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Auction Description for Swann: CONTEMPORARY ART
Viewing Notes:
Exhibition & Sale Schedule: Sale 2350 - Contemporary Art - begins at 1:30pm in New York on Tuesday, May 13. All material in Sale 2350 on display at our premises in New York City, 104 East 25th Street, as follows: Thurs, May 8: 10am to 6pm - Fri, May 9: 10am to 6pm - Sat, May 10: Noon to 5pm - Mon, May 12: 10am to 6pm - Tues, May 13: 10am to Noon.

CONTEMPORARY ART

(337 Lots)

by Swann Auction Galleries

Platinum House

337 lots with images

May 13, 2014

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

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JACKSON POLLOCK Untitled.

Lot 1: JACKSON POLLOCK Untitled.

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Description: JACKSON POLLOCK Untitled. Screenprint on Strathmore paper, 1951 (printed 1964). 420x570 mm; 16 1/2x22 1/2 inches, full margins. Numbered 33/50 in pencil, lower right. With the Pollock Estate blind stamp, lower left. A superb impression of this very scarce print. Betty Parsons, whose gallery on East 57th Street in New York exhibited many of Pollock's works, organized his fifth solo show in 1951, his Black Paintings. To coincide with the exhibit Pollock made screenprints of six of the paintings. This series of screenprints, following an intended edition of 25 signed and numbered by Pollock (the edition of 25 was likely never reached), was ultimately printed and published posthumously in an edition of 50 by the artist's estate. This screenprint was based on Pollock's Number 8 (Black Flowering), oil on canvas, 1951. O'Connor/Thaw 1092.

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WILLEM DE KOONING Clam Digger.

Lot 2: WILLEM DE KOONING Clam Digger.

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Description: WILLEM DE KOONING Clam Digger. Lithograph, 1966. 410x310 mm; 16 1/8x12 1/4 inches, full margins. Signed and numbered 4/100 in pencil, lower margin. Printed and published by Hollanders Workshop Inc., New York, with the blind stamp lower right. From Portfolio 9. A very good impression. Graham 4.

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WILLEM DE KOONING Untitled (Reclining Nude).

Lot 3: WILLEM DE KOONING Untitled (Reclining Nude).

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Description: WILLEM DE KOONING Untitled (Reclining Nude). Pencil on paper, circa 1960. 350x430 mm; 13 3/4x17 inches. Signed, dated "1963" and dedicated "To De Hirsh Margules from de Kooning" in pencil, lower right recto. Ex-collection the artist De Hirsh Margules (1899-1965), New York, gift from the artist.

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WILLEM DE KOONING Revenge.

Lot 4: WILLEM DE KOONING Revenge.

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Description: WILLEM DE KOONING Revenge. Sugar-lift aquatint, 1960. 300x345 mm; 11 3/4x13 5/8 inches, full margins. Artist's proof, aside from the edition of 50. Signed and inscribed "artist proof" in pencil, lower margin. Published by the Morris Gallery, New York. From 21 Etchings and Poems. A superb impression of this extremely scarce, early print. De Kooning's (1904-1997) first print and the only etching or aquatint that he created. Other artists who contributed prints to the portfolio include Franz Kline, Jacques Lipchitz and Stanley W. Hayter. "Probably the first American collaboration of such magnitude between artist and author," according to The Artist and the Book, "this publication was conceived in 1951 by Peter Grippe when he took over the directorship of Atelier 17 from Hayter. After Atelier 17 was disbanded in 1955, Grippe continued to work with the artists in his own studio, and Morris Weisenthal took over publication under the imprint of his Morris Gallery." The Artist and the Book, no. 145. Graham 1.

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WILLEM DE KOONING Untitled (Litho #7).

Lot 5: WILLEM DE KOONING Untitled (Litho #7).

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Description: WILLEM DE KOONING Untitled (Litho #7). Lithograph on Arches paper, 1966. 720x550 mm; 28 1/4x21 1/2 inches, full margins. Projected edition of 50. Printed by Hollander's Workshop, New York, with the blind stamp lower right. A very good impression of this unsigned, unpublished edition. We have not found another impression at auction in the past 25 years. Graham 45.

