Contemporary Art
Officers
Todd Weyman
Vice President & Director, Prints & Drawings
tweyman@swanngalleries.com
(212) 254-4710 ext. 33
Lisa Crecenzo
Dept. Manager & Client Relations
lcrecenzo@swanngalleries.com
(212) 254-4710 ext. 51
Sarah McMillan
Cataloguer
smcmillan@swanngalleries.com
(212) 254-4710 ext. 28
Meagan Gandolfo
Cataloguer
mgandolfo@swanngalleries.com
(212) 254-4710 ext. 58
George S. Lowry
Chairman
Nicholas D. Lowry
President, Principal Auctioneer
924899
Andrew M. Ansorge
Vice President & Controller
Alexandra Mann-Nelson
Chief Marketing Officer
2030704
Todd Weyman
Vice President & Director, Prints & Drawings
1214107
Nigel Freeman
Vice President & Director, African American Art
Rick Stattler
Vice President & Director, Books & Manuscripts
Administration
Andrew M. Ansorge
Vice President & Controller
aansorge@swanngalleries.com
Ariel Kim
Client Accounting
akim@swanngalleries.com
Diana Gibaldi
Operations Manager
diana@swanngalleries.com
Kelsie Jankowski
Communications Manager
kjankowski@swanngalleries.com
Shannon Licitra
Shipping Manager
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Abstract Expressionism, The New York School & American Abstract Art
Hans hofmann
Untitled.
Brush and ink on cream wove paper, circa 1935. 214x276 mm; 8½x11 inches. Signed in ink, lower center recto.
Provenance: Estate of the artist, New York, with the estate ink stamp and numbered M-933/3 in ink; André Emmerich Gallery, New York, with the ink stamp; Margo Levin Gallery, Los Angeles, with the label; private collection, Tucson.
Estimate
$3,000 – $5,000
Hilla rebay
Abstract Composition.
Etching with hand coloring in watercolor, 1949. 200x200 mm; 8x8 inches, full margins. Signed in pencil, lower right. A very good impression.
Rebay (1890-1967) was born into an aristocratic family in Strasbourg (at the time a part of Germany) and studied painting in Paris, Cologne and Munich. In 1917, she moved to Berlin and was introduced to the avant-garde Galerie der Sturm, which was the center of the modern art scene in the city. While in Berlin, she also met Rudolf Bauer (1889-1953), with whom she had a lifelong relationship.
Rebay was interested in non-objective art, a form of abstraction that was rooted in esoteric religious beliefs and philosophical ideas of intuition. She believed this form of art was a cure for a world ravaged by war and the burgeoning technological innovations that fueled materialism.
In 1927, she moved to New York and was commissioned to paint Solomon Guggenheim’s portrait. She took the opportunity to encourage him to collect non-objective art and became instrumental in guiding Guggenheim’s collection. When he founded the Museum of Non-Objective Painting (now the Solomon R. Guggenheim Museum) in New York, she was the first curator and director of the museum and chose Frank Lloyd Wright to design the now iconic building.
Estimate
$1,000 – $1,500
Hilla rebay
Untitled.
Watercolor on paper, circa 1945. 228x305 mm; 9x12 inches. Signed in ink, lower left recto.
Provenance: Private collection, New York.
Estimate
$2,000 – $3,000
Alfonso ossorio
Jonah.
Wood engraving on thin cream laid paper, 1935-36. 201x300 mm; 8x11⅞ inches, full margins. Signed and dated “‘36” in pencil, lower right. A very good impression of this extremely scarce, early print.
The scion of a Philippine sugar magnate, Ossorio (1916-1990) was one of the early practitioners of Abstract Expressionism, and in the 1950s he formed important artistic friendships with Jackson Pollock and Jean Dubuffet. They showed Ossorio the value of looking inward for inspiration, and his surrealistic imagery began to evolve into more abstract, outwardly expressionistic work.
Estimate
$1,500 – $2,500
Jackson pollock
Untitled.
Drypoint and engraving printed in dark brownish black Japan paper, 1944-45. 300x250 mm; 12x10 inches, full margins. Third state (of 3). The deluxe Roman numeral edition of 10 on Japan paper, aside from the Arabic numeral edition of 50 on wove paper. Numbered V/X in pencil, lower right. Printed by Emiliano Sorini, New York, with the blind stamp lower left, in 1967. Co-published by Lee Krasner Pollock, Estate of Jackson Pollock, and The Museum of Modern Art, New York, with the Pollock Estate blind stamp lower left. A very good impression of this extremely scarce, early print.
Only a few lifetime proofs of Pollock's etchings exist today. Most of his intaglio work was printed posthumously from plates preserved in the estate, which are now in the collection of The Museum of Modern Art, New York.
Following is an account written by the printmaker Gabor Peterdi, who was entrusted with printing Pollock's surviving intaglio plates, "Shortly after Pollock's death, during the time when The MoMA was organizing the Pollock retrospective, I received a call from William Lieberman. He told me, they had discovered in Pollock's estate four plates in rather neglected condition--corroded, dirty, etc.--and they wanted to find out if they could be salvaged. Lieberman asked me whether I were willing to undertake this job. As Lieberman and I had a longstanding professional association, and as I also felt strongly that Pollock's work should be saved if possible, I consented to try.
The four plates were in terrible condition, full of corrosion, with most of the drypoint flattened out. Further, the four plates contained six images, as two of the plates had images on both sides. This would create additional problems with printing. I cleaned the plates and reworked the drypoint on all six images. As I knew Pollock personally and worked together with him at Hayter's Atelier 17, I knew very well his own way of working so the restoration was no problem.
Then I printed up some proofs (before steelfacing) of all the images and gave one set to The MoMA. At this time, I advised the museum that, after steelfacing, four of the images were sound enough to be printed in editions. The other two were weak, underetched images with too much corrosion. So, you could say it was I who decided which images to print, based entirely on what was feasible. All this (cleaning, restoration, printing of proofs) was done by me in my studio in Rowayton, Connecticut.
I also recommended [Emiliano] Sorini to do the printing of the editions. Sorini had printed some of my own plates for me and, at that time, was teaching under my supervision in the Yale University printmaking workshop. Sorini made the prints in his own studio. I do not know who did the steelfacing. I had nothing to do with the choice of paper," (Gabor Peterdi, letter written March 13, 1987).
Pollock's (1912-1956) New York apartment was located opposite of Atelier 17 on East 8th Street and was frequented by other Abstract Expressionists such as William Baziotes (1912-1963) and Robert Motherwell (1915-1991). It was here that Hayter instructed Pollock in the technique of drypoint and etching in the autumn of 1944. (Emmerling, Jackson Pollock: 1912-1952, p. 60). Pollock tested his method of building up an image with interlocking lines and brushstrokes, for which he would become famous, through his experimentation with etching. He reworked many of his etchings with ink and gouache; and in most cases, professionally printed impressions of his plates were not taken until after his death. O'Connor/Thaw 1071.
Estimate
$10,000 – $15,000
Frank stella
Untitled.
Oil with paper collage on found board, with vintage reproduction print verso, 1956. 862x635 mm; 34x25¼ inches. Signed and dated in oil, lower right recto.
The current early work, was made by Stella (born 1936) while a student at Princeton University. Stella had become acquainted with abstract art, and the work of Hans Hofmann and Josef Albers in particular, while attending high school at Phillips Academy in Andover, Massachusetts. Later on, while at Princeton University and through frequent trips to New York during the mid-1950s, he became influenced by the abstract expressionism of Jackson Pollock and Franz Kline.
According to a review in the Princeton Alumni Weekly, regarding an exhibition of Stella’s early work (“1958”: February 4, 2006-May 7, 2006, Arthur M. Sackler Museum, Harvard University Art Museums;May 26, 2006-August 20, 2006, The Menil Collection, Houston;September 16, 2006-December 31, 2006, Wexner Center for the Arts, Columbus) the author Mark F. Bernstein wrote, “Within 18 months of his graduation from Princeton, at a time in life when most of his classmates were sitting dully in law school classes or fumbling through their first jobs, Frank Stella [Princeton class of] ’58 was one of the most important artists in the world, a comet who exploded Abstract Expressionism in a series of black, almost brutally minimalist paintings that seemed, in the words of art historian Robert Rosenblum, to ‘close the door on what art could do.
When Stella first arrived in Princeton in 1954, the University’s art department did not offer any drawing classes, which Stella–who majored in history–says suited him fine, as he had little interest in taking them. The following year, William C. Seitz, later a curator at the Museum of Modern Art, began to offer a noncredit, free-form drawing course that met, for lack of any other space, in the architects’ work area at McCormick Hall. According to Darby Bannard [Princeton class of] ’56, a close friend of Stella’s and a noted abstract artist, the architecture students resented having to share their space with painters and would sometimes deface their work, leave wet paint on work stools, or scrawl signs asking, ‘Is this art?’
A year later, Stephen Greene was hired to teach Princeton’s first studio art class. Greene, Stella recalls, ‘Taught in the traditional method. You brought in a model, you draw the model, and after you do it for a while you can paint. But I was kind of an annoying student. I didn’t want to paint from the model. I just wanted to make paintings. So after a while [Greene] gave up and said, You’re incorrigible. Just go ahead and make the paintings and forget about an art class.’
Traditional, representational art bored Stella. ‘I just thought I was too far behind’ what was going on in modern art to waste time sketching, he says. [Willem] de Kooning and [Franz] Kline had been fighting Picasso for years to take older painting styles, such as Cubism, to a new level in which painting was entirely nonrepresentational and non-objective,’ Stella says. ‘All of the painting that had developed from 1945 to 1950 had been a tremendous struggle to get through that and [the abstract expressionists] had come out on the other side. I wanted to start on the other side. I didn’t want to have to fight a battle already won or lost.’“
Provenance: Gift from the artist to Sigurd G. Waaben, Princeton, a friend of the artist, as a wedding present, Waaben was a student at The Institute for Advanced Study, Princeton, at the time, and a hobbyist artist; thence by descent to current owner, private collection, New Jersey.
Estimate
$30,000 – $50,000
Franz kline
Untitled.
Oil on heavy cream wove paper, circa 1960. 110x245 mm; 4⅜x9⅝ inches. Signed in oil, lower left recto.
Provenance: Acquired directly from the artist, New York, by Dr. Gerald M. Edelman, Nobel Prize Laureate 1972; gifted by the above to the current owner, private collection, Sweden, 1989.
Estimate
$5,000 – $8,000
Vaclav vytlacil
Three figure studies.
Each watercolor and pencil on paper, 1966-68. 215x277 mm; 8½x11 inches. Each signed and dated in pencil, verso.
Provenance: Private collection, New Jersey.
Estimate
$1,500 – $2,500
Willem de kooning
Untitled (Litho #4).
Lithograph on Arches, 1966. 600x390 mm; 23¾x15½ inches, full margins. Edition of 50. Printed at Hollander’s Workshop, Inc., New York, with the blind stamp lower right. A very good, richly-inked impression of this scarce, early lithograph.
According to Graham, “The mid-1960s was when the Old Masters of Abstract Expressionism were just starting to make major prints in New York. The artist, his wife, and his new dealer, Xavier Fourcade, grew concerned that De Kooning [1904-1997] was entering the print market too quickly and with too many prints. Therefore, the seven completed editions [including the current work] went into storage while long-range commercial options were considered. When De Kooning and Fourcade finally decided to enter the print market in a serious manner, five years later, the decision was made to release only the new editions developed and published by Knoedler. As a result, these seven editions remained unsigned, unpublished and virtually unknown. The first printed reference to any of these seven prints, the most important lithographs he made between 1960 and 1970, did not appear until 1990.” Graham 42.
Provenance: The printer Irwin Hollander, New York, with his collection red ink stamp verso.
Estimate
$3,000 – $5,000
Willem de kooning
With Love.
Lithograph on Jeff Goodman paper, 1971. 285x245 mm; 11¼x9¾ inches, full margins. Signed, dated and numbered 12/40 in pencil, lower margin. Co-published by Hollander’s Workshop and Fourcade, New York, with the blind stamp lower right. A superb impression of this scarce lithograph. Graham 28.
Estimate
$3,000 – $5,000
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 large, scarce print with strong colors.
Estimate
$7,000 – $10,000
Willem de kooning
Untitled (Two Figures).
Offset lithograph on cream wove paper, 1973. 565x760 mm; 22¼x30 inches (sheet), full margins. Artist’s proof, aside from the edition of 100. Signed in ink, lower right, and inscribed “A/P” in pencil, lower left. Printed by Ives-Silliman, New Haven, with the blind stamp lower right. Published by Abrams Original Editions, New York. A very good impression of this scarce print.
Estimate
$5,000 – $8,000
Willem de kooning
The Devil at the Keyboard.
Lithograph on Arches, 1976. 910x635 mm; 36x25 inches (sheet), full margins. Artist’s proof printed in black, aside from the edition of 125 printed in colors. Signed and inscribed “a/p” in pencil, lower right. Published by the Rainbow Art Foundation, New York. A very good impression of this extremely scarce proof.
De Kooning (1904-1997) produced this work, an image of Thelonius Monk, for the Rainbow Art Foundation, New York, a group that was started by Jacob Lawrence, Romare Bearden, Bill Caldwell and de Kooning himself, to assist young, underprivileged artists.
Estimate
$2,500 – $3,500
Willem de kooning
The Devil at the Keyboard.
Color lithograph on cream wove Beckett paper, 1976. 780x635 mm; 30¾x25inches (sheet), full margins. The deluxe edition of 75, before letters. Signed and numbered 11/75 in pencil, lower margin. Published by the Rainbow Art Foundation, New York. A good impression of this scarce lithograph with strong colors.
De Kooning (1904-1997) produced this work, an image of Thelonius Monk, for the Rainbow Art Foundation, New York, a group that was started by Jacob Lawrence, Romare Bearden, Bill Caldwell and de Kooning himself, to assist young, underprivileged artists.
Estimate
$3,000 – $5,000
Willem de kooning
Poems by Frank O’Hara.
Portfolio with 17 lithographs on Japanese Kitakata appliqué on mould-made paper, 1988. 552x440 mm; 21¾x17½ inches (sheets), full margins, bound as issued. Edition of 550. With de Kooning’s authorized facsimile signature and numbered “29” in pencil on the colophon. Printed by Trestle Editions, New York. Published by The Limited Editions Club, New York. Original gilt-lettered black Morocco and cloth clamshell box. Very good impressions.
Estimate
$1,500 – $2,500
Adolph gottlieb
Figure Eight.
Screenprint on Arches, 1967. 460x610 mm; 18x24 inches, full margins. Signed, dated and numbered 14/75 in ink, lower margin. Published by Marlborough Graphics, Inc., New York. A very good impression of this scarce print. Associated American Artists 48.
Estimate
$2,000 – $3,000
Adolph gottlieb
Flurry.
Color screenprint on Arches, 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
Adolph gottlieb
Green Dream.
Color screenprint on Arches, 1969. 615x490 mm; 24¼x19¼ inches, full margins. Signed, dated and numbered 64/95 in pencil, lower margin. Published by Marlborough Graphics, Inc., New York. A very good, richly-inked impression. Associated American Artists 62.
Estimate
$3,000 – $5,000
Adolph gottlieb
Blues on Green.
Color screenprint on Arches, 1971. 603x454 mm; 23¾x 17⅞ inches, full margins. Printer’s proof, aside from the edition of 150. Signed, dated and “Printer’s proof” in pencil, lower margin. Published by Marlborough Graphics, Inc., New York. A very good impression with strong colors. Associated American Artists 71.
Estimate
$3,000 – $5,000
Adolph gottlieb
Crimson Ground.
Color screenprint on Arches, 1972. 610x483 mm; 24x19 inches, full margins. Signed, dated and numbered 140/150 in pencil, lower margin. Printed by Kelpra Studio, London, with the ink stamp verso. Published by Marlborough Graphics, Inc., New York. A brilliant, richly-inked impression with vibrant colors. Associated American Artists 73.
Estimate
$3,000 – $5,000
Adolph gottlieb
Chrome Green.
Color screenprint on Arches, 1972. 605x450 mm; 23⅞x17¾ inches, full margins. Signed, dated and 67/150 in pencil, lower margin. Published by Marlborough Graphics, Inc., New York. A very good impression with strong colors. Associated American Artists 75.
Estimate
$3,000 – $5,000
Adolph gottlieb
Green Foreground.
Color screenprint on Arches, 1972. 560x612 mm; 22x24¼ inches, full margins. Signed, dated and numbered 139/150 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 of this large print with strong colors. Associated American Artists 76.
Estimate
$3,000 – $5,000
Robert motherwell
Africa Suite #10.
Color screenprint on J. B. Green paper, 1970. 810x602 mm; 31⅞x23¾ inches, full margins. Initialed and numbered 143/150 in pencil, lower margin, and with the artist’s blind stamp lower right. Printed by Kelpra Studio, London, with the ink stamp verso. Published by Marlborough Graphics, Inc., New York. From the same-titled series. A very good impression. Belknap 49.
Estimate
$2,000 – $3,000
Robert motherwell
The Basque Suite #1.
Color screenprint on J. B. Green paper, 1970-71. 571x442 mm; 22½x17⅜ inches, full margins. Initialed and numbered 106/150 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
$4,000 – $6,000
Robert motherwell
The Basque Suite #7.
Color screenprint on J. B. Green paper, 1970-71. 571x442 mm; 22½x17⅜ inches, wide margins. Artist's proof, aside from the edition of 150. Initialed and inscribed "Artist's proof I" in pencil, lower margin. Printed by Kelpra Studio, London. Published by Marlborough Graphics, Inc., London. From the same-titled suite. A superb impression with strong colors. Belknap 56.
Estimate
$4,000 – $6,000
Robert motherwell
Red Sea I.
Color aquatint and lift-ground etching and aquatint on Arches Cover paper, 1976. 609x508 mm; 24x20 inches, full margins. Signed and numbered 8/100 in pencil, lower margin. Printed by Catherine Mosley at the artist’s studio, Greenwich. Published by Harry N. Abrams, Inc., New York. A superb impression with strong colors. Belknap 158.
Estimate
$10,000 – $15,000
Robert motherwell
Primal Sign VI (Moss).
Color aquatint and lift-ground etching on Arches cover paper, 1981. 597x423 mm; 23½x16⅝ inches, full margins. Initialed and numbered 3/32 in pencil, lower right. Printed by Catherine Mosley at the artist’s studio, Greenwich, with the artist’s blind stamp lower right. Published by Petersburg Press, New York. A very good impression with strong colors. Belknap 248.
Estimate
$3,000 – $5,000
Robert motherwell
Primal Sign V (Copper).
Color aquatint on Arches Cover, 1981. 597x423 mm; 23½x16⅝ inches, full margins. Initialed and numbered 15/28 in pencil, lower right. Printed by Catherine Mosley at the artist’s studio, Greenwich, with the artist’s blind stamp lower right. Published by Petersburg Press, New York. A very good, richly-inked impression of this scarce print. Belknap 247.
Estimate
$3,000 – $5,000
Robert motherwell
Untitled.
Color lithograph with embossing on Arches Cover paper, 1982. 762x572 mm; 30x22½ inches (sheet), full margins. One of 35 numbered artist’s proofs with Roman numerals, aside from the edition of 250. Signed and numbered XV/XXXV in pencil, lower right. Printed by Tyler Graphics, Ltd., Bedford, with the blind stamp lower right. Published by New York Graphic Society, Greenwich. From New York Portfolio. A very good impression. Belknap 260.
Estimate
$1,500 – $2,500
Robert motherwell
Untitled (A).
Color lithograph on Rives BFK, 1984. 506x350 mm; 20x13¾ inches (sheet), full margins. One of 10 numbered artist’s proofs, aside from the edition of 120. Initialed and inscribed “ap I” in red pencil, lower right. Printed by Roger Campbell and Lee Funderburg, Tyler Graphics, Ltd., Mount Kisco, with the blind stamp lower right. Published by the Ministerio de Cultura, Barcelona. From Declaracion Universal de Derechos Humanos. A very good impression with strong colors.
Declaracion Universal de Derechos Humanos was commissioned by the Spanish government to commemorate the 500th birthday of Fray Bartolomé De Las Casas (1484-1566), the Spanish bishop and social reformer. The portfolio also included prints by Antoni Tàpies, Rufino Tamayo, José Guerrero, Antoni Clavé, Eduardo Chillida, Antonio Saura, Julio Le Parc, and Rafael Canogar. Belknap 320.
Estimate
$1,500 – $2,500
Robert motherwell
Octavio Paz, Three Poems.
Portfolio with complete text and 27 color lithographs printed on Japan collé on mould-made paper, 1987. 545x455 mm; 21½x17⅞ inches (sheets), full margins, bound as issued. Edition of 750. Signed by Motherwell and Paz and numbered “7” in pencil, on the colophon. Printed by Trestle Editions, New York. Published by The Limited Editions Club, New York. Original linen portfolio cover and box. Very good impressions.
Motherwell (1915-1991) and Paz (1914-1998) were close friends and often dedicated works to each other. This collaboration arose from a visit by Motherwell to Mexico in 1967, having already sojourned there in 1941. The portfolio was first published in 1981-82. The current edition comprises text in Spanish and English printed in two colors. Belknap 354-380.
Estimate
$2,000 – $3,000
Robert motherwell
Black Cathedral.
Color lithograph with hand coloring using light orange and orange pulps and orange-red dye applied to a white pulp base sheet on TGL handmade paper, 1991. 1702x1626 mm; 67x47 inches, full margins. Initialed and numbered 16/40 in pencil, lower left. Printed and published by Tyler Graphics, Ltd., Mount Kisco, New York, with the blind stamp. A very good impression of this large lithograph with vibrant colors.
This print is based on Untitled, a collage from 1977, which was part of a small series of works Motherwell (1915-1991) referred to as “Cathedrals.” Tyler RM 95.
Estimate
$10,000 – $15,000
Grace hartigan
This So-Called Angel.
Color screenprint on Hahnemühle paper, 1960. 440x357 mm; 17½x14¼ inches, full margins. The deluxe edition of 23, aside from the book edition of 200. Signed, dated “61”, inscribed “Special Edition” and numbered 5/23 in pencil, lower margin. Published by Tiber Press, New York. A superb, richly-inked impression with strong colors.
Hartigan (1922-2008) was among the foremost female artists of the Abstract Expressionists–along with Joan Mitchell and Helen Frankenthaler–and a centerpiece of the New York school that included friends Jackson Pollock, Larry Rivers, Frankenthaler, Willem and Elaine de Kooning and Franz Kline. She was the only woman artist in The MoMA’s seminal 1958-59 exhibition “The New American Painting” which visited eight European countries over the course of a year, showcasing 17 different American artists and altering European perception of American art.
