Heritage Auctions Modern & Contemporary Art Signature Auction, May 24th, 2018, Sale #5357

MODERN & CONTEMPORARY ART
MAY 24, 2018 | BEVERLY HILLS

Front Cover: Lot 77017
(Dzubas) (Detail)
Inside Front Cover: Lot 77022
(Hofmann) (Detail)
Inside Back Cover: Lot 77046
(Uecker) (Detail)
Back Cover: Lot 77083
(Rondinone)

48661
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Auction #5357
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Modern & Contemporary Art
May 24, 2018 | Beverly Hills
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77001
Salvador Dalí (1904-1989)
Es doll and Mujer con Patotxo- femme au fagot (double-sided work), 1923
Pencil on paper
7-3/4 x 5-3/4 inches (19.7 x 14.6 cm) (sight)
Dated lower right: 1923
EXHIBITED:
“Dalí 100 Years,” San Francisco, California, May 11-30, 2004;
“Dalí 100 Years,” Fort Worth, Texas, June 10-27, 2004.
NOTE:
The late Monsieur Robert Descharnes conﬁrmed the authenticity of this work,
which is accompanied by his certiﬁcate dated April 23, 2004 (archives no. D-3805).
Estimate: $12,000-$15,000

Auction #5357 | Thursday, May 24, 2018 | 11:00 AM PT 9
77002
Salvador Dalí (1904-1989)
Cavalier, connu aussi comme Trajan, circa 1967
Felt pen and ink on cardboard
14-1/8 x 20 inches (35.9 x 50.8 cm)
Signed lower right: Dalí
EXHIBITED:
“Dalí 100 Years,” San Francisco, California, May 11-30, 2004;
“Dalí 100 Years,” Fort Worth, Texas, June 10-27, 2004.
NOTE:
Nicolas Descharnes, Olivier Descharnes, and the late Robert Descharnes conﬁrmed the authenticity of this work,
which is accompanied by their certiﬁcate dated April 13, 2012 (archives no. d5136).
Estimate: $30,000-$50,000

77003
Balthasar Klossowsky Balthus (1908-2001)
Double étude de nu, 1928
China ink on paper
7 x 8-5/8 inches (17.8 x 21.9 cm) (sheet)
PROVENANCE:
B.C. Holland Inc., Chicago, Illinois (label verso);
Private collection, Chicago, Illinois.
LITERATURE:
V. Monnier and J. Clair, Balthus: Catalogue Raisonné of the Complete Works, New York, 1999, p. 210, no. D393.
Estimate: $8,000-$12,000

77004
Ernst Ludwig Kirchner (1880-1938)
Unterhaltung, circa 1922
Ink wash and pencil on paper
14-1/4 x 20 inches (36.2 x 50.8 cm) (sheet)
The estate stamp of the Kunstmuseum Basel (Lugt 1570b) and the hand-written registration number P Da/Bi 32 on verso
PROVENANCE:
The artist;
Estate of the above;
Galerie W. Ketterer, Munich, Germany (label verso);
Private collection, Los Angeles.
LITERATURE:
Galerie W. Ketterer, Munich, 1968, cat. no. 1316, illustrated;
Galerie W. Ketterer, Munich, 1969, cat. no. 93, illustrated.
NOTE:
This work is registered at the Ernst Ludwig Kirchner Archive, Witrach/Bern.
Estimate: $6,000-$8,000

77005
Alexander Calder (1898-1976)
Portrait of Bob Howard, circa 1926
Pencil and colored pencil on paper
Signed and titled lower center: Bob Howard / Sandy Calder
PROVENANCE:
The artist;
Alexander Brook, New York, gift from the above;
G.W. Einstein, New York, circa 1970s;
Burchard Galleries, Inc., St. Petersburg, Florida, January 25, 2015;
James Goodman Gallery, New York;
Private collection, Genoa, Italy.
NOTE:
Bob Howard was a vaudevillian and personal friend of Alexander Brook and Alexander Calder.
NOTE:
This work is registered in the archives of the Calder Foundation under A27095.
Estimate: $5,000-$7,000
77006
László Moholy-Nagy (1894-1946)
Rhythmical Wave, 1946
Ink on board
15 x 20 inches (38.1 x 50.8 cm)
Signed and dated twice recto:
L. Moholy-Nagy 46
PROVENANCE:
Private collection, Virginia;
Private collection, acquired from
the above;
Private collection, Stafford,
Virginia, acquired from the above.
NOTE:
Hattula Moholy-Nagy has kindly
conﬁrmed the authenticity of
this work.
Estimate: $10,000-$15,000