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WILLEM DE KOONING Untitled.

Lot 6: WILLEM DE KOONING Untitled.

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Description: WILLEM DE KOONING Untitled. Pen and black ink on thin, cream laid paper. 225x145 mm; 9x5 3/4 inches, full margins. Ex-collection Janet Arnold, Pennsylvania, gift from her cousin Joan Ward, from Lisa de Kooning (the daughter of Joan Ward and Willem De Kooning). Exhibited Matthew Marks Gallery, New York, "Willem de Kooning: Drawings and Sculpture," October 31-December 19, 1998, with the label on the frame back.

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WILLEM DE KOONING Untitled.

Lot 7: WILLEM DE KOONING Untitled.

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Description: WILLEM DE KOONING Untitled. Color screenprint on Arches, 1972. 855x583 mm; 33 3/4x23 inches, full margins. Signed and numbered 59/75 in pencil, lower margin. Published by Ives-Sillman, New Haven, with the blind stamp lower right. A very good impression of this large, very scarce print, with strong colors.

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WILLEM DE KOONING Figures in Landscape #6.

Lot 8: WILLEM DE KOONING Figures in Landscape #6.

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Description: WILLEM DE KOONING Figures in Landscape #6. Offset color lithograph, 1980. 790x712 mm; 31x28 inches, full margins. Signed, dated and numbered 64/100 in pencil, lower margin. Published by the Institute of Contemporary Art, University of Pennsylvania, Philadelphia, with the label on the frame back. A very good impression with vibrant colors.

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WILLEM DE KOONING The Devil at the Keyboard.

Lot 9: WILLEM DE KOONING The Devil at the Keyboard.

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Description: WILLEM DE KOONING The Devil at the Keyboard. Color lithograph on cream wove Beckett paper, 1976. 906x620 mm; 35 5/8x24 1/2 inches (sheet), full margins. Signed and numbered 110/125 in blue crayon, lower margin. Published by the Rainbow Art Foundation, New York. A very good impression with strong colors.

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WILLEM DE KOONING Paris Review.

Lot 10: WILLEM DE KOONING Paris Review.

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Description: WILLEM DE KOONING Paris Review. Color offset lithograph, 1979. 587x743 mm; 23x29 1/4 inches, full margins. Signed and numbered 94/200 in pencil, lower margin. A very good impression with strong colors. Funded by a 1964 gift from Drue Heinz to provide finaincial support to the literary magazine, the Paris Review prints series encouraged contemporary artists such as Frankenthaler (see lot 25), Motherwell (see lot 26), and Warhol (see lot 154), among others, to create signed, limited editions of their original works, to donate for sale by the magazine.

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DAVID SMITH Don Quixote.

Lot 10A: DAVID SMITH Don Quixote.

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Description: DAVID SMITH Don Quixote. Lithograph on off-white wove paper, 1952. 455x605 mm; 18x23 3/4 inches, full margins. Second state (of 2). Edition of approximately 27. Signed, titled, dated and inscribed "Ed. 27--2nd stage" in ink, lower margin. Printed by Michael Ponce de Léon and Margaret Lowengrund, New York. Published by the artist, New York. A superb, richly-inked impression of this extremely scarce, early Abstract Expressionist lithograph. Sarah Suzuki, Associate Curator, Department of Prints and Illustrated Books, The Museum of Modern Art, and the curator of the Rock Paper Scissors exhibition of Abstract Expresionism at the MoMA, October 3, 2010-April 25, 2011, writes, "Smith began making prints after taking classes at the Art Students League in New York. He made a series of linoleum cuts of his Brooklyn neighborhood in the 1920s, Surrealist-influenced etchings in the 1930s and 1940s, and a group of lithographs with Woodstock, New York–based printer Margaret Lowengrund in the 1950s, including this one. Don Quixote was actually Smith's first print, and has a great story behind it that underscores the sometimes-complicated chemistry of printmaking, and the fact that successful endeavors are often aided by quite a bit of luck. Lowengrund had just taken on an assistant, a young artist named Michael Ponce de Léon, who actually had no experience making lithographs. Ponce de Léon's first assignment was to assist Smith. The two men met, worked, chatted over beers, and when asked by Smith to proceed with the printing, Ponce de Léon couldn't bring himself to admit that he'd never printed a lithograph before. So he forged ahead, and without running water in the studio, improvised by printing with the copious amount of beer they had on hand." According to Ponce de Léon, 'When Margaret arrived ready to start the printing and was told that we had already printed the first stone she almost collapsed, and in great desperation she rushed out to the drying pile of our first prints only to discover to her great amazement that the whole edition was rather well printed. Without pulling any punches, Margaret gave me a blistering lecture and made me aware of all the innumerable disasters that could have taken place in the process. 'You are either the luckiest fool I have ever met or a born genius. Time will tell.'' Schwartz 30.