During the 1960s, she relocated to Baltimore and, from 1965, worked at the Maryland Institute College of Art (MICA), where she was the director of the Hoffberger Graduate School of Painting.
Hartigan produced this and several other color screenprints to accompany three poems written by James Schuyler in 1960 and published in an illustrated volume by Tiber Press, New York. Each image was titled with a phrase from a poem that emphasized Hartigan’s inspiration in the visual quality of the poem’s imagery.
Estimate
$4,000 – $6,000
Grace hartigan
Canal to the Sky.
Color screenprint on Hahnemühle paper, 1960. 440x357 mm; 17½x14¼ inches, full margins. The deluxe edition of 22, aside from the book edition of 200. Signed, dated “61”, inscribed “Special Edition” and numbered 5/22 in pencil, lower margin. Published by Tiber Press, New York. A superb, richly-inked impression with strong colors.
Hartigan (1922-2008) was among the foremost female artists of the Abstract Expressionists–along with Joan Mitchell and Helen Frankenthaler–and a centerpiece of the New York school that included friends Jackson Pollock, Larry Rivers, Frankenthaler, Willem and Elaine de Kooning and Franz Kline. She was the only woman artist in the MoMA’s seminal 1958-59 exhibition “The New American Painting” which visited eight European countries over the course of a year, showcasing 17 different American artists and altering European perception of American art.
During the 1960s, she relocated to Baltimore and, from 1965, worked at the Maryland Institute College of Art (MICA), where she was the director of the Hoffberger Graduate School of Painting.
Hartigan produced this and several other color screenprints to accompany three poems written by James Schuyler in 1960 and published in an illustrated volume by Tiber Press, New York. Each image was titled with a phrase from a poem that emphasized Hartigan’s inspiration in the visual quality of the poem’s imagery.
Estimate
$4,000 – $6,000
Michael goldberg
Two color screenprints from Odes by Frank O’Hara.
Title Page, 1961. 460x366 mm; 18x14⅜ inches (sheet), full margins. Signed, dated, inscribed “Special Edition” and numbered 8/14 in pencil, lower margin. Printed and published by Tiber Press, New York, with the text verso * Untitled, 1961. 445x368 mm; 17½x14½ inches (sheet), full margins. Trial proof, aside from the edition of 200. Printed and published by Tiber Press, New York. Both very good impressions with strong colors.
Estimate
$1,500 – $2,500
Michael goldberg
Untitled.
Oil and paper collage on paper mounted on artist’s board, 1963. 320x290 mm; 12½x11⅜ inches. Signed in pencil, lower right recto, and signed, dated, and partially inscribed “Still Life” in oil, verso.
Provenance: Private collection, Massachusetts.
Estimate
$3,000 – $5,000
Tiber press
The Poems * Salute * Odes * Permanently.
Group of 4 volumes, each with 3 color screenprints hors texte, color screenprint title page and color screenprint front cover on Hahnemühle paper, 1960. 445x355 mm; 17⅝x14 inches (sheets), bound as issued. Each an edition of 200. Each signed by the artist and author in ink and numbered “174” 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
Joan mitchell
Sunflower II.
Color aquatint and etching on Arches, 1972. 355x237 mm; 14¼x9½ inches, full margins. Editon of 60. Signed in pencil, lower right. Printed and published by Maeght, Paris. A superb, richly-inked impression of this very scarce etching.
Estimate
$5,000 – $8,000
Joan mitchell
Sunflower VI.
Color aquatint and etching on Arches, 1972. 592x495 mm; 23⅜x19½ inches, full margins. Signed and numbered 31/75 in pencil, lower margin. Printed and published by Maeght, Paris. A superb, richly-inked impression of this very scarce etching with strong colors.
Estimate
$7,000 – $10,000
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. FromBedford Series. A superb impression with strong colors. Tyler 363.
Estimate
$18,000 – $22,000
Helen frankenthaler
Yellow Jack.
Color lithograph and stencil on White Arches Cover paper, 1987. 762x965 mm; 30x38 inches, full margins. Signed, dated “‘85-‘87” and numbered 51/54 in pencil, lower margin. Printed and published by Tyler Graphics, Ltd., Mount Kisco, with the blind stamp lower right. A very good impression of this large lithograph with strong colors. Harrison 137.
Estimate
$7,000 – $10,000
Helen frankenthaler
Solar Imp.
Color screenprint on Somerset Textured Rag wove paper, 2001. 1000x760 mm; 39⅜x29⅞ inches, full margins. Signed and numbered 96/126 in pencil, lower left. Printed by Brand X Editions, Ltd., New York. Co-published by Lincoln Center for the Performing Arts, New York, and List Poster and Print Program, New York. A superb impression with vibrant colors.
This color screenprint by Frankenthaler (1928-2011) is based on her same titled acrylic on paper from 1995 (see: https://www.frankenthalerfoundation.org/artworks/solar-imp/details/all).
Estimate
$12,000 – $18,000
Lee bontecou
Silkscreen.
Screenprint on muslin mounted on illustration board, 1967. 355x330 mm; 14x13 inches, full margins. Edition of 200. Signed in pencil, lower right. Published by Tanglewood Press, Inc., New York. From Ten from Leo Castelli. A very good impression.
Bontecou (born 1931) is an American sculptor and printmaker originally from Providence, Rhode Island. She was exposed to construction and assembly by her parents who both worked in war implements manufacturing. From a young age, Bontecou expressed an interest in drawing and sculpture and after studying academic painting at the Art Students League, New York, from 1952 to 1955, with artists such as George Grosz (1893-1959) and William Zorach (1887-1966), Bontecou discovered her passion for sculpture. She spent two years in Rome in the late 1950s on a Fulbright Scholarship, where she delved deeper into sculpture and began welding. She also developed a novel technique using an acetylene torch to create large drawings made of soot, which she called “worldscapes.”
On her return to New York, Bontecou began creating mounted abstract wall sculptures, for which she gained acclaim. Leo Castelli organized her first solo exhibition at his gallery in 1960, and the Whitney Museum of American Art, New York, bought one of her works the following year. The art critic and philosopher Arthur Danto described Bontecou’s work as lying “at the intersection of magnified insects, battle masks, and armored chariots.” Her sculptures from the 1960s, which she is best known for, impart an organic and mechanistic sensibility that conjure fear and terror of the unknown and the inexpressible. Field 12.
Estimate
$2,500 – $3,500
Lee bontecou
Tenth Stone.
Lithograph on Rives BFK, 1968. 960x570 mm; 37¾x22½ inches, full margins. Signed, dated and numbered 11-33 in pencil, lower right. Printed and published by ULAE, West Islip, with the blind stamp lower left. A very good impression.
According to Sparks, “Tenth Stone combines two things Bontecou [born 1931] admired, flowers and airplane wings, in an image that symbolized her fears for the future of the planet. Using the same fantasy–flowers in gas masks–she created similar sculptures in wood and plastic as well as a series of drawings. The lithographic ink in this print has the iridescent quality of silverpoint.” Sparks 24.
Estimate
$1,200 – $1,800
Lee bontecou
Untitled Etching (Wish Well).
Color etching and aquatint on Flax handmade paper, 1967. 667x436 mm; 26¼x17⅛ inches, full margins. Signed, dated and numbered “123-144” in pencil, lower margin. Printed and published by ULAE, West Islip. A very good impression. Sparks 10.
Estimate
$1,500 – $2,500
John chamberlain
Untitled.
Steel, 1954. 229x200x760 mm; 9x8x3 inches.
Provenance: Gifted by the artist to Joel Oppenheimer and Rena Rosequist, 1956; thence by descent to current owner, private collection, New York.
Published Julie Sylvester, John Chamberlain: A Catalogue Raisonné of the Sculpture 1954-1985, 1986, page 44, number 3 (illustrated).
According to Sylvester, this sculpture was made by Chamberlain (1927-2011) very early in his career in Chicago; it is his first sculpture made from steel rods.
Rena Rosequist (born Rena Furlong, 1931-2019) was born in Hickory, North Carolina and attended the Women’s College of the University of North Carolina, where she was exposed to the work of young modern artists, like Jackson Pollock (1912-1956). After graduation, she attended the progressive Black Mountain College and continued her studies in art and art history. During her time at Black Mountain College, Rosequist met her first husband, poet Joel Oppenheimer (1930-1988), who attended until 1953. By 1955, Chamberlain (1927-2011) had followed friend and fellow artist, Gerry van de Wiele (born 1932) from the Art Institute of Chicago to Black Mountain College, where Chamberlain would meet Rosequist (Chamberlain attended Black Mountain College from 1955 to 1956). Eventually Oppenheimer, Rosequist, and Chamberlain migrated to New York, and though Oppenheimer and Rosequist divorced by 1960, Rosequist and the itinerant Chamberlain kept in touch. Rosequist moved to Taos, New Mexico and operated Mission Gallery with her second husband, Ivan Rosequist from 1962 to 2017.
According to Gagosian Gallery, New York, which has represented the estate of John Chamberlain, “In the mid-1940s Chamberlain spent nearly three years aboard an aircraft carrier while serving in the US Navy. Traveling through the Pacific, Mediterranean, and Atlantic greatly influenced his sense of scale and viewpoint. Following his return to the United States, he studied at the Art Institute of Chicago (1951–52) and then at Black Mountain College in North Carolina (1955–56), where he fostered a keen appreciation for poetry and began to consider language as an integral part of his aesthetic approach.
Chamberlain moved to New York in 1956 and the following year made Shortstop, his first sculpture incorporating automobile parts. He continued to use this material, revealing the seemingly infinite formal potential of the shining chrome, flaking paint, hard edges, and voluminous folds. In 1961 his innovations led to his inclusion in the ‘Art of Assemblage’ at New York’s Museum of Modern Art, where his sculptures were shown alongside Futurist, Surrealist, and Cubist works.
At the end of the 1960s Chamberlain began to incorporate galvanized steel, urethane foam, and mineral-coated Plexiglas into his work. Despite the physical differences of these materials, Chamberlain was consistent in his approach, constantly searching for the right ‘fit’ and rearranging compositions until they ‘locked into place.
Chamberlain returned to the nearly exclusive use of automobile parts in the mid-1970s, expanding his technique by cutting and painting the metal. Seeking a larger studio space with higher ceilings where he could expand the scale of his work, he moved from New York to Sarasota, Florida, in 1980. There he made the Gondolas (1981–82), long, low works often displayed in pairs or groups on the floor, like abstracted boats floating in a row. For the Giraffe series (1982–83), he sandblasted painted car metal, removing the color in patterned, linear strips to reveal the raw surface beneath.
Chamberlain is considered among the most important and influential 20th century sculptors, his dynamic work blends Abstract Expressionism, Pop Art and Minimalism, and can be found in public collections worldwide, including the Centre Pompidou, Paris; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Moderna Museet, Stockholm; the Solomon R. Guggenheim Museum, New York; Tate Modern, London; the Whitney Museum of American Art, New York; and the Museum of Modern Art, New York.
Estimate
$70,000 – $100,000
John chamberlain
Welding III.
Color lithograph on cream wove paper, 1978. 816x603 mm; 32¼x23¾ inches, full margins. Signed, dated and numbered 26/27 in pencil, lower margin. Published by Topaz Editions, Inc., Tampa, with the blind stamp lower left. A very good impression of this scarce lithograph.
Estimate
$1,200 – $1,800
John chamberlain
Flashback III.
Color screenprint on Rives BFK, 1981. 490x380 mm; 19¼x15 inches, full margins. Signed and numbered 40/175 in pencil, lower margin. Published by London Arts, Inc., Detroit, with the blind stamp lower left. From the same-titled portfolio. A very good impression with strong colors.
Estimate
$1,500 – $2,500
John chamberlain
As You Were.
Pen and brush and color and metallic inks on smooth wove paper, 1984. 278x192 mm; 11x7½ inches. Signed, dated, inscribed and dedicated to “RR”, Rena Rosequist in pencil, lower sheet edge.
Provenance: Gifted by the artist to Rena Rosequist, 1984; thence by descent to current owner, private collection, New York.
Rena Rosequist (born Rena Furlong, 1931-2019) was born in Hickory, North Carolina and attended the Women’s College of the University of North Carolina, where she was exposed to the work of young modern artists, like Jackson Pollock (1912-1956). After graduation, she attended the progressive Black Mountain College and continued her studies in art and art history. During her time at Black Mountain College, Rosequist met her first husband, poet Joel Oppenheimer (1930-1988), who attended until 1953. By 1955, Chamberlain (1927-2011) had followed friend and fellow artist, Gerry van de Wiele (born 1932) from the Art Institute of Chicago to Black Mountain College, where Chamberlain would meet Rosequist. Eventually Oppenheimer, Rosequist, and Chamberlain migrated to New York, and though Oppenheimer and Rosequist divorced by 1960, Rosequist and the itinerant Chamberlain kept in touch. Rosequist moved to Taos, New Mexico and operated Mission Gallery with her second husband, Ivan Rosequist from 1962 to 2017.
Estimate
$3,000 – $5,000
John von wicht
Untitled.
Oil, gouache and color crayons on paper, circa 1960. 217x278 mm; 8½x11 inches. Signed in pencil, lower right recto.
Von Wicht (1888-1970) was born in Germany and studied at the Bauhaus in Weimar. He immigrated to the United States in the 1930s, settling in New York and working under the auspices of the Works Progress Administration alongside artists such as Stuart Davis (1892-1964) and Byron Browne (1907-1961). By the 1940s, von Wicht was among the first wave of New York-based artists to embrace Abstract Expressionism, to which he adhered throughout the remainder of his career.
Provenance: Private collection, Chicago.
Estimate
$1,200 – $1,800
John von wicht
Lyrical and Calm.
Oil on Japan paper, 1963. 587x763 mm; 23x30 inches. Signed in pencil, lower right recto.
Von Wicht (1888-1970) was born in Germany and studied at the Bauhaus in Weimar. He immigrated to the United States in the 1930s, settling in New York and working under the auspices of the Works Progress Administration alongside artists such as Stuart Davis (1892-1964) and Byron Browne (1907-1961). By the 1940s, von Wicht was among the first wave of New York-based artists to embrace Abstract Expressionism, to which he adhered throughout the remainder of his career.
Provenance: Private collection, Chicago.
Estimate
$2,000 – $3,000
Sam francis
Affiche Kunsthalle Bern.
Color lithograph on Rives BFK, 1960. 850x635 mm; 33½x25 inches, full margins. Artist’s proof, aside from the edition of 100. Signed and inscribed “ea” in pencil, lower margin. Printed by Emil Matthieu, Zurich. Published by Kornfeld and Klipstein, Bern. A very good impression of this scarce, early lithograph with vibrant colors. Lembark 5.
Estimate
$2,500 – $3,500
Sam francis
Untitled.
Color lithograph on PTI #120 Waterleaf paper, 1989. 1149x740 mm; 45¼x29½ inches (sheet), full margins. Signed and numbered 3/50 in pencil, lower left. Printed and published by The Litho Shop, Inc., Santa Monica, with the blind stamp lower left. A very good impression of this large lithograph with vibrant colors. Lembark 281.
Estimate
$6,000 – $9,000
Emerson woelffer
Untitled.
Oil on paper, 1973. 575x443 mm; 22¾x17½ inches. Signed and dated in pencil, lower right recto.
Woelffer (1914-2003) was a leading California Abstract Expressionist painter-printmaker. He was active on the East Coast during the late 1940s and early 1950s, teaching at Black Mountain College, Asheville, North Carolina, where fellow artists like Jacob Lawrence, Willem de Kooning, Robert Motherwell and John Cage also taught, and exhibiting frequently in New York.
Provenance: Private collection, Chicago.
Estimate
$3,000 – $5,000
Rex ashlock
Untitled.
Gouache on cream wove paper, 1963. 725x570 mm; 28½x22½ inches. Dated in pencil, verso.
Provenance: The Rex Ashlock Trust, with the black ink stamp on the frame back; private collection, New Jersey.
Estimate
$1,000 – $1,500
Esteban vicente
East End.
Color screenprint on wove paper, circa 1970. 727x533 mm; 26⅝x21 inches, full margins. Signed, titled and numbered 85/90 in pencil, lower margin. A sduperb impression with vibrant colors.
Vicente (1903-2001) was born in Spain and trained as a sculptor in Madrid. He and his wife Estelle Charney, an American he met in Paris, fled war-torn Spain in 1936 for America, settling initially in Philadelphia, where he worked as an ambassador to the US for the Loyalist Spanish Government, and then from the late 1930s onward in New York.
Vicente was one of the first generation of New York School Abstract Expressionists and associated closely with Jackson Pollock, Willem de Kooning and Mark Rothko. He and and his third wife Harriet Peters, whom he married in 1961, first came to the East End of Long Island in 1963, whence the title of the current work, and the next year bought an old farmhouse on Montauk Highway in Bridgehampton where they lived for nearly 40 years.
Estimate
$1,500 – $2,500
James brooks
Concord.
Color screenprint on wove paper, 1975. 715x520 mm; 28¼x20¼ inches, full margins. Signed, dated and numbered 22/200 in pencil, lower margin. Printed by Styria Studio, Inc., New York, with the blind stamp lower right. Published by APC Editions, New York. From America: The Third Century. A very good impression with strong colors.
Estimate
$1,200 – $1,800
Cleve gray
Untitled.
Color aquatint on white wove Fabriano paper, 1981. 540x752 mm; 21¼x29⅝ inches, full margins. Artist’s proof, aside from the edition of 35. Signed and inscribed “artist’s proof” in pencil, lower margin. A very good impression of this large, scarce print, with strong colors.
Estimate
$1,500 – $2,500
Mercedes matter
Abstract Composition.
Color pastels on cream wove paper. 235x310 mm; 9¼ inches.
Provenance: The 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
$3,000 – $5,000
Mercedes matter
Figure Studies.
Charcoal on cream wove paper. 430x355 mm; 14x14 inches.
Provenance: The 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
$1,500 – $2,500
Mercedes matter
Figure Study.
Charcoal on cream wove paper. 405x505 mm; 16x20 inches.
Provenance: The 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
$1,500 – $2,500
Mercedes matter
Untitled (Landscape).
Oil on board. 442x545 mm; 17½x21½ inches.
Provenance: The 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
$7,000 – $10,000
Elaine de kooning
Untitled (Lascaux Series).
Color lithograph, 1984. 570x710 mm; 22⅜x28 inches (sheet), full margins. One of 26 impressions given to Mount Holyoke College for a fundraiser, from a total edition of 150. Signed, dated, numbered VIII and inscribed “M.H.C.” in pencil, lower left. Printed by John Hutcheson, Mount Holyoke College Printmaking Workshop, and published by Mount Holyoke College, South Hadley, Massachusetts. From the same-titled series. A very good impression.
Estimate
$1,500 – $2,500
Reuben nakian
Satyr and Nymph.
Terra cotta sculpture, circa 1975. 220x220x105 mm; 8¾x8¾x4¼ inches. With the artist’s signature incised on the verso.
Nakian (1897-1986) often depicted classical mythology in his abstracted sculptures, and returned to themes such as Leda and the Swan and Europa and the Bull repeatedly. He met and befriended painters Arshile Gorky and Willem de Kooning in the 1930s and Marsden Hartley and Marcel Duchamp in the 1940s. The famous poet, Frank O’Hara was the curator of a major Nakian retrospective at The Museum of Modern Art, New York, in 1966 (where the artist was also exhibited in 1930). In the exhibition catalogue, O’Hara noted: “Nakian is unrepressed, un-neurotic, unabashed in his approach to sensuality, however tortuous his esthetic commitment, and whether his subject be death, bestiality, or Arcadian dalliance. This explicitness gives the Nymph and Satyr plaques a marvelous joy and ease, the Europa terra-cottas a voluptuous dignity, and the Leda and the Swan drawings an almost comic abandon. Unlike most sexually oriented images in modern art, from Auguste Rodin to Andy Warhol, one finds no guilt or masochism in a Nakian. It is outgoing and athletic even in its releases and defeats: the satyr, the bull, the swan, the goat are each circumvented or absorbed by the goddess of his choice in the most choice of circumstances, that of his own choosing, like the amorous ‘dying’ of the Elizabethans or the Metamorphoses of Ovid.”
Estimate
$1,500 – $2,500
Nell blaine
Two color linoleum cuts.
Untitled. 227x178 mm; 9x7 inches, full margins. Signed and dated in ink, lower left * Untitled. 150x205 mm; 6x8 inches, full margins. Signed in ink, lower right. Both 1947. Both an edition of 300. Published by Tibor de Nagy Gallery, New York. From Poems. Very good impressions of these scarce, early prints.
Provenance: The artist, New York; Dilys Evans, New York; thence by descent to the current owner, private collection, New Mexico.
Blaine (1922-1996) became the youngest member of the American Abstract Artists group in 1944 at the age of 22. Known for creating colorful works in a carefree, lighthearted manner and her strong personality, she thrived in the New York art scene of the 1940s.
Poems was the first published book of poetry by Kenneth Koch and included seven poems employing the technique of literary Surrealism that sparked critical debate over his work. The poems were accompanied by nine prints by Blaine.
Estimate
$1,000 – $1,500
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
$1,500 – $2,500
Dorothy dehner
Untitled.
Color lithograph on white Arches Cover paper, 1971. 546x679 mm; 21½x26¾ inches, full margins. Signed and numbered 12/20 in pencil, verso. Printed and published by the Tamarind Institute, Albuquerque, with the ink stamps and Tamarind number “71-103” in pencil, verso. A superb impression of this extremely scarce lithograph with strong colors.
Dehner (1901-1994) initially came to New York by way of California, to pursue acting and dance, which she studied at the University of California, Los Angeles. She enrolled at the American Academy of Art in New York, but her travels in 1925 throughout Europe, where she saw works by Picasso and Matisse, convinced her to change course and pursue a career as an artist. She studied for several years at the Art Students League and there met the American modernist sculptor David Smith, whom she married in 1940. Similar to his interests, she explored more progressive art forms, adhering to abstract and cubist tendencies rather than simply representational imagery.
The couple moved to Bolton Landing, a farm outside New York City, where, unfortunately, Dehner’s art was secondary to her duties as a wife (Her painting Life on the Farm serves as a psychological reflection of the mundanity then). The couple separated in 1950 and divorced two years later. Dehner resumed her career as an artist, studying printmaking at Atelier 17 and returning to her much beloved medium of sculpture.
