cream wove paper, circa 1950. 120x147 mm; 5x6 inches. Signed in ink, upper right recto.

Provenance: Private collection, Chicago.

Estimate

$1,500 – $2,500

Lot 85

85

Dorothy dehner
Egyptian Theme.

Color screenprint on cream wove paper, 1970. 440x589 mm; 17⅜x23¼ inches, full margins. Signed, titled, dated and numbered 74/150 in pencil, lower margin. A very good impression with strong colors.

Estimate

$2,000 – $3,000

Lot 86

86

Dorothy dehner
Untitled (Cityscape).

Watercolor and pen and ink on white wove paper, 1983. 235x75 mm; 9½x3 inches. Signed and dated in ink, lower left recto.

Provenance: Private collection, Chicago.

Estimate

$1,500 – $2,500

Lot 87

87

Dorothy dehner
Polychrome Composition.

Watercolor and pen and ink on cream wove paper, 1985. 145x232 mm; 5¾x9¼ inches. Signed and dated in ink, lower left recto.

Provenance: Private collection, Chicago.

Estimate

$1,500 – $2,500

Lot 88

88

Joseph zenk
Two paper collages.

Both circa 1950. Both 120x185 mm; 4¾x7¼ inches.

Provenance: Private collection, New Jersey.

Estimate

$1,500 – $2,500

Lot 89

89

Tobias musicant
Every Person Included (EPI).

Gouache on cream wove paper, circa 1950. 397x483 mm; 15⅝x19 inches. Signed in gouache, upper right recto.

Provenance: Island Weiss Gallery, New York, with the label on the frame back; private collection, New Jersey.

Estimate

$3,000 – $5,000

Lot 90

90

Richard p. hofman
Clippings.

Tempera on cream wove paper, 1957. 545x720 mm; 21½x28½ inches. Signed in tempera, lower right recto, and titled and dated in gouache, verso.

Provenance: Private collection, New Jersey.

Estimate

$1,500 – $2,500

Lot 91

91

Louise nevelson
Untitled.

Painted wood sculpture, circa 1958 750x190x205 mm; 29½x7⅞x7½ inches. Incised with red painted initials on the underside.

Provenance: Private collection, London.

Possibly exhibited, “Louise Nevelson: First London Exhibition,” Hanover Gallery, London, 1963.

While best known for her monochromatic wooden assemblages, such as the current work, the Russian Empire emigré Nevelson (1899-1988), born in Pereiaslav near Kyiv, was also a painter and printmaker. She emigrated with her family to the Untited States in 1905 and she began her career studying at the Art Students League in New York in 1929, returning to Europe in 1931. While in Europe, Nevelson visited France and Italy and briefly studied with Hans Hofmann in Munich. Returning to New York in 1932, she continued her studies with Hans Hoffman who was a visiting instructor at the Art Students League. She began exhibiting her work in group exhibitions throughout the 1930s, but also relied on teaching classes for income, even being employed by the WPA to teach mural painting to a Boys and Girls Club in Brooklyn.

By the 1940s, Nevelson dedicated herself almost exclusively to sculpture; for several years the impoverished Nevelson and her son collected firewood to burn in order to keep warm: these served as the starting point for the sculptures that would make her famous. In 1958, Nevelson had a career turning point, when The Museum of Modern Art, New York, purchased one of her wooden wall sculptures and in the following year she was chosen to exhibit her work in The MOMA’s Sixteen Americans exhibition. Having achieved financial security and critical and commerical success, by the 1960s Nevelson was able to expand her repertoire, including work on monumental outdoor sculptures. She also made a return to lithography and etching with which she experimented with throughout the 1930s.

Joyce Pomeroy Schwartz, a friend of Nevelson’s and a former assistant at Pace Gallery, New York, recalled that Nevelson, “Was the most organized person. All of the garbage she picked up was totally organized. It was not that she was a junk collector—she collected junk but as objects that were potentially art. In her studio she had all the different sized wood sorted in barrels. And when you saw this and the dishes in her closets you realized that this woman was a compulsive neurotic artist.”

Estimate

$30,000 – $50,000

Lot 92

92

Louise nevelson
Tree of Life.

Painted wood multiple, 1975. 160 mm; 6½ inches (height). Numbered 150/950 in red ink and with the artist’s initials ink stamp, lower edge.

Estimate

$4,000 – $6,000

Lot 93

93

Louise nevelson
Untitled.

Color aquatint and etching on cream wove paper, 1981. 991x699 mm; 39x27½ inches, full margins. Signed and numbered 6/20 in pencil, lower right. A very good impression of this extremely scarce print.

Estimate

$2,000 – $3,000

Lot 94

94

Louise nevelson
Nevelson’s World.

Portfolio with complete text, color screenprint, painted wood and resin multiple front cover and numerous illustrations, 1983. One of only 20 numbered artist’s proofs, aside from the regular edition of 100. 335x305 mm; 13¼x12¼ inches (sheets), the screenprint loose, the other sheets bound as issued.

The screenprint signed, dated and inscribed “AP I” in pencil, lower margin. Initialed and inscribed “AP I” with a metal point in the metal title plate. The bound volume signed by the artist in ink on the front flyleaf. Published by Hudson Hills, New York, with the original letter, in association with the Whitney Museum of American Art, New York.

Estimate

$4,000 – $6,000

Lot 95

95

Philip guston
Studio Forms.

Lithograph on Arches Cover paper, 1980. 580x995 mm; 23x39¼ inches, full margins. Signed, titled, dated and numbered 91/100 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.

Born Philip Goldstein to Russian emigré parents in Montreal, Guston (1913-1980) attended the Los Angeles Manual Arts High School, where he became friends with Jackson Pollock. Guston pursued a career in the arts that led him to the Otis Art Institute and a lifelong friendship with the artist Reuben Kadish. Guston and Kadish toured Mexico in 1935, meeting Diego Rivera, and by 1936 had arrived in New York to work under the Federal Art Project, WPA. His first solo show at the Midtown Gallery in New York in 1947 was followed by travels to Italy.

When he returned to New York in the 1950s, he renewed his friendship with Pollock, as well as Adolph Gottlieb and Willem de Kooning, and began painting in a looser, more expressionist style. Guston’s lithographs from the 1960s reflect the imagery of his painting and drawings from this time; drawn with bold, gestural strokes not unlike Pollock’s Black Paintings from the early 1950s.

By the mid-1960s Guston had moved away from Abstract Expressionism toward more figural, representational art (called the Cartoon Paintings). Much of this later work is reminiscen of still lifes, landscapes and figural groups. In some cases there are references to the fight for racial and social justices that stirred during the 1960s/1970s. Despite this later departure to representational art, Guston still held onto an interest in abstraction that had permeated his earlier career, demonstrated by the abstract patterns that make up the rug and floorboards in the current work. Semff 45.

Estimate

$7,000 – $10,000

Lot 96

96

Philip guston
Untitled.

Brush and ink on white wove paper mounted on board, 1967. 355x415 mm; 14x16¼ inches. Signed and dated in ink, lower left recto.

Gifted by the artist to John F. McKim (nephew of the artist), New York; thence through descent to the current owner, private collection, New York.

From 1966-68, Guston (1913-1980) executed hundreds of drawings and vacillated between creating minimal compositions he called “pure” drawings and object-based compositions. It was a time of reflection and internal conflict for Guston, who noted that: “I remember days of doing “pure” drawings immediately followed by days of doing the other—drawings of objects. It wasn’t a transition in the way it was in 1948, when one feeling was fading away and a new one had not yet been born. It was two equally powerful impulses at loggerheads . . . I have never experienced such a fierce confrontation. Perhaps when you see the drawings of ‘66, ‘67, ‘68, ‘69—or the photos, you will see what I mean. For this reason I think of this period as of paramount importance.” (see The Drawings of Philip Guston, The Museum of Modern Art, New York, 1988, page 29).

Estimate

$15,000 – $20,000

Lot 97

97

Philip guston
Untitled.

Brush and ink on white wove paper mounted on board, 1967. 355x415 mm; 14x16¼ inches. Signed and dated in ink, lower right recto.

Gifted by the artist to John F. McKim (nephew of the artist), New York; thence through descent to the current owner, private collection, New York.

From 1966-68, Guston (1913-1980) executed hundreds of drawings and vacillated between creating minimal compositions he called “pure” drawings and object-based compositions. It was a time of reflection and internal conflict for Guston, who noted that: “I remember days of doing “pure” drawings immediately followed by days of doing the other—drawings of objects. It wasn’t a transition in the way it was in 1948, when one feeling was fading away and a new one had not yet been born. It was two equally powerful impulses at loggerheads . . . I have never experienced such a fierce confrontation. Perhaps when you see the drawings of ‘66, ‘67, ‘68, ‘69—or the photos, you will see what I mean. For this reason I think of this period as of paramount importance.” (see The Drawings of Philip Guston, The Museum of Modern Art, New York, 1988, page 29).

Estimate

$15,000 – $20,000

Lot 98

98

Philip guston
Untitled.

Brush and ink on white wove paper mounted on board, 1967. 355x415 mm; 14x16¼ inches. Signed and dated in ink, lower left recto.

Gifted by the artist to John F. McKim (nephew of the artist), New York; thence through descent to the current owner, private collection, New York.

From 1966-68, Guston (1913-1980) executed hundreds of drawings and vacillated between creating minimal compositions he called “pure” drawings and object-based compositions. It was a time of reflection and internal conflict for Guston, who noted that: “I remember days of doing “pure” drawings immediately followed by days of doing the other—drawings of objects. It wasn’t a transition in the way it was in 1948, when one feeling was fading away and a new one had not yet been born. It was two equally powerful impulses at loggerheads . . . I have never experienced such a fierce confrontation. Perhaps when you see the drawings of ‘66, ‘67, ‘68, ‘69—or the photos, you will see what I mean. For this reason I think of this period as of paramount importance.” (see The Drawings of Philip Guston, The Museum of Modern Art, New York, 1988, page 29).

Estimate

$15,000 – $20,000

Lot 99

99

Philip guston
August.

Screenprint on Plexiglas, 1966. 762x1015 mm; 30x40 inches (sheet), full margins. Signed and numbered 12/125 in ink and incised, lower margin. Printed by Knickerbocker Machine & Foundry, Inc., New York. Published by Multiples Press, Inc., New York. From Four on Plexiglas. Semff 16.

Estimate

$1,500 – $2,500

Lot 100

100

John von wicht
Four stencil prints.

Theme and Variations No. 1 * Themes and Variations No. 2, 1967. Dated in pencil, lower right * The Juggler, with additions in blue ink. Each 1865x940 mm; 73⅜x37 inches (sheet), full margins. Each an edition of 6 * Untitled. 1800x910 mm; 70⅛x36 inches. Edition of 10. Each signed and inscribed “Stencil” with the edition size in pencil, lower margin. Very good impressions of these scarce prints.

Estimate

$1,500 – $2,500

Lot 101

101

John levee
June III.

Oil, crayon and painted wood collage on canvas, 1962. 895x1150 mm; 35½x45½ inches. Signed and dated in oil, upper right recto, and countersigned, titled and dated in oil, verso.

Provenance: Private collection, Chicago.

Estimate

$8,000 – $12,000

Lot 102

102

Salomon ethe
Untitled.

Oil on canvas, 1961. 690x840 mm; 27⅛x33⅛ inches. Signed and dated in oil, lower right recto.

Provenance: 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

Lot 103

103

Shirley goldfarb
Untitled.

Oil and watercolor on paper mounted to board, 1963. 455x557 mm; 18x22 inches. Signed and dated in oil, lower right recto.

Provenance: Private collection, Yorktown, New York.

Goldfarb was a contemporary of the New York School, attending the Art Students League in 1949 where she met Jackson Pollock (1912-1956). Goldfarb did not stay in New York for long after her studies. She continued to paint in the Abstract Expressionist style into the 1960s. In 1954, she moved to Paris, where she forged her career as an abstract artist with an unshakable identity. Goldfarb embraced the Parisian art scene and was welcomed into the same circles as Man Ray (1890-1976) and other American ex-pats. Distance from New York perhaps led her to develop her unique style which blended French pointillism, sophisticated color theory, and her roots in abstraction.

Estimate

$4,000 – $6,000

Lot 104

104

Sam francis
Her Blue Deeps.

Color lithograph on Rives BFK, 1972. 793x557 mm; 31¼x22 inches (sheet), full margins. Signed and numbered 4/19 in pencil, lower margin and inscribed “SF-127/BFK” in pencil, verso. Printed and published by The Litho Shop, Inc., Santa Monica, with the blind stamps lower right. A very good impression with strong colors. Lembark 151.

Estimate

$4,000 – $6,000

Lot 105

105

Sam francis
An 8 Set–3 An 8 Set–5.*

Color lithographs, double-sided, on Rives BFK, 1963. 381x285 mm; 15¼x11¼ inches (sheet), full margins. Each an unique proof with color variations, aside from the edition of 100. One side signed, inscribed “monoprint” and numbered 10/16 in pencil, lower margin. Printed by Joe Funk at Joseph Press, Los Angeles, with the blind stamp lower left. Published by the Pasadena Art Museum, California. From Pasadena Box. Very good impressions of these extremely scarce, early lithograph proofs. Lembark 59 and 61.

Estimate

$5,000 – $8,000

Lot 106

106

Sam francis
Untitled.

Color lithograph on Rives BFK, 1986. 759x560 mm; 30x22⅛ inches (sheet), full margins. Signed and numbered 82/100 in pencil, lower margin. Printed by Desjobert, Paris. Published by Philosophie des Arts and Francis Delille, Paris. From Michel Waldberg: Poèmes dans le ciel. A very good impression with strong colors. Lembark L273.

Estimate

$2,500 – $3,500

Lot 107

107

Sam francis
Coral Poles.

Color lithograph on Rives BFK, 1973. 916x676 mm; 36⅛x26⅝ inches (sheet), full margins. Signed and numbered 10/20 in pencil, lower margin. Printed and published by The Litho Shop, Inc., Santa Monica, with the blind stamp lower center. A very good impression with strong colors. Lembark 159.

Estimate

$3,000 – $5,000

Lot 108

108

Zao wou-ki
Les Cerfs.

Color lithograph on Arches, 1952. 330x492 mm; 13x19½ inches, wide margins. Signed and numbered 114/250 in pencil, lower margin. Printed by Desjobert, Paris. Published by La Guilde Internationale de la Gravure, Geneva, with the blind stamp lower left. A very good impression of this early lithograph with strong colors. Ågerup 76.

Estimate

$4,000 – $6,000

Lot 109

109

Zao wou-ki
La théière.

Color lithograph, 1952. 332x490 mm; 13x19⅜ inches, full margins. Signed and numbered 50/200 in pencil, lower margin. Printed by Desjobert, Paris. Published by La Guilde Internationale de la Gravure, Geneva. A very good impression. Ågerup 75.

Estimate

$3,000 – $5,000

Lot 110

110

Zao wou-ki
Two etchings.

Both etching and aquatint, 1972. Both 257x228mm, 10⅛x9 inches. Both from the series L’étang. Both trial proofs from the book edition of 133. Printed by Bellini, Paris. Published by Éditions Galanis, Paris. Ågerup 231 and 232.

Estimate

$1,500 – $2,500

Lot 111

111

Zao wou-ki
Canto Pisan.

Color aquatint on Arches, 1972. 327x267 mm; 13x10½ inches, full margins. Artist’s proof, aside from the edition of 180. Signed, dated and inscribed “H II fer passage” in pencil, lower margin. Printed by Atelier Bellini, Paris. Published by Pierre Belfond, Paris. A superb, richly-inked impression of this very scarce, early proof. Ågerup 220.

Estimate

$2,500 – $3,500

Lot 112

112

Krishna reddy
Pastoral.

Color 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

$2,000 – $3,000

Lot 113

113

Krishna reddy
Splash.

Color aquatint, etching and embossing on Arches, circa 1960. 365x460 mm; 14⅜x18 inches, wide margins. Signed and numbered 38/65 in pencil, lower margin. Published by the Guilde Internationale de la Gravure, Geneva and Paris, with the blind stamp (Lugt 4670, lower right). A very good impression with strong colors.

Estimate

$2,000 – $3,000

Lot 114

114

Krishna reddy
Woman and Parting Son.

Color aquatint, etching and embossing on cream wove paper, 1971. 345x440 mm; 13⅝x8x17⅜ inches, full margins. Signed and numbered 12/100 in pencil, lower margin. A very good impression of this scarce print.

Estimate

$1,500 – $2,500

Lot 115

115

Gabor peterdi
Petrified Forest.

Oil on canvas, 1963. 505x760 mm; 20x30 inches. Signed and dated in oil, lower right recto, and signed, titled and dated in oil, verso.

Provenance: Private collection, Portland, Oregon.

At the age of only 15, Peterdi (1915-2001) exhibited his paintings at the Ernst Museum in Budapest. That same year he won the prestigious Prix de Rome for painting and continued his studies at the Academia delle Belle Arti before moving to Paris. Settling in the United States in 1939, his first American solo exhibition of paintings opened later that year at the Julien Levy Gallery in New York. While maintaining his activity among the Abstract Expressionist printmakers at Atelier 17, New York, in 1948 Peterdi began teaching at the Brooklyn Museum School of Art, organizing its graphic arts workshop. This position gave way to a post as associate professor of art at Hunter College (1952-60), and his teaching career culminating with the art faculty at the Yale School of Art (1960-87).

Peterdi’s art often evokes themes of nature, landscape and elemental forces. Petrified Forest exhilarates and captivates with its cool colors, frequently seen in Peterdi’s palette, and his gestural and abstracted qualities, repeatedly associated with the Abstract Expressionists.

Estimate

$2,500 – $3,500

Lot 116

116

Mark tobey
Summer Joy.

Color aquatint and embossing on Auvergne à la main (Richard de bas) cream laid paper, 1972. 335x283 mm; 13¼x11¼ inches, full margins. Signed, dated and numbered 59/96 in pencil, lower margin. Published by Edition de Beauclair, Frankfurt am Main, with the blind stamp lower left. A superb impression with vibrant colors. Heidenheim 29.

Estimate

$1,200 – $1,800

Lot 117

117

Mark tobey
The Unknown Pair.

Color aquatint on cream wove paper, 1972. 275x267 mm; 11x10½ inches, full margins. Signed and numbered 37/96 in pencil, lower margin. Published by Edition de Beauclair, Frankfurt am Main. A very good impression with strong colors. Heidenheim 21.

Estimate

$1,200 – $1,800

Lot 118

118

Mark tobey
Self Portrait.

Color lithograph on Rives BFK, 1967. 201x155 mm; 8x6¼ inches, full margins. Signed, dated and numbered 126/150 in pencil, lower margin. A very good impression with strong colors.

Estimate

$1,000 – $1,500

Lot 119

119

Maurice estève
Bank Street.

Color lithograph on Rives BFK, 1967. 656x460 mm; 26x18¼ inches, full margins. Signed and numbered 89/125 in pencil, lower margin. Printed by Mourlot, Paris. Published by Atelier Mourlot, Ltd., New York. A very good impression with strong colors. Prudhomme 44.

Estimate

$1,000 – $1,500

Lot 120

120

Conrad marca-relli
Untitled.

Particle board relief, circa 1950s. 400x515 mm; 15¾x20¼ inches. Signed in ink, lower right recto (faded).

Provenance: With the artist and shown at Marlborough Gallery, New York; acquired directly from the artist, by Galeria Carl Van der Voort, Ibiza; thence to the current owner, private collection, New Mexico, 1960s.

Marca-Relli (1913-2000) was born in Boston to Italian immigrants and spent his youth traveling between Europe and the United States while his father worked as a journalist. When his family settled in the United States, he studied art briefly at the Cooper Union, New York at age 18 and then worked for the Works Progress Administration from 1935-38. It was through the WPA that he met Willem de Kooning and Franz Kline, pioneers of the Abstract Expressionist movement. After serving in the army in World War II, he moved back to New York and had his first solo exhibition in 1947 at the Niveau Gallery. During this time he helped found "The Artist's Club", a group of avant-garde artists who met to discuss art and participated in the first "Ninth Street Show" in 1951.

Although he was immersed in the New York School of Abstract Expressionism at the time, he remained interested in architecture and urban landscapes, and sought inspiration from the Italian Renaissance. He differed from his contemporaries in that he didn't seek spontaneity and movement in his compositions, but had a controlled approach in depicting static interlocking forms even as he moved towards more abstract compositions. He became known for these wooden and metal sculptural reliefs as well as large collage works of overlapping canvases, which he started to produce in the 1950s. In 1996, he returned to Italy, settling in Parma where he remained for the rest of his life.

Estimate

$10,000 – $15,000

Lot 121

121

Conrad marca-relli
Untitled.

Particle board relief, circa 1950s. 400x523 mm; 15¾x20½ inches. Signed in ink, lower right recto (faded).

Provenance: With the artist and shown at Marlborough Gallery, New York; acquired directly from the artist, by Galeria Carl Van der Voort, Ibiza; thence to the current owner, private collection, New Mexico, 1960s.

Marca-Relli (1913-2000) was born in Boston to Italian immigrants and spent his youth traveling between Europe and the United States while his father worked as a journalist. When his family settled in the United States, he studied art briefly at the Cooper Union, New York at age 18 and then worked for the Works Progress Administration from 1935-38. It was through the WPA that he met Willem de Kooning and Franz Kline, pioneers of the Abstract Expressionist movement. After serving in the army in World War II, he moved back to New York and had his first solo exhibition in 1947 at the Niveau Gallery. During this time he helped found "The Artist's Club", a group of avant-garde artists who met to discuss art and participated in the first "Ninth Street Show" in 1951.

Although he was immersed in the New York School of Abstract Expressionism at the time, he remained interested in architecture and urban landscapes, and sought inspiration from the Italian Renaissance. He differed from his contemporaries in that he didn't seek spontaneity and movement in his compositions, but had a controlled approach in depicting static interlocking forms even as he moved towards more abstract compositions. He became known for these wooden and metal sculptural reliefs as well as large collage works of overlapping canvases, which he started to produce in the 1950s. In 1996, he returned to Italy, settling in Parma where he remained for the rest of his life.

Estimate

$10,000 – $15,000

Lot 122

122

Conrad marca-relli
Autumn Suite–B.

Cut color wove papers and burlap collage multiple, 1970. 502x645 mm; 20x25½ inches, full margins. Signed, dated and numbered 45/50 in pencil, lower margin. Published by Marlborough Graphics, New York. From the same titled series.

Estimate

$1,500 – $2,500

Lot 123

123

Conrad marca-relli
Autumn Suite–F.

Cut color wove papers and burlap collage multiple, 1970. 502x645 mm; 20x25½ inches, full margins. Signed, dated and numbered 24/50 in pencil, lower margin. Published by Marlborough Graphics, New York. From the same titled series.

Estimate

$1,500 – $2,500

Lot 124

124

Conrad marca-relli
Composition IV.

Color collagraph, aquatint, etching and embossing on antique-white Guarro paper, 1976. 493x632 mm; 9¼x24¾ inches, full margins. Signed and numbered 60/75 in pencil, lower margin. Published by the artist and Isaac Rabinovich, New York. A superb, richly-inked impression.

Estimate

$1,000 – $1,500

Lot 125

125

Lucio fontana
Senza titolo (Concetto Spaziale).

Color photolithograph on Magnani Pescia paper, 1963. 490x345 mm; 19½x13¾ inches (sheet), full margins. Signed and numbered 61/150 in pencil, lower margin. Printed by Le Arte Grafiche Pardini di Camaiore, Milan. Published by Edizioni del Cinquale, Milan. From Six Contes de la Fontaine. A very good impression with strong colors. Rigo-Ruhé L-27.

Estimate

$3,000 – $5,000

Lot 126

126

Pierre alechinsky
Lino-Litho.

Portfolio with 10 linogravures with color lithograph on Arches and the double-page linogravure with color lithograph cover, 1970. 550x380 mm; 21½x14⅞ inches (sheets), loose as issued. Each signed and numbered 3/99 in pencil, lower margin. Printed by Clot, Bramsen and Georges, Paris. Published by the London Art Gallery, London, with the blind stamp. Rivière 462-472.

