MODERN AND CONTEMPORARY

EDITIONS
JUNE 2 2009 N E W YO R K

Alex Katz, Ada, 1994, Lot 269 (detail) Front Cover RichardTuttle, Censorship portfolio, 2003, Lot 74 (detail)

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MODERN AND CONTEMPORARY EDITIONS JUNE 2 2009 2pm N E W YO R K Viewing Wednesday May 27 – Saturday May 30 10am – 6pm Sunday May 31 Noon – 6pm Monday June 1 10am – 6pm Tuesday June 2 Noon – 2pm .

1

1

LARRY ZOX 1936-2006
Silkscreen from Banners (2); Untitled (broken horizontal); Untitled (2) and Untitled suite, 1970 Eleven screenprints in colors, on wove paper, the full sheets and with full margins, all signed and variously numbered in pencil, the Untitled suite published by Chiron Press, New York (with their blindstamp), Banners published by Multiples, Inc., New York, all with varying degrees of soiling, scuffing, soft handling and other creases (occasionally with associated ink loss), occasional minor accretions, two with tears at the sheet edges, otherwise all in good condition, all unframed. various sizes

Estimate $1,200-1,800

Sarah Morris, Rock Greek [Capital] (2002) sold at Phillips de Pury & Company, February 29 2008 [lot 343]

2

3

2

AL HELD 1928-2005
Scholes I and II, 1991 Two screenprints in colors, on Arches cover paper, with full margins, both signed and numbered 16/80 and 13/80 in pencil (there were also 15 artist’s proofs), published by the Metropolitan Museum of Art, New York (with their blindstamp), both in excellent condition, both unframed. both I. 23 1/8 x 29 in. (58.7 x 73.7 cm) both S. 28 7/8 x 34 in. (73.3 x 86.4 cm)

Estimate $1,800-2,500

3

LIAM GILLICK b. 1964
Literally No Place, 2001 The complete set of five Plexiglas and three aluminium plates in colors, signed and numbered 66/70 in black ink on the accompanying certificate (there was also an edition of 25 in Roman numerals), published by Parkett Editions, Zurich and New York, a few of the Plexiglas plates with very minor scuffing, otherwise all in very good condition, contained in original foam-lined cardboard box. all 10 x 8 1/4 x 1/8 in. (25.4 x 21 x .3 cm)

Estimate $1,200-1,800
LITERATURE Edition for Parkett 61

4

4

ANNE APPLEBY b. 1954
Jasmine, 2000 Aquatint in colors with burnishing, on wove paper, with full margins, signed, dated ‘2000’, titled and numbered 5/35 in pencil (there were also 10 artist’s proofs), published by Crown Point Press, San Francisco (with their blindstamp), in excellent condition, unframed. I. 15 7/8 x 25 7/8 in. (40.3 x 65.7 cm) S. 28 x 38 in. (71.1 x 96.5 cm)

Estimate $800-1,000

5

5

ELLSWORTH KELLY b. 1923
Blue with Yellow (Untitled), 1965 Lithograph in colors, on Arches paper, with full margins, signed and numbered 35/90 in pencil (there were no artist’s proofs), published by Galerie Adrien Maeght, Paris, the sheet slightly toned, a crescent shaped crease at the upper right margin (near the image), affixed to the support at the reverse of the upper corners (slightly showing through), otherwise in very good condition, framed. I. 15 1/2 x 12 1/8 in. (39.4 x 30.8 cm) S. 25 1/2 x 19 in. (64.8 x 48.3 cm)

Estimate $2,500-3,500
LITERATURE Richard Axsom 31

6

7

6

ELLSWORTH KELLY b. 1923
Untitled (Green Curve, Philadelphia), 1993 Lithograph in green, on wove paper, the full sheet, signed and annotated ‘AP XI’ in pencil (an artist’s proof, the edition was 40), in excellent condition, unframed. S. 21 1/2 x 18 in. (54.6 x 45.7 cm)

7

ELLSWORTH KELLY b. 1923
Small Black Curve, 1996 Lithograph, on wove paper, with full margins, signed and numbered 18/56 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), in excellent condition, unframed. I. 16 x 19 1/2 in. (40.6 x 49.5 cm) S. 22 x 25 in. (55.9 x 63.5 cm)

Estimate $2,500-3,500

Estimate $2,500-3,500

the edition was 250). 61/150 and 57/150 respectively. on heavy wove paper.E.6 x 30.5 cm) Estimate $2. all with occasional scuffing. 11 1/2 x 7 3/4 in. (83. signed and numbered ‘AP 9/44’ (an artist’s proof.1 cm) Estimate $1.000-3. in excellent condition.8 8 ELLSWORTH KELLY b. published by Gemini G. 1923 Orange. 2004 Lithograph in orange. all unframed. (29.L..000 9 9 LEON POLK SMITH 1906-1996 [3 screenprints]. all signed and numbered 57/150.8 x 59. otherwise all in good condition.2 x 19. Los Angeles (with their blindstamps).7 cm) S. circa 1970 Three screenprints in colors. 16 x 12 in. (40.200-1.800 . with full margins. framed. I. on wove paper. [Blue/Black] with a few nicks at the sheet edges (with associated ink loss). all S. the full sheets. 33 x 23 1/4 in.

1940 Hip Hop. all signed. on wove paper. 1940 Sound of White Water.500 . published by Pace Editions.1 x 76. Earth/Air. with full margins.000 11 MARY HEILMANN b. dated ‘00’. 27 x 38 3/8 in. all framed. dated ‘02’ and numbered 9/25 in pencil (there were also 8 artist’s proofs). I. with full margins. published by the Public Art Fund. African and Arbor Piece. 32 5/8 x 25 3/4 in.4 cm) S. 2000 Four lithographs in colors.10 11 10 MARY HEILMANN b. (82. (57. 22 1/2 x 34 3/8 in. Sound of White Water and Earth/Air numbered 18/350 and African and Arbor Piece numbered 17/350 in pencil (there were also 10 artist’s proofs).. (99. all in excellent condition.9 x 65. framed. signed.6 x 97.2 cm) Estimate $1.5 cm) Estimate $2. all I. on Arches paper. New York. in very good condition. 39 x 30 in. (68.000-1. New York.000-3. Inc.3 cm) all S. 2002 Aquatint in colors.2 x 87.

000-9. 31 1/2 x 32 in.500-3. 31 1/2 x 32 in. New York. New York.3 x 261.8 cm) S. (60. on Arches Cover paper. (80 x 81.12 13 12 MARYLYN DINTENFASS b. otherwise in very good condition. with full margins (printed to one side of each). I. (80 x 81. in excellent condition. signed. dated ‘2002’ and titled in pencil. 23 7/8 x 23 3/4 in. very pale mottled staining in the top right margin. New York.000 .3 cm) S. in excellent condition. on Arches Cover paper. dated ‘2002’ and titled in pencil. I. I. with the Lisa Mackie Studio. (81. 2002 Oil on paper monotype with hand-coloring. blindstamp.500-3. on two sheets of Japanese paper. 32 x 103 in. framed.6 cm) Estimate $6. framed. 1943 Quadrille IV. signed.8 x 238. 20 x 94 in. blindstamp. shrink-wrapped.500 Estimate $2. 1996 Aquatint in colors. (60.6 x 60. 1943 Quadrille VI.6 x 60 cm) S. 23 7/8 x 23 5/8 in. with full margins. a very faint thinned spot in the right panel at bottom right.500 14 ∆ 14 SOL LE WITT 1928-2007 Horizontal Wavy Lines. 2002 Oil on paper monotype with hand-coloring.3 cm) Estimate $2. signed and numbered 7/36 in pencil (there were also 8 artist’s proofs). (50. with full margins. published by One Great Jones.3 cm) 13 MARYLYN DINTENFASS b. with the Lisa Mackie Studio.

15 15 SOL LE WITT 1928-2007 Arcs from sides or corners. both unframed.2 x 35. 13 7/8 x 13 7/8 in. Yellow grid. and black arcs from four corners 17 17 SOL LE WITT 1928-2007 Arcs from sides or corners.500-3. both in very good condition. and yellow arcs from four corners. yellow arcs from four sides. Macerata. (37. red circles. (37.2 cm) both S. both unframed. black circles. both I. 14 7/8 x 14 7/8 in. both signed and annotated ‘AP 6’ in pencil (the edition was 100).8 cm) Estimate $2.8 cm) Estimate $2. 1972 Two screenprints in colors. both I. and (plate) 10. 1972 Two screenprints in colors. Italy. Macerata. red arcs from four sides.8 x 37. Blue grid. blue circles. Italy.2 cm) both S. 1972 Two screenprints in colors. (37. (35. Macerata.2 cm) both S.500 LITERATURE Tate Gallery S11 Including: (plate) 7. on wove paper. 13 7/8 x 13 7/8 in. grids and circles series: two plates. 14 7/8 x 14 7/8 in. both in very good condition.500-3.500-3. with full margins. 13 7/8 x 13 7/8 in. Red grid. 14 7/8 x 14 7/8 in.2 x 35. on wove paper. with full margins.500 LITERATURE Tate Gallery S11 Including: (plate) 20. both I. both unframed. both signed and annotated ‘AP 6’ in pencil (the edition was 100). and (plate) 14.2 x 35. (35. red arcs from four sides. and yellow arcs from four corners . published by Pio Monti. both in very good condition.8 cm) Estimate $2. and blue arcs from four corners. Yellow grid. Blue grid. black circles. on wove paper. both signed and annotated ‘AP 6’ in pencil (the edition was 100).500 LITERATURE Tate Gallery S11 Including: (plate) 4.8 x 37. and (plate) 24. red arcs from four sides. grids and circles series: two plates. red circles. published by Pio Monti. blue arcs from four sides. Black grid. with full margins. Italy. and yellow arcs from four corners. grids and circles series: two plates. published by Pio Monti. black circles. (35.8 x 37. blue arcs from four sides. and black arcs from four corners 16 16 SOL LE WITT 1928-2007 Arcs from sides or corners.

the prints on wove paper. otherwise in very good condition. contained in original cardboard box. 1930 Prints 1969-1993 (the Catalogue Raisonné by Amy Baker Sandback) including Untitled (six original etchings).000 LITERATURE Gemini G. the edition was 45 and 10 artist’s proofs).5 x 40 cm) 19 Estimate $2.000-3. otherwise in very good condition. 1938 Etchings to Rexroth: plate 9.000-4. inscribed ‘9’ and annotated ‘PP3’ in pencil (a printer’s proof. 14 1/4 x 14 1/2 in. all unframed. dated ‘89’..8 cm) Estimate $1.000 LITERATURE Jeremy Lewison 40/9 20 MARK DI SUVERO b.E.500 19 BRICE MARDEN b. 20 two configurations . dated ‘93 and numbered 41/50. with full margins. 391 The configuation of this sculpture is variable and many sizes are possible. signed. 8 x 6 7/8 in. published by Gemini G. dated and numbered 184/250 (engraved on the underside of one piece). published by Parasol Press. published by Peter Blum Edition. all pieces with varying degrees of rust and oxidation. fit together like a puzzle.2 x 36.18 18 ROBERT RYMAN b. New York. the catalogue raisonné printed in an edition of 250.E. one print signed. (49. the palest light-staining.5 cm) S. 1972 Torch-cut steel multiple in five pieces. contained in original linen-covered fold-out box with the artist’s name embossed on the front. the full sheets. signed with initials. on Rives BFK paper. 19 1/2 x 15 3/4 in. Los Angeles (with their stamps). the prints in excellent condition.1 x 20 cm) Estimate $3. 1933 Untitled. (36.800-2. 9 7/8 x 7 7/8 in. (25. 1993 The complete set of six etchings in shades of white. (20. 1986 Etching and aquatint.3 x 17.L. unframed. New York.L. I. plus the Catalogue Raisonné of the artist’s work from 1969-1993. The listed dimensions represent the sculpture at its most compact arrangement.

(70. 27 3/4 x 28 x 3 in. occasional scuffing. otherwise in good condition.6 cm) Estimate $20.21 DONALD JUDD 1928-1994 Untitled (New Museum Multiple). an abrasion in the upper panel at right and a few abrasions along the edges. New York. published by Brooke Alexander Editions. to benefit the New Museum.5 x 71. 7-40 on the reverse (there were also 10 artist’s proofs). Inc’ and numbered.000 LITERATURE Edition Schellmann 13 .000-30.1 x 7. New York. 1986 Folded aluminum and black Plexiglas multiple. stamped ‘JUDD Bernstein Bros.

000 This is a separate edition than plate 15 from On a Clear Day LITERATURE Edition Schellmann 120-22 portfolio. a few very soft handling creases. otherwise all in very good condition. all with occasional soft handling creases.000-6. with full margins.9 x 87. The paper is slightly heavier and darker. 122) with a crease at the lower right image.500-3. one unframed. (Sch. 120) with minor surface soiling.2 x 74. 6 7/8 x 8 in. glued to the support at the upper sheet corners (slightly showing through).3 cm) 23 AGNES MARTIN 1912-2004 15A. all I.500 Estimate $4. (30. a few minute foxmarks in the margins. 1980 Three aquatints. (Sch. 135/150 (Sch. 120). published by Parasol Press. on etching paper..3 cm) S.5 x 30. I. New York. 1973 Screenprint in gray. 122) in pencil (the edition was 150 plus 20 artist’s proofs for all). with full margins. all signed and numbered 135/150 (Sch.5 x 20.P. on Japanese rag paper.5 cm) Estimate $2. Ltd.9 cm) all S.22 22 DONALD JUDD 1928-1994 Untitled: three plates. unframed. signed and numbered 13/50 in pencil (there were also 15 artist’s proofs lettered a-o). (17. 121) and ‘A. otherwise in very good condition. 24 1/2 x 29 1/2 in. 14/20’ (Sch. 23 . 12 x 12 in. two framed. 29 1/2 x 34 3/8 in. (62. published by the artist. (74.

000-1. Inc. (27. on Arches 88 paper. framed.. otherwise in good condition. framed. 20 in. 25 x 25 in.5 x 63..500 LITERATURE Brenda Danilowitz 166 . 19 x 19 in. 1965 Screenprint poster in colors with text.500 LITERATURE Tyler Graphics 25.3 cm) 25 JOSEF ALBERS 1888-1976 The Critic and the Visual Arts. an area of minor soiling in the upper grey square. folded under at the upper sheet (approx.5 cm) S. soiling. (48. New Haven (with their blindstamp). signed. New York (with their blindstamp). Brenda Danilowitz 225.24 25 24 JOSEF ALBERS 1888-1976 Gray Instrumentation I: Gray Instrumentation I g. with full margins (folded back at top). I. (63. signed.3 x 48.9 cm) S. dated ‘65’ and numbered 80-100 in pencil (there were also 7 artist’s proofs). on Rives BFK paper.2 cm) Estimate $1. occasional minor scuffing and soft handling creases. staining and creasing in the margins. otherwise in very good condition.000-1. 40 x 29 5/8 in. I.6 x 75. with full margins.7 Estimate $1. two minute accretions in the upper left margin. Bedford Village. published by Ives-Sillman.). (101. 11 x 11 in. taped to the overmat at the reverse of the upper and center edges. titled and numbered 8/36 in pencil (there were also 10 artist’s proofs). published by Tyler Graphics Ltd.9 x 27. 1974 Screenprint in colors.

with full margins.8 x 89. slight rippling. 13 5/8 x 13 5/8 in.000-1. (70. (54. published by Ives-Sillman. signed. 24 x 27 3/4 in. New Haven (with their blindstamp). with full margins. signed. framed. a scuff in the center image (mainly visible in raking light)... two soft handling creases and a pressure mark in the center of the bright green area. titled and numbered 82/125 in pencil (there were no artist’s proofs). 1969 Screenprint in colors. with full margins. pale light. (34. on German Etching paper.9 cm) S. (70.6 x 75. Inc. New Haven (with their blindstamp).2 LITERATURE Brenda Danilowitz 192. published by Ives-Sillman. 1969 Screenprint in colors.6 x 34. two minor creases at the upper center and left center margins (near the image. titled and numbered 41/150 in pencil (there were no artist’s proofs). titled and numbered 89/150 in pencil (there were no artist’s proofs). New Haven (with their blindstamp).6 cm) S. framed.5 cm) 28 JOSEF ALBERS 1888-1976 Six Variants portfolio: I-S Va 2. light-staining.500 Estimate $1.5 cm) S. 21 1/2 x 21 1/2 in. otherwise in good condition. otherwise in good condition. I. a soft crease and mat staining along the extreme right sheet edge. (54. 27 7/8 x 35 5/8 in. dated ‘69’. framed. 1970 Screenprint in colors.6 cm) Estimate $1. Inc. a few very minor handling creases in the margins. on Arches paper.500 LITERATURE Brenda Danilowitz 192. dated ‘70’.000-1.8 x 90. I.6 x 54. 27 7/8 x 35 3/8 in. a few nicks in places along the sheet edges. (61 x 70.9 cm) Estimate $1.3 .26 26 JOSEF ALBERS 1888-1976 I-S e. dated ‘69’. Inc.and mat staining. otherwise in good condition..000-1. published by Ives-Sillman. I. on Arches paper. signed with initials. 21 1/2 x 29 7/8 in. a small pale foxmark in the left margin. but not distracting).500 LITERATURE Brenda Danilowitz 194 27 28 27 JOSEF ALBERS 1888-1976 Six Variants portfolio: I-S Va 3.

200 . 1994 Unique etching and aquatint in black and gray with collage. 36 1/2 x 28 3/4 in. 1945 Untitled (Working Proof for π). 1958 Shifted Lattice. dated ‘94’. New York.29 30 29 SEAN SCULLY b.7 x 73 cm) Estimate $900-1. with full margins.000-7. 15 7/8 x 19 3/4 in.7 cm) Estimate $5. on Somerset and wove paper.7 cm) S. Munich. framed. annotated ‘working proof’ and with pencil notations in pencil (a unique work. occasional soiling and staining in the margins. 30 x 23 1/2 in. (92. apart from the final edition of 98 and 18 artist’s proofs). with full margins. signed. (40. unframed. on wove paper. dated ‘06’ and numbered 4/118 in pencil (there were also 18 artist’s proofs). I. published by Bernd Klüser. I. (76. (56.2 x 59.2 cm) S.000 LITERATURE see Dominique Tonneau-Ryckelynck 94005 30 JAMES SIENA b. 22 1/4 x 31 in. in excellent condition.5 x 78. otherwise in very good condition. published by Lincoln Center List Poster and Print Program. 2006 Screenprint in colors.3 x 50. signed.

000 Estimate $700-900 LITERATURE Richard Axsom appendix I. (25. (52. a small pale white scuff in the top outermost black band of the square.000-7. 18 x 24 in. 1936 Imaginary Places: Calvinia. published by Tyler Graphics Ltd. New York (with their blindstamp). Mount Kisco. hinged to the support at the reverse of the upper corners (with slight puckering showing through on the front). dated ’71 and numbered 38/150 in pencil (there were also 25 artist’s proofs). S..31 31 FRANK STELLA b. on handmade paper. 1995 Mixed media print in colors. signed. unframed. 10 x 10 1/2 in. published by David R.). 1936 Angriff.C 32 . dated ‘95’ and numbered 16/50 in pencil (there were also 16 artist’s proofs). 1971 Screenprint. on Fabriano paper.1 cm) 32 FRANK STELLA b. with full margins. unframed.7 cm) S. from Conspiracy: The Artist as Witness portfolio.7 x 61 cm) Estimate $5. New York. soiling at the left sheet edges. Godine Publishers and the Center for Constitutional Rights. otherwise in good condition. 20 5/8 x 52 in. (45.4 x 26. a pale black scuff above the square (measuring 3/8 in. otherwise in very good condition. signed.4 x 132. I. the full sheet.

35 5/8 x 24 7/8 in. S.4 cm) S.200-1. on Rives BFK paper. Bern. dated ‘80’ and numbered 42/100 in pencil (there were also 15 artist’s proofs). I. S. signed and annotated ‘CTP’ in pencil (one of four presumably unique color trial proofs. 1986 Lithograph in colors. signed.800 LITERATURE Liesbeth Heenk p. published by Philosophie des Arts and Francis Delille. 31 1/2 x 42 in..33 33 HOWARD HODGKIN b.000 LITERATURE Connie Lembark L7 35 35 SAM FRANCIS 1923-1994 Poèmes dans le ciel: Untitled. the full sheet. the full sheet.5 x 63. published by Bernard Jacobson Ltd. signed and numbered 20/50 in pencil (there were also an unknown number of artist’s proofs). 1960 Lithograph in colors. 1980 Screenprint in colors with embossing. soiling along the edges. Paris. on Arches mould-made paper. on Rives BFK paper. 1932 Lotus. London.000-4.000-3. the sheet slightly toned. (90. 222 34 34 SAM FRANCIS 1923-1994 Blue Blood Stone. (80 x 106.7 cm) Estimate $1. in excellent condition. in excellent condition. (76. otherwise in very good condition. with full margins.2 cm) Estimate $2. the edition was 176). unframed. (73. 29 x 36 in. framed. published by Kornfeld and Klipstein.2 cm) Estimate $2.2 x 57.000 LITERATURE Connie Lembark L 269 . 30 x 22 1/2 in. framed.7 x 91.

000-1. Ltd.1 x 76. published by New York Graphic Society. on Arches Cover mould-made paper. 30 x 22 3/8 in. in very good condition. two with associated staining slightly showing through on the front). (85. published by Tyler Graphics. unframed. 39 x 30 in.2 cm) Estimate $1. New York (with their blindstamp). 33 3/4 x 22 1/4 in. Connecticut. signed and numbered 136/250 in pencil (there were also a total of 70 artist’s proofs). signed and numbered 2/75 in pencil (there were also 18 artist’s proofs in Roman numerals).000 LITERATURE Siri Engberg and Joan Banach 293 .. I. (99. occasional soft handling creases. Bedford Village. 1979. on Lana paper. Greenwich.7 x 56.9 x 94. 1980 Lithograph. signed and numbered 2/49 in pencil (there were also 16 artist’s proofs in Roman numerals).8 cm) Estimate $800-1. hinge remains on the reverse of the corners (one with associated skinning.5 cm) S. S. otherwise in good condition. Ltd. Bedford Village.200-1.500 LITERATURE Siri Engberg and Joan Banach 246 LITERATURE Siri Engberg and Joan Banach 244 38 38 ROBERT MOTHERWELL 1915-1991 Untitled.36 37 36 ROBERT MOTHERWELL 1915-1991 El General. with full margins. a few pale scuffs in the margins. from New York Portfolio. published by Tyler Graphics. S. the full sheet. 1982 Lithograph in colors with embossing. on Kisuki Hanga Dosa handmade paper. (76. unframed. otherwise in very good condition. New York (with their blindstamps). creasing at the lower right corner. 40 1/2 x 37 1/4 in.600 Estimate $1. 1980 Lithograph in black an cream.6 cm) 37 ROBERT MOTHERWELL 1915-1991 Easter Day. (102. unframed. the full sheet.2 x 56.

1990 Wood multiple with acrylic paint in colors.4 x 64. signed and numbered 49/175 in black ink. minor paint loss and soiling).000 40 .000 Estimate $2.A. (66. 20 3/4 x 24 x 3 1/8 in. otherwise in very good condition.39 39 VICTOR VASARELY 1908-1997 Kedzi. minor soiling. primarily at the edges).1 x 8.3 cm) 40 VICTOR VASARELY 1908-1997 Untitled. (52.000-5. a few small areas of paint loss in places along the edges. the wood grain showing through in places. a small raised area at the lower right corners of the front and back sides (with associated rubbing. a few small scuffs (some with associated paint loss. 1990 Wood multiple with acrylic paint in colors.’ in black ink (an artist’s proof. the edition was 175).000-3. 26 1/8 x 25 1/4 x 3 1/4 in. otherwise in very good condition.9 cm) Estimate $3. annotated ‘E.7 x 61 x 7.

several abrasions.1 x 24. 1973. New York.1 x 24. circa 1970 Wood multiple with acrylic paint in colors. 60) 42 41 VICTOR VASARELY 1908-1997 Sku (multiple) and [Untitled] (print). surface soiling. (68. minor scuffing in places at the edges. the print numbered 23/75 in black pen.8 x 5. numbered 29/175 in black ink. the print framed.1 cm) Estimate $2. the multiple with surface soiling. he chose to use forms that would provide only visual sensations.500-2. Museum of Modern Art.500 . both signed in black ink.7 x 6 cm) Estimate $1.1 cm) print S.41 Vasarely felt that art that required interpretation based on experience would not be mass art. on wove paper. paint loss in places along the edges (several touched-in). (45. games and architectural environments. He has advocated the return of art to its role as an integral part of life and has conceived of his images as infinitely multipliable in prints. (37. it has the capacity for almost limitless variation. the full sheet. Since his imagery is modular and serial. otherwise both in good condition. 14 5/8 x 9 1/2 in. circa 1970 Wood multiple with acrylic paint in colors plus one screenprint in colors. the multiple presumably a proof apart from the numbered edition of 200.000 42 VICTOR VASARELY 1908-1997 Figure 8.3 x 33. scuffs and pressure marks (occasionally with associated paint loss). sculptures. (Riva Castleman Modern Art in Prints. crushed at lower right corner (with associated minor paint loss and cracking). very minor rubbing and paint loss in places along the edges.000-3. 26 7/8 x 13 1/4 x 2 3/8 in. otherwise in good condition. the print with occasional soiling. p. old hinge remains in places along the reverse of the edges (a few with associated skinning). multiple: 17 3/4 x 9 3/4 x 2 in. a tear and split in the lower sheet.