77007
George Grosz (1893-1959)
Couple Drinking at Café and Seated Woman (double-sided
work), 1925
Ink on paper
18-1/4 x 23-1/2 inches (46.4 x 59.7 cm) (sheet)
Signed and dated lower right: Grosz 1925
The George Grosz Estate stamp and number 3-83-1 on verso
PROVENANCE:
Jack Rutberg Fine Arts Inc., Los Angeles (label verso).
NOTE:
We wish to thank Ralph Jentsch for his gracious assistance
in cataloguing this drawing, which will be included in the
forthcoming catalogue raisonné of works on paper by George
Grosz. A photo-certiﬁcate accompanies this lot.
Estimate: $4,000-$6,000

77008
Sir Jacob Epstein (1880-1959)
Third Portrait of Sunita (Bust with necklace), 1926
Bronze with green patina
23-1/4 x 22-1/4 x 13-1/2 inches (59.1 x 56.5 x 34.3 cm)
Probably cast posthumously by Lady Epstein between 1960-66
PROVENANCE:
Ann Nathan Gallery, Chicago, Illinois;
Joseph Grodman, Illinois.
LITERATURE:
R. Black, The Art of Jacob Epstein, New York, 1942, p. 236, no. 124, another example illustrated;
R. Buckle, Jacob Epstein Sculptor, New York, 1963, p. 146, pl. 223, another example illustrated;
E. Silber, The Sculpture of Epstein with a Complete Catalogue, Lewisburg, Pennsylvania, 1986, p. 159, no. 166, another example
illustrated (with the long left arm).
NOTE:
We wish to thank Mr. Keith Chapman for his gracious assistance in cataloguing this lot.
Estimate: $5,000-$7,000

77009
Francisco Zúñiga (1912-1998)
Mujer en banco con las piernas extendidas, 1962
11 x 10-3/4 x 7-1/4 inches (27.9 x 27.3 x 18.4 cm)
Ed. 2/3
Incised on the reverse: Zuniga / II 1962
PROVENANCE:
Private collection.
LITERATURE:
Francisco Zúñiga: Catalogue Raisonné, Volume I (Sculpture 1923-1993), Mexico, 1999, p. 227, no. 328, illustrated.
NOTE:
We wish to thank Ariel Zúñiga for conﬁrming the authenticity of this work, which will be included in the forthcoming updated
Volume I of Francisco Zúñiga: Catalogue Raisonné.
Estimate: $5,000-$7,000

77010
Diego Rivera (1886-1957)
Untitled (Man with bale on his back), 1943
Pencil on paper
Signed, dated, and dedicated lower right: A mi querida / amigo McGregor / Diego Rivera 43
PROVENANCE:
The artist;
By descent to the present owner, Washington D.C. and Sarasota, Florida.
Estimate: $8,000-$12,000

77011
Diego Rivera (1886-1957)
Untitled (Woman), 1943
Pencil on paper
Signed, dated, and dedicated lower left: A mi querida amigo / McGregor / Diego Rivera 43
PROVENANCE:
The artist;
By descent to the present owner, Philadelphia, Pennsylvania.
Estimate: $8,000-$12,000

77012
Rafael Coronel (b. 1932)
Brunelleschi cat de Florencia, 1969
Oil on canvas
28 x 49 inches (71.1 x 124.5 cm)
Signed lower center: Rafael Coronel
Signed, titled, and dated on the reverse: Brunelleschi / cat de Florencia / Rafael Coronel 69
PROVENANCE:
The artist;
Jack Rollins, New York, acquired from the above;
Estate of the above.
Estimate: $20,000-$30,000

77013
Rafael Coronel (b. 1932)
Untitled (Man holding head)
Oil on canvas
48 x 61 inches (121.9 x 154.9 cm)
Signed lower right: Rafael Coronel
PROVENANCE:
The artist;
Jack Rollins, New York, acquired from the above;
Estate of the above.
Estimate: $10,000-$15,000