Estimate

$2,500 – $3,500

Lot 127

127

Eduardo chillida
Continuation III.

Aquatint on Rives BFK, 1966. 178x241 mm; 7x9½ inches, full margins. Signed and numbered 4/50 in pencil, lower margin. Published by Maeght, Paris. A very good impression of this scarce, early print. Van der Koelen 66005.

Estimate

$2,500 – $3,500

Lot 128

128

Kumi sugaï
Untitled.

Oil on canvas, 1961. 405x1070 mm; 16x42¼ inches. Signed in oil, lower right recto, and signed and dated in oil, verso.

Provenance: Private collection, Chicago.

According to the Guggenheim Museum, New York, whose holdings include works by the artist, “Sugaï (1919-1996) was born in Kobe, Japan. He first experimented with oil painting at age nine and became a student at the Osaka School of Fine Arts in 1933 when he was fourteen. He was part of the first generation of 20th-century Japanese artists to become acquainted with Western painting techniques, but he also explored both typography and Japanese calligraphy, important in his subsequent work. Sugaï left art school prematurely to work in commercial advertising for Hankyu electric rail company from 1937 to 1945. During the 1940s, Sugaï gradually became familiar with the work of European artists such as Max Ernst, Paul Klee and Joan Miró, and late in that decade he discovered the work of Americans Alexander Calder and Jackson Pollock through art magazines.

He dedicated himself to painting and moved to Paris in 1952, enrolling at the Académie de la grand chaumière. He had his first solo show at Galerie Craven in 1954. Considered part of the École de Paris (School of Paris) and the Nouveau Réalisme (New Realism) movements, in 1962 he began to shift away from the abstraction in vogue on his arrival in Paris, moving from calligraphic, mainly monochromatic, organic motifs to more hard-edge geometric imagery. Sugaï collaborated with critic Jean-Clarence Lambert to illustrate two books of poetry in 1957, and began writing short-form essays before publishing a book, La quête sans fin (Endless quest), in 1970. His work of the 1960s and 1970s featured large capitals and reduced typographic forms. Often he would make a letter the sole subject of the picture, for example the well-known S series in which the letter became almost anthropomorphic due to Sugaï’s manipulation of color and placement.”

Estimate

$8,000 – $12,000

Lot 129

129

Fernando de szyszlo
Illa.

Oil on canvas, 1962. 1270x1270 mm; 50x50 inches. Signed in oil, lower right recto, and titled and dated in oil, verso.

Exhibited: “Fernando de Szyszlo,” AMA

Art Museum of the Americas, Organization of American States, Washington, D.C., March 11-29, 1985.

Provenance: The estate of Mirtha V. Perea (1929-2019), Ambassador in the Costa Rican Foreign Service, Potomac, Maryland; private collection, Chicago.

According to the Organization of American States art program, where the Peruvian abstract artist Szyszlo (1925-2017) has had multiple exhibitions, “His relationship with the OAS art program dates back to the time of his first solo exhibition at the OAS art gallery in 1953. Szyszlo subsequently worked at the OAS as a consultant for the Visual Art Unit in 1958, and went on hold two additional solo exhibitions at the OAS AMA, 1985 [where the current work was exhibited] and 1996. Ten of his works–murals, mixografias, and easel paintings–have found homes in the OAS art collection.

Szyszlo was part of the second generation of Latin American artists who traveled overseas, along with Mexican artist Rufino Tamayo and Colombian artist Alejandro Obregon, among others. His search for aesthetic identity was coupled with a dissatisfaction with imported modern art. As Thomas Messer [former director of the Guggenheim Museum, New York] explains, ‘Szyzslo belonged to that small group of artists who first did abstract art in the South American continent after World War II, and he was the first abstract painter in Peru in a time when abstract painting was not well regarded on his side of the world.” The impact of Tamayo’s work on Szyszlo charged him with an impulse to depict his own roots. During the time Szyszlo spent in Peru before going to Paris to study painting, he began to explore and incorporate depictions of Chancay tapestries into his work. There is little doubt that the artist represents a breaking point in Peruvian art history. Without hyperbolizing, there is much evidence to suggest that his work was the single most significant impetus for directions taken by the following generation of artists looking to reenergize modern art in Peru.’”

Estimate

$30,000 – $50,000

Lot 130

130

Cleve gray
Roman Walls #123.

Acrylic and marble dust on hand made paper mounted on linen, 1980. 703x493 mm; 27¾x19⅜ inches. Signed and dated in purple ink, lower right recto, and signed, dated and titled in acrylic, verso.

Provenance: Private collection, California.

Estimate

$2,000 – $3,000

Lot 131

131

Theodoros stamos
Untitled.

Color screenprint on white wove paper, 1972. 960x705 mm; 38x27¾ inches (sheet), full margins. Artist’s proof, aside from the edition of 75. Signed and inscribed “A.P.” in pencil, lower margin. Printed by Kelpra Studio, London. Published by Marlborough Graphics, Inc., New York. From Infinity Field–Lefkada Series. A very good impression with strong colors.

Estimate

$1,500 – $2,500

Lot 132

132

Theodoros stamos
Infinity Field (Series 5).

Color screenprint on J. B. Green Imperial paper, 1971-72. 772x566 mm; 30⅜x22¼ inches (sheet), full margins. Printer’s proof, aside from the edition of 75. Signed and inscribed “Printer’s proof” in pencil, lower margin. Printed by Kelpra Studio, London, with the ink stamp verso. Published by Marlborough Graphics, Inc., New York. A very good impression with strong colors.

Estimate

$1,000 – $1,500

Lot 133

133

Theodoros stamos
Infinity Field–Olympia II.

Color screenprint on white wove paper, 1972. 770x563 mm; 30½x22¼ inches (sheet), full margins. Signed and numbered 26/75 in pencil, lower margin. Printed by Kelpra Studio, London, with the ink stamp verso. Published by Marlborough Graphics, Inc., New York. A superb, richly-inked impression with vibrant colors.

Estimate

$1,500 – $2,500

Lot 134

134

Adja yunkers
Gît Le Couer II B.

Acrylic collage on canvasboard, 1973. 400x300 mm; 15⅞x11⅞ inches. Signed, titled, dated and inscribed in ink, verso.

Exhibited “Art on Paper”, Weatherspoon Art Gallery, The University of North Carolina, Greensboro, 1973, with the label.

Provenance: Zabriskie Gallery, New York, with the label; private collection, New York.

Estimate

$1,000 – $1,500

Lot 135

135

Adja yunkers
Falling Birds.

Color lithograph and screenprint on handmade rag paper, 1978. 720x555 mm; 28½x21¾ inches, full margins. Signed, dated, titled and numbered 81/100 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 vibrant colors.

Estimate

$1,000 – $1,500

Lot 136

136

Paul jenkins
Phenomena Open Light.

Color lithograph on white wove paper, 1973. 530x673mm; 20⅞x26½ inches (sheet), full margins. Signed in pencil, lower right. A very good impression with strong colors.

Estimate

$1,000 – $1,500

Lot 137

137

Paul jenkins
Phenomenon Reaching Arch.

Watercolor on stiff wove paper, 1975. 546x390mm; 21½x15⅜ inches. Signed in pencil, lower recto, and signed, titled and dated in ink, upper verso.

Provenance: Private collection, New York.

Estimate

$4,000 – $6,000

Lot 138

138

Paul jenkins
Red Parrot.

Color lithograph on Arches, 1964. 755x554 mm; 30x22 inches (sheet), full margins. Artist’s proof, aside from the edition of 65. Signed and dated in pencil, lower left. Published by the Martha Jackson Gallery, New York. A very good impression of this scarce lithograph.

Jenkins (1923-2012) exhibited regularly at the Martha Jackson Gallery, New York (he had his first solo exhibition in New York there in 1956). In the mid-1960s, Martha Jackson established Red Parrot Films, a production company that made art documentaries. Red Parrot Films’ production of The Ivory Knife, on the art of Jenkins, received the Golden Eagle Award at the 1966 Venice Film Festival. In 1963, Jenkins took over Willem de Kooning’s light-infused loft at Union Square in New York, where he worked until the end of 2000.

Estimate

$1,500 – $2,500

Lot 139

139

Paul jenkins
Seeing Voice Welsh Heart.

Color lithograph on Rives BFK, 1965. 380x270 mm; 15x10¾ inches, full margins. Signed and numbered 30/40 in pencil, lower margin. Printed by Mourlot, Paris. Published by Galerie Karl Flinker, Paris. From the same-titled portfolio. A very good impression with strong colors.

Estimate

$1,000 – $1,500

Lot 140

140

Walasse ting
Untitled.

Color screenprint, circa 1954. 840x671 mm; 33⅛x26½ inches (sheet), full margins. Signed and numbered 46/50 in pencil and dated and dedicated in white crayon, lower margin. A very good impression with strong colors.

Estimate

$1,200 – $1,800

Lot 141

141

Joseph beuys
Funnel.

Woodcut on Rives BFK, 1951 (printed 1973-74). 270x257 mm; 10¾x10¼ inches, full margins. Signed, dated “1951” and numbered 12/50 in pencil, lower margin. Printed by Franz Joseph van der Grinten, Gaesdonk. Published by Propyläen Verlag, Berlin. A very good impression of this scarce woodcut.

We have found only one other impression at auction in the past 30 years.

The first published edition of a woodcut made by Beuys (1921-1986) early in his career. Schellmann 92 d.

Estimate

$1,500 – $2,500

Lot 142

142

Leon golub
Head XXX VIII.

Oil on canvas, 1959. 514x591 mm; 20¼x23¼ inches. Signed in oil, lower right recto and signed, titled and dated in oil, verso.

Provenance: Robert Kuennen, Minnesota, thence by descent to private collection, Minnesota; private collection, New York.

Estimate

$15,000 – $20,000

Lot 143

143

Yves klein
Anthropométrie ANT 83.

Color screenprint on heavy white wove paper, 2001. 550x790 mm; 21¾x31¼ inches (sheet), full margins. Numbered 186/200 in pencil and signed by the artist’s widow, Rotraut Klein-Moquay, in ink, verso. Published by Editions T.A.T. Arts, Paris. A very good impression with strong colors.

Based on one of Klein’s (1928-1962) “Anthropometry” paintings from 1960, for which the artist used nude women as human paintbrushes, applying blue paint to their bodies and putting them in contact with canvas, paper, gallery walls and other materials.

Estimate

$1,500 – $2,500

Lot 144

144

Yves klein
Anthropométrie ANT 148.

Color screenprint on heavy white wove paper, 2001. 980x675 mm; 38½x26½ inches (sheet), full margins. Edition of 200. Published by Editions T.A.T. Arts, Paris. A superb impression with fresh colors.

Based on one of Klein’s (1928-1962) “Anthropometry” paintings from 1960, for which the artist used nude women as human paintbrushes, applying blue paint to their bodies and putting them in contact with canvas, paper, gallery walls and other materials.

Estimate

$1,500 – $2,500

Lot 145

145

Alexander calder
Homage to Ben Shahn.

Color lithograph on Arches, 1971. 995x625 mm; 39½x24½ inches (sheet), full margins. Signed and numbered 100/100 in pencil, lower margin. Printed by Mourlot, Paris. Published by Mourlot Atelier, New York, and Kennedy Graphics, New York. A superb impression with vibrant colors.

Estimate

$4,000 – $6,000

Lot 146

146

Alexander calder
Stabiles.

Color lithograph on wove paper, 1971. 815x570 mm; 32¼x22½ inches, full margins. Signed and numbered 37/150 in pencil, lower margin. Printed and published by Maeght, Paris. A very good impression with strong colors.

Estimate

$6,000 – $9,000

Lot 147

147

Alexander calder
Three volumes of Derrière le Miroir.

Each with color lithographs and illustrations by Calder, 1963-1971. Each 380x280 mm; 15x11 inches (sheet), full margins. Printed by L’imprimerie Arte, Adrien Maeght, Paris. Published by Maeght Éditeur, Paris. Includes Number 141 (Novembre 1963), Number 173 (Octobre 1968) and Number 190 (Février 1971).

With— Two exhibition catalogues with lithographed plates and reproductions by Calder. Each 330x240 mm; 13x9½ inches (sheet), full margins. Includes Calder: Crags and Critters, 1975. Printed and published by Galerie Maeght, Zurich * Calder, 1987. Printed by L’imprimerie Arte, Adrien Maeght, Paris. Published by Galerie Adrien Maeght, Paris.

Estimate

$1,000 – $1,500

Lot 148

148

Alexander calder
Pyramids and Sun.

Color lithograph on white wove paper, 1973. 747x1097 mm; 29½x43¼ inches (sheet), full margins. Signed, dated and numbered 12/150 in pencil, lower margin, and with the Calder copyright and date in ink, verso. A very good impression of this large lithograph with strong colors.

Estimate

$4,000 – $6,000

Lot 149

149

Alexander calder
Sun with Planets.

Color lithograph on Arches, 1973. 515x710 mm; 20⅜x28 inches (sheet), full margins. Artist’s proof, aside from the edition of 125. Signed and inscribed “E.A” in pencil, lower margin. Published by Maeght, Paris. A very good impression with strong colors.

Estimate

$2,500 – $3,500

Lot 150

150

Alexander calder
Black Sun.

Color lithograph on white wove paper, circa 1975. 787x584 mm; 31x23 inches (sheet), full margins. Signed and numbered 107/125 in pencil, lower margin. A very good impression.

Estimate

$2,000 – $3,000

Lot 151

151

Alexander calder
The Blue Balloon.

Color lithograph on Arches, 1973. 777x590 mm; 30⅝x23¼ inches (sheet), wide margins. Artist’s proof, aside from the edition of 110. Signed and inscribed “E.A.” in pencil, lower margin. Printed and published by Bank Street Atelier, New York, to benefit the Spanish Refugee Aid, New York.

Estimate

$3,000 – $5,000

Lot 152

152

Alexander calder
Abe Ribicoff.

Color lithograph on white wove paper, 1974. 790x590 mm; 31¼x33¼ inches (sheet), full margins. Signed and numbered 77/90 in pencil, lower margin. A very good impression with strong colors.

Abraham Ribicoff (1910-1998) was a U.S. Senator (1963-1981) and the chosen running mate, for the 1972 Democratic vice-presidential nomination, alongside George McGovern. However, Ribicoff declined and instead chose to focus his Senate career fighting for such issues as school integration, welfare and tax reform and consumer protection.

Estimate

$1,500 – $2,500

Lot 153

153

Alexander calder
Lion Tamer.

Color lithograph on white wove paper, circa 1974. 530x710 mm; 20¾x28 inches, full margins. Artist’s proof, aside from the edition of 75. Signed and inscribed “EA” in pencil, lower margin. A very good impression.

Estimate

$2,000 – $3,000

Lot 154

154

Alexander calder
Composition with Pyramids, Circles and Clouds.

Color lithograph on Arches, circa 1975. 813x592 mm; 32x23⅜ inches (sheet), full margins. Signed and numbered 91/125 in pencil, lower margin. A very good impression with strong colors.

Estimate

$3,000 – $5,000

Lot 155

155

Alexander calder
L’Etoile.

Color lithograph on white wove paper, 1975. 750x1093 mm; 29½x43 inches (sheet), full margins. Artist’s proof, aside from the edition of 75. Signed and inscribed “EA” in pencil, lower margin. Published by Maeght, Paris. A very good impression of this large lithograph with strong colors.

Estimate

$4,000 – $6,000

Lot 156

156

Alexander calder
Pyramids.

Color lithograph on cream wove paper, 1976. 750x1100 m; 29½x43⅜ inches (sheet), full margins. Artist’s proof, aside from the edition of 75. Signed and inscribed “EA” in pencil, lower margin. A very good impression with strong colors.

Estimate

$3,000 – $5,000

Lot 157

157

Alexander calder
Untitled (Les Travesties du Réel).

Color lithograph on white wove paper, 1979. 720x520 mm; 28½x20½ inches (sheet), full margins. Signed and numbered 20/150 in pencil, lower margin. A very good impression with strong colors.

This color lithograph by Calder (1898-1976) was also used for the poster announcing the exhibition “Les Travesties du Réel,” March 22-April 15, 1979, Galerie Bellint, Paris.

Estimate

$3,000 – $5,000

Lot 158

158

Karel appel
Deux Têtes.

Color lithograph on Arches, 1965. 570x765 mm; 22½x30¼ inches (sheet), full margins. Signed, dated and numbered 141/200 in pencil, lower margin. A very good impression.

Estimate

$1,500 – $2,500

Lot 159

159

Karel appel
Figure et oiseau.

Color lithograph on Arches, 1969. 500x640 mm; 19¼x25¼ inches, full margins. Signed, dated and numbered 33/75 in pencil, lower margin. A very good impression with strong colors.

Estimate

$1,200 – $1,800

Lot 160

160

Karel appel
Two color lithographs.

Trois figures, 1971. 660x1016mm; 26x40 inches. Signed, dated and numbered 83/100 in pencil, lower margin * Personnage et cheval, 1971. 664x1016 mm; 26¼x40 inches, full margins. Signed, dated and numbered 84/100 in pencil, lower margin. Both printed by Atelier Lacourière, Paris, with the blind stamp lower left. Very good impressions of these large lithographs.

Estimate

$1,200 – $1,800

Lot 161

161

Karel appel
Two color lithographs.

Personnage, 1969. 635x495mm; 25x19½ inches. Signed, dated and numbered 24/110 in pencil, lower margin. Printed by Editions Empreinte, Paris, with the blind stamp lower left and the ink stamp verso * Souris sur une table, 1971. 835x578 mm 33x22¾ inches, full margins. Signed, dated and numbered 51/100 in pencil, lower margin. Very good impressions with strong colors.

Estimate

$1,200 – $1,800

Lot 162

162

Karel appel
Deux Têtes fleuries.

Color lithograph, 1976. 762x1067mm; 30x42 inches. Signed, dated and numbered 98/100 in pencil, lower margin. A very good impression of this large lithograph with vibrant colors.

Estimate

$1,500 – $2,500

Lot 163

163

Karl appel
Oiseau Hurlant.

Color lithograph on cream wove paper, 1977. 388x570 mm; 15¼x22½ inches (sheet), full margins. Artist’s proof, aside from the edition of 75. Signed and inscribed “EA” in pencil, right margin. From the same-titled portfolio. A very good impression.

Estimate

$1,500 – $2,500

Lot 164

164

Karel appel
Sunshine Cat.

Color lithograph on Japon nacré, 1978. 560x760 mm; 22x30 inches, full margins. Artist’s proof, aside from the edition of 125. Signed and inscribed “E.A.” in pencil, lower margin. Printed by Arts Ltho, Paris. Published by London Arts, Inc., Detroit. From Cats. A very good impression.

Estimate

$1,500 – $2,500

Lot 165

165

Jean dubuffet
Territoire et paysan.

Color screenprint on Arches, 1974-75. 535x395 mm; 21¼x15½ inches (sheet), full margins. Initialed, dated and numbered 24/50 in pencil, lower right. Published by Éditions Beyeler, Basel. A superb, richly-inked impression with strong colors. Webel 1170.

Estimate

$5,000 – $8,000

Lot 166

166

Jean dubuffet
Marche en Campagne.

Color screenprint on Sirène Arjomari paper, 1975. 800x710 mm; 31½x28 inches (sheet), full margins. Initialed, dated and numbered 36/70 in pencil, lower right. Published by Pace Editions, New York, and Éditions Beyeler, Basel. A superb impression with strong colors. Webel 1171.

Estimate

$7,000 – $10,000

Lot 167

167

Jean dubuffet
Lion héraldique.

Color screenprint on Arches, 1976. 585x755 mm; 23¼x30 inches, full margins. Initialed, dated and numbered 41/50 in pencil, lower margin. Published by Pace Editions, New York. From Fables. A very good impression with strong colors. Webel 1179.

Estimate

$4,000 – $6,000

Lot 168

168

Jean dubuffet
Immeuble.

Color screenprint on Arches, 1976. 600x675 mm; 23¾x26½ inches, full margins. Initialed, dated and numbered 41/50 in pencil, lower margin. Published by Pace Editions, New York. From Fables. A very good impression with strong colors. Webel 1181.

Estimate

$4,000 – $6,000

Lot 169

169

Jean dubuffet
Exercise lithographique no. 9 Mouvance.

Color lithograph on Rives BFK, 1983-84. 190x130 mm; 7½x5¼ inches, full margins. Initialed, dated and numbered 35/50 in pencil, lower margin. Published by Éditions Atelier Bordas, Paris. A very good impression with strong colors. Webel 1435.

Estimate

$2,000 – $3,000

Lot 170

170

Friedensreich hundertwasser
Der Abendländer.

Color etching and aquatint on cream wove paper, 1977. 495x345mm; 19½x13⅝ inches, full margins. Signed, dated, dedicated and numbered 116/220 in ink, lower margin. Printed by Robert Finger, Vienna. Published by Gruener Janura AG, Glarus. With the printer and publisher stamps, lower margin. A very good impression with strong colors. Koschatzky 71.

Estimate

$2,500 – $3,500

Lot 171

171

Friedensreich hundertwasser
Hommage à Schröder-Sonnenstern.

Color screenprint with metal imprints and an electrostatic application of felt fibrils on heavy cream wove paper, 1972. 890x600 mm; 35x23½ inches, full margins. Printed by Dietz Offizin, Lengmoos. Published by Ars Viva, Zurich. With the stamped signature of Hundertwasser and Schröder-Sonnenstern, the stamped numbers 00716/4200, the printer and publisher stamps, the serial number “715,” the stamp “Sonnenstern 09/11/1972 80 Birthday,” the artist emblem of Schröder-Sonnenstern. A very good impression. Koschatzky 56.

Estimate

$1,200 – $1,800

Lot 172

172

Robert goodnough
Boat with Five People and a Fish.

Acrylic and felt-tip pen and ink on wood and metal assemblage, 1996. 210x350 mm; 8¼x13¾ inches. Signed and dated in ink, lower right recto, and signed, titled, dated and inscribed “N-X” in ink, verso.

Provenance: Private collection, New York.

Estimate

$1,000 – $1,500

Lot 173

173

Robert goodnough
Pastel Color Statement.

Color screenprint on Alta white paper, 1972. 2030x1010 mm; 79¾x39¾ inches, full margins. Signed and numbered 52/144 in pencil, lower right. Published by H.K.L., Ltd., Boston. A very good impression of this large print.

Estimate

$1,500 – $2,500

Lot 174

174

Harry bertoia
Untitled (#375).

Color monotype with woodblock on thin rice paper, circa 1937-1943. 990x312 mm; 39x12¼ inches (sheet), full margins. Inscribed “375” in ink, lower right recto.

Provenance: Private collection, New Jersey.

Bertoia (1915-1978) worked on hundreds of monotypes at the Cranbrook Academy of Art, Bloomfield Hills, Michigan, where he headed the metal craft department and operated his own jewelry workshop. Bertoia was not interest in duplicating compositions inherent to traditional printmaking. Instead, he cut up his woodblock matrices so that he could re-position the elements so that each monotype was unique. In 1943, Bertoia sent Hilla Rebay, director of the Museum of Non-Objective Painting (now the Solomon R. Guggenheim Museum, New York), 100 of his monotypes. Rebay asked to purchase them and exhibited 19 of them at the museum in 1943. Bertoia’s monotypes were also shown alongside his jewelry designs at Nierendorf Gallery, New York, through the 1940s.

Estimate

$2,000 – $3,000

Lot 175

175

Harry bertoia
Untitled.

Color monotype with woodblock on thin rice paper, circa 1937-43. 332x331 mm; 13x13 inches, full margins.

Provenance: Private collection, New York.

Bertoia (1915- 1978) worked on hundreds of monotypes at the Cranbrook Academy of Art, Bloomfield Hills, Michigan, where he headed the metal craft department and operated his own jewelry workshop. Bertoia was not interest in duplicating compositions inherent to traditional printmaking. Instead, he cut up his woodblock matrices so that he could re-position the elements so that each monotype was unique. In 1943, Bertoia sent Hilla Rebay, director of the Museum of Non-Objective Painting (now the Solomon R. Guggenheim Museum, New York), 100 of his monotypes. Rebay asked to purchase them and exhibited 19 of them at the museum in 1943. Bertoia’s monotypes were also shown alongside his jewelry designs at Nierendorf Gallery, New York through the 1940s.