13 1/4 x 24 7/8 in. I. In metal you have to go slowly. smudges. you draw lines. and so forth—so it becomes some kind of somnambulistic medium—as if you were asleep and you are doing it with no effort at all—it’s a wonderful feeling. occasional soft handling creases. circa 1955 Monoprint. S. 1974 45 45 HARRY BERTOIA 1915-1978 Untitled. on Japanese paper. the full sheet.500-3.500 • Harry Bertoia. on Japanese paper. because it’s too tough to make changes. circa 1955 Monoprint.500-3.1 cm) Estimate $2. and you try to avoid making any changes. Harry Bertoia. (27. (33.7 x 61. (36.7 cm) S. you have to think out most clearly what you want to do. In the graphic it is really the opposite. circa 1955 Monoprint. lecture at Virginia Museum of Fine Arts. otherwise in good condition. otherwise in very good condition.43 43 HARRY BERTOIA 1915-1978 Untitled. a slight crease at the lower left sheet.500 • 44 44 HARRY BERTOIA 1915-1978 Untitled. on buff Japanese paper. 14 1/4 x 20 1/2 in.500 • .2 cm) The graphics are. S. planes. the palest mat staining. 1961 Estimate $2. perhaps.9 x 59.6 cm) Estimate $2.2 x 52. Water Sculpture for the National Penn Bank. 12 7/8 x 24 1/4 in. framed. a small pale moisture stain at the lower right corner. framed. Pennsylvania. throw ink. with full margins.500-3. It’s like a dream—you go fast. the full sheet. deliberately. complimentary to the metal work.7 x 63. framed. 11 x 23 1/2 in. in excellent condition. Boyertown. (32.

director ofThe Solomon R. serving as a font of ideas for metal pieces. 7 1/2 x 5 1/2 in. Schiffer and Val O. all with the ‘Harry Bertoia monoprint’ stamp on the reverse. Atglen.1 x 14 cm) Estimate $3. Harry Bertoia sold 100 monoprints to Hilla Rebay. Schiffer Publishing Ltd.’They are separate but parallel activity to his sculpture. pp.and threedimensional versions of an idea. with uneven margins or the full sheet. 19 and 21) Harry Bertoia.000-4. (Nancy N. circa 1955 Six monoprints.The germ of each sculpture can be found somewhere within the graphics. He often referred to graphics as ‘notes for future reference. New York City. all unframed.000 • Bertoia’s works on paper are usually classified either as drawings or monoprints. 2003. on thin Japanese paper. Bertoia.The sureness of line throughout Bertoia graphics gives them the strength even in the most sensitive areas…In 1943.. 1967 . Pod style abstract form of stainless steel bundled wire. various sizes all S.46 HARRY BERTOIA 1915-1978 Untitled (group of 6). Each is a single print. The World of Bertoia. approx. Pennsylvania. all in very good condition. I. Guggenheim Musem of Nonobjective Paintings. (19. although in some cases there is a lapse of time of up to thirty years between two. not part of an edition.

16) 48 47 STANLEY WILLIAM HAYTER 1901-1988 Winged Figures (Personnages ailés). the edition was 90 and 15 artist’s proofs). one of three proofs with scorper. the final edition was 50 and 5 artist’s proofs. minor soiling. Bern. with full margins. fluorescent accents swelling moiré patterns and all-over optical dazzle. unframed. 20 x 24 3/4 in. I. At Atelier 17. Mark Rothko and de Kooning. with full margins. 1948-49 Engraving. framed. 1952 Engraving. I. dated ‘52’. pinks. Phaidon Press Limited. almost 20 years later. occasional pale staining. published by Kornfeld and Klipstein. soiling on the reverse. the studio he set up in Paris in 1927. signed. (Jacob Kainen The Prints of Stanley William Hayter: A Complete Catalogue. soiling and soft rubbing in the margins.9 cm) Estimate $1. p. I can remember artists and critics in the late 1940s agreeing that Hayter was a wonderful engraver but that he had ‘no colour sense’.2 cm) 48 STANLEY WILLIAM HAYTER 1901-1988 Octopod. (60. creasing and spots of stray printing ink in the margins. Hayter appeared as a precursor in the use of dissonant colours. a rich impression. etching and scorper in colors.500 LITERATURE Peter Black and Désirée Moorhead 205 .7 cm) S.500-3. though he had in mind psychological justness rather than mere ocular sensation. etching and scorper. oranges. London. Miró and others to create prints with an emphasis on experimentation in intaglio printmaking. paper loss at the lower right corner. violets and yellows created offharmonies unusual in intaglio printing. soiling on the reverse.8 cm) S. Peter Black and Désirée Moorhead. 15 3/4 x 12 7/8 in. Adolph Gottlieb. 14 7/8 x 17 5/8 in. two repaired tears at upper right.47 Stanley William Hayter was one of the 20th century’s most influential printmakers. otherwise in good condition. on Cranach paper. 23 3/4 x 19 3/4 in. where he re-established his workshop and was part of the Surrealist and Abstract Expressionist movements. Then.8 x 44. 1992. …Greens. a pressure mark in the lower left margin. Alexander Calder.500-2. (37. a small pale moisture stain at the upper right image corner and surrounding margin. titled and annotated ‘Essai de Couleurs’ in pencil (a color trial proof. he helped Picasso.500 LITERATURE Peter Black and Désirée Moorhead 188 Estimate $2.3 x 50. blacks.8 x 62. (50. Roberto Matta. on wove paper. Op Art appeared with its psychedelic colors. Giacometti. otherwise in good condition. or in any printing for that matter. From 1940-50 he lived in New York. among others came to work with him. (40 x 32. Robert Motherwell. Jackson Pollock.

(42. repaired tears and paper losses at the sheet edges. a spot of stray printing ink in the upper margin (at the platemark). New York. otherwise in good condition. 1968 Engraving with etching and scorper in colors. adhesive remains at the upper center and reverse of the center left and right edges.4 cm) S.9 x 11. a few tears.8 x 65. 5 7/8 x 4 1/2 in. (14.1 cm) S. from Laurels Number One portfolio. I. on Lauriat paper. I. 1946 Engraving with aquatint. I.9 cm) 51 Estimate $600-800 LITERATURE Peter Black and Désirée Moorhead 171 51 STANLEY WILLIAM HAYTER 1901-1988 Island. (35. on Kochi paper. with full margins. surface soiling and soft handling creases in the margins. paper loss at the lower right corner. 16 3/4 x 17 1/4 in.7 cm) Estimate $1. unframed. titled and numbered 21/50 in pencil (there were also 5 artist’s proofs).49 50 49 STANLEY WILLIAM HAYTER 1901-1988 Death by Water. 11 1/2 x 8 5/8 in.500 LITERATURE Peter Black and Désirée Moorhead 186 50 STANLEY WILLIAM HAYTER 1901-1988 Night Moth. (64. otherwise in very good condition. 14 x 23 1/4 in. 20 x 25 7/8 in. framed. signed and numbered 144/300 in pencil (there were also 5 artist’s proofs). framed. (29. pale mat staining along the left and right edges.8 x 48.2 x 21. the palest light-staining. with full margins (the plate printed at a slight diagonal).500-2. signed.8 cm) S. 1948 Engraving and scorper with plate tone. (50. published by the Laurel Gallery. a stray printing ink and soiling in the margins (particularly at the sheet edges). a small foxmark at the upper left margin. the palest time staining. 25 1/2 x 19 1/4 in.5 x 43. dated ‘68’. taped to the support at the upper corners. hinge remains on the reverse of the upper corners. otherwise in good condition. titled and numbered 21/50 in pencil (there were also 5 artist’s proofs and a second edition of 25 in Roman numerals printed in 1976). on Rives BFK paper. occasional soft rubbing.6 x 59. minor soiling in the margins.9 cm) Estimate $600-800 LITERATURE Peter Black and Désirée Moorhead 322 . with full margins. signed. etching and scorper in colors.

otherwise in good condition.000-5. printed at Ullstein Press.9 cm) both S. 14 x 19 3/4 in. 10 1/4 x 14 1/8 in. upper left image and lower margin (with associated staining surrounding). (35. both I. tape remains along the reverse of the upper sheet edge. both unframed. 1933 Woodcut. 1952 Untitled 1 and 2. (254 x 132. from the edition of probably 20. published by Santa Monica Editions. framed.9 cm) S. Berlin. with full margins. soft creasing in places along the sheet edges. pale light-staining. on calendered wove paper. 95 3/4 x 48 in.2 cm) 53 GÜNTHER FÖRG b. with full margins. on wove paper.6 x 50.000-7. signed. (26 x 35. a few small accretions in places at the center left.2 x 121. 1990 Two woodcuts in colors.1 cm) Estimate $5.000 Estimate $3. (243.000 LITERATURE Brenda Danilowitz 59 . 100 x 52 in.52 53 52 JOSEF ALBERS 1888-1976 Schwarzer Kreis/Black Circle. occasional creasing in the margins. both signed. dated ‘90’ and numbered 12/20 in pencil. dated and titled in German in pencil. I. otherwise in excellent condition. California.

I. on Rives BFK paper.000-3. signed and numbered 157/200 in pencil. several areas of soiling (primarily near the sheet edges). 39 7/8 x 24 7/8 in. adhesive remains on the reverse.2 cm) Estimate $900-1. 1969 Cast polyester multiple in black.200 . signed and numbered 18/50 in pencil.4 cm) S. otherwise in good condition.7 cm) Estimate $2. (13. 14 7/8 x 11 in. (101.9 cm) Estimate $700-900 LITERATURE Wilhelm Arntz 218 56 LEE KRASNER 1908-1984 Embrace.8 x 27. the full sheet. a few soft handling creases at the upper sheet. published by Pace Editions. New York. framed.. otherwise in very good condition. 5 3/8 x 4 7/8 in.7 x 12. otherwise in very good condition. 1957 Woodcut in colors. (32.4 x 32.4 x 5. on wove paper. minor surface soiling. occasional minor scuffing. signed and annotated ‘A/P’ in black ink on a label affixed to the reverse (one of 25 artist’s proofs. 1974 Screenprint in colors.54 55 54 LOUISE NEVELSON 1899-1988 Night Leaf. the edition was 150). framed.3 x 63. S. framed.000 LITERATURE Gene Baro 121 56 55 HANS (JEAN) ARP 1886-1966 Le Voilier dans la forêt: Voilier IV. mat staining at the extreme sheet edges and on the reverse. (37. with full margins. offsetting on the reverse. Inc. 12 3/4 x 12 3/4 x 2 1/4 in.

. on Arches paper. 42 1/2 x 32 1/2 in. all signed and numbered variously from the edition of 125 in pencil (there were also 25 artist’s proofs). New York (with their blindstamp). the full sheets. Yellow and Blue). (108 x 82. with full margins. in excellent condition. Arbres (Black and Yellow) and Arbres (Black and Red) 58 58 JOAN MITCHELL 1926-1992 Bedford Series: Sides of a River I. 30 x 22 in. 1981 Lithograph in colors. published by Tyler Graphics Ltd. framed.000 Including: Arbres (Black.57 57 JOAN MITCHELL 1926-1992 Arbres (Triptych). (76.1 x 71. I. otherwise all in very good condition.000-3.1 cm) S.000 LITERATURE Tyler Graphics 366 . published by Editions de la Différence. all S. signed and numbered 66/70 in pencil (there were no artist’s proofs). all with very minor soiling (primarily along the sheet edges). 1991 Three lithographs in colors. 39 x 28 in. all unframed.000-4. Paris. Bedford Village. (99.2 x 55. on Arches 88 paper.9 cm) Estimate $3.6 cm) Estimate $2.

200-1. 1991 Lithograph in colors. signed. 1975 Screenprint in colors.2 x 55. with full margins.1 cm) S. 28 1/2 x 20 1/2 in. published by Editions de la Différence.4 x 52. published by APC Editions. staining in areas along the left sheet edge. (76.59 60 59 JOAN MITCHELL 1926-1992 Champs (Gray.9 cm) Estimate $500-700 . 30 x 22 in. I. (76. from America: The Third Century.500 Estimate $1.9 cm) 60 JOAN MITCHELL 1925-1992 Champs (Gray. the full sheet. in excellent condition. S. otherwise in very good condition. S. 30 x 22 in. unframed. published by Editions de la Differénce. dated ‘75’ and numbered 184/200 in pencil (there were also 25 artist’s proofs). otherwise in very good condition. (76. framed. on wove paper. Paris.2 x 55.9 cm) Estimate $1.500 61 61 JAMES BROOKS 1906-1992 Concord. minor soiling. 30 x 22 in. 1991 Lithograph in colors.2 x 55. New York. signed and numbered 90/125 in pencil (there were also 25 artist’s proofs). mat staining along the left sheet edge. signed and numbered 11/125 in pencil (there were also 25 artist’s proofs). on wove paper. Paris. on wove paper. (72. framed. Black and Green).200-1. the full sheet. Black and Yellow).

signed. I. (71.1 x 94 cm) Estimate $4. framed.000-6. 23 3/8 x 31 1/2 in.4 x 80 cm) S. in excellent condition. New York. published by Knoedler. dated ‘70’ and numbered 50/54 in pencil (there were 15 artist’s proofs). (59. 28 x 37 in. on Akawara paper. 1971 Lithograph. with full margins.000 LITERATURE Lanier Graham 6 .62 WILLEM DE KOONING 1904-1997 Landing Place.

6 cm) Estimate $2.9 x 94.1 cm) 64 PHILIP GUSTON 1913-1980 August. signed and numbered 72/125. 30 x 40 in. on smooth wove paper..000-3. taped to the overmat at the reverse of the center and upper edges. (76. 1970 Offset lithograph in colors with text. 32 7/8 x 39 in. published by Muliples.5 x 99. signed and numbered 76/100 in pencil. 1966 Screenprint.000 Estimate $2. I. the palest mat staining on the reverse. two small pale blue stains at the lower right and left edges. (83. with full margins. occasional soiling and soft creasing (primarily in the margins). the full sheet. S.3 cm) S. otherwise in very good condition. from Four on Plexiglas. otherwise in good condition.000-3. Inc. soft scuffing. New York.63 64 63 AFTER WILLEM DE KOONING 1904-1997 Guild Hall East Hampton.2 x 101. framed. on Plexiglas.000 . inscised into the Plexiglas (there were also 16 artist’s proofs). (68. framed. 27 1/8 x 37 1/8 in.

1974 The complete set of six lithographs with collage in colors.7 cm) Estimate $4. (70. all with occasional minor creasing.000-6. a few with soiling and the collage lifting in places.8 x 52. various papers and fabrics. New York. with full margins. published by Marlborough Graphics.000 .65 CONRAD MARCA-RELLI 1913-2000 Autumn suite. from the edition of 50 (there were no recorded artist’s proofs). otherwise all in good condition. all signed. 27 7/8 x 20 3/4 in. contained in original linen-covered portfolio with artist’s name embossed on the front. dated ‘70’ and variously numbered in pencil. the colored papers slightly attenuated.

(94 x 73 cm) 67 GÜNTHER FÖRG b. 46 3/4 x 31 1/4 in. published by Mixografia. (83. oil on canvas 66 TERRY WINTERS b. 1952 Untitled (bronze). I.5 cm) S. in excellent condition.000-4. dated ‘2003’ and numbered 47/75 in pencil (there were also 7 artist’s proofs).500-3. with full margins.500 . 37 x 28 3/4 in. 2003 Mixograph in metallic ink. incised with signature and dated ‘1988’. (118.000 Estimate $2.4 cm) Estimate $3. 1960. 32 7/8 x 25 in. 1988 Unique bronze relief with black patina. 1949 Metal Virus.7 x 79.66 67 Lucio Fontana. Concetto Spaziale. Los Angeles. framed. on handmade paper.5 x 63. in excellent condition. signed with initials.

Lee Bontecou.P. framed. Her father invented the first all-aluminum canoe and her mother worked in a factory which wired submarine transmitters during World War II. Artist-critic Donald Judd. I. with full margins. 170) Estimate $9. Judd could not help but point to its allusive qualities. making one an aspect of the other. New York. 87 7/8 x 38 1/8 in. otherwise in very good condition. (223. p. signed. West Islip. occasional creasing in the margins. 2003. and UCLA Hammer Museum. Museum of Contemporary Art. 93 x 42 in. Yarmouth. Los Angeles. Abrams.000-12.’ in pencil (a printer’s proof. the edition was 14 and 5 artist’s proofs).68 LEE BONTECOU b.2 x 96. Nova Scotia. 1931 An Untitled Print. Harry N.T. Chicago. Inc. A Retrospective.000 LITERATURE Esther Sparks 34 False Harbor. dated ‘81-82’ and numbered ‘2-3 P. on Rives paper. writing about Bontecou’s work in 1965. remarked on its ability to encompass “something as social as war to something as private as sex. The distinctive sensibility and highly personal vocabulary of forms and images in Bontecou’s work have distinguished it even at points where it has coincided with directions explored by her contemporaries or resonated with the concerns and approaches of artists of a younger generation.8 cm) S.7 cm) An Untitled Print is the largest ‘worldscape’ print Lee Bontecou has produced and shows the influence of her summers spent in Nova Scotia while growing up and her fascination with nature and marine life.. Smith. (Elizabeth A. photograph by Margaret Bontecou . an area of rubbing and skinning at the right sheet edge. New York (with their blindstamp).2 x 106. published by Universal Limited Art Editions. (236.” Despite his overriding fascination with the powerful objecthood and materialty of Bontecou’s sculpture. 1981-82 Lithograph in colors.

000-6. I. pinned to the support at the upper corners. (40 x 49. framed. (62. 2002 Lithograph in colors. 16 x 19 1/2 in. Zurich and New York. with full margins. I.5 cm) S.8 cm) S. 1970 Rogue Ascension. engraving and drypoint in colors. on Somerset textured white paper. otherwise in very good condition. with full margins.4 cm) Estimate $4. (40. signed and numbered 22/60 in pencil (there was also an edition of 25 in Roman numerals). 1970 Untitled.000-6. I.5 cm) S. 2006 Etching. New York. unframed. published by Parkett Editions. 2007 Etching with aquatint in colors. published by the New Museum. 1970 Fracture. unframed.7 x 71. published by Burnet Editions. 24 1/2 x 32 in. in excellent condition. 15 3/4 x 19 1/2 in.000 71 71 JULIE MEHRETU b. on Somerset Satin white paper and Denril vellum.7 x 71.3 cm) Estimate $4. in excellent condition. dated ‘2007’ and numbered 31/45 in pencil (there were also 12 artist’s proofs). signed.69 69 JULIE MEHRETU b. on wove paper.6 x 49. dated ‘02’ and numbered 13/35 in pencil (there were also 7 artist’s proofs). with full margins. 23 1/8 x 28 1/8 in.2 x 81. (52. 23 1/4 x 28 in. New York (with their blindstamp). signed. 20 3/4 x 28 1/4 in.000-6. (58.1 cm) Estimate $4.000 70 70 JULIE MEHRETU b.000 LITERATURE Edition for Parkett 76 .1 x 71. (59.

dated ‘1977’ and numbered 43/50 in pencil on the reverse. dated ‘76’ and annotated ‘LP imp. Identity 6. a few soft handling creases and spots of stray printing ink in the margins. 11 3/4 x 11 3/4 in. 1938 Burial Mound.72 72 PAT STEIR b. all in excellent condition. Meaning 4 and Introduction 1 73 73 JOYCE KOZLOFF b.2 x 57. with full margins.2 cm) Estimate $600-800 . 28 1/8 x 16 5/8 in.8 cm) Estimate $2. Little Line II. all signed. I Don’t Know?.000 LITERATURE Joseph Ruzicka 23-29 Including: Space III. with full margins. 30 x 22 1/2 in.2 cm) S.8 x 29.4 x 42. otherwise in very good condition. (71. loose. Chicago. unframed. Being 5.000-3. (76. titled. 1942 Pictures and Borders III. the edition was 35 and 5 artist’s proofs). 1976 The complete set of seven etchings in sepia.’ in pencil on the reverse (a printer’s proof. (29. signed. a spot of soiling at the upper center margin. 1977 Screenprint in colors. I. on HMP handmade paper. contained in original linen covered portfolio box. published by Landfall Press. on Arches paper.

each enclosed in original labeled paper folder and contained in original wood veneer-covered foamcore box with title and embellishment on the front (adhesive remains on front lower right).000-4. Tuesday. Thursday. Friday.5 x 50. all signed with initials. published by Universal Limited Art Editions.000 Including: Monday. Wednesday. (49. with full margins or the full sheet. Saturday and Sunday . 19 1/2 x 20 in. 2003 The complete set of seven lithographs in colors with embossing.74 RICHARD TUTTLE b. 1941 Censorship portfolio. on Lana gravure paper. New York (all with their blindstamp). West Islip.8 cm) Estimate $3. dated ‘03’ and numbered 25/34 in pencil (there were also 8 artist’s proofs). all in excellent condition.

5 x 64. framed. on Arches vellum paper.000 LITERATURE Maeght Editeur 459 . pale mat and time staining. signed and annotated ‘HC’ in pencil (an hors-commerce copy. pale light-staining. Washington D. hinged to the support in places along the reverse of the upper sheet edge (with slight puckering on the front).C.200 LITERATURE Maeght Editeur 293. otherwise in good condition. with full margins. S. 19 1/2 x 25 1/2 in. on wove paper. 1961 Lithograph in colors. the full sheet.. published by the International Rescue Committee. Paris.8 cm) S. framed. occasional soft handling creases.1 x 60. the colors slightly faded. see Patrick Cramer books 69 Estimate $2. I. the edition was 30).8 cm) Estimate $800-1. 17 3/4 x 23 3/4 in. (45. (49.000-4. signed and numbered 86/250 in pencil (there was also an edition of 50 on Richard de Bas paper). otherwise in good condition. (34. a small pale stain at the center right sheet edge. 1966 Lithograph in colors. a crease at the lower right corner.6 x 49. 13 5/8 x 19 5/8 in.3 cm) 76 JOAN MIRÓ 1893-1983 International Rescue Committee.75 76 75 JOAN MIRÓ 1893-1983 Series II: blue and red. published by Maeght.

7 cm) Estimate $2. both S.500-3. on wove paper.9 cm) S.000 LITERATURE Maeght Editeur 773 and 786.500 Estimate $5. 16 x 24 3/8 in. 1966 Lithograph in colors. Paris. otherwise both in very good condition.2 x 65. Paris. the palest mat staining.6 x 61.77 78 77 JOAN MIRÓ 1893-1983 Ubu Roi: Untitled (plate 13). published byTériade.6 cm) 78 JOAN MIRÓ 1893-1983 Ubu aux Baléares: two plates.). 21 x 29 3/8 in.3 x 74. a small abrasion at the upper center margin (less than 1/8 in. (40. see Patrick Cramer books 146 LITERATURE Maeght Editeur 498. signed and numbered 7/75 in pencil (there was also an edition of 205 with smaller margins). (53. (50. published byTériade.000-7. I. framed. otherwise in very good condition. with margins (deckle at bottom edges). both with a few foxmarks. see Patrick Cramer books 108 . 19 3/4 x 25 7/8 in. 1971 Two lithographs in colors. on Arches paper. both signed and numbered 51/120 (there were also 6 hors commerce in Roman numerals). with full margins. both unframed.

all framed. with full margins. all in excellent condition. green/black. all I. Beachscene and Tornado. (22. Devil on the Highway.5 x 17. sienna and indigo respectively.5 cm) all S. (40 x 32. dated ‘2001’ and numbered 8/25 in pencil (there were also 6 artist’s proofs).79 INKA ESSENHIGH b.4 cm) Estimate $5. 8 7/8 x 6 7/8 in. on Somerset paper. 15 3/4 x 12 3/4 in. 2001 Four etchings in brown.000-7. all signed. 1969 Country Western. New York (with their blindstamp). published by Burnet Editions.000 .

unframed.9 x 20. with minor soiling.000 . (65. published by Slegten &Toegemann.5 x 89. 1972 Lithograph in colors.9 x 14 x 14 cm) configured with base: 5 1/2 x 9 x 8 in. 1954 Untitled #6.3 cm) S. Paris. (64. 25 3/8 x 35 1/8 in. Brussels.3 cm) Estimate $4. signed and numbered 24/250 in white pencil. annotated ‘(6)’ and numbered 4/20 in pencil (there were also 10 artist’s proofs). incised ©ANISH KAPOOR 1993 BELGIUM on the underside of the terra cotta base. lacking booklet and box. configured without base: 11 x 5 1/2 x 5 1/2 in. dated ‘1988’.500-2. (62. otherwise in very good condition. 25 3/4 x 19 3/4 in. from the edition of unlimited size. in excellent condition. 1993 The complete three part vase consisting of two frosted-glass vessels and one terra cotta base.2 cm) Estimate $1. published by Crown Point Press.000 82 ANISH KAPOOR b. 17 1/4 x 13 1/2 in. I. on Auvergne à la main laid paper. (43.8 x 34. with full margins. (27. San Francisco (with their blindstamp). on wove paper.2 cm) Estimate $400-600 81 82 81 ANISH KAPOOR b. framed. published by Maeght Editions.000-6.4 x 50. signed. with full margins.9 x 87. I.80 80 POL BURY 1922-2005 Guggenheim. 1988 Aquatint and etching in colors. otherwise in very good condition. 1954 Les objets d’artistes: A Vase. hinge remains on the reverse of the upper corners (showing through with rippling on the front). (14 x 22. 24 3/4 x 34 1/2 in.6 cm) S.