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PHILIP GUSTON Untitled #11 (Open Washes).

Lot 11: PHILIP GUSTON Untitled #11 (Open Washes).

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Description: PHILIP GUSTON Untitled #11 (Open Washes). Lithograph on cream wove paper, 1966. 519x727 mm; 20 1/2x28 5/8 inches, full margins. Signed, dated and numbered 4/20 in pencil, lower margin. Printed and published by Hollanders Workshop Inc., New York, with the blind stamp lower right. A superb impression of this extremely scarce, early lithograph.

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JOAN MITCHELL Little Weeds I (Triptych).

Lot 12: JOAN MITCHELL Little Weeds I (Triptych).

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Description: JOAN MITCHELL Little Weeds I (Triptych). Etching and aquatint on three sheets, 1992. 235x535 mm; 9 1/4x21 inches, full margins. Signed, dated and numbered 13/30 in pencil, lower right of the third sheet. Printed and published by Tyler Graphics, Ltd., Mt. Kisco, with the blind stamp lower right. A very good impression with vibrant colors.

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GRACE HARTIGAN River Bathers.

Lot 13: GRACE HARTIGAN River Bathers.

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Description: GRACE HARTIGAN River Bathers. Color screenprint, circa 1953. 176x252 mm; 7x10 inches, full margins. Printed by Floriano Vecchi at Tiber Press, New York. Published by the New York School, New York. From Folder. A very good impression of this extremely scarce, early color screenprint. With--Four volumes of Folder (2 copies of Folder 2 from Volume 1, Number 2: 1954; and 2 copies of Folder 3 from Volume 2, Number 1: 1954; both of the two latter with the color screenprint covers designed by Hartigan). With one screenprint by Alfred Leslie and two copies of a screenprint by Gandy Brodie.

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LOUISE NEVELSON Untitled.

Lot 14: LOUISE NEVELSON Untitled.

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Description: LOUISE NEVELSON Untitled. Paper collage with silver foil, 1972. 755x503 mm; 29 3/4x19 3/4 inches. Signed in pencil, lower right recto. Ex-collection Pace Gallery, New York, with the original label.

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LOUISE NEVELSON Reflections II.

Lot 15: LOUISE NEVELSON Reflections II.

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Description: LOUISE NEVELSON Reflections II. Color etching and aquatint on cream Copperplate wove paper, 1983. 1000x745 mm; 39 3/8x29 1/4 inches, full margins. Signed, dated and numbered 16/50 in pencil, lower margin. Published by Pace Editions, New York. A very good impression of this large print, with strong colors.

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JAMES BROOKS Concord.

Lot 16: JAMES BROOKS Concord.

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Description: JAMES BROOKS Concord. Color screenprint, 1975. 720x524 mm; 28 3/8x20 5/8 inches, full margins. Signed, dated and numbered 58/200 in pencil, lower margin. Printed by Styria Studio, New York, with the blind stamp lower right. A superb impression with strong colors.

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JAMES BROOKS Concord.

Lot 17: JAMES BROOKS Concord.

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Description: JAMES BROOKS Concord. Color screenprint, 1975. 720x524 mm; 28 3/8x20 5/8 inches, full margins. Signed, dated and numbered 6/200 in pencil, lower margin. Printed by Styria Studio, New York, with the blind stamp lower right. A superb impression with strong colors.

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JAMES BROOKS Untitled.

Lot 18: JAMES BROOKS Untitled.