Estimate

$1,500 – $2,500

Lot 176

176

Burgoyne diller
Early Geometric.

Oil on canvas, 1934. 1025x756 mm; 40⅜x29¾ inches.

Provenance; Meredith Long & Company, Houston, with the label verso; Spanierman Modern, New York, with the label verso; private collection, New Jersey.

Diller (1906-1965) is known as one of the first American artists to embrace Neoplasticism. Born in the Bronx, he spent his early years in Buffalo, New York and Michigan, before moving back to New York City in 1928. He studied at the Arts Students League, where he began his exploration in color and form, drawing inspiration from Constructivism and the De Stijl artists. While still a student, he had a solo exhibition at the Contemporary Arts Museum in New York and Hans Hofmann (1880-1966) wrote the introduction to the catalogue. In the 1930s, Diller worked for the Public Works of Art Project, acting as the director of the mural division until the onset of World War II when he joined the navy. He was a founding member of the American Abstract Artists group and participated in their inaugural exhibition at the Squibb Gallery in 1937. Abstraction was the central tenet of his artistic approach throughout his career, particularly embracing the bold colors and geometric visual vocabulary of neoplasticism, and differentiated himself from his Dutch counterparts by creating his own themes around which he explored the picture plane.

Estimate

$25,000 – $35,000

Lot 177

177

Burgoyne diller
Study for Wall Construction.

Color crayon and pencil on cream wove paper, 1949. 343x137 mm; 12¾x5⅜ inches. Initialed and dated in pencil, lower right.

Provenance: Private collection, New Jersey.

Exhibited: “Burgoyne Diller: Twenty-Five on Paper”, Michael Rosenfeld Gallery, September 10-November 5, 2005, with the label on the frame back.

Estimate

$3,000 – $5,000

Lot 178

178

Burgoyne diller
Study for Wall Construction.

Color crayons and pencil on cream wove paper, circa 1960. 280x258 mm; 11x10⅛ inches. Initialed in pencil, lower right recto.

Provenance: Private collection, New Jersey.

Estimate

$3,000 – $5,000

Lot 179

179

Burgoyne diller
Study for Sculpture.

Crayon, pencil and paper collage on cream wove paper, 1963. 275x215 mm; 11x8¼ inches. Initialed and dated in pencil, lower right recto.

Provenance: Private collection, New Jersey.

Estimate

$3,000 – $5,000

Lot 180

180

Lloyd ney
Untitled.

Watercolor and acrylic on wove paper mounted on artist’s board, 1962. 460x605 mm; 18x24 inches. Initialed and dated in acrylic, lower left recto.

Provenance: Private collection, New Jersey.

Estimate

$1,000 – $1,500

Lot 181

181

Dwinell grant
From Above.

Oil on canvas, 1961. 760x965 mm; 29⅞x38 inches. Initialed and dated in oil, lower right recto and signed, initialed, titled and dated in oil, verso.

Provenance: Private collection, New Jersey.

Estimate

$4,000 – $6,000

Lot 182

182

Sonia delaunay
Rythmes colorés.

Color etching and aquatint on Arches, circa 1970. 495x397 mm; 19 ½x15⅝ inches, full margins. Signed and numbered 105/125 in pencil, lower margin. A very good impression.

Estimate

$1,500 – $2,500

Lot 183

183

Sonia delaunay
Composition.

Color etching and aquatint on Arches, circa 1970. 495x397 mm; 19½x15⅝ inches, full margins. An hors commerce impression, aside from the edition of approximately 200. Signed and inscribed “H.C” in pencil, lower margin. A superb impression with bright colors.

Estimate

$1,500 – $2,500

Lot 184

184

Sonia delaunay
Icone.

Color lithograph on Arches, 1967. 470x300 mm; 18½x12 inches, full margins. One of 10 numbered hors commerce impressions, aside from the edition of 100. Signed, dated, inscribed “H. C.” and numbered 2/10 in pencil, lower margin. A very good impression with strong colors.

Estimate

$2,500 – $3,500

Lot 185

185

Sonia delaunay
Composition polychrome.

Color aquatint and etching on Arches, 1970. 492x397 mm; 19½x15¾ inches, full margins. Signed and numbered 35/125 in pencil, lower margin. A very good impression with strong colors.

Estimate

$2,500 – $3,500

Lot 186

186

Alfred jensen
Untitled (Kunsthalle Bern).

Color screenprint on white wove paper, 1973. 625x475 mm; 24¾x18¾ inches, full margins. The deluxe edition of 75, before letters, aside from the poster edition with letters. Signed, dated and numbered 33/75 in pencil, lower margin. Published by the Kunsthalle Bern, Switzerland. A very good impression with vibrant colors.

Published on the occasion of Jensen’s (1903-1981) exhibition at the Kunsthalle Bern, October 20-December 2, 1973.

Estimate

$1,500 – $2,500

Lot 187

187

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

$5,000 – $8,000

Lot 188

188

Ilya bolotowsky
Untitled (Orange Tondo).

Oil on artist’s board, 1973. 190x240 mm; 7½x9½ inches. Signed and dated in ink, center right recto, and countersigned and dated in ink, verso.

Provenance: Private collection, Chicago.

Estimate

$7,000 – $10,000

Lot 189

189

Ilya bolotowsky
Two color screenprints.

Triangles Red and Blue, 1969. 561x557 mm; 22⅛x21⅞ inches, full margins. Artist's proof, aside from the edition of 125. Signed and inscribed "A.P." in pencil, lower margin. From the same-titled portfolio * Yellow Rectangle, Blue Square. 250x710 mm; 11¼x28 inches, full margins. Artist's proof, aside from the edition of 125. Signed and inscribed "A.P." in pencil, lower margin. Both very good impressions with strong colors.

Estimate

$1,000 – $1,500

Lot 190

190

Ludwig sander
LSE #27.

Oil on canvas, 1972-74. 200x228 mm; 8x9 inches. Signed and dated in ink, verso.

Provenance: Acquired from Rosa Esman Gallery, New York by the current owner, private collection, New Milford, Connecticut.

Sander (1906-1975) was born and raised in and around New York City and was first exposed to art during childhood visits to the Metropolitan Museum of Art. He studied architecture in high school and enrolled in New York University in 1924, but dropped out to become an artist. He attended the Art Students League in 1928-30 and had an independent study with Alexander Archipenko. He worked in an abstract style; however it wasn’t until the late 1950s that he had refined it to his most recognized style—geometric compositions of flat, complementary colors intersected with vertical and horizontal lines. He co-founded “The Club” in 1949, a discussion group for artists, including Willem de Kooning, Conrad Marca-Relli and Ad Reinhardt. In 1951 he participated in the famous “Ninth Street Show”, which presented The New York School of abstract artists to the public.

Estimate

$3,000 – $5,000

Lot 191

191

Ludwig sander
LSE #A

Oil on canvas, 1969. 205x225 mm; 8x9 inches. Signed and dated in ink, verso.

Provenance: Acquired Rosa Esman Gallery, New York by the current owner, private collection, New Milford, Connecticut.

Sander (1906-1975) was born and raised in and around New York City and was first exposed to art during childhood visits to the Metropolitan Museum of Art. He studied architecture in high school and enrolled in New York University in 1924, but dropped out to become an artist. He attended the Art Students League in 1928-30 and had an independent study with Alexander Archipenko. He worked in an abstract style; however it wasn’t until the late 1950s that he had refined it to his most recognized style—geometric compositions of flat, complementary colors intersected with vertical and horizontal lines. He co-founded “The Club” in 1949, a discussion group for artists, including Willem de Kooning, Conrad Marca-Relli and Ad Reinhardt. In 1951 he participated in the famous “Ninth Street Show”, which presented The New York School of abstract artists to the public.

Estimate

$3,000 – $5,000

Lot 192

192

Richard anuszkiewicz
Two color screenprints.

Spectral Cadmium, 1968. 680x677 mm; 26¾x26¾ inches, full margins. Signed, dated and numbered 4/125 in pencil, lower margin. Printed by Hans-Peter Haas, Stuttgart. Published by Galerie der Spiegel, Cologne. From the same-titled portfolio * Untitled, 1972. 400x400 mm; 15¾ inches, full margins. Signed and numbered 25/135 in pencil, upper margin. Published by Edition Domberger, Stuttgart, with the copyright upper right. From Domberger Siebdruck-Kalender. Both very good impressions with strong colors.

Estimate

$1,500 – $2,500

Lot 193

193

Jesús rafael soto
Caroni.

Color screenprint on heavy white wove paper, 1971. 840x595 mm; 33¼x23½ inches (sheet), full margins. Signed and numbered 115/175 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

$2,000 – $3,000

Lot 194

194

Jesús rafael soto
Untitled.

Color screenprint on heavy white wove paper, 1991. 580x760 mm; 23x30 inches (sheet), full margins. Signed and numbered 8/100 in pencil, lower margin. Published by Edition Domberger, Stuttgart, and Artists United for Nature e.V. From Columbus–In Search of a New Tomorrow. A very good impression with strong colors.

Estimate

$2,000 – $3,000

Lot 195

195

Jesús rafael soto
Untitled (Olympic Centennial).

Color screenprint on Arches, 1992. 478x700 mm; 19x27½ inches, full margins. Signed and numbered 58/250 in pencil, lower margin. Published by Puma Trading, Paris, or Editiones Catalanes, Barcelona, for the International Olympic Committee, with the blind stamp lower center. From Olympic Centennial. A very good impression with strong colors.

Estimate

$2,000 – $3,000

Lot 196

196

Jimmy ernst
Disc.

Oil on metal mounted on painted Masonite,1968. 305x305 mm; 12x12 inches. Signed and dated in ink, lower right recto.

Provenance: Private collection, New York.

Estimate

$1,000 – $1,500

Lot 197

197

Jimmy ernst
Lane Triptych.

Gouache on three sheets of wove paper mounted on cream wove paper, 1978. 285x390 mm; 11¼x15¼ inches (overall). Signed, titled, dated and dedicated in ink, lower margin recto.

Provenance: Gifted from the artist to the current owner, private collection, New York.

Estimate

$2,000 – $3,000

Lot 198

198

Peter anthony stroud
Untitled.

Oil on canvas, 1969. 2413x1690 mm; 95x66½ inches.

Provenance: Manufacturers Hanover Trust Company, New York, with the label verso; private collection, New York.

Stroud (1921-2012), who was mainly self-taught early on, was born in England. At age 18, he joined the British Army Intelligence and Signal Corps and served in World War II; he was captured in the Libyan desert and subsequently held as a prisoner of war for four years in Italian and German war camps.

Following the war, a Paul Klee exhibition in 1950 was instrumental in sealing Stroud’s decision to become an artist. He completed his artistic training at London University and the Central School for Art, where he received a Master of Fine Arts degree in 1953. Stroud joined a group of young British abstract artists, including Victor Passmore. During ventures to Paris, through Peggy Guggenheim, he met the artist Jean Helion, whose influence was important in solidifying Stroud’s commitment to abstraction. Ben Nicholson was also a major influence during this period.

During the early 1960s, Stroud taught at the Maidstone College of Art, Kent, while exhibiting frequently with prominent galleries in London, including his first solo show at the Institute for Contemporary Art in 1961 and with landmark group shows including “Dimensions,” 1959, and “Situation,” 1960, at the RBA Gallery. Following his success in England, Stroud became the chairperson of the fine arts department at Bennington College, Vermont, and his work was included in the Museum of Modern Art’s, New York, groundbreaking1965 exhibition, “The Responsive Eye.” At Bennington, Stroud was influenced by the sculptor Tony Smith, and exhibitions of work by Barnett Newman and Agnes Martin. It was also during this time that he began his friendship with fellow artist Ad Reinhardt. Following his tenure at Bennington, Stroud became Chair of the Art Department then Director of the Graduate Program at Rutgers University in New Jersey.

In 1969, Stroud was commissioned to paint murals for the iconic Manufacturers Hanover Trust Company building in New York, at the southwest corner of West 43rd Street and Fifth Avenue, the first bank building in the United States to be built in the International Style (designed by Skidmore, Owings & Merrill and opened in 1954).

Estimate

$5,000 – $8,000

Lot 199

199

Gene davis
Two color lithographs.

Sonata, 1980. 525x727 mm; 20¾x28⅝ inches (sheet), full margins. Signed and numbered 197/250 in pencil, verso * Adam’s Rib, 1981. 495x685 mm; 19½x27 inches (sheet), full margins. Signed and numbered 196/250 in pencil, lower margin. Published by Abstraction Partners, Ltd., with the copyright ink stamp verso. Both very good impressions with strong colors.

Estimate

$1,500 – $2,500

Lot 200

200

Eugenia sumiye okoshi
Untitled.

Oil on canvas, circa 1960. 1210x1090 mm; 47⅝x43 inches. Signed in oil, lower right recto, and countersigned in ink, verso.

Provenance: Private collection, New Jersey.

Okoshi (1921-2008) was born in Seattle and at age seven returned with her family to Japan. Her father had been a Japanese performer with the Barnum & Bailey circus and later as an entrepreneur bought the first patent rights to neon lights in Japan, to illuminate up the Ginza district of Tokyo. Okoshi survived the destruction of World War II in Japan, but soon afterward decided to return to America. She encountered obstruction by U.S. authorities refusing to recognize her as an American citizen by birth, but ultimately returned to Seattle, where she studyied art at Seattle University and the Modern Art Museum of Seattle. Okoshi also found inspiration in the work of Mark Tobey, then Seattle-based before his return to Europe in the late 1930s, who incorporated Japanese sumi painting, brush gesture and calligraphy into his Abstract Expressionist paintings.

Okoshi made her way to New York in 1956 where she worked as a beautician by day and spent her nights in her studio in the West Village. She studied with Jacob Lawrence at the New School Painting Workshop and sang in the choir at the Japanese American United Church on 143rd Street, where she met George Mukai. In 1976 Okoshi married Mukai who was also an artist. By then she was exhibiting in shows internationally and was an active member of the Westbeth Artists Community in the West Village.

Estimate

$3,000 – $5,000

Lot 201

201

Joel shapiro
Untitled.

Charcoal on white wove paper,1966-77. 503x630 mm; 20x24¾ inches. Initialed and dated in charcoal, verso.

Published: Richard Shiff, Joel Shapiro: Sculpture and Works on Paper 1969–2019, 2020, no. 157.

Provenance: Acquired Paula Cooper Gallery, New York; private collection, New York.

Estimate

$7,000 – $10,000

Lot 202

202

Sol lewitt
Four Square Composite.

Color screenprint on Strathmore paper, 1971. 660x660 mm; 26x26 inches, full margins. Signed and numbered 23/30 in pencil, lower margin. Printed by John Campione, New York. Published by the artist, New York. A very good impression of this large, scarce print. Krakow 1971.05.

Estimate

$3,000 – $5,000

Lot 203

203

Sol lewitt
Forms Derived from a Cube (Colors Superimposed), Plate #3.

Color screenprint on Somerset Textured White, 300-Gram paper, 1991. 762x762 mm; 30x30 inches, full margins. Signed and numbered 5/35 in pencil, lower right. Printed by Keizo Tasaka, Watanabe Studios, Ltd., Brooklyn, New York. Published by Achenbach Graphics, Dusseldorf. From the same-titled suite. Krakow 1991.15.

Estimate

$2,000 – $3,000

Lot 204

204

Sol lewitt
Five Pointed Star with Color Bands.

Color screenprint on Arches Cover White, 1992. 832x565 mm; 32¾x22¼ inches, full margins. Signed and numbered 104/250 in pencil, lower right. Printed by Keizo Tasaka, Watanabe Studio, Ltd., Brooklyn. Published by Puma Trading, Paris, or Editiones Catalanes, Barcelona, for the International Olympic Committee, with the blind stamp lower center. A very good impression with strong colors.

This screenprint was issued in celebration of the 100th anniversary of the Olympic games on the occasion of the 1992 Summer Olympics in Barcelona. Krakow 1992.03.

Estimate

$2,000 – $3,000

Lot 205

205

Sol lewitt
A Rectangle Bordered and Divided Vertically into Three Equal Squares; One Red, One Yellow; and One Blue, Each with Black Lines in Four Directions.

Color screenprint on Somerset Textured White paper, 1992. 362x1034mm; 14¼x40¾ inches, full margins. Signed and numbered 3/125 in pencil, lower margin. Printed by Watanabe Studio, New York. Published by Livet Reichard, New York. A very good impression. Krakow 1992.01.

Estimate

$5,000 – $8,000

Lot 206

206

Sol lewitt
Brushstrokes in All Directions.

Color screenprint on Folio white, 250-Gram paper, 1994. 405x405 mm; 16x16 inches, full margins. One of 25 numbered artist’s proofs, aside from the edition of 500. Signed, dated, inscribed “AP” and numbered 4/25 in pencil, lower margin. Printed by Watanabe Studio, Ltd., Brooklyn. Published by Film Forum, New York. A very good impression with strong colors. Krakow 1994.05.

Estimate

$2,000 – $3,000

Lot 207

207

Beverly pepper
Abstract Composition.

Color spray paint and mixed media on cream Fabriano paper, 1968. 660x485 mm; 26x19 inches. Signed, dated and inscribed in pencil, lower verso.

Provenance: Private collection, Sag Harbor, New York.

Estimate

$1,200 – $1,800

Lot 208

208

Chryssa
Two drawings.

Untitled gouache on wove paper. 385x295 mm; 15¼x11⅜ inches. Signed in gouache, lower left recto * Untitled, charcoal and watercolor on wove paper, 1971. 276x350 mm; 10⅞x14 inches. Signed and dated in pencil, lower right recto.

With—A Bird, color lithograph, 1970. 665x680 mm; 26½x26¾ inches (sheet), full margins. Signed, dated and titled in pencil, lower margin. A very good impression.

Provenance: Private collection, New York.

Estimate

$4,000 – $6,000

Lot 209

209

Jean arp
Configuration.

Color lithograph on Rives BFK, 1951. 520x310 mm; 20½x12¼ inches, full margins. Signed and numbered IV/LX in pencil, lower margin (there was also an edition of 200 on Arches paper). Published by the Guilde Internationale de la Gravure, Paris. A very good impression. Arntz 238.

Estimate

$1,500 – $2,500

Lot 210

210

Leon polk smith
Volair Constellation Series.

Color screenprint on white wove paper, 1975. 935x660 mm; 36¾x26 inches, full margins. Initialed and numbered 10/80 in pencil, lower margin. From the same-titled series. A very good impression with vibrant colors.

Estimate

$2,000 – $3,000

Lot 211

211

Frank stella
The Funeral (Dome).

Color relief printed etching, aquatint and engraving on shaped TGL handmade paper, 1992. 1866x1346x152 mm; 73½x53x6 inches (overall), full margins. Signed, dated and numbered 9/23 in pencil, lower right. Printed and published by Tyler Graphics, Ltd., Mount Kisco, with the blind stamp lower right. A superb impression of this large etching with vibrant colors. Axsom 208.

Estimate

$25,000 – $35,000

Lot 212

212

Syd solomon
Coastcall.

Oil on wood panel, 1967. 813x761 mm; 32x30 inches. Signed in oil, lower right recto, and signed, titled and inscribed “E H 1967” in oil, verso.

Provenance: Saidenberg Gallery, New York, with the label; private collection, New York.

Solomon (1917-2004) first visited East Hampton in 1955 and continued to live between Long Island and Sarasota, Florida for the rest of his career. He was part of the artist circle in the Hamptons that included Jackson Pollock, Lee Krasner, Alfonso Ossorio, and Elaine and Willem de Kooning.

Estimate

$4,000 – $6,000

Lot 213

213

Syd solomon
Wavesong.

Oil on wood panel, 1968. 912x812 mm; 36x32 inches. Signed in oil, lower right recto and signed, titled and inscribed “E.H. 1968” and “#0-7-3-5” in oil, verso.

Provenance: Private collection, New York.

Solomon (1917-2004) first visited East Hampton in 1955 and continued to live between Long Island and Sarasota, Florida for the rest of his career. He was part of the artist circle in the Hamptons that included Jackson Pollock, Lee Krasner, Alfonso Ossorio, and Elaine and Willem de Kooning.

Estimate

$5,000 – $8,000

Lot 214

214

Joseph meierhans
Untitled (B-90 S).

Oil and enamel on canvas. 715x762 mm; 28⅛x30 inches. Signed in oil, lower right recto and inscribed “B-90 S” in felt-tip pen and ink, verso.

Provenance: Private collection, Florida; private collection, New Jersey.

Estimate

$1,500 – $2,500

Lot 215

215

Joseph meierhans
Two paintings.

Untitled, oil and enamel on board, circa 1950-60. 710x805 mm; 28x31¾ inches. Signed in enamel, lower right recto * Untitled, oil and enamel on Masonite, circa 1950. 505x810 mm; 20x32 inches. Signed in ink, lower right recto.

Provenance: Private collection, New Jersey.

Estimate

$1,500 – $2,500

Lot 216

216

Lloyd ney
Untitled.

Acrylic and gravel mixed media on canvas, 1957. 380x462 mm; 14⅞x18⅛ inches. Signed and dated in acrylic, lower left recto.

Provenance: Private collection, New Jersey.

Estimate

$2,000 – $3,000

Lot 217

217

Joachim probst
Two Motifs (from Campbell Series).

Two oil on canvases, 1971. Each 435x435 mm; 17x17 inches. Each signed, titled, dated and inscribed “84A” or “98A” in oil, verso.

Provenance: 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

$1,500 – $2,500

Lot 218

218

William h. alpert
Abstract Composition.

Acrylic on canvas. 660x660 mm; 26x26 inches. With the artist’s signature ink stamp verso.

Provenance: Private collection, New Jersey.

Estimate

$1,000 – $1,500

Lot 219

219

William h. alpert
Two acrylic paintings.

Both acrylic on board. Each 750x560 mm; 29½x22 inches. Each with the artist’s signature ink stamp, verso.

Provenance: Private collection, New Jersey.

Estimate

$1,000 – $1,500

Lot 220

220

Natvar bhavsar
B-LVA.

Acrylic and dry pigments on canvas, 1973. 1325x1225 mm; 52x48¼ inches. Signed, titled and dated in acrylic, verso.

Provenance: Christie’s East, New York, September 5, 1984, lot 99; Max Hutchinson Gallery, New York; private collection, New York.

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

$10,000 – $15,000

Lot 221

221

Robert natkin
Untitled.

Unique color screenprint on handmade paper, circa 1980. 1165x880 mm; 45⅞x34⅝ inches (sheet), full margins. Signed in felt-tip pen and ink, lower left recto. Printed by Styria Studio, New York. A very good impression with strong colors.

Estimate

$3,000 – $5,000

Lot 222

222

Larry poons
Untitled.

Color screenprint on ivory wove paper, 1971. 500x675 mm; 19⅝x26⅝ inches (sheet), full margins. Signed and numbered 88/150 in pencil, lower margin and with the artist’s copyright ink stamp, verso. Printed by Chiron Press, New York. From Conspiracy, The Artist as Witness. A very good impression with strong colors.

Estimate

$1,000 – $1,500

Lot 223

223

Walter darby bannard
Group of 4 color screenprints.

Sicilian Magician * <Jacaranda * Black Hound Night * Stone Pond. Each 1980. Each signed, titled and numbered 36/100, lower margins. Very good impressions with strong colors. Various sizes and conditions.

Estimate

$1,000 – $1,500

Lot 224

224

John clem clarke
Group of 5 prints.