Estimate
$2,000 – $3,000
James rosati
Delphi III.
Bronze, 1960-61. Edition 2/3. With the artist's initial at the lower edge. Cast by Modern Art Foundry, New York.
Provenance: Otto Gerson Gallery, New York; thence to Marlborough.
Exhibited: "James Rosati," Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, Kansas, 1985; "James Rosati: Sculptures, Reliefs, and Drawings 1955-88," Marlborough Gallery, New York, March 3- 26, 1988, number 12; "James Rosati Selected Works: 1958-1988," Marlborough Gallery, New York, February 16- March 13, 1999, number 3.
Rosati (1911-1988), was an American sculptor mainly associated with Abtract Expressionism and is perhaps best known for his sculptures in stone from the 1960s, and the 1972 stainless steel Ideogram that stood over 23-feet tall on the plaza between the two towers of the World Trade Center in New York.
Estimate
$5,000 – $8,000
Louise nevelson
Purple Composition (Composition for the Inauguration of the Centre Georges Pompidou).
Color screenprint on Arches, 1973. 810x510 mm; 31¾x20¼ inches, full margins. Signed and numbered 28/150 in pencil, lower margin. Published by the Centre National d’Art et de Culture Georges-Pompidou, Paris. A very good impression.
Estimate
$1,500 – $2,500
Louise nevelson
Untitled.
Color screenprint on cream wove paper, 1974. 651x410 mm; 25⅝x16⅛ inches, full margins. Signed, dated and numbered 74/90 in pencil, lower margin. Printed by Maurel Studios, New York. Published by Propyläen-Verlag, Berlin. From Homage to Picasso. A very good impression with strong colors.
Estimate
$1,500 – $2,500
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 large, scarce print.
Estimate
$1,500 – $2,500
Louise nevelson
Celebration #3.
Color aquatint, 1979. 985x690 mm; 38¾x27¼ inches, full margins. Signed, dated and numbered 12/50 in pencil, lower margin. Published by Pace Editions, Inc., New York. A superb impression with strong colors.
Estimate
$2,500 – $3,500
Lee krasner
Free Space (Green).
Color screenprint and collage on Arches, 1975. 494x660 mm; 19½x26 inches (sheet), full margins. The deluxe edition of 50 with collage and numbered in Roman numerals, aside from the regular edition of 175. Signed and numbered XVI/L in pencil, lower center. Printed by Chiron Press, New York. Published by Transworld Art, New York, with the red ink stamp verso. A very good impression with vibrant colors.
Krasner’s (1908-1984) life and work is infrequently mentioned absent her famous husband Jackson Pollock’s (1912-1956) influence, though history has come to recognize her contribution to the Abstract Expressionist movement and her strength as an independent artist separate from her connection to Pollock.
Krasner (1908-1984) was born in New York to a Russian Orthodox Jewish family. Her formal art training included instruction with Hans Hofmann, perhaps one of the earliest and most influential Abstract Expressionist painters. Hofmann’s use of bold color to portray meaning and spirituality and the tension he created by manipulating spatial relations and fragmentation became driving influences through Krasner’s career. During the 1930s, Krasner supported herself on commissions from the Works Progress Administration’s Federal Art Project. Unfulfilled by her work on figurative images for murals, Krasner continued to work on abstract work independently.
Krasner was already an established artist and a founding member of the American Abstract Artists collective by the time she married Pollock in 1945. She had maintained that even if she had not married Pollock, she still would have been influenced by his work, like so many other artists. She had in fact introduced Pollock to many key figures within the New York art scene, including the Willem and Elaine de Kooning and the critic Clement Greenberg. She also encouraged and inspired his most cutting-edge works.
After moving with Pollock to the Springs, East Hampton, Long Island, in November 1945 Krasner developed her Little Image paintings. These critically acclaimed paintings combined ancient hieroglyphics, paint splatters and heavy impasto. Though she received favorable reviews, Krasner was her own worst critic, her experiments with new materials and techniques that did not meet her own high standards were destroyed. She then created collages from these destroyed works and from scraps of her husband’s canvases, often tearing the sheets to create improvised shapes and rough edges. After Pollock’s accidental death in 1956, Krasner appropriated his studio and began painting large-scale works in a fierce and aggressive style. She continued to constantly innovate and evolve, never fixed to a single medium or style.
A collage-inspired, expressionist work offsetting different textures and edges, Free Space plays with organic shapes and the intersection of positive and negative space. The title recalls the open nature of the frontier and escape, ideas incorporated by her early teacher Hofmann and strengthened by her experience living in then rural Springs, Long Island. Free Space was created during the height of the first Women’s Movement when Krasner’s career was finally being recognized outside of the familiar “Mrs. Pollock” lens. Williams 21.
Estimate
$5,000 – $8,000
Lee krasner
Free Space (Yellow).
Color screenprint and collage on Arches, 1975. 494x660 mm; 19½x26 inches (sheet), full margins. The deluxe edition of 50 with collage and numbered in Roman numerals, aside from the regular edition of 175. Signed and numbered XXVII/L in pencil, lower center. Printed by Chiron Press, New York. Published by Transworld Art, New York, with the red ink stamp verso. A very good impression with vibrant colors.
Krasner’s (1908-1984) life and work is infrequently mentioned absent her famous husband Jackson Pollock’s (1912-1956) influence, though history has come to recognize her contribution to the Abstract Expressionist movement and her strength as an independent artist separate from her connection to Pollock.
Krasner (1908-1984) was born in New York to a Russian Orthodox Jewish family. Her formal art training included instruction with Hans Hofmann, perhaps one of the earliest and most influential Abstract Expressionist painters. Hofmann’s use of bold color to portray meaning and spirituality and the tension he created by manipulating spatial relations and fragmentation became driving influences through Krasner’s career. During the 1930s, Krasner supported herself on commissions from the Works Progress Administration’s Federal Art Project. Unfulfilled by her work on figurative images for murals, Krasner continued to work on abstract work independently.
Krasner was already an established artist and a founding member of the American Abstract Artists collective by the time she married Pollock in 1945. She had maintained that even if she had not married Pollock, she still would have been influenced by his work, like so many other artists. She had in fact introduced Pollock to many key figures within the New York art scene, including the Willem and Elaine de Kooning and the critic Clement Greenberg. She also encouraged and inspired his most cutting-edge works.
After moving with Pollock to the Springs, East Hampton, Long Island, in November 1945 Krasner developed her Little Image paintings. These critically acclaimed paintings combined ancient hieroglyphics, paint splatters and heavy impasto. Though she received favorable reviews, Krasner was her own worst critic, her experiments with new materials and techniques that did not meet her own high standards were destroyed. She then created collages from these destroyed works and from scraps of her husband’s canvases, often tearing the sheets to create improvised shapes and rough edges. After Pollock’s accidental death in 1956, Krasner appropriated his studio and began painting large-scale works in a fierce and aggressive style. She continued to constantly innovate and evolve, never fixed to a single medium or style.
A collage-inspired, expressionist work offsetting different textures and edges, Free Space plays with organic shapes and the intersection of positive and negative space. The title recalls the open nature of the frontier and escape, ideas incorporated by her early teacher Hofmann and strengthened by her experience living in then rural Springs, Long Island. Free Space was created during the height of the first Women’s Movement when Krasner’s career was finally being recognized outside of the familiar “Mrs. Pollock” lens. Williams 22.
Estimate
$5,000 – $8,000
Lee krasner
Free Space (Pink).
Color screenprint and collage on Arches, 1975. 494x660 mm; 19½x26 inches (sheet), full margins. One of 25 numbered hors commerce impressions, aside from the regular edition of 175. Signed, inscribed "H.C." and numbered 7/25 in pencil, lower center. Printed by Chiron Press, New York. Published by Transworld Art, New York, with the red ink stamp verso. A very good impression with vibrant colors.
Krasner's (1908-1984) life and work is infrequently mentioned absent her famous husband Jackson Pollock's (1912-1956) influence, though history has come to recognize her contribution to the Abstract Expressionist movement and her strength as an independent artist separate from her connection to Pollock.
Krasner (1908-1984) was born in New York to a Russian Orthodox Jewish family. Her formal art training included instruction with Hans Hofmann, perhaps one of the earliest and most influential Abstract Expressionist painters. Hofmann's use of bold color to portray meaning and spirituality and the tension he created by manipulating spatial relations and fragmentation became driving influences through Krasner's career. During the 1930s, Krasner supported herself on commissions from the Works Progress Administration's Federal Art Project. Unfulfilled by her work on figurative images for murals, Krasner continued to work on abstract work independently.
Krasner was already an established artist and a founding member of the American Abstract Artists collective by the time she married Pollock in 1945. She had maintained that even if she had not married Pollock, she still would have been influenced by his work, like so many other artists. She had in fact introduced Pollock to many key figures within the New York art scene, including the Willem and Elaine de Kooning and the critic Clement Greenberg. She also encouraged and inspired his most cutting-edge works.
After moving with Pollock to the Springs, East Hampton, Long Island, in November 1945 Krasner developed her Little Image paintings. These critically acclaimed paintings combined ancient hieroglyphics, paint splatters and heavy impasto. Though she received favorable reviews, Krasner was her own worst critic, her experiments with new materials and techniques that did not meet her own high standards were destroyed. She then created collages from these destroyed works and from scraps of her husband's canvases, often tearing the sheets to create improvised shapes and rough edges. After Pollock's accidental death in 1956, Krasner appropriated his studio and began painting large-scale works in a fierce and aggressive style. She continued to constantly innovate and evolve, never fixed to a single medium or style.
A collage-inspired, expressionist work offsetting different textures and edges, Free Space plays with organic shapes and the intersection of positive and negative space. The title recalls the open nature of the frontier and escape, ideas incorporated by her early teacher Hofmann and strengthened by her experience living in then rural Springs, Long Island. Free Space was created during the height of the first Women's Movement when Krasner's career was finally being recognized outside of the familiar "Mrs. Pollock" lens. Williams 23.
Estimate
$5,000 – $8,000
Lee krasner
Free Space (Green).
Color screenprint and collage on Arches, 1975. 494x660 mm; 19½x26 inches (sheet), full margins. One of 25 numbered hors commerce impressions, aside from the regular edition of 175. Signed, inscribed "H.C." and numbered 1/25 in pencil, lower center. Printed by Chiron Press, New York. Published by Transworld Art, New York, with the red ink stamp verso. A very good impression with vibrant colors.
Krasner's (1908-1984) life and work is infrequently mentioned absent her famous husband Jackson Pollock's (1912-1956) influence, though history has come to recognize her contribution to the Abstract Expressionist movement and her strength as an independent artist separate from her connection to Pollock.
Krasner (1908-1984) was born in New York to a Russian Orthodox Jewish family. Her formal art training included instruction with Hans Hofmann, perhaps one of the earliest and most influential Abstract Expressionist painters. Hofmann's use of bold color to portray meaning and spirituality and the tension he created by manipulating spatial relations and fragmentation became driving influences through Krasner's career. During the 1930s, Krasner supported herself on commissions from the Works Progress Administration's Federal Art Project. Unfulfilled by her work on figurative images for murals, Krasner continued to work on abstract work independently.
Krasner was already an established artist and a founding member of the American Abstract Artists collective by the time she married Pollock in 1945. She had maintained that even if she had not married Pollock, she still would have been influenced by his work, like so many other artists. She had in fact introduced Pollock to many key figures within the New York art scene, including the Willem and Elaine de Kooning and the critic Clement Greenberg. She also encouraged and inspired his most cutting-edge works.
After moving with Pollock to the Springs, East Hampton, Long Island, in November 1945 Krasner developed her Little Image paintings. These critically acclaimed paintings combined ancient hieroglyphics, paint splatters and heavy impasto. Though she received favorable reviews, Krasner was her own worst critic, her experiments with new materials and techniques that did not meet her own high standards were destroyed. She then created collages from these destroyed works and from scraps of her husband's canvases, often tearing the sheets to create improvised shapes and rough edges. After Pollock's accidental death in 1956, Krasner appropriated his studio and began painting large-scale works in a fierce and aggressive style. She continued to constantly innovate and evolve, never fixed to a single medium or style.
A collage-inspired, expressionist work offsetting different textures and edges, Free Space plays with organic shapes and the intersection of positive and negative space. The title recalls the open nature of the frontier and escape, ideas incorporated by her early teacher Hofmann and strengthened by her experience living in then rural Springs, Long Island. Free Space was created during the height of the first Women's Movement when Krasner's career was finally being recognized outside of the familiar "Mrs. Pollock" lens. Williams 21.
Estimate
$5,000 – $8,000
Lee krasner
Embrace.
Color screenprint on Arches, 1974. 1025x641 mm; 40x25 inches, full margins. Signed and numbered 168/200 in pencil, lower margin. Printed and published by Kennedy Graphics/Chromacorp, New York, for the 1976 Montreal Olympics. From The Superlative U.S. Olympic Editions. A very good impression with strong colors. Williams 19.
Estimate
$2,000 – $3,000
Paul jenkins
Phenomena Prism Guardian.
Watercolor on wove paper, 1981. 1115x795 mm; 44x31½ inches. Signed, titled and dated in ink, verso.
Provenance: Private collection, Chicago.
Estimate
$4,000 – $6,000
Paul jenkins
Untitled.
Acrylic and collage on paper. 270x390 mm; 10½x15½ inches. Signed in ink, lower left recto, and countersigned in ink, verso.
Provenance: Private collection, New York.
Jenkins (1923-2012) started producing collages in the 1950s and continued throughout his career. Although they are a little-known aspect of his oeuvre, he commented in his 1972 monograph Anatomy of a Cloud, “The collages to me are like diagrams. Burnt parchment maps giving indication of the terrain. Emblems that go back to another ancestral time and mean something I cannot totally explain but can feel as pointing to a place.
Estimate
$1,500 – $2,500
George mcneil
Untitled (Interior Scene).
Oil on canvas, 1987. 940x760 mm; 37x30 inches. Signed and dated in oil, lower left recto.
McNeil (1908-1995) was born and studied in New York, at the Pratt Institute, the Art Students League, the Hans Hofmann School of Fine Arts and Columbia University. Studying with Hans Hoffmann, McNeil shared a studio with Lee Krasner and through her met Jackson Pollock, Willem de Kooning and Esteban Vicente. In 1936, McNeil and a group of other artists formed the American Abstract Artists. They painted in a geometric cubist style, though at the same time McNeil was beginning to create a different expressionist kind of art. He painted full time, but with the outbreak of World War II McNeil spent time in the Navy. After the war, in 1946, his first regular job was teaching at the University of Wyoming in Laramie. He continued to teach throughout his career and ultimately became director of the Pratt Institute's evening program.
During the 1950s, McNeil's style was fully abstract and he began exhibiting at the Egan Gallery, New York. At this time he was associated with the other artists who exhibited at the Egan Gallery such as Willem de Kooning, Philip Guston, Franz Kline and Jack Tworkov, with Kline a close friend. He exhibited in the first "Ninth Street Show (9th Street Exhibition)" in 1951, the watershed New York School Abstract Expressionist show, and also exhibited in five of the subsequent "New York Painting and Sculpture Annuals" at the Stable Gallery, New York through 1956. From the early 1960s, his transition to Figurative Expressionism made him a clear precursor for the Neo-Expressionist movement of the 1980s.
The current work does not appear in the inventory records, studio notes, ledgers, photographic representation of works, nor archives of the artist which were established and are maintained by the Estate of George McNeil.
Provenance: Private collection, Chicago.
Estimate
$5,000 – $8,000
Solomon ethe
Untitled.
Oil on canvas, 1961. 1110x915 mm; 43½x36 inches. Signed, dated and inscribed “2” in oil, verso.
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
$1,500 – $2,500
Philip guston
Scene.
Lithograph on Rives BFK, 1980. 508x750 mm; 20x29½ inches (sheet), full margins. Signed, titled, dated and numbered 19/50 in pencil, lower margin. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamps lower right. A very good impression. Semff 34.
Estimate
$3,000 – $5,000
Philip guston
Pile Up.
Lithograph on J. Barcham Green Crisbrook, 1980. 505x750 mm; 19¾x29¾ inches (sheet), full margins. With the estate blind stamp, lower right, and numbered 42/50 in pencil, lower left. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamps lower right. A very good impression.
According to Semff, Guston (1913-1980) died just prior to completion of the printing of this edition. They were subsequently numbered by Gemini and embossed with an estate stamp authorized by Guston’s widow, Musa. Semff 38.
Estimate
$4,000 – $6,000
Philip guston
Studio Forms.
Lithograph on Arches Cover paper, 1980. 580x995 mm; 23x39¼ inches, full margins. Printer’s proof, aside from the edition of 100. With the estate blind stamp, lower right, and inscribed “P.P. II” in pencil, lower left. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamps lower right. A very good impression of this large lithograph.
According to Semff, Guston died just prior to signing this edition. They were subsequently numbered by Gemini and embossed with an estate stamp authorized by Guston’s widow, Musa. Semff 45.
Estimate
$5,000 – $8,000
Leon golub
Figure Study.
Red chalk on cream wove paper, circa 1960. 970x596 mm; 38¼x23½ inches (sheet). Signed in chalk, lower right recto.
Provenance: Private collection, Michigan.
Estimate
$3,000 – $5,000
European Abstract Expressionism & Abstract Art
Alexandre sacha garbell
Le Soir.
Oil on burlap, 1955. 1950x1300 mm; 76¾x51⅛ inches. Signed and dated in oil, lower right recto, with the artist’s name and Ternes, Paris address in pencil on the stretcher, and inscribed “Ternes” in oil, verso.
Provenance: Marlborough-Gerson Gallery, New York, with the label on the stretcher; Marlborough Gallery, New York; private collection, New York.
Garbell (1903-1970) was born in Riga, Latvia and started painting at the age of 13. He first studied art in Moscow and moved to Paris in 1923 where he trained at the Académie Ranson with Roger Bissière. While affiliated with the School of Paris, he developed an individual style, which combined both Cubist and representational elements. At the beginning of his career he was drawn toward abstraction, but as his work progressed he became more interested in representational scenes.
Estimate
$3,000 – $5,000
Alexandre sacha garbell
Near the Sea.
Oil on canvas. 1165x813 mm; 45⅞x32 inches. Signed in oil, lower right recto. With a Museum of Modern Art Lending Service, New York, label on the frame back.
Provenance: The artist; Otto Gerson Gallery, New York; Marlborough Gallery, New York, with the label; private collection, New York.
Estimate
$3,000 – $5,000
Afro basaldella
Untitled.
Oil on board. 263x357 mm; 10½x14¼ inches. Signed in ink, lower right recto.
Basaldella, who is generally known by the single name “Afro” (1912-1976) was an Italian painter from Udine, a member of the Scuola Romana alongside fellow artists Alberto Burri and Lucio Fontana. In addition to his work in Italy, mostly in Rome (he exhibited for the first time in Rome, at the Galleria del Cometa, in 1937), he also traveled to New York and California during the 1950s, teaching at Mills College in Oakland in 1957. Afro’s work was shown in an exhibition called “The New Decade: 22 European Painters and Sculptors,” which toured the United States, and was also included at “documenta 1” in Kassel, Germany (1955). In 1978 he was honored with a major retrospective at the Galleria Nazionale d’Arte Moderna in Rome.
Provenance: Private collection, Chicago.
Estimate
$5,000 – $8,000
Lucio fontana
Senza titolo (Concetto Spaziale).
Color photolithograph on Magnani Pescia paper, 1963. 490x345 mm; 19½x13¾ inches (sheet), full margins. Signed and numbered 101/150 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
$2,000 – $3,000
Theodoros stamos
Untitled.
Gouache on board, 1959. 191x241 mm; 7½x9½ inches. Signed and dated in pencil, lower left recto.
Stamos (1922-1997), born on Manhattan’s Lower East Side to Greek immigrants, famously posed with his fellow first-generation Abstract Expressionists, James Brooks, Mark Rothko, Jackson Pollock, Robert Motherwell (and others), in the 1950 issue of Life magazine. This issue referred to the group as “The Eighteen Irascibles” because of their protest of the Metropolitan Museum of Art’s policy towards American painting in the 1940s. Though not as widely known among the Abstract Expressionists, Stamos operated in a similar manner using earth-toned paints that suggest biomorphic imagery in his large-scale paintings.
On the occasion of Stamos’ 1947 exhibition at the Betty Parsons Gallery, New York, friend and fellow artist Barnett Newman wrote in the catalogue introduction: “His ideographs capture the moment of totemic affinity . . . the pastoral experience as one of participation with the inner life of the natural phenomenon.”
Provenance: Private collection, Tucson.
Estimate
$4,000 – $6,000
Theodoros stamos
Infinity Field–Delphi I * Infinity Field–Delphi II.
Two color screenprints on heavy wove paper, 1972. Both 630x585 mm; 25x23 inches (sheets), full margins. Both an edition of 75. Both signed and numbered in pencil, lower margin. Printed by Kelpra Studio, London. Published by Marlborough Graphics, Inc., New York. Very good impressions with vibrant colors.
Estimate
$2,000 – $3,000
Theodoros stamos
Infinity Field–Olympia II.
Color screenprint on white wove paper, 1972. 770x563 mm; 30½x22¼ inches (sheet), full margins. Signed and numbered 52/75 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
Theodoros stamos
Untitled (Infinity Field–Lefkada Series).
Color screenprint on white wove paper, 1979. 705x965 mm; 27¾x38 inches (sheet), full margins. Artist’s proof, aside from the edition of 75. Signed, annotated and dated “1984” and inscribed “A.P.” in pencil, lower margin. Printed by Kelpra Studio, London. Published by Marlborough Graphics, Inc., New York. A very good impression of this large print with strong colors.
Estimate
$1,000 – $1,500
Theodoros stamos
Untitled (Infinity Field–Lefkada Series).
Color screenprint on white wove paper, 1979. 705x960 mm; 27¾x38 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. A very good impression of this large print with strong colors.
With–Infinity Field, color screenprint on heavy white wove paper. 570x527 mm; 22½x21 inches (sheet), full margins. Artits’s proof. Signed and inscribed “Artist’s proof” in pencil, lower margin.
Estimate
$1,500 – $2,500
Conrad marca-relli
Two color prints.
Composition IV * Composition XIV. Both color aquatint, etching and embossing on antique-white Guarro paper, 1976. Both 437x630 mm; 17¼x25 inches, full margins. Both an edition of 75. Both signed and numbered in pencil, lower margin. Published by the artist and Isaac Rabinovich, New York. Very good, richly-inked impressions.