77014
Fernando Botero (b. 1932)
Seated Man, 2000
Oil on canvas
15-1/2 x 12-1/4 inches (39.4 x 31.1 cm)
Signed and dated lower left: Botero 00
PROVENANCE:
The artist;
Marlborough Gallery, New York, acquired from the above in 2000;
Private collection, acquired from the above in 2001.
Estimate: $100,000-$150,000
The Colombian painter and sculptor has taken up an impressive amount of real estate in the annals of 20th-century South
American painting; it’s fitting, then, that his proudly portly subjects also command the spaces in which they sit, dance,
romance, and cavort. While he’s often typecast as a maestro of larger bodies, Botero--who is himself almost reedy in
comparison to his characters--has always maintained that his true goal is the depiction of “volume,” fleshy or otherwise.
This 2000 canvas hits all the registers that have made Botero that rare combination: a crowd-pleasing household name
whose paintings more than hold up to critical scrutiny. Many of Botero’s works focus on families, or couples, but the
figure of a solitary man at rest is one that the artist has returned to at various times over his career. These gentlemen are
pensive, and a little awkward; they are, invariably, clutching cigarettes.
This Seated Man also provides the opportunity to revel in how the magic of “Boterismo” isn’t just about the exaggerated
human form. Here, the artist lingers lovingly over small details, like a discrete still life (a bottle, a glass of juice or alcohol)
set atop a table whose cloth’s drapery is as plumply evocative as any extravagant folds of flesh. The man himself is an odd
mix of the comic and the tragic--his hat a bit too tiny, his little blue tie truncated, almost child-sized. Yet he’s also refined:
notice the way the carefully manicured orbs of his fingernails mirror the metal grommets of the chair upon which he sits,
and the fasteners of the red suspenders peeking out from his blazer.
Many of Botero’s subjects are stiffly posed, staring out at the viewer, as if uncomfortably sitting for the artist and waiting
for the experience to be over. This Seated Man is more casual, yet not completely relaxed—he looks, anxiously or
wistfully, at something out of the frame. He has yet to light his cigarette. We find him, perhaps, at the tail end of a
punishing day at the office: unwinding, but not yet unwound.
Botero is also an exquisite, exuberant colorist, and in this sense Seated Man is pure pleasure. If the man’s own workaday
garb is a drab, earthy brown, he’s saved by the delight of his surroundings. Tonal echoes abound: between the man’s
drink and his shirt; between the robin’s egg blue of his tie and the similar tone of the chair. His apartment itself is almost
alive, its rich pink wall and dark green door perfectly in balance (and subtly recalling the flesh and rind of a watermelon,
another favorite Botero subject). The humble home of this anonymous man has the thrilling, color-blocking electricity of
Mexican architect Luis Barragán. As is Botero’s wont, this Seated Man is a joyful contradiction, simultaneously ridiculous
and quietly heroic.

77015
Louise Nevelson (1899-1988)
Seated Figures, circa 1932
Bronze with black patina
12-1/2 x 15-1/2 x 9-1/2 inches (31.8 x 39.4 x 24.1 cm)
Incised on the reverse: Nevelson
PROVENANCE:
Sotheby’s Parke-Bernet, April 5, 1967, lot 66;
Private collection, Florida, present owner, acquired from the above.
NOTE:
This lot is accompanied by a copy of a certiﬁcate of authenticity signed by the artist on June 15, 1967.
Estimate: $5,000-$7,000

Property from the
Zinn Gordon Family Collection
Lots 77016 - 77021

77016
Hans Hofmann (1880-1966)
Landscape No. 130, 1934
Oil on panel
25 x 30 inches (63.5 x 76.2 cm)
Signed and dated lower right: Hans Hoffman 34
With the artist’s estate number on the reverse: M-1112
PROPERTY FROM THE ZINN GORDON FAMILY COLLECTION
PROVENANCE:
The artist;
Estate of the above, 1966-88;
André Emmerich Gallery, New York, 1988 (label verso);
[With]William H. Lane Foundation, Leominster, Massachusetts (label verso);
Marianne Friedland Gallery, Toronto, Canada, 1988 (label verso);
Private collection, acquired in 1988.
EXHIBITED:
Heath Gallery, Atlanta, Georgia, 1983;
Thomas Babeor Gallery, La Jolla, California, February 8-April 6, 1985;
Marianne Friedland Gallery, Toronto, Canada, 1986.
LITERATURE:
S. Villiger, ed., Hans Hofmann: Catalogue Raisonné of Paintings, Volume II,
Burlington, Vermont, 2014 no. P24, p. 22, illustrated.
Estimate: $50,000-$70,000