Hyacinthe Rigaud—Louis XIV, color lithograph, 1969. Signed and numbered VII/XL in pencil, verso. From Six New York Artists</> * Chardin—The Bubble Blower, color lithograph, 1970. Artist’s proof, aside from the edition of 90. Signed and inscribed “A/P 5/22” in pencil, verso * Chardin—The Bubble Blower, lithograph, 1970. Artist’s proof, aside from the edition of 60. Signed and inscribed “A/P 3/15” in pencil verso * Untitled, color screenprint. Signed and inscribed “A.P.” in pencil, lower margin * Untitled, color screenprint. Signed and inscribed “A.P.” in pencil, lower margin. Each published by Brooke Alexander, Inc., New York. Various sizes and conditions. Very good impressions.

Estimate

$1,500 – $2,500

Lot 225

225

Robert rauschenberg
Untitled (Kisses from St. Petersburg, Florida).

Watercolor and gouache, double-sided, and collage of paper, ribbon, photograph and paper envelopes on paper, 1958. 356x415 mm; 14¼x16½ inches. The watercolor signed and dated in ink, upper center recto, and additionally signed, dated and annotated in ink, upper center verso; the support sheet signed, dated and annotated in ink, with lipstick lip imprint, center left recto, and the top envelope and envelope wrapper signed, dated and annotated in ink.

Provenance: collection of the artist, Captiva Island, Florida, gifted to a friend of the artist; Soulis Konstantinidis, the artist and art gallery owner of Soulis Art Gallery, Captiva Island, Florida, and Athens, Greece; sold to private collector, Athens; thence by descent to the current owner, Athens, Greece.

After touring Europe and North Africa with Cy Twombly (1928-2011), Rauschenberg (1925-2008) re-emerged in New York in 1953 to develop his Combine works, which blended three dimensional everyday objects with painting in collages that explored the gap between elevated fine art and daily detritus. During this time Rauschenberg met Jasper Johns (born 1930), who had recently returned to New York from the U.S. Army. Rauschenberg, who was exhibiting and working as a maintenance man at Eleanor Ward’s Stable Gallery helped Johns gain footing in the art world. The two artists were professional and romantic partners for six years. In 1954, Johns helped Rauschenberg create one of his first Combines, Minutuae as a prop for a Merce Cunningham performance. It was through another Combine, Short Circuit, 1955, that Rauschenberg featured a reproduction of one of Johns’ flag paintings. In 1957, Leo Castelli met Johns while visiting Rauschenberg’s studio and offered to exhibit the younger artist’s works. In 1958, with concurrent shows at Castelli and Cornell University, the two artists’ popularity rose, however their important collabration and profound mutual impact on each other’s works during these formative New York years can’t be understated.

Rauschenberg’s career blossomed during the 1960s, with numerous ground-breaking gallery and museum exhibitions, both in and around New York and internationally. He purchased the Beach House, his first property on Captiva Island, in 1968. However, the property did not become his permanent residence until the fall of 1970. Rauschenberg worked from his home and studio on Captiva Island throughout the 1970s, focusing on both printmaking and related original works using natural fibers found in fabric and paper. During this time he created the Hoarfrost (1974–76) and Spread (1975–82) series; the latter featured large stretches of collaged fabric on wood panels. Rauschenberg created his Jammer (1975–76) series using colorful fabrics inspired by his trip to Ahmedabad, India, a city famous for its textiles. International travel became a central part of Rauschenberg’s practice after 1975 and through the 1990s and early 2000s he continued to evolve his artitic process and experiment with new materials such as steel and mirrored aluminum, transferred digital inkjet photographic images to a variety of painting supports, and biodegradable dyes and pigments. Rauschenberg is considered both a seminal American contemporary artist, whose early works such as the current watercolor and collage anticipated the Pop art movement, and a prolific creator, whose unparalleled, experimental creative streak spanned more than half a century.

Estimate

$50,000 – $80,000

Lot 226

226

Robert rauschenberg
Poster for Peace.

Color offset lithograph Rives, 1970-71. 732x548 mm; 28¾x21½ inches, full margins. Signed, dated and numbered 230/250 in pencil, lower left. Published by Styria Studio, Inc., New York, with the blind stamp lower right. A very good impression with strong colors.

Estimate

$2,000 – $3,000

Lot 227

227

Robert rauschenberg
Romances (Castle).

Color lithograph on HMP Koller handmade paper, 1977. 1016x787 mm; 40x31 inches (sheet), full margins. Signed, dated and numbered 23/39 in pencil, lower margin. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamps lower left. From Romances. A very good impression of this scarce lithograph. Gemini 762.

Estimate

$2,500 – $3,500

Lot 228

228

Robert rauschenberg
Rookery Mounds—Night Tork.

Color lithograph on Twinrocker handmade paper, 1979. 1025x780 mm; 40¼x30¾ inches (sheet), full margins. Artist’s proof, aside from the edition of 50. Signed, dated and inscribed “PP II” 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 842.

Estimate

$3,000 – $5,000

Lot 229

229

Robert rauschenberg
Untitled (Arrow).

Color offset lithograph on cream wove paper, 1984. 583x463 mm; 23x18⅛ inches (sheet), full margins. Signed, dated and numbered 43/120 in pencil, lower margin. Published by Larry B. Wright Art Productions, New York, with the blind stamp lower left. A very good impression with strong colors.

Estimate

$1,500 – $2,500

Lot 230

230

Jasper johns
Flag (Moratorium).

Color offset lithograph on wove paper, 1969. 435x652 mm; 17¼x25¾ inches, wide margins. Proof, aside from the edition of 300. Signed in pencil, lower right. Published by the Committee Against the War in Vietnam.

Johns (born 1930) created this image to commemorate the anti-war Moratorium Marches that occurred throughout the United States in the fall of 1969. Johns subverted the image of the American flag, combining an Agent Orange-esque hue and a sickly shade of green along with a bullet hole in order to draw attention to the violence and horror the United States had wrought upon Vietnam since the start of the war more than a decade earlier. ULAE S5.

Estimate

$15,000 – $20,000

Lot 231

231

Jasper johns
Silver Cicada.

Color offset lithograph on thin wove paper, 1981-82. 230x195 mm; 9⅛x7⅝ inches (sheet), full margins.

Estimate

$1,500 – $2,500

Lot 232

232

Edward kienholz
For $42.00.

Watercolor and ink on wove paper, 1969. 305x407 mm; 12x16 inches. Signed and dated in pencil and with the artist’s ink fingerprint, lower right recto. In the artist’s original metal frame with the label.

Provenance: Eugenia Butler Gallery, Los Angeles, with the label on the frame back; private collection, New York.

Estimate

$2,000 – $3,000

Lot 233

233

Roy lichtenstein
Indian with Pipe.

Oil on canvas, 1953. 360x308 mm; 14x12 inches. Signed in oil, upper right recto, and titled and annotated in pencil, on the upper stretcher bar verso. With an early typed label on the frame back: “The Bug, Oil, R. F. Lichtenstein, Price:”

Provenance: Acquired directly from the artist, to Professor and Mrs. Roy H. Pearce, Columbus, OH, and La Jolla, CA; sold Rachel Davis Fine Arts, Cleveland, March 21, 2015, lot 187; private collection, Chicago.

Exhibited: “Out of Sight, from San Diego Collections,” March 17-April 23, 1972, Fine Arts Gallery of San Diego.

Published: Busche, Roy Lichtenstein: Das Fruhwerk, 1942-60, Berlin, 1988, page 84, number 132.

This work will be included in the forthcoming catalogue raisonné in preparation by the Roy Lichtenstein Foundation, New York, and is archived on the Roy Lichtenstein Foundation website.

Roy Pearce (1919-2012) was a professor of literature and one of the founders of the University of California, San Diego, Literature Department in 1963. Prior to moving to California, Pearce taught at Ohio State University, where he met and befriended Lichtenstein (1923-1997), who earned his bachelor’s degree there in 1946 and a Master’s in Fine Arts degree in 1949 (Lichtenstein also taught as an instructor in the fine arts dpeartment at Ohio State, a post he held intermitently during the 1950s). In 1951, Lichtenstein and his first wife, Isabel Wilson, moved to Cleveland and he also had his first solo exhibition at the Carlebach Gallery, New York.

During his time in Cleveland, Lichtenstein pursued Native American-themed subjects in his paintings, drawings and prints. He was inspired by a book he had borrowed from Pearce on the art of the 19th century American painter George Caitlin (1796-1872), who specialized in Native American scenes and portraits. According to a New York Times interview in 2005, Lichtenstein referred to his 1950s paintings as, “Taking the kind of stodgy pictures you see in history textbooks and redoing them in a modern-art way.” These early paintings, appropriated from 19th century models, anticipate Lichtenstein’s comic strip-inspired subjects from the early 1960s onward, and which are seen as pioneering works in the American Pop Art canon.

Estimate

$100,000 – $150,000

Lot 234

234

Roy lichtenstein
Foot Medication Poster.

Offset lithograph (halftone), in black on white wove paper, 1963. 396x403 mm; 15¾x15¾ inches, full margins. Signed in pencil, lower right. Published by Leo Castelli Gallery, New York. A very good impression of this scarce, early print, before the exhibition text in the lower margin. Corlett App. 3.

Estimate

$5,000 – $8,000

Lot 235

235

Roy lichtenstein
Crak!

Color offset lithograph on lightweight wove paper, 1963. 472x686 mm; 18⅝x27 inches, full margins. Signed, dated “1964” and numbered 10/300 in pencil, lower right. Printed by Colorcraft. New York. Published by Leo Castelli Gallery, New York. A very good impression with strong colors.

Concurrently published with Crying Girl to announce Lichtenstein’s (1923-1997) exhibition at Leo Castelli Gallery September 28-October 24, 1963. In addition to this limited, numbered edition, there are three signed, unnumbered editions and two poster versions. Corlett II 2.

Estimate

$15,000 – $20,000

Lot 236

236

Roy lichtenstein
Crying Girl Poster.

Color offset lithograph on lightweight wove paper, 1963. 432x585 mm; 17x23 inches (sheet), full margins. Printed by Colorcraft, New York. Published by Leo Castelli Gallery, New York. With the mailer folds as issued. A very good impression.

Printed as a mailer to announce Lichtenstein’s solo exhibition at Leo Castelli Gallery, September 28-October 24, 1963. Corlett II 1.

Estimate

$1,500 – $2,500

Lot 237

237

Roy lichtenstein
Temple.

Color offset lithograph on cream wove paper, 1964. 585x435 mm; 23⅛x17⅛ inches, full margins. Signed, dated and numbered 146/300 in pencil, lower right. Published by Leo Castelli Gallery, New York. A very good impression with strong colors.

This image was also printed as a mailer to announce Lichtenstein’s (1923-1997) “Landscapes” exhibition at Leo Castelli Gallery from October 24-November 19, 1964. Corlett II 3.

Estimate

$10,000 – $15,000

Lot 238

238

Roy lichtenstein
Sunrise.

Color offset lithograph on lightweight textured wove paper, 1965. 435x590 mm; 17¼x23¼ inches, full margins. Signed in pencil, lower right. Printed by Colorcraft, New York. Published by Leo Castelli Gallery, New York. A very good impression of this early print with strong colors. Corlett II 7.

Estimate

$10,000 – $15,000

Lot 239

239

Roy lichtenstein (after)
Moonscape Banner (Card).

Color screenprint on card-folded white wove paper, 1969. 240x120 mm; 9½x4¾ inches, full margins. Printed and published by Multiples, Inc., New York. A very good impression with vibrant colors.

This screenprint card was used by the Roy Lichtenstein Foundation, New York, and based on Lichtenstein’s (1923-1997) Moonscape Banner, appliqué felt, 1966.

Estimate

$1,500 – $2,500

Lot 240

240

Roy lichtenstein
As I Opened Fire Poster, Triptych.

Set of 3 color offset lithographs, 1966. Each 610x497 mm; 24x19⅝ inches, full margins. The last panel signed in pencil, lower right. Printed by Drukkerij Luii & Co., Amsterdam. Published by the Stedelijk Museum, Amsterdam.

According to Corlett, “This is a reproduction of the painting As I Opened Fire (1964) in the collection of the Stedelijk Museum, Amsterdam. Over the years several sizeable editions have been printed, and the reproductions are still available at the museum. A number of these reproductions have been autographed.” Corlett App. 5.

Estimate

$7,000 – $10,000

Lot 241

241

Roy lichtenstein
As I Opened Fire Poster, Triptych.

Three color offset lithographs, triptych, 1966. Each 610x500 mm; 24x19¾ 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

Lot 242

242

Roy lichtenstein
Whaam!

Two color offset lithographs, diptych, 1967. Each panel 635x745 mm; 25x29⅜ inches (sheets), full margins. Edition of 3000. 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

$1,500 – $2,500

Lot 243

243

Roy lichtenstein
Aspen Winter Jazz.

Color screenprint on heavy, glossy white paper, 1967. 1016x660 mm; 40x26 inches (sheet), full margins. Signed and numbered 14/300 in ink, lower right. Printed by Chiron Press, New York, with the blind stamp lower left. Published by the artist and Leo Castelli Gallery, New York. A very good impression with strong colors. Corlett 44.

Estimate

$4,000 – $6,000

Lot 244

244

Roy lichtenstein
Cow Triptych (Cow Going Abstract)..

Set of 3 color screenprints on white wove paper, 1982. Each 602x722 mm; 23¾x28½ inches, full margins. Each numbered 29/150 in pencil, lower left, the first panel also signed in pencil, lower right. Published by Fratelli Alinari, Florence. Very good impressions with strong colors. Corlett App. 9.

Estimate

$10,000 – $15,000

Lot 245

245

Roy lichtenstein
Abstract.

Seven porcelain service plates glazed in colors, circa 1990. Each 310 mm; 12¼ inches (diameter). Each with printed signatures and numbered 1539/3000, 1590/3000, 1598/3000, 1640/3000, 1717/3000, 2506/3000 and 2606/3000 on the undersides. Published by Rosenthal, Hamburg. Each with the original paperboard box.

Estimate

$3,000 – $5,000

Lot 246

246

Roy lichtenstein
Water Lilies.

Six porcelain service plates glazed in colors, 1990. Each 310 mm; 12¼ inches (diameter). Each with printed signatures and numbered 0501/3000, 0545/3000, 0557/3000, 0939/3000, 1140/3000 and 1165/3000 on the undersides. Published by Rosenthal, Hamburg. Each with the original paperboard box.

In June 1990, Lichtenstein (1923-1997) began work on the same-titled screenprint series on stainless steel, revisiting his homage to the Impressionist artist Claude Monet which he started in the late 1960s with his Cathedral and Haystacks series. Additionally, Frederic Tuten, writer and friend of the artist, said of the project “One might see this strategy as the culmination of Lichtenstein’s long meditations on reflections, which began in the earliest of his Pop Art work,” (see Corlett 261-66).

Estimate

$5,000 – $8,000

Lot 247

247

Andy warhol
Shoe.

Brush and ink with gouache additions on cream wove paper, 1955. 355x280 mm; 14x11 inches. An advertising design for Harper’s Bazar, with the ink stamp and Warhol’s name and date in pencil, verso.

Provenance: Private collection, New York.

Estimate

$4,000 – $6,000

Lot 248

248

Andy warhol
Two drawings.

Shoe, brush and ink with brown and white gouaches on cream wove paper. 148x225 mm; 5¾x8⅞ inches * Belt, brush and ink with brown and white gouaches and pencil on cream wove paper. 190x260 mm; 7½x10¼ inches. Both 1954. Both advertising designs for Harper’s Bazar, with the ink stamp and Warhol’s name and date in pencil, verso.

Both Provenance: Private collection, New York.

Estimate

$3,000 – $5,000

Lot 249

249

Andy warhol
Two ink drawings.

Facial, 1956. 425x350 mm; 16⅝x16¾ inches * Haircut, 1955. 425x345 mm; 16⅝x13⅝ inches. Both designs for Harper’s Bazar, with the ink stamp and Warhol’s name and date in pencil, verso.

Both Provenance: Private collection, New York.

Estimate

$7,000 – $10,000

Lot 250

250

Andy warhol
Owl.

Pen, brush and stamped ink with correction fluid on thick card paper. 250x200 mm; 9⅞x7⅞ inches. Signed in pen and ink, lower right recto.

Provenance: Private collection, New York, circa 1965; thence by descent, private collection, California.

Estimate

$5,000 – $8,000

Lot 251

251

Andy warhol
You’re In.

Spray-painted Coca-Cola glass bottle with metal bottle cap, 1966-67. 205x57x57 mm; 8⅛x2¼x2¼ inches. Initialed in felt-tip pen on the bottle cap.

Provenance: Private collection, New York.

Published: O'Connor and Liu, Unseen Warhol, Cologne: Taschen, 1996, page 120 (another example illustrated); Frei and Printz, The Andy Warhol Catalogue Raisonné of Paintings and Sculptures 1964-1969, London: Phaidon, 2004, vol. 2B, page 280, number 1937.12 (another example illustrated); Hickey, Andy Warhol "Giant" Size, London: Phaidon, 2006, page 135 (another example illustrated).

In 1967, the Arts Council of the Philadelphia Y.M.H.A. organized the exhibit "Museum of Merchandise," which aimed to explore "a philosophic approach to art, bridging the gap between artist and designer... to take the artist our of the ivory tower and put him into the control tower." Works for sale included Warhol's (1928-1987) You're In, silver Coca-Cola bottles filled with cheap "toilet water" perfume ("Silver Lining" by Cassell).

Though over-budget, "Museum of Merchandise," May 11-28, 1967, was successful and garnered significant press coverage. Warhol's You're In was discontinued once Coca-Cola Company executives became aware of their bottles being re-branded under a crude pun.

Estimate

$8,000 – $12,000

Lot 252

252

Andy warhol
Cow.

Color screenprint on wallpaper, 1971. 1160x760 mm; 45⅝x29⅞ inches (sheet), full margins. Printed by Bill Miller’s Wallpaper Studio, Inc., New York. Published by Factory Additions, New York, with the copyright printed upper right. A very good impression with strong colors.

Published for the Warhol retrospective at the Whitney Museum of American Art, New York, May 1-June 13, 1971. Feldman 11A.

Estimate

$7,000 – $10,000

Lot 253

253

Andy warhol (after)
Cow.

Color offset lithograph on glossy, white wove paper. 1160x770 mm; 45⅝x30⅜ inches (sheet), full margins.

After Warhol’s same-titled screenprint on wallpaper, 1971 published for the Warhol retrospective at the Whitney Museum of American Art, New York, May 1-June 13, 1971. See Feldman 11A.

Estimate

$1,500 – $2,500

Lot 254

254

Andy warhol
Flowers.

Screenprint with hand coloring in watercolor on Arches, 1974. 1038x692 mm; 40⅞x27¼ inches (sheet), full margins. Initialed in pencil, lower right, and signed, dated and numbered 75/250 in pencil, verso. Printed by Alexander Heinrici, New York. Co-published by Peter M. Brant, Castelli Graphics and Multiples, Inc., New York, with the ink stamp verso. From the same-titled portfolio. A very good impression. Feldman 116.

Estimate

$4,000 – $6,000

Lot 255

255

Andy warhol (after)
Tate Gallery (Marilyn).

Color offset lithograph poster on heavy white wove paper, 1971. 750x490 mm; 29½x19¼ inches, full margins. Signed in felt-tip pen and black ink, lower left.

The poster for the exhibition of works by Warhol (1928-1987) at the Tate Gallery, London, February 17-March 28, 1971.

Estimate

$3,000 – $5,000

Lot 256

256

Andy wahrol
Marilyn (Announcement).

Color screenprint, 1981. 305x305 mm; 12x12 inches (sheet), full margins. Signed in felt-tip pen and black ink, right side. Printed by Colour Editions, Inc., New York. The announcement for “Andy Warhol, A Print Retrospective, 1963-1981,” at Castelli Graphics, New York, 1981, with the printed text verso.

Based on the artist’s same-titled suite of screenprints from 1967. A very good impression with vibrant colors. See Feldman 22-31.

Estimate

$5,000 – $8,000

Lot 257

257

Andy warhol
Perrier (Pink).

Color offset lithograph on graphic art paper backed on linen, 1983. 442x605 mm; 17⅜x23⅞ inches (sheet), full margins. Printed by Rupert Jasen Smith, New York. Published by La Source Perrier, Vergèze, France. A very good impression with strong colors. Feldman IIIB.22.

Estimate

$1,500 – $2,500

Lot 258

258

Andy warhol
Perrier (White).

Color offset lithograph on graphic art paper, 1983. 445x593 mm; 17½x23⅜ inches (sheet), full margins. Printed by S.A. Lalande, Courbet, France. Published by La Source Perrier, Vergèze, France. A very good impression with strong colors. Feldman IIIB.22[d].

Estimate

$1,500 – $2,500

Lot 259

259

Andy warhol
Bavaria.

Unique gelatin silver print, 1982. 253x202 mm; 10x8 inches (sheet), full margins. With The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts authorization blue ink stamps, verso.

Estimate

$4,000 – $6,000

Lot 260

260

Andy warhol (after)
Two Cars posters.

Both color offset lithographs, 1988. Both 700x900 mm; 27½x35⅜ inches or 900x700 mm; 35⅜x27½ inches (sheet), full margins. Both published by Achenbach Art Edition and Galerie Hans Mayer, Düsseldorf.

After paintings in Warhol’s (1928-1987) Cars series, some of the last works executed before Warhol’s death, commissioned by Mercedes Benz in honor of the auto manufacturer’s centennial in 1986.

Estimate

$1,500 – $2,500

Lot 261

261

Andy warhol (after)
Chanel No. 5 (Red).

Color offset lithograph poster, 1997. 1590x1150 mm; 62½x45¼ inches.

In 1985 Warhol 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

Lot 262

262

Andy warhol (after)
Two Chanel No. 5 prints.

Both color offset lithograph posters, 1997. Pink, 700x500mm; 27⅝x19¾ inches (sheet), full margins * Blue, 593x418 mm; 23⅜x16½ (sheet), full margins. With the printed copyright, lower sheet edge.

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.

Estimate

$1,000 – $1,500

Lot 263

263

Robert indiana
Sun.

Oil on canvas, circa 1957. 150x201 mm; 6x8 inches.

Provenance: Gift from the artist directly to current owner, private collection, Maine.

Indiana (1928-2018), born Robert Clark in New Castle, Indiana, was recognized for his artistic talent during childhood and was enrolled in the art curriculum at Arsenal Technical High School in 1942. After graduating, Indiana enlisted in the Air Force and studied at the Art Institute of Chicago, the Skowhegan School of Sculpture and Painting in Maine during the summer of 1953, and the Edinburgh College of Art. Indiana returned from Scotland in 1954 and settled in New York. In 1956, fellow artist Ellsworth Kelly (1923-2015) persuaded Indiana to take up residence at Coenties Slip on the East River, a paved over inlet inhabited by a community of artists who made use of its abandoned warehouses and lofts. Lacking most modern amenities, the artists formed a tight-knit group who had to collaborate and share in order to survive.

Indiana, who had lived there until moving to the Bowery in 1964, was deeply influenced by life in Coenties Slip; the new inhabitants found vestiges of ships among the buildings, and Indiana began to create assemblages with these remnants. The young artist supplemented these sculptures with stenciled numbers and letters, the iconic style for which he would become heralded as a progenitor of the Pop Art movement. One of Indiana’s most well-known works, the 1961-62 oil on canvas The Melville Triptych drew directly from Herman Melville’s mention of Coenties and Indiana’s home. Though Indiana was featured in several landmark exhibitions in New York during his early career, it was not until Alfred Barr acquired the artist’s 1960-61 oil on canvas The American Dream, I for the Museum of Modern Art, New York that Indiana became one of the most prominent artists of his generation.

We have found fewer than ten other works by Indiana, that he created before 1960, at auction in he past 30 years; many of these early career paintings, sculptures and objects are now in public and private collections.

Estimate

$60,000 – $90,000

Lot 264

264

Robert indiana
14 Tayu.

Oil on canvas, circa 1959. 1370x640 mm; 54½x25¼ inches. Signed and dedicated in felt-tip pen and ink, verso.

Provenance: Gift from the artist directly to current owner, private collection, Maine.

Estimate

$30,000 – $50,000

Lot 265

265

Robert indiana
ERR.