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Description: JAMES BROOKS Untitled. Acrylic on paper, 1965. 320x440 mm; 12 1/2x17 1/4 inches, full margins. Signed and dated in pen and black ink, lower right recto.

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CLEVE GRAY Untitled.

Lot 19: CLEVE GRAY Untitled.

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Description: CLEVE GRAY Untitled. Oil on canvas, 1959. 560x750 mm; 22x29 1/2 inches. Signed and dated in oil, lower right recto. Ex-collection Staempfli Gallery, Inc., New York, with the label on the frame back. Gray (1918-2004) was born in New York and associated with American Abstract Expressionism following his studies at Phillips Academy, Andover, and Princeton University. From the 1950s onward he lived and worked on a 90+ acre farm owned by his family in Litchfield County, Connecticut.

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ADOLPH GOTTLIEB Red Halo--White Ground.

Lot 20: ADOLPH GOTTLIEB Red Halo--White Ground.

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Description: ADOLPH GOTTLIEB Red Halo--White Ground. Color screenprint, 1966. 470x345 mm; 18 1/2x13 1/2 inches, full margins. Signed, dated and numbered 37/50 in pencil, lower margin. Published by Marlborough Graphics, Inc., New York. A very good impression with strong colors. Associated American Artists 40.

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ADOLPH GOTTLIEB Pink Ground.

Lot 21: ADOLPH GOTTLIEB Pink Ground.

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Description: ADOLPH GOTTLIEB Pink Ground. Color screenprint, 1972. 600x450 mm; 23 5/8x17 3/4 inches, full margins. Signed, dated and numbered 127/150 in pencil, lower margin. A very good impression with vibrant colors. Associated American Artists 77.

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ADOLPH GOTTLIEB Blues on Green.

Lot 22: ADOLPH GOTTLIEB Blues on Green.

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Description: ADOLPH GOTTLIEB Blues on Green. Color screenprint on Arches, 1971. 603x454 mm; 23 3/4x 17 7/8 inches, full margins. Signed, dated and numbered 52/150 in pencil, lower margin. Published by Marlborough Graphics, Inc., New York. A very good impression. Associated American Artists 71.

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HELEN FRANKENTHALER Gray Fireworks.

Lot 23: HELEN FRANKENTHALER Gray Fireworks.

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Description: HELEN FRANKENTHALER Gray Fireworks. Color screenprint on 410 gram Somerset paper , 2000. 711x1169 mm; 28x46 inches (sheet). Signed and numbered 10/108 in pencil, lower left. Published by the Lincoln Center/List Poster and Print Program, New York. A very good impression with strong colors.

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HELEN FRANKENTHALER West Wind.

Lot 24: HELEN FRANKENTHALER West Wind.

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Description: HELEN FRANKENTHALER West Wind. Color screenprint, 1997. 1057x911 mm; 41 5/8x35 7/8 inches (sheet). Signed and numbered 21/110 in pencil, lower left. Published by the Paris Review, New York. A very good impression with strong colors.

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HELEN FRANKENTHALER Paris Review.

Lot 25: HELEN FRANKENTHALER Paris Review.

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Description: HELEN FRANKENTHALER Paris Review. Color screenprint on white Arches paper, 1966. 705x505 mm; 27 3/4x19 7/8 inches, full margins. Signed and numbered 38/150 in pencil, lower margin. Published by the Paris Review, New York. A very good impression. Harrison App. 3.

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ROBERT MOTHERWELL Paris Review.

Lot 26: ROBERT MOTHERWELL Paris Review.

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Description: ROBERT MOTHERWELL Paris Review. Color screenprint, 1965. 765x560 mm; 30x22 inches, full margins. Signed and numbered 38/150 in pencil, lower margin. Printed by Chiron Press, New York. Published by the Paris Review, New York. A very good impression. Belknap App. 9.

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ROBERT MOTHERWELL Summertime in Italy (Blue).

Lot 27: ROBERT MOTHERWELL Summertime in Italy (Blue).

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Description: ROBERT MOTHERWELL Summertime in Italy (Blue). Color lithograph on Rives BFK, 1965-66. 565x430 mm; 22x17 inches, full margins. Signed and numbered 36/100 in pencil, lower margin. Printed and published by Hollanders Workshop Inc., New York, with the blind stamp lower right. A very good impression. Belknap 22.