Estimate
$2,000 – $3,000
Zao wou-ki
Paris Poems.
Portfolio with complete text and 6 lithographs, including 2 in color on Auvergne a la Main paper, 1950. 321x253 mm; 12¾x10 inches (sheet), full margins, loose as issued. Edition of 99. Signed, dedicated and dated in ink, and numbered “6” on the justification page. Printed by Desjobert, Paris. Published by Éditions Euros, Paris. Original pasteboard chemise. Very good impressions. Ågerup 42-47.
Estimate
$4,000 – $6,000
Zao wou-ki
Sans titre.
Color lithograph on Rives BFK, 1959. 505x455 mm; 20x18 inches, full margins. Signed, dated and numbered 30/95 in pencil, lower margin. Printed by Desjobert, Paris. Published by L’Œuvre Gravée, Paris. A very good impression with strong colors. Ågerup 121.
Estimate
$4,000 – $6,000
Zao wou-ki
Untitled.
Color lithograph on Arches, 1964. 305x510 mm; 12x20 inches, full margins. Artist’s proof, aside from the edition of 125. Signed, dated and inscribed “Épreuve d’Essai sur Arches” in ink, lower margin. Printed by Desjobert, Paris. Published by Antarès, Paris. A very good impression with strong colors. Ågerup 156.
Estimate
$3,000 – $5,000
Zao wou-ki
Sans titre.
Color aquatint and etching on Arches, 1969. 572x375 mm; 22½x14¾ inches, full margins. Signed, dated and numbered 42/95 in pencil, lower margin (Ågerup calls for an edition of 99, but we have located only numbered impressions from an edition of 95 and artist’s proofs at auction). Printed by Lacourière and Frélaut, Paris, with the blind stamp, lower left. Published by London Graphic, Ltd., London. A very good impression with strong colors. Ågerup 202.
Estimate
$5,000 – $8,000
Zao wou-ki
À la Gloire de l’Image et Art Poétique.
Color lithograph on Arches, 1976. 400x670 mm; 15¾x26⅜ inches, full margins. One of 15 artist’s proofs, aside from the edition of 99. Signed, dated and inscribed “e.a” in pencil, lower margin. Printed by Bellini, Paris. Published by Ediciones Polígrafa, Barcelona. From the same-titled portfolio. A very good impression with strong colors. Ågerup 272.
Estimate
$3,000 – $5,000
Zao wou-ki
Suite Olympique Centennal.
Color lithograph on Arches, 1992. 752x535 mm; 29¾x21 inches, full margins. Signed and numbered 152/250 in pencil, lower margin. Printed by Art Estampe, Paris. Published by Ediciones Catalanes, Barcelona. A very good impression of this large lithograph with strong colors. Ågerup 358.
Estimate
$4,000 – $6,000
Zao wou-ki
Sans titre.
Color lithograph on Arches, 1998. 645x450 mm; 25¼x17¾ inches, full margins. Signed and numbered 62/99 in pencil, lower margin. Printed by Art Estampe, Paris. Co-published by Galerie Navarra and Éditions de La Différence, Paris. A very good impression. Ågerup 391.
Estimate
$2,000 – $3,000
Mark tobey
The Unknown Pair.
Color aquatint on Richard de Bas cream wove paper, 1972. 275x267 mm; 11x10½ inches, full margins. Signed and numbered 23/96 in pencil, lower margin. Published by Edition de Beauclair, Frankfurt am Main. A very good impression with strong colors. Heidenheim 21.
Estimate
$1,000 – $1,500
Mark tobey
Sonata.
Color screenprint on Japon nacré, 1975. 403x500 mm; 16x19¾ inches, full margins. The deluxe, Roman numeral edition of 60 on Japon nacré, aside from the regular redition of 100. Signed and numbered LII/LX in pencil, lower margin. Published by Edition de Beauclair, Frankfurt, with the blind stamp lower left. A very good, richly-inked impression with strong colors. Heidenheim 52.
Estimate
$1,500 – $2,500
Mark tobey
Glowing Fall.
Color screenprint on Japon nacré, 1975. 479x337 mm; 18⅞x13¼ inches, full margins. The deluxe, Roman numeral edition of 60 on Japon nacré, aside from the regular edition of 100. Signed and numbered LIII/LX in pencil. Published by Edition de Beauclair, Frankfurt, with the blind stamp lower left. A very good impression with vibrant colors. Heidenheim 50.
Estimate
$1,000 – $1,500
Yves klein
Anthropométrie ANT 83.
Color screenprint on Rives BFK, 2001. 550x790 mm; 21¾x31¼ inches (sheet), full margins. Numbered 184/200 in pencil, signed by the artist’s widow, Rotraut Klein-Moquay, in ink and with the artist’s estate ink stamp, 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
$2,500 – $3,500
Yves klein
Anthropométrie ANT 148.
Color screenprint on white wove paper, 2001. 980x675 mm; 38½x26½ inches, full margins. Printed by l’Atelier Eric Linard, Paris. 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
Alexander Calder, Art Brut & CoBrA
Alexander calder
Bonnet phrygien et barres de feu.
Color lithograph, 1969. 765x1125 mm; 30x44 inches (sheet), full margins. Signed and numbered 23/75 in pencil, lower margin. Published by Mourlot, Paris. A very good impression of this large lithograph, with strong colors.
Estimate
$5,000 – $8,000
Alexander calder
Carnival in Rio.
Color lithograph on cream wove paper, 1971. 792x1110 mm; 31¼x43½ inches (sheet), full margins. Signed and numbered 15/20 in pencil, lower margin. With the artist’s copyright and date ink stamp, verso. A very good impression of this large, scarce lithograph.
Estimate
$5,000 – $8,000
Alexander calder
Magie Eolienne.
Color lithograph on Arches, 1972. 645s496 mm; 25⅜x19½ inches (sheet), full margins. Signed and numbered 63/75 in pencil, lower margin. Printed by Maeght, Paris. Published by Societé Internationale d’Art Xxe Siècle, Paris. From the same titled series. A very good impression.
Estimate
$2,000 – $3,000
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
Alexander calder
Homage to Euclid.
Color lithograph on Arches, 1973. 520x720 mm; 20½x28¼ inches (sheet), full margins. Signed and numbered 83/100 in pencil, lower margin. Published by Éditions de la Différence, Paris. A very good impression with vibrant colors.
Estimate
$2,500 – $3,500
Alexander calder
Flying Colors (Plate X).
Color lithograph on Arches, 1973. 593x860 mm; 23⅜x33⅞ inches (sheet), full margins. The deluxe, pencil-signed edition, aside from the regular unsigned edition. Artist’s proof, aside from the numbered edition of 100. Signed and inscribed “EA” in pencil, lower margin. From the same-titled portfolio designed for Braniff International Airways, Dallas. A very good impression with vibrant colors.
Estimate
$3,000 – $5,000
Alexander calder
Marée Basse.
Color lithograph on Chiffon de Mandeure paper, 1974. 760x1150 mm; 30x45 inches (sheet), full margins. Artist’s proof, aside from the edition of 100. Signed and inscribed “E.A” in pencil, lower margin. Published by Maeght, Paris. A very good impression with strong colors.
Estimate
$3,000 – $5,000
Alexander calder
Our Unfinished Revolution (Gray Ellipse).
Color lithograph on Arches, 1975-76. 558x760 mm; 22x30 inches (sheet), full margins. Signed and numbered 47/175 in pencil, lower margin. Printed by Mourlot, Paris. Published by Alba Editions, Inc., New York. From the same-titled portfolio. A very good impression.
The Our Unfinished Revolution portfolio was created to aid the National Emergency Civil Liberties Committee on its 25th anniversary.
Estimate
$3,000 – $5,000
Alexander calder
Our Unfinished Revolution (Circles).
Color lithograph on Arches, 1975-76. 558x760 mm; 22x30 inches (sheet), full margins. Signed and numbered 47/175 in pencil, lower margin. Printed by Mourlot, Paris. Published by Alba Editions, Inc., New York. From the same-titled portfolio. A very good impression.
The Our Unfinished Revolution portfolio was created to aid the National Emergency Civil Liberties Committee on its 25th anniversary.
Estimate
$3,000 – $5,000
Alexander calder
Our Unfinished Revolution (White Circles and Ellipses).
Color lithograph on Arches, 1975-76. 558x760 mm; 22x30 inches (sheet), full margins. Signed and numbered 47/175 in pencil, lower margin. Printed by Mourlot, Paris. Published by Alba Editions, Inc., New York. From the same-titled portfolio. A very good impression.
The Our Unfinished Revolution portfolio was created to aid the National Emergency Civil Liberties Committee on its 25th anniversary.
Estimate
$3,000 – $5,000
Alexander calder
Our Unfinished Revolution (Animals).
Color lithograph on Arches, 1975-76. 558x760 mm; 22x30 inches (sheet), full margins. Artist’s proof, aside from the regular edition of 175. Signed and inscribed “E.A.” in pencil, lower margin. Printed by Mourlot, Paris. Published by Alba Editions, Inc., New York. From the same-titled portfolio. A very good impression.
The Our Unfinished Revolution portfolio was created to aid the National Emergency Civil Liberties Committee on its 25th anniversary.
Estimate
$2,000 – $3,000
Alexander calder
Plancton (Plankton).
Color lithograph on Arches, 1976. 560x750 mm; 22x30 inches (sheet), full margins. Signed and numbered 20/75 in pencil, lower margin. Printed by Mourlot, Paris. Published by Maeght, Paris. A very good impression with strong colors.
Estimate
$3,000 – $5,000
Karel appel
Dans la Tempête.
Color lithograph on Arches, 1960. 565763 mm; 22¼x30 inches (sheet), full margins. Signed, dated and numbered 20/125 in pencil, lower margin. Published by L’Œuvre Gravée, Paris, with the blind stamp lower right. A very good impression.
Estimate
$1,200 – $1,800
Karel appel
Cat.
Color lithograph on Arches, 1969. 588x825 mm; 23¼x32½ inches, full margins. Artist’s proof, aside from the edition of 100. Signed and inscribed “ea” in pencil, lower margin. A very good impression.
Estimate
$1,200 – $1,800
Karel appel
Cat.
Color lithograph on Arches, 1969. 565x763 mm; 22x30 inches, full margins. Signed, dated and numbered 52/110 in pencil, lower margin. A very good impression.
Estimate
$1,200 – $1,800
Karel appel
Sleeping Cat.
Felt-tip pen and ink and watercolor on paper. 135x223 mm; 5⅜x8¾ inches. Signed in ink, lower right recto.
Provenance: Private collection, New York.
Estimate
$1,500 – $2,500
Karel appel
Oiseau Hurlant.
Color lithograph on 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 with strong colors.
Estimate
$1,000 – $1,500
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-Litho, Paris. Published by London Arts, Inc., Detroit. From Cats. A very good impression.
Estimate
$1,200 – $1,800
Karel appel
Circus (Volume I).
Portfolio with complete text and 10 color woodcuts with carborundum on Arches, 1978. 760x565 mm; 30x22¼ inches (sheets), full margins, loose as issued.
Each sheet signed and numbered 64/130 in white pencil, lower margin, and numbered 64/130 in pencil on the justification page.
Printed by Arts-Litho, Paris. Published by ABCD, Paris. Original red linen portfolio case. Superb impressions with vibrant colors.
Estimate
$10,000 – $15,000
Jean dubuffet
Vacations.
Color lithograph on Rives BFK, 1953. 175x250 mm; 7x10 inches, full margins. Signed, titled and numbered 9/20 in pencil, lower margin. Printed by Mourlot, Paris. From Assemblages d’empreintes. A very good impression of this extremely scarce lithograph, with strong colors. Webel 380.
Estimate
$3,000 – $5,000
Jean dubuffet
Le Braconnier.
Lithograph on Arches, 1953. 500x650 mm; 19¾x25½ inches, full margins. An hors commerce impression, aside from the edition of 25. Signed, titled, dated and inscribed “épreuve HC” in pencil, lower margin. Printed by Mourlot, Paris. From Assemblages d’empreintes. A very good impression of this extremely scarce lithograph. Webel 363.
Estimate
$4,000 – $6,000
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. Co-published by Pace Editions, New York, and Éditions Beyeler, Basel. A very good impression of this large print with strong colors. Webel 1171.
Estimate
$7,000 – $10,000
Niki de saint phalle
Les Amoreux.
Color lithograph on wove paper, 1972. 645x480 mm; 25½x19 inches (sheet), full margins. Signed and numbered 178/300 in pencil, lower margin. A very good impression.
Estimate
$1,000 – $1,500
Niki de saint phalle
La baigneuse ou Nana de Berlin.
Painted polyester multiple, circa 1973. 275x343x293 mm; 10¾x13½x11½ inches. Edition of 500. Incised with artist’s signature on the leg and numbered 293 on the underside. Co-published by Edition Zeit-Magazin, Hamburg, and Propylaen Refactur, Berlin, with the red wax seal.
Estimate
$7,000 – $10,000
Sonia delaunay
Untitled.
Textile paint on cotton, 1924. 2035x915 mm; 80¼x36 inches. Signed and dated in ink, lower right. With the Hillman Manufacturing Co., Lewiston, Maine blue ink stamp verso.
Provenance: Private collection, Caracas, 1969; acquired from the above by the current owner, private collection, Miami.
Estimate
$7,000 – $10,000
Geometric Art, Minimalism, Color Field & Op-Art
Josef albers
Prefatio.
Lithograph on Serie Whitewove paper, 1942. 297x400 mm; 11¾x15¾ inches, full margins. Signed, dated, titled and numbered 5/30 in pencil, lower margin. Printed by Reinhard Schulmann, Hickory, North Carolina. From Graphic Tectonics. A very good impression of this extremely scarce, early lithograph. Danilowitz 103.
Estimate
$4,000 – $6,000
Josef albers
Profundo.
Color screenprint on Rives BFK, 1965. 279x279 mm; 11x11 inches, full margins. Signed, dated, titled and numbered 25/50 in pencil, lower margin. Printed by Sirocco Screenprints, New Haven. Published by Ives-Sillman, Inc., New Haven, with the blind stamp lower right. From Soft Edge-Hard Edge. A very good impression with strong colors. Danilowitz 165.7.
Estimate
$3,000 – $5,000
Josef albers
Emeraude.
Color screenprint on Rives BFK, 1965. 279x279 mm; 11x11 inches, full margins. Signed, dated, titled and numbered 25/50 in pencil, lower margin. Printed by Sirocco Screenprints, New Haven. Published by Ives-Sillman, Inc., New Haven, with the blind stamp lower right. From Soft Edge-Hard Edge. A very good impression with strong colors. Danilowitz 165.6.
Estimate
$5,000 – $8,000
Josef albers
Golden Gate.
Color screenprint on Rives BFK, 1965. 279x279 mm; 11x11 inches, full margins. Signed, dated, titled and numbered 25/50 in pencil, lower margin. Printed by Sirocco Screenprints, New Haven. Published by Ives-Sillman, Inc., New Haven, with the blind stamp lower right. From Soft Edge-Hard Edge. A very good impression with strong colors. Danilowitz 165.1.
Estimate
$4,000 – $6,000
Josef albers
I-S a.
Color screenprint on German Etching paper, 1968. 350x352 mm; 13¾x13¾ inches, full margins. Initialed, dated, titled and numbered 25/75 in pencil, lower margin. Printed by Sirocco Screenprints, New Haven. Published by Ives-Sillman, Inc., New York for Brooke Alexander, Inc., New York. A very good impression with strong colors. Danilowitz 184.
Estimate
$5,000 – $8,000
Josef albers
Interaction of Color.
Portfolio with complete text folder, bound text volume and 80 color screenprints, 1963. 330x255 mm; 12⅞x9⅜ inches (sheets), full margins, loose as issued.
The German edition. Published by Josef Keller, Starnberg. Original cream linen slipcase. The screenprints with fresh, strong colors. Danilowitz page 20.
Estimate
$5,000 – $8,000
Josef albers
Variant IX.
Color screenprint on Rives BFK, 1967. 202x335 mm; 8¾x13¼ inches, full margins. Signed, dated “66”, titled and numbered 70/200 in pencil, lower margin. Printed by Sirocco Screenprints, New Haven. Published by Ives-Sillman, Inc., New Haven, with the blind stamp lower right. From Ten Variants. A very good impression. Danilowitz 173.9.
Estimate
$2,500 – $3,500
Josef albers
I-S Va 5.
Color screenprint on Arches, 1969. 610x705 mm; 24x27¾ inches, wide margins. Signed, titled, dated and numbered 74/150 in pencil, lower margin. Printed at Sirocco Screenprints, New Haven. Published by Ives-Sillman, Inc., New Haven, with the blind stamp lower right. From Six Variants. A very good impression with strong colors. Danilowitz 192.5.
Estimate
$3,000 – $5,000
Josef albers
Red Orange Wall.
Color screenprint on Arches, 1970. 432x635 mm; 17x25 inches, full margins. Signed and numbered 18/100 in pencil, lower margin. Printed by Sirocco Screenprints, New Haven. Published by Ives-Sillman, Inc., New Haven, with the blind stamp. Published in commemoration of the 100th anniversary of the Metropolitan Museum of Art, New York. A very good impression with strong colors.
Based on the same-titled oil painting by Albers (1888-1976) from 1959. Danilowitz 198.
Estimate
$2,000 – $3,000
Agnes martin
Paintings and Drawings: Stedelijk Museum Portfolio.
Portfolio with complete text in 2 bound volumes and 10 lithographs on vellum, 1990. Each lithograph 298x298 mm; 11¾x11¾ inches (sheets), full margins, loose as issued. Edition of 2500. Printed by Lecturis, Eindhoven. Published by Nemela & Lenzen GmbH, Mönchengladbach & Stedelijk Museum, Amsterdam. Original card portfolio folder. Very good impressions.
Estimate
$3,000 – $5,000
Ad reinhardt
Ten Screenprints by Ad Reinhardt, Plate 8.
Color screenprint on smooth wove paper, 1966. 458x230 mm; 18x9 inches, full margins. Edition of 250. Printed by Sirocco Screenprints, Inc., New York. Published by Wadsworth Atheneum, Hartford. A very good impression.
Estimate
$1,200 – $1,800
Jesús rafael soto
Composizione (Galleria dell Deposito).
Color screenprint on cream wove paper, circa 1965. 672x446 mm; 26½x17½ inches, full margins. Signed and numbered 73/100 in pencil, lower margin. Published by Galleria dell Deposito, Genoa, with the blind stamp lower left. A very good impression with strong colors.
Estimate
$1,500 – $2,500
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. Co-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
$1,500 – $2,500
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
$1,500 – $2,500
Burgoyne diller
Geometric Composition.
Color crayons on wove paper, 1964. 275x215 mm; 10¾x8½ inches. Initialed and dated in pencil, lower right recto.
Provenance: Private collection, New Jersey.
Estimate
$1,500 – $2,500
Burgoyne diller
Abstract Composition.
Color crayons and pencil on tracing paper, 1961. 120x140 mm; 4¾x5½ inches. Initialed and dated in pencil, lower right recto.
Provenance: Private collection, New Jersey.
Estimate
$1,500 – $2,500
Burgoyne diller
Grid Composition.
Color crayons and pencil on wove paper, 1962. 195x255 mm; 7¾x10⅛ inches. Initialed and dated in pencil, lower right recto.
Provenance: Private collection, New Jersey.
Diller (1906-1965) explored the concept of tension between planes of movement in his works. Within this concept, he separated his works into three visual themes: “First Theme” works were comprised of geometric shapes floating on a flat plane; “Second Theme” works, perhaps Diller’s most ambiguous category, were compositions “generated by continuous lines”; and “Third Theme” works were of tight intersections, counterpoints, and “linear interplay”. Though enumerated, Diller noted that the themes do not evolve or devolve into one another and are not fixed categories. Diller had announced these themes in literature accompanying his exhibition at the Rose Fried Gallery, New York in 1951, though as Barbara Haskell noted in the 1990 text for Diller’s Whitney retrospective, “Although helpful in identifying images, they inadvertently caused later errors in titling, since most of Diller’s work was executed without reference to specific themes.”
Estimate
$1,500 – $2,500
Roy newell
Lifelines II.
Oil on board, 1980-85. 135x230 mm; 5¼z9⅛ inches. Signed and dated in white crayon, verso.
Newell (1914-2006) was a self-taught artist born on Manhattan’s Lower East Side. His paintings are typified by richly-hued geometric forms in subtle juxtapositions and textures, heightened by an intimate scale and striking color harmonies. He participated in the Group of American Abstract Expressionists and was a founding member of the Eighth Street Club, which also included Willem de Kooning, Arshile Gorky and Franz Kline. Newell was not a prolific painter; his works number less than 100 and were often executed over decades, as he constantly refined his compositions with new colors until satisfied with the result. Due to their continued reworkings, many of his paintings were up to an inch thick when completed, with a combined depth of wood support and layers of meticulously applied paint.
From January 18-March 9, 1996, Woodward Gallery, New York, hosted Newell’s largest gallery exhibition to date, “Roy Newell: Lifelines: 1955- 1995,” a 40-year retrospective and his first one-man show in a decade.
Provenance: Woodward Gallery, New York, with the label; private collection, New York.
Estimate
$4,000 – $6,000
Ellsworth kelly
Paris Review.
Color screenprint on white wove paper, 1968. 1016x660 mm; 40x26 inches (sheet), full margins. Initialed and numbered 82/150 in pencil, lower margin. Printed by Stephen Poleskie, Chiron Press, New York. Published by the Paris Review, New York. A very good impression with vibrant colors. Axsom IIf.
Estimate
$3,000 – $5,000
Ellsworth kelly
Green Curve (EK96-1401).
Color lithograph on Rives BFK, 1996. 406x495 mm; 16x19⅝ inches (sheet), full margins. Signed and numbered 63/75 in pencil, lower margin. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamps lower right. A very good impression.
Estimate
$7,000 – $10,000
Kenneth martin
Three color screenprints from Chance and Order.
Chance and Order I, 1971 * Chance and Order III, 1972 Chance and Order V, 1972. Each 684x684 mm; 26⅞x26⅞ inches (sheet), full margins. Each an artist’s proof, aside from the edition of 70. Each signed, dated and inscribed “A/P” in pencil, lower right. Each printed by Kyron Press, Mexico City. Very good impressions.
Estimate
$1,500 – $2,500
Gene davis
Homage to Barnett Newman.