Photoengraving and etching on off-white Rives BFK, 1963. 112x151 mm; 4½x6 inches, wide margins. Progressive trial proof, aside from the edition of 60. Signed, dated and inscribed “Artist’s Proof ‘E’” and “CHI” in pencil, lower margin. Printed by the artist at the School of the Art Institute of Chicago. A very good impression of this scarce, early proof.

According the Sheehan, Indiana (1928-2018) printed only six progressive trial proofs at the School of the Art Institute of Chicago, where he learned printmaking from 1949 to 1952, under the supervision of Vera Berdich (inscribed “CHI”). Additionally 13 trial proofs were printed at the Pratt Graphic Art Center, New York (these inscribed “NYC”). The regular edition was printed by Atelier Georges Lablanc, Paris and published by Galleria Schwarz, Milan to be included in International Anthology of Contemporary Engraving: The International Avant-Garde: America Discovered, Volume 5. The plate used for this print was originally given to the School of the Art Institute of Chicago by the R.R. Donnelly Company, printers of Life magazine. Indiana discovered the plate while visiting Berdich at the school and decided to use it in his contribution to the Avant-garde portfolio. Sheehan 29.

Estimate

$1,000 – $1,500

Lot 266

266

Robert indiana
Yield Brother stencil.

Cut-out and painted stencil on card, 1966. 150x122 mm; 6x4⅞ inches. Titled and dated “17•IV•66” in felt-tip pen and ink, lower edge recto and dedicated in felt-tip pen and ink, verso.

Provenance: Gift from the artist directly to current owner, private collection, Maine.

Estimate

$2,000 – $3,000

Lot 267

267

Robert indiana
LOVE.

Color screenprint on Cover paper, circa 1967. 860x860 mm; 34x34 inches (sheet), full margins. The unsigned edition of 2,525, aside from the edition of 250. With the artist’s copyright ink stamp, verso. Printed by Maurel Studios, New York. Published by Mass Originals and Multiples, New York. A very good impression with strong colors. Sheehan 39.

Estimate

$2,000 – $3,000

Lot 268

268

Portfolio
Editions Domberger RI-67.

Portfolio with 14 screenprints on Schoellers Parole paper, 1967. Each 650x500 mm; 25⅝x19¾ inches (sheet), full margins, loose with the Indiana printed on four sheets and the Pfahler printed on two sheets, as issued. Edition of 70, plus 20 artist’s proofs. Numbered 66 in pencil on the justification page. Four prints signed and inscribed “artist’s proof” in pencil, five prints numbered 66/70 in pencil and the Indiana unnumbered. Printed and published by Editions Domberger, Stuttgart. Original board portfolio.

Includes prints by ALBERS (Danilowitz 178), D’ARCANGELO, BILL, DENNY, INDIANA (Sheehan 40), KRUSHENICK, PFAHLER, POLK SMITH, TURNBULL and VASARELY. Very good impressions with strong colors.

Edition Domberger’s most successful and acclaimed project, published on the occasion of the Formen der Farbe exhibition at the Württembergischer Kunstverein, Stuttgart, February 18-March 26, 1967.

Indiana’s (1928-2018) contribution, LOVE Wall (LOVE Frieze) was intended to be displayed either in a horizontal frieze format or in a rectangular configuration. It is related to the painting The Great LOVE, 1966, of which there are two versions, one in the Carnegie Institute Museum of Art, Pittsburgh and the other in the Museum Haus Lange in Krefeld, Germany.

Estimate

$10,000 – $15,000

Lot 269

269

Robert indiana
LOVE.

Screenprint, 1968. 750x595 mm; 29⅝x23⅝ inches (sheet), full margins. One of 20 numbered artist’s proofs, aside from the edition of 100. Signed, dated and numbered X/XX in pencil, lower margin. Printed by Hans Peter Haas, Stuttgart. Published by Edition Plus, Baden-Baden. From Graphik USA. A very good impression with strong colors. Sheehan 42.

Estimate

$4,000 – $6,000

Lot 270

270

Robert indiana
The American Dream #2.

Set of 4 color screenprints on Fabriano 100% rag paper, 1982. Each 680x680 mm; 26¾x26¾ inches (sheet), full margins. One of 15 numbered artist’s proof sets, aside from the edition of 100. One sheet signed, dated and inscribed “AP 9/15” and “1 of 4” in pencil, lower margin. Three sheets initialed and inscribed “1 of 4” in pencil, lower margins. Printed by Domberger KG, Filderstadt, with the blind stamp upper left. Published by Prestige Art, Ltd., Mamaroneck, New York. Very good impressions with strong colors.

Based on Indiana’s 1962 oil painting The Black Diamond American Dream #2, in the collection of the Coleção Berardo, Lisbon. Sheehan 125.

Estimate

$4,000 – $6,000

Lot 271

271

Robert indiana
The Diamond One.

Color screenprint on Fabriano heavy wove paper, 1982. 557x557 mm; 22x22 inches, full margins. One of 50 numbered artist’s proofs, aside from the edition of 100. Signed, dated, inscribed “AP” and numbered 33/50 in pencil, lower margin. Printed by Domberger KG, Filderstadt. Published by Edition Domberger, Filderstadt for ICI Wiederhold Edition. A very good impression with strong colors.

Based on Indiana’s (1928-2018) acrylic painting One Indiana Square, 1970, sold Christie’s, New York, November 13, 2014, lot 287, now in a private collection. Sheehan 133.

Estimate

$1,500 – $2,500

Lot 272

272

Robert indiana
Erosia II.

Lithograph in sepia on German Etching paper, 1985. 520x503 mm; 20½x19½ inches, full margins. One of 7 numbered artist’s proofs, aside from the edition of 28. Signed by the artist and Carolyn Brady, dated, titled, inscribed “AP” and numbered 2/7 in pencil, lower margin. Printed by John C. Erickson and Michelle French, Vinalhaven Press, Vinalhaven. Published by Vinalhaven Press, Vinalhaven. A very good impression.

Indiana (1928-2018) collaborated with American Photorealist painter Carolyn Brady (1937-2005) on the monotype Erosia I (see Sheehan 134) and Erosia II. Sheehan 135.

Estimate

$3,000 – $5,000

Lot 273

273

Robert indiana
Amor.

Color aquatint on Rives BFK, 1994. 601x605 mm; 23 5/8x23 3/4 inches, full margins. One of 10 numbered artist’s proofs, aside from the edition of 50. Signed, dated, titled and numbered X/X in pencil, lower margin. Additionally inscribed “© 1994 ROBERT INDIANA” in pencil, verso. Printed by Vinalhaven Press, Vinalhaven, with the blind stamp lower right. Published by American Image Editions, New York. A very good impression with vibrant colors.

Estimate

$6,000 – $9,000

Lot 274

274

Robert indiana
HOPE.

Color screenprint on Rives BFK, 2010. 610x610 mm; 24x24 inches, full margins. Artist’s proof, from an unknown edition. One of only 2 numbered artist’s proofs, from an unknown edition. Signed, dated, inscribed “AP” and numbered II/II in pencil, lower margin. A very good impression of this extremely scarce screenprint with strong colors.

Estimate

$4,000 – $6,000

Lot 275

275

Robert indiana
Silver Winter (HOPE).

Screenprint in silver metallic ink on rag paper, 2010. 610x610 mm; 24x24 inches, full margins. One of only 5 numbered artist’s proofs, from an unknown edition. Signed, dated, titled, inscribed “AP” and numbered V/V in pencil, lower margin. A very good impression of this scarce screenprint.

Estimate

$4,000 – $6,000

Lot 276

276

James rosenquist
Hey! Let’s Go for a Ride.

Color lithograph on Hodgkinson handmade Wookey Hole paper, 1972. 800x787 mm; 31½x31 inches, full margins. Signed, titled, dated and numbered 16/75 in pencil, lower margin. Printed and published by Petersburg Press, London. A very good impression with strong colors. Glenn 55.

Estimate

$5,000 – $8,000

Lot 277

277

James rosenquist
Spring Cheer.

Color etching with pochoir and paint applied with a tire on Pescia Italia paper, 1978. 455x905 mm; 18x35¾ inches, full margins. Signed, titled, dated and numbered 72/78 in pencil, lower margin. Printed by Flatstone Studio, Tampa. Published by Multiples, Inc., New York. A very good impression with strong colors. Glenn 129.

Estimate

$1,500 – $2,500

Lot 278

278

James rosenquist
For Gene Swenson.

Color etching, aquatint, photo-etching and embossing with pochoir on Pescia Italia paper, 1978. 445x900 mm; 17⅝x35½ inches, full margins. Signed, titled, dated and numbered 14/78 in pencil, lower margin. Printed by Flatstone Studio, Tampa, with the blind stamp lower right. Published by Multiples, Inc., New York. A very good impression. Glenn 133.

Estimate

$1,500 – $2,500

Lot 279

279

James rosenquist
Diver’s Line.

Color etching and aquatint on Pescia Italia paper, 1979. 445x905 mm; 17¾x35¾ inches, full margins. Signed, dated, titled and numbered 37/78 in pencil, lower margin. Printed by Charles Levien, Aripeka, Ltd., Editions, Aripeka, Florida. Published by Multiples, Inc., New York. A very good impression with vibrant colors. Glenn 167.

Estimate

$1,500 – $2,500

Lot 280

280

James rosenquist
Group of 8 prints.

Path from the Wall, color etching, aquatint and embossing with pochoir, 1977. Signed, titled, dated and numbered 20/78 in pencil * Path from the Wall, 2nd state, color etching, aquatint and embossing, 1978. Signed, titled, dated and numbered 28/78 in pencil, lower margin *Star and Empty House, Color etching, aquatint and spitbite with pochoir and paint, 1978. Signed, titled, dated and numbered 43/78 in pencil, lower margin * Star and Empty House, 2nd state, etching and aquatint printed in bright red, 1978. Signed, titled, dated and numbered 6/78 in pencil, lower margin * Wind and Lightning, color etching and aquatint with pochoir, 1978. Signed, titled, dated and numbered 43/78 in pencil, lower margin * Wind and Lightning, 2nd state, etching and aquatint, 1978. Signed, titled, dated and numbered 38/78 in pencil * Black Triangle, color etching and aquatint with pochoir, 1978. Signed, titled, dated and numbered 75/78 in pencil, lower margin * Black Triangle, state 2, etching and aquatint, 1978. Signed, titled, dated and numbered 69/78. Various sizes and conditions. Very good impressions. Glenn 115, 115A, 135, 135A, 137, 137A, 150 and 150A.

Estimate

$3,000 – $5,000

Lot 281

281

James rosenquist
In Celebration of the 40th Anniversary of the Brandeis University National Women’s Committee.

Color lithograph on glossy white wove paper, 1988. 640x1025 mm; 25x40 inches, full margins. Signed, dated and numbered 24/250 in pencil, lower margin. A very good impression with strong colors.

Estimate

$1,500 – $2,500

Lot 282

282

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 4/24 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

Lot 283

283

James rosenquist
Katonah Muse.

Color offset lithograph on white 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 19/20” in pencil, lower margin. Published by Tyler Graphics, Ltd., Mount Kisco, with the blind stamp lower left. A very good impression with vibrant colors.

Estimate

$1,000 – $1,500

Lot 284

284

Larry rivers
Purim.

Color lithograph with additions in pencil and crayon on Auvergne à la main (Richard de bas) ivory laid paper, 1963. 500x645 mm; 19¼x25½ inches (sheet), full margins. Signed, dated and numbered 15/45 in pencil, lower margin. Printed by Robert Blackburn, New York. Published by ULAE, West Islip, with the blind stamp lower left. A very good impression of this scarce, early lithograph. Sparks 36.

Estimate

$1,500 – $2,500

Lot 285

285

Larry rivers
Tanfastic.

Color offset lithograph on wove paper on Plexiglas, as issued, 1966. 458x591 mm; 18x23¼ inches (sheet), full margins. Signed and numbered 120/225 in ink, lower margin. A very good impression.

Estimate

$1,000 – $1,500

Lot 286

286

Larry rivers
Living at the Movies.

Color lithograph on Rives BFK, 1974. 630x895 mm; 25¾x35¼ inches, full margins. Signed, dated and numbered 64/175 in pencil, lower margin. Published by Marlborough Graphics, Inc., New York. A very good impression.

Estimate

$1,200 – $1,800

Lot 287

287

Larry rivers
Polish Rider.

Color lithograph on Arches, 1982. 772x981 mm; 30¼x38½ inches (sheet), full margins. Signed, dated and numbered 49/90 in pencil, lower right. Printed by Styria Studio, Inc., New York, with the blind stamp lower left. A very good impression with strong colors.

Rembrandt van Rijn’s oil on canvas, The Polish Rider, 1655, now in the Frick Collection, New York, is the basis for this color lithograph by Rivers (1923-2002).

Estimate

$1,200 – $1,800

Lot 288

288

Larry rivers
Sketches and Self Portrait.

Color lithograph, 1982. 705x565 mm; 27⅞x22¼ inches, full margins. One of 25 numbered artist’s proofs. Signed, dated and inscribed “A.P. 8/25” in pencil, lower right. A very good impression.

Estimate

$1,000 – $1,500

Lot 289

289

Larry rivers
Paris Review.

Color screenprint on heavy cream wove paper, 1991. 720x710 mm; 28¼x27¾ inches, full margins. One of 25 numbered artist’s proofs, aside from the edition of 125. Signed, dated, inscribed “A.P.” and numbered 9/25 in brown pencil, lower margin. Published by Paris Review, New York. A very good impression with strong colors.

Estimate

$1,500 – $2,500

Lot 290

290

Robert kulicke
Homage to Morandi.

Portfolio with 8 color etchings on Rives BFK and with one original pen and brush and ink drawing with heightening in gouache, 1968. 287x233 mm; 11¼x9⅛ inches (sheets), full margins; the drawing, 84x86 mm; 3⅜x3⅜ inches. Each print signed, dated and numbered 25/60 in pencil, lower margin, the justification page signed, dated and numbered in pencil and the drawing signed and dated in pencil, upper center recto. Printed by Mohammad Omer Khalil, New York. Published by Kornblee Gallery and Brooke Alexander, Inc., New York. Original linen portfolio. Very good impressions.

Estimate

$2,000 – $3,000

Lot 291

291

Jim dine
Heart for Film Forum.

Color woodcut on Mohawk Superfine Cover paper, 1993. 387x333 mm; 15¼x13¼ inches, full margins. Initialed and numbered 111/500 in pencil, lower margin. Published by the artist and Pace Editions, New York. A very good impression with strong colors. Cullen 60.

Estimate

$1,500 – $2,500

Lot 292

292

Claes oldenburg
Typewriter Eraser.

Color offset lithograph on Rives BFK, 1970. 480x205 mm; 19x8⅛ inches, full margins. Initialed, dated and numbered 147/250 in pencil, lower margin. Printed by Imprimeries Réunies, Lausanne. Published by Paul Bianchini, New York. A very good impression. Axsom 64.

Estimate

$1,500 – $2,500

Lot 293

293

Claes oldenburg
Geometric Mouse , Scale D “Home-Made”.

Offset lithograph on wove paper laminated to five cardboard elements with die-cut, stainless steel chain and wire and nickel-plated fasteners, 1971. 495x420 mm; 19½x16½ inches (packaged). Edition of approximately 3000. Published by Gemini G.E.L., Los Angeles. Enclosed in original shrink wrap packaging. Axsom 73.

Estimate

$1,000 – $1,500

Lot 294

294

Claes oldenburg
Butt for Gantt.

Color lithograph on Arches, 1990. 255x255 mm; 10⅛x10⅛ inches, full margins. Initialed and numbered 164/250 in pencil, lower margin. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamps lower right. A very good impression. Axsom 230.

Estimate

$1,200 – $1,800

Lot 295

295

Claes oldenburg
Soft Saxophone (Black and White).

Lithograph on Somerset Satin, 1992. 886x1111 mm; 34⅞x43¾ inches. Initialed and numbered 25/30 in pencil, lower center. Printed by Derrière l’Étoile Studios, New York. Published by Brooke Alexander Editions, New York. A very good impression. Axsom 240.

Estimate

$1,500 – $2,500

Lot 296

296

Claes oldenburg
Pizza/Palette.

Color lithograph on Somerset Velvet paper, 1996. 746x978 mm; 29⅜x38½ inches (sheet), full margins. Signed and numbered II/XV in pencil, lower margin. Printed by Derrière l’Étoile Studios, New York. Published by Pace Editions, New York. A very good impression with strong colors. Axsom 264.

Estimate

$1,000 – $1,500

Lot 297

297

Tom wesselmann
Seascape (Tit).

Color screenprint on Museum Board, 1968. 750x595 mm; 29⅝x23⅝ inches (sheet), full margins. One of 20 numbered artist’s proofs, aside from the edition of 100. Signed, dated and numbered X/XX in pencil, lower right. Printed by Chiron Press, New York. Published by Edition Plus, Baden-Baden. From Graphik USA. A superb impression with vibrant colors.

With—Group 5 color screenprints from Graphik USA. Each signed, dated and numbered X/XX in pencil or ink, lower margins. Including prints by D’ARCANGELO, ISRAEL, JENSEN, LINDNER and YRISARRY. Very good impressions with strong colors.

Estimate

$5,000 – $8,000

Lot 298

298

Tom wesselmann
Monica Reclining on Back, Knees Up.

Color lithograph and linoleum cut on white wove paper, 1990. 1003x1403 mm; 39½x55¼ inches (sheet), full margins. Signed and numbered 25/100 in pencil, lower right. Published by Atelier Trestle Editeur, Ltd., New York. From Mémoire de la Liberté. A very good impression of this large lithograph.

Estimate

$3,000 – $5,000

Lot 299

299

Alex katz
The Swimmer.

Aquatint on German Etching paper, 1974. 714x914 mm; 28¼x36 inches, full margins. Signed and numbered 65/84 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

$4,000 – $6,000

Lot 300

300

Wayne thiebaud
Candy Counter.

Color linoleum cut on Arches, 1970. 470x640 mm; 18½x25¼ inches, full margins. Signed, dated and numbered 3/50 in pencil, lower margin. Published by Parasol Press, Ltd., New York. From Seven Still-Lifes and a Rabbit. A superb, well-inked impression.

Estimate

$6,000 – $9,000

Lot 301

301

Wayne thiebaud
Chocolate Cake.

Color lithograph on Rives BFK, 1971. 450x335 mm; 17¾x13¼ inches, full margins. Signed, dated and numbered 49/50 in pencil, lower margin. Published by Parasol Press, Ltd., New York. From Seven Still-Lifes and a Rabbit. A very good impression.

Estimate

$8,000 – $12,000

Lot 302

302

Wayne thiebaud
Estate I.

Etching and drypoint on white wove paper, 1998. 277x355 mm; 10¾x13¾ inches, full margins. Signed, dated and numbered 1/25 in pencil, lower margin. Published by Crown Point Press, San Francisco, with the blind stamps lower right. A superb impression of this very scarce etching.

Estimate

$4,000 – $6,000

Lot 303

303

Edward ruscha
Brews.

Color screenprint on Silverbrook Snow White Antique Finish paper, 1970. 455x685 mm; 18x27 inches, full margins. Signed, dated and numbered 11/75 in pencil, lower left margin. Printed and published by Alecto Studios, London. From News, Mews, Pews, Brews, Stews & Dues. A very good impression with strong colors. Engberg 40.

Estimate

$4,000 – $6,000

Lot 304

304

Richard estes
Manhattan (Horizontal UL 3 Escalator).

Color screenprint on Fabriano Cottone paper, 1981. 353x505 mm; 14x19¾ inches, full margins. Signed and numbered 170/250 in pencil, lower margin. Printed by Domberger, Stuttgart, with the blind stamp lower left. Published by Parasol Press, Ltd., New York. From Urban Landscapes III. A superb impression with strong colors.

Estimate

$1,200 – $1,800

Lot 305

305

Richard estes
Airport.

Color screenprint on Fabriano Cottone paper, 1981. 355x510 mm; 14x20 inches, full margins. Signed and numbered 217/250 in pencil, lower margin. Printed by Domberger, Stuttgart. Published by Parasol Press, Ltd., New York, with the blind stamp lower left. From Urban Landscapes III. A very good impression with fresh colors.

Estimate

$1,500 – $2,500

Lot 306

306

Robert cottingham
HA.

Pencil on cream wove tracing paper, 1971. 328x326 mm; 12⅞x12⅞ inches. Signed, titled and dated in pencil, on the back mat.

Provenance: Gifted by the artist to the current owner, private collection, New York, 1971.

Cottingham’s (born 1935) technique for painting large-scale representations of the typography found on neon signs and building facades involves first taking a photograph of the composition, then transposing it onto transparent or gridded paper in pencil. The pencil drawing is projected onto a larger canvas. This pencil preparatory drawing was used in the creation of the same-titled oil on canvas, sold Sotheby’s, New York, May 17, 2019, lot 251.

Estimate

$4,000 – $6,000

Lot 307

307

Richard artschwager
Interior.

Color screenprint on white wove paper, 1972. 713x1040 mm; 28¼x41 inches, full margins. Signed, dated and numbered 51/68 in pencil, lower margin. Printed by Heinrici Silkscreen, New York. Published by Brooke Alexander Editions, Inc., New York. A very good impression.

Estimate

$1,500 – $2,500

Lot 308

308

Richard artschwager
Untitled.

Charcoal on cream wove paper, 1980. 640x480 mm; 25¼x19 inches. Signed and dated in pencil, lower right recto.

Provenance: Gifted by the artist to the current owner, private collection, New Milford, Connecticut.

Exhibited: David Nolan Gallery, New York, with the label on the frame back.

Estimate

$4,000 – $6,000

Lot 309

309

Richard artschwager
Three prints.

Untitled, color lithograph and aquatint on Arches, 1990. Artist’s proof, aside from the edition of 100. Signed, dated and inscribed “S.P. 3/4” in pencil, lower margin * Landscape, 1979. Signed, dated and numbered 12/21 in pencil, lower margin * Horizon, etching, aquatint and drypoint, 1990. Signed, dated and numbered 8/60 in pencil, lower margin. Various sizes and conditions. Very good impressions.

Estimate

$1,500 – $2,500

Lot 310

310

George segal
Girl Meditating.

Papier-mâché and vacuum-formed plastic multiple, 1975. 487x265x228 mm; 19⅛x10⅜x9 inches. Artist’s proof, aside from the edition of 47. Signed, dated and inscribed “AP#15” in ink, lower center inside cast.

Estimate

$1,500 – $2,500

Lot 311

311

George segal
Sleeping Woman.

Plaster and gauze multiple, 1970. 390x270x175 mm; 15½x10½x6¾ inches. Signed, dated and numbered 118/125 in ink on the label, verso. Published by Galerie der Spiegel, Cologne, with the label. Original red and black linen case.

Estimate

$2,000 – $3,000

Lot 312

312

Alice neel
Man in a Harness.

Color lithograph on Arches, 1980. 925x703 mm; 36½x27¾ inches (sheet), full margins. Signed, dated and numbered 88/100 in pencil, lower right. Published by Eleanor Ettinger, Inc., New York, with the blind stamp lower left. A very good impression with strong colors.

Estimate

$3,000 – $5,000

Lot 313

313

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 34/50 or 38/50 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.

Provenance: Property from the estate of Anne E. C. Porter, both with the estate stamp, verso. Ludman 28.

Estimate

$2,000 – $3,000

Lot 314

314

Jack beal
Clematis and Foxglove.

Oil on canvas, 1988. 401x510 mm; 15⅞x20 inches. Signed in oil, lower right recto, and titled in blue ink, verso.

Provenance: Frumkin/Adams Gallery, New York, with the labels verso and on the frame back; private collection, New York.

Estimate

$3,000 – $5,000

Lot 315

315

Philip pearlstein
Two prints.