6 cm) Flor S. published by Villalobos Serigrafia Artstica SL.A.8 cm) Levitação S. on wove paper. 20 7/8 x 15 1/4 in. on watercolor paper.4 x 91. otherwise all in good condition. foxmarks and minor soiling in the margins. both with occasional scuffing. occasional soft creasing. both unframed. IV/V’) in pencil.000 85 JOSÉ BEDIA b. (72. 28 1/2 x 36 in. 1959 [Man] and [Woman]. Pontevedra. Menina I.6 x 35.5 x 90.4 x 104. 19 1/2 x 35 1/2 in. Barcelona. (67.2 x 76. with full margins. (88. 22 1/2 x 30 1/4 in. a tear at upper right. the paper splitting at upper right. Levitação with soiling and creasing in the margins. [Man] with a small spot of white ink at lower center image. all unframed. particularly the lower margin. both S. 10 7/8 x 13 7/8 in. both unframed.4 cm) both S.6 cm) Levitação I.5 cm) Flor I. (27. the full sheets. 13 1/2 x 9 5/8 in.2 cm) Menina S.2 cm) Estimate $200-400 . (49.9 x 54.3 x 24.3 x 67.7 cm) Estimate $800-1. one with a crease at the upper left corner. circa 1990 Two screenprints in silver ink. 1957 [Sin título] and [Sin título].000-3.A V/V’ (Menina numbered ‘P.83 83 84 DANIEL SENISE b. circa 1985 Two etching and aquatints in colors. otherwise both in good condition. a tear at the lower right margin corner. (57. all signed. on wove paper. 34 3/4 x 26 5/8 in. (53 x 38. otherwise both in very good condition. Spain (with their stamp on the reverse). both I. 26 3/4 x 21 1/2 in. both signed and numbered 45/100 in pencil. with full margins. both signed and numbered 16/20 and 13/20 in pencil. 1955 Menina/osso/cão. Flor and Levitação.4 cm) Estimate $2. Menina with occasional creasing and soiling in the margins (particularly the left margin). Flor with minor creasing and soiling in the margins.. (34. published by Poligrafa. (65. dated ‘99’ and numbered ‘P.000 84 85 SERGIO HERNÁNDEZ b. 1999 Three aquatints in colors (two with embossing). 25 3/4 x 41 1/8 in.

(42.500-3.3 cm) 87 JULIÃO SARMENTO b. all overall: 5 x 21 in. all unframed. 2006 Nine etchings (three triptychs) with hand-painting in colors.3 cm) Estimate $2.500 . loose. with accompanying text by Stuart Morgan. published by London Projects. dated ‘96/98’ and numbered 23/26 in pencil. 1996-98 The complete set of eight etchings. with full margins. two sets each annotated ‘1/3’-’3/3’ respectively in pencil on the reverse. on Somerset paper.5 x 34. one of each three signed. contained in original black portfolio folder. all signed. London. (12. also numbered on a label affixed to the folder. the full sheets. 1948 The House with the Upstairs in it. 16 3/4 x 13 1/2 in. on wove paper. all in excellent condition. 1968 Circulo rojo.500 Estimate $1.86 87 86 MARCO ARCE b. otherwise all in very good condition. all with minor soiling and spots of stray ink. Tigre con conejo and [Untitled].800-2.7 x 53.

the full sheet.. Tokyo. framed.88 alternate view 89 88 TAKASHI MURAKAMI b. in very good conditon. All Rights Reserved.500 Artwork ©2002 Takashi Murakami/Kaikai Kiki Co. (27. in excellent condition. on glossy wove paper.1 x 17. . contained in artist’s original circular frame and cardboard shipping box. diameter: 22 in.9 x 19..8 cm) 89 TAKASHI MURAKAMI b.000 Artwork ©2000 Takashi Murakami/Kaikai Kiki Co. 2000 Polychromed plastic containing a mini cd. 1962 Oval (Peter Norton Christmas Project 2000. published by the Peter Norton Family Christmas Project. All Rights Reserved. with the artist’s swirl symbol in black ink within the image. Ltd.500-3. Ltd. 2002 Offset lithograph in colors. numbered 145/250 in black ink on a label affixed to the reverse.9 cm) Estimate $2. S..000. published by Kaikai Kiki. from the edition of 3. 1962 Jellyfish Eyes.000-3.. 11 x 7 1/2 x 7 in. (55. Estimate $2.

8 cm) Kiki S. on smooth wove paper.. Ltd. Media S.. Tan Tan Bo signed. 28 1/4 x 28 1/4 in.8 x 71.7 cm) Jellyfish S. (102. creasing and ink loss at the lower left corner. otherwise both in very good condition. published by Kaikai Kiki. 1962 Tan Tan Bo and Jellyfish.8 cm) (not Mega) S. (not Mega) with a repaired tear at lower right.500-2. wear along the sheet edges. dated ‘04’ and numbered 20/300 in black ink.500 Artworks ©2005 Takashi Murakami/Kaikai Kiki Co.4 cm) Estimate $1. both framed. All Rights Reserved. Jellyfish with a soft handling crease at the center left. published by Kaikai Kiki. 91 91 TAKASHI MURAKAMI b.000-2. All Rights Reserved. 27 x 27 1/8 in. 92 TAKASHI MURAKAMI b. 1962 Here Comes Media and Kiki with Moss. 25 7/8 x 39 1/4 in.2 x 69. both framed. Kiki with very slight wear at the lower corners. otherwise in good and very good condition respectively..500 Artworks ©2001-2 Takashi Murakami/Kaikai Kiki Co.8 x 49. 92 . Tokyo. All Rights Reserved.90 90 TAKASHI MURAKAMI b. (69.. slight creasing at the lower corners.2 cm) Estimate $2. 1962 Reversed Double Helix Mega Power and Reversed Double Helix.7 x 99. Media with several soft handling creases and abrasions (with associated ink loss). otherwise in excellent and very good condition respectively.6 x 68. (49. both published by Kaikai Kiki. 2005 Two offset lithographs in colors. the full sheets. Tan Tan Bo taped to the overmat along the reverse of the center sheet edges. 2004 Two offset lithographs in colors. both signed and numbered 35/300 and 216/300 in black marker. Tokyo. (65. the full sheets. on smooth wove paper. 27 1/4 x 27 1/4 in. 2001 and 2004 Two offset lithographs in colors. Ltd. Tan Tan Bo S. Jellyfish signed and numbered ‘87/300’ in black ink.9 x 72. on smooth wove paper.. 40 1/2 x 28 1/2 in.500-2. 19 5/8 x 19 5/8 in.9 cm) Estimate $1. both signed and numbered 59/300 and 38/300.500 Artworks ©2000-2001 Takashi Murakami/Kaikai Kiki Co. (68. Tokyo. Jellyfish unframed. (71. the full sheets. Ltd. Mega S.. Tan Tan Bo framed.

) Estimate $1. published by Kaikai Kiki. published by Kaikai Kiki. the tranquility of my heart shall be prized above all. the full sheets.7 cm) 94 Estimate $1.200-1. signed and numbered 11/300 in silver ink.. I.93 93 TAKASHI MURAKAMI b.8 x 49. both S. minor creasing at the corners.. otherwise both in very good conditon. (64. 25 1/4 x 38 3/4 in. both signed and numbered 116/300 and 107/300 in black marker. Cowboy with a small mark at the upper right corner. 19 5/8 x 19 5/8 in. Tokyo. 1962 727-727.500 Artwork ©2002 Takashi Murakami/Kaikai Kiki Co. the full sheet. framed. and My arms and legs rot off and though my blood rushes forth. Ltd. both signed.500-2. 1962 Hiropon and My Lonesome Cowboy. both S. (68. minor wear in places along the sheet edges. I fix my gaze upon my heart.. All Rights Reserved.1 x 98. on smooth wove paper.4 cm) S. Ltd.8 cm) 96 TAKASHI MURAKAMI b. 95 96 95 TAKASHI MURAKAMI b..3 cm) Estimate $1. the full sheets. published by Kaikai Kiki. 2001 Two offset lithographs in colors.3 x 68. 27 1/2 x 32 in.000-1. All Rights Reserved.. both unframed. dated and numbered 66/330 and 65/300 in silver ink respectively. Ltd. dated ‘04’ and numbered 220/300 in silver ink. S. My arms… with scuffing at the upper right corner.9 x 81. on smooth wove paper. (69. Tokyo.000-1. on smooth wove paper. 26 7/8 x 26 7/8 in. signed. 25 3/4 x 39 1/4 in..3 cm. otherwise both in very good condition. a soft handling crease at the lower left. All Rights Reserved. framed. Tokyo. approx. Estimate $1. with full margins.. a soft crease at the upper left corner. (65. otherwise in good condition. on smooth wove paper.4 x 99. Ltd. framed. 2004 Offset lithograph in colors.500 Artworks ©1997-1998 Takashi Murakami/Kaikai Kiki Co. otherwise in very good condition. 2007 Offset lithograph in colors.. 1962 I open wide my eyes but see no scenery. . Tokyo. a tear at the lower right corner. published by Kaikai Kiki.800 Artwork ©2006 Takashi Murakami/Kaikai Kiki Co. All Rights Reserved. 1962 Homage to Francis Bacon (Study of Isabel Rawsthorne). 94 TAKASHI MURAKAMI b.. minor creasing in the lower right corner. (49.500 Artworks ©2007 Takashi Murakami/Kaikai Kiki Co. 2007 Two offset lithographs in colors.

Ltd. Tokyo.. 2000 Sixteen plastic shokugan figurines in colors. the full sheet.. 99 TAKASHI MURAKAMI b. published by Kaikai Kiki. Tokyo. Mushrooms. Tokyo. Kaikai Kiki & Flower/Moss. unframed. 2001 Laser print in colors. published by Kaikai Kiki. DOB & Mushroom/Indigo. I.3 cm) Estimate $700-900 Artwork ©2003 Takashi Murakami/Kaikai Kiki Co. 98 TAKASHI MURAKAMI b. (37.. Flower Ball/Silver.5 cm) Estimate $400-600 Artworks ©2001 Takashi Murakami/Kaikai Kiki Co. Rumble-kun in a Jar. 26 7/8 x 26 7/8 in. Ltd. 2006 Offset lithograph in colors. 100 100 TAKASHI MURAKAMI b. S..000-1.8 cm) S. 26 3/4 x 26 3/4 in. in excellent condition.. various sizes Estimate $600-900 Artworks ©2000 Takashi Murakami/Kaikai Kiki Co. Ltd.3 x 68. All Rights Reserved. 1962 72727. Mr. each contained in the original printed cardboard boxes. All Rights Reserved. Melting DOB/Positive. Kaikai Kiki & Flower/Pink. 1962 Superflat Museum. in excellent condition. Miss Ko2 and Machikado-kun. all in excellent condition. with full margins. 2004 Offset lithograph in colors. Oval the Mediator. the full sheet. unframed. Mr.9 cm) Estimate $1. signed.9 x 29. 1962 AND THEN Ichimatsu Pattern. (41. Masamune & Spica. 1962 Backbeard. All Rights Reserved. sealed in their original plastic packaging. Flower Ball/Gold. signed and numbered 25/105 in pencil.500 99 Artwork ©2006 Takashi Murakami/Kaikai Kiki Co. Tokyo. compound creasing in the upper right corner. dated ‘04’ and numbered 178/300 in silver ink.9 x 67. on smooth wove paper. . published by Kaikai Kiki.1 x 23. All Rights Reserved. Mr.. (68. unframed. (67. signed and numbered 227/300 in silver ink. S. on smooth wove paper. 16 1/2 x 11 5/8 in. otherwise in good condition. DOB & Mushrooms/Light Blue. Including: Melting DOB/Shine..97 98 97 TAKASHI MURAKAMI b. on smooth wove paper. published by Kaikai Kiki.. Shacho. 14 5/8 x 9 3/8 in. Ltd.

(62.9 cm) Alchemy S. dated ‘1990’. both with minor soiling and soft rubbing in the margins. on wove paper. 1940 The Alchemy of Breathing and Geochronmechane. Alchemy I. both with the palest mat staining. framed.2 x 75. in excellent condition. 22 1/2 x 29 3/4 in. Geochron with pale scattered moisture staining in areas in the margins.1 x 71. co-published by Normal Editions Workshop and Illinois State University.500-2.9 x 79. 28 x 28 in. (57. 24 3/4 x 31 1/8 in.8 x 68. on Rives BFK paper.3 cm) Estimate $1. (82.1 cm) Geochron S. 1990-91 Lithograph in colors.2 x 81. (51.1 cm) Geochron I. the full sheet. S.6 cm) 102 PAUL LAFFOLEY b. signed.101 101 DAVID WOJNAROWICZ 1954-1992 Four Elements: Fire and Water. Alchemy signed. Normal. 1992 Two screenprints in colors and metallic inks. Illinois.000 Estimate $500-700 102 . 32 3/8 x 32 in. (71. titled and numbered X/XVI in pencil (there was also an edition of 24 in Arabic numerals). 20 3/8 x 27 1/8 in. dated ‘1992’ and numbered 7/75 in pencil. otherwise in good condition. both unframed. a few nicks and creases along the sheet edges.

dated ‘98’ and annotated ‘A. on wove paper.8 cm) Estimate $3.9 x 76. published by Landfall Press. on Somerset paper. signed. Santa Fe (with their copyright stamp on the reverse). 1962 Untitled.9 x 61 cm) S. in excellent condition.3 cm) S. signed. 2006 Lithograph in colors. a few soft handling creases.P’ in pencil (one of three artist’s proofs. with full margins.000-3. published by the artist.000 .7 x 71. there was no edition). 1959 Untitled. framed. (106. dated and annotated ‘PP1’ in pencil (the edition was 20 and 10 artist’s proofs in Roman numerals). (53 x 74. I. 1998 Lithograph in blue/black.103 104 detail of lot 103 103 DO HO SUH b. with full margins. (55. I. 22 x 30 in. 37 3/4 x 24 in.000-5. 42 x 28 1/4 in. 20 7/8 x 29 1/4 in. otherwise in very good condition.000 104 PETER DOIG b. (95.2 cm) Estimate $2. unframed.

the full sheet.000-6. each with two Magritte Estate blindstamps. framed. 2003 Eight lithographs in colors. Le printemps. 20 1/8 x 25 1/8 (51. Nepalese and Cortlea Text paper. 1964.000 Based on the original gouache paintings: La bataille de l’argonne.1 x 63. on hand-torn Kasuiri. with full margins. in excellent condition. 59 1/4 x 62 in. all in excellent condition. published by Philippe Moreno.105 105 JANE HAMMOND b. signed on reverse by the publisher in pencil. 1950 The Wonderfulness of Downtown. contained in original textured red leather-covered folder with title. New York. Le bouquet tout fait. . West Islip. Le château des pyrénées. 1957. La voix du sang. 1959. loose. 1953.000 106 106 AFTER RENEÉ MAGRITTE 1898-1967 Magritte III: 8 lithographies portfolio.8 cm) Estimate $3. titled. on Rives BFK paper. signed. 1931. 1967. artist’s name and publisher embossed in gold on the front. Golconde.5 x 157. 1997 Lithograph and screenprint in colors with collage.000-4. published by Universal Limited Art Editions. Paris. numbered on the colophon and each with initial and numbered 267/300 in pencil (there were also 45 hors-commerce copies). La belle captive.5 cm) Estimate $4. (with their blindstamp). 1965 and La page blanche. 1959. (150. dated ‘1996’ and numbered 42/50 in black marker (there were also 10 artist’s proofs). S.

I. from the MoCA portfolio. published by Lapis Press. numbered 36/50 in pencil.000 . Los Angeles. the edition was 80 and 12 artist’s proofs).107 108 107 ED RUSCHA b.2 cm) 108 HAMISH FULTON b. to celebrate the twentieth anniversary of the Museum of Contemporary Art. (39.2 cm) S. Los Angeles (with their blindstamp). I.500-2. (26 x 33. 1988 Woodcut in colors. Figueroa.P. with full margins. on wove paper. on Japanese cream paper. 1’ in pencil (a printer’s proof. 1937 Pico. (20. framed. Flower. otherwise in very good condition. in excellent condition. unframed. 15 1/2 x 22 5/8 in. signed.5 cm) S. a few faint pressure marks in places along the lower sheet edge.5 x 76. 1946 Twilight Horizon. 22 1/4 x 30 in.6 x 29.3 cm) Estimate $500-700 Estimate $1. with full margins.4 x 57. (56. dated ‘1999’ and annotated ‘P. 1999 Aquatint and etching in colors. 8 1/8 x 11 1/2 in. 10 1/4 x 13 1/8 in.

in excellent condition. framed. a small accretion and a few pressure marks in the lower margin. 23 1/4 x 24 1/2 in. with full margins. titled and numbered 2/35 in pencil on the reverse (there were also 10 artist’s proofs).500 • .3 cm) ∆ 110 THOMAS RUFF b. I. Kingston. on Biber GS 300g paper. 2004 Etching aquatint in colors with air-brush. S. 1958 Nacht photos: Nacht 7 I.1 x 74.1 x 62. Munich and New York.109 110 109 LAURA OWENS b. 28 x 29 1/4 in. the full sheet. published by Simmelink/Sukimoto Editions. (59.8 x 74.500 Estimate $1. (71. framed. 1970 Untitled. on Somerset paper. 1993 Grano-lithograph in colors.500-4. (83.2 cm) S.500-2. published by Edition Schellmann.3 cm) Estimate $3. 33 x 29 1/4 in. otherwise in very good condition. dated ‘2004’. signed and numbered 22/45 in pencil on the reverse (there were also 8 artist’s proofs). signed. New York.

(55. Mark Dion. (53. South Nyack (with their blindstamp). Netherlands. 24 3/4 x 34 1/2 in. 2 and 3. Arnhem.9 x 76. a crescent shaped crease in the lower center margin. published by Sonsbeek. Juan Muñoz and Allen Ruppersberg Grafiekmap 3: Mario Airó. Inc. otherwise in very good condition. on wove paper. contained in original cardboard folders screenprint on the front (scuffing). I. (78.3 cm) Estimate $1. otherwise in very good condition. all signed. 14 3/4 x 23 3/4 in.5 x 60. signed. occasional soft rubbing in the margins. 1993 The complete three sets of five prints in various media (fifteen total prints). Miroslaw Balka. on various papers and one on fabric. 22 x 30 in.9 x 87. published by Hudson River Editions. Kamagurka. Mike Kelley. with full margins. I.111 112 111 APRIL GORNIK b. on wove paper watermark rooster. Anna Gudjónsdótter & Till Krause and RW van de Wint . Mark Manders and Eran Schaerf Grafiekmap 2: Christina Assmann & Andreas Siekmann.3 cm) S. soft handling creases in the margins. commissioned by the Jane Vorhees Zimmerli Art Museum.. all in excellent condition. dated and numbered 16/60 in pencil (the Ruppersberg in black ink).6 cm) 112 APRIL GORNIK b. unframed. 1998 Etching and aquatint. dated ‘1998’ and titled in pencil. 31 x 42 3/8 in. 21 x 26 1/2 in. 1953 Rain and Dust. loose. (62. 1985 Etching and aquatint in colors. unframed. Christine & Irene Hohenbüchler.800 Including: Grafiekmap 1: Pepe Espaliú. 1953 Cascading Waterfall. published by the Print Club of Cleveland (with their blindstamp).6 cm) S. (37. with full margins or the full sheets. with full margins. signed.2 cm) Estimate $400-600 Estimate $700-900 113 113 VARIOUS ARTISTS Sonsbeek Portfolios: Grafiekmap 1. dated ‘1985’ and numbered 10/70 in pencil (there were an unrecorded number of artist’s proofs).7 x 107. Alighiero e Boetti.200-1.3 x 67.

all signed. 1929 Violette Furchen (Dark red). with full margins. Munich.3 x 69. on wove paper.8 cm) three S. Gekaemmt Bauch (Middle red) and Untitled (Black). three unframed. published by Sabina Knust Maximilian Verlag Editions. all I.1 x 52.000 115 . (64. 30 3/4 x 20 3/4 in. (78. 24 1/2 x 11 3/4 in. one framed.6 cm) three I.114 114 GEORG BASELITZ b.7 cm) Black S. dated ‘90’ or ‘91’ and numbered 11/30 (three) and 10/30 in pencil. with full margins. Black with very minor soiling in the margins. otherwise all in very good condition. all with occasional soft handling creases in the margins (mainly visible in raking light). 1938 45-Dezember I & II. on wove paper with rooster watermark.9 x 74. (100. one framed.2 x 29.500-2. Grün I and Der Berg.8 x 50. 33 7/8 x 24 in. otherwise all in very good condition.000-5. 1989-91 Four woodcuts in green (Der Berg in green and black). four unframed.2 cm) Estimate $3. each signed and numbered 32/35 (Black numbered 27/50) in pencil. various sizes four S.000 Estimate $1. 1971-73 Five etchings in colors. Der Berg I. 40 1/2 x 29 3/8 in. large plate). Roter Acker (Light red). the three with adhesive remains at the reverse of the upper corners (with associated skinning). Kopf Dahinter (Bright red. (62. (86 x 61 cm) 115 ARNULF RAINER b.5 cm) Der Berg S. 25 1/2 x 19 3/4 in. 39 1/2 x 27 3/8 in. (102.

in good condition. the full sheet. 23 x 74 x 1 in. Milan.000 117 FRANZ WEST b. electrical ceiling fittings. 1963 Untitled (In Honor of Scott Burton).000-7. 1947 Untitled (Lamp). electrical fittings. S. from 1989 portfolio. 76 1/4 x 13 1/2 x 14 in. 24 x 20 in. (193. in good condition. (61 x 50.7 x 34. published by Metamemphis. (58. unframed. 1947 Untitled (Lamp).116 117 116 FRANZ WEST b.000-7. 1989 Welded iron multiple. Milan.8 cm) Estimate $500-700 .5 cm) Estimate $5.3 x 35. 2000 Chromogenic print in colors.000 118 118 JORGE PARDO b. New York. signed and numbered 14/75 in black marker (there were also 12 artist’s proofs).4 x 188 x 2. in excellent condition. published by Metamemphis. 1989 Welded iron multiple. published by the Estate Project for Artists with AIDS and Alliance for the Arts. on Fugicolor crystal archive paper.6 cm) Estimate $5.

(76. on handmade paper.000-4. otherwise all in very good condition. all S. Chicago (with their blindstamp and copyright stamp on the reverse). 1977 The complete set of ten lithographs in colors.000 . 1940 Stones for a Wall set. 30 x 23 3/8 in.4 cm) Estimate $3. dated. published by Landfall Press. all unframed. all with minor surface soiling and occasional stray printing ink at the sheet edges and on the reverse. all signed. the full sheets.2 x 59. titled and annotated ‘RTP-STONES FOR A WALL: APPROVED’ in pencil (the right-to-print proof.119 VITO ACCONCI b. the edition was 10 and 1 artist’s proof).

University of South Florida. (139. 1106 In addition to the signature and edition number. Tampa.200-1. 1984 Lithograph and screenprint in colors. framed.” conceived by the artist and utilized in many of his Gemini works. 1983 The complete set of three etching and aquatints in red. People Mask and End Mask. each print was numbered consecutively with a seven digit “Borofsky number. 54 3/4 x 30 7/8 in.4 cm) Estimate $1.120 120 VITO ACCONCI b. on Arches cover paper. (21.L. published by Graphicstudio.800 LITERATURE Gemini G.E. all S. from the edition of 30. all in excellent condition. the full sheet.E.L. the full sheets. published by Gemini G. Los Angeles (with their blindstamps).4 cm) 121 Estimate $600-900 121 JONATHAN BOROFSKY b. 8 5/8 x 7 1/4 in. hinged to the support in places along the reverse of the upper sheet edge (with minor associated rippling on the front). 1940 Red Mask. S.9 x 18. on Arches 88 paper. signed. annotated ‘A 87/ 2816013’ and numbered 7/25 in pencil (there were also 6 artist’s proofs). . 1942 Space Head. black and blue.1 x 78. otherwise in very good condition.. framed together.

fog and light sculpture created by Larry Bell and Eric Orr.5 x 76. (56. (91. Inc.122 122 LARRY BELL b. published by Multiples. 1997 Lithograph and etching in brown with embossing.000-3. 14 x 20 3/8 in. (35.500 The Solar Fountain was a glass. otherwise in good condition. on Japanese paper.5 cm) Estimate $2. 22 1/4 x 30 1/8 in.4 x 121. published by Ediciones Poligrafa. New York. the full sheets. 36 x 47 3/4 in. unframed. signed. on glass. 123 .6 x 51. both with the coating lifting and cracking in places along the edges (II only along the lower edge).000 Estimate $1. with full margins. 1939 Drawings of the Solar Fountain: I and II.000-1.. I with an accretion at the lower right image.8 cm) S.3 cm) 123 GUILLERMO KUITCA b. occasional creasing (primarily in the margins). In 1983 it was installed in a pond in the Denver Sculpture Park and was taken down 15 years later. 1961 Cuarta Pared. both signed. dated ‘1997’ and numbered 19/35 in pencil (there were also 4 artist’s proofs in Roman numerals). both S. otherwise both in good condition. dated ‘77’. annotated ‘Orr’ and ‘I’ and ‘II’ respectively and numbered 3/50 in unknown material (only 10 sets were made). both unframed. the palest mat staining. Barcelona. stainless steel. The sculpture generated steam through solar energy. I. 1977 The complete set of two vapor drawing multiples.