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PORTFOLIO Flight.

Lot 28: PORTFOLIO Flight.

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Description: PORTFOLIO Flight. Portfolio with text and 7 (of 11) color lithographs and screenprints, 1971. 700x525 mm; 27 5/8x20 7/8 inches (sheets), full margins, loose as issued. One of 250 numbered copies. Numbered 28 in blue ink on the justification page. Each print signed and numbered 28/250 in pencil, lower margin. Published by the International Rescue Committee, New York. Original blue linen portfolio. Includes prints by LAM, CALDER, LIPCHITZ, CHAGALL (Mourlot 528), DA SILVA, MOTHERWELL (Belknap 38), and PIGNON. Very good impressions.

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ROBERT MOTHERWELL London Series II.

Lot 29: ROBERT MOTHERWELL London Series II.

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Description: ROBERT MOTHERWELL London Series II. Color screenprint on J.B. Green paper, 1970-71. 495x690 mm; 19 1/2x27 inches, full margins. Initialed and numbered 90/150 in pencil, lower right. Printed by Kelpra Studio, London. Published by Marlborough Graphics, Inc., London. From the same-titled series. A very good impression. Belknap 67.

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ROBERT MOTHERWELL Abyss.

Lot 30: ROBERT MOTHERWELL Abyss.

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Description: ROBERT MOTHERWELL Abyss. Monotype printed in ochre with collage on hand torn black Japanese paper, 1978. 451x604 mm; 17 3/4x23 3/4 inches, full margins. Edition of 25, lettered A-Y. Initialed and inscribed "B/Y" in pencil, upper right. Printed by Catherine Mousley, Greenwich, in the artist's studio, with the artist's blind stamp lower right. Published by Brooke Alexander, Inc., New York. A very good impression. Belknap 197.

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ROBERT MOTHERWELL Poet II.

Lot 31: ROBERT MOTHERWELL Poet II.

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Description: ROBERT MOTHERWELL Poet II. Lithograph on German Copperplate paper, 1962. 508x355 mm; 20x14 inches, full margins. Artist's proof, aside from the edition of 35. Signed and inscribed "proof" in pencil, lower margin. Printed and published by ULAE, West Islip, with the blind stamp lower left. A very good impression of this early lithograph. This and Poet I (Belknap 2) are Mothewell's first lithographs. Property of The Museum of Modern Art, New York, sold to benefit the acquisitions fund. Belknap 3.

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ROBERT MOTHERWELL Black Rumble.

Lot 32: ROBERT MOTHERWELL Black Rumble.

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Description: ROBERT MOTHERWELL Black Rumble. Color lithograph on Arches, 1985. 965x740 mm; 38x29 inches (sheet), full margins. Signed and numbered 49/65 in pencil, lower margin. Printed and published by Tyler Graphics Ltd., Mt. Kisco, with the blind stamp lower left. A very good impression of this large lithograph. Belknap 308.

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ROBERT MOTHERWELL Bird I.

Lot 33: ROBERT MOTHERWELL Bird I.

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Description: ROBERT MOTHERWELL Bird I. Lift-ground etching, 1973. 406x508 mm; 16x20 inches, full margins. Signed and numbered 14/21 in pencil, lower right. Printed by Catherine Mousely, Greenwich, in the artist's studio. Published by the artist, with the blind stamp lower right. A very good, dark impression of this scarce etching. Belknap 109.

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SAM FRANCIS Untitled.

Lot 34: SAM FRANCIS Untitled.

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Description: SAM FRANCIS Untitled. Lithograph on Rives BFK, 1975. 573x445 mm; 22 1/2x17 1/2 inches, full margins. Signed and numbered 12/30 in pencil, lower margin. Printed and published by The Litho Shop, Inc., Santa Monica. A very good impression. Lembark 181.

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SAM FRANCIS Senza titolo II.

Lot 35: SAM FRANCIS Senza titolo II.