Mummy Cave Ruins at Canyon de Chelly, color etching and aquatint with roulette and sugarlift on Stonehenge Buff, 1980-81. 1010x725 mm; 39¾x28½ inches (sheet), full margins. Signed, titled, dated and numbered 25/41 in pencil, lower margin * Monument Valley, color aquatint and sugarlift on Rives BFK, 1981. 735x1025 mm; 29x40¾ inches (sheet), full margins. Signed, titled, dated and numbered 28/41 in pencil, lower left recto. Both printed by Condeso & Brokopp Studio, New York. Both co-published by the artist and Brooke Alexander Inc., New York. Springfield Art Museum pages 19 and 20.

Estimate

$1,200 – $1,800

Lot 316

316

Philip pearlstein
Nude and African Drum.

Color lithograph on Rives BFK, 2006. 745x565 mm;29⅛x22¼ inches (sheet), full margins. One of 30 numbered artist’s proofs. Signed, titled, dated, inscribed “A.P.” and numbered 14/30 in pencil, lower left. A very good impression with strong colors.

Estimate

$1,500 – $2,500

Lot 317

317

Marisol escobar
Two Embracing Figures.

Set of 6 color lithographs on Rives BFK, 1978. 1315x963 mm; 51¾x38 inches (sheets), full margins. Each color lithograph signed, dated and numbered 82/100 in pencil, lower center. Published by Prestige Art, Mamaroneck. Ooriginal cardboard portfolio. Very good impressions.

Estimate

$1,200 – $1,800

Lot 318

318

Arman
Boom-Boom.

Color screenprint with additions in pencil on white wove paper, 1966. 432x557 mm; 17x22 inches (sheet), full margins. Signed and numbered 173/225 in pencil, lower margin. Printed by Chiron Press, New York, with the blind stamp lower left. Published by Tanglewood Press, Inc., New York. From New York International. A very good impression.

Estimate

$1,000 – $1,500

Lot 319

319

Jörg immendorff
Café Deutschland Tempelform.

Gouache, watercolor and ink on paper, 1978. 210x292mm; 8¼x11½ inches. Titled in ink, lower left recto.

Provenance: Nolan/Eckman Gallery, New York; private collection, New York.

Estimate

$1,500 – $2,500

Lot 320

320

Dieter roth
Trophy Self-portrait as Sprinter.*

Trophy, pencil on thick wove paper, 1978-79. 230x330 mm; 9x13 inches. Signed, titled and dated in pencil, recto. Center-fold and printed title verso as issued. Loose with centerfold and printed title verso, as issued with Trophies, bound volume with 125 printed illustrations, 1979. Deluxe English edition of 1000. Published by Edition Hansjörg Mayer, Stuttgart and Eaton House Publishers, Ltd., Stuttgart and London. Original paper cover and cloth and board slipcase * Self-portrait as Sprinter, ink and pencil on thick wove paper, 1980. 230x330 mm; 9x13 inches. Signed and dated in pencil, lower right recto. Loose with centerfold and printed title verso, as issued with Dieter Roth Collected Works, volume 40, bound volume with 409 printed illustrations, 1979. Deluxe edition of 1000. Published by Edition Hansjörg Mayer, Stuttgart and Eaton House Publishers, Ltd., Stuttgart and London. Original paper cover and cloth and board slipcase.

Estimate

$2,000 – $3,000

Lot 321

321

Red grooms
Aarrrrrrhh.

Three-dimensional color lithograph on Arches Cover paper in a Plexiglas case, 1971. 508x711x51 mm; 20x28x2 inches, full margins. Signed, dated and numbered 62/75 in pencil, lower margin. Printed at Bank Street Atelier, New York. Published by Abrams Original Editions, New York. From No Gas. A very good impression with strong colors.

This is the first three-dimensional color lithograph created by Grooms (born 1937). According to the artist, “George Goodstadt (1926-2002) was running Bank Street and he was lively and imaginative. I mentioned to him that I was thinking of doing something three-dimensional for the No Gas portfolio. George not only encouraged me, but also helped with the design.” Knestrick 37.

Estimate

$3,000 – $5,000

Lot 322

322

Keith haring
Untitled (Drawing for “Popeye”).

Felt-tip pen and ink on wove paper, 1982. 352x430 mm; 13⅞x16⅞ inches. Signed, titled and dated “82 Nov. 12” in felt-tip pen and ink, right edge recto, and color notes in ball-point pen and ink, lower right recto.

Provenance: The editor of Popeye, Tokyo; private collection, Tokyo, 2022.

A preparatory design for a print to accompany an article on Haring’s (1958-1990) art and life in New York in the Japanese men’s fashion magazine Popeye. According to the article, Haring asked that the reproduced drawing be given a title by the viewer. The final color version appeared in Popeye, January 10, 1983, number 142, page 75, an issue of which accompanies this lot.

Estimate

$40,000 – $60,000

Lot 323

323

Keith haring
Barking Dog.

Paper cut out with prepared metallic acrylic ground, 1981. 115x175 mm; 4⅝x6⅞ inches. Signed and dated in felt-tip pen and ink, upper right recto.

Provenance: Private collection, New York.

During his attendance at the School of Visual Arts, New York, Haring (1958-1990) studied semiotics, the usage and interpretation of signs and symbols. In 1980, the artist started to create chalk drawings on the unused advertising panels of the New York Subway stations, and would continue doing so for the next forty years to the delight of the city’s commuters. Barking dogs were among his repeated icons, along with flying saucers and his signature radiant baby. Haring’s pictographs, for their simplicity and accessibility, were replicated on T-shirts as well as a multitude of other consumer goods, securing Haring’s place in 1980s popular culture.

Estimate

$15,000 – $20,000

Lot 324

324

Jenny holzer
Inflammatory Essays.

Group of 12 (of 29) offset lithographs on various color wove papers, 1979-82. 432x432 mm; 17x17 inches (sheet), full margins. Printed by Millner Bros., New York. Published by the artist, New York. Very good impressions.

Estimate

$2,000 – $3,000

Lot 325

325

Jenny holzer
Protect Me From What I Want.

Text on Resopal plate fixed on heavy board, 1990. 324x258 mm; 12¾x10 inches (sheet), full margins. Edition of 200. Published by Bébert, Rotterdam. From Contemporary Archaeology, Pandora Part Three, with the original cover sheet with the artist’s name.

Estimate

$2,000 – $3,000

Lot 326

326

Brice marden
Gulf.

Color lithograph on Rives BFK, 1969. 345x507 mm; 13⅝x20 inches, full margins. One of 10 numbered artist’s proofs, aside from the regular edition of 100. Signed, dated, inscribed “AP” and numberwed “VII” in pencil, lower margin. Printed by Chiron Press, New York, with the blind stamp lower right. Published by Tanglewood Editions, New York, with the blind stamp lower left. From New York 10. A very good impression.

According to Lewison, the title refers to the view of the Gulf of Mexico from Robert Rauschenberg’s home and printmaking studio on Captiva Island, Florida, where he frequently invited fellow artists to visit and make editions. Lewison 16.

Estimate

$3,000 – $5,000

Lot 327

327

Brice marden
Five Plates.

Set of 4 etchings with aquatint and 1 etching on Rives BFK, 1973. 1005x750 mm; 39⅝x29½ inches (sheets), full margins. Each signed, dated and numbered 5/50 in pencil, lower margin. Printed by Patricia Branstead and Kathan Brown at Crown Point Press, Oakland. Published by Parasol Press, Ltd., New York. Very good impressions. Lewison 23.

Estimate

$15,000 – $20,000

Lot 328

328

Brice marden
4

Color screenprint on Japanese handmade Mino Kozo Kizuki paper, 1983. 970x737 mm; 38¼x29 inches (sheet), full margins. Signed, dated and numbered 26/32 in pencil, lower margin. Printed by Hiroshe Kawanishi at Simca Print Artists, Inc., New York. Published by Simca Print Artists, Inc., and the artist, New York.

According to Lewison, the four screenprints which comprise the series which the current work is a part, and another series of three different screenprints also from 1983, “Relate to a series of works on paper Marden (born 1938) made in 1979 entitled The Hydra Series and to drawings he executed in Greece during the summer of 1983.” Lewison 38/4.

Estimate

$2,000 – $3,000

Lot 329

329

Mel bochner
Rules of Inference.

Color aquatint with metallic ink on white wove paper, 1974. 565x789 mm; 22¼x31⅛ inches, full margins. Signed, dated and numbered 13/35 in pencil, lower margin. Printed by Patrick Foy, Crown Point Press, Oakland, with the blind stamp lower right. Published by Parasol Press, Ltd., New York. A very good impression of this scarce print.

Estimate

$2,500 – $3,500

Lot 330

330

James turrell
Untitled.

Aquatint on Rives BFK, 1984. 192x238 mm; 7½x9⅜ inches, full margins. Signed and numbered 26/50 in pencil, lower margin. Printed by Peter Kneubühler, Zurich, with the blind stamp lower center. Published by Peter Blum Edition, New York. A very good impression of this scarce print.

Estimate

$2,000 – $3,000

Lot 331

331

Vija celmins
Untitled (Desert).

Color lithograph on Arches, 1971. 568x737 mm; 22¼x29 inches, full margins. One of 12 artist’s proofs, aside from the edition of 65. Signed, dated and inscribed “Artist’s proof” in pencil, lower margin. Printed by Ed Hamilton, Cirrus Editions, Los Angeles. Published by Cirrus Editions, Los Angeles. A superb impression of this scarce, early lithograph.

This is the first and larger version of Untitled (Desert), lithograph, by Celmins (born 1938), as well as the first lithograph the artist made with Cirrus Editions. The second, smaller version of the subject, from 1975, appeared in the Untitled Portfolio, which was also printed and published by Cirrus Editions.

As Bruce Davis notes in his introduction to the Cirrus Editions catalogue raisonné, “Celmins’s landscapes are among the most singular produced during this period and have earned an international reputation for their intensely focused views of nature. In the late 1960s Celmins turned from making paintings and sculptures (with their subjects of common household objects and airplanes) to drawing, specifically renditions in graphite of ocean surfaces, desert floors and skies. Given her interest in draftsmanship, not surprisingly shortly thereafter she made her initial foray in 1970 into lithography at Tamarind, with a closeup view of the ocean surface. The following year she made her second print, Untitled (Desert), at Cirrus; in 1972 came Untitled (Ocean) and in 1975 Untitled Portfolio: Ocean, Desert, Sky, Galaxy. These lithographs are notable for their striking contrasts between their apparent naturalism and their distinctive compositional point of view, made especially intense and surreal by the elimination of horizon lines. Without any suggestion of fore-, middle- and background, the images become surface patterns compressed without space onto the picture plane, and the viewer’s gaze is directed quite forcefully into examination of the subjects,” (Davis, Made in LA, The Prints of Cirrus Editions, Los Angeles, 1995, page 23). Davis page 205.

Estimate

$30,000 – $50,000

Lot 332

332

Sylvia plimack mangold
Flexible and Stainless.

Color lithograph, 1975. 261x381 mm; 10¼x15 inches, full margins. Signed, dated, titled and numbered 9/50 in pencil, lower margin. Paul Narkiewicz, New York. Brooke Alexander, Inc., New York. A very good impression.

Estimate

$1,500 – $2,500

Lot 333

333

Robert mangold
A Book of Silk Screen Prints, Multiple Panel Paintings.

Complete set of 9 color screenprints on Fabriano paper, 1992. 690x300 mm; 27x11¾ inches (sheets), full margins. Edition of 300. One print signed and numbered 280 in pencil, lower right. Printed and published by Edition Domberger, Stuttgart, and Parasol Press, Ltd., New York. Very good impressions with strong colors.

Estimate

$2,500 – $3,500

Lot 334

334

Gyorgy kepes
Grisaille #11.

Oil and sand on canvas, 1980. 1832x1020 mm; 72x40 inches. Signed and dated in oil, verso.

Exhibited: “Gyorgy Kepes Recent Paintings, 1975-1980,” The Alpha Gallery, Boston, November 15-December 10, 1980.

Provenance: The Alpha Gallery, Boston; Stephen and Stephanie Alpert, Wayland, Massachusetts; private collection, Chicago.

Kepes (1906-2001) was a Hungarian-born painter, photographer, designer, educator and art theorist. After immigrating to the U.S. in 1937, he taught design at the New Bauhaus (later the School of Design, then Institute of Design, then Illinois Institute of Design or IIT) in Chicago. In 1967, he founded the Center for Advanced Visual Studies at the Massachusetts Institute of Technology (MIT) where he taught until his retirement in 1974.

Estimate

$4,000 – $6,000

Lot 335

335

Joseph amar
Untitled.

Gouache on cream wove paper, 1978. 645x1000 mm; 25⅜x39⅜ inches. Signed and dated in ink, lower right recto.

Provenance: Private collection, New Jersey.

Amar (1954-2001) was born in Casablanca, Morocco in 1954 to a Sephardic Jewish father and a Spanish mother before immigrating to Toronto, Canada in 1957. Although his family could not afford much, Amar was surrounded by the arts in his childhood. In 1974, he received the Dorothy Reid Scholarship to attend Ontario College of Art but later quit after only a few years to commit himself to his own studio and practice. After several successful gallery exhibitions in Toronto, Amar and his wife moved to Brooklyn, New York in 1979, although he would periodically return to Toronto to teach classes at the Ontario College of Art. In New York, he became exposed to New York-based artists such as Willem de Kooning, Barnett Newman, Jackson Pollack and Mark Rothko. His works from the 1970s onward combine Abstract Expressionism with a unique dialogue with Minimalism, a style dominating the art world in the 1960s and 1970s. Robert Rauschenberg’s “combine paintings” and Cy Twombly’s gestural scribbled works were also of particular interest and influence on Amar.

Estimate

$1,500 – $2,500

Lot 336

336

Alexander liberman
Untitled.

Polished aluminum, 1975-76. 468x270x257 mm; 18¾x10½x10 inches. Incised with the artist’s initials, dated and numbered 14/15 on the base. Executed by Treitel- Gratz, New York, with the stamp on the base.

Liberman (1912-1999) was a Ukrainian-American magazine editor, publisher, painter, photographer and sculptor. He was born into a Jewish family in Kyiv, and when his father took a post advising the Soviet government, the family moved to Moscow. Following difficulties in Moscow, his father secured permission from Lenin and the Politburo to take his son to London in 1921. Liberman started work in the publishing industry in Paris during the 1930s. After emigrating to New York in 1941, he began working for Condé Nast Publications, rising to the position of editorial director, which he held from 1962 to 1994.

Only in the 1950s did Liberman take up painting and, later, metal sculpture. His highly recognizable sculptures are assembled from industrial objects, often painted in uniform bright colors or highly polished like the current work. His monumental sculpture The Way,1972-80, made of eighteen salvaged steel oil tanks, is a signature work of Laumeier Sculpture Park, and a major landmark of St. Louis, Missouri.

Estimate

$4,000 – $6,000

Lot 337

337

J. carl freedman
Euclid’s Eye.

Mirror and chrome sculpture, 1986. 645x585x243 mm; 25⅜x23>x9⅝ inches. Incised with signature and artist’s copyright, dated and numbered 2/30 on the outer circular element lower right.

Freedman’s (born 1952) kinetic sculptures are included in several public and private collections, including Portland Community College, Oregon. Additionally, in 2011 Freedman was commissioned by the Hawai’i State Foundation on Culture and the Arts to create Possibilitree, a monumental bronze, titanium and concrete kinetic sculpture for a high school campus in Kea’au. Born in Columbus, Ohio, he has lived and worked in Maui since 1986.

Estimate

$2,000 – $3,000

Lot 338

338

Tony rosenthal
Untitled.

Welded, oxidized steel, circa 1975. 267x254x51 mm; 10½x10x2 inches.

Rosenthal (1914-2009) is perhaps best known for his landmark, 15-foot high Cor-Ten steel cube, Alamo, 1967, poised on its tip, installed at Astor Place in lower Manhattan. Alamo was the first permanent contemporary outdoor public sculpture commissioned by the City of New York. Leading up to this significant career milestone, Rosenthal had received numerous other public commissions, and had also been producing smaller-scale studio sculpture of distinction for nearly two decades, first in Los Angeles and subsequently in New York. Since the late 1950s he experimented in a wide range of abstraction, from monolithic structures to more open geometric forms, often with elegant surface detailing concerned with effects of light and movement.

Provenance: the artist’s estate, New York; private collection, Chicago.

Estimate

$1,000 – $1,500

Lot 339

339

Tony rosenthal
Untitled (Accumulation Series).

Welded steel, circa 1990. 440x325x80 mm; 17½x13x3¼ inches.

Rosenthal (1914-2009) is perhaps best known for his landmark, 15-foot high Cor-Ten steel cube, Alamo, 1967, poised on its tip, installed at Astor Place in lower Manhattan. Alamo was the first permanent contemporary outdoor public sculpture commissioned by the City of New York. Leading up to this significant career milestone, Rosenthal had received numerous other public commissions, and had also been producing smaller-scale studio sculpture of distinction for nearly two decades, first in Los Angeles and subsequently in New York. Since the late 1950s he experimented in a wide range of abstraction, from monolithic structures to more open geometric forms, often with elegant surface detailing concerned with effects of light and movement.

Provenance: the artist’s estate, New York; private collection, Chicago.

Estimate

$1,500 – $2,500

Lot 340

340

Tony rosenthal
Maquette for T-Square (a).

Black steel, 1975-76. 570x410x380 mm; 22½x16¼x15 inches.

Provenance: Private collection, Chicago.

A study for the large-scale outdoor steel sculpture by Rosenthal (1914-2009) at the Cranbrook Art Museum, Bloomfield Hills.

Estimate

$2,000 – $3,000

Lot 341

341

Donald judd
Untitled.

Aquatint on white wove paper, 1980. 618x740 mm; 24 1/4x29 inches, full margins. Signed and numbered 13/150 in pencil, lower right. Printed by Styria Studio, New York, with the blind stamp lower left. Published by the artist. A very good impression. Schellman 122.

Estimate

$3,000 – $5,000

Lot 342

342

Paul sharits
Positano IX/B.

Acrylic on canvas, 1980. 760x1220 mm; 30x48 inches. Signed, titled and dated in acrylic and with the artist’s copyright, signature and date in ink, verso.

Provenance: Private collection, Buffalo.

Estimate

$7,000 – $10,000

Lot 343

343

Paul sharits
Untitled.

Acrylic on canvas, circa 1980. 763x1210 mm; 30x47½ inches. Signed in acrylic, verso.

Provenance: Private collection, Buffalo.

Estimate

$7,000 – $10,000

Lot 344

344

Paul sharits
For Peach II.

Acrylic on canvas, circa 1980. 1220x910 mm; 48x36 inches. Label with the title in ink, verso.

Provenance: Private collection, Buffalo.

Estimate

$7,000 – $10,000

Lot 345

345

Paul sharits
Positano V.

Acrylic on canvas, 1980. 760x1222 mm; 30x48 inches. Signed and dated with the artist’s copyright twice and titled in ink, verso.

Provenance: Private collection, Buffalo.

Estimate

$7,000 – $10,000

Lot 346

346

Paul sharits
Posalo 5A.

Acrylic on canvas diptych, 1983. Both 760x630 mm; 30x24¾ inches. Both signed, dated and titled in acrylic, verso.

Provenance: Private collection, Buffalo.

Estimate

$7,000 – $10,000

Lot 347

347

Paul sharits
Posalo 5B.

Acrylic on canvas diptych, 1983. Both 970x1270 mm; 38¼x50 inches. Both signed, dated and titled in ink, verso.

Provenance: Private collection, Buffalo.

Estimate

$10,000 – $15,000

Lot 348

348

Peter young
Untitled (Drawing #50).

Acrylic on cream wove paper, 1973. 610x460 mm; 24x18 inches. Signed, titled and dated in pencil, verso.

Provenance: Private collection, Luxembourg.

Estimate

$2,500 – $3,500

Lot 349

349

Peter young
Untitled (Drawing #115).

Acrylic on cream wove paper, 1973. 610x460 mm; 24x18 inches. Signed, titled and dated in pencil, verso.

Provenance: Private collection, Luxembourg.

Estimate

$2,500 – $3,500

Lot 350

350

David hockney
The Lake.

Etching and aquatint on Hodgkinson handmade paper, 1969-70. 447x312 mm; 17AF5/8>x12¼ inches (sheet), wide margins. Edition of 600. Published by Petersburg Press, London. From Illustrations for Six Fairy Tales from the Brothers Grimm. A very good impression. Scottish Arts Council 80.

Estimate

$1,500 – $2,500

Lot 351

351

David hockney
Two Vases of Cut Flowers and a Liriope Plant.

Color lithograph on Japanese Toyoshi 80 paper, 1979-80. 1060x1497 mm; 41¾x59 inches (sheet), full margins. Signed, dated “79” and numbered 56/98 in red pencil (faded), lower margin. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamps, lower right, and the ink stamp, verso. A very good impression. Gemini 915; Tokyo 232.

Estimate

$8,000 – $12,000

Lot 352

352

David hockney
Pool Made with Paper and Blue Ink for Book.

Color lithograph on Arches Cover, 1980. 267x228 mm; 10½x9 inches (sheet), full margins. Signed, dated and numbered 954/1000 in pencil, lower margin. Printed by Tyler Graphics, Ltd., Mount Kisco, with the blind stamp, lower right. Published by Museum of Contemporary Art, Tokyo. A very good impression with strong colors.

With—Paper Pools, bound volume with original stamped, blue cloth-covered boards and cardboard box with printed label, 1980. Signed in red ink and stamped 954 on the justification page. Museum of Contemporary Art Tokyo 234; Tyler 269.

Estimate

$30,000 – $50,000

Lot 353

353

David hockney
Man Ray.

Color lithograph on Arches, 1974. 580x425 mm; 22¾x16¾ inches, full margins. One of 50 numbered artist’s proofs, aside from the edition of 100. Signed, dated, inscribed “Proof” and numbered XLII/L in pencil, lower margin. Printed by Atelier Desjobert, Paris. Published by Galleria Il Fauno, Turin. From Homage to Man Ray. A very good impression. Scottish Arts Council 171.

Estimate

$6,000 – $9,000

Lot 354

354

Peter blake
Three color photo-screenprints from French Postcards.

Each 1969. Each 431x272 mm; 17x10¾ inches (sheet), full margins. J.A.. Signed, dated and numbered 54/75 in ink, lower margin * Leo 79. Signed, dated and numbered 4/75 in ink, lower margin * Serie 83. Signed, dated and numbered 18/75 in ink, lower margin. Each published by Leslie Waddington Prints, Ltd., London. Very good impressions.

Estimate

$1,500 – $2,500

Lot 355

355

Gerald laing
Male Torso I.

Bronze, 1980. 360x200x130 mm; 14⅛x8x5⅛ inches. Incised with the artist’s signature, title, date and numbered 1/10 on the lower right edge of the base and impressed with the artist’s monogram, lower left edge of the base and with the artist’s catalogue number “#388” on the underside. Cast by the artist’s foundry, Kinkell Castle, Black Isle, Scotland.

Provenance: Acquired Max Hutchinson Gallery, New York by present owner, private collection, New York.

Exhibited: “Gerald Laing: Sculpture,” Bacardi Art Gallery, Miami, March 17-April 15, 1982; Joanne Lyon Gallery, Aspen, September 1983; Max Hutchinson Gallery, New York, 1984.

Published: Knight, Gerald Laing Catalogue Raisonné, London, 2016, number 420 (another example illustrated).

Estimate

$15,000 – $20,000

Lot 356

356

Howard hodgkin
Late Afternoon in the Museum of Modern Art.

Soft-ground etching on Rives BFK, 1979. 745x993 mm; 29 ½x39 inches (sheet), full margins. Signed, dated and numbered 89/100 in red crayon, lower center. Printed and published by Petersburg Press, New York. A very good impression. Heenk 50.

Estimate

$1,200 – $1,800

Lot 357

357

Howard hodgkin
Nick’s Room.

Color lithograph with hand coloring in violet gouache on Lexington handmade paper, 1977. 525x618 mm; 20¾x24½ inches (sheet), full margins. Signed, dated and numbered 39/100 in pencil, lower margin. Printed and hand colored by Bruce Porter and Jim Welty at Petersburg Studios, New York. Published by Petersburg Press, New York. A superb impression with vibrant, richly-inked colors. Heenk 35.