7 x 107. 1947 Whale House—Martha’s Vineyard. otherwise in very good condition. S. very minor soiling. published by Gemini G.L. (68.. 13 1/4 x 42 3/8 in.L.9 x 3. annotated #15 in black ink on the reverse (the series consisted of 22 unique works).E.E. 1988 Unique mixed media work on canvas.6 x 55. signed. unframed. a few spots of stray printing ink on the reverse.E. 27 x 22 x 1 1/2 in.800 Estimate $1.200-1. published by John Nichols Printmakers and Publishers. 1988 Unique mixed media work on canvas. unframed. with full margins.L. the full sheet. 27 x 22 x 3 in.200-1. 1986 Lithograph.L. dated ‘88’ in gray paint. I. the full sheet. unframed.6 cm) Estimate $1. Los Angeles (with their copyright stamp on the reverse). signed. signed and dated ‘88’ in black paint on the side.6 x 55.8 cm) 125 LARRY BELL b.. mounted and stretched over wood strainers (as issued).E. 1939 Mirage Construction #15. (40 x 114. S. 1939 Mirage Construction #3. Los Angeles (with their copyright stamp on the reverse). 15 3/4 x 45 in.800 LITERATURE Gemini G. in excellent condition. dated ‘86’ and numbered 10/75 in pencil (there was also 1 artist’s proof).3 cm) Estimate $400-600 . (68. New York. 1369 LITERATURE Gemini G.6 cm) S. in excellent condition.9 x 7. on wove paper. 1369 126 126 STEPHEN HOLL b. published by Gemini G. annotated #3 in pencil on the reverse (the series consisted of 22 unique works). mounted and stretched over wood strainers (as issued). (33.124 125 124 LARRY BELL b.

the edition was 45). in very good condition. (10. published by Deutsche Guggenheim as Edition 17 for the exhibition Rachel Whiteread: Transient Spaces. published by Counter Editions.6 x 78.800 128 RACHEL WHITEREAD b. 1963 Mausoleum under Construction. numbered 49/400 (there were also 60 artist’s proofs). 2004 Stereolithograph of laser sintered white nylon multiple. with full margins. framed. (6 x 13 cm) Estimate $800-1. an area of the palest soiling at the center lower margin. on wove paper. in very good condition.200 129 129 RACHEL WHITEREAD b. signed and numbered 146/300 in blue ink on the accompanying information card.8 x 88.4 cm) Estimate $600-800 . I.127 127 RACHEL WHITEREAD b.200-1. very minor surface soiling. titled and numbered ‘AP 19/20’ in pencil (an artist’s proof. London. soiling and paper loss in places). 1963 Secondhand. Berlin. from London Portfolio. signed. 2001 Technogel multiple covered with black polyurethane film.2 x 11. (70. 21 7/8 x 31 in.7 cm) S.3 cm) 128 Estimate $1. London. 1963 Doorknob. (55. 4 x 6 x 4 1/2 in. contained in original custom fitted cardboard box (tape remains. 27 7/8 x 34 3/4 in. otherwise in very good condition. 1992 Screenprint. 2 3/8 x 5 1/8 in.2 x 15. published by Paragon Press.

signed and numbered 58/65 on a label affixed to the reverse (there were also 5 artist’s proofs). in excellent condition. Walker Theatre. 1950 Documenta-Edition. 1935 Wrapped Armchair. 21 3/4 x 27 3/4 in.2 x 37. several creases in places across the lower image. with full margins.5 cm) Estimate $1. unframed.A. Munich and New York. (100.2 x 70.200 131 REINHARD MUCHA b. Project. unframed. 1948 U. New York. 1978 Photoetching. (55. 17 x 21 in. signed in pencil. S. screenprint and duotone offset print. the full sheet. a small orange stain in the lower image. 11 1/2 x 14 3/4 in. in excellent condition. (29. numbered 0420/1000 on a label affixed to the case. on Rives BFK. on Rives Couronne paper.130 131 130 HIROSHI SUGIMOTO b. published by Abrams Original Editions. published by Eyestorm and Sonnabend Sundell Editions.000-1. I. glass. the edition was 100). (43. 1977 Lithograph in colors. New York.8 cm) Estimate $500-700 132 132 CHRISTO b. contained in original metal hinged case. London and New York.500 LITERATURE Jörg Schellmann and Joséphine Benecke 88 . otherwise in good condition.5 cm) S. 39 1/2 x 25 1/2 in.2 x 53. S.3 x 64. published by documenta X editions and Edition Schellmann. 1997 Aluminum. signed and numbered ‘AP 14/15’ in pencil (an artist’s proof.3 cm) Estimate $800-1.

1989. Annette Lemieux. 1979/1989. 1989.3 cm) Estimate $12. 1986 and William Wegman. on various papers. Cindy Sherman. all signed and numbered 13/50 in ink or pencil (there were also 15 artist’s proofs). with full margins. Second and Third Steps. 1989. Blue Boy (with Yellow Boy: One with Hawaiian Tie. 1989. One in Dark). 1983. Untitled. Untitled. 1989. Untitled. Untitled. (81. 1989. . Bruce Weber.000 Including: John Baldessari. loose. contained in original black linen-covered box with embossed red text and Barbara Kruger offset print inset on the front. Duane Michals.133 VARIOUS ARTISTS Indominable Spirit portfolio. NYC Studio. Untitled (from the Bleacher Series). otherwise all in very good condition. Chuck Close. the Baldessari detached from the mylar. New York to benefit the National Community AIDS Partnership and The American Foundation for AIDS Research. a few with occasional soft handling creases. Apparition. 1983-89 The complete set of ten prints in various photographic and print media. 32 x 23 3/4 in. Richard Prince. Sunflower.000-18. 1989. Jan Groover.3 x 60. published by Photographers + Friends United Against AIDS. Robert Rauschenberg.

.

2 x 10. on Kodak Royal paper. 6 x 4 in. all stamped on the reverse ‘Charles Ray. the full sheets. 2000 Offset lithograph in colors with UV varnish and foil stamping. 36 1/2 x 53 3/4 in.500 LITERATURE Edition for Parkett 37 . in very good condition. framed. 37’ and numbered consecutively 73-81 in black ink.2 cm) 135 VANESSA BEECROFT b. published by Parkett Editions.134 135 134 CHARLES RAY b. 1969 VB 08-36. on wove paper. lacking original signed and numbered envelope. New York. (92. all in very good condition.200 Estimate $1.800-2. the full sheet. 1953 The Most Beautiful Woman in the World set. Zurich and New York. (15. published by Cantz Editions. dated ‘00’ and numbered 270/300 in black marker on a label affixed to the reverse. S. all S. framed together. presumably numbered 9/60 (there was also an edition of 23 in Roman numerals). 1993 The complete set of nine unique photographs in colors. 1993 Edition for Parkett No.5 cm) Estimate $900-1. signed.7 x 136.

6 x 50. this work is from an edition of two. the full sheet. 1980 Black and white photograph on photo paper. dated ‘1994’.000-4. (40.000-1.8 cm) Estimate $1.4 x 113 cm) Estimate $3. in excellent condition. the full sheet. S. signed and dated ‘Sam Samore 1980s’. 80 7/8 x 44 1/2 in. on glossy photo paper. in excellent condition. framed. signed. framed. 16 x 20 in. 1949 Untitled (Dummy in Stairwell).. (205. titled and numbered 31/50 in pencil on the reverse (there were no artist’s proofs).500 137 SAM SAMORE b.136 137 136 LAURIE SIMMONS b. 1963 Situation (Man with Cigarette pack on table).000 . S. published by Art Resources Transfer. 1994 Cibachrome print. Inc. New York.

8 x 24. 40 x 30 in. otherwise in good condition. I. 2000 Digital photograph in black and white. unframed. on matte custom art paper. I.6 x 76. unframed. with full margins. signed.138 139 138 MAURIZIO CATTELAN b. (41 x 32. Zurich and New York. contained in original cardstock folder.500-3. 2000 Screenprint in colors. London.7 cm) Estimate $2.2 cm) Estimate $1. 12 1/2 x 9 1/2 in. very slight wear at the upper right corner. with full margins. dated and numbered 8/100 in pencil (the series consists of three color combinations. 16 1/8 x 12 7/8 in. (31. 39 x 29 in.1 cm) S. creasing at the lower and upper right corners (with associated minor cracking in the inks). on Uso Mano paper. (99. 1955 My House II.500 LITERATURE Edition for Parkett 59 139 CHRISTOPHER WOOL b.500 .7 cm) S. published by Parkett Editions. (101. signed and numbered 35/60 in black ink on the certificate (there was also an edition of 22 in Roman numerals). published by Counter Editions. otherwise in very good condition. each in an edition of 100).1 x 73.000-1. 1960 Untitled.

1997 The complete set of six polymerized pigmented concrete tablets. 1944 Visable Markers. 1315 – No.C. (20 x 6. (27 x 21. published by the artist. 1320’ in black ink on the felt pad on the underside (from an unlimited edition). dated ‘1997’ and consecutively annotated ‘No.200 .1 cm) Estimate $900-1. 1986 The complete set of sixteen headshots. 1957 Talents. on photo paper. all with minor scuffs and soiling. all signed.000 141 ALLAN MCCOLLUM b. all: 7 7/8 x 2 1/2 x 2 in. the full sheets. some with minor paint loss)..4 x 5. published by I. all with frame: 10 5/8 x 8 1/2 in.6 cm) Estimate $2. each contained in original artist’s frames (occasional scuffs. New York. all in very good condition. Editions. otherwise all in very good condition. Inc.000-3.140 141 140 DAVID ROBBINS b.

S.7 x 102. on Somerset satin paper.9 cm) Estimate $12. St. published by Island Press. signed and numbered ‘p/p 2/3’ in pencil on the reverse (one of three printer’s proofs. 42 x 40 1/2 in. a few soft creases at the right sheet edge. 1965 Vanishing Point. Louis. framed. (106. Washington University. the full sheet.000 . otherwise in very good condition.142 TOM FRIEDMAN b. 2006 Photogravure and embossing.000-18. the edition was 12).

(54 x 104. 1965 Untitled (Dollar Bill). (34 x 85. in very good condition. I. on Somerset velvet paper.000 . 13 3/8 x 33 1/2 in.5 cm) Estimate $5. framed. 21 1/4 x 41 1/8 in. signed and numbered 64/100 in pencil on the reverse (there were also 3 artist’s proofs). published by the Fabric Workdshop and Museum.143 TOM FRIEDMAN b.1 cm) S. 2000 Inkjet print in colors. Philadelphia. with full margins.000-7.

144 TOM FRIEDMAN b.9 x 7. (102.6 x 7. Zurich and New York. 40 1/2 x 3 x 3 in. in excellent condition. 1965 Untitled. 2002 Multiple consisting of seventy-five stacked and glued styrofoam cups handpainted in colors. signed and numbered 39/75 in black ink on the underside (there was also an edition of 20 in Roman numerals).500 LITERATURE Edition for Parkett 64 .500-3. published by Parkett Editions.6 cm) Estimate $2.

2 cm) 146 PAUL MCCARTHY b. 1935 Lunk. 1999 Glass vessel filled with red rubber multiple. inscribed and numbered 10/10 in black paint.2 x 10. the painted title rubbing off in places. 049.7 x 14 x 14 cm) Estimate $1. published by the Frostig Collection. mixed media 145 KEN PRICE b. titled. 4 x 4 x 4 in. (12. in excellent condition. signed. an area of adhesive remains. 1945 Xmas Pudding.2 x 10. inscised with initials and numbered 61/200 (there were also 13 artist’s proofs). (10. Pasadena. 2004 Cast bronze multiple painted in gold. 5 x 5 1/2 x 5 1/2 in. otherwise in good condition.145 146 Piero Manzoni. dated.200-1. 1961. published by the artist. Merda d'Artista No.800 Estimate $600-900 147 NO LOT .

4 cm) S. dated ‘1997’ and numbered 52/60 in pencil on the reverse (there were also 4 artist’s proofs). loose. in excellent condition. (76. contained in original manila envelope with title printed on the front. Münster. published by Fine Art Printmakers. 28 1/4 x 38 3/4 in. 1938 Missing Children portfolio. 1997 Screenprint.8 x 98. New York and New Jersey. signed. otherwise all in very good condition. folded (as issued). 16 x 13 1/4 in. with full margins. (71. 1985 The complete set of eight lithographs in colors. the full sheets.8 x 106 cm) 149 STEVE GIANAKOS b. contained in original paper folder with printed text on the front and ribbon tie. and Rutgers University Print Archives. 30 1/4 x 41 3/4 in. 1968 Map of Sculpture Project in Münster. on Hanhemühle paper. (40.6 x 33. most with slight creasing at the lower right corner. on wove paper. published by Solo Press Inc.7 cm) Estimate $500-700 Estimate $700-900 149 .148 detail of lot 148 148 DAVID SHRIGLEY b. all signed with initials and numbered 10/41 in pencil. I. all S.

unframed. signed and numbered 91/100 in pencil (there were also 25 artist’s proofs). Walker then made ‘interventions’ to the images by the addition of sprays of toothpaste or dots. 2004 Digital ink jet print in colors. 11 x 8 1/2 in.500-2. They consist of images from advertising and news sources that have been downloaded from the internet. 2000 Digital iris print in colors.7 x 14 cm) Kelley Walker made a series of these edition works starting around 2001.500 . I. The purchaser also receives archival inkjet print signed by the artist. (12. with full margins. 1956 After Echolocation #2. 17 3/8 x 14 in. on wove paper. New York.6 cm) S.9 cm) S. published by the artist.150 150 FRED TOMASELLI b. 9 5/8 x 6 1/4 in.6 cm) 151 Estimate $300-400 152 152 KELLEY WALKER b.8 cm) Estimate $600-800 151 FRED TOMASELLI b. 18 1/8 x 14 7/8 in. print dimensions variable cd: 5 x 5 1/2 in. The concept behind the work is that the purchaser can make further interventions to the piece through an application within the CD-rom. (46 x 37. otherwise in very good condition.9 x 21. framed. published by Dinaburg Arts. as in this work. (44. also signed in pencil on the certificate included in the cd case. numbered 1 of 5. Estimate $1. One can reprint the image at different sizes or even in different media. 1969 Maui. and one archival inkjet print in colors signed on the reverse. on heavy wove paper. in excellent condition.1 x 35. (24.4 x 15. in excellent condition. very slight scuffing on the exterior of the cd case. with full margins. 1956 Untitled. I. (27. published by Carrie Waldman. signed and numbered 4/100 in pencil (there were an unknown number of artist’s proofs). 2002 CD-rom containing printable color poster.

2)’ respectively in pencil. (41.2 and 2. Windmesser both I. all in excellent condition.153 153 EBERHARD HAVEKOST b. dated and numbered 12/22 and 3/5 in pencil and pen respectively.9 x 29.C. 13 3/4 x 9 7/8 in. on wove paper. all framed.1 x 34. New York.4 cm) Estimate $3. published by Brooke Alexander Editions.1 cm) Flugzeng I. 3/4 A’ in black ink on a label affixed to the reverse (an hors-commerce copy.9 x 25.1 and Flugzeng signed. 2002 Three photo-lithographs in colors.000 Estimate $700-900 • 154 . 1967 Windmesser 1. 36 1/2 x 12 3/4 in. (12. and Flugzeng. all signed.2)’ and ‘(2. (92.7 x 32.9 cm) all S. 1991 The complete set of three baked enamel multiples in colors. Windmesser 1. the edition was 45). 1942 & Across The Great Divide. 16 1/2 x 11 5/8 in. 4 3/4 x 13 3/4 in. contained in original box. all in very good condition. on metal sheets. titled.5 cm) 154 LAWRENCE WEINER b. Windmesser both annotated ‘(1.000-4. dated ‘92’ and annotated ‘H.2. (34. with full margins.

155

156

155

ANDY WARHOL 1928-1987
Space Fruit: Still Lifes: Cantaloupe II, 1979 Unique screenprint in colors, on museum board paper, the full sheet, published by Grippi/Zivian, Inc., New York, with the Andy Warhol Authentication Board, Inc. inkstamp and numbered ‘Extra 191.177’, scuffing, occasional soiling in the upper and lower sheet, otherwise in good condition, framed. S. 32 1/8 x 39 3/4 in. (81.6 x 101 cm)

156

VARIOUS ARTISTS
Chanterelle Menus, 2006-08 Five prints in photo, screenprint and lithograph, on various papers, with full margins or the full sheets, the Lethbridge signed in black ink on the reverse, from the approximate editions of 100 (the editions were not signed or numbered), published as menu covers for the restaurant Chanterelle, New York, all but the Barney with text and menu listed on the reverse, most with occasional handling creases and minor soiling, the Walker with very slight ink loss at lower right, otherwise all in good condition, all unframed. various sizes

Estimate $4,000-6,000
LITERATURE see Frayda Feldman and Jörg Schellmann 198

Estimate $1,400-1,800

Including: Matthew Barney; Annie Leibovitz; Kara Walker; Julian Lethbridge and Julian Schnabel

157

ALLEN RUPPERSBERG b. 1944
Siste Viator, 1993 The complete set of two WWII era bookends and 20 facsimile books with WWII era bookplates, five titles in four languages (English, Dutch, Polish, German), one book in each languge printed in its entirety, the others printed covers only, each hand inscribed by the artist with a soldier’s name, from the unnumbered edition of 50 (there were no artist’s proofs), published by the artist, very minor wear along the edges of some of the book covers, otherwise in very good condition. various sizes

Estimate $2,000-3,000

Siste Viator (Stop Traveler), a project for the Dutch city of Arnhem, revisiting the tragic World War II battle in the area that claimed the lives of eight thousand soldiers in nine days of September 1944. The project consisted of republishing twenty popular books of the time, five from the best-seller list of each of the four countries most involved in the battle: Britain, the Netherlands, Poland, and Germany. As Allan McCollum noted; “I doubt if anyone could portray his intention more beautifully than he himself did in his proposal for the project:” This work is a collection of narratives. It is about the telling of stories both fact and fiction. A memorial to individual memories and the reading of books of the private imagination combined with the public, political history. A link is established between the private experience and public memory. As this era of World War II recedes from the realm of immediate experience, I propose to create in the public mind a new personal memory that is not just another replaceable image. Dignity in a memorial is usually associated with stone and statue, with pose and gesture and with the body. I propose a similar attitude with words, as was once done with an epitaph. A comparison of words, a collision of worlds, nationalities, ideas, ideals, and kinds of literature. This work then is a reconstruction and an exhibition of history in free association to create a continuity between various narrative acts which give shape to the random acts of history. Allen Ruppersberg

158

RICHARD ARTSCHWAGER b. 1923
Book, 1987 Formica covered wood multiple, signed and numbered 6/40 in black ink on a label affixed to the underside (there were also 8 artist’s proofs), published by Brooke Alexander Editions to benefit the New Museum, New York, minor soiling, scuffs an occasional minor nicks, moisture staining on the edges of the label on the underside, otherwise in very good condition. 5 x 20 x 12 in. (12.7 x 50.8 x 30.5 cm)

Estimate $5,000-7,000

Facsimile of the Gutenberg Bible, Paris, 1986

159 160 159 CHRIS JOHANSON b. (67. occasional soiling and creasing in the margins (particularly the corners). on Somerset textured paper. hinge remains on the reverse of the corners (slightly showing through).3 x 90. otherwise in very good condition. dated ‘1970’ and numbered 56/125 in pencil (there were also 25 artist’s proofs). published by Paulson Press. on Silverbrook Snow White Antique Finish paper. dated ‘2002’ and numbered 5/25 in pencil (there were also 10 artist’s proofs). (45. 17 7/8 x 27 in. California (with their blindstamp). Berkeley. 23 x 31 5/8 in.000-3.9 x 108. 1937 News.4 x 80. with full margins. Mews.6 cm) 160 ED RUSCHA b. Brews. published by Editions Alecto. 1968 You Should All Know Something Before We Start on the Second Half of Today’s Session. signed.3 cm) Estimate $1. Stews & Dues portfolio: News.6 cm) S.500-2. Pews. (88. in excellent condition.500 Estimate $2. the palest time staining. cherry-pie filling and unmixed raw egg) in colors. 2002 Aquatint in colors. with full margins. 1970 Organic screenprint (black currant-pie filling.2 cm) S. (58.000 LITERATURE Walker Art Center/Siri Engberg 34 . 35 x 42 3/4 in. I. unframed. London. I.4 x 68. signed. 26 1/2 x 35 1/2 in. framed.

I. (78. signed. stray printing ink in places on the reverse. newsprint and metal.7 x 102. with full margins. (89. 51 x 19 in. 1957 Der Kurs (The Curse). otherwise in very good condition. published by Alexander Heinrici.2 x 111. 1996 Screenprint in colors.161 161 JON KESSLER b. (129. on wove paper. glass.9 cm) S. 31 x 40 1/2 in. signed.4 cm) Estimate $900-1.5 x 48.500-2.500 162 CHRISTIAN SCHUMANN b. New York. dated ‘96’ and numbered 48/60 in pencil (there were also 6 artist’s proofs). 1989 Mechanical multiple in wood. a few pressure marks in the margins. the edition was 7). 1970 Ah Geef Op!. published by the artist.3 cm) Estimate $1. in excellent and working condition. unframed.200 162 . 35 1/8 x 43 7/8 in. dated ‘89’ and annotated ‘ap’ in black marker on the reverse (one of 3 artist’s proofs.

163 MARTIN KIPPENBERGER 1953-1997 Tic-Tac-Toe. all nine stretchers signed with initials. published by Santa Monica Editions. from the edition of 30 (there were no recorded artist’s proofs). 719/1000. 451/1000.000-12. and Museum van Hedendaagse Kunst Antwerpen. 80-1 Andy Warhol. V. California. in excellent condition. 897/1000 and 952/1000 by Knoebel in black marker on the reverse (Kippenberger bought a large number of Knoebel’s “multiple” and transformed them into this series). Tae-Kwon-Doe.000 LITERATURE Kunstverein Braunschweig e. Estimate $8. Flowers (in 9 parts). pp. 520/1000. Kippenberger Multiples 41. 1990 The complete set of nine wooden stretchers by Imi Knoebel adapted by Kippenberger. 1964 . 674/1000. 626/1000. 832/1000. dated ‘6889’ and numbered 360/1000. wrapped in plastic with latex tape (as issued).

photograph by David Douglas Duncan . 1962. 37 3/4 x 30 3/8 in. with ‘NACHLASS MARTIN KIPPENBERGER’ blindstamp.2 cm) Estimate $8. I.000 Pablo Picasso. (75. with full margins.9 cm) S.9 x 62.000-12. (95. presumably a proof apart from the stamped edition of 24. on Somerset paper.9 x 77. 1997 Aquatint and etching in colors. otherwise in very good condition. a few soft handling creases in the margins.164 MARTIN KIPPENBERGER 1953-1997 Untitled (Self-Portrait). 29 7/8 x 24 3/4 in. framed.

7 cm) S. 23 5/8 x 26 5/8 in. annotated in Japanese and numbered 12/60 in pencil. 1962 Dreamscape. with full margins. (44. (60 x 67. 24 5/8 x 35 7/8 in. dated ‘2002’ and numbered 22/40 in black ball point pen on the reverse (there were also 10 artist’s proofs).7 cm) S.800 168 YAYOI KUSAMA b. on wove paper.165 165 MASAMI TERAOKA b. the full sheet. signed. 1929 Shoes (pink glitter).8 x 53. offset pencil lines in places along the perimeter of the image. 23 5/8 x 26 5/8 in.800 .800 167 167 YAYOI KUSAMA b. I.200-1. framed.1 cm) Estimate $1.7 cm) S. 17 5/8 x 21 1/8 in. signed. unframed. 1999 Screenprint in colors with glitter. annotated in Japanese and numbered 22/60 in pencil.8 x 53. otherwise in very good condition. framed.200-1. San Francisco (with their blindstamp). 1985 Lithograph in colors. MBE b. 1929 Shoes (green glitter). I.200-1. I. framed.200-1. hinge remains in places along the reverse of the sheet edges (with associated skinning). on wove paper.5 x 91.800 166 166 YINKA SHONIBARE.6 cm) Estimate $1. on wove paper. otherwise in very good condition. (60 x 67. signed. 15 1/2 x 23 1/2 in. with full margins. dated ‘1999’.6 x 61 cm) Estimate $1. with full margins.6 cm) 168 Estimate $1. (62. Munich and New York.4 x 59. 17 5/8 x 21 1/8 in. signed and numbered 149/150 in pencil on the reverse. 16 x 24 in. on Fugicolor Professional paper. 2002 Digital photograph in colors. otherwise in very good condition. (44. dated ‘1999’. (40. S. with two soft creases at the lower right corner. otherwise in very good condition. 1936 Namiyo at Hanauma Bay. 1999 Screenprint in colors with glitter. published by documenta XI editions and Edition Schellmann. with one soft creases at the lower right corner. (39. published by Editions Press.

I. (34.169 170 169 PETER SAUL b. unframed. 18 x 24 in. on Rives paper. from Conspiracy: The Artist as Witness portfolio. otherwise in very good condition.3 x 66 cm) Estimate $400-600 171 NANCY DWYER b. the full sheet. (53. S.4 cm) S. faint scuffing (mainly visible in raking light). Godine Publishers and the Center for Constitutional Rights. (45. occasional soiling and soft handling creases in the margins. 1970 Lithograph.2 cm) Estimate $200-300 . occasional pressure marks. New York. 1982 Screenprint in colors. 13 1/2 x 15 1/2 in. unframed. published by David R. 1934 Schicago Justus. unframed. with full margins. 30 1/8 x 22 1/8 in. New York. S.5 x 56. otherwise in very good condition. otherwise in very good condition. 1971 Lithograph in colors. 21 x 26 in. Cincinnati. signed and numbered 145/175 in pencil (there were also 15 artist’s proofs).3 x 39. signed. on Rives BFK paper. published by Carl Solway Gallery. signed and numbered 39/40 in pencil (there were also 5 artist’s proofs). 1954 No Answer. soft handling and printing creases.7 x 61 cm) Estimate $700-900 171 170 SAUL STEINBERG 1914-1999 The General. on Arches paper. dated ‘71’ and numbered 84/150 in pencil (there were also 25 artist’s proofs). from Peace Portfolio 1. the full sheet. two minute spots of ink loss at the extreme sheet edge of the lower right corner. (76. published by the Academic and Professional Action Committee for a Responsible Congress.

in excellent condition. signed and numbered 22/32 in pencil. signed and numbered 8/60 in pencil. published by Experimental Workshop. (88. California. 1983-84 Woodcut on Japanese paper. 35 1/2 x 25 in. Estimate $1. unframed. 60 3/4 x 41 5/8 in. framed. 1953 Flag. 29 x 20 3/8 in. (73. circa 1980 Lithograph. signed and numbered 3/50 in pencil. 15 1/2 x 16 1/4 in.7 x 51.7 x 125. Emeryville. dated ‘89’. 1944 The Fall. the full sheet.4 x 41.7 cm). (92.7 cm) Estimate $600-800 173 174 CHERYL LAEMMLE b.9 x 121.9 x 76. on wove paper. I. 1989 Lithograph. S. (90.000-1. (55. inscribed ‘for CR’ and numbered 31/50 in pencil.200 175 . I.3 x 105. 1944 Car Crash. 1947 Untitled. Emeryville. 1984 Woodcut in colors.172 172 RICHARD BOSMAN b. otherwise in good condition. 36 1/2 x 49 1/2 in. in very good condition.5 cm) Estimate $200-300 175 ROBERT LONGO b.2 cm) 174 Estimate $800-1. in excellent condition. minor creasing in places along the sheet edges. with full margins. (39. framed. on Japanese paper. on wove paper.500 173 RICHARD BOSMAN b. signed. with full margins. 35 x 48 in. (154. published by Experimental Workshop. with full margins.8 cm) S. I.3 cm) S.2 x 63. 22 x 30 in.9 cm) S. unframed. California.