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Description: SAM FRANCIS Senza titolo II. Color etching, aquatint and drypoint on Fabriano paper, 1987. 591x730 mm; 23 1/4x28 3/4 inches, full margins. Artist's proof, aside from the edition of 66. Signed and inscribed "AP" in pencil, lower margin. Printed by Vigna Antoniniana Stamperia d'Arte, Rome. Published by 2RC Edizioni d'Arte, Rome. A very good impression with strong colors. Lembark 88.

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JEAN DUBUFFET Les Défricheurs (2ème état).

Lot 36: JEAN DUBUFFET Les Défricheurs (2ème état).

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Description: JEAN DUBUFFET Les Défricheurs (2ème état). Color lithograph, 1953. 640x490 mm; 25 1/4x19 1/4 inches, full margins. Signed, titled, dated and numbered 1/20 in pencil, upper left. A very good impression of this extremely scarce, early color lithograph. We have found only 2 other impressions at auction in the past 25 years. Webel 365.

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ZAO WOU-KI Les petits bateaux.

Lot 37: ZAO WOU-KI Les petits bateaux.

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Description: ZAO WOU-KI Les petits bateaux. Color lithograph, 1953. 190x160 mm; 7 1/2x6 1/4 inches, full margins. Signed and numbered 101/200 in pencil, lower margin. Printed by Desjobert, Paris. Published by the Caby-Birch Gallery, New York. A very good impression of this early lithograph. Zao Wou-Ki (1920-2013) executed this lithograph for the catalogue of his first exhibition in New York. Ågerup 84.

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ZAO WOU-KI Untitled (Spring Marshes).

Lot 38: ZAO WOU-KI Untitled (Spring Marshes).

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Description: ZAO WOU-KI Untitled (Spring Marshes). Color etching and aquatint on Arches, 1968. 535x680 mm; 21x26 3/4 inches, full margins. Signed and numbered 70/95 in pencil, lower margin. Printed by Imprimerie Arte, Paris. Published by Al Lublin, New York. A superb, richly-inked impression of this large print. Ågerup 197.

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ZAO WOU-KI La Vieille Ville.

Lot 39: ZAO WOU-KI La Vieille Ville.

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Description: ZAO WOU-KI La Vieille Ville. Color lithograph, 1953. 440x590 mm; 17 1/4x23 1/4 inches, full margins. Artist's proof, aside from the edition of 95. Signed, dated and inscribed "épreuve d'artiste" in pencil, lower margin. Printed by Desjobert, Paris. Published by Klipstein & Co., Bern. A very good impression of this early lithograph with strong colors. During the early 1950s, after he had left China and settled in Paris, Zao Wou-Ki's (1920-2013) interlacing of his earlier, eastern style with western art influences, -- from the likes of Paul Klee, Pablo Picasso and Paul Cézanne -- reached an apotheosis. By the mid 1950s his work had become almost completely abstract. Ågerup 80.

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ZAO WOU-KI L'Orchidée.

Lot 40: ZAO WOU-KI L'Orchidée.

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Description: ZAO WOU-KI L'Orchidée. Porcelain plate with color screenprint, 1986. 250 mm; 10 inches (diameter). Published by Editions Ateliers de Segries, Moustiers.

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Group of 4 prints.

Lot 41: Group of 4 prints.

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Description: Group of 4 prints. FRANCO GENTILINI. The Nocturnal Trumpeter (Il Suonatore Notturno), color lithograph, 1955. Signed, dated and numbered 54/80 in pencil, lower margin * HENRI-GEORGES ADAM. Look-out (Vigie), etching, 1959. Signed, titled, dated and numbered 121/125 in pencil, lower margin * MATSUMI KANEMITSU. Sunday, lithograph * Zen Blue, color lithograph. Both 1961. Both signed, dated and numbered 9/20 and 11/15 in white crayon, lower margin. Both printed and published by the Tamarind Institute, Albuquerque, with the blind stamp lower left. Various sizes and conditions. Property of The Museum of Modern Art, New York, sold to benefit the acquisitions fund.

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LEONOR FINI Vivre d'Images.

Lot 42: LEONOR FINI Vivre d'Images.