Color screenprint on white wove paper, 1979. 805x645 mm; 31¾x25½ inches, full margins. Signed and numbered 248/250 in pencil, lower margin. A very good impression.
Homage to Barnett Newman is based on a series of oil paintings made by Davis (1920-1985) completed after the death of the artist Barnett Newman (1905-1970). According to the Marsha Mateyka Gallery, Washington, D.C., which has represented the artist’s estate since 1997, this series is “All characterized with split compositions of two subtly contrasting flat gray panels, a white stripe dividing the two and sharply contrasting thin stripes finishing the edges on each side. Gene Davis first saw the work of Barnett Newman in 1951 at the Betty Parsons Gallery in New York. Of the Newman influence, Gene Davis remarked on the ‘quality of clarity that seemed absent in abstract expressionism’ and ‘his [Newman’s] use of the free standing stripe’.”
Estimate
$1,000 – $1,500
Sol lewitt
Lines, Not Long, Not Heavy, Not Touching, Drawn at Random (Circle).
Lithograph on cream wove paper, 1970. 442x318 mm; 17⅜x12⅝ inches (sheet), full margins. Signed and numbered 190/250 in pencil, lower margin. Printed by F.B. Karbach, Düsseldorf. Co-published by Konrad Fischer, Düsseldorf, and Kölner Kunstmarkt, Cologne, Germany. A very good impression. Krakow 1970.06.
Estimate
$1,000 – $1,500
Sol lewitt
Lines in Four Directions (Horizontal, Vertical, Diagonal Right and Diagonal Left) and All Their Combinations. Four Colors (Yellow, Black, Red and Blue) and All Their Combinations.
Color screenprint on Arches 88, 1978. 406x840 mm; 16x33 inches, full margins. Signed, numbered 12/50 and dedicated to Mary Lea Bandy, director of the film department at The Museum of Modern Art, New York, in pencil, lower right. Printed by Jo Watanabe, New York. Published by the artist. A very good impression with strong colors. Krakow 1978.01.
Estimate
$1,500 – $2,500
Sol lewitt
Curvy Brushstrokes II.
Color aquatint and etching on Somerset Textured White paper, 1997. 1013x378 mm; 40x15 inches, full margins. Signed and numbered 18/25 in pencil, lower margin. Printed and published by Crown Point Press, San Francisco, with the blind stamp. A very good impression with vibrant colors. Krakow 1997.15.
Estimate
$8,000 – $12,000
Chryssa
Electric Sky.
Portfolio with complete text and 8 color screenprints on white wove paper, 1980. 780x1000 mm; 31x39½ inches (sheets), full margins, loose as issued.
Edition of 75. Each screenprint signed and numbered 12/75 in pencil, lower margin. Numbered 12/75 in pencil, on the justification page. Printed at Atelier Arcay, Paris. Published by Triaphylla, Athens and New York. Original blue paste board portfolio. Very good impressions with strong colors.
Chryssa Vardea-Mavromichali (1933-2013), who frequently used the mononym Chryssa professionally, was a Greek American artist who worked in a wide variety of media. She was American art pioneer in light art and luminist sculpture, known for her neon, steel, aluminum and acrylic glass installations. She worked from the mid-1950s in New York City studios and worked since 1992 in the studio she established in Neos Kosmos, Athens, Greece. She was among the first artist to work closely with neon light, and in 1966 debuted The Gates to Times Square, a 10x10x10 feet cube installation consisting of two mammoth letter “A”s through which visitors walked into a gleaming block of stainless steel and Plexiglas enhanced by pale blue neon light controlled by programmed timers. First shown at Pace Gallery, New York, it entered the collection of the Albright-Knox Art Gallery in Buffalo in 1972.
Estimate
$3,000 – $5,000
Harry bertoia
Untitled (#1152).
Color monotype on thin rice paper. 620x997 mm; 24¼x39¼ inches (sheet), full margins. Inscribed “1152” 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 interested 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
$1,000 – $1,500
Harry bertoia
Untitled (#1362).
Color monotype on Japan paper. 640x945 mm; 25¼37⅜ inches (sheet), full margins. Inscribed “1362” in ink, lower right recto, and inscribed “HB” in ink, verso.
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 interested 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
$1,000 – $1,500
Harry bertoia
Untitled (#1321).
Color monotype on Japan paper. 942x640 mm; 37¼x25¼ inches (sheet), full margins. Inscribed “1321” in ink, lower right recto, and inscribed “HB” in ink, verso.
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 interested 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
$1,000 – $1,500
Frank stella
Shards III.
Color screenprint and offset lithograph on Arches Cover paper, 1982. 1149x1010 mm; 45¼x39¾ inches (sheet), full margins. One of 20 numbered artist’s proofs in Roman numerals, aside from the edition of 100. Signed, dated, inscribed “A.P.” and numbered XVII in pencil, lower right. Printed and published by Petersburg Press, New York. A very good impression with strong colors. Axsom 146.
Estimate
$7,000 – $10,000
Tobias musicant
Two oils on canvas.
Untitled. 270x335 mm; 10¾x13¼ inches * Untitled. 273x365 mm; 10¾x14½ inches. Both signed in oil, upper right recto.
Musicant was the son of a carpenter and born in Philadelphia in 1921. An artist since childhood, after high school, Musicant attended the Pratt Institute in New York from 1939-1941. However, his art studies would be interrupted by World War II as he served his country in the United States Army Air Force, seeing action in England. After the war, Musicant continued his studies at the Art Students League from 1945-1948. He lived in Brooklyn in the 1940s and 1950s, eventually moving to Plainsboro, New Jersey, with his sister Alice Musicant, also an artist, where they would both remain throughout their lives. Musicant died in 2004.
Provenance: Private collection, New Jersey.
Estimate
$1,000 – $1,500
Joseph meierhans
Three works on paper.
Untitled, charcoal and color pastel, 1942. Signed and dated in pencil, lower right * C-96 S, gouache, 1950. Signed and dated in gouache, lower right * Untitled, charcoal on paper. Signed in charcoal, lower right. Various sizes and conditions.
Provenance: private collection, New Jersey.
Estimate
$1,000 – $1,500
Joseph meierhans
Untitled (B-236 S).
Oil and enamel on masonite, circa 1960. 760x505 mm; 30x19⅞ inches. Signed in oil, lower right recto, and inscribed “B-236 S” in felt-tip pen and ink, verso.
Provenance: Private collection, New Jersey.
Estimate
$1,500 – $2,500
Lloyd ney
Untitled.
Watercolor on wove paper, 1961. 475x620 mm; 18¾x24¼ inches. Signed and dated in ink, lower center recto.
Provenance: Private collection, New Jersey.
Estimate
$1,000 – $1,500
Lloyd ney
Untitled.
Watercolor and brush and ink on cream wove paper, 1961. 475x620 mm; 18¾x24½ inches. Signed and dated in ink, lower right recto.
Provenance: Private collection, New Jersey.
Estimate
$1,000 – $1,500
Jun dobashi
Untitled.
Gouache, watercolor and crayon on paper, circa 1960. 160x152 mm; 6½x6 inches. Signed in white gouache, lower right recto.
Born in Japan, Dobashi (1910-1975) studied art in Tokyo before visiting Paris for the first time in 1938. It was to become the beginning of a long connection with the city, and would lead to him to living in Paris permanently from 1953 to 1969.
Having been a member of the influential Shinjuki group in Japan, Dobashi had his first solo exhibition in Paris in 1954, and went on to exhibit regularly at Galerie Fricker. He also exhibited at the leading avant-garde salons such as the Salons d’Automne, Salon de Mai (1956, 1957, 1958, 1960); Salon des Comparaisons,(1960); and in 1958, he was invited to show at the prestigious École de Paris exhibition at Galerie Charpentier, Paris. Dobashi went on to establish an international reputation, exhibiting in numerous group shows throughout Europe and America.
Provenance: Private collection, Chicago.
Estimate
$1,000 – $1,500
William h. alpert
Pair of watercolors.
Both Untitled. Both on paper mounted on board. One with additions in enamel. 750x560 mm; 29½x22 inches. Both with the artist’s signature ink stamp verso.
“Bill” Alpert (1934-2015) was an abstract painter who also worked on wood constructions starting in the 1970s. After receiving his MFA from the University of California at Los Angeles in 1965, Alpert began to exhibit locally and in New York. His work was often experimental, as he tried different pigment formulations and drying methods. Alpert secluded himself from the art world in the late 1980s, shunning the commercial galleries, and instead taught painting at the Cooper-Union School of Art in New York.
Provenance: Private collection, New Jersey.
Estimate
$1,000 – $1,500
William h. alpert
Two acrylics on canvas.
Untitled (Purple Square. 460x460 mm; 18x18 inches. Signed with the artist’s cipher and with the signature ink stamp, verso * Untitled (Orange Square). 485x482 mm; 19x19 inches. With the artist’s signature ink stamp, verso.
“Bill” Alpert (1934-2015) was an abstract painter who also worked on wood constructions starting in the 1970s. After receiving his MFA from the University of California at Los Angeles in 1965, Alpert began to exhibit locally and in New York. His work was often experimental, as he tried different pigment formulations and drying methods. Alpert secluded himself from the art world in the late 1980s, shunning the commercial galleries, and instead taught painting at the Cooper-Union School of Art in New York.
Provenance: Private collection, New Jersey.
Estimate
$1,000 – $1,500
Robert natkin
Untitled.
Oil on canvas. 658x942 mm; 26x37¼ inches.
Provenance: Private collection, Massachusetts.
Estimate
$7,000 – $10,000
Whanki kim
Untitled.
Oil on linen, circa 1970. 1060x1162 mm; 41¾x45¾ inches.
Kim (1913-1974) was a painter and pioneering abstract artist of Korea, born in the village of Eupdong-ri on the island of Kijwa, of Anjwa-myeon, Sinan County, South Jeolla Province in Korea under Japanese rule. Kim lived and worked in a number of cities and countries during his lifetime, including Tokyo, Seoul, Paris, and New York, where he passed away.
Kim belongs to the first generation of Korean abstract artists, mixing Asian concepts and ideals with abstraction. With refined and moderated formative expression based on Korean Lyricism, he created his characteristic art world. His artworks largely dealt with diverse hues and patterns. Kim's early works were semi-abstract paintings which allowed viewers to see certain forms, but his later works were more deeply absorbed abstract paintings, filled with lines and spaces.
The artist's partner Hyang-an Kim established the Whanki Foundation in 1978 and opened the Whanki Museum in 1992. The museum, located in Seoul, was built by Korean American architect Kyu Sung Woo.
Provenance: The artist (1913-1974), Seoul and New York; gift from the artist to his daughter Chung In Koo, née Kim (1938-1999), Seoul and Jacksonville, Florida; thence by descent to the current owners, private collection, Florida.
Estimate
$20,000 – $30,000
Cy twombly
Untitled.
Color offset lithograph, 1970. 315x424 mm; 12⅜x16¾ inches (sheet), full margins. Initialed and numbered 209/250 on adhesive label, verso, as issued. Printed by Henry Deckner, Cologne. Published by Verein Progressiver Galerien, Cologne. A very good impression.
Twombly (1928-2011) was born in Lexington, Virginia, to parents who hailed from New England. At the age of 12, he began taking art lessons with the Catalan Modernist painter Pierre Duara, who had relocated to Lexington for the duration of the war. From the late 1940s through the early 1950s, Twombly studied at the School of the Museum of Fine Arts, Boston; the Art Students League, New York; and Black Mountain College in North Carolina, which at the time was the epicenter of the American avant-garde. During these years of schooling he came in contact with artists such as Robert Rauschenberg, Jasper Johns and Robert Motherwell (who taught him at Black Mountain College). He fostered close relationships with some of his contemporaries (most notably Rauschenberg and Johns), but his acutely personal style meant that he was perpetually on the fringe of the art world.
Twombly traveled to Europe and North Africa with Rauschenberg (with whom he was intimately involved at the time) in 1952, before being drafted to the army the following year. Twombly returned to New York after receiving a medical discharge and worked in a studio near Rauschenberg and Johns (the three artists would become known for breaking away from the ideals of Abstract Expressionism and adopting their own distinct styles). Between 1953 and 1957, Twombly was regularly showing at Stable Gallery in New York before switching to Leo Castelli Gallery. His work during this time was mainly black and white, notably influenced by Franz Kline.
He sojourned again to Europe in 1957, and spent several months in Italy. Rome would remain his home base for the remainder of his life. Twombly’s move to Italy wasn’t simply a change of scenery, it was a distinct and deliberate turning away from New York, which had become an artistic epicenter due to the emergence of Abstract Expressionism. Rather than adopt the AbEx aspiration for an almost ahistorical viewpoint, Twombly’s work was all-encompassing, embracing history, literature, language and setting, often combing words and images to evoke not only personal memories but a collective history. In Italy, his work became less gestural and more minimalist, as he was profoundly influenced by the Mediterranean light and the Classical history surrounding him.
This image, which harkens to Twombly’s celebrated “blackboard” paintings from the late 1960s/early 1970s, so-called for their resemblance to a classroom chalkboard, was published in support of Art Cologne, or the Kölner Kunstmarkt, an international contemporary art fair established in 1967 and regarded as the world’s oldest art fair of its kind. Bastian 28.
Estimate
$5,000 – $8,000
Adja yunkers
The Hamptons III.
Acrylic with paper collage on canvas board, 1972. 555x707 mm; 21⅞x27⅞ inches. Initialed and dated in crayon, lower left recto, and signed, titled, dated and inscribed in ink, verso.
Provenance: Private collection, New Jersey.
Estimate
$1,000 – $1,500
Adja yunkers
Icon II.
Oil and collage on canvas board, 1979. 505x400 mm; 20x15¾ inches. Initialed in oil, lower right recto, and signed, titled, dated and inscribed in ink, verso.
Provenance: Private collection, New Jersey.
Estimate
$1,000 – $1,500
Adja yunkers
A Moment into Eternity.
Oil and collage on canvas board, 1980. 605x458 mm; 23⅞x18 inches. Signed, titled and dated in ink, verso.
Provenance: Private collection, New Jersey.
Estimate
$1,000 – $1,500
Pop Art
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 collaboration 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 artistic 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
$30,000 – $50,000
Robert rauschenberg
Paris Review Poster.
Color offset lithograph on white wove paper, 1965. 510x408 mm; 20⅛x16 inches, full margins. Signed, dated and numbered 8/150 in felt-tip pen and black ink, lower right. Published by the Paris Review, New York. A very good impression of this early print with strong colors. Foster 33.
Estimate
$3,000 – $5,000
Robert rauschenberg
Love-Zone (Reels [B + C]).
Color lithograph on Rives BFK, 1968. 690x590 mm; 27x23 inches, full margins. Signed, dated and numbered 5/60 in pencil, lower right. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamp lower right. From Reels (B + C). A superb impression of this early lithograph with strong colors. Foster 55.
Estimate
$3,000 – $5,000
Robert rauschenberg
Surface Series from Currents.
Screenprint on Aqua B 844 paper, 1970. 890x890 mm; 35x35 inches, full margins. Signed, dated and numbered 100/100 in pencil, lower margin. Co-published by Dayton’s Gallery, Minneapolis, and Castelli Graphics, Inc., New York. From the same titled series. A very good impression. Foster 110.
Estimate
$1,500 – $2,500
Robert rauschenberg
Surface Series from Currents.
Screenprint on Aqua B 844 paper, 1970. 890x890 mm; 35x35 inches, full margins. Signed, dated and numbered 10/100 in pencil, lower margin. Co-published by Dayton’s Gallery, Minneapolis, and Castelli Graphics, Inc., New York. From the same titled series. A very good impression. Foster 123.
Estimate
$1,500 – $2,500
Robert rauschenberg
Features from Currents.
Screenprint on Aqua B 844 paper, 1970. 890x890 mm; 35x35 inches, full margins. Signed, dated and numbered 35/50 in pencil, lower margin. Co-published by Dayton’s Gallery, Minneapolis, and Castelli Graphics, Inc., New York. From the same titled series. A very good impression of this large, early print. Foster 148.
Estimate
$2,000 – $3,000
Robert rauschenberg
People Have Enough Trouble Without Being Intimidated by an Artichoke.
Color offset lithograph with collage on wove paper, 1979. 775x582 mm; 30½x23 inches, full margins (sheet). One of 6 numbered printer’s proofs, aside from the edition of 100. Signed, dated, inscribed “PP” and numbered 5/6 in pencil, lower margin. Printed by Styria Studio, Inc., with the blind stamp lower left. Published by Multiples, Inc., New York. From Suite of Nine Prints. A very good impression.
Estimate
$1,500 – $2,500
Robert rauschenberg
More Distant Visible Part of the Sea.
Color screenprint with collage on Rives, 1979. 775x555 mm; 30 1/2x21¾ inches, full margins. An hors commerce impression, aside from the edition of 100. Signed, dated and inscribed “HC” in pencil, lower left. Printed by Styria Studio, Inc., New York, with the blind stamp lower right. Published by Multiples, Inc., New York. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Robert rauschenberg
One More and We’ll Be More Than Half Way There.
Color screenprint and fabric collage on white wove paper, 1979. 783x589 mm; 30½x23 inches, full margins. One of 6 numbered printer’s proofs, aside from the edition of 100. Signed, dated, inscribed “PP” and numbered 1/6 in pencil, lower margin. Printed by Styria Studio, Inc., New York, with the blind stamp lower left. Published by Multiples, Inc., New York. A very good impression.
Estimate
$3,000 – $5,000
Robert rauschenberg
Untitled (Arrow).
Color offset lithograph on cream wove paper, 1984. 583x463 mm; 23x18⅛inches (sheet), full margins. Signed, dated and numbered 44/120 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
Robert rauschenberg
People for the American Way Print.
Color lithograph and screenprint on Arches Cover paper, 1991. 1219x908 mm; 48x35¾ inches (sheet), full margins. Signed, dated and numbered 70/75 in pencil, lower left. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamps lower right. A very good impression with strong colors. Gemini 41.191.
Estimate
$10,000 – $15,000
Robert rauschenberg
Saint John the Divine (Cathedral Print).
Color lithograph on wove paper, 1993. 908x645 mm; 35¾x25⅜ inches (sheet), full margins. Signed, dated and numbered 30/175 in pencil, lower left. Printed and published by ULAE, West Islip. A very good impression of this large lithograph with strong colors.
Estimate
$1,500 – $2,500
Robert rauschenberg
Untitled (for Kennendy).
Color offset lithograph on white wove paper, 1994. 720x510 mm; 28½x20¼ inches, full margins. Signed and numbered 75/100 in pencil, lower margin. Published by the Senator Edward M. Kennedy Campaign, Washington, D.C., with the blind stamp left center recto. A very good impression with strong colors.
Estimate
$2,000 – $3,000
Jasper johns
Untitled.
Color screenprint on Patapar printing parchment, 1977. 241x235 mm; 9½x9⅜ inches, full margins. Edition of 3000. Printed by Simca Prints, Tokyo and New York. Published by Brooke Alexander, Inc., New York. A superb impression with strong colors.
Printed as the cover for the catalogue Jasper Johns/Screenprints by Brooke Alexander, Inc., New York, with an essay by Richard S. Field. Field 260.
Estimate
$1,500 – $2,500
Jasper johns
Two Flags.
Lithograph on Eijiro Kikuchi Nishinouchi paper, 1980. 1015x825 mm; 40x32½ inches, full margins. Signed, dated and numbered 24/56 in pencil, lower margin. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamps lower right. A very good impression of this large, scarce lithograph. Gemini 26.100.
Estimate
$20,000 – $30,000
Jasper johns
Silver Cicada.
Color offset lithograph on thin wove paper, 1981-82. 230x191 mm; 9⅛x7½ inches (sheet), full margins.
Estimate
$1,500 – $2,500
Andy warhol and julia warhola
Holy Cats.
Pen and ink on paper, circa 1957. 453x606 mm; 17⅞x23⅞ inches. Inscribed “Andy Warhols Mother” and dedicated “to Bob Cato” in ink, center recto.
Provenance: Acquired directly from the artist, by Robert G. Cato, New York; Private collection, Connecticut.
Cato (1923-1999) and Warhol (1928-1987) worked together in New York for the magazine Harper’s Bazaar in the 1950s before Cato furthered his career as a highly successful, award-winning graphic artist and Warhol went on to fame as a star of the Pop Art movement.
Holy Cats was a book published by Warhol in 1957 which consisted of 21 offset lithographs based on his and his mother’s, Julia Warhola’s (1892-1972) designs. The current drawing contains elements which were later used for the drawing that became the cover illustration for Holy Cats.
Estimate
$10,000 – $15,000
Andy warhol
Bird on a Fruit Branch.
Offset lithograph with hand coloring in watercolor on cream laid paper, 1957. 367x273 mm; 14½x10¾ inches (sheet), wide margins. Edition of approximately 100. From A Gold Book. A very good impression. Feldman IV.121.
Estimate
$1,500 – $2,500
Andy warhol
The Golden Slipper Shoe or Shoes Shoe in America.
Lithograph printed in gold ink, circa 1956. 550x165 mm; 21⅞x6½ inches (sheet), full margins. A very good impression. Kornbluth 27.
Estimate
$2,000 – $3,000
Andy warhol
Salade de Alf Landon.
Offset lithograph with hand coloring in watercolor, 1959. 433x279 mm; 17⅛x11 inches (sheet), wide margins. From Wild Raspberries. A very good impression with strong colors.
Created in collaboration with Suzie Franfurt who provided the recipes. The lettering was done by Warhol’s mother, Julia Warhola. Feldman IV.126A.
Estimate
$3,000 – $5,000
Andy warhol
Scotch Broth.
Color screenprint on heavy white wove paper, 1969. 890x585 mm; 35x23 inches (sheet), full margins. Signed in ball-point pen and ink and numbered 72/250 with the rubber ink stamp, verso. Printed by Salvatore Silkscreen Co., Inc., New York. Published by Factory Additions, New York. From Campbell’s Soup II. A brilliant, richly-inked impression with vibrant colors. Feldman 55.
Estimate
$40,000 – $60,000
Andy warhol (after)
Cow.
Color offset lithograph printed on wallpaper, 6 joined impressions. Each impression, 1150x756 mm; 45¼x29¾ inches, full margins, rolled as issued.
After Warhol’s same-titled screenprint on wallpaper, 1971 (and after the subsequent edition published for the Warhol retrospective at the Whitney Museum of American Art, New York, May 1-June 13, 1971). See Feldman 11A.