1 cm) Estimate $1. various sizes 177 JÖRG IMMENDORF 1945-2007 Babel series: plates 4. 1987. on wove paper. 1987 Three linocuts in colors.. 33/35. on various papers.5.5. 33/35 and 11/25 in pencil. 15 and 18.500 Estimate $1.4. Was sich ankundigt and Standard West. all signed and numbered 18/25.2 cm) all S. PENCK b.176 177 176 A. all I. (50. with full margins. all unframed. published by Sabine Knust Maximilian Verlag Editions.3 x 35. all with hinge remains on the reverse of the upper corners. otherwise all in very good condition.15 and 1987.5.18 .000-1.2 x 45.R. Munich. Loch in der Mauer. all generally in very good condition. Munich. with full margins. 19 3/4 x 17 3/4 in. all framed.600 LITERATURE Beate Reifenscheid 1987. dated ‘87’ and numbered 6/7 in pencil (there was also an edition of 5 in Roman numerals).G. (40. 15 7/8 x 13 7/8 in. 1982-89 Three aquatints and etchings in colors and one lithograph. all signed.200-1. published by Sabine Knust Maximilian Verlag Editions. 1939 Quo vadis G.

8 x 57. all unframed. New York.4 x 64. published by Barbara Gladstone Editions. (91.5 cm) all S. with full margins. 18-21 . (84.82’ and numbered 20-40 in red crayon (there were also 8 artist’s proofs). 33 3/8 x 22 5/8 in.5 cm) Estimate $15. 36 x 25 3/8 in.000-20.000 LITERATURE Edition Cantz pp. dated ‘3. 1982 The complete set of six lithographs. all I. all with occasional soft handling creases and varying degrees of mat staining in places in the margins and on the reverse. all signed. on Rives BFK paper. otherwise all in very good condition.178 KEITH HARING 1958-1990 Untitled I-VI suite.

.

1957 Really (In Honor of Felix Gonzales-Torres). (13. from 1989 portfolio. with full margins.3 x 20 cm) S. from BAM Portfolio and Self-Portrait in Four Parts (black). 18 1/4 x 27 3/4 in. both in excellent condition. Self-Portrait published by the artist. 24 x 20 in. unframed. 2000 Iris print in colors. both signed and numbered 9/75 and 29/30 in pencil (there were also 15 and 6 artist’s proofs respectively). (61 x 50. Couple published by Parasol Press.5 cm) 181 Estimate $1. (69. 20 x 16 in.6 cm) Estimate $400-600 . 1987 Lithograph in colors with woodcut in black and white. in excellent condition.000-1. (50. signed and numbered 51/125 in pencil. the full sheet. on wove paper (with image on both sides). 5 1/4 x 7 7/8 in.9 x 140.8 cm) Estimate $500-700 (side A) 180 180 FRANCESCO CLEMENTE b. Couple I.4 x 70. 23 1/2 x 47 1/2 in.8 x 49. one framed. with full margins. 1987 and 2004 One etching and one aquatint. dated ‘2000’.7 x 120. titled and numbered 14/75 in pencil (there were also 12 artist’s proofs). unframed. 1949 [Cage]. signed.179 179 JIM HODGES b. New York. on wove paper and Hiromi Shikibu Chine collé to Hahnemüle. on thin wove paper. (24. (46. in excellent condition. one unframed.7 cm) Couple S.5 cm) Portrait S. (59.7 cm) Portrait I. both I. 9 3/4 x 19 1/2 in.500 181 ROSS BLECKNER b.8 x 40. S. 27 1/2 x 55 3/8 in. New York. 1952 Untitled (Couple Entwined). published by the Estate Project for Artists with AIDS and Alliance for the Arts.

3 x 44. a few pale spots of stray color in the margins. (71.7 x 17. framed. 21 3/8 x 17 1/2 in. with full margins.5 x 67. (25. (90. two creases along the lower right margin to the corner. published by Momart.000-1.4 cm) Estimate $1.000-3. on Somerset paper. I. otherwise in good condition. 42 1/2 x 32 1/2 in.000 LITERATURE White Cube/Paragon Press p.6 cm) Estimate $2. 2000 Blue flocked ground with seven detachable white felt circles. titled and numbered 206/250 in pencil (there were also 25 artist’s proofs).500 LITERATURE White Cube/Paragon Press p. dated ‘04’. signed in blue ink on the reverse. with full margins.1 x 58. 52 183 184 183 GARY HUME b.6 cm) S.7 cm) Estimate $700-900 . London. 1998 Screenprint in colors. 28 x 23 in. London. 2004 Screenprint in colors. 1962 Seahorse. London. a small pressure mark in the center left margin.5 cm) S. 35 5/8 x 26 5/8 in. signed. (27. (54.3 x 18.5 cm) S.182 182 GARY HUME b. published by Paragon Press. published by Counter Editions. 86 184 GARY HUME b. framed. two small creases at the upper right corner (not affecting the flocking). otherwise in very good condition. on heavy wove paper. signed titled and numbered 27/35 in pencil (there were also 10 artist’s proofs). with full margins. I. framed. 10 3/4 x 7 3/8 in. 10 1/8 x 6 7/8 in. on Somerset paper. 1962 Grey Leaves. I. (108 x 82. in excellent condition. 1962 Fuzzy Snowman.

7 cm) S. on Saunders Waterford HP paper. dated and numbered 34/80 in pencil (there were also 18 artist’s proofs). in excellent condition.185 CHUCK CLOSE b. 74 1/2 x 57 3/4 in. oil on canvas Estimate $50. Self-Portrait. Inc. 1828. I. published by Pace Editions. 2007 Screenprint in colors. 1940 Self-Portrait.7 x 132.7 cm) Rembrandt Peale.2 x 146. (189.. with full margins. 68 x 52 1/4 in.000-70.000 . New York. (172. framed. signed.

.

New York.000-12. 2000 Etching in colors. (75. (46. 1968.000-7. 2007 Lithograph and screenprint in colors. signed. 18 1/4 x 15 1/4 in. oil on canvas 187 186 CHUCK CLOSE b.6 cm) S. in excellent condition. signed. on Somerset paper. Vermeer—Portrait of the Artist in his Studio. 29 3/4 x 24 in. dated ‘2007’ and numbered 18/118 in pencil (there were also 18 artist’s proofs).7 cm) Estimate $5. 38 x 30 in. I. New York.8 x 20.5 x 76. (24. 1940 Self-Portrait/Scribble/Etching.2 cm) Estimate $8. dated ‘2000’ and numbered 50/60 in pencil (there were also 15 artist’s proofs).. unframed. in excellent condition. published by Pace Editions.6 x 61 cm) S. with full margins. I.000 .4 x 38. framed. Inc. Inc.000 187 CHUCK CLOSE b.186 Malcolm Morley. on Hahnemühle paper.. 9 3/4 x 8 1/8 in. (96. published by Pace Editions. with full margins. 1940 Self-Portrait (Scribble).

with full margins. Zurich and New York.9 x 74. 12 x 20 in. on wove paper. 1940 Untitled.5 x 50. published by the Estate Project for Artist’s with AIDS and Alliance for the Arts. signed. published by Art of this Century and distributed by John Szoke Editions.6 cm) S. 2001 Digital iris print.7 x 61 cm) 190 CHUCK CLOSE b. overall I. (30. in excellent condition. published by Parkett Editions.500 Estimate $1. with full margins.000-1. (55. 22 x 16 7/8 in. 15 1/2 x 12 in.3 cm) Estimate $1. dated ‘2001’ and numbered 33/100 in pencil (there were also 5 artist’s proofs). unframed.188 188 CHUCK CLOSE b. signed.5 x 61. framed.000-1. (37. (45.500 . New York. New York. 2000 Digital iris print in colors. on smooth wove paper. signed. unframed. from 1989 portfolio.9 cm) Estimate $1.8 cm) S. overall I.500 LITERATURE Edition for Parkett 60 189 190 189 CHUCK CLOSE b. dated ‘2000’ and numbered 14/75 in pencil (there were also 12 artist’s proofs). (55. in excellent condition. 1940 Self-Portrait. on Crane Museo paper. 18 x 24 in.5 cm) S. 2000 Digital inkjet print from daguerreotype. 14 3/4 x 24 1/4 in.4 x 30. I. (39. with full margins.500-2. dated ‘2000’ and numbered 56/70 in pencil (there was also an edition of 30 in Roman numerals). 1940 Untitled (In Honor of Peter Hujar). 22 x 29 1/4 in.9 x 42. in excellent condition.

9 x 148 cm) Estimate $20. “That’s all right.[Johns] came to California for a week and the weather was bad. with full margins. 16) 191 JASPER JOHNS b. in very good condition. 1989 Etching and aquatint. framed. (48. I.6 x 131. revised edition 1994. New York. Abrams. New York (with their blindstamp). p. 26 3/4 x 58 1/4 in. West Islip. Whitney Museum of American Art. dated ‘89’ and numbered 30/54 in pencil (there were also 12 artist’s proofs). signed. on Arches en tout cas paper.1 cm) S.000-30.’ he said. 19 1/8 x 51 5/8 in.000 LITERATURE Universal Limited Art Editions 244 . ‘Gray is my favorite color. published by Universal Limited Art Editions. (67. 1930 The Seasons. 1977. Jasper Johns.’” (Michael Crichton. A friend drove him to the airport and apologized for the gray and gloomy weather. Harry N.

000-7.8 cm) Estimate $5. I. (15. with full margins. (38.2 x 20 cm) S. 2000 Etching. on Somerset paper. published by the Los Angeles County Museum of Art. unframed. 33 .1 x 50. signed with initials and numbered 64/80 in pencil (there were also 24 artist’s proofs).192 LUCIAN FREUD b. The Young Schoolmistress. in excellent condition. p. oil painting LITERATURE Starr Figura/The Museum of Modern Art. 6 x 7 7/8 in.000 Jean-Baptiste-Siméon Chardin. 15 x 20 in. 1736. 1922 After Chardin (Small Plate).

Bibliothèque Nationale de France. (26. on Arches paper. signed and numbered 46/50 in pencil. 17 5/8 x 21 1/2 in.7 x 37.000-18. otherwise in very good condition. two small repaired tears at the lower right corner. 1929 Lithograph. Paris. 10 1/2 x 14 3/4 in. châle sur les Jambes. a small tear at the upper left sheet corner.8 x 54. pale stains and minor rubbing in the margins.000 LITERATURE Claude Duthuit 511 . with full margins. I.5 cm) S.6 cm) Henri Matisse in his studio. Villa Alèsia. Paris Estimate $14.193 HENRI MATISSE 1869-1954 Figure endormie. 1939. pale light-staining. framed. (44.

2005 Screenprint. otherwise in very good condition.2 cm) S. published by Lincoln Center List Poster and Print Program. in excellent condition.194 195 194 VIJA CELMINS b. 1965-66 Lithograph.4 cm) Estimate $6. 1938 Ocean with Cross #1. 24 x 16 in. Paris. an area of abrasion at the lower left sheet edge. 35 3/8 x 24 in.000 LITERATURE Richard Axsom 45 . published by Maeght Editeur. on Rives BFK paper.000 195 ELLSWORTH KELLY b. signed and numbered 26/75 in pencil (there were also 10 artist’s proofs).6 cm) S. 1923 Pear I (Poire I).9 x 61 cm) Estimate $5. (61 x 40. (89. framed. occasional minor soiling. signed and numbered 68/108 in pencil (there were also 18 artist’s proofs). 24 x 28 1/2 in. on Rives Textured Rag paper.000-7. framed. (44.000-8. (61 x 72. with full margins. with full margins. I. New York. I. 17 1/2 x 22 1/2 in.5 x 57.

N. in very good condition. inscribed Edition Picasso and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. inscribed Edition Picasso. two dark spots in the center underside. otherwise in very good condition. from the edition of 500.1 cm) 197 PABLO PICASSO 1881-1973 Picador.000-6. (21 cm) Estimate $1. 1952 Partially glazed white earthenware plate painted in black.000 LITERATURE Alain Ramié 160 LITERATURE Alain Ramié 392 . 1957 Red earthenware plate painted in black and clear glaze. with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.500-2.500 Estimate $4. 107 and numbered 78/250. felt pads along the underside rim. (37. diameter: 14 5/8 in. diameter: 8 1/4 in.196 197 196 PABLO PICASSO 1881-1973 Bull. Madoura.

000 LITERATURE Heiner Bastian 44 199 . Berlin. a crease at the lower right corner. the full sheet. published by APC Editions. S.2 cm) Estimate $4.2 x 55. otherwise in very good condition. S. III.000-6. framed. signed with initials and numbered 79/98 in pencil (there were also 17 artist’s proofs). signed and numbered 141/200 in pencil on the reverse (there were also 25 artist’s proofs). (76. 1974 Lithograph in colors with collage. otherwise in very good condition. unframed. a few pale stains at the sheet edge.9 cm) Estimate $600-800 199 CY TWOMBLY b. hand-additions and other mixed media. on wove paper. 1976 Lithograph in colors. on Richard de Bas paper. (74. New York. from America: The Third Century. published by Propyläen Verlag. Candlestick and Bowl. mat staining on the reverse. minute areas of ink loss in places along the sheet edges.198 198 WILLIAM BAILEY b. 1928 Natural History Part I Mushrooms: Plate No. 30 x 22 in. the full sheet. 1930 Still Life with Eggs. 29 1/2 x 21 3/4 in.9 x 55.

published by Parasol Press. signed and numbered 187/250 in pencil (there were also 15 artist’s proofs). unframed. New York. 1996 Lithograph in colors.8 cm) S.9 x 50. 46 x 46 in.200 200 ROBERT COTTINGHAM b. on Rives BFK paper. signed. on Fabriano Cottone paper. 42 x 41 7/8 in. titled and annotated ‘RTP’ in pencil (the right-to-print proof.120-21 201 .500 Estimate $600-800 LITERATURE John Arthur pp. Chicago (with their stamp on the reverse).8 x 116. (116.8 cm) 201 RICHARD ESTES b. in excellent condition. 14 1/8 x 20 in. (106. Vatican. dated ‘1996’. 1935 Bud. I.7 x 106. otherwise in good condition.9 cm) Estimate $2. 1932 Urban Landscapes III: Cafeteria. several small spots of ink loss (a few touchedin). (50. published by Landfall Press. the edition was 60 and 5 artist’s proofs). with full margins.500-3. with full margins. 1981 Screenprint in colors. scuffing. 19 3/4 x 27 1/2 in. I. (35.2 x 69. unframed.4 cm) S.

18 1/2 x 27 1/2 in. published by Karen McCready Fine Art and Margarete Roeder Gallery.7 cm) S. (35.500 Mister Softee truck. with full margins.6 x 59. New York. signed and numbered 13/65 in pencil. (47 x 69. photograph by Dan Carlson .9 cm) Estimate $1. 14 x 23 1/2 in. New York. in excellent condition.202 JULIA JACQUETTE b. I. 1995 Screenprint in colors.000-1. 1964 Four Sweets. on heavy wove paper. unframed.

203 204 203 KIKI SMITH b. published by and to benefit Doctors of the World. 47 5/8 x 24 1/2 in. 1950 Body Language. New York. (104. (121 x 62. with full margins. on machine-made paper. framed. (50. 1954 Tattoo.3 cm) S.000 .200 LITERATURE Museum of Modern Art/Wendy Weitman 76 204 JANE HAMMOND b.1 x 48.2 cm) Estimate $1. dated ‘2001’ and numbered 40/100 in pencil (there were also 20 artist’s proofs). 1995 Screenprint. occasional creasing and minor soiling particularly at the edges. I. published by the artist. unframed.5 cm) S.1 x 70. 41 x 19 in. signed. on Thai Mulberry paper. 19 3/4 x 30 in.2 cm) Estimate $900-1. with full margins.500-2. dated ‘1995’ and numbered 75/100 in pencil (there were no artist’s proofs). (45. signed.2 x 76. I. 2001 Digital print in colors. in excellent condition. 17 3/4 x 27 3/4 in. otherwise in good condition.

New York. 1954 Untitled. (45.000 206 JASPER JOHNS b. S. published by the artist.B. the red slightly faded. on J. signed.4 x 63. the edition was 35 and 6 artist’s proofs). pale time staining.P. framed.4 x 34. signed. in excellent condition. I. and numbered ‘P. 17 7/8 x 13 3/4 in. dated. with full margins. on Rives BFK. (91. Presse-papier à Priarpe (1920) 206 205 ROBERT GOBER b. unframed. dated ‘68’ and numbered 32/110 in pencil (there were also 10 artist’s proofs).500 LITERATURE Universal Limited Art Editions 56 . 36 x 25 in. published by Maurice Sanchez. (34.6 cm) S.000-1.3 x 27. with full margins.5 cm) Estimate $1. otherwise in good condition.205 Man Ray. 1991 Lithograph in green.9 cm) Estimate $2. 1/2’ in pencil (one of two printer’s proofs. 13 1/2 x 10 7/8 in. 1968 Screenprint in colors. 1930 Untitled (Ruler). minor rippling.000-3. Green paper.

7 3/4 x 10 3/4 in.7 x 27. signed in initials. 1911 Hamlet and Ophelia. S.000 Estimate $1. the full sheet. the full sheet. S. in excellent condition.3 cm) Estimate $3. published by Brooklyn Academy of Music. framed. New York. (19. dated ‘97’ and numbered 17/50 in black pencil (there were also 20 artist’s proofs). on Arches paper. published by the artist. 1997 Lithograph in colors.9 x 106 cm) 208 LOUISE BOURGEOIS b.000-5. in excellent condition.200-1.800 . numbered 89/125 in black ink (there were also 25 artist’s proofs). framed. (74. on fabric. 29 1/2 x 41 3/4 in. 2006 Screenprint in red and black. 1911 Toi et Moi.207 208 207 LOUISE BOURGEOIS b.

New York. dated ‘06’ and numbered 4/30 in pencil (there were also 5 artist’s proofs). in excellent condition. Guggenheim Museum. on oddnumbered days I did. 2001 Multiple consisting of a plastic dice set in red leather box with satin lining (printed with gold text). I. published by Item. (11. (32. S. unframed.4 cm) Estimate $1. published by Artists Space.3 cm) Estimate $400-600 I have always liked others to make decisions for me. suede and leather interior. a small spot of soiling on the suede. (3. signed. with full margins. published by the Solomon R. and numbered 206/250 in pencil on the reverse (there were also 25 artist’s proofs).6 cm) box: 1 1/2 x 2 7/8 x 2 7/8 in. dated. otherwise in very good condition.209 209 SOPHIE CALLE b. 1961 Paper Bedroom. (34. numbered 70/250.6 x . and I played a game: on even-numbered days he made the decisions. (. on wove paper.8 x 7. New York.3 x 7. 12 3/4 x 9 3/8 in.6 x . 13 5/8 x 10 3/8 in.200-1.800 Estimate $500-700 LITERATURE Dietmar Elger 273 .4 x 23. signed. Paris.7 x 16. framed. Sophie Calle 210 211 210 FELIX GONZALEZ-TORRES 1957-1996 Untitled (Oscar Wilde). in excellent condition.6 x 26. the full sheet. B. When he left for the States he gave me a dice to replace him. 1953 The Dice. dice: 1/4 x 1/4 x 1/4 in. 4 5/8 x 6 3/8 in. 2006 Cut paper collage in colors. on heavy wove paper. 1995 Photo-etching.8 cm) S.2 cm) 211 KATE SHEPHERD b.

500 .7 x 57.2 x 37. Inc. signed.500-4. with full margins. published by Pace Editions.2 cm) Estimate $3.212 KIKI SMITH b. dated ‘2000’ and numbered 18/24 in pencil (there were also 6 artist’s proofs). on Somerset paper with rooster watermark. New York.5 cm) S. framed. 2000 Etching and aquatint with collage in tissue and applied glitter.. 19 3/4 x 14 3/4 in. in excellent condition. (50. I. 1954 Ballerina (Stretching Right). 31 x 22 1/2 in. (78.

31 x 22 1/2 in. 1954 Ballerina (Stretching Left).213 KIKI SMITH b. dated ‘2002’ and numbered 18/24 in pencil (there were also 6 artist’s proofs). in excellent condition. 2000 Etching and aquatint with collage in tissue and applied glitter. with full margins. (50.500 . I. 19 3/4 x 14 3/4 in. framed.7 x 57. (78.2 cm) Estimate $3.2 x 37.500-4. New York.5 cm) S. Inc. on Somerset paper with rooster watermark. published by Pace Editions. signed..

22 1/2 x 30 5/8 in. S.000-6. (57.000 . 2006 Monotype with lithograph and hand-coloring in watercolor. framed. stencil. in very good condition. gouache. with a CD-rom containing animation. signed annotated ‘C’ and dated ‘2006’ in pencil (the edition was 20 lettered A – T). published by Universal Limited Art Editions. on Crisbrook paper.8 cm) Estimate $4.2 x 77. New York (with their blindstamp). 1954 Moment (C). West Islip.214 KIKI SMITH b. the full sheet. graphite and pressed leaves.

New York. in excellent condition. framed. published by Universal Limited Art Editions. New York. (38.1 x 30. 1954 BluePrints: Dorothy. in excellent condition. 1954 Red Cap.215 215 KIKI SMITH b. dated ‘1999’ and numbered 2/20 in pencil (there were also 7 artist’s proofs).1 cm) Estimate $1. West Islip. 15 x 12 in. S. 6 3/8 x 3 7/8 in. published by Thirteen Moons.500-3. signed. 1999 Etching and aquatint in blue and black.8 x 71. (50. (16. 2001 Lithograph in colors with colored pencil additions. 20 x 28 in.8 cm) S. the full sheet.2 x 9.000 LITERATURE Wendy Weitman/Museum of Modern Art 118 Estimate $2. with full margins.500-2. on Lana Gravure paper.500 LITERATURE Wendy Weitman/Museum of Modern Art 126 216 . unframed. I. on Hahnemühle paper.5 cm) 216 KIKI SMITH b. signed. dated ‘2001’ and numbered 16/36 in pencil (there were also 10 artist’s proofs).

I.9 cm) S. 1975 Lithograph. (41. Los Angeles (with their blindstamps).. neon tubing mounted on four metal monoliths . on Arches 88 paper. dated ‘75’ and annotated ‘P.L. 16 1/4 x 43 1/4 in. 1984. signed. 33 3/4 x 48 3/4 in.000 LITERATURE Christopher Cordes 30.7 x 123. 604 Bruce Nauman. framed.3 x 109. 1941 Dead.L.217 BRUCE NAUMAN b.000-9. with full margins. (85. published by Gemini G. One Hundred Live and Die.E. Gemini G. in excellent condition. II’ in pencil (the only printer’s proof. the edition was 15 and 7 artist’s proofs).E.8 cm) Estimate $7.P.

otherwise in very good condition. dated ‘75’ and numbered 39/44 in pencil (there were also 11 artist’s proofs).L. signed.000 Man Ray. 1941 Ah Ha.000-5. S. 1975 Screenprint. 29 1/2 x 41 in.. (74. Los Angeles (with their blindstamps). framed.1 cm) Estimate $3. 1970. on Arches 88 paper. Gemini G. Perpetual Motive. metronome and assemblage LITERATURE Christopher Cordes 32. published by Gemini G.E.E.L.218 BRUCE NAUMAN b.9 x 104. 606 . pale mat staining (visible only on the left side). the full sheet.

Proof’ in black marker (one of 10 artist’s proofs. 1992 Cibachrome photograph. dated ‘97’ and numbered 33/50 in pencil (there were also 12 artist’s proofs). with accompanying tag with text. otherwise in good condition.219 219 BRUCE NAUMAN b. with full margins. a few minor scuffs..1 cm) Estimate $1. 1715 220 album cover (side A) (side B) 220 BRUCE NAUMAN b.L. S. 17 3/4 x 23 3/4 in. dated ‘1967’ and annotated ‘A. (45. 12 3/8 x 12 3/8 in. (52.E. (56.4 x 51. New York.4 cm) 221 BRUCE NAUMAN b. on super gloss Fuji photo paper mounted to wove paper (as issued). signed. 1997 Screenprint in colors with embossing. in very good condition. framed. Violin Problem No. unframed. very minor wear along the sleeve edges.L. signed. 1969 Multimedia object comprising black plastic LP record (soundtrack from 1st Violin Film. dated ‘92’ and numbered 28/150 in black marker (there were also 25 artist’s proofs). 22 1/4 x 28 1/8 in.000-4. (48. 127 .500-2. the edition was 100). published by Tanglewood Press. one corner with compound creasing. I. published by the New Museum.. signed. Inc. 1941 Untitled (New Museum Image). (31.E.5 x 71. published by Gemini G.3 cm) S. with full margins. in excellent condition.000 LITERATURE Gemini G.000 Estimate $300-400 LITERATURE Christopher Cordes Appendix p. 20 5/8 x 20 1/8 in. New York. Los Angeles (with their blindstamp). 19 x 19 1/8 in.6 cm) S. 1941 Partial Truth.3 x 48. from 7 Objects/69.4 cm) 221 Estimate $3. 1941 Record. 2 and Rhythmic Stamping) contained in an album cover screenprinted with photographs of the artist from the videotape Stamping in the Studio (1968). on Lana Gravure paper. I.4 x 31.1 x 60.