77017
Friedel Dzubas (1915-1994)
Desert Heart, 1976
Acrylic on canvas
72 x 72 inches (182.9 x 182.9 cm)
Signed, titled, dated, and inscribed on the reverse:
Dzubas / /1976 / “Desert Heart” / #26 Magna acrylic on canvas / 72” x 72”
PROVENANCE:
Knoedler Contemporary Art, New York;
Dorothy Blau Gallery, Bay Harbor Islands, Florida (label verso);
Acquired by the present owner from the above in 1999.
EXHIBITED:
Knoedler Contemporary Art, New York, “Friedel Dzubas,” April 3-21, 1976.
Estimate: $40,000-$60,000
Now when I work large – when I work anything – I have
been trying to start painting without knowing what I want
to paint, and then go with the storm, so to speak. I conquer
by going with it. When you work large, it’s easier to get lost,
and I want to get lost.

77018
Paul Jenkins (1923-2012)
Phenomena East Encounter, 1974
Acrylic on canvas
48 x 60 inches (121.9 x 152.4 cm)
Signed lower left: Paul Jenkins
Signed, titled, dated, and inscribed on the reverse:
50” x 60 “ Paul Jenkins “Phenomena East Encounter” 1974 Nov
PROVENANCE:
Gimpel Weitzenhoffer Gallery, New York;
Estimate: $20,000-$30,000

77019
Janet Fish (b. 1938)
Rain, Toy Bird, and Strawberries, 1989
Watercolor on paper
Signed and dated lower right: Janet Fish / 1989
PROVENANCE:
Marianne Friedland Gallery, Toronto, Canada (label verso);
Robert Miller Gallery, New York (stamp verso).
Estimate: $6,000-$8,000

77020
Francisco Zúñiga (1912-1998)
La calera (The Lime Seller), 1977
Bronze
26-1/4 x 20 x 14-1/2 inches (66.7 x 50.8 x 36.8 cm)
Ed. 2/6
Signed, dated, and numbered to the base: Zúñiga / 1977 V/VI
PROVENANCE:
Sindin Galleries, New York;
LITERATURE:
A. Zúñiga, Francisco Zúñiga: Catalogue Raisonné, Volume I (Sculpture 1923-1993), Mexico City, Albedrío & Fundación
Zúñiga Laborde, 1999, p. 456, no. 786.
NOTE:
We wish to thank Ariel Zúñiga for conﬁrming the authenticity of this work, which will be included in the forthcoming
updated Volume I of Francisco Zúñiga: Catalogue Raisonné.
Estimate: $20,000-$30,000

77021
George Rickey (1907-2002)
Two Folded Rectangles Eccentric Gyratory, 1978-90
Stainless steel
32 x 13-1/4 x 5-1/2 inches (81.3 x 33.7 x 14.0 cm) (approximate)
Ed. 4/5
Incised with the signature, date, and number to the base: 4/5 / 1978-90/ George Rickey
PROVENANCE:
Marianne Friedland Gallery, Naples, Florida;
Estimate: $15,000-$25,000

77022
Hans Hofmann (1880-1966)
Holocaust, 1953
Oil on panel
25 x 30 inches (63.5 x 76.2 cm)
Signed and dated on the reverse: Hans Hofmann / 1953
Numbered in the artist’s estate stamp on the reverse: M-0248
PROVENANCE:
The artist;
Estate of the above, 1966;
Renate, Hans and Maria Hofmann Trust, 1996;
Hacket-Freedman Gallery, San Francisco, 2003;
Ameringer Yohe Fine Art, New York, 2005;
Private collection, Nevada.
EXHIBITED:
Emmerich, New York, 1995 (label verso);
Galerie Haas & Fuchs, Berlin, 1997;
PAAM, Provincetown, Massachusetts, 2000;
Hacket-Freedman Gallery, San Francisco, 2005.
LITERATURE:
Forman, Cape Cod Times (solo exh. rev.), 2000, comm p. B2;
Yohe, ed., Hans Hofmann, 2002, p. 155, comm. p. 29, illustrated;
Hackett-Freedman Gallery, San Francisco, December 2003, ad for exhibition. Art in America 91, no. 12, p. 15, illustrated;
Hackett-Freedman Gallery, San Francisco, January 2004, ad for exhibition, ARTnews 103, no. 1, p. 11, illustrated;
Hackett-Freedman Gallery, San Francisco, 2004, exhibition announcement card, illustrated;
S. Villiger et al., Hans Hofmann Catalogue Raisonné of Paintings, London, 2014, p. 50, no. P921, illustrated.
Estimate: $300,000-$500,000