Estimate

$3,000 – $5,000

Lot 358

358

Howard hodgkin
Blue Listening Ear.

Etching, aquatint and carborundum with hand coloring in tempera on TH Saunders paper, 1986. 470x638 mm; 18⅞x25⅛ inches (sheet), full margins. Initialed, dated and numbered 82/100 in pencil, lower margin. Printed and hand colored by Jack Shirreff at the 107 Workshop, Wiltshire. Published by Bernard Jacobson, Ltd., London. A very good impression. Heenk 73.

Estimate

$3,000 – $5,000

Lot 359

359

Howard hodgkin
Listening Ear (Red).

Color etching and carborundum with hand-coloring in alizarin red egg tempera on TH Saunders handmade paper, 1986. 476x635 mm; 18¾x25 inches (sheet). Initialed, dated and numbered 41/100 in pencil, lower margin. Printed and hand colored by Jack Shirreff at the 107 Workshop, Wiltshire. Published by Bernard Jacobson, Ltd., London. A superb, richly-inked impression with vibrant colors. Heenk 74.

Estimate

$3,000 – $5,000

Lot 360

360

Terry winters
Asphaltum Bitumen.*

Two mixed-media paintings with stencil on heavy cream wove paper, 1979. Asphaltum: 765x1060 mm; 30¼x42 inches. Bitumen: 757x1034 mm; 29¾x40¾ inches. Both signed and dated “Summer 1979” in pencil, verso.

Provenance: Private collection, Bloomfield Hills, Michigan.

Estimate

$7,000 – $10,000

Lot 361

361

Terry winters
Untitled.

Oil with gesso relief on canvas, 1981. 1485x1830 mm; 58½x72 inches. Signed, titled and dated in pencil, on the stretcher bar, and signed and dated in pencil on the upper tacking edge verso.

Provenance: Acquired from S. Brooks Barron, Southfield, Michigan, 1982; private collection, Bloomfield Hills, Michigan.

Estimate

$10,000 – $15,000

Lot 362

362

David deutsch
Untitled.

Brush and ink and wash on paper mounted on canvas, 1980. 610x761 mm; 24x30 inches. Signed, dated and inscribed “Untitled” in ink, verso.

Provenance: Private collection, New York.

Estimate

$2,000 – $3,000

Lot 363

363

Alan saret
Vanished Vitriol Cast-In.

Pencil on Arches 88 paper, 1983. 570x765 mm; 22½x30⅛ inches. Signed, titled, annotated and dated in pencil, verso.

Provenance: Private collection, New Jersey.

Estimate

$1,500 – $2,500

Lot 364

364

Alan saret
Prajapati’s Dropped Seed Cast-In.

Pencil on Arches 88 paper, 1983. 570x765 mm; 22½x30⅛ inches. Signed, titled, annotated and dated in pencil, verso.

Provenance: Private collection, New Jersey.

Estimate

$1,500 – $2,500

Lot 365

365

Dora maar
Untitled.

Pen and ink and watercolor on cream wove paper. 240x320 mm; 9½x12½ inches. Initialed in ink, verso.

Provenance: Estate of the artist, Paris, with the ink stamp lower right recto; private collection, New Jersey.

Estimate

$1,500 – $2,500

Lot 366

366

Jennifer bartlett
In the Garden #40.

Set of 4 color screenprints with woodcut on 2 sheets of Japanese handmade Echizen Hosho paper, 1983. Each 579x760 mm; 22¾x30 inches (sheets), full margins. Signed, dated and numbered 9/68 in pencil, lower right. Printed and published by the artist and Simca Print Artists, Inc., New York. Orlando Museum 11.

Estimate

$1,200 – $1,800

Lot 367

367

Susan rothenberg
Untitled.

Charcoal on white wove paper, 1983. 610x455 mm; 24x18 inches. Signed and dated in pencil, verso.

Provenance: James Kelly Contemporary, Santa Fe, with the label on the frame back; private collection, New York.

Estimate

$8,000 – $12,000

Lot 368

368

Susan rothenberg
Alius.

Etching, aquatint, drypoint and roulette on Chine collé on Moriki paper, 1987-88. 183x183 mm; 7¼x7¼ inches, full margins. Signed, dated and numbered 29/40 in pencil, lower margin. Printed and published by ULAE, West Islip, with the blind stamp lower left. A very good, richly-inked impression.

Estimate

$1,000 – $1,500

Lot 369

369

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

$1,000 – $1,500

Lot 370

370

Thomas nozkowski
Untitled.

Oil on canvas, 1983. 560x760 mm; 22⅛x30 inches. Signed, titled and dated in red ink, verso.

Provenance: Acquired directly from the artist, 1983; with Tibor de Nagy Gallery, New York, with the gallery label verso; private collection, New Milford, Connecticut.

Estimate

$15,000 – $20,000

Lot 371

371

Katharine carter
Three acrylic paintings.

Challenge, 1987. Signed and dated in ink, verso * Memory, 1988. Signed and dated in ink, verso * Memory, 1989. Signed, titled, dated and inscribed “Diptych part II” in ink, verso. Each acrylic on canvas. Various sizes and conditions.

Estimate

$3,000 – $5,000

Lot 372

372

Kenneth noland
Marron.

Color aquatint and etching on Guarro paper, 1990. 375x562 mm; 14¾x22¼ inches, full margins. Initialed and numbered 11/50 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

Lot 373

373

Kenneth noland
Grey.

Color lithograph on Guarro paper, 1990. 428x640 mm; 17x25¼ inches, full margins. Initialed and numbered 32/50 in pencil, lower margin. Published by Polígrafa, Barcelona, with the blind stamp lower right. A very good impression with strong colors.

Estimate

$1,500 – $2,500

Lot 374

374

Brigitta rohrbach
Traces.

Set of 7 color screenprints on white wove paper mounted under Plexiglas, 1989. 1000x1400 mm; 39⅜x55 inches (largest element); 200x245 mm; 7¾x9½ inches (3 elements) 200x200 mm; 7¾x7¾ inches (3 elements). The smaller 6 elements each signed and dated in ink, verso.

Estimate

$1,500 – $2,500

Lot 375

375

Richard long
Three prints.

Linea de Sonido, color screenprint, 1991. 1610x792 mm; 63x31¼ inches, full margins. Signed and numbered 27/45 in pencil, lower margin * Black Dust Hand Line, lithograph and color screenprint, 1990. 1900x920 mm; 74¾x36¼ inches, full margins. Signed and numbered 11/60 in pencil, lower margin * 60 Minute Walk, lithograph and color screenprint, 1990. 1890x920 mm; 74¼x36¼ inches, full margins. Signed and numbered 16/60 in pencil, lower margin. Very good impressions.

Estimate

$1,500 – $2,500

Lot 376

376

James nares
Starling.

Color relief print on Somerset white wove paper, 1990. 250x200 mm; 10x8 inches, full margins. One of 10 numbered artist’s proofs, aside from the edition of 100. Signed, inscribed “A.P.” and numbered VIII/X in pencil, lower margin. Printed by Leslie Miller, New York. Published by the Grenfell Press, New York. From Bestiary by Bradford Morrow. A superb impression of this very scarce print with strong colors.

Estimate

$1,500 – $2,500

Lot 377

377

Burhan dogançay
Sailing on the Hudson.

Gouache on white wove paper, 1986. 620x510 mm; 24½x20 inches. Signed and dated in gouache and dedicated in white pencil, lower right recto.

Published: Richard Vine, Burhan Dogançay: Works on Paper, 1950–2000, 2003, page 113.

Acquired directly from the artist by the current owner, private collection, New York.

Estimate

$7,000 – $10,000

Lot 378

378

Clement meadmore
Warm Valley.

Bronze, 1994. 240x420x210 mm; 9½x16½x8¼ inches. Incised with the artist’s signature, date and numbered 3/8 on the lower edge. Fabricated by Upscale.

Estimate

$10,000 – $15,000

Lot 379

379

Clement meadmore
Up Ended.

Patinated welded steel, 1969. 1385x380x410 mm; 54½x15x16⅛ inches. Edition of 4. Fabricated by Lippincott, Inc., North Haven, Connecticut, with the foundry stamp on the underside.

Meadmore Sculptures, LLC archives have confirmed that the present work is the third of four in the edition.

Provenance: Acquired from Max Hutchinson Gallery, New York, by current owner, private collection, New York.

A larger version of Up Ended, made of Cor-ten steel and more than 20 feet long, by Meadmore (1929-2005) is installed near the Art, Design & Architecture Museum on the campus of University of California, Santa Barbara.

Estimate

$20,000 – $30,000

Lot 380

380

Dimitri hadzi
Petra.

Bronze on granite base, 1992. 255 mm; 10 inches (height, including base). Incised with the artist’s signature on the lower edge.

Estimate

$1,500 – $2,500

Lot 381

381

Michael goldberg
Untitled.

Color oil sticks on heavy white wove paper, 1982. 660x1030 mm; 26⅛x40⅝ inches. Signed and dated in pencil, lower right recto.

Provenance: Acquired directly from the artist by Hal Bromm Gallery, New York, 1980s; private collection, New York.

Estimate

$8,000 – $12,000

Lot 382

382

Judith rothschild
Gothic Studies (8).

Acrylic on paper and oil on foam collage, 1992. 343x257mm; 13½x10⅛ inches. Signed and dedicated in ink, verso.

Provenance: Private collection, New York.

Estimate

$1,500 – $2,500

Lot 383

383

Donald sultan
Iris.

Pencil and house paint on paper, 1981. 355x280 mm; 14x11 inches. Initialed, titled and dated in pencil, upper left recto.

Provenance: Gifted by the artist to the current owner, private collection, New Milford, Connecticut, May 27, 1997 (initialed, signed and inscribed in pencil verso).

Estimate

$3,000 – $5,000

Lot 384

384

Donald sultan
Black Tulips and Lemons.

Aquatint on Arches Watercolor paper, 1986. 381x533 mm; 14¾x20¾ inches, full margins. Initialed, dated, titled numbered 42/54 in pencil, right margin. Printed by Gregory Burnet and Maurice Payne, I.M.E. Studios, New York. Published by the Jewish Museum, New York. A very good, richly-inked impression. Walker 29.

Estimate

$2,500 – $3,500

Lot 385

385

Donald sultan
Black Lemon (The Paris Review).

Color screenprint on white wove paper, 1987. 1018x711 mm; 40¼x28 inches (sheet), full margins. Initialed, titled and dated in pencil, left edge of sheet, numbered 57/100 in pencil, lower right. Published by the Paris Review, New York. A very good impression of this large print.

Estimate

$1,500 – $2,500

Lot 386

386

Donald sultan
Pomegranates, May 1990 (II).

Aquatint on Somerset White paper, 1990. 1016x762 mm; 40x30 inches, full margins. One of 13 numbered artist’s proofs, aside from the edition of 60. Initialed, dated and titled in pencil, left margin, and inscribed “AP” and numbered 7/13 in pencil, lower right. 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 64.

Estimate

$3,000 – $5,000

Lot 387

387

Donald sultan
Pomegranates, May 1990 (I).

Aquatint on Somerset White paper, 1990. 1016x762 mm; 40x30 inches, full margins. One of 13 numbered artist’s proofs, aside from the edition of 60. Initialed, dated and titled in pencil, left margin, and inscribed “AP” and numbered 6/13 in pencil, lower right. 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

$3,000 – $5,000

Lot 388

388

John newman
Untitled (Pythagorean Theorem).

Color crayon with pencil over correction fluid on graph paper, 1986. 280x215 mm; 11x8½ inches. Signed and dated in pencil and with mathematical notations in ink, verso.

Provenance: Private collection, New York.

Estimate

$1,000 – $1,500

Lot 389

389

Elizabeth murray
Untitled.

Color pastels and charcoal on cream wove paper, circa 1975. 520x760 mm; 20½x30 inches. With a small color pastel study verso.

Provenance: Private collection, New Jersey.

During the 1970s, Murray (1940-2007) challenged Minimalism, deconstructing and rebuilding her compositions through overlapping geometric forms and curving lines, loosely informed by mathematics. Similar drawings from this period featuring layered, dynamic forms were sold at Sotheby’s, New York, October 6, 1992, lot 142, and Bonhams, Los Angeles, October 25, 2017, lot 1029.

Estimate

$1,500 – $2,500

Lot 390

390

Elizabeth murray
The Clock.

Color screenprint on Coventry Rag paper, 1993. 1010x959 mm; 39¾x37¾ inches (sheet), full margins. Signed, dated and numbered 2/108 in pencil, lower margin. Published by The Lincoln Center/List Print Program, New York. A very good impression with strong colors.

Estimate

$1,500 – $2,500

Lot 391

391

Elizabeth murray
Untitled.

Watercolor on paper, 1996. 276x276mm; 10⅞x10⅞ inches. Signed and dated in pencil, verso.

Provenance: Private collection, New York.

Estimate

$3,000 – $5,000

Lot 392

392

Rosemarie trockel
Ohne titel (Tiere und Formen).

Watercolor on cream wove paper, circa 1985. 210x312 mm; 8¼x12¼ inches. Signed in pencil, verso.

Provenance: Private collection, Chicago.

Estimate

$5,000 – $8,000

Lot 393

393

Rosemarie trockel
Ohne titel (Weibliche Figur).

Watercolor and pen and ink on cream wove paper, 1987. 312x210 mm; 12¼x8¼ inches. Signed and dated in pencil, verso.

Provenance: Private collection, Chicago.

Estimate

$5,000 – $8,000

Lot 394

394

Sam gilliam
Dance ‘72.

Color lithograph on wove paper, 1972. 825x482 mm; 32½x19 inches, full margins. Artist’s proof, aside from the edition of 50. Signed, titled, dated and inscribed “Artist proof” in pencil, lower margin. Printed and published by Workshop, Inc., Washington, D.C., with the blind stamp lower left. A very good impression.

Estimate

$5,000 – $8,000

Lot 395

395

Sam gilliam
Lincoln Center Festival.

Color screenprint on white wove paper, 2001. 715x900 mm; 28⅛x35⅜ inches, full margins. The deluxe edition of 108, aside from the poster edition of 500. Signed, dated and numbered 73/108 in pencil, lower margin. Published by Lincoln Center List Poster and Print Program, New York. A superb impression with vibrant colors.

Estimate

$5,000 – $8,000

Lot 396

396

Sam middleton
Dawn.

Gouache, crayon and paper collage on wove paper, 1973. 390x535 mm; 15x21½ inches. Signed and dated in gouache, lower right recto.

Provenance: Acquired from the artist by the current owner, private collection, Netherlands.

Estimate

$3,000 – $5,000

Lot 397

397

Sam middleton
Two color lithographs.

Untitled, 1965. 432x590mm; 17x23¼ inches, full margins. Signed, dated and numbered 64/190 in pencil, lower margin. * Untitled, 1978. 498x648mm; 19⅝x25½ inches (sheet). Signed, dated and numbered 25/100. Very good impressions with strong colors.

Estimate

$1,000 – $1,500

Lot 398

398

Sam middleton
Three color screenprints.

Guitar Strings, 1995. Artist's proof, aside from the edition of 100. Signed, dated and inscribed "E.A." in pencil, lower margin * Overtones, 1999. Signed, dated and numbered 25/50 in pencil * The Inner Circle, 2005. Signed, dated and numbered 54/75 in pencil, lower margin. Various sizes and conditions. Very good impressions.

Estimate

$2,000 – $3,000

Lot 399

399

Sam middleton
Three color screenprints.

Drumsticks, 1995. Artist's proof, aside from the edition of 100. Signed, dated and inscribed "EA/1" in pencil, lower margin * Midnight Sun, 1997. Artist's proof, aside from the edition of 100. Signed, dated and inscribed "E/A 15/15" * Moonglow, 1997. Artist's proof, aside from the edition of 100. Signed, dated and inscribed "E/A 15/15" in pencil, lower margin. Various sizes and conditions. Very good impressions.

Estimate

$2,000 – $3,000

Lot 400

400

Victor vasarely
Stèle (Double Hexagon).

Acrylic on wood multiple, 1988. 315 mm; 12½ inches (height). Edition of 100. Signed in ink, lower edge.

Estimate

$3,000 – $5,000

Lot 401

401

Victor vasarely
Untitled.

Color screenprint on white wove paper. 743x495mm; 29¼x19½ inches, full margins. Signed and numbered 153/225 in pencil, lower margin. Printed by Denise René Editeur, with the blind stamp lower left. A very good impression with vibrant colors.

Estimate

$1,500 – $2,500

Lot 402

402

Victor vasarely
Two color screenprints.

One 605x605 mm; 23⅞x23⅞ inches, full margins. Signed and numbered 57/200 in pencil, lower margin. The other 480x400 mm; 18⅞x15¾ inches, full margins. Signed and numbered “FV 62/70” in pencil, lower margin. Both very good impressions with strong colors.

Estimate

$1,500 – $2,500

Lot 403

403

Billy al bengston
Untitled (Hawaii).

Watercolor and collage on white wove paper, 1981. 1422x1080 mm; 56x42½ inches. With the artist’s studio label, verso.

Exhibited: “Billy Al Bengston: Paintings of Three Decades”, Contemporary Arts Museum, Houston, May 14-June 26, 1988 and The Oakland Museum, Oakland, July 23-October 30, 1988, with the labels on the frame back.

Provenance: Texas Gallery, Houston, with the label on the frame back; private collection, Austin.

Bengston (born 1934) moved to Los Angeles in 1948 and lives and works in Venice Beach, California and Honolulu, Hawaii. He studied under Richard Diebenkorn at the California College of Arts and Crafts, Oakland, and the Otis Art Institute, Los Angeles. He was part of the group of California artists who were laying foundations for an avant-garde artistic movement in Los Angeles and started exhibiting his work at Ferus Gallery in 1957. His work is held in the permanent collection at the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; and the Museum of Contemporary Art, Los Angeles, California, among others.

Estimate

$8,000 – $12,000

Lot 404

404

Hunt slonem
Eclectus 2.

Watercolor on white wove paper, 1996. 555x758 mm; 22x30 inches. Signed, titled and dated in pencil, lower recto.

Acquired directly form the artist, private collection, Toledo, Ohio; thence by descendant to the current owner, private collection, New York.

Estimate

$2,000 – $3,000

Lot 405

405

Hunt slonem
Amazons.

Watercolor and tempera on paper, 1996. 560x760 mm; 22x30 inches. Signed and dated in pencil, lower right recto and titled in pencil, lower left recto.

Acquired directly form the artist, private collection Toledo, Ohio; by descendant private collection, New York.

Estimate

$2,000 – $3,000

Lot 406

406

Jane wilson
Ebbing Tide.

Oil on canvas, 1995. 765x910 mm; 30x36 inches. Signed in oil, upper right recto.

Provenance: Fischbach Gallery, New York, with the label on the frame back.

Wilson (1924-2015) is known for her expressionist landscapes that often depict expansive skies in harmonic colors. She was born in Iowa, and her childhood living on a farm greatly influenced her interest in natural elements, especially the expanse of the sky as it related to the flat plains of the farm where she grew up. She has said, “I used to roam around a lot by myself as a child, and when I think of a landscape, I think of the great weight of the sky and how it rests on the earth.” She studied painting and art history at the University of Iowa before moving to New York and becoming involved with the New York school of artists, exhibiting at Tanager Gallery and Stable Gallery as well as co-founding the Hansa Gallery, an artists’ cooperative, before joining the Tibor de Nagy gallery. During her long career, she continued to depict the luminous aspects of the sky, sea and land. Her work is included in the permanent collections of The Museum of Modern Art, The Metropolitan Museum of Art , and the Whitney Museum of American Art, among others.

Estimate

$1,000 – $1,500

Lot 407

407

Andre von morisse
Storm Front.

Oil on two joined canvases, 1995.1565x2155 mm; 61½x84¾ inches. Signed and dated in pencil, verso.

Norwegian artist von Morisse’s (born 1966) works, which often bridge different media, deal in the exploration of human psychology, its historical impact on society, along with the artist’s own memories and emotions. Von Morisse came to the United States from Oslo in 1978, and attended the Art Center College of Design in Pasadena, California before relocating to New York in 1991 and finally settling in Cody, Wyoming. His works have been exhibited with acclaim internationally, and can be found in several important private collections.

Estimate

$5,000 – $8,000

Lot 408

408

Craig mcpherson
Two mezzotints.

Girders, 1986. 600x905 mm; 23⅝x35⅝ inches, full margins. Signed, titled, dated and numbered 8/90 in pencil, lower margin * F.D.R. Drive, 1993. 895x595 mm; 35¼x23⅜ inches, full margins. Signed, titled, dated and numbered 3/90 in pencil, lower margin. Very good impressions.

McPherson (born 1948) grew up in Kansas and took up residence in New York in 1975 to develop his career as an artist. Among the most accomplished mezzotint printmakers working today, McPherson made his mark in the 1970s/80s with his virtuoso mezzotint New York views.

Estimate

$2,000 – $3,000

Lot 409

409

Dina oliveira
Sem Título (Composicao com Arco).

Oil on canvas, 1989. 1000x1200 mm; 39⅜x47½ inches. Incised with signature and date, lower right recto, and signed and dated in ink, verso.

Estimate

$1,000 – $1,500

Lot 410

410

Daniel vidal
Forma.

Acrylic on canvas, 1998. 1390x1400 mm; 54¾x55 inches. Signed in acrylic, lower right recto, and signed, titled and dated in acrylic, verso.

With—Two paintings. Both acrylic on canvas, 2002. Both 600x200 mm; 23½x7¾ inches.

Estimate

$1,000 – $1,500

Lot 411

411

Daniel vidal
Two acrylic paintings.

Sin Título, 965x1095 mm; 38x43 inches * Sin Título, 900x895 mm; 35½x35½ inches. Both acrylic on canvas, 2002. Both signed in oil, lower center recto, and signed, dated and inscribed “S/T” in ink, verso.

Estimate

$1,500 – $2,500

Lot 412

412

Antonio tamayo-arango
De la Serie de Brooklyn I.

Acrylic and concrete with rope and fabric collage on canvas, 1995. 1220x910 mm; 48x35¾ inches. Signed, titled and dated in ink, verso.

Tamayo-Arango (born 1962) came to New York in 1991 to attend the Art Students League, after studying architecture, painting and art history in Bogotá. His first solo exhibition was held in 1993, at the Gallery of the Consulate General of Colombia in New York and he also participated in several group shows in his adopted city through the 1990s. Since, he has exhibited internationally, including in Bogotá, where the artist lives and works, Paris, London, Athens and Bucharest.

Estimate

$1,500 – $2,500

Lot 413

413

Nathan slate joseph
Triple A.

Galvanized steel relief sculpture with oil, pigment and leaf, 1986. 917x838x130 mm; 36x25x5 inches. Signed, titled and dated in white crayon, verso.

Provenance: The Museum of Contemporary Art, San Diego; private collection, Chicago.

The Israeli-American artist Slate (born 1944) has worked in galvanized steel with added surface pigments since the 1970s. His sculptures call to mind the work of predecessors like Frank Stella and John Chamberlain.

Estimate

$1,500 – $2,500

Lot 414

414

Sean scully
Heart of Darkness by Joseph Conrad.

Volume with complete text and 8 color etchings with aquatint, 1992. 305x253 mm; 12x10 inches (sheet), full margins, bound as issued. Edition of 300. Signed and numbered “182” in pencil on the justification page. Printed by Mohammad O. Khalil, New York. Published by the Limited Editions Club, New York. Original gilt-lettered full black Morocco with suede-lined black cloth clamshell box with gilt spine label. Very good impressions with strong colors.

Estimate

$2,500 – $3,500

Lot 415

415

Richard tuttle
Edge.

Drypoint on white wove paper, 1996. 150x150 mm; 6x6 inches, full margins. Artist’s proof, aside from the edition of 25. Signed, dated, titled and inscribed “AP 9/10” in pencil, lower margin. Printed by Burnet Editions, New York. Published by Trinity College, Hartford. A very good, richly-inked impression.

Estimate

$1,200 – $1,800

Lot 416

416

Carroll dunham
Untitled (2/21,23/88).