2 x 53 cm) 223 TRACEY EMIN b. 8 1/2 x 7 in. overall I. (63. 1963 Tattoos. on wove paper.000 Estimate $800-1. unframed. 17 3/4 x 14 1/8 in. Hommage à Jimmy Hendrix.1 x 35. titled and numbered 22/40 in pencil (there were also 5 artist’s proofs).8 cm) both S. 1973 Boogie Man.8 x 21 cm) Estimate $1.9 cm) S.222 Arman. 1970. occasional soft handling creases.000 223 . London. otherwise in excellent condition. with full margins. New York. (21. I. 2002 Two A4 photocopies in color. (45. a pressure mark in the left margin. published by Artists Space. 24 7/8 x 20 7/8 in. (29. both unframed. published by White Cube Editions. on wove paper. 11 3/4 x 8 1/4 in. 2006 Etching and aquatint in colors with hand-painting. signed. dated ‘02’ and numbered 93/200 in pencil on the print with images (there were no recorded artist’s proofs). otherwise both in very good condition.500-2. broken electric guitar in polyester 222 BARNABY FURNAS b. the full sheets and with margins. signed.6 x 17.

224

224

ROBERT RAUSCHENBERG 1925-2008
Suite of Nine Prints series: five plates, 1979 Five offset lithographs with screenprint and collage in colors, on Rives BFK paper, the full sheets, all signed, dated ‘79’ and variously numbered from the edition of 100 in pencil (there were also an unrecorded number of artist’s proofs), published by Multiples, Inc., New York, all with the palest time staining, otherwise all in very good condition, all unframed. all S. 30 3/4 x 22 7/8 in. (78.1 x 58.1 cm)

225

Estimate $12,000-16,000

Including: Why you can’t tell #1; Two Reasons Birds Sing; One More and Then we Will be Half Way There; More Distant Visible Part of the Sea and People Have Enough Trouble Without Being Intimidated by an Artichoke

225

ROBERT RAUSCHENBERG 1925-2008
Umbrellas, 1983 Offset lithograph in colors with embossing, collage and pencil additions, on wove paper, the full sheet, signed, dated ‘83’ and annotated ‘PP’ in gold marker (a printer’s proof, the edition was 125 and 13 artist’s proofs), published by PACT Institute for the Performing Arts, Clearwater, Florida, occasional soft handling creases, the palest time staining, otherwise in very good condition, unframed. S. 28 1/4 x 20 in. (71.8 x 50.8 cm)

Estimate $1,500-2,000

226

227

226

ROBERT RAUSCHENBERG 1925-2008
Watermark, 1973 Offset lithograph in colors with screenprint in white, on Arches paper, with full margins, signed, dated ‘73’ and numbered 180/250 in pencil (there was also an edition of 21 in Roman numerals), published by Brooke Alexander Editions, New York, light-staining, a few spots of soiling in the margins, taped to the overmat in places along tthe reverse of the sheet edges, otherwise in good condition, framed. I. 30 x 22 1/4 in. (76.2 x 56.5 cm) S. 35 x 24 3/8 in. (88.9 x 61.9 cm)

227

ROBERT RAUSCHENBERG 1925-2008
From the Seat of Authority, 1979 Offset lithograph in colors with collage, on wove paper, the full sheet, signed, dated ‘79’ and numbered ‘PP 5/6’ in pencil (a printer’s proof, the edition was 100 and an unrecorded number of artist’s proofs), published by Multiples, Inc., New York, occasional soft handling creases, minor surface soiling (particularly at the sheet edges), minor skinning at the reverse of the upper corners, otherwise in very good condition, unframed. S. 30 1/2 x 23 in. (77.5 x 58.4 cm)

Estimate $1,800-2,500 Estimate $1,200-1,800

228

229

228

ROBERT RAUSCHENBERG 1925-2008
People Have Enough Trouble Without Being Intimidated by an Artichoke, 1979 Offset lithograph in colors, on wove paper, the full sheet, signed, dated ‘79’ and numbered 60/100 in pencil (there were also an unrecorded number of artist’s proofs), published by Multiples, Inc., New York, the palest time staining, otherwise in very good condition, unframed. S. 30 1/2 x 23 in. (77.5 x 58.4 cm)

229

ROBERT RAUSCHENBERG 1925-2008
People Have Enough Trouble Without Being Intimidated by an Artichoke, 1979 Offset lithograph in colors with collage, on wove paper, the full sheet, signed, dated ‘79’ and numbered 100/100 in pencil (there were also an unrecorded number of artist’s proofs), published by Multiples, Inc., New York, in very good condition, unframed. S. 30 1/2 x 23 in. (77.5 x 58.4 cm)

Estimate $1,000-1,500

Estimate $1,800-2,500

230

CLAES OLDENBURG b. 1929
The Store (Poster), 1961 Letterpress in red and black, on heavy wove paper, with full margins, from the edition of unknown size (most copies unsigned or uninitialed, all copies unnumbered), published by the artist in cooperation with Green Gallery, New York, pale mat staining (affecting the image), occasional minor soiling and spots of stray printing ink, occasional nicks and splits along the extreme sheet edges, a small tear at the lower left sheet corner, offset ink on the reverse, otherwise in good condition, unframed. I. 26 3/8 x 20 1/4 in. (67 x 51.4 cm) S. 28 1/4 x 22 in. (71.8 x 55.9 cm)

Estimate $1,200-1,800
LITERATURE Richard Axsom and David Platzker 20

Claes Oldenburg painting Store works at the Ray Gun Mfg. Co., 107 East Second Street, New York, 1961

29 3/4 x 20 in. New York. published by International Collectors Society. including base: 5 3/4 x 3 1/2 x 1 3/8 in. Boston and New York. 1929 Scissors as Monument.6 x 50. (14. for the List Art Poster Program.5 cm) Estimate $4. occasional scuffing on the base. the sheet toned. 1968 Gold-plated bronze multiple.. (75. all over even wear to patina. S.9 x 3. otherwise in very good condition.8 cm) 232 ROY LICHTENSTEIN 1923-1997 Salute to Airmail. incised with initials and annotated ‘AP-6’ (an artist’s proof.000 Estimate $900-1. pale moisture staining at the upper right corner. time staining. framed.6 x 8. signed and numbered 144/144 in pencil (there were also 9 artist’s proofs). the full sheet. otherwise in good condition. the edition was 50). on thick Arches paper. from National Collection of Fine Arts portfolio. 1967 Lithograph in colors.200 LITERATURE Richard Axsom and David Platzker 49 .000-6. New York. published by HKL Ltd.231 232 231 CLAES OLDENBURG b.

published by Rosenthal Limitiere Kunstreihen. Germany (each with their stamp on the underside). one sugarbowl with lid. a few with very minor soiling. Ceramic Sculpture 16. each with the artist’s printed signature. including one teapot with lid. four teacups.000 1965. glazed ceramic .233 ROY LICHTENSTEIN 1923-1997 Tea set. one creamer. numbered 3/100 on the underside of the sugarbowl. lacking two sets of teacups. one cup with a spot of very pale staining in the interior. Estimate $15. saucers and plates. several with a few areas of scuffing (particularly in the silver glaze of the plates).000-20. four saucers and four dessert plates. creamer and teapot. various sizes Roy Lichtenstein. otherwise in very good condition. 1984 15 ceramic dishes.

signed and numbered 101/200 in black marker on the reverse (there were no recorded artist’s proofs). London. with full margins.500 LITERATURE Edition Schellmann p. (57. (73. unframed. aluminum foil.234 234 LARRY RIVERS 1923-2002 Dutch Masters Cigar Box.7 x 53.6 cm) 235 Estimate $2.2 x 37. I.3 cm) Estimate $600-800 . 22 1/2 x 14 5/8 in. 29 x 21 in. otherwise in good condition. 1966 Untitled.500-3. reverse mounted to Plexiglas (as issued). in excellent condition. canvas.1 cm) S. (25. 10 x 13 x 16 in. 1970 Mixed media multiple of cardboard. published by Edition Schellmann. 2004 Giclee print in colors. published by Serpentine Gallery. soiling and minor staining. the two outside figures creased at the heads. signed and numbered 33/35 in black ink and pencil respectively (there were also 5 artist’s proofs). 239 235 GLENN BROWN b. on superdry satin paper. board and paper collage in colors.4 x 33 x 40. Munich and New York.

occasional scuffing.000-3. S.000 LITERATURE Etienne Lullin 62 . on Schollershammer paper. (28. minor creasing at the corners. 39 1/4 x 27 1/2 in. I.9 cm) Estimate $3. published by the artist. 1933 Specchio de toeletta.236 237 236 MICHELANGELO PISTOLETTO b. (52.7 x 40 cm) Estimate $2. signed and numbered 423/450 in black ink on the reverse. on mirror-finished steel. hinge remains in places on the reverse. 11 1/8 x 8 3/8 in. unframed. 1975 Screenprint in colors. minor surface soiling.3 cm) S.3 x 21. a dark scuff at the lower left edge. otherwise in good condition. 20 3/4 x 15 3/4 in. (99. otherwise in very good condition.000-5. 1967 Screenprint in colors.000 237 RICHARD HAMILTON b. unframed. 1922 Self-Portrait. with full margins.7 x 69. signed and numbered 70/75 in pencil (there were also some artist’s proofs). the full sheet.

a moisture stain along the lower center edge (affecting the image. two abrasions with associated ink loss in the hair (at upper and lower right). a few pale foxmarks at the lower left corner. four unframed. Roy Lichtenstein Shipboard Girl and Foot Medication Poster. areas of scattered reverse staining in the margins. moisture staining at the lower left corner (slightly affecting the image). F-111 with mat staining. two small losses at the lower right sheet corner. Foot Medication with moisture staining along the lower sheet edge.and time staining. Shipboard Girl with occasional scuffs. all signed in pencil or black ink (some dated). light. with full margins. on wove paper. Liz with minor rippling. Flowers with a foxmark at the reverse of the lower left (showing through in the yellow flower on the front). New York. one framed. areas of soiling and reverse scattered staining. very pale scattered reverse staining along the left sheet edge. with associated rippling).6 and II.238 VARIOUS ARTISTS Early prints from Leo Castelli Gallery. creases in places along the edges (particularly the lower right corner). from various edition sizes. 1964-65 Five offset lithographs in colors. all with the colors faded.000-20.000 LITERATURE Warhols: Frayda Feldman and Jörg Schellmann II. a few small paper losses along the left sheet edge. Lichtensteins: Mary Lee Corlett II. and James Rosenquist F-111 exhibition poster . occasional soiling.7.6 and appendix 3 Including: Andy Warhol Flowers and Liz. all published by Leo Castelli Gallery. various sizes Estimate $15.

239

239

TOM WESSELMANN 1931-2004
New Bedroom Blonde Doodle, 1991 Screenprint in colors, on Arches 88 paper, with full margins, signed and numbered 20/100 in pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney, Vermont (with their blindstamp), a very soft handling crease in the right margin, otherwise in excellent condition, unframed. I. 24 3/4 x 27 in. (62.9 x 68.6 cm) S. 30 x 35 in. (76.2 x 88.9 cm)

240

TOM WESSELMANN 1931-2004
Country Bouquet with Blue, 1991 Screenprint in colors, on Arches 88 paper, the full sheet, signed and numbered 15/100 in pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney, Vermont, with occasional minor scuffing, very slight ink loss in places along the lower edge, otherwise in very good condition, unframed. S. 38 x 30 in. (96.5 x 76.2 cm)

Estimate $4,000-6,000 Estimate $5,000-7,000

240

241

242

241

TOM WESSELMANN 1931-2004
Monica Nude with Purple Robe, 1990 Aquatint with embossing, on Rives BFK paper, with full margins, signed and numbered 35/75 in pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney, Vermont, in very good condition, unframed. I. 20 1/2 x 49 in. (52.1 x 124.5 cm) S. 36 3/4 x 59 7/8 in. (93.3 x 152.1 cm)

242

TOM WESSELMANN 1931-2004
Monica Lying Down on Robe, 1990 Lithograph, on wove paper, with full margins, signed and numbered 4/40 in pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney, Vermont, in very good condition, unframed. I. 26 1/2 x 63 in. (67.3 x 160 cm) S. 42 x 72 in. (106.7 x 182.9 cm)

Estimate $7,000-9,000

Estimate $3,000-4,000

243

244

PROPERTY OF WILLIAMS COLLEGE ART INVESTMENT FUND

243

TOM WESSELMANN 1931-2004
Still Life with Lichtenstein and Two Oranges, from Portfolio 90, 1993 Screenprint in colors, on Museum Board, with full margins, signed and numbered 8/90 in pencil (there were also 12 artist’s proofs), published by International Images, Inc., Putney, Vermont (with their blindstamp), two pale scuffs in the lower right and lower center margin, otherwise in very good condition, unframed. I. 33 x 54 1/4 in. (83.8 x 137.8 cm) S. 42 x 59 in. (106.7 x 149.9 cm)

244

TOM WESSELMANN 1931-2004
Thames Scene with Power Station, 1990 Screenprint in colors, on wove paper, with full margins, signed and numbered ‘DP I/III’ in pencil (one of three dedication proofs, the edition was 60 and 12 artist’s proofs), published by International Images, Inc., Putney, Vermont (with their blindstamp), occasional wear along the edges, otherwise in very good condition, unframed. I. 44 3/8 x 89 7/8 in. (112.7 x 228.3 cm) S. 57 x 99 1/2 in. (144.8 x 252.7 cm)

Estimate $8,000-12,000

Estimate $3,000-5,000

5 cm) 246 TOM WESSELMANN 1931-2004 Jeannie’s Backyard. published by Cooper Square Prints.7 x 75. otherwise in good condition. on Coventry paper. (149.000-7. I. (59.245 245 TOM WESSELMANN 1931-2004 Still Life with Lilies and Mixed Fruit. I. Vermont (with their blindstamp). 53 7/8 x 64 in. 1989 Screenprint. 1998 Screenprint in colors. occasional soiling and scuffing in the margins.6 x 96.6 cm) S. compound creasing at the upper left corner. (80. 23 1/2 x 29 3/4 in.500 246 .500-3. signed and numbered 74/100 in pencil (there were also 12 artist’s proofs). unframed. nicks and abrasions in places along the edges.000 Estimate $2. Inc.6 cm) S.. (136.8 x 162. New York. otherwise in very good condition. Putney.5 x 185.1 cm) Estimate $5. on heavy wove paper. 31 3/4 x 38 in. published by International Images. 58 7/8 x 72 7/8 in. with full margins. unframed. with full margins. a small crescent shaped crease at the right edge. signed and numbered 67/100 in pencil (there were also 12 artist’s proofs). East Hampton.

Rouge Pad with a small rubbed area at the lower center margin. ‘10/24 A. all with occasional soft handling creases. unframed. dated ‘1978’ or ‘1979’ and numbered 51/78. with full margins. New York.2 x 67. on heavy wove paper.2 x 101 cm) 248 JAMES ROSENQUIST b. titled. 134A. a few nicks along the edges.000 LITERATURE Constance Glenn 131. 22 1/2 x 39 3/4 in. Rouge Pad. I. 139 and 171 249 JAMES ROSENQUIST b. offsetting on the reverse. all signed. 1978-79 Four etching and aquatints in colors with pochoir. occasional scuffing and soft handling creases. unframed. published by Original Editions. Carousel with an area of soiling in the right image. otherwise all in good condition. on Arches paper. published by Graphicstudio. otherwise in good condition. with full margins. all unframed. the palest time staining. (90. signed. Volume III.6 cm) 248 Estimate $900-1.8 cm) all S. Tampa. all I.000-3. 2/78. an area of scattered brown staining on the reverse of the center left sheet. 1933 For Love. 1933 Carousel.2 x 66.’ and 24/78 respectively in pencil (the editions were 78 for all and 15 and 24 artist’s proofs for three and Black Star respectively). two faint spots of soiling at the extreme right edge. from 11 Pop Artists.4 cm) S. otherwise in very good condition. 17 5/8 x 35 3/4 in. S. dated ‘1975’. published by Multiples Inc. minor compound creasing at the lower left corner. (44. New York. 30 x 22 1/4 in. Black Star with offset pencil lines in the margins. the full sheet.247 247 JAMES ROSENQUIST b.P. 2nd State. (76. 1965 Screenprint in colors. University of South Florida. 1933 Miles. a spot of stray printing ink at the center left sheet edge. titled and numbered 138/200 in pencil (there were also 25 artist’s proofs). from America: The Third Century portfolio. signed and numbered 155/200 in pencil (there was also an edition of 50 in Roman numerals and an unrecorded number of artist’s proofs). (57. Black Star and Tide.2 x 56. 35 1/2 x 26 5/8 in. creasing in places along the edges. 35 1/8 x 26 1/8 in.8 x 90.5 cm) Estimate $700-900 LITERATURE Constance Glenn 88 Estimate $2. 1976 Lithograph and screenprint in colors.200 LITERATURE Constance Glenn 13 249 . Rouge Pad also with embossing and hand-coloring. (89.. on Pescia Italia paper.

1983 Lithograph in colors. 15 1/4 x 13 1/2 x 7 in. oil and mixed media on canvas 251 251 GEORGE SEGAL 1924-2000 Sleeping Woman. signed.7 x 34. unframed.250 250 JAMES ROSENQUIST b. an area of soiling at upper right. 1933 Ice Point. published by Pace Editions. New York. numbered 58/125 in black marker (slightly faded). on Arches Cover paper. the full sheet.500 . from Art and Sport portfolio. (38. Yugoslavia. framed.500-2.9 cm) Estimate $1. 33 3/8 x 24 3/8 in. Vanity Fair for Gordon Matta Clark..8 cm) Estimate $1. 1970 Plaster multiple.3 x 17. published by Visconti/Lazo Vujic for the 1984 Winter Olympic Games in Sarajevo. 1978. (84. titled and numbered 95/150 in pencil (there were also 25 artist’s proofs).800 LITERATURE Constance Glenn 202 James Rosenquist. minor surface soiling. S. dated ‘1983’. Inc. otherwise in very good condition.8 x 61.200-1. otherwise in very good condition.

the full sheet.000 LITERATURE Frayda Feldman and Jörg Schellman 16 . inkstamp and numbered ‘A183. 23 x 23 in. otherwise in very good condition. Inc.000-18. on silver coated paper.4 cm) Estimate $12. S.. signed and numbered 267/300 in black ball-point pen on the reverse. nicks and creases (some with associated minor ink loss). framed.PROPERTY FROM A PRIVATE COLLECTION 252 ANDY WARHOL 1928-1987 Self-Portrait. a few scuffs. 1966 Offset lithograph. (58.032’ on the reverse. with the Andy Warhol Authentication Board.4 x 58.

36 x 36 in. New York. mat staining along the upper sheet edge. 1972 Screenprint in colors. Inc. otherwise in very good condition.000-30. on Beckett High White paper. unframed.. with the Warhol copyright stamp on the reverse. S.253 ANDY WARHOL 1928-1987 Mao.4 x 91. co-published by Castelli Graphics and Multiples.4 cm) Estimate $20. (91.000 LITERATURE Frayda Feldman and Jörg Schellmann 94 . the full sheet. signed in ball-point pen and stamp numbered 221/250 on the reverse (there were also 50 artist’s proofs).

2 x 121. Zurich (with their copyright stamp on the reverse). Inc. all with the Andy Warhol Authentication Board. all unframed. 1971 The complete set of ten screenprints in colors. the full sheets.9 cm) Estimate $40. stamps on the reverse. published by Bruno Bischofberger. (90.PROPERTY FROM A PRIVATE COLLECTION 254 ANDY WARHOL 1928-1987 Electric Chairs.000-60. all in excellent condition.000 LITERATURE Frayda Feldman and Jörg Schellmann 74-83 . 35 1/2 x 48 in. all S. on wove paper. all signed and dated ‘71’ in black ball-point pen and stamp numbered 201/250 on the reverse (there were also 50 artist’s proofs in Roman numerals).

December 12. The Andy Warhol Diaries. I think they’re just procrastinating. p..Thursday. They’re copies of his paintings. It was slightly different. January 20. 1985 The Boston Museum returned the Electric Chair painting because they said the shade of red was off. Andy Warhol. And Fred was going to Atlanta. 1986 Jean-Michel woke me up at 6:00 this morning and I went back to sleep and now my tongue can hardly move. And oh. he says he’s supporting him for three years. 709 . Jennifer’s away. I told him I’d had dinner with Kenny and the Chows and he wanted to know why I didn’t invite him and I said that I’d called him three days ago and he didn’t call back. edited by Pat Hackett. and I told them that would make it more interesting. Fred said that the Boston Museum people were still vague about whether they were going to buy the Big Electric Chair or not. Monday. 1989. Jean-Michel must be so hard to live with.000 every time you ship it somewhere with the insurance and everything. He’s got problems because he’s trying to get Shenge out of the house. But it costs around $4. 699 and p. Warner Books. Inc. If they had it next to the black panel it wouldn’t matter anyway. but the main reason is that (laughs) Shenge is now painting like he is. but they still wanted to send it back for me to think about it.

(96. a minute abrasion at the face by the hair (with associated ink loss). 38 x 38 in. Klineman Art. S. signed. New York. on Lenox Museum Board paper.5 x 96. inkstamp and numbered ‘A124-036’ on the reverse. a few minor scuffs. a soft crease at lower right corner (with slight ink loss).000-30. published by Gaultney. the full sheet. otherwise in very good condition.5 cm) Estimate $20. with the Andy Warhol Authentication Board Inc.PROPERTY FROM A PRIVATE COLLECTION 255 ANDY WARHOL 1928-1987 Cowboys and Indians: Indian Head Nickel. 1986 Unique screenprint in colors. framed. the edition was 250 and 50 artist’s proofs).000 LITERATURE Frayda Feldman and Jörg Schellmann 385B . and numbered ‘TP 12/36’ in pencil (a trial proof. Inc..

000-6.5 cm) Estimate $4.000 LITERATURE Frayda Feldman and Jörg Schellmann 156 . S. 38 x 38 in. signed and numbered 125/190 in pencil (there were also 30 artist’s proofs and an edition of 10 in Roman numerals). the full sheet.5 x 96.. published by Andy Warhol Enterprises.6 x 71. affixed to the support. 1985 Screenprint in colors.4 cm) Estimate $2. framed.000 LITERATURE Frayda Feldman and Jörg Schellmann 358 257 ANDY WARHOL 1928-1987 Carter Burden.256 257 256 ANDY WARHOL 1928-1987 Ads: Volkswagen.. pale time staining. New York.000-4. New York. (101. (96. published by Ronald Feldman Fine Arts. 40 x 28 1/8 in. 1977 Screenprint. S. moisture staining along the reverse of the lower sheet edge (slightly showing through in places on the front). to raise funds for the Carter Burden campaign for president of the New York City Council. the full sheet. occasional scuffing. Inc. on Lenox Museum Board paper. Inc. horizontal creasing throughout. occasional ink loss in places along the sheet edges. otherwise in good condition. areas of faint moisture staining at the center image and along the sheet edges (visible in raking light). on Italia paper. occasional pale foxing. unframed. signed in pencil. an unnumbered proof aside from the edition of 200.

1974 Multi-image screenprint in colors. the full sheet. framed. New York. otherwise in good condition.3 x 61 cm) Estimate $1. otherwise in very good condition. on wallpaper. zig-zag stitching along the extreme sheet edges. framed. 45 x 24 in. from the unlimited edition.9 cm) Estimate $500-700 259 260 . otherwise in good condition. 1979.000 LITERATURE Frayda Feldman and Jörg Schellmann 125A 259 ANDY WARHOL 1928-1987 Lincoln Center Ticket. occasional creases and scuffs and nicks along the sheet edges (a few with associated ink loss). on wove paper. 74 x 29 1/2 in. S.258 PROPERTY OF BOB COLACELLO.6 x 14. (114. 8 1/2 x 5 7/8 in. the signatures offsetting onto proceeding pages.000-1. EAST HAMPTON 258 ANDY WARHOL 1928-1987 Mao Wallpaper. (21. mat staining on the reverse. from the unsigned edition of 500 (there was also a signed edition of 200 on opaque acrylic). minor scuffing and wear on the paper wrapper. 1975 The first edition book by Andy Warhol in hard-cover. occasional foxing throughout. 1967 Screenprint in colors.9 cm) Estimate $6. New York and London. published by Harcourt Brace Jovanovich. signed on the paper wrapper. cover page and page 92 in black ink. New York. published by Factory Additions.500 LITERATURE Frayda Feldman and Jörg Schellmann 19 260 ANDY WARHOL 1928-1987 The Philosophy of Andy Warhol (From A to B & Back Again). S. the full sheet. signed in felt pen.000-9. minor creasing in the lower sheet. (188 x 74. published by Lincoln Center List Poster and Print Program.

with minor paint loss along the crack. 1955 Signature Plate.3 cm) 262 JEFF KOONS b. (12. 1992 Dried flower. 1955 Puppy. Bilbao. Zurich and New York. contained in original clear plastic box.000-1.1 x 11.4 x 20. 7 1/2 x 4 1/2 x 8 in. the edition was 125). from the edition of unknown size. (27.1 cm) Estimate $1. (27. 1992 Porcelain plate enamelled in colors. contained in original styrofoam box with cardboard sleeve (minor soiling). minor soiling on the base.1 x 7. diameter: 11 in. in very good condition. 1955 Puppy Plate. published by the San Francisco Museum of Modern Art. occasional minor flower loss. published by Los Angeles Contemporary Museum of Art as a gala invitation. 1989 Porcelain plate with decal image multiple. contained in original black cardboard box with accompanying cards. published by Parkett Editions. 2008 Chromed-metal multiple in red. otherwise in very good condition. 1955 Cracked Egg.9 cm) 264 JEFF KOONS b.9 x 38. 11 x 15 in. resin and plastic multiple. 4 3/4 x 3 x 3 in.6 cm) Estimate $600-900 Estimate $600-900 263 264 263 JEFF KOONS b. numbered 48/80 (there was also an edition of 50 in Roman numerals). (19. otherwise in very good condition.261 262 261 JEFF KOONS b. published by TAMCB Guggenheim Museum. from the edition of unknown size.6 x 7. signed and numbered VIII/XXV on the reverse (an artist’s proof.200-1. otherwise in very good condition.500 . surface soiling (primarily on the underside).800 LITERATURE Edition for Parkett 19 Estimate $1.