The famed Abstract Expressionist took a somewhat circuitous path
toward the signature style that he is now best remembered for: the
shimmeringly vibrant rectangles of pure, floating color, commonly
referred to as his “Slab” paintings. Decades before that, with works
like The Wind (1944), Hofmann evinced a looser, chance-based hand,
leading to a still-unsettled debate as to whether he or Jackson Pollock
had first pioneered the “drip” technique of painting. Holocaust (1953),
a chaotic maelstrom of violent color, is unique even among Hofmann’s
more gestural abstractions. It pulsates with a foreboding, dark energy.
And while most of the German-born, nature-loving artist’s canvases
were graced with light-footed, evocative titles—like Above Deep
Waters or Dew and Dusk--this painting consciously alludes to one of
the primary horrors of the 20th century.
Hofmann had relocated from Germany to the United States in the
early 1930s, settling in New York City and, later, the fertile creative
enclave of Provincetown, Massachusetts. By the 1950s, then in his early
seventies, Hofmann had already established his reputation as both
a boldly experimental artist and a terrifically influential teacher. Just
under ten years before Holocaust was completed, the artist had been
given his splashy New York debut at Peggy Guggenheim’s legendary
Art of This Century gallery. He was showing with the Kootz Gallery,
home also to Adolph Gottlieb and Robert Motherwell; his work had
hung in pivotal exhibitions, like 1947’s “The Ideographic Picture” at
Betty Parsons Gallery, alongside that of peers like Mark Rothko and
Clyfford Still.
The artist Elaine de Kooning offers some fascinating insights into
Hofmann’s practice in “Hans Hofmann Paints a Picture,” a 1950 article
for ARTNews. We learn of his spontaneity and speed (“a painting
must be finished in one sweep”) and a habit for arranging still life
tableaux--a “white bowl, three apples, an ashtray, a small pitcher and
a jar of show-card color”--in order to generate abstract compositions
in which basically no trace of the source material remains, other than
intimations of shape, tone, and shadow. De Kooning notes that, often,
the title came last; Hofmann “finds his subject only when the picture is
finished,” she writes.
What are we to make, then, of a painting whose subject ends up being
Germany’s systematic program for the mass extermination of millions of
Jews and other so-called “undesirables”? None of Hofmann’s paintings
from the decade come anywhere close in terms of engaging with
such horrors. Other oil-on-board studies and works from the 1950s
are more in line with a piece like Pink Phantasie (1950): a swooping,
kinetic confection in which the titular pigment plays a bold, starring
role. The AbEx master’s sense of color, play, and movement are all
equally at work in Holocaust, yet the subject Hofmann found for
this singular composition is one that has always been cast as beyond
comprehension or representation.
Divorced from its title, Holocaust would never be associated with its
historical reference. The modestly scaled work is pure abstraction, with
a churning, circular energy (let your eye settle on the lower-left corner
of the panel and you’ll find it coaxed upward, counterclockwise, into
a ceaseless, tumbling funnel). Hofmann, who always delighted in the
buoyancy of primary colors, is in some ways working in such a mode
here—but the composition is hijacked by splotches of screaming,
crimson red. Along the painting’s borders, a cloud of dense black
hovers, perhaps on the verge of closing in. If the artist, laboring
in his Provincetown studio, was in the habit of casually arranging
furniture and tableware to inspire his abstractions, Holocaust suggests
a fascinating anomaly for Hofmann, whose process mandated that
he steadfastly stuck to “painting from life.” In this violent, brilliant,
uncommon work from the Abstract Expressionist icon, we catch a
glimpse of a diversion from that well-worn path: An attempt to paint
from history, or from historical memory; to paint something that words
would always fail, something beyond the imagination.