Estimate
$3,000 – $5,000
Andy warhol (after)
Two Chanel No. 5 posters.
Color offset lithograph posters, 1997. Pink. 1590x1150 mm; 62½x45¼ inches (sheet), full margins * Blue. 1745x1185 mm; 68¾x46⅝ inches (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. The resulting posters exist in two sizes. These are the larger format, intended for use in French bus shelters.
Estimate
$1,500 – $2,500
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
$1,000 – $1,500
Andy warhol
Art for AREA Nightclub.
Colored screenprint on cotton t-shirt, circa 1985. 410x510 mm; 16x20 inches, cropped at the lower edge. From an unknown edition size. Signed in felt-tip pen and ink on the left sleeve. Printed by Rupert Jasen Smith, New York.
Created for AREA, a nightclub that was located at 157 Hudson Street in Lower Manhattan. AREA opened in September 1983, originally as an idea for a large scale art project by Eric and Christopher Goode, Shawn Hausman and Darius Azari. It soon became staple of the downtown nightclub and arts scene, known for its rotating themed decor and creative invitations (see Feldman IIIA.65).
Estimate
$3,000 – $5,000
Richard pettibone
Lavender Disaster 1964.
Acrylic and silkscreen ink on canvas, 1969. 250x170 mm; 9⅞6¾ inches. Signed, titled and dated in ink on the stretcher, verso.
Provenance: OK Harris, New York, with the label; private collection, Sweden.
Estimate
$30,000 – $50,000
Roy lichtenstein
Sunrise.
Color offset lithograph, 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. Corlett II 7.
Estimate
$10,000 – $15,000
Roy lichtenstein
Paris Review Poster.
Color screenprint on heavy, glossy white paper, 1966. 1016x654 mm; 40x25¾ inches (sheet), full margins. Artist’s proof, aside from the edition of 150. Signed and inscribed “A/P” in ball-point pen and ink, lower right. Printed by Chiron Press, New York, with the blind stamp upper right. Published by the Paris Review, New York. A superb impression with vibrant colors. Corlett 43.
Estimate
$7,000 – $10,000
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
Roy lichtenstein
Whaam!
Color lithograph, 1967. 629x736 mm; 24 3/4x29 inches, full margins. Printed by Beck and Partridge, 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
$2,000 – $3,000
Roy lichtenstein
Untitled Shirt.
Color screenprint on silk sateen shirt, 1979. 762x914 mm; 30x36 inches (with sleeves outstretched). With the artist’s signature and date screenprinted and numbered 3/100 in ink, on the label. Printed by the Fabric Workshop, Philadelphia. Published by the artist to benefit Artist’s Space, New York.
Corlett notes that, “The shirts were produced for the benefit of Artists Space and were sold at its sixth-anniversary fundraising party, held at the Mudd Club on October 25, 1979. According to Lichtenstein’s (1923-1997) notes in his records, “The dots are supposed to represent a mirror and this would make the wearer invisible.” Corlett 159.
Estimate
$4,000 – $6,000
Roy lichtenstein
Wallpaper with Blue Floor Interior.
Color screenprint on Paper Technologies, Inc., Waterleaf paper, in five panels, 1992. 2780x1042 mm; 109½x41 inches (sheets), each panel, wide to full margins; 2591x3810 mm; 102x150 inches (composite image). Signed, dated and numbered 79/300 in silver metallic felt-tip pen and ink, lower right of the fourth panel. Printed by La Paloma, Los Angeles, under the supervision of Gemini G.E.L., Los Angeles. Published by Gemini G.E.L., Los Angeles, with the blind stamp with the artist’s initials and date, lower right on the fourth panel. Corlett 260.
Estimate
$25,000 – $35,000
Roy lichtenstein
Water Lilies.
Twelve porcelain service plates glazed in colors, 1990. Each 310 mm; 12¼ inches (diameter). Each with printed signatures and numbered from an edition of 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
$7,000 – $10,000
James rosenquist
Paris Review.
Color screenprint on white wove paper, 1967. 745x745 mm; 29½x29½ inches, full margins. Signed, dated and numbered 105/150 in pencil, lower margin. Printed by Chiron Press, New York. Published by the Paris Review, New York. A very good impression with strong colors.
Estimate
$1,500 – $2,500
James rosenquist
Forehead II.
Color lithograph on Arches paper, 1968. 851x625mm; 33½x24⅝ inches, full margins. One of 6 numbered artist’s proofs, aside from the edition of 96. Signed, titled, dated, inscribed “Artist’s Proof” and numbered 3/6 in pencil, lower margin. Printed by Mourlot, New York. Published by Richard Feigen Graphics, New York, with the blind stamp lower margin. A very good impression of this early lithograph. Glenn 21.
Estimate
$1,500 – $2,500
James rosenquist
Busy Signal.
Color lithograph with collage of screenprinted reflective Mylar on Arches, 1970. 310x457 mm; 12¼x18 inches, full margins. On of 9 numbered artist’s proofs, aside from the edition of 84. Signed, titled, dated, inscribed “A/P” and numbered 9/9 in pencil, lower margin. Printed at Hollander’s Workshop, Inc., New York, with the blind stamp lower center. Co-published by Hollander’s Workshop, Inc., New York, and Castelli Graphics, Inc., New York. A very good impression with strong colors. Glenn 29.
Estimate
$1,500 – $2,500
James rosenquist
Pushbuttons.
Color lithograph on Hodgkinson handmade Oatmeal paper, 1972. 787x927 mm; 31x36½ inches, full margins. Signed, titled, dated and numbered 45/75 in pencil, lower margin. Printed and published by Petersburg Press, London. A very good impression. Glenn 51.
Estimate
$1,200 – $1,800
James rosenquist
My Mind is a Glass of Water.
Color lithograph on Arches, 1972. 570x455 mm; 22½x18 inches, full margins. Printer’s proof, aside from the edition of 125. Signed, titled, dated and inscribed “P. P. I” in pencil, lower margin. Printed by Petersburg Press, London. Published by Brooke Alexander, Inc., for Phoenix House Foundation, New York. From Prints for Phoenix House. A very good impression with vibrant colors. Glenn 58.
Estimate
$1,500 – $2,500
James rosenquist
For Artists.
Color screenprint on white Arches Cover paper, 1975. 760x560 mm; 30x22⅛ inches (sheet), full margins. Signed, dated, titled and numbered 124/125 in pencil, lower margin. Printed by Adi Rischner, Styria Studio, Inc., New York, with the blind stamp lower right. Published by Artist Rights Today (A.R.T., Inc.), New York. From Artists’ Rights Today. A very good impression. Glenn 94.
Estimate
$1,500 – $2,500
James rosenquist
Night Transitions.
Color lithograph on Arches Cover paper, 1985. 1210x765 mm; 47¾x30¼ inches, full margins. Signed, titled, dated and numbered 17/35 in pencil, lower margin. Printed and published by ULAE, West Islip, with the blind stamp lower left. A very good impression of this large lithograph with strong colors. Glenn 204.
Estimate
$4,000 – $6,000
James rosenquist
Navigator–Speed of Light.
Color lithograph on Somerset paper, 1999. 1130x890 mm; 44½x35 inches, full margins. Signed, titled, dated and numbered 26/52 in pencil, lower margin. Published by ULAE, West Islip, with the blind stamp lower left. From Speed of Light. A superb impression with strong colors.
Estimate
$4,000 – $6,000
James rosenquist
The Meteor Hits Picasso’s Bed.
Photogravure on wove paper, 1996–2012. 356x295 mm; 14x11⅝ inches (sheet), full margins. Signed, dated and numbered 47/150 in pencil, lower margin. Printed by Graphicstudio U.S.F., Tampa and Gemini G.E.L., Los Angeles. Published by Gemini G.E.L., Los Angeles, with the blind stamps lower right, and the ink copyright stamp verso. From Artists for Obama. A very good impression.
This print is based on Rosenquist’s (1933-2017) same titled oil painting from 1996.
Estimate
$1,000 – $1,500
Larry rivers
Acetate Camel.
Color pochoir with airbrush and additions in pencil on acetate, 1978. 635x545 mm; 25x21½ inches (sheet), full margins. Signed, dated and numbered 91/120 in pencil, lower right. Published by Marlborough Graphics, New York. A very good impression.
Estimate
$1,500 – $2,500
Larry rivers
Sketches and Self Portrait.
Color lithograph on wove paper, 1982. 705x565 mm; 27⅞x22¼ inches, full margins. One of 25 numbered artist’s proofs. Signed, dated and inscribed “A.P. 9/25” in pencil, lower right. A very good impression.
Estimate
$1,000 – $1,500
William weege
Group of 5 posters.
In Every Government on Earth There is Some Trace of Human Weakness . . . * All the Way With L.B.J. * Napalm * Impeach Johnson * Blessed are the Peacemakers. Each an offset lithograph posters, 1967. Each 636x482 mm; 25⅛x19 inches (sheets), full margins. Each printed by Happening Press, San Francisco, with the printed copyright lower margin. Each from Peace is Patriotic. Very good impressions.
Estimate
$2,000 – $3,000
Claes oldenburg
Nude in Profile.
Brush and ink on cream wove paper, 1956. 271x312 mm; 10¾x12¼ inches. Signed and dated in ink, lower right recto.
Oldenburg (1929-2022) the Swedish-born American sculptor, best known for his public art installations featuring large replicas of everyday objects, created the current drawing during his early adult years in New York, where he initially worked in the library of the Cooper Union Museum for the Arts of Decoration. He had originally come to New York, the son of a Swedish diplomat, and then studied in Chicago (in 1953 became a naturalized citizen of the United States). During the late 1950s in New York, he met a number of artists, including Jim Dine, Red Grooms and Allan Kaprow, whose happenings incorporated theatrical aspects and provided an alternative to the abstract expressionism that had come to dominate much of the art scene. Oldenburg began toying with the idea of soft sculpture in 1957, when he completed a free-hanging piece made from a woman’s stocking stuffed with newspaper. By 1960, he had produced sculptures containing simply rendered figures, letters, and signs, inspired by the Lower East Side, New York neighborhood where he lived, made out of materials such as cardboard, burlap, and newspapers; in 1961, he shifted his method, creating sculptures from chicken wire covered with plaster-soaked canvas and enamel paint, depicting everyday objects–articles of clothing and food items. By the mid-1960s he decided to move to Los Angeles, as a means to escape the New York art world, and soon after began to make drawings for and ultimately create the large scale sculpture of everyday objects for which he is best known and which aligned him with the Pop Art movement.
Provenance: Acquired directly from the artist by the photographer Marvin Newman (born 1927), New York; Newman had visited Oldenburg’s Lower East Side studio and purchased the drawing directly from the artist, who needed the funds to restore his studio electricity, which had been switched off due to his failure to pay the electric bill.
Estimate
$5,000 – $8,000
Claes oldenburg
Alphabet in the Form of a Good Humor Bar.
Color offset lithograph poster on smooth white wove paper, 1970. 750x525 mm; 29½x20¾ inches (sheet), full margins. Initialed in pencil, lower right. The poster version, with the text lower center and the Arts Council rubber stamp, verso. Printed by Imprimeries Réunies, Lausanne. Published by Paul Bianchini, New York. A very good impression with strong colors. Axsom 69.1.
Estimate
$1,000 – $1,500
Claes oldenburg
Woman Hanging in Imitation of the Soft Fan (Edition B).
Soft-ground etching printed in red on yellow Chine collé, 1976. 805x537 mm; 31½x21⅛ inches, full margins. One of 12 numbered artist’s proofs, aside from the edition of 50. Signed, dated and numbered “AP VII/12” in red pencil and with the artist’s copyright blind stamp, lower margin. Printed and published by Petersburg Press, London and New York. A very good impression. Axsom 159.2.
Estimate
$1,000 – $1,500
Claes oldenburg
Pizza/Palette.
Color lithograph on Somerset Velvet paper, 1996. 746x978 mm; 29⅜x38½ inches (sheet), full margins. One of 15 numbered hors commerce proofs in Roman numerals, aside from the edition of 100. Signed and numbered I/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
Claes oldenburg
Geometric Mouse, Scale D “Home-Made” * Musical Hearts.
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 * Musical Hearts, color screenprint, 2012. 355x282 mm; 14x11⅛ inches (sheet), full margins. Initialed, dated and numbered 47/150 in pencil, lower margin. Published by Gemini G.E.L., Los Angeles, with the blind stamps, lower right. A very good impression. Axsom 73.
Estimate
$1,000 – $1,500
Robert indiana
Lilac.
Color screenprint on Fabriano paper, 1982. 610x610 mm; 24x24 inches, full margins. Each signed, dated, titled and numbered 57/100 in pencil, lower margin. Printed by Domberger KG, Filderstadt, with the blind stamp lower right. Published by Prestige Art Limited, Mamaroneck, New York. From Garden of Love. A very good impression with vibrant colors. Sheehan 131.
Estimate
$5,000 – $8,000
Robert indiana
Classic Love.
Archival New Zealand wool, hand-tufted woven tapestry. 1830x1830 mm; 72x72 inches. Edition of 100. With the artist’s name woven in the tapestry, lower right recto. Signed, dated and numbered in ink on label, verso.
Estimate
$5,000 – $8,000
Robert indiana
The Diamond One.
Color screenprint on Fabriano 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
Robert indiana
Mother of Exiles.
Etching and aquatint on Arches Cover paper, 1986. 898x603 mm; 35⅜x23¾ inches, full margins. Artist’s proof, aside from the edition of only 15 printed in black. Signed, dated, titled, and inscribed “S/P 1/2” and “V/H” in pencil, lower margin. Printed and published be Vinalhaven Press, Vinalhaven, Maine. A very good impression.
Mother of Exiles was created to celebrate the centennial of the Statue of Liberty. It was printed in four color variations. Sheehan 137.
Estimate
$1,500 – $2,500
Robert indiana
Ahava.
Color screenprint on white wove paper, 1993. 635x636 mm; 25x25 inches, full margins. One of 25 numbered artist’s proofs, aside from the edition of 150. Signed, dated, titled, inscribed “AP” and numbered 21/25 in pencil, lower margin. Printed by Brand X Editions, Long Island City, with the blind stamp lower right. A very good impression.
Estimate
$3,000 – $5,000
Robert indiana
HOPE.
Color screenprint on white wove paper, 2008. 431x432 mm; 17x17 inches, full margins. One of 25 numbered artist’s proofs, aside from the edition of 200. Signed, dated, inscribed “AP” and numbered 8/25 in pencil, lower margin. Published by American Image Atelier, New York. A very good impression with strong colors.
Estimate
$5,000 – $8,000
Robert indiana
HOPE Wall.
Color screenprint on white wove paper, 2010. 482x482 mm; 19x19 inches, full margins. One of 4 numbered artist’s proofs in Roman numerals, aside from the edition of 33. Initialed, dated, inscribed “AP” and numbered III/IV in pencil, lower margin. A very good impression with strong colors.
Estimate
$3,000 – $5,000
Robert indiana
EAT.
Color screenprint on wove paper, 2011. 607x610 mm; 23⅞x24 inches, full margins. One of 8 numbered trial proof’s, aside from the edition of 92. Signed, dated, inscribed “TP” and numbered 8/8 in pencil, lower margin. A very good impression.
Estimate
$7,000 – $10,000
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 very good, well-inked impression.
Estimate
$5,000 – $8,000
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 print.
Estimate
$3,000 – $5,000
Tom wesselmann
Monica Nude with Matisse.
Etching and aquatint with embossing on heavy white wove paper, 1990. 960x1510 mm; 37¾x59½ inches, full margins. Signed and numbered 75/75 in pencil, lower right. Published by International Images, Inc., California. A very good impression of this large print.
Estimate
$8,000 – $12,000
Jim dine
Sunflower Heart.
Color lithograph on Rives BFK, 2005. 669x520 mm; 26⅜x20½ inches, full margins. Signed and numbered 98/200 in pencil, lower margin. Printed by Atelier Michael Woolworth, Paris. Published by Marco Fine Arts Contemporary, Hawthorne, California. A superb impression with bright colors.
Estimate
$3,000 – $5,000
Jim dine
Winter on Cruise.
Lithograph and woodcut with hand painting on 2-joined sheets of heavy white wove paper, 2005. 768x1130 mm; 30¼x4½ inches (2-joined sheets overall), full margins. Signed, dated and numbered 10/12 in pencil, lower margin. A very good, richly-inked impression of this large, scarce print with strong colors.
Estimate
$7,000 – $10,000
Figurative, Photorealism, Neo-Pop Art & Installation Art
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 of this large print. Maravell 75.
Estimate
$3,000 – $5,000
Robert cottingham
Orph.
Color lithograph, 1972. 510x755 mm; 20x29½ inches, full margins. Signed and numbered 140/300 in pencil, lower margin. Printed and published by Shorewood Atelier, Inc., New York, with the blind stamp lower right. From Documenta: The Super Realists. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Fairfield porter
Street Scene.
Color lithograph on Arches, 1969. 565x762 mm; 22¼x30 inches, full margins. Signed and numbered 20/100 in pencil, lower margin. Printed by Mourlot, New York. Published by Brooke Alexander, Inc., New York.
Porter’s (1907-1975) first color lithograph. A very good impression with strong colors. Ludman 18.
Estimate
$1,500 – $2,500
Fairfield porter
The Table.
Color lithograph on Arches, 1971. 706x533 mm; 27¾x21 inches, full margins. Artist’s proof, aside from the edition of 90. Signed and inscribed “Artist’s Proof” in pencil, lower margin. Printed by Bank Street Atelier, Ltd., New York, with the blind stamp lower right. Co-published by Brooke Alexander, Inc., and Knoedler and Company, Inc., New York. A very good impression with strong colors. Ludman 20.
Estimate
$1,500 – $2,500
Fairfield porter
The Christmas Tree.
Color lithograph on Arches, 1971. 660x514 mm; 26x20¼ inches, full margins. Signed and numbered 93/100 in pencil, lower margin. Printed by Bank Street Atelier, Ltd., New York, with the blind stamp lower right. Co-published by Brooke Alexander, Inc., New York, and M. Knoedler and Company, Inc., New York. A very good impression. Ludman 21.
Estimate
$1,500 – $2,500
Fairfield porter
Apple Blossoms II * Apple Blossoms III.
Two color lithographs on Arches, 1974. Each 514x641 mm; 20¼x25 inches, full margins. Both signed, inscribed “II” or “III” and numbered 35/50 or 39/50 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
Romare bearden
Girl in the Garden.
Color lithograph on white wove paper, 1979. 560x408 mm; 22⅛x16⅛ inches, full margins. From the deluxe edition of 50 in Roman numerals. Signed and numbered XXXXV/L in pencil, lower margin. Printed by Joseph Kleinman Fine Arts Printing, New York, and Fine Creations, Inc., New York. Published by London Arts, Inc., Detroit. A superb impression with strong colors. Gelburd/Rosenberg 88.
Estimate
$4,000 – $6,000
Romare bearden
Three Women (Easter Sunday).
Color lithograph, 1979. 515x380 mm; 20¼x15 inches, full margins. Signed and numbered 207/300 in pencil, lower margin. Printed by Atelier Ettinger, New York, with the blind stamp lower right. A very good impression with bright colors. Gelburd/Rosenberg 84.
Estimate
$1,500 – $2,500
Romare bearden
Out Chorus.
Color screenprint on Arches, 1979-80. 311x413 mm; 12¼x16¼ inches, full margins. Signed and numbered 29/200 in pencil, lower margin. Published by the University of Pennsylvania Press, Philadelphia. A superb impression of this scarce print with strong colors. Gelburd/Rosenberg 97.
Estimate
$5,000 – $8,000
Romare bearden
Jamming at the Savoy.
Color etching and aquatint on wove paper, 1981-82. 418x599 mm; 16½x23⅜ inches, full margins. Signed, titled and numbered 62/150 in pencil, lower margin. Printed by Mohammad O. Khalil, New York. Published by June Kelly Gallery, Inc., New York, with the blind stamp lower right verso. A very good impression with strong colors. Gelburd/Rosenberg 95.
Estimate
$5,000 – $8,000
Alice neel
Evans Twins.
Color screenprint on Arches Cover paper, 1982. 805x1065 mm; 31⅝x42 inches (sheet), full margins. Signed, dated and numbered 47/75 in pencil, lower margin. Printed by Studio Heinrici, Ltd., New York. Published by Anthology Film Archives, New York, with the blind stamp lower left. From A Portfolio of Thirteen Prints. A very good impression with strong colors.
Neel (1900-1984) had painted the growing family of contemporary artist and friend John Evans (1932-2012) since 1978. Her oil Margaret Evans Pregnant, 1978, now in the Institute for Contemporary Arts, Boston, portrayed the powerful physical transformation and self-assuredness of the pregnant woman, a topic artists had historically overlooked. The twin daughters from that pregnancy are the subjects of the current screenprint.
Estimate
$2,000 – $3,000
George segal
Gazing Woman.
Resin relief cast, 1975. 657x485x130 mm; 25⅞x19⅛x5⅛ inches. Signed, dated and numbered 42/175 in black ink, lower left side. Published by Transworld Art, Inc., New York. From An American Portrait.
Estimate
$2,000 – $3,000
Richard artschwager
Untitled (Interior).
Charcoal on cream wove paper, 1980. 640x480 mm; 25¼x19 inches. Signed and dated in pencil, lower right recto.
Exhibited: David Nolan Gallery, New York, with the label on the frame back.
Provenance: Gifted by the artist to the current owner, private collection, New Milford, Connecticut.
Estimate
$2,500 – $3,500
Robert gober
Three prints.
Untitled, lithograph on Fabriano Tiepolo, 2000. 760x1120 mm; 30x44¼ inches, full margins. Signed, dated and numbered 12/50 in pencil, lower margin * Obama, color screenprint on Lanaquarelle Satine paper, 2012. 275x225 mm; 10¾x9 inches, full margins. Signed, dated and numbered 47/150 in pencil, lower margin. From Artists for Obama * Untitled, lithograph on French Duratone paper, 1997. 286x356 mm; 11¼x14 inches (sheet), full margins. Signed, dated and numbered 25/40 in pencil, lower margin. Each printed and published by Gemini G.E.L., Los Angeles, with the blind stamps lower right. Gemini 1743 and 1816.
Estimate
$1,500 – $2,500
Chuck close
Self-Portrait.
Relief print with embossing on handmade gray paper, 1999. 508x387 mm; 20x15¼ inches, full margins. Trial proof, aside from the edition of 50. Signed, dated, dedicated and inscribed “T.P.” in pencil, lower margin. Published by Two Palms Press, New York. A very good impression.