Inc.000 LITERATURE Ellen D’Oench & Jean Feinberg 18-20. XIX. on various papers. published by Pace Editions. II. 100-102 and 104 .000-12. III. all signed. 22. there were various editions and various artist’s proofs. dated ‘1978’ or ‘1981’ and variously numbered in pencil. various sizes Estimate $9. all unframed.265 JIM DINE b. hand-coloring or additions. one with very pale mat staining. some with roulette. most with hinge or adhesive remains in places on the reverse. New York. with full margins. XXI and XXIII. V. 1978-81 Eight etching and aquatints some in colors. a few with occasional soft handling creases. 1935 Nancy Outside in July I.. XX. otherwise all in very good condition.

1981 Woodcut. soiling on the reverse. London. signed and numbered 27/100 in pencil. on Japanese Toyoshi paper.266 267 266 JIM DINE b. unframed. published by Brooke Alexander Editions. 41 3/4 x 30 in.000 LITERATURE Ellen D’Oench & Jean Feinberg 85 LITERATURE Williams College 167 268 268 MALCOLM MORLEY b. 48 1/4 x 35 in.000-1. unframed. West Islip. signed. splitting and several tears at the sheet edges. I. 46 x 35 in. with full margins. 1974 Lithograph in colors. I.6 cm) S.6 x 88. (146. (123. 1935 The Big Black and White Woodcut Tree.2 cm) S.7 x 106.3 x 68. occasional creasing (with associated ink loss). 36 3/4 x 27 in. New York. scuffing (particularly visible in the black inks). adhesive remains at the reverse of the upper corners.8 x 88. signed. dated ‘1981’ and numbered 2/25 in pencil (there were also 6 artist’s proofs). otherwise in good condition. (93. time staining. (116. (106 x 76. (with their blindstamp). 57 3/4 x 42 in. 1931 Untitled.9 cm) Estimate $1. 48 5/8 x 36 1/4 in. with full margins.1 cm) S. with full margins.5 x 92.000-3. a repaired tear at upper right (slightly affecting the image). on Rives BFK paper. dated ‘1974’ and numbered 42/75 in pencil (there were also 15 artist’s proofs). published by Universal Limited Art Editions. 1965 Screenprint in colors. framed. minor surface soiling. on Rives paper. in very good condition. several small holes and abrasions in the margins. a few stains in the lower margin.500 Estimate $2. 1935 Wall Chart II. creasing and soiling in the margins. New York. (122.7 cm) 267 JIM DINE b. published by Petersburg Press.9 cm) Estimate $300-500 . I.

signed and numbered 105/150 in pencil (there were also 18 artist’s proofs). 1927 Ada. 26 x 26 1/4 in. 1927 Grey Dress.500 270 . 36 x 28 in.4 x 71. Connecticut. on wove paper.7 cm) 270 ALEX KATZ b. the edition was 100). framed. the full sheet. in excellent condition. the full sheet. published by Chalk and Vermillion. 1992 Screenprint in colors. signed and numbered ‘A. S.P 22/40’ in pencil (an artist’s proof.500 Estimate $2. 1994 Lithograph and screenprint in colors.269 269 ALEX KATZ b. (91. in excellent condition.500-3. (66 x 66. published by Editions de la Tempête. Greenwich. Paris. S. framed. on Arches paper.1 cm) Estimate $2.500-3.

published by Gaultney. New York. Klineman. 36 x 24 in. unframed. 35 7/8 x 28 5/8 in. published by Gaultney. S. otherwise in very good condition.4 x 61 cm) 272 ALEX KATZ b.200 . signed and numbered 114/150 (there were also 30 artist’s proofs). 1927 Alex and Ada the 1960’s to the 1980’s: Green Jacket. (91. with full margins. Klineman. Estimate $800-1.200 Estimate $800-1.7 cm). the full sheet. in very good condition. 1927 Alex and Ada the 1960’s to the 1980’s: Sweatshirt II. 1990 Screenprint in colors. very slight creasing at the lower right corner (with the slightest ink loss). on wove paper. unframed. (91. New York. 1990 Screenprint in colors.271 272 271 ALEX KATZ b. on wove paper. S.1 x 72. signed and numbered 114/150 in pencil (there were also 30 artist’s proofs).

New York. signed and numbered ‘AP 8/12’ in pencil (an artist’s proof. New York. published by Carnegie Hall. otherwise in very good condition. 59 3/4 x 40 in. unframed. 1927 Camp. Kingston.273 274 273 ALEX KATZ b.000 LITERATURE Nicholas Maravell 61 . S.4 cm) Estimate $1.6 cm) Estimate $3.2 x 91. New York. published by Simmelink-Sukimoto Editions. published by Brooke Alexander Editions and Marlborough Graphics. on American Etching paper. (151. otherwise in very good condition. 1927 Lake Wesserunsett IV. taped to the overmat in places along the reverse of the edges. 1990 Woodcut in colors. the full sheet.500-2.8 x 101.000 275 275 ALEX KATZ b. unframed. 1994 Aquatint in colors. S. on wove paper. two scuffs at the upper right. minor rippling.000-4. (76. S. minor surface soiling. the full sheet. 30 x 36 in. framed. (119. 47 x 35 3/8 in. on Japanese paper. the edition was 40). the full sheet.000 Estimate $800-1. signed and numbered 6/30 in pencil. a sticker at the reverse of the upper sheet edge. signed and numbered 22/60 in pencil (there were also 13 artist’s proofs). otherwise in very good condition. 1927 Spruce.9 cm) 274 ALEX KATZ b.4 x 89. from The Carnegie Hall 100th Anniversary portfolio. 1972 Screenprint in colors.

the prints loose and the book bound (as issued).2 x 30. (30. all in very good condition.000-5. New York. (57.8 x 54 cm) Estimate $500-700 Estimate $500-700 . published by Marco Fine Arts Studio.6 x 38. framed. 22 3/4 x 21 1/4 in. El Segundo.000 278 277 DONALD SULTAN b.276 276 DONALD SULTAN b. contained in original leather binding with artist’s name embossed on the front in red. dated ‘Oct 10 2007’ and numbered 89/100 in pencil. 2007 Aquatint in colors. 22 1/2 x 17 1/2 in.1 cm) 278 DONALD SULTAN b.2 cm) S. unframed. 14 x 15 in. signed with initials. 1998 The complete set of six screenprints. 1951 Black and Blue. on wove paper. with full margins. on wove paper with staff watermark. 1951 Visual Poetics. 8 7/8 x 10 3/8 in. signed. 1951 Flowers and Lines. titled. (57. on Coventry rag paper. (22.4 cm) S. in excellent condition.2 x 44. California.5 x 26. 11 7/8 x 11 7/8 in. I. plus 24 bound reproductions. titled. each print signed with initials and dated 62/395 in pencil (there were also 25 artist’s proofs). published by the artist to benefit Friends Seminary. in excellent condition. with full margins. (35. 2005 Etching. I.5 cm) 277 Estimate $4. with accompanying poetry by Robert Creely. dated ‘Oct 31 2005’ and numbered 6/40 in pencil. with full margins.

000-5. 1990-93 The complete set of four screenprints in colors.1 cm) all S. Winter. co-published by the artist and Simca Print Artists. all I. all with occasional soft rubbing in the margins.279 JENNIFER BARTLETT b. (84. (79.000 LITERATURE The Orlando Museum of Art 17-20 Including: Autumn. on Kurotani Hosho paper.9 cm) Estimate $3. 17 and 18 artist’s proofs in Roman numerals). dated ‘93’ and annotated ‘RTP’ in pencil (the right-toprint proof. the edition was 62 and 12.7 x 79. with full margins. 31 3/8 x 31 1/8 in. New York (with their blindstamp).8 x 87. Spring and Summer . 33 3/8 x 34 5/8 in. all signed. all framed. 1941 The Four Seasons. otherwise all in very good condition.

New York.5 x 42. 1985 The complete set of five aquatints with drypoint in colors. lacking the title. the full sheets. 1948 Floating Islands. 22 5/8 x 16 5/8 in. published by Peter Blum Editions. on Zerkall paper. yellow S. otherwise in very good condition. (29.2 x 80 cm) Estimate $3. loose.280 ERIC FISCHL b. 11 1/2 x 31 1/2 in.000-5. all with hinge remains at the reverse of the upper corners. justification and green cloth-covered portfolio.2 cm) other four S. (57. all signed and numbered 10/45 in pencil (there were also 10 artist’s proofs for all).000 End of Sale Have a great summer! See you in November .

G. 53. 158 Bailey.Y. 182. 232. J. J. 181 Bontecou. E. S. 119. 122. 280 Förg. 108 Furnas. R. 164 Kooning. 79 Estes. H. 179 Hodgkin. J. W. 187. 202 Johanson. R. 168 Laemmle. E. K. J. L. 14. 175 Magritte. 264 Kozloff. R. 3 Gober. V. J. 261. I. 13 Doig. de (af ter) 63 Koons. 55 Artschwager. 263. 167. 237 Hammond. 17 Lichtenstein. M. 172. A. 50. 25. 43. 274. 12. P. 144 Fulton. 11 Held. V. 102 LeWitt. 178 Havekost. 86 Arp. S. 188. 159 Johns. 195 Kessler. 135 Bell. 142. 275 Kelly. L. J. 235 Bury. R. 273. 186. D.T. 28. J. G. M. H. 51 Heilmann. 201 Kapoor. 21. E. 35 Freud. 48. 271. S. 114 Bedia. 81. 184 Gianakos. 208 Brooks. J. M. de 62 Kooning. 205 Gonzalez-Torres. R. 47. P. 46 Bleckner.qxd:Clean 4/24/09 10:25 AM Page 144 INDEX Acconci. 49. 26. 198 Bartlett. 266. R. J. 180 Close. R. 44. 2 Calle. 161 Fischl. F. 183. 64 Dine. M. 204 Haring. 10. 105. A. 104 Dwyer. 206 Judd. H. 223 Essenhigh. M. 120 Albers. 209 Cattelan. C. 111. 174 Laffoley. 265. 80 Hamilton. 171 Jacquette. 143. 52 Appleby. 138 Celmins. 200 Immendorf. 112 Guston. J. 8. 5. L. P. L. C. W. 267 Dintenf ass. 27. J. L. 45. P. 7. 124. 192 Friedman. 233 Longo. J. 22 Emin. S. J. A. G. 16. 153 Hayter. R. 163.T. S. 61 Brown. S. G. 270. A. 149 Gillick. 6. 84 Hodges. 82 Katz. 73 Krasner. 269.e5413p144p159_ks. N. 189. 190 Cottingham. 185. 210 Gornik. 56 Kuitca. L. F. J. J. 67 Francis. 33 Holl. H. 123 Kusama.W. (af ter) 106 . 126 Hume. 194 Christo 132 Clemente. 207. 68 Borofksy. 173 Bourgeois. 85 Beecrof t. 272. 24. C. 191. B. W. 15. V. 177 Hernandez. 222 Kippenberger. 279 Baselitz. S. 125 Bertoia. 262. G. 121 Bosman. 4 Arce. 34. R. A.

65 Marden. C. S. 59. 19 Martin. H. K. 215.T. E. C. 146 Mc Collum. M. L. 117 Whiteread. 218. 110 Ruppersburg. 216 Steinberg. 41. 92. 219. 66 Wojnarowicz. L. 217. R. R. A. 277. 197 Pistoletto. 93. 169 Schumann. 230. J. 74 Twombly. 70. 96. 136 Oldenburg. 224. A. 78 Mitchell. 256. M. 150. 89. J. A. R.e5413p144p159_ks. 240. R. 148 Siena. F.qxd:Clean 4/24/09 10:25 AM Page 145 Marca-Relli. 75. 257. 30 Simmons. 99. 221 Nevelson. P. H. 91. D. R. 243. 227. 151 Tuttle. R. 251 Senise. 38 Mucha. G. D. 141 Mehretu. J.T. C. 229 Tomaselli. P. 254. 107.T. 95. D. 157 Ruscha. 212. 165 Rainer. 98. 260 Various Artists 113. 176 Picasso. J. 241. 259. 29 Segal. 236 Polk Smith. C. 238 Vasarely. 239. 226. A. 231 Owens. J. J. 103 Sultan. 31. 234 Robbins. 196. 154 Wesselmann. C. 137 244. 131 Murakami. 58. A. 32 Sugimoto. 127. 268 Motherwell. J. 193 Mc Carthy. 139 Zox. 246 West. 213. 77. 1 . K. L. 134 Rivers. 242. D. 170 Steir. D. H. 156. 245. S. P. 214. A. 36. K. 203. 115 Rauschenberg. 166 Nauman. 57. 130 Suh. 39. 83 Shepherd. 258. 116. 87 Saul.100 Sarmento. 248. L. 228. 37. 211 Shonibare. 145 Stella.T. L. 101 Wool. Samore. 72 Pardo. K. L. 220. 249. C. 71 Miró. 155. D. 199 Ray. 88. 97. L. M. 225. V. 160 Ryman. 276. B. M. 129 Winters. 252. 152 Warhol. di 20 Teraoka. S. 69. 247. 40. 133. F. 278 Suvero. 60 Morley. 54 Shrigley. 9 Price. 253. 140 Rosenquist. 18 Walker. 250 Ruff. 162 Scully. 128. 94. 90. B. P. 23 Matisse. 109 Smith. 76. 42 Weiner.Y. 255. F. 118 Penck. R.

As the burin is moved across the plate. a water-soluble glue or paste is applied to the back of the lighter paper which is then placed against a heavier printmaking paper. the burr is not scraped away before printing but stays on the surface of the plate to print a velvety cloud of ink until it is worn away by repeated printings. After a metal plate has been coated with a waxy substance called a “ground.This intaglio technique gives the artist the greatest freedom of line. Posthumous editions of prints that were pencil signed in their original edition frequently bear stamped signatures authorized by the artist’s heirs or the publisher. all limited edition prints should be numbered. the worn-out copper plate is frequently reworked several centuries later so that while the restrike may be said to have come from the original plate. In drypoint. such as rice paper or linen.The numbering sequence is not intended to reflect the order of printing. purchased the matrix from the artist. which chemically dissolves or “bites” the exposed metal.” is a technique that allows the artist or printmaker to print with thin delicate papers. copper shavings. An intaglio process used to produce areas of tone or shadow rather than lines.The total number of impressions made is called an edition. A digital print of a work that originated as a painting or drawing is a reproduction and therefore is not an original print.The artist’s composition is cut into the surface of linoleum often backed by wood for reinforcement.” the artist Drypoint prints are created by scratching a drawing into a metal plate with a needle or sharp tool. As the artist incises lines into the plate. is not a second edition. after an edition of declared number has already been printed.Today.” SECOND EDITION. it is a reproduction. the excessive printing of the matrix tends to wear it out and many restrikes are only ghostly images of what the print is supposed to be. It should be annotated as a second. the resulting prints are characterized by a smoother texture in the printed areas. Wood Engravings are a form of relief printing in which the areas of the Digital Prints: Artists who use a computer to create or manipulate their works often use a large-scale ink jet printer to print them. The ground is removed before the plate is inked and printed. Sometimes second editions are made. metal plate. thus creating an “IMPRESSION ” or print. literally translated “Chinese glue. Portions of the plate can be protected with varnish in order to expose the plate to multiple bitings without affecting the entire composition.These are usually cleaned from the plate before inking. usually authorized by the artist or by the heirs. ethylene glycol or Kodak Photoflo solution is used to control the strength of the acid applied. Incredible precision and detail is possible with this technique. Drypoint plates (particularly the burr on them) wear more quickly than etched or engraved plates and therefore allow for fewer satisfactory impressions and show far greater differences from first impression to last. from the most delicate hairline to the heaviest gash. Later impressions that have not been authorized by the artist or the artist's heirs.The edition number does not include proofs (see PROOFS ). Unlike paintings or drawings. or subsequent. .The metal plate is covered with a waxy ground or resin that is granular rather than solid (as in etching).The pressure of the press transfers the image to the delicate surface of the paper which adheres to the dampened heavier paper at the same time. Editions POSTHUMOUS EDITION. Areas which are not to receive ink are carved away and separate blocks must be carved for each color used. A second edition is a later printing. Artists began to sign and number each impression around the start of the 20th century. It should be limited in some way (though not necessarily hand-numbered) or it becomes simply a limitless restrike.The numbering is transcribed as a fraction with the first number signifying the number of the individual impression and the second representing the total number of prints in the edition. a form of relief printing. or stone.The engraved plate is covered in ink and then wiped so that only the engraved lines contain the ink. Rembrandt etchings).” are forced to either side of the lines being created.e5413p144p159_ks. Linocut.These complex printers use a sophisticated print head to disperse the ink on the paper in a fine mist of minute droplets in order to deliver a continuous tone image. or fine. composition that are not to receive ink are carved away with fine engraving tools. and tapers to an end. RESTRIKES. is a variation of the woodcut technique. Prior to printing. Engraving is an intaglio technique in which the metal plate is marked or incised with a tool called a burin. called “burr. edition. printed in a limited edition or not. Edition printed after the death of the artist. a clean brush was coated with saliva. it is often combined with etching.This surface is then inked and the image is transferred to paper by the application of pressure. it did not become standard practice until the mid1960’s. Ink is applied to the raised surface and the composition transferred to paper with a press or by hand burnishing or rubbing. many years after the first. even the plate signature often being re-etched by someone else. Etching has been a favored intaglio technique for artists for centuries because the method of inscribing the image is so similar to drawing with a pencil or pen.e.Traditionally.The use of different resins with grains in varying densities will produce different degrees of darkness. each of which is pulled from the inked surface. A photographically produced replica of the original print. rather than as a photographic reproduction of a work in another medium.The distinction as to whether a digital print is an “original print” is determined by whether the work was created by the artist to be realized as a print. Acid is applied which “bites” into the metal between the granules to produce areas which will catch the ink when it is wiped across the plate. prints usually exist in multiple impressions. Since the blocks possess a smooth surface rather than a woodgrain. prints are not numbered as they come off the press but some time later. because the artist originally printed only four or five impressions. It has usually been authorized by the artist’s heirs or is the product of a publisher who GLOSSARY We thank the International Fine Print Dealers Association for use of their official printmaking glossary. metal shavings called “burr” are pushed up to the surface of the plate and sit along the lines incised. Prints are produced by drawing or carving a composition on a hard surface (the MATRIX ) such as a wood block. whether Chine-collé.The plate is then immersed in an acid bath. Etched lines usually have blunt rather than tapering ends. In the case of images that may be intrinsically valuable (i. While some restrikes are of good appearance. has a sharp and clean appearance. from the original matrix. there is hardly anything left of the original work on the plate.qxd:Clean 4/24/09 10:25 AM Page 146 WHAT IS A PRINT? Numbering. hardly amounting to an edition at all. dipped into nitric acid and brushed onto the ground. draws through the ground with a stylus to expose the metal. SPITBITE AQUATINT involves painting strong acid directly onto the aquatint ground of a prepared plate. While the numbering of individual impressions can be found as early as the late nineteenth century. but only the total in the numbered edition An original print is a work of art on paper which has been conceived by the artist to be realized as a print. Aquatint. hence the term “spitbite. after the ink has dried. An engraved line may be deep Counterproofs are made by placing a dampened sheet of paper on top of a pastel and applying pressure to transfer the pastel image. Saliva.

every monoprint impression will be different. the matrix is the form or surface on which the image to be printed is prepared. a linoleum block. A MONOPRINT is made by taking an already etched and inked plate and adding to the composition by manipulating additional ink on the surface of the plate. An impression pulled before the edition in order to see what the print looks like at that stage of development. the “ok-to-print proof.e5413p144p159_ks.The artist then works “from black to white” by scraping or burnishing areas so that they will hold less or no ink. Matrix. “stone drawing.This technique is often referred to as serigraphy. the tradition has persisted and a certain number of impressions are put aside for the artist. yielding modulated tones prints made in the nineteenth century were commissioned and brought to market by publishers. often with enormous complexity using multiple blocks and overlapping. then covering that matrix with a sheet of paper and passing it through a press. a separate screen is required for each color in the artist's composition and the same piece of paper must be printed with each of them in turn. what is known as the ukiyo-e period or style. Western artists have made woodcut prints since the fourteenth century.The artist was given a portion of the edition (to sell) as payment for his work. which is repelled in turn by the water soaked areas and accepted only by the drawn design. Literally. For each screen.) is the final trial proof. in German a probedruck. if inked at that point.Today. the bon à tirer (sometimes abbreviated as b.The printer may also himself be a publisher. meaning mother. A complimentary proof given to the printer. depending upon the number of printers involved and the generosity of the artist. The very earliest prints were not signed at all. living expenses. In French. In the seventeenth and eighteenth centuries. for example. depending upon how a particular artist works. Publishers sometimes use such impressions as exhibition copies. Publishers date back to the sixteenth century and the great majority of original Mezzotint is another intaglio technique used to create areas of tone or shadow rather than lines. PRINTER'S PROOF. Since it is virtually impossible to manipulate the additional ink in exactly the same way for each impression. A squeegee is used to force the paint through the exposed areas of the mesh.There can be any number of trial proofs. Impressions annotated H. but relatively flatter because of the pressure of the press.There can be from one to several of these proofs. to produce through multiple printings a lithograph in more than one color. they may also not differ at all. BON À TIRER PROOF. A publisher brings together artist and printer (assuming the artist does not do his own printing). prints as a blank or “white” line delimiting each area of color. the stone is flooded with water which is absorbed everywhere except where repelled by the greasy ink. the entire surface of the plate is abraded by a spiked tool called a rocker so that. COLOR WOODCUTS involve the use of separate blocks for each color. a trial proof is called an épreuve d'essai. WHITE LINE WOODCUTS were the product of a technique developed by artists in the Provincetown art colony around 1915. which is devoid of ink. a lithographic stone or a mesh screen.qxd:Clean 4/24/09 10:25 AM Page 147 Lithography. Screenprints (Serigraphy).” A stamped signature should be described as such. printing areas of the composition are cut away below the surface with a knife or gouge. In printing. attached to the mesh to block the flow of that particular color to the sheet of paper beneath it. autographie) employs the same technique. properly registered.There is only one of these proofs for an edition. Publisher.The stone is then run through the press with paper under light pressure. a plate signature should not be described as “signed.This produces an impression different in appearance from a conventionally printed impression from the same plate.” While some prints were pencil signed as early as the late eighteenth century. and a printing studio with workmen.a. but the design is drawn on specially prepared transfer paper with a lithographic crayon and is later mechanically transferred to the stone. the practice of signing one's work in pencil or ink did not really become common practice until the 1880’s. a metal plate. a term coined to distinguish between commercial and artistic screenprinting. monoprints and monotypes (the words are often used interchangeably but shouldn’t be) are prints that have an edition of one. Oil-based printer’s ink is then rolled on the stone. A transfer lithograph (French. While woodcuts were first seen in ninth-century China. Artist's proofs are annotated as such or as A.The desired colors are painted on the raised areas while the groove. though sometimes a second.C. In this method. In this process.A.The design is chemically fixed on the stone with a weak solution of acid and gum arabic. plastic.” the artist draws or paints the composition on the flat surface of a stone with a greasy crayon or liquid. . although by the late fifteenth century many artists indicated their authorship of a print by incorporating a signature or monogram into the matrix design. a pattern of fabric or paper is cut and Monoprint/Monotype. after which the artist may go back to the matrix and make adjustments. A publisher provides the financial support to produce and market an artist’s prints. weaker impression can be taken from the matrix.t.They may differ from the edition by being printed on a different paper or with a variant inking. the artists were able to produce a color woodcut from a single block. HORS COMMERCE PROOF. supplies and paper. ink or crayon. A MONOTYPE is made by drawing a design in printing ink on any smooth surface. A ZINCOGRAPH is the same as a lithograph. When a print is described simply as “signed” it should mean that is signed in pencil.The resulting image will be an exact reverse of the original drawing. but uses a zinc plate rather than a stone.. are supposedly “not for sale. paperboard.” If the artist is not printing his own edition. thereby preserving the numbered impressions from rough usage. though artists get paid for their editions. or Épreuve d'Artiste or E.P.”These “proofs” started to appear on the market as extensions of editions printed in the late 1960’s. By cutting a groove between each color in the composition. Woodcut is a relief technique using a side-grained plank of wood in which the nonPochoir is a direct method of adding hand-coloring to an impression through a stencil. Signatures.The stencil itself is usually knife-cut from thin coated paper. the one that the artist has approved. Literally.Today it is customary for original prints to be signed. telling the printer that this is the way they want the edition to look. Japanese artists using these techniques reached an exceptional level of artistic achievement. the entire plate would print in solid black. As their names imply. Proofs ARTIST'S PROOFS. the final print showing neither a raised nor embossed quality but lying entirely on the surface of the paper. what is called “signed in the plate” or a “plate signature. This practice dates back to the era when an artist commissioned to execute a print was provided with lodging. TRIAL PROOF. The design may be divided among several stones. From the Latin word mater. but it is usually a small number and each one usually differs from the others. a woodblock. or metal and the ink or paint is applied with a brush through the stencil to the paper beneath.