77023
Georges Mathieu (1921-2012)
Cardamine, 1964
Oil on canvas
29 x 51 inches (73.7 x 129.5 cm)
Signed and dated lower left: Mathieu 64
Titled on the reverse of the stretcher: “Cardamine”
PROVENANCE:
Private collection, New York.
EXHIBITED:
Gimpel & Hanover Galerie, Zurich, “Mathieu Part II,” February 6-March 3, 1965.
LITERATURE:
Gimpel & Hanover, Mathieu — Part II, exhibition catalogue, Zurich, 1965, no. 12.
NOTE:
We thank Monsieur Jean-Marie Cusinberche for the information he has kindly provided us about this work.
Estimate: $40,000-$60,000

77024
Paul Jenkins (b. 1936)
Phenomenon House of Mirrors, 1966
Watercolor on paper
30 x 22 inches (76.2 x 55.9 cm) (sheet)
Signed lower left: Paul Jenkins
Estimate: $4,000-$6,000

77025
Paul Jenkins (1923-2012)
Phenomena Tie the Silk, 1965
Acrylic on canvas
37-1/4 x 35 inches (94.6 x 88.9 cm)
Signed lower right: Jenkins
Signed, titled, and dated on the reverse of the stretcher: Paul Jenkins Phenomena Tie the Silk 1965
PROVENANCE:
The Martha Jackson Gallery, New York (label verso);
Private collection, Massachusetts, acquired from the above circa 1980.
Estimate: $20,000-$30,000

77026
Julian Stanczak (1928-2017)
Migrating Sounds, 1965
Acrylic on canvas
46 x 39-1/2 inches (116.8 x 100.3 cm)
Signed, titled, and dated on the reverse of the stretcher: Julian Stanczak 1965 / “Migrating Sounds”
Signed on the reverse: Julian Stanczak
PROVENANCE:
Martha Jackson Gallery, New York (label verso);
Acquired by the present owner from the above.
EXHIBITED:
Martha Jackson Gallery, New York, “Julian Stanczak,” October 12-30, 1965.
Estimate: $30,000-$50,000

77027
Yoshio Sekine (1922-1988)
Abacus No. 170
Oil on canvas
16-1/2 x 12-1/2 inches (41.9 x 31.8 cm)
Signed in English and Japanese and titled on the reverse: No. 170 / Y. Sekine
PROPERTY FROM THE PRUDENTIAL INSURANCE COMPANY OF AMERICA
PROVENANCE:
Albright-Knox Art Gallery, Buffalo, New York (label verso);
Staempﬂi Gallery, New York.
Estimate: $3,000-$5,000

77028
Yoshio Sekine (1922-1988)
Abacus No. 250, 1971
Oil on canvas
35 x 51 inches (88.9 x 129.5 cm)
Signed, titled, and dated on the reverse: Feb ‘71 #250 / Yoshio Sekine
PROVENANCE:
Staempﬂi Gallery, New York.
Estimate: $6,000-$8,000

77029
Victor Vasarely (1906-1997)
Monocolor Yellow/Yellow, 1971
Collage multiple with luran on metal
39-1/2 x 39-1/2 inches (100.3 x 100.3 cm)
Ed. 2/8
Signed in ink lower right and on label afﬁxed to the reverse of the frame
Published by Pyra AG, Zurich
PROVENANCE:
Hanover Galerie, Zürich.
NOTE:
The authenticity of the present work has been conﬁrmed by Pierre Vasarely.
Estimate: $4,000-$6,000

77030
Agnes Martin (1912-2004)
Untitled, 1977
Watercolor, pencil, and ink on paper
Signed and dated lower right: A. Martin ‘77
PROVENANCE:
Margo Leavin Gallery, Los Angeles;
The Pace Gallery, New York.
NOTE:
This work will be included in an upcoming catalogue raisonné of Agnes Martin’s works on paper to be published digitally by Artifex Press.
Estimate: $40,000-$60,000

77031
Saliba Douaihy (1915-1994)
Abstraction en rouge, 1983
Oil on canvas
51 x 35 inches (129.5 x 88.9 cm)
Signed and dated on the reverse: S. Douaihy / 1983
PROVENANCE:
A.R.T. Auctions, Beirut, Lebanon, December 7-11, 2013, lot 60;
Mr. and Mrs. Fadi Khayat, Beirut, Lebanon.
NOTE:
This painting has been authenticated by the Saliba Douaihy Foundation, Inc., a 501 (c)(3) non-proﬁt public charity
dedicated to promoting the arts in the name of Saliba Douaihy. According to the Foundation, the work was painted
in the late 1960s to early ‘70s and signed by Douaihy at the time of sale in 1983. The lot is accompanied by a letter of
authenticity from the Foundation.
Estimate: $30,000-$50,000