Estimate
$5,000 – $8,000
Miguel berrocal
La Mini-Maria.
Nickel-plated brass sculpture with 23 interlocking elements and plastic base, 1970. 43x80x38 mm; 1¾x3⅛x1½ inches, excluding base. Edition of 9500. With the artist’s signature and the number “818” stamped on the lower edge, and numbered “818” on the justification page. Published by Multicera, Verona. Original printed cardboard, tissue and styrofoam packaging, plastic trays and numbered hardbound instruction book. Lacks metal stand.
For each of Berrocal’s (1933-2006) six sculpture multiples commissioned by Multicetera, one of the elements is a ring which can be worn.
Estimate
$1,000 – $1,500
Miguel berrocal
La Mini-Cariatide.
Nickel-plated brass sculpture with 24 interlocking elements and base, 1971. 130 mm; 5⅛ inches (height), excluding base. Edition of 9500. With the artist’s signature and the number “3570” stamped on the lower edge, and numbered “3570” on the justification page. Published by Multicera, Verona. Original printed cardboard, tissue and styrofoam packaging, plastic trays and numbered hardbound instruction book.
For each of Berrocal’s (1933-2006) six sculpture multiples commissioned by Multicetera, one of the elements is a ring which can be worn.
Estimate
$1,000 – $1,500
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.
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).
Provenance: Acquired Max Hutchinson Gallery, New York by present owner, private collection, New York.
Estimate
$10,000 – $15,000
Lowell nesbitt
Standing Nude.
Color pencils on paper mounted on board, 1981. 1524x1009 mm; 60x39¾ inches. Signed and dedicated “For Chett” in color pencil, lower recto
Provenance: Private collection, New York.
Estimate
$3,000 – $5,000
Keith haring
Bad Boys.
Screenprint on Rives BFK , 1986. 430x560 mm; 17x22 inches, full margins. One of 7 numbered artist’s proofs, aside from the edition of 30. Signed, dated, inscribed “AP” and numbered 5/7 in pencil, lower right. Published by Bèbert, Rotterdam. From the same titled portfolio.
Haring’s (1958-1990) Bad Boys series reflects the artist’s advocacy for LGBTQ+ rights against the backdrop of the HIV/AIDS crisis in the 1980s. The sexually explicit subject matter of Haring’s Bad Boys series is indicative of a turning point in the artist’s career, when the HIV/AIDS epidemic hit New York in the 1980s. Littmann, page 59.
Estimate
$7,000 – $10,000
Keith haring
The Valley.
Etching on Twinracker Handmade white wove paper, 1989. 252x225 mm; 10x9 inches, full margins. Signed, dated and numbered 48/80 in pencil, lower right. Printed at Wellington Studios, London. Published by George Mulder Fine Arts, New York. From the same titled portfolio. A very good impression with strong contrasts.
The Valley is a collaboration between Haring (1958-1990), who made 16 separate etchings for the series, and the Beat Era poet and novelist William S. Burroughs, whose text-based “cut-up” method of writing influenced Haring’s pictographic style. Reflecting a shift from Haring’s more light-hearted early works, The Valley series is dark and menacing, made during the final years of his life when he was living with AIDS. Alongside his Apocalypse series (1988), this series introduces stylistic shifts of more complex compositions and characters such as jesters, masks, skills and martyrs. This series tells the story of the valley people who live in hellish conditions, then rescued by people from the outside world. Haring and Burroughs set up an “us” and “them” narrative in this series, notably around contamination from the valley people. Thus, The Valley series strikes parallels with contemporary crises like the AIDS epidemic and functions as a compelling social commentary.
A portion of Burroughs’s corresponding text for this etching reads: “The Press, of course, wallowed in speculation and clamored to be allowed to interview the Valley people and take pictures. They were firmly admonished that the possibility of a virgin soil epidemic imposed emergency conditions. No one but scientists and doctors from the CDC would be allowed access to the Valley people, unless or until there was no danger of an unknown disease agent getting loose in the world’s population.” Littmann, page 141.
Estimate
$4,000 – $6,000
Keith haring
Untitled (Two Figures).
Felt-tip pen and ink on cream wove paper, 1988. 214x276 mm; 8⅜x11 inches. Signed and dated in ink, lower center recto.
Provenance: Private collection, Detroit.
Estimate
$15,000 – $20,000
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
$2,000 – $3,000
Red grooms
Tonto—Condo.
Three-dimensional color lithograph on Arches Cover paper, with moving parts, cut-out, and assembled in a Plexiglas box, 1983. 590x780x170 mm; 23¼x30⅝x6¾ inches. Signed and numbered 55/75 in pencil, upper corners. Printed by Shark’s Lithography, Ltd., Boulder. Published by the artist and Shark’s Lithography, Ltd., Boulder.
According to Bud Shark, the printer, “The concept for the print was first worked on in 1981 at Anderson Ranch. It took some time to work out a simple but effective method of moving the parts. ‘The Mesa & Gas Station’ were spotted by Red and me on a camping trip while driving through Kremmling, Colorado. So we actually saw the scene that became the print.” Knestrick 96.
Estimate
$2,000 – $3,000
Red grooms
Red’s Roxy.
Three-dimensional color lithograph with hand-cranked Mylar filmstrip in Plexiglas case, 1985. 210x160x295 mm; 8⅛x6⅜x11⅝ inches. Signed and numbered 141/200 in pencil, lower right. Printed by Shark’s Lithography, Ltd., Boulder. Published by Red Grooms and Shark’s Lithography, Ltd., Boulder. Knestrick 104.
Estimate
$1,500 – $2,500
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
Jean-michel basquiat (after)
59 Cent Halo for Fun Gallery.
Offset magazine advertisement, 1982. 267x262 mm; 10½x10⅜ inches (sheet), full margins. Signed in felt-tip pen and ink, lower left.
Advertisement designed by Basquiat for his November-December 1982 exhibition at Fun Gallery, New York, printed in Artforum.
Estimate
$1,200 – $1,800
Christo
Look Magazine Empaqueté.
Look magazine wrapped in transparent Polyethylene with cord, on black wooden support, 1965. 560x460x38 mm; 22x18⅛x1½ inches (support). Intended edition of 100 (only 56 were produced). Signed and numbered “3” in ink, verso. Published by MAT Edition/Galerie Der Spiegel, Cologne, with the label verso. Schellmann 2.
Estimate
$5,000 – $8,000
Christo
Wrapped Venus, Project for Villa Borghese, Rome.
Color lithograph on Special Arjomari paper, 1974. 510x370 mm; 20x14½ inches, full margins. Signed and numbered 19/200 in pencil, lower left. Printed by Landfall Press, Chicago, with the ink copyright stamp lower left verso. Published by the artist for Scheizerischer Kunstverein, St. Gallen. A very good impression. Schellmann 74.
Estimate
$1,200 – $1,800
Christo
Surrounded Islands, Project for Biscayne Bay, Greater Miami, Florida.
Mixed-media collage with color screenprint, photograph, collotype, pink woven polypropylene fabric and masking tape on Fabriano paper, 2 parts, 1987. Both 380x400 mm; 15x15¾ inches (sheets), full margins. One signed, both numbered 93/125 and both inscribed “part 1” and “part 2” in pencil, lower margin. Printed by Domberger KG, Stuttgart, both with the blind stamp lower left. Published by Edition Schellmann, Munich and New York. Very good impressions with strong colors. Schellmann 132.
Estimate
$6,000 – $9,000
Christo
Wrapped Statues (Project for Der Glyptothek, Munich, West Germany).
Color screenprint and collage of three offset prints on Arches Cover paper, 1988. 890x685 mm; 35⅛x27⅜ inches (sheet), full margins. Signed and numbered CLXXXVI/CCC in pencil, lower margin. Printed by Landfall Press, Chicago. Published by the Olympic Games Committee, Seoul. A very good impression with strong colors. Schellmann 135.
Estimate
$1,500 – $2,500
Christo
The Pont-Neuf Wrapped (Project for Paris).
Color photogravure on white wove paper, 2020. 250x192 mm; 10x7¾ inches (sheet), full margins. Signed and numbered 357/450 in pencil, lower margin. Printed by Indice, Barcelona. Published by Éditions du Centre Pompidou, Paris, to coincide with the exhibition, “Christo et Jeanne-Claude, Paris!,” March 18-June 15, 2020, with the bound copy of the exhibition catalogue.
Estimate
$1,500 – $2,500
Joseph amar
Two works on paper.
Untitled, gouache on wove paper, 1974. 1015x662 mm; 39⅞x26⅛ inches. Signed and dated in pen and ink, lower right recto * Untitled, acrylic, pencil and oil pastel on wove paper, circa 1975. 1020x642 mm; 40⅛x25¼ inches.
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.
Provenance: Private collection, New Jersey.
Estimate
$1,500 – $2,500
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
$12,000 – $18,000
Post-Minimalism, British Contemporary & Late 20th Century Abstract Art
Tom holland
Kalway.
Epoxy painting and riveted fiberglass collage on fiberglass, 1973. 2596x1675 mm; 102¼x66 inches. Signed, dated, titled, and inscribed in ink, verso.
Provenance: Private collection, New York.
Estimate
$1,000 – $1,500
Donald judd
Untitled.
Three aquatints on cream wove etching paper, 1974. 905x594 mm; 35½x23⅜ inches, full margins. Edition of 70, plus 6 proofs. Each signed and numbered 13/70 or inscribed “P.P.” in pencil, lower margin. Printed by Styria Studio, Inc., New York, with the blind stamp lower left and ink stamp verso. Published by the artist. From the same-titled series. Schellmann 84, 86 and 88.
Estimate
$7,000 – $10,000
Brice marden
Obama Letter.
Photogravure and etching on wove paper, 2012. 195x250 mm; 7¾x9⅞ inches, full margins. Signed, dated and numbered 41/150 in pencil, lower margin. Printed by Graphicstudio U.S.F., Tampa and Gemini G.E.L., Los Angeles. Published by Gemini G.E.L., Los Angeles, with the blind stamps lower right, and the ink copyright stamp verso. From Artists for Obama. A very good impression.
Estimate
$2,000 – $3,000
Ben nicholson
Long Horizontal Patmos.
Etching and aquatint, 1967. 295x450 mm; 11¾x17¾ inches (sheet), full margins. Signed, dated and numbered 9/50 in pencil, lower margin. Printed by François Lafranca, Locarno, Switzerland, with the blind stamp lower left. A very good impression. Lafranca 65.
Estimate
$1,500 – $2,500
Elisabeth frink
Two color lithographs.
Wild Boar * Horse. Both on J. Green paper. Both 1967. Both 790x595 mm; 31¼x23½ inches (sheet), full margins. Both signed and numbered 15/25 in pencil, lower margin. Published by Alistair McAlpine and Waddington Galleries, London. From Images. Very good impressions.
Estimate
$2,000 – $3,000
Graham sutherland
A Bestiary and Some Correspondences.
Portfolio with complete text and 25 color lithographs and color lithograph frontispiece on Arches, 1965-68. 660x510 mm; 26x20 inches (sheets), full margins, loose as issued.
An artist’s proof set, aside from the edition of 70. Each color lithograph signed and inscribed “épreuve d’artiste” in pencil, lower margin. Printed by Mourlot, Paris. Published by Marlborough Fine Art, Ltd., London. Original portfolio. Very good impressions with strong colors. Tassi 81-109.
Estimate
$7,000 – $10,000
Graham sutherland
The Bees.
Portfolio with complete text and 12 color aquatints and etching on Magnani paper, 1977. 565x450 mm; 22¼x17¾ inches (sheets), full margins, loose as issued.
An artist's proof set, aside from the edition of 66. Each color aquatint signed and annotated in pencil, lower margin. Printed by 2RC Edizioni d’Arte, Rome, with the blind stamp lower margin. Co-published by 2RC Edizioni d’Arte, Rome, and Marlborough Fine Art, Ltd., London. Very good impressions with strong colors. Tassi 179-192.
Estimate
$5,000 – $8,000
Anthony green
Airmail Cards Souvenir from Leonia.
Oil on canvas, 1968. 1230x1020 mm; 48½x40 inches. Signed, titled and dated in red ink, verso.
Green (born 1939) is an English realist painter and printmaker best known for his paintings of his own middle-class domestic life. His works sometimes use compound perspectives and polygonal forms–particularly with large, irregularly shaped canvases. He was elected an Associate Member of the Royal Academy, London in 1971, was elected a full in 1977 and won the Royal Academy Summer Exhibit the same year. His works are in numerous public collections, including the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Boston; the National Museum of Wales, Cardiff; and the Tate Gallery, London.
Provenance: Sloan’s Miami, January 16, 2001, lot 22; Spanierman Gallery, New York; Rago, Lambertville, New Jersey, September 23, 2020, lot 434; private collection, New Jersey.
Estimate
$1,000 – $1,500
David hockney
Old Rinkrank Threatens the Princess.
Etching on Hodgkinson handmade paper, 1969. 235x270 mm; 9¼x10⅝ inches, full margins. Signed and numbered 49/100 in pencil, lower margin. Printed by Print Shop, Amsterdam. Published by Petersburg Press, London. From Illustrations for Six Fairy Tales from the Brothers Grimm. A very good impression. Scottish Arts Council 99.
Estimate
$1,500 – $2,500
Barbara hepworth
Desert Forms.
Color lithograph on Barcham Green paper, 1971. 763x545 mm; 30x21½ inches, full margins. Signed and numbered “x 14/30” in pencil, lower margin. Printed by Curwen Studio, London, with the blind stamp lower left. Published by Marlborough Fine Art, London. From The Aegean Suite. A very good impression of this scarce lithograph.
Hepworth (1903-1975) completed two major sets of lithographs with the Curwen Studio during her lifetime. The Aegean Suite was inspired by the Hepworth’s visits to Greece and its ancient sites. Hepworth began the suite in 1970 from her studio in St. Ives and completed it with the master printer Stanley Jones MBE at the Curwen studio in Tottenham Court Road, London the following year. Although Hepworth’s graphic output was limited, she enjoyed printmaking as the intricacy of its layering process would allow her to develop ideas on space, abstraction, form and texture that she would later translate into her sculpture.
Estimate
$2,000 – $3,000
William scott
Blue Field.
Color screenprint on white wove paper, 1972. 580x775 mm; 23x30½ inches (sheet), full margins. Signed, dated and numbered 69/72 in pencil, lower margin. Kelpra Studio, London, with the ink stamp verso. Published by Leslie Waddington Prints, Ltd., London. From A Poem for Alexander–Towards Euclide. A very good impression of this scarce print with strong colors.
Estimate
$2,000 – $3,000
Sheila girling
Family Portrait.
Acrylic on canvas, 1981. 908x504 mm; 35¾x19¾ inches. Signed, titled and dated in ink, verso.
Girling (1924-2015) was an abstract British artist born in Birmingham. She was educated at the Birmingham School of Art and from 1947 trained at Royal Academy Schools, London. In December 1947, she married the British sculptor Sir Anthony Caro (1924-2013), whom she had met as a university art student.
Provenance: Acquavella Galleries, New York, with the label; private collection, New York.
Estimate
$1,500 – $2,500
Francis bacon
Triptych.
Three color aquatints with etching on one sheet of Guarro paper, 1981. 625x1100 mm; 24¾x43½ inches, full margins. Signed and numbered 58/99 in pencil, lower margin. Printed and published by Polígrafa, Barcelona. Very good, well-inked impressions with strong colors.
Triptych is based on the same-titled, three-part work painted by Bacon (1909-1992) from 1974 to 1977. This mysterious, foreboding work, one of the last in a series of triptychs that Bacon painted following the suicide of his long-time companion, George Dyer, in 1971 (Dyer killed himself in the Paris hotel room where he and Bacon were staying on the eve of the opening of a landmark retrospective of Bacon’s work at the Grand Palais), is believed to represent Dyer struggling.
There are two printed versions of these three color aquatints with etching: one in which the three separate plates are printed on a single sheet of paper, like the current work, and the other with the three separate plates each printed on a separate sheet of paper (both versions were issued in an edition of 99, each pencil signed by Bacon and numbered). Sabatier 4.
Estimate
$25,000 – $35,000
Howard hodgkin
Alexander Street.
Color lithograph with hand coloring in watercolor and gouache on Velin Arches mould-made paper, 1978. 340x612 mm; 13¼x24¼ inches (sheet), full margins. Signed, dated and numbered 88/90 in pencil, lower margin. Printed by Sky Editions, London. Published by Bernard Jacobson, Ltd., London. A superb impression with strong colors. Heenk 44.
Estimate
$2,500 – $3,500
Howard hodgkin
Black Blush.
Hand-painted carborundum relief (hand-painted in Permanent Maroon and Prussian Blue Hue, then printed in Titanium White/Portland Black mix and Zinc White/Ruby Madder mix) on Velin Arches Noir 250gsm paper, 2015-16. 760x1125 mm; 39¾x44¼ inches (sheet), full margins. Initialed, dated “2016” and numbered 10/15 in white crayon, lower right. Printed by Andrew’s Printworks, Poole. Published by Alan Cristea Gallery, London. A very good, richly-inked impression of this large, scarce print.
Estimate
$7,000 – $10,000
Patrick caulfield
Quelques Poèmes de Jules Laforgue.
Bound portfolio with complete text, 22 color screenprints on Neobond papier synthétique, 1973. 400x355 mm; 15¾x14 inches (sheets), full margins.
One of 200 copies, the French edition, from a total edition of 500. Signed, numbered 101/200 and inscribed “Edition B” in pencil, on the justification page. Printed by Christopher Betambeau, London. Published by Petersburg Press, London. Original gray leather folders and binding. Superb impressions with vibrant colors.
Lacks the additional suite of 6 color screenprints on Neobond papier synthétique. Cristea 38.
Estimate
$4,000 – $6,000
Patrick caulfield
Vessel.
Color screenprint on white wove paper, 1987. 943x655 mm; 37⅛x25¾ inches, full margins. Signed, titled and numbered 2/25 in pencil, lower margins. Printed by Kelpra Studio, London, with the blind stamp lower right. Published by Waddington Graphics, London. A very good impression with strong colors. Cristea 69.
Estimate
$1,200 – $1,800
Zaha hadid
Untitled (Rocket Concept Design).
Screenprint with hand coloring in gouache on black wove paper, 1994. 297x420 mm; 11¾x16½ inches (sheet), full margins. Signed and dated in white pencil, lower right. A very good impression.
Estimate
$3,000 – $5,000
Nan goldin
Kenny Putting on Make-up, Boston.
Cibachrome print, 1973. 360x280 mm; 14x11 inches (sheet), full margins. Signed, titled, dated and numbered 22/100 in felt-tip pen and ink, verso.
Estimate
$1,500 – $2,500
Jennifer bartlett
In the Garden #5.
Pen and ink and pencil on white wove paper, 1980. 495x660 mm; 19½x26 inches.
Provenance: Thomas Segal Gallery, Boston, with the label; private collection, New York.
Estimate
$1,500 – $2,500
William t. wiley
Two drawings from the Pilchuck Series.
Both felt-tip pen and pencil on paper, 1990. 355x278 mm; 14x11 inches. One signed in ink, lower center recto.
Provenance: Private collection, New Jersey.
Estimate
$1,500 – $2,500
Susan rothenberg
Dead Rooster #4.
Woodcut printed in red on Japan paper, 1993. 575x735 mm; 22⅝x29 inches, full margins. One of 10 numbered artist’s proofs, aside from the edition of 100 printed in black. Signed, dated, inscribed “A.P.” and numbered 9/10 in pencil, lower margin. Printed by Damage Press, New York. Published by Brooke Alexander, Inc., New York. A very good, richly-inked impression.
Estimate
$1,000 – $1,500
Kiki smith
Untitled.
Rubber stamp print with paper, wax, metallic paint, pencil and ink addition on handmade Nepalese paper, 1998. 215x176 mm; 8½x7 inches. One (of 100) variants. Signed and dated in pencil, lower right.
Provenance: Acquired at Phillips, New York, June 8, 2010, lot 299 by the current owner, private collection, New York.
Estimate
$2,000 – $3,000
Kiki smith
Summer Night.
Color lithograph with glitter, hand coloring and white gold leaf on Hosho paper, 2011. 460x360 mm; 18x14 inches (sheet), full margins. Signed, dated and numbered 26/30 in pencil, lower margin. Published by the Skowhegan School of Art, Maine. From Skowhegan Portfolio No. 1. A very good impression.
Estimate
$1,500 – $2,500
Miriam schapiro
Untitled.
Femmage (acrylic, paper and fabric collage), 2003. 660x565 mm; 26x22¼ inches. Signed and dated in ink, lower right recto.
Schapiro (also known as Mimi) (1923-2015) was a Canadian-born artist based in the United States. She was a painter, sculptor, printmaker, and a pioneer of feminist art. She is also considered a leader of the Pattern and Decoration art movement. Schapiro’s artwork blurs the line between fine art and craft. She incorporated craft elements into her paintings due to their association with women and femininity. Schapiro’s work touches on the issue of feminism and art: especially in the aspect of feminism in relation to abstract art.
Provenance: Private collection, Massachusetts.
Estimate
$3,000 – $5,000
Louise bourgeois
Metamorfosis.
Portfolio with complete text, 5 drypoints with etching and aquatint and numerous illustrations on Rives BFK, 1999. 333x330 mm; 13¼x13 inches (sheets), loose as issued.
One of 85 numbered copies, from a total edition of 110. Signed by Bourgeois and the author, Maria Fluxà, and numbered “59” in pencil, on the justification page. Each print initialed in pencil, lower right. Printed by Atelier Tanguy Garric, Paris. Published by Galerie Lelong, Paris. Red and gold decorated silk portfolio case. Superb impressions of these scarce prints.
According to The Museum of Modern Art, New York, Louise Bourgeois, The Complete Prints and Books online catalogue, Metamorfosis is a collaboration initiated by Maria Fluxà, a Spanish gallery owner and collector. Fluxà first encountered Bourgeois’s (1911-2010) work at the 1982 MoMA retrospective and felt a particular emotional connection to the Femme Maison. She then began enthusiastically collecting Bourgeois’s work, which she displayed in her gallery, Lluc Fluxà, in Palma de Mallorca. Taking inspiration from Bourgeois’s themes of memory, identity, and trauma, Fluxà also staged a performance at her gallery titled ‘Götterdämmerung’ that dealt with her own upbringing.