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Description: LEONOR FINI Vivre d'Images. Portfolio with complete text and 10 (of 12) color lithographs, 1971. 660x508 mm; 25x20 inches (sheets), loose as issued. Numbered 66 on the justification page. Each print signed and numbered 66/166 in pencil, lower margin. Published by A.C. Mazo, Paris. Original red linen slip case. Very good impressions.

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ANTONI TÀPIES Two prints.

Lot 43: ANTONI TÀPIES Two prints.

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Description: ANTONI TÀPIES Two prints. Creu deformada, color etching with aquatint, resins and carborundum on Velin Guarro paper, 1979. 330x610 mm; 13x24 inches, full margins. Signed and numbered 4/75 in pencil, lower margin. Printed and published by La Polígrafa, S.A., Barcelona * Frégoli, color lithograph, 1969. 480x390 mm; 18 7/8x15 3/8 inches, full margins. Signed and numbered 27/100 in pencil, lower margin. Published by Sala Gaspar, Barcelona. From the same-titled portfolio. Very good impressions. Galfetti 713 and 215.

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ANTONI TÀPIES Antoni Tàpies in Print by Deborah Wye.

Lot 44: ANTONI TÀPIES Antoni Tàpies in Print by Deborah Wye.

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Description: ANTONI TÀPIES Antoni Tàpies in Print by Deborah Wye. Bound volume with one color lithograph, 50 black-and-white and 25 color illustrations, 1991. 242x255 mm; 9 1/2x10 inches (sheets). One of 150 deluxe editions with an original color lithograph by the artist, 1991, signed and numbered 53/150 in pencil, lower margin. Printed by La Polígrafia, S.A., Barcelona. Published by The Museum of Modern Art, New York. Published in conjunction with the exhibition, "Antoni Tàpies in Print," organized by The Museum of Modern Art, New York, May 7-August 9, 1992. With the original black slipcase and brown paper wrapping; the covers, endpapers and marginalia for the interior pages created by the artist. Property of The Museum of Modern Art, New York, sold to benefit the acquisitions fund.

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ANTONI TÀPIES Clau--14.

Lot 45: ANTONI TÀPIES Clau--14.

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Description: ANTONI TÀPIES Clau--14. Color lithograph, 1973. 410x580 mm; 16 1/8x22 7/8 inches, full margins. Signed and numbered 45/75 in pencil, lower margin. Printed and published by La Polígrafa, S.A., Barcelona. A very good impression. Galfetti 365.

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EDUARDO CHILLIDA Correlation.

Lot 46: EDUARDO CHILLIDA Correlation.

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Description: EDUARDO CHILLIDA Correlation. Color lithograph, 1960. 380x280 mm; 15x11 inches, full margins. Signed and numbered 70/150 in pencil, lower margin. Published by Maeght, Paris. A very good impression with strong colors. Van der Koelen 60001.

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EDUARDO CHILLIDA Carpenter Center Series, Plate II.

Lot 47: EDUARDO CHILLIDA Carpenter Center Series, Plate II.

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Description: EDUARDO CHILLIDA Carpenter Center Series, Plate II. Woodcut, 1977. 180x150 mm; 7x6 inches, full margins. Signed and numbered 17/50 in pencil, lower margin. Printed by Féquet and Baudier, Paris. Published by Harvard's Carpenter Center, Cambridge. From the same-titled suite. A very good, dark impression. Van der Koelen 77012.

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EDUARDO CHILLIDA Carpenter Center Series, Plate I.

Lot 48: EDUARDO CHILLIDA Carpenter Center Series, Plate I.

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Description: EDUARDO CHILLIDA Carpenter Center Series, Plate I. Woodcut, relief print, 1977. 190x120 mm; 7 1/2x4 3/4 inches, full margins. Signed and numbered 17/50 in pencil, lower margin. Printed bby Féquet and Baudie, Paris. Published by Harvard's Carpenter Center, Cambridge. From the same-titled suite, Van der Kuelen 770 11.

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LUCIO FONTANA Senza titolo.

Lot 49: LUCIO FONTANA Senza titolo.

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Description: LUCIO FONTANA Senza titolo. Pen and black ink on cream laid wax paper mounted on card stock. 293x255 mm; 10 1/2x10 inches (sheet), full margins. Signed in black ink, lower center recto.

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