Pencil on cream wove paper, 1988. 225x300 mm; 8⅞x11¾ inches. Signed in pencil, lower left recto and dated in pencil, upper right recto.

Provenance: Nolan/Eckman Gallery, New York, with the label on the frame back; private collection, New York.

Estimate

$1,500 – $2,500

Lot 417

417

Carroll dunham
Two drawings.

Untitled (11/16/82). Pencil on pink paper, 1982. 210x178mm; 8¼x7 inches. Signed in pencil, lower verso. Dated in pencil, upper left recto.

Provenance: Dr. George Vroom, New York; Morris Healy Gallery, New York, with the label on the frame back; private collection, New York * Untitled (11/16/82). Ink on green paper, 1982. 216x178mm; 8½x7 inches. Initialed in pencil, dated in ink, lower left recto.

Provenance: Sonnabend Gallery, New York, with the label on the frame back; private collection, New York.

Estimate

$1,000 – $1,500

Lot 418

418

Carroll dunham
Undone #2(A).

Color etching and aquatint on Arches En Tout Cas paper, 1994-96. 530x425 mm; 20⅞x16¾ inches. Signed, titled and dated in pencil, lower margin. Printed and published by ULAE, West Islip, with the blind stamp lower right. A very good impression with strong colors.

Estimate

$1,000 – $1,500

Lot 419

419

Carroll dunham
Blue House.

Color lithograph on Somerset white wove paper, 1997-98. 590x660 mm; 23¼x25¾ inches, full margins. Signed, dated and numbered 29/39 in pencil, lower margin. Printed by Derrière l’Étoile Studios, New York. Co-published by Julie Sylvester Cabot and the Whitney Museum of American Art Editions, New York. A very good impression with strong colors.

Estimate

$1,000 – $1,500

Lot 420

420

Yoko ono
Blood Objects from Family Album Announcement.

Announcement printed on plastic bag containing a painted key with string and printed card, 1995. 175x101 mm; 6⅞ x 4 inches (bag). Designed by the artist and Eileen Boxer, Ubu Gallery, New York.

Ono (born 1933) and Boxer conceived this blood object, a key dipped in red paint, to be incorporated into a mailer announcing Ono’s exhibition “Drawings from Franklin Summer and Blood Objects from Family Album,” Ubu Gallery, New York, October 28-December 12, 1995. Bronze objects in the Family Album series were splattered with red cadmium paint, symbolizing global violence touching daily life.

Estimate

$1,000 – $1,500

Lot 421

421

Richard prince
Untitled.

Ektacolor photograph, 1995. 490x330 mm; 19¼x13 inches, full margins. Signed, dated and numbered 5/5 in ink, lower right margin.

Estimate

$10,000 – $15,000

Lot 422

422

John baldessari
Double Motorcyclists and Landscape (Icelandic).

Color lithograph on Somerset white wove paper, 2003. 750x730 mm; 29½x28½ inches, full margins. Signed, dated and numbered 2/90 in pencil, lower margin. Printed by Derriere L’Etoile Studios, New York. Published by Brooke Alexander Editions, New York, with the label on the frame back. From Overlap Series. A very good impression.

Estimate

$3,000 – $5,000

Lot 423

423

Varujan boghosian
Anatomy Lesson// Hear no Evil, See No Evil, Speak no Evil, Triptych.

Three altered photo-images, triptych, 1995. Each 488x387mm; 19¼x15¼ inches. Each initialed in pencil, lower recto.

Exhibited: Varujan Boghosian: Construction and Collage, Berry-Hill Gallery, New York, December 4, 1996-January 18, 1997, with the label.

Purchased directly from the artist by the current owner, private collection, Vermont.

Estimate

$1,500 – $2,500

Lot 424

424

Nicole eisenman
Hail Taxi.

Brush and ink on paper, 1996-98. 104x142mm; 4x5½ inches. Signed and dated in ink, lower right verso.

Provenance: Tilton/Kustera Gallery, New York; private collection, New York.

Estimate

$1,000 – $1,500

Lot 425

425

Nicole eisenman
Anatomy 101.

Watercolor on paper, 1998. 229x292mm; 9x11½ inches. Titled in ink, upper center. Signed and dated in pencil, lower right.

Provenance: Pierogi Gallery, Brooklyn, New York; private collection, New York.

Estimate

$5,000 – $8,000

Lot 426

426

Robert longo
Rick.

Lithograph on Arches Cover, 1994. 1016x597 mm; 40x23½ inches, full margins. Signed, dated and numbered 44/170 in pencil, lower margin. Published by Greenpeace, New York. A very good impression of this large lithograph.

Longo (born 1953) is a native of Brooklyn and grew up in suburban Long Island. He was enrolled at the University of North Texas for a short time, but left before completing his degree. Longo next studied on a grant at the Accademia di Belle Arti in Florence, Italy before receiving his BFA from Buffalo State College in 1975. Shortly after, he moved to New York and became immersed in the downtown art scene. Longo remained largely under the radar until his seminal Men in the Cities series beginning in the early 1980s, featuring large charcoal drawings of contorted men and women clad in business suits and lithographs based on these drawings, such as the current work.

Longo has created in a diverse array of media over the course of his venerable career. While his method was multidisciplinary throughout the 80s, often combining elements of drawing, sculpture, cinema and performance art, Longo’s oeuvre consists mainly of monumental charcoal drawings done in a hyperrealist style. This medium allows him to create the strong lines and rich chiaroscuro that help bring his drawings to life. His subject matter is varied, ranging from nature to seemingly banal objects to political imagery.

Estimate

$35,000 – $50,000

Lot 427

427

Tom otterness
Three prints.

Bolt and Flower, engraving and drypoint on Chine collé of Rives BFK and Moriki rice paper, 1993. Artist’s proof, aside from the edition of 25. Initialed and inscribed “A.P. 2/10” in pencil, lower margin * Artist at Work, engraving on Rives BFK, 1994. Artist’s proof, aside from the edition of 15. Initialed and inscribed “A.P. 3/3” in pencil, lower margin * Fallen Giant Head, engraving on Rives BFK, 1994. Artist’s proof, aside from the edition of 15. Initialed and inscribed “A.P. 3/3” in pencil, lower margin. Various sizes and conditions. Very good impressions.

Estimate

$1,000 – $1,500

Lot 428

428

Bjarne melgaard
Untitled.

Watercolor and ink on Arches Aquarelle paper. 762x565mm; 30x22¼ inches. Signed in pencil, lower right recto.

Provenance: Private collection, New York.

Norwegian artist Melgaard (born 1967) lives and works in Oslo but had spent several years in New York. His work, eschewing political correctness and societal norms, is often sexually explicit. Melgaard’s works are regularly exhibited internationally, including at several global biennals, garnering fame for his bustling expressionistic works and constructed environments incorporating a variety of media. Among the irresistable chaos of his ouevre lies a common thread of fantasy, personal iconography and male bravado masking vulnerability.

Estimate

$2,000 – $3,000

Lot 429

429

David shrigley
A Strong Stomach.

Acrylic on blue paper, 1999. 279x410 mm; 11x16¼ inches. Titled in acrylic, upper right recto, and initialed and dated in ink, lower right verso.

Provenance: Galerie Francesa Pia, Bern; private collection, New York.

Estimate

$1,500 – $2,500

Lot 430

430

Inka essenhigh
Highway + Hell.

Oil on paper, 2003. 349x450mm; 13¾x17¾ inches. Signed and dated in ink, lower verso.

Provenance: 303 Gallery, New York, with the label on the frame back; private collection, New York.

As in the present work, Essenhigh’s (born 1969) oeuvre builds a composite universe of everyday occurances, contemporary culture, and the artist’s inner world of dreams and emotions. Essenhigh lives and works in New York and has exhibited internationally. Her works are held in the collections of several important institutions including the P.S. 1 Center for Contemporary Art of the Museum of Modern Art, New York, Denver Art Museum, San Francisco Museum of Modern Art, Seattle Art Museum, Tate, London and Whitney Museum of American Art, New York.

Estimate

$1,000 – $1,500

Lot 431

431

Philip taaffe
Two paintings.

Untitled, gouache and ink on paper, 1995. 330x254mm; 13x10 inches. Signed and dated in pencil, upper right recto.*Untitled, acrylic on paper, 1995. 330x254mm; 13x10 inches. Signed and dated in pencil, lower right recto.

Provenance: Private collection, New York.

Estimate

$2,000 – $3,000

Lot 432

432

James siena
Drawing after Global Key.

Color pencils on white wove notepaper, 2001. 152x102mm; 6x4 inches. Signed and dated in pencil, center verso.

Provenance: Gorney Bravin + Lee, New York, with the label on the frame back; private collection, New York.

Estimate

$1,500 – $2,500

Lot 433

433

Steven charles
Two paintings.

Bllimamu. * Lehaanupdo. Both acrylic on canvas, 2001. Both 343x305mm; 13½x12 inches. Both signed, titled and dated in ink, verso.

Both Provenance: Pierogi Gallery, Brooklyn, New York; private collection, New York.

Estimate

$2,000 – $3,000

Lot 434

434

Fred tomaselli
Chain Reaction.

Color inkjet print on Crane Museo 325 gsm paper, 2001. 505x405 mm; 20x16 inches, full margins. Signed and numbered 47/80 in pencil, lower margin. Published by the Skowhegan School, Maine.

Estimate

$1,000 – $1,500

Lot 435

435

Lamar briggs
French Flowers.

Oil on canvas. 760x605 mm; 30x24 inches. Signed and titled in oil, verso.

Provenance: Private collection, New Jersey.

Briggs (1935-2015), born in Louisiana, led a prolific and notable career, participating in over 100 exhibitions internationally. His works are in the collections of several institutions, including the Denver Art Museum and the Musuem of Fine Arts in Houston. Briggs attened the University of Southern Louisiana, the University of Houston, and the Colorado Institute of Art, which fostered his natural curiosity and drive to experiment across all fine arts media, including painting, printmaking, sculpture and tapestry. He worked primarily in the Neo-Expressionist style, using warm, bright color palettes, bold gestural strokes and paint heavily applied to canvas.

Estimate

$2,000 – $3,000

Lot 436

436

Lamar briggs
ML No. 1.

Acrylic on panel diptych, 2007. Each panel 305x305 mm; 12x12 inches. Each signed and titled in crayon, verso.

Provenance: Moody Gallery, Houston, with the labels on the frame backs; private collection, New Jersey.

Briggs (1935-2015), born in Louisiana, led a prolific and notable career, participating in over 100 exhibitions internationally. His works are in the collections of several institutions, including the Denver Art Museum and the Musuem of Fine Arts in Houston. Briggs attened the University of Southern Louisiana, the University of Houston, and the Colorado Institute of Art, which fostered his natural curiosity and drive to experiment across all fine arts media, including painting, printmaking, sculpture and tapestry. He worked primarily in the Neo-Expressionist style, using warm, bright color palettes, bold gestural strokes and paint heavily applied to canvas.

Estimate

$1,500 – $2,500

Lot 437

437

Lamar briggs
Untitled.

Bronze on wooden base. 367x205x65 mm; 14½x8x2½ inches, including base. Incised with the artist’s signature verso.

Provenance: Private collection, New Jersey.

Briggs (1935-2015), born in Louisiana, led a prolific and notable career, participating in over 100 exhibitions internationally. His works are in the collections of several institutions, including the Denver Art Museum and the Musuem of Fine Arts in Houston. Briggs attened the University of Southern Louisiana, the University of Houston, and the Colorado Institute of Art, which fostered his natural curiosity and drive to experiment across all fine arts media, including painting, printmaking, sculpture and tapestry.

Estimate

$1,000 – $1,500

Lot 438

438

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

$3,000 – $5,000

Lot 439

439

Manuel marín
Sans titre (bleu).

Painted steel stabile, circa 2000. 660x830 mm; 26x32⅝ inches. With the artist’s incised signature on the base.

Estimate

$3,000 – $5,000

Lot 440

440

Manuel marín
Sans titre (rouge).

Painted steel stabile, circa 2000. 540x920 mm; 21¼x36¼ inches. With the artist’s incised signature on the base.

Estimate

$3,000 – $5,000

Lot 441

441

Budd hopkins
Guardian Study.

Paper collage on board, 2002. 355x200 mm; 14x8 inches. Signed and dated in pencil, lower right recto.

Provenance: Private collection, New York.

Hopkins (1931-2011) was born in West Virginia and contracted polio as a child; during his recovery process he started to draw and developed an interest in watercolor. He graduated from Oberlin College in 1953 with a degree in art history and moved to New York. He met many of the artists of the New York school, embraced Abstract Expressionism and began working in one of his preferred media: collage. He received the 1976 National Endowment for the Arts Fellowship for Painting and a 1979 John Simon Guggenheim Fellowship for Painting. His work is held in the permanent collections of Metropolitan Museum of Art and the Museum of Modern Art, New York, the Corcoran Gallery of Art, Washington and the British Museum, London, among others.

Estimate

$1,000 – $1,500

Lot 442

442

Budd hopkins
Guardian Collage.

Paper collage on board, 2002. 180x128 mm; 7x5 inches. Signed and dated in pencil, lower right recto.

Provenance: Private collection, New York.

Hopkins (1931-2011) was born in West Virginia and contracted polio as a child; during his recovery process he started to draw and developed an interest in watercolor. He graduated from Oberlin College in 1953 with a degree in art history and moved to New York. He met many of the artists of the New York school, embraced Abstract Expressionism and began working in one of his preferred media: collage. He received the 1976 National Endowment for the Arts Fellowship for Painting and a 1979 John Simon Guggenheim Fellowship for Painting. His work is held in the permanent collections of Metropolitan Museum of Art and the Museum of Modern Art, New York, the Corcoran Gallery of Art, Washington and the British Museum, London, among others.

Estimate

$1,000 – $1,500

Lot 443

443

Augusta barreda
Calla 1.

Stained wood on Plexiglas base, circa 2003. 1600x400x300 mm; 63x15¾x11¾ inches (including base). From the series Naturaleza interior I.

Barreda (born 1954) studied printmaking at the School of Visual Arts in Rio de Janeiro and under artist Ruth Leaf in New York before specializing in sculpture at The Sculpture Center in New York. She set up an engraving workshop, El Taller, in Lima, Peru in the 1980s, where she still operates the Fundación Centro El Taller, to instruct graphic artists and to fund and promote Peruvian art. In her sculptural works, Barreda draws from a multitude of sources and inspirations, including pre-Columbian traditions, mythology, spirtualism, and ecology. In her series Naturaleza interior, Barreda references her own internal dialogue with nature, especially flowers. By mimicking the undulating curves as well as the reproductive structures of the flower, the series alludes to gender and sexuality.

Estimate

$1,500 – $2,500

Lot 444

444

Augusta barreda
Las Rojicias.

Two painted wood sculptures, each on a lacquered wood base, circa 2006. Each 590x143x253 mm; 23¼x5⅝x10 inches. From the series Naturaleza interior I.

Barreda (born 1954) studied printmaking at the School of Visual Arts in Rio de Janeiro and under artist Ruth Leaf in New York before specializing in sculpture at The Sculpture Center in New York. She set up an engraving workshop, El Taller, in Lima, Peru in the 1980s, where she still operates the Fundación Centro El Taller, to instruct graphic artists and to fund and promote Peruvian art. In her sculptural works, Barreda draws from a multitude of sources and inspirations, including pre-Columbian traditions, mythology, spirtualism, and ecology. In her series Naturaleza interior, Barreda references her own internal dialogue with nature, especially flowers. By mimicking the undulating curves as well as the reproductive structures of the flower, the series alludes to gender and sexuality.

Estimate

$1,500 – $2,500

Lot 445

445

Kiki smith
The Sybil.

Offset lithograph on Zerkall Book Vellum, 2004. 307x468 mm; 12⅛x18½ inches (sheet), full margins. Signed, dated and numbered 72/250 in pencil, lower margin. Published by Printed Matter, Inc., New York. A very good impression.

Estimate

$1,000 – $1,500

Lot 446

446

Kara walker
The Emancipation Approximation (Scene #5).

Screenprint on Somerset 500 gram paper, 1999-2000. 1115x860 mm; 44x33¾ inches (sheet), full margins. Initialed, dated and numbered XVI/XXV in pencil, verso. Printed by Jean Yves Noblet, New York. Published by Sikkema Jenkins Editions, New York. From The Emancipation Approximation. A very good impression of this large print.

Estimate

$10,000 – $15,000

Lot 447

447

Takashi murakami
Superflat Museum Set.

Set of 10 PVC painted figures and figure-assembly kits packaged with brochures and certificates, each figure and set contained in the original unopened packaging, 2005. Tallest approximately 105 mm; 4 inches (height). The Los Angeles edition of 30,000. Manufactured by Kaiyodo, Japan. Published by Takara and KaiKai KiKi, Japan. Original printed presentation box.

Estimate

$1,500 – $2,500

Lot 448

448

Takashi murakami
Untitled (The Octopus Eats its Own Leg).

Felt-tip pen and ink on smooth wove paper, 2018. 286x242 mm; 11¼x9⅝ inches. Signed and dated in ink, lower edge recto.

The illustrated original frontispiece for the same-titled exhibition catalogue at the Modern Art Museum of Fort Worth, July 10-September 16, 2018.

Provenance: Private collection, Washington, D.C.

Estimate

$1,500 – $2,500

Lot 449

449

Takashi murakami
Two color offset lithographs.

Chaos, 2013. 500x500 mm; 19¼x19½ inches (sheet), full margins. Signed and numbered 122/300 in ink, lower right * Anywhere Door (Dokodemo Door) in the Field of Flowers, 2019. 498x496 mm; 19⅝x19⅝ inches (sheet), full margins. Signed, dated and numbered 61/300 in pencil, lower right. Published by Kaikai Kiki Co., Ltd., Tokyo. Very good impressions.

Estimate

$1,500 – $2,500

Lot 450

450

Takashi murakami
Group of 5 color screenprints.

May Shower * July Night * December Remembrance * October Story * August Joy. Each 2019. Each 370x300 mm; 14⅝x11¾ inches, full margins. Each signed and numbered 34/100, 36/100, 57/100, 38/100 and 28/100 in pencil, respectively. Published by Kaikai Kiki Co., Ltd., Tokyo. Very good impressions.

Estimate

$3,000 – $5,000

Lot 451

451

George condo (after)
Compression II.

Color digital inkjet print, 2011. 180x185 mm; 7x7¼ inches, full margins. Edition of 400. Published by Skarstedt Gallery, New York. From Drawings Paintings. A very good impression.

Estimate

$1,500 – $2,500

Lot 452

452

Julie mehretu
Haka.

Etching with Chine-collé on Somerset white wove paper, 2012. 256x315 mm; 10¼x12½ inches, full margins. Signed, dated and numbered 63/150 in pencil, lower margin. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamps lower right, and the ink stamp verso. From Artists for Obama. A very good impression.

Estimate

$6,000 – $9,000

Lot 453

453

Christopher wool
Untitled.

Color screenprint on white wove paper, 2016. 800x700 mm; 31 1/2x27 1/2 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

Lot 454

454

Yayoi kusama
Endless Life of People.

Color offset lithograph on smooth wove paper, 2010. 400x399 mm; 15¾x15¾ inches. With the copyright printed verso. Published by the Matsumoto City Museum of Art. A very good impression with strong colors.

Estimate

$1,000 – $1,500

Lot 455

455

Yayoi kusama
Two Pumpkins.

Two cast resin multiples, 2013. Both 102x89x89 mm; 4x3 ½x3½ inches. Both with the artist’s ink stamp on the base. Published by Benesse Holdings, Inc., Naoshima, Japan. Both with the original paper covered boxes.

Estimate

$1,500 – $2,500

Lot 456

456

Maurizio cattelan
Carillon L.O.V.E..

Resin and music box mechanism multiple, 2014. 215 mm; 8½ inches (height). Published by Seletti, Cicognara. Original packaging box.

This is a reproduction of Cattelan’s (born 1960) monumental marble sculpture, L.O.V.E., 2010, now in the Piazza Affari, Milan, outside the city stock exchange, where it is installed until at least 2050.

Estimate

$1,200 – $1,800

Lot 457

457

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.

Estimate

$2,000 – $3,000

Lot 458

458

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

Lot 459

459

Shepard fairey
A Champion of Justice (Ruth Bader Ginsburg).

Color screenprint on thick cream Speckletone paper, 2021. 858x565 mm; 33¾x22¼ inches, full margins. Signed, dated and numbered 265/500 in pencil, lower margin. Printed and published by OBEY Giant Art, Los Angeles, with the certificate. A very good impression with strong colors.

Estimate

$1,000 – $1,500

Lot 460

460

Kerry james marshall
Souvenir I.

Color digital screenprint on cotton pillow sham, 2017. 483x635 mm; 19x25 inches. Edition of 200. Co-published WeR2 and the Museum of Contemporary Art, Los Angeles, 2017.

Estimate

$4,000 – $6,000

Lot 461

461

Mickalene thomas
Racquel Come to Me Two.

Color digital print on Epson Hot Press Natural 330g/m2 paper, 2018. 419x330 mm; 16½x13 inches, full margins. Signed, dated and numbered 9/50 in pencil, lower margin. Published to support the Mickalene Thomas Artist Scholarship at the New York Academy of Art.

This print is based on Thomas’ (born 1971) Racquel: Come to Me, rhinestones, acrylic, enamel and oil on wood panel, 2016, now in the collection of the Whitney Museum of American Art, New York.

Estimate

$7,000 – $10,000

Lot 462

462

Kaws
Urge (I).

Color screenprint on Saunders Waterford paper, 2020. 286x220 mm; 11¼x8⅝ inches, full margins. Signed, dated and numbered 199/250 in pencil, lower margin. Published by the artist, New York. From the same titled series. A very good impression with vibrant colors.

According to Brian Donnelly (born 1974), the artist known professionally as Kaws, the Urge color screenprints were made after paintings he created: “In March 2020, my wife and I had Covid-19. I was in bed for three weeks. There was all this uncertainty and news about not touching your face, not touching anything. I started doing drawings of CHUM with hands all over his face–touching and contaminating. It’s meant to be humorous but at the same time, it’s very stressful. As soon as I got out [of isolation], I turned the drawings into a series of ten paintings, which is hung as a grid in the exhibition.”

Estimate

$8,000 – $12,000

Lot 463

463

Kaws
Urge (VI).

Color screenprint on Saunders Waterford paper, 2020. 286x220 mm; 11¼x8⅝ inches, full margins. Signed, dated and numbered 199/250 in pencil, lower margin. Published by the artist, New York. From the same titled series. A very good impression with vibrant colors.

According to Brian Donnelly (born 1974), the artist known professionally as Kaws, the Urge color screenprints were made after paintings he created: “In March 2020, my wife and I had Covid-19. I was in bed for three weeks. There was all this uncertainty and news about not touching your face, not touching anything. I started doing drawings of CHUM with hands all over his face–touching and contaminating. It’s meant to be humorous but at the same time, it’s very stressful. As soon as I got out [of isolation], I turned the drawings into a series of ten paintings, which is hung as a grid in the exhibition.”

Estimate

$8,000 – $12,000

Lot 464

464

Damien hirst
Forever (Small).

Laminated Giclée print on aluminum composite panel, 2020. 390x390 mm; 15½x15½ inches. With the artist’s printed signature and numbered 635/2573 on the justification label verso. Published by Heni Editions, London. Original packaging.

Estimate

$1,500 – $2,500

Lot 465

465

Jonas wood
Large Shelf Still Life.

Color offset lithograph on smooth wove paper, 2017. 585x585 mm; 23x23 inches. Published by the Voorlinden Museum & Gardens, Wassenaar, Netherlands.

Estimate

$1,000 – $1,500

Lot 466

466

Hank willis thomas
All Li es Matter.

Screenprint on black wove paper, 2019. 605x457 mm; 23⅞x17¾ inches (sheet), full margins. Signed, dated and numbered 195/400 in ink, lower right. Published by the Public Art Fund, New York. A very good impression.

Thursday, May 12, 2022at 10:30am

Sale 2604