In 1993, Fluxà met Bourgeois at The MoMA opening of a Joan Miró exhibition, introducing herself as an admirer and collector. She later visited the artist, which led to discussions about a possible collaboration between the two. Bourgeois had a sympathetic response to Fluxà’s difficult relationship with her father, a problem she shared. After meeting over the next several years, she agreed to participate in a collaborative work that became the illustrated book entitled, Metamorfosis. Here, Fluxà creates a fusion of words and imagery that conflates her own identity with that of the artist. Bourgeois allowed images of her work to contribute to this fusion, and also created five prints especially for the volume. The portfolio was published by Galerie Lelong, Paris, in 1999. MoMA, Louise Bourgeois: The Complete Prints and Books 490b-496b.
Estimate
$8,000 – $12,000
Louise bourgeois
La Petite Pousse II.
Aquatint on music paper (staves drawn in pencil) mounted on paper, 2005. 380x275 mm; 15x10⅞ inches, full margins. Signed and numbered 14/25 in pencil, lower margin. Printed by Wingate Studio, Hinsdale, New Hampshire. Published by Osiris, New York. A very good impression. MoMA, Louise Bourgeois, The Complete Prints and Books 1008.
Estimate
$3,000 – $5,000
Dora maar
Untitled.
Pen and ink on cream wove paper. 295x420 mm; 11¾x16½ inches. Initialed in ink, verso.
Provenance: Estate of the artist, Paris, with the ink stamp lower right recto; private collection, New Jersey.
Estimate
$1,000 – $1,500
Dora maar
Untitled.
Pen and ink and watercolor on cream wove paper. 240x318 mm; 9½x12½ inches.
Provenance: Estate of the artist, Paris, with the ink stamp lower right recto; private collection, New Jersey.
Estimate
$1,000 – $1,500
Dora maar
Untitled.
Watercolor on cream wove paper. 240x318 mm; 9⅜x12½ inches. Initialed in ink, verso.
Provenance: Estate of the artist, Paris, with the ink stamp upper left recto; private collection, New Jersey.
Estimate
$1,500 – $2,500
Alan saret
Tetragrammaton 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
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
$10,000 – $15,000
Sam middleton
Everybody’s Music Book.
Group of 6 color lithographs (of 8), 1972. 510x655 mm; 20⅛x25¾ inches (sheets), full margins. Each signed, dated and numbered 46/75 in pencil, lower margin. From the same-titled portfolio. Very good impressions.
Includes Shostakovitch - Concerto op. 101 * Stravinsky - Le sacre du printemps * Béla Bartók - Rumänische Volkstänze * Grieg - Concerto op. 16 * Liszt - Pianoconcerto I * Rimsky-Korsakow - Shéhérazade d’après 1001 nuits. Very good impressions with strong colors.
Estimate
$1,500 – $2,500
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 17/108 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
James havard
Untitled.
Acrylic, ink and charcoal on museum board, 1980. 1005x815 mm; 39½x32¼ inches. Incised with signature and date, upper right recto.
Provenance: Private collection, Massachusetts.
Estimate
$2,500 – $3,500
Sean scully
Cradle.
Etching and aquatint on Arches, 1985. 505x400 mm; 19⅞x15¾ inches, full margins. Artist’s proof, aside from the edition of 25. Signed, titled, dated and inscribed “P.P” in pencil, lower margin. Published by the artist and Mohammed Omer Khalil, New York, with the blind stamp lower right. A very good impression.
Estimate
$3,000 – $5,000
Sean scully
Narcissus.
Color etching and aquatint, 1985. 507x402 mm; 20x16 inches, full margins. Printer’s proof, aside from the edition of 25. Signed, dated, titled and inscribed “P.P.” in pencil, lower margin. Published by the artist and Mohammed Omer Khalil, New York, with the blind stamp lower right. A very good impression with strong colors.
Estimate
$2,500 – $3,500
Sean scully
Stranger.
Color woodcut on Okawara paper, 1987. 635x1015 mm; 25x40 inches, full margins. Signed, titled, dated and numbered 12/30 in pencil, lower margin. Printed by Chip Elwell, New York. Published by Diane Villani Editions, New York. A very good impression of this large woodcut.
Estimate
$5,000 – $8,000
Sean scully
Yellow Light.
Color woodcut on Japan paper, 1992. 275x254 mm; 10¾x10 inches, full margins. Signed, titled, dated and numbered 41/45 in pencil, lower margin. Printed by Keiji Shinohara and Garner Tullis, New York. Published by Garner Tullis Workshop, New York. A very good impression.
Estimate
$3,000 – $5,000
Gunther förg
Untitled.
Oil pastel and charcoal on laid paper, 1988. 650x487 mm; 25⅝x19⅛ inches. Signed and dated in pencil, lower right recto.
Provenance: Luhring Augustine & Hodes Gallery, New York, with the label; private collection, Michigan.
This work is recorded in the archive of Günther Förg as No. WVF.88.P.0738.
We thank Mr. Michael Neff from the Estate of Günther Förg for the information he has kindly provided on this work.
Estimate
$10,000 – $15,000
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
$2,000 – $3,000
Donald sultan
Black Lemon.
Aquatint on white wove paper, 1987. 1010x760 mm; 39¾x29⅞ inches, full margins. Initialed, titled and dated in pencil, left margin, and numbered 1/75 in pencil, lower right. Published by Parasol Press, New York. A superb, richly-inked impression of large print.
Estimate
$4,000 – $6,000
Julian schnabel
Bill (After Short Silence Then.
Color screenprint with hand-painted enamel and poured resin on 4-Ply Museum Board, 1998. 1520x1220 mm; 60x48 inches (sheet), full margins. Signed and dated in silver ink, lower right, and numbered 48/90 in pencil, lower left. Published by Lococo Fine Art, St. Louis. A very good impression.
Estimate
$3,000 – $5,000
Wolf kahn
Landscape, Coral Springs, Florida.
Color pastels on cream wove paper, 2001. 360x435 mm; 14x17 inches. Signed in white, lower center recto.
Provenance: Private collection, New York.
Estimate
$8,000 – $12,000
Wolf kahn
Greenwood.
Color pastels on cream wove paper, 2000. 332x430 mm; 13¼x17 inches. Signed in pastel, lower center recto.
Provenance: Purchased from Thomas Segal Gallery, Baltimore, by the current owner, private collection, Sweden.
Estimate
$10,000 – $15,000
Wolf kahn
Rattlesnake Mountain.
Color monotype on cream wove paper, 1986. 1070x2035 mm; 42x80 inches, full margins. Signed and dated in crayon, lower left recto, and inscribed "#2 Wolf's Print" in pencil by the printer, verso. A superb impression of this large monotype with vibrant colors.
Provenance: Associated American Artists, New York, with the label; private collection, New York.
Rattlesnake Mountain, New Hampshire is about 40 miles from Hanover, where Kahn became the artist in residence at Dartmouth College for the 1984 term.
Estimate
$15,000 – $20,000
Lamar briggs
Chet in Paris No. 1.
Acrylic on canvas, circa 2009. 762x762 mm; 30x30 inches. Signed, titled, initialed and inscribed “#2248” in pencil, 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 attended 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
Lamar briggs
Park and 5th No. 13.
Acrylic on canvas. 355x275 mm; 14x10¾ inches. Signed and titled in white pencil, 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 attended 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
Lamar briggs
Red Zip.
Oil on canvas. 612x610 mm; 24⅛x24 inches. Signed and titled in ink, 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 attended 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
Lamar briggs
Owl with Braque’s Bird.
Bronze. 294x260x50 mm; 11⅝x10¼x2 inches (excluding 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 attended 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
$1,200 – $1,800
Recent Contemporary Art: The Last Three Decades
George condo
More Sketches of Spain–For Miles Davis, #6.
Etching and aquatint on Guarro paper, 1991. 483x565 mm; 19x22½ inches, full margins. Signed and numbered 24/40 in pencil, lower margin. Printed by Alexandre Tornabell de Amer, Gerona. Published by Alexander Kahan, New York. From the same-titled suite. A very good impression with strong contrasts.
Estimate
$3,000 – $5,000
Adrian piper
Word and Will.
Color offset lithograph on 80# Ducet Cover acid free paper, 1992. 1102x479 mm; 43⅜x29½ inches. Signed, dated and numbered 42/81 in pencil, lower right recto. Co-published by The Jewish Museum, New York, and the Vera G. List New Year’s Graphic Fund, New York. A very good impression.
Estimate
$3,000 – $5,000
John baldessari
How to Make a Film (Edit).
Screenprint on Muscletone, 1973/2011. 400x407 mm; 15¾x16 inches, full margins. Signed in ink, verso. Numbered 23/35 on adhesive label, verso. Printed by Axelle Fine Arts, New York. Published by Anthology Film Archives, New York. A very good impression.
Estimate
$1,500 – $2,500
John baldessari
The Intersection Series: Person on Horse and Person Falling from Horse, with Audience.
Chromogenic print on archival paper, 2002. 265x268 mm; 10⅜x10½ inches, full margins. Signed, dated and numbered 31/150 in ink, lower margin. Published by Texte zur Kunst, Berlin. From Intersection Series. A very good impression with strong colors.
Estimate
$1,500 – $2,500
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 81/90 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 with strong colors.
Estimate
$3,000 – $5,000
Marilyn minter
100 Food Porn #64 (Oyster)>/i>.
Enamel on metal, in the artist’s metal frame 1990. 615x765 mm; 24x30 inches. Signed, titled and dated in ink, verso.
Provenance: Private collection, New York.
Estimate
$8,000 – $12,000
A-one (anthony clark)
Untitled.
Spray paint and acrylic on canvas, circa 1995. 953x1030 mm; 37½x40½ inches.
Clark, known as A-One (1964-2001) was born in Manhattan and grew up in the Mitchel Houses in the South Bronx. He was the son of Janette Gordon Clark and the grandson of Mannie Clark Sr., head caddy at the Mayfair Golf Course in Sanford, Florida in the late 1950s. He began painting at the age of six, and writing graffiti on subway cars during the mid-1970s. A-One joined Rammellzee’s (1960-2010) graffiti crew Tag Master Killers, which also consisted of Delta2, Kool Koor, and Toxic. Each member designed their own style for arming letters based on Rammellzee’s theory of Gothic Futurism, which describes graffiti as the weaponization of letters in a battle to reclaim language from a “diseased culture” of social control. In the early 1980s, they were among the graffiti artists bringing original art and music from the Bronx and Queens to the downtown art scene. In 1982, A-One, Toxic, and Kool Koor participated in the group show “Camouflaged Panzerism” at Fashion Moda in South Bronx.
A-One was a friend and collaborator of artist Jean-Michel Basquiat (1960-1988). Basquiat became his mentor and guided him toward art gallery representation. A-One is the subject of two of Basquiat’s paintings: Portrait of A-One A.K.A. King,1982, and Anthony Clark, 1985.
Provenance: Purchased from Gloria J. Gordon, the artist’s aunt, by the current owner, private collection, New Jersey.
Estimate
$10,000 – $15,000
Rammellzee
Untitled.
Acrylic, spray paint and collage on canvas, circa 1997. 1009x755 mm; 39¾x29¾ inches.
Rammellzee (1960-2010) was a visual artist, gothic futurist “graffiti writer”, painter, performance artist, art theoretician, sculptor and a hip hop musician from Far Rockaway, Queens, New York, who has been cited as “instrumental in introducing elements of the avant-garde into hip-hop culture.” Rammellzee’s graffiti and art work are based on his theory of Gothic Futurism, which described as the battle between letters and their symbolic warfare against any standardizations enforced by the rules of the alphabet. His treatise, Ionic treatise Gothic Futurism assassin knowledges of the remanipulated square point’s one to 720° to 1440°, details an anarchic plan by which to revise the role and deployment of language in society. Rammellzee’s performance art included self-designed masks and costumes of different characters which represented the “mathematical equation” that embodied the artist himself. On the basis of his Gothic Futurism approach, he described his artistic work as the logical extension into a new phase which he called Ikonoklast Panzerism. Rammellzee’s work can be found in the collections of the Museum of Modern Art, New York, and the Museum of Graffiti, Miami.
Provenance: Acquired directly from the artist by Tycoon Galleries, New Jersey; private collection, New Jersey, 2019.
Estimate
$30,000 – $50,000
Martin puryear
Cane.
Volume with complete text and 10 woodcuts on Kitakata paper, 2000. 291x350 mm; 11½x13¾ inches (sheets), bound as issued. Edition of 400. Signed and numbered “249” in pencil on the colophon. Published by Arion Press, San Francisco. Original tan linen binding. Very good impressions.
Estimate
$2,000 – $3,000
Martin puryear
Untitled.
Woodcut on wove paper. 276x208 mm; 10⅞x8⅛ inches, full margins. Signed and numbered 11/35 in pencil, lower margin. Published by Anthology Film Archives, New York. A very good impression.
Estimate
$1,000 – $1,500
Dr. lakra
Two ink drawings on vintage magazine pages.
Untitled. 180x130 mm; 7¼x5⅛ inches. Signed in ink, lower right recto * Untitled (Manya Rosay). 260x310 mm; 10¼x12¼ inches. Signed in ink, lower left recto. Both 2003.
Jerónimo López Ramírez (born 1972), known as Dr. Lakra, is a Mexican artist and tattooist based in Oaxaca. Apart from tattooing, his art involves embellishing found images and objects—for instance, dolls, old medical illustrations, and pictures in 1950s Mexican magazines—with macabre or tattoo-style designs. He is the son of the artist Francisco Toledo.
Provenance: Kurimanzutto, Mexico City, Mexico; Matthew Marks Gallery, New York, with the label; private collection, New York.
Estimate
$3,000 – $5,000
Gabriel vormstein
Untitled.
Watercolor and pencil on four sheets of adjoined newsprint, 2006. 1563x1115 mm; 61½x43⅞ inches. Signed and dated in pencil, verso.
German-born artist, Vormstein (born 1974) uses newspaper and other transient, organic, and “poor” materials, and is best known for his portraits on primed newspaper of women appropriated from artworks by Austrian Seccessionist artist Egon Schiele (1890-1918).
Provenance: The artist; Meyer Riegger, Karlsruhe, Germany; private collection, New York.
Estimate
$1,500 – $2,500
Cindy sherman
Untitled.
C-print, 2002-04. 738x510 mm; 29x20⅛ inches, full margins. Signed, dated and numbered 50/300 in ink, verso.
Estimate
$2,500 – $3,500
Hellen van meene
Three C-prints.
Each Untitled, 1999. Each 390x390 mm; 15⅜x15<3/8> inches. Each from an edition of 10. Each signed in ink, verso.
Estimate
$2,000 – $3,000
Thomas ruff
Ohne Titel.
C-print, 1999-2000. 220x170 mm; 8½x¾ inches, full margins. Signed, titled, dated and numbered 15/32 in ink, verso.
Estimate
$1,000 – $1,500
Thomas ruff
Nude with Stockings (BU 04).
Iris print on heavy white wove paper, 2001. 260x330 mm; 10¼x13 inches, full margins. Signed and numbered 42/50 in pencil, verso.
Published Winzen, Thomas Ruff Photography 1979 to the Present, New York, 2003, page 238 (another larger version illustrated).
Estimate
$2,000 – $3,000
Bansky
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
Bansky
Two 10 Pound Bank Notes.
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
Kehinde wiley
St. Francis of Adelaide.
Cast marble, dust and resin, 2006. 305x254x140 mm; 12x10x5½ inches. Signed, dated, and numbered 64/250 in black ink on the underside. Published by Cerealart Multiples, Philadelphia.
This neoclassical-style bust was influenced by Jean-Auguste-Dominique Ingres’s (1780-1867) stained-glass window, Saint Francis of Adelaide in the Chapel of Saint Ferdinand, Paris. In Wiley’s sculpture, Saint Francis becomes a strong, proud, athletic young man dressed in street attire and holding a bible, orb and scepter.
Born and raised in Los Angeles, based in New York, Wiley (born 1977) often inserts black protagonists into reappropriated Old Master paintings and sculpture. The Columbus Museum of Art, Ohio, which hosted a major exhibition of Wiley’s work in 2007 noted, “Wiley has gained recent acclaim for his heroic portraits which address the image and status of young African-American men in contemporary culture.”
Estimate
$12,000 – $18,000
Kehinde wiley
Louis XVI, The Sun King.
Cast marble, dust and resin, 2006. 240x220x130 mm; 9½x8½x5 inches. Signed, dated, and numbered 107/250 in black ink on the underside. Published by Cerealart Multiples, Philadelphia.
According to the publisher’s note, “Louis XVI, The Sun King is a Bernini influenced, Baroque style composition positioning a young man dressed in contemporary urban street attire styled as a 17th century monarch. The heroic pose is vigorously alive and imperious. The cloak, or hoodie in this case, is swept up, as if by a gust of wind, and the figure turns with resolute composure in the direction of the wind, as if calmly facing a challenge.
Born and raised in Los Angeles, based in New York, Wiley (born 1977) often inserts black protagonists into reappropriated Old Master paintings and sculpture. The Columbus Museum of Art, Ohio, which hosted a major exhibition of Wiley’s work in 2007 noted, “Wiley has gained recent acclaim for his heroic portraits which address the image and status of young African-American men in contemporary culture.”
Estimate
$12,000 – $18,000
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, well-inked impression.
Estimate
$6,000 – $9,000
Christopher wool
Untitled.
Color screenprint on white wove paper, 2016. 800x700 mm; 31½x27½ inches (sheet), full margins. Edition of 495. Signed and dated in pencil, lower right. Printed by Atelier für Siebdruck, Bern. Published by Edition Griffelkunst, Hamburg, with the printed justification verso. A very good impression with strong colors.
Estimate
$1,500 – $2,500
Dana schutz
Bird in Throat.
Color woodcut on Stonehenge paper, 2011. 348x307 mm; 13¾x12⅛ inches, full margins. Signed, dated and numbered 19/30 in pencil, lower margin. Printed by Rob Swainston and Prints of Darkness, New York. Published by Skowhegan School of Painting and Sculpture, New York. From SKOWBOX, a project to benefit the Skowhegan School of Painting and Sculpture. A very good impression with strong colors.
Estimate
$1,500 – $2,500
The connor brothers
Tell Him I Was Too Fucking Busy–Or Vice Versa.
Color giclée print with screenprinted varnish on white wove paper, 2020. 640x410 mm; 25¾x16¼ inches, full margins. Signed, dated and numbered 23/50 in pencil, lower margin. A very good impression with strong colors.
Estimate
$2,000 – $3,000
Lou fratino
Untitled.
Pencil on paper, 2018. 305x228 mm; 12x9 inches (sheet). Signed in pencil, verso.
In a recent review of the artist’s work in The New York Times, author Antwaun Sargent wrotes, “Fratino [born 1993] and these other contemporary gay figure artists share a philosophy, despite their different aesthetics: They’re all committed to reflecting the mostly unseen interior lives of the men they admire, and to celebrating a diverse set of subjects who, taken together, stand in opposition to a canonical history of art that has long ignored an openly gay view of the male body.”
Provenance: Galerie Antoine Leivi, Paris; private collection, Auckland.
Estimate
$10,000 – $15,000
Adnan charara
Estimate Upon Request (Homage to Warhol) * Property of a Gentleman (Homage to Warhol).
Both screenprints on wove paper, 2016. Both 502x725 mm; 19¾x28½ inches, full margins. Both an edition of 35. Both signed and numbered in pencil, lower margin. Both from Art Market Series. Both very good impressions with strong colors.
Estimate
$1,500 – $2,500
Jeff koons
Balloon Dog (Yellow).
Metallic porcelain multiple, 2015. 255x255 mm; 10¼x10¼ inches. Edition of 2300. Numbered 13872/2300 on the base. Original printed booklet numbered 1382/2300 in ink on the justification page. Produced by Bernardaud, Limoges. Published by the Los Angeles County Museum of Contemporary Art, with the label verso. With the original packaging.
Estimate
$7,000 – $10,000
Ai weiwei
Cats (Red).
Screenprint printed in red on Saunders Waterford paper, 2022. 205x205 mm; 8¼x8¼ inches (sheet), full margins. One of three numbered printer’s proofs, aside from the edition of 150. Signed, dated and inscribed “P/i” in pencil, lower margin. With the printer’s label, initialed in ink and numbered 1/3 on the verso. Printed by Kip Gresham at The Print Studio, Cambridge. Published by Kettle’s Yard, University of Cambridge. A very good impression.
This print was made to coincide with Ai Weiwei’s (born 1957) exhibition “Ai Weiwei: The Liberty of Doubt,” February 12-June 19, 2022, Kettle’s Yard, University of Cambridge.
According to the exhibition website, Ai Weiwei notes, “I like cats very much because of their independent character, alertness and understanding of human beings; I have feelings approximating to reverence for them. Cats have been regarded as psychic animals since ancient times, no matter in China or ancient Greece. What’s even more interesting is that if a selfie of mine would be seen by 100 people, a cat photo would be seen by 1000 people. I believe that everyone can share this happiness.”
Estimate
$1,000 – $1,500
Mickalene thomas
Portrait de Priscilla Petit Chien.
Color digital print on white wove paper, 2012. 282x360 mm; 11x14 inches. Numbered 44/150 in ink and with the artist’s printed signature on the justification card verso. Published by Artstar, New York. A very good impression with strong colors.
Estimate
$1,000 – $1,500
Takashi murakami
Two color screenprints.
Enso: A World Filled with Light * Enso: Facing The Pitch Black Void. Both 2018. 373x318 mm; 14¾x12½ inches, full margins. Both an edition of 100. Both signed, dated and numbered in pencil, lower right. Very good impressions.
Estimate
$1,000 – $1,500
Takashi murakami
Two color offset lithographs.
Dokuro: Yellow * Dokuro: Silver. Both 500x500 mm; 19¾x19¾ inches (sheets), full margins. Both an edition of 300. Both signed and numbered in ink, lower right. Published by Kaikai Kiki Co., Ltd., Toyko. Both very good impressions.
Estimate
$1,000 – $1,500
Takashi murakami and virgil abloh
Hollow Man * Kyoto Enso.
Both color screenprints on white wove paper, 2018. Both 375x320 mm; 14¾x12½ inches, full margins. Both signed by both artists, dated, and numbered 78/300 and 68/300 in pencil, respectively, lower margin. Published by Kaikai Kiki Co., Ltd., Tokyo, Very good impressions.
Estimate
$1,500 – $2,500
Yayoi kusama
Two Pumpkins.
Two cast resin multiples, 2013. Both 102x89x89 mm; 4x3½x3½ 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.