000s by $2.000 $50.000. 20% of the portion of the hammer price above $50. 4. the seller and the buyer and describe the terms upon which property is bought at auction. 800 (i.000 to $100. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses.000 $2. Unlimited bids will not be accepted. as will an original signature. as well as the exhibition history of the property and references to the work in art publications. Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars.The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50. we will be pleased to refer the purchaser to a professional framer. While condition reports are prepared honestly and carefully. on the hammer price of each lot sold.This service is free and confidential.000s auctioneer’s discretion The auctioneer may vary the increments during the course of the auction at his or her own discretion.000s.000. In the event you lose it.000 to $20. Where “Estimate on Request” appears. you should treat estimates in pounds sterling or euros as a guide only. A bidding form can be found at the back of this catalogue. Please note that all dimensions of the property set forth in the catalogue entry are approximate.The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. $50 to $1. Always indicate a maximum bid.000 $100.000 to $10.000 to $2. Phillips de Pury & Company may provide condition reports. If a lot is sold framed. excluding the buyer’s premium and any applicable taxes.000 $5. you will need to register for and collect a paddle before the auction begins. unless otherwise indicated in the condition report.500. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed. Phillips de Pury & Company will be happy to execute written bids on your behalf. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend. Any bid within the high and low estimate range should. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e. prints). provenance. Our staff will be happy to assist you. Phillips de Pury & Company accepts no liability for the condition of the frame.000. 4. A reserve is the confidential value established between Phillips de Pury & Company and the seller and below which a lot may not be sold. If we sell any lot unframed. Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Such references. 8.000.000 to $30. We suggest that you leave a maximum bid. .800) by $500s by $1. that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding.000 up to and including $1. $4. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips. O Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price.The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low presale estimate.000 and 12% of the portion of the hammer price above $1. please contact the specialist department for further information. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment.e. In the event of identical bids. Since the exchange rate is that at the time of catalogue production and not at the date of auction. Please do not misplace your paddle. ∆ Property in Which Phillips de Pury & Company Has an Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. or buyer’s premium. Bidding at Auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. subject to the auctioneer’s discretion. in our opinion.e5413p144p159_ks.000 $10.000 to $5. do not amount to a full description of condition. please contact us at +1 212 940 1240 or +44 20 7318 4010. the earliest bid received will take precedence. the electrical system is verified and approved by a qualified electrician. Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction.000 by $50s by $100s by $200s by $200s. please return your paddle to the registration desk.000s by $10. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. It is essential that. • • 2 Bidding in the Sale Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale. including the auctioneer. Bids must be placed in the currency of the sale. 500. However. Any absentee bid must be received at least 24 hours in advance of the sale. prior to any intended use.000 $20. In preparing such reports. may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Proof of identity in the form of government issued identification will be required. Buyer’s Premium Phillips de Pury & Company charges the successful bidder a commission. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%.000 $3. 1 Prior to Auction Symbol Key The following key explains the symbols you may see inside this catalogue. Bidding in Person To bid in person. our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included.qxd:Clean 4/24/09 10:25 AM Page 148 GUIDE FOR PROSPECTIVE BUYERS Buying at Auction The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. you consent to the recording of your conversation. Our specialists are available to give advice and condition reports at viewings or by appointment. which we can execute on your behalf in the event we are unable to reach you by telephone. 5. all lots in this catalogue are offered subject to a reserve.200. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art. excluding the buyer’s premium and any applicable taxes. many lots achieve prices below or above the pre-sale estimates.000 to $200. inform a Phillips de Pury & Company staff member immediately. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. our staff are not professional restorers or trained conservators.The guarantee may be provided by Phillips de Pury & Company. offer a chance of success.000 above $200.g. No Reserve Unless indicated by a .000 $30.000 to $50. Bidding by Telephone If you cannot attend the auction. While we are careful in the cataloguing process.Telephone bids may be recorded. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. by a third party or jointly by us and a third party. particularly in the case of any lot of significant value. We may also require that you furnish us with a bank reference. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.000. By bidding on the telephone.000 $1.000s by $2. Absentee Bids If you are unable to attend the auction and cannot participate by telephone. At the end of the auction.This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1000. Solely as a convenience to clients. Employee Bidding Employees of Phillips de Pury & Company and our affiliated companies..000 by $5. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Please be advised that Phillips de Pury & Company generally acts as agent for the seller. you may bid live on the telephone with one of our multi-lingual staff members. though. Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers.000 to $3.

e5413p144p159_ks.phillipsdepury.com LILIAN DAUBISSE Hérisson.000-30. 2004 Estimate $20.000 .qxd:Clean 4/24/09 10:25 AM Page 149 DESIG N AUCTION 3 JUNE 2009 11am NEW YORK Viewing 27 May – 2 June Phillips de Pury & Company 450 West 15 Street New York Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.

ivory. All prospective bidders should read them carefully. prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. Promptly after the auction. Phillips de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot. Phillips de Pury & Company will accept American Express. Phillips de Pury & Company will wrap purchased lots for hand carry only. rhinoceros horn or tortoiseshell. and vice versa. at the buyer’s expense. We will. 4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Transport and Shipping As a free service for buyers.e5413p144p159_ks. Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. .qxd:Clean 4/24/09 10:25 AM Page 150 3 The Auction Conditions of Sale As noted above.The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. Credit Cards As a courtesy to clients. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. as noted in Paragraph 6 of the Conditions of Sale. such as coral. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Collection It is our policy to request proof of identity on collection of a lot. we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City. Please refer to Paragraph 7 of the Conditions of Sale for more information. either provide packing. whalebone. crocodile. Export and Import Licenses Before bidding for any property. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10. storage and handling charges on uncollected lots. such as the beneficiary or executor of an estate selling the lot. percentage or value.The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. New York for collection within 30 days following the date of the auction. the auction is governed by the Conditions of Sale and Authorship Warranty. check drawn on a US bank or wire transfer. We will levy removal. Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot. interest. we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street. Payments must be made in US dollars either by cash. As a courtesy to clients. New York.They may be amended by saleroom addendum or auctioneer’s announcement. handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. New York. All purchased lots should be collected at this location during our regular weekday business hours.000 or less. a joint owner of the lot or a party providing or participating in a guarantee on the lot. Queens. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country.000. irrespective of age. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Visa and Mastercard to pay for invoices of $10. Endangered Species Items made of or incorporating plant or animal material.The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits.

phillipsdepury.2 cm) Available for sale Phillips de Pury & Company 450 West 15 Street New York Enquiries Kelly Troester +1 212 940 1221 ktroester@phillipsdepury. with full margins (deckle on four sides) signed and annotated `epr.9 x 56.qxd:Clean 4/24/09 10:25 AM Page 151 PROPERTY FROM A PRIVATE COLLECTION HENRI MATISSE Nu au coussin bleu à côté d’une cheminée (Claude Duthuit 454).e5413p144p159_ks.8 x 47. 1925 Lithograph on Arches MDM laid paper. d'artiste 9/10' in pencil Image 25 1/8 x 18 3/4 in. (63. (74. Sheet 29 1/2 x 22 1/8 in.com .com www.6 cm).

including the auctioneer. on the one hand.000. and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom.Telephone bidding is available for lots whose low pre-sale estimate is at least $1000.000. unless otherwise indicated in this catalogue or at the time of auction.The bidder must clearly indicate the maximum amount he or she intends to bid. bidders and buyers agree to be bound by these Conditions of Sale. pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and. as described more fully in Paragraph 6 (a) below. the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Notwithstanding the foregoing. the earliest bid received will take precedence. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. supplying such information and references as required by Phillips de Pury & Company. beneficial or financial interest in a lot as a secured creditor or otherwise. All dimensions are approximate. (d)The sale will be conducted in US dollars and payment is due in US dollars. withdraw any lot. 3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty. charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. . All prices. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. Phillips de Pury & Company may. in which case we will act in a principal capacity as a consignor. either by placing consecutive bids or bids in response to other bidders. 4 Bidding at Auction (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. by telephone bid or other means. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. as so changed or supplemented. condition or other report. 1 Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty. in each case at the time any such express statement is made. by bidding on the telephone. These Conditions of Sale. 6 Purchase Price and Payment (a)The buyer agrees to pay us. (f) Employees of Phillips de Pury & Company and our affiliated companies. if so. • (b)The auctioneer has discretion at any time to refuse any bid.The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) Sales tax. and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot.” “withdrawn. including the Guide for Prospective Buyers. Bids must be placed in the currency of the sale.The buyer’s premium is 25% of the hammer price up to and including $50. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf. a bidder accepts personal liability to pay the purchase price. as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. As a courtesy to clients. through an agent. use tax and excise and other taxes are payable in accordance with applicable law. In the event of identical bids. execute written absentee bids on a bidder’s behalf. While we undertake to exercise reasonable care in undertaking such activity. but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. (b) As a convenience to bidders who cannot attend the auction in person. is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company.” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. (c)Telephone bidders are required to submit bids on the “Telephone Bid Form. and Phillips de Pury & Company and sellers. a bidder consents to the recording of the conversation. 2 Phillips de Pury & Company as Agent Phillips de Pury & Company acts as an agent for the seller.Telephone bids may be recorded and. whether written or oral. All foreign buyers should contact the Client Accounting Department about tax matters. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested.” “returned to owner” or “bought-in.qxd:Clean 4/24/09 10:25 AM Page 152 CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. will reflect approximate exchange rates. the buyer’s premium and any applicable sales tax (the “Purchase Price”). commentary or valuation. reoffer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. 20% of the portion of the hammer price above $50. (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts. including any pre-sale estimate. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our absolute discretion.e5413p144p159_ks. (b) additional notices and terms printed in other places in this catalogue. we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller.000 and 12% of the portion of the hammer price above $1. In order to protect the reserve on any lot. .” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so. whether in person. on the other hand. to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. fees. On occasion. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.000. if so instructed by the bidder. and Authorship Warranty. Accordingly. and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller.000 up to and including $1. estimates in pounds sterling or euros should be treated only as a guide. Phillips de Pury & Company may own a lot. as so changed or supplemented. by written bid. the auctioneer will announce that it has been “passed. For the benefit of international clients. (f) If a lot is not sold. Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. and information in any catalogue. All bidders must register for a paddle prior to bidding. as described in the catalogue (unless such description is changed or supplemented. or may have a legal. in each case as amended by any addendum or announcement by the auctioneer prior to the auction By bidding at the auction. by absentee bid or on the telephone.000. Absentee bidders are required to submit bids on the “Absentee Bid Form.” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. whether in person. in addition to the hammer price of the lot. (e) Subject to the auctioneer’s reasonable discretion. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot. Any absentee bid must be received at least 24 hours in advance of the sale. Phillips de Pury & Company will only accept valid resale certificates from US dealers as proof of exemption from sales tax. (a)The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller. (c)The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. (d) When making a bid. (d) Information provided to prospective buyers in respect of any lot. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 5 Conduct of the Auction each lot is offered subject to a (a) Unless otherwise indicated by the symbol reserve. excluding the buyer’s premium and any applicable sales or use taxes.

e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 153 .

The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. New York. 10 Rescission by Phillips de Pury & Company Phillips de Pury & Company shall have the right. including the responsibility for insurance. and we will then refund the Purchase Price paid to us. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips de Pury & Company and our affiliated companies. ivory. we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City. whether or not made at our recommendation. Any such instruction. together with interest and the costs of such proceedings. New York. handling.Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. and the buyer has satisfied such other terms as we in our sole discretion shall require. If you would . (b) If a purchased lot is paid for but not collected within six months of the auction. (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e. wrap purchased lots for hand carry only. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. Promptly after the auction. if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction. As soon as a buyer has satisfied all of the foregoing conditions. we will so notify the buyer. Checks and banker’s drafts should be made payable to “Phillips de Pury & Company LLC. (iii) reject future bids from the buyer or render such bids subject to payment of a deposit. percentage or value. Accordingly. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do.g. (v) subject to notification of the buyer. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export. but not the obligation. our possession or the possession of one of our affiliated companies. during regular weekday business hours. Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above. exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 West 15th Street. Phillips de Pury & Company retains. Purchased lots are at the buyer’s risk.1% of the Purchase Price per month on each uncollected lot. including completing any anti-money laundering or anti-terrorism financing checks. As a courtesy to clients. Until risk passes. the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. the buyer will promptly return the lot to Phillips de Pury & Company. (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds. 8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction. and the buyer grants to us. New York for collection within 30 days following the date of the auction. Import and Endangered Species Licenses and Permits Before bidding for any property. is entirely at the buyer’s risk and responsibility. Checks or banker’s drafts drawn by third parties will not be accepted. prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. whalebone. Upon notice of Phillips de Pury & Company’s election to rescind the sale. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips de Pury & Company LLC Account no. 7 Collection of Property (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds.. with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided. Payments must be made by the invoiced party in US dollars either by cash. such as coral.e5413p144p159_ks. and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. the buyer will remain liable for the shortfall together with all costs incurred in such resale. at the buyer’s expense. to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. 9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have. (c) In the event the buyer is in default of payment to any of our affiliated companies. NY 10011 and make sure that the sale and lot number is written on the check. 12 Client Information In connection with the management and operation of our business and the marketing and supply of auction related services. Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid. he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property.000. crocodile. (vi) resell the lot by auction or private sale. 11 Export. a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in. the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies. (ii) cancel the sale of the lot. arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. (b)The buyer must arrange for collection of a purchased lot within five days of the date of the auction. or coming into. subject to our usual exclusions for loss or damage to property. Phillips de Pury & Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 West 15th Street. Queens. New York. New York. If clients provide us with information that is defined by law as "sensitive.: 58347736 Please reference the relevant sale and lot number. retaining any partial payment of the Purchase Price as liquidated damages. (c) As a courtesy to clients. without charge.” If payment is sent by mail. Phillips de Pury & Company will. All purchased lots should be collected at this location during our regular weekday business hours. either provide packing. irrespective of age. the buyer will incur a late collection fee of $35.. no earlier than 30 days from the date of such notice. (d)Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material. and we will not be liable for acts or omissions of third party packers or shippers." they agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips de Pury & Company. Bank transfer details: Citibank 322 West 23rd Street. prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the United States or to import it into another country. storage charges of $5 per day and pro rated insurance charges of . import and endangered species licenses or permits. prior to bidding.Third Floor. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client's express consent. rhinoceros horn or tortoiseshell. We will. As described more fully in Paragraph 13 below.qxd:Clean 4/24/09 10:25 AM Page 154 (c) Unless otherwise agreed. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10. please send the check or banker’s draft to the attention of the Client Accounting Department at 450 West 15th Street. upon notice. including any charges payable pursuant to Paragraph 8 (a) below. (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot. in each case. credit information). the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale. to arrange a resale of the item by auction or private sale. from the earlier to occur of (i) the date of collection or (ii) five days after the auction. check drawn on a US bank or wire transfer. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies. with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. the buyer authorizes Phillips de Pury & Company. or as required by law.

the total liability of Phillips de Pury & Company. invalid or unenforceable for any reason. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.e5413p144p159_ks. whether negligent or otherwise. our affiliated companies and the seller to the fullest extent permitted by law.. (d)The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. beneficiaries and assigns. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission. whether such loss or damage is characterized as direct. successors. as a condition to rescinding any sale under this warranty. excluding its conflicts of law rules.qxd:Clean 4/24/09 10:25 AM Page 155 like further information on our policies on personal data or wish to make corrections to your information. or for the payment of interest on the original Purchase Price. representations and agreements. the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. special. express or implied. assigns and representatives. all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. nor any delay in exercising. quoting the reference number specified at the beginning of the sale catalogue. is and shall remain at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. (d) Should any provision of these Conditions of Sale be held void. none of Phillips de Pury & Company. any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty. (b) Except as otherwise provided in this Paragraph 13. personal service. the registered successful bidder) of any lot. (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property.e. the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York. AUTHORSHIP WARRANTY Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company. delivery by mail or in any other manner permitted by New York law or the law of the place of service. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. none of Phillips de Pury & Company. any of our affiliated companies or the seller (i) is liable for any errors or omissions. 13 Limitation of Liability (a) Subject to subparagraph (e) below. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale. in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions. special. No failure by any party to exercise. please contact us at +1 212 940 1228. 16 Law and Jurisdiction (a)ThThe rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty. (c)These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors. specifying the auction in which the property was included. any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. scholars or other experts. any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot. to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above. as changed or supplemented as provided in Paragraph 1 above. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. subject to the exclusions and limitations set forth below. Phillips de Pury & Company reserves the right. (c) All warranties other than the Authorship Warranty.This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company. we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. incidental or consequential. including purchasers or recipients by way of gift from the original buyer. 15 General (a)These Conditions of Sale. indirect. are specifically excluded by Phillips de Pury & Company. oral or implied understandings. or for the payment of interest on the Purchase Price to the fullest extent permitted by law. whether such loss or damage is characterized as direct.This Authorship Warranty does not extend to (i) subsequent owners of the property. incidental or consequential. 14 Copyright The copyright in all images. (ii) property created prior to 1870. heirs. (d) Subject to subparagraph (e) below. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty. at the last address of the bidder or seller known to Phillips de Pury & Company. unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid. (c) Subject to the exclusions set forth in subparagraph (a) above. (b) In any claim for breach of the Authorship Warranty. by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. . including the contents of this catalogue. indirect. the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot. and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written. including any warranty of satisfactory quality and fitness for purpose. the remaining provisions shall remain in full force and effect. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. whether orally or in writing. (b) Phillips de Pury & Company. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i. If you would prefer not to receive details of future events please call the above number. (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists. or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use.This means that none of Phillips de Pury & Company. our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot.

qxd:Clean 4/24/09 10:25 AM Page 156 SPECIALIST & SERVICE DEPARTMENTS Contemporary Art Michael McGinnis Worldwide Director +44 20 7318 4091 Aileen Agopian Director New York +1 212 940 1255 Jean-Michel Placent New York +1 212 940 1263 Timothy Malyk Head of Under the Influence New York +1 212 940 1258 Chin-Chin Yap New York +1 212 940 1250 Christina Floyd New York +1 212 940 1340 Veronica Collins New York +1 212 940 1252 Sarah Mudge Head of Part II New York +1 212 940 1259 Roxana Bruno New York +1 212 940 1229 Sara Davidson New York +1 212 940 1262 Derrick Mead New York +1 212 940 1272 Maria Bueno New York +1 212 940 1261 Peter Flores New York +1 212 940 1223 (Uli) Zhiheng Huang New York +1 212 940 1288 Eugenia Ballvé New York +1 212 940 1303 Anthony McNerney Head of Evening Sale London +44 20 7318 4067 Peter Sumner Head of Day Sale London +44 20 7318 4063 Laetitia Catoir London + 44 20 7318 4064 SilkeTaprogge London +44 20 7318 4012 Ivgenia Naiman London +44 20 7318 4071 Fiona Biberstein London +44 20 7318 4013 Siobhan O’Connor London +44 20 7318 4093 Catherine Higgs London +44 20 7318 4089 Raphael Lepine London +44 20 7318 4078 TanyaTikhnenko London +44 20 7318 4065 Sarah Buchwald London +44 20 7318 4085 Phillippa Willison London +44 20 7318 4070 Modern and Contemporary Editions Kelly Troester Worldwide Co-Director +1 212 940 1221 Cary Leibowitz Worldwide Co-Director +1 212 940 1222 Jannah Greenblatt New York +1 212 940 1332 Joy Deibert New York +1 212 940 1333 Saturday@Phillips Tobias Sirtl Director +44 20 7318 4095 Alex W. Smith New York +1 212 940 1276 Anne Huntington New York +1 212 940 1210 Arianna Jacobs London + 44 20 7318 4054 George O’Dell London +44 20 7318 4040 Steve Agin (Consultant) +1 908 475 1796 Balthasar de Pury (Consultant) Geneva +41 79 250 86 81 Chairman London Rodman Primack London +44 20 7318 4017 Managing Directors Finn Dombernowsky London +44 20 7318 4034 Charlie Horne New York +1 212 940 1292 Business Development Alexander Gilkes New York +1 212 940 1398 Executive Assistant to Simon de Pury Helen Rohwedder London +44 20 7318 4042 Executive Assistant to Bernd Runge Jewelry Nazgol Jahan Worldwide Director +1 212 940 1283 Carolin Bulgari Geneva +41 22 906 80 00 Carmela Manoli New York +1 212 940 1302 Heather Zises New York +1 212 940 1290 Lane Mclean London +44 20 7318 4032 Veronica Lota Geneva +41 22 906 80 05 Press and Public Relations Ariel Childs Head London +44 20 7318 4028 Cécile Demtchenko Paris +33 1 42 78 67 77 Contemporary Jewelry Rachel Mattes New York +1 212 940 1285 Exhibitions London +44 20 7318 4023 New York +1 212 940 1301 Photographs Charlie Scheips Worldwide Director +1 212 940 1244 Vanessa Kramer New York +1 212 940 1243 Caroline Shea New York +1 212 940 1247 Sarah Krueger New York +1 212 940 1245 Kelly Padden London +44 20 7318 4018 Ben Adams London +44 20 7318 4077 Alexandra Bibby London +44 20 7318 4087 Helen Hayman London +44 20 7318 4092 International Specialists and Representatives Dr. Michaela Neumeister Munich +49 89 238 88 48 10 Olivier Vrankenne Brussels & Paris +32 486 43 43 44 Leonie Moschner Paris +33 6 85 53 92 03 Tamara Corm Paris & London +33 6 75 07 04 71 Ivgenia Naiman London +44 20 7318 4071 Brooke de Ocampo London +44 777 551 7060 Laura Garbarino Milan +39 339 478 9671 Eugenia Bertele Milan +39 02 3669 5895 Design Alexander Payne Worldwide Director +44 20 7318 4052 Marcus Tremonto New York +1 212 940 1268 Alex Heminway Director New York +1 212 940 1269 Tara DeWitt New York +1 212 940 1265 Meaghan Roddy New York +1 212 940 1266 Stephanie Abraitis New York +1 212 940 1268 Ben Williams London +44 20 7318 4027 Domenico Raimondo London +44 20 7318 4016 Ellen Stelter London +44 20 7318 4021 Marcus McDonald London +44 20 7318 4014 Florence Uchida New York +1 917 902 2714 Nadia Breuer Sopher New York & Australia +1 917 319 4741 Mimi Won Techentin Los Angeles +1 310 600 9192 Maya McLaughlin Los Angeles +1 323 791 1771 Tatiana Beliaeva Moscow +7 985 969 9292 Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804 Lulu Al-Sabah Dubai +44 77 9518 8878 Lydia Limmerick Dubai +44 79 2048 1110 Private Sales Christina Scheublein New York +1 212 940 1248 Johanna Frydman London +44 20 7318 4024 .e5413p144p159_ks.

Francesca von Habsburg Marc Jacobs Malcolm McLaren Partners Aileen Agopian Sean Cleary Alexander Payne Rodman Primack Olivier Vrankenne Tiffany Wood Ernest Mourmans Aby Rosen Christiane zu Salm Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz WORLDWIDE OFFICES NEW YORK 450 West 15 Street New York NY 10011 USA +1 212 940 1200 +1 212 924 5403 fax MUNICH Maximiliansplatz 12a 80333 Munich Germany Shirin Kranz +49 89 238 88 48 0 +49 89 238 88 48 15 fax LONDON Howick Place London SW1P 1BB United Kingdom +44 20 7318 4010 +44 20 7318 4011 fax BERLIN Auguststrasse 19 10117 Berlin Germany Rolf Moritz Estermann Natalia Kazmierczak +49 30 880 018 42 +49 30 880 018 43 fax PARIS 28.H.I. quai des Bergues 1201 Geneva Switzerland Carolin Bulgari +41 22 906 80 00 +41 22 906 80 01 fax . Michaela Neumeister Lady Elena Foster H.e5413p144p159_ks.qxd:Clean 4/24/09 10:25 AM Page 157 PHILLIPS de PURY & COMPANY CONTACTS Chairman Simon de Pury Advisory Board Maria Bell Janna Bullock Chief Executive Officer Bernd Runge Lisa Eisner Lapo Elkann Ben Elliot Senior Partners Michael McGinnis Dr. rue Michel Le Comte 75003 Paris France Cécile Demtchenko +33 1 42 78 67 77 +33 1 42 78 23 07 fax GENEVA 23.

com Sylvia Leitao New York +1 212 940 1231 Barbara Doupal New York +1 212 940 1232 Nicole Rodriguez New York +1 212 940 1235 Administrator Joy Deibert New York +1 212 940 1220 +1 212 940 1213 f ax Client Services +1 212 940 1200 Shipping Beth Petriello New York +1 212 940 1373 E-mail Addresses All Phillips de Pury & Company e-mails are first initial and last name @phillipsdepury. Lot 103 (detail) Inside Back Cover Kelley Walker.phillipsdepury.com Aileen Agopian 1199037 Christina L. 2003. jdeibert@phillipsdepury. Lot 152 (detail) Back Cover RichardTuttle. Lot 74 (detail) Inside Front Cover Alex Katz. Maui. Censorship portfolio.com Catalogues $60 at the Gallery / £30 Client Accounting Catalogue Subscriptions Allyson Melchor +1 212 940 1240 +44 20 7318 4039 catalogues@phillipsdepury. Floyd 1238278 Front Cover RichardTuttle.qxd:Clean 4/24/09 10:25 AM Page 158 SALE INFORMATION MODERN a nd CONTEMPORARY EDITIONS Auction Tuesday June 2 2009 at 2pm Worldwide Directors KellyTroester New York +1 212 940 1221 Cary Leibowitz New York +1 212 940 1222 Viewing & Auction Location 450 West 15 Street New York NY 10011 Cataloguer Jannah Greenblatt New York +1 212 940 1332 Viewing Wednesday May 27 – Saturday May 30 10am – 6pm Sunday May 31 Noon – 6pm Monday June 1 10am – 6pm Tuesday June 2 Noon – 2pm Property Manager Adam Sipe New York +1 212 940 1284 Sale Designation In sending written bids or making inquiries please refer to this sale as NY030109 or Modern and Contemporary Editions. Lot 74 (detail) Photography Kent Pell Morten Smidt Sarah Mudge 1301805 Alexander Gilkes 1308958 Ellen Stelter UK Rodman Primack UK Principal Auctioneer Simon de Pury 0874341 . 1998. 2003.g. Absentee and Telephone Bids Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax bids@phillipsdepury. 2002.com (e. 1994. Untitled.. Censorship portfolio. Ada.com) Auctioneers www. Lot 269 (detail) Title Page Various printmakers Last Page Do Ho Suh.e5413p144p159_ks.

1998. Untitled.e5413p144p159_ks. Lot 103 (detail) .qxd:Clean 4/24/09 10:25 AM Page 159 Do Ho Suh.

2002.Kelley Walker. Maui. Lot 152 (detail) .

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Censorship portfolio. 2003. P H I L L I P S D E P U RY.W W W. Lot 74 (detail) . C O M RichardTuttle.

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