77032
Larry Bell (b. 1939)
MS 29, 1978
Vaporized metal on Arches paper
Signed and dated lower center: L. Bell ‘78
PROVENANCE:
Marion Goodman Gallery, New York, 1979;
NOTE:
We wish to thank the Larry Bell Studio for cataloguing assistance.
Estimate: $10,000-$15,000

77033
ELIN 56 (Ellipse with insert), 1982
Aluminum and silicon monoxide on Stonehenge paper with a Stonehenge insert
Signed and dated lower center: L Bell ‘82
PROVENANCE:
Unicorn Gallery, Aspen, Colorado, 1983;
Private collection, California.
EXHIBITED:
Newport Harbor Art Museum, Newport Beach, California, “On the Ellipse, Works by
Larry Bell,” March 5-May 1, 1982;
Milwaukee Art Museum, Milwaukee, Wisconsin, “Larry Bell: New Work,” June
18-August 15, 1982;
Detroit Institute of Arts, Detroit, Michigan, “Larry Bell: New Work,” October
13-December 19, 1982.
NOTE:
Estimate: $10,000-$15,000

77034
Light Knot, circa 2014
Polyester ﬁlm coated with aluminum and silicon monoxide
27 x 14 x 14-1/4 inches (68.6 x 35.6 x 36.2 cm)
PROVENANCE:
The artist;
Private collection, present owner, gifted from the above.
NOTE:
Estimate: $10,000-$15,000

77035
Billy Al Bengston (b. 1934)
Untitled, circa 1966
Lacquer and polyurethane on aluminum
18 x 17 inches (45.7 x 43.2 cm)
PROVENANCE:
Private collection, Beverly Hills, California.
NOTE:
We would like to thank Billy Al’s Lab for conﬁrming the authenticity of this painting and for providing helpful catalogue information.
Estimate: $15,000-$25,000

77036
Mary Corse (b. 1945)
Untitled from the Grey Light Grid series, 1988
Glass microspheres in acrylic on canvas
48-1/2 x 48-1/2 inches (123.2 x 123.2 cm)
PROVENANCE:
Marc Richards Gallery, Los Angeles (label verso);
Private collection, Marina del Rey, California, acquired from the above.
Estimate: $30,000-$50,000
For me painting has never been about the paint, but what
the painting does. I didn’t want to make a picture of light;
I wanted to put the actual light in the painting so I
searched for materials that would do this. I wanted to
make a painting that would depend on the viewer’s
perception, so I used this medium to create change in
relation to the viewer’s position.

77037
Donald Judd (1928-1994)
Untitled, 1986
Folded aluminum and black Plexiglas
27-7/8 x 27-7/8 x 3-1/8 inches (70.8 x 70.8 x 7.9 cm)
Ed. 25/40 + 10 A.P.
Stamped on the reverse: Judd 25-40
Published by Brooke Alexander Editions, New York to beneﬁt the New Museum, New York
PROVENANCE:
The New Museum of Contemporary Art, New York;
Private collection, Birmingham, Michigan, acquired from the above in 1987.
LITERATURE:
J. Schellmann and M. J. Jitta, eds., Donald Judd Prints and Works in Editions, New York, 1996, p. 149.
Estimate: $25,000-$35,000

77038
Richard Lin (1933-2011)
Welsh Summer, 1971
Oil on canvas
25 x 25 inches (63.5 x 63.5 cm)
PROVENANCE:
Marlborough Fine Art, London (label verso);
Marlborough-Godard Gallery, Toronto, Ontario (label verso);
Private collection, Dallas.
Estimate: $40,000-$60,000

77039
Judy Chicago (b. 1939)
Untitled (Three circles)
Sprayed acrylic lacquer on acrylic
27 x 27 inches (68.6 x 68.6 cm)
PROVENANCE:
The artist;
George Whenham, Pasadena, California, acquired from the above circa 1970;
Private collection, acquired from the above.
Estimate: $6,000-$8,000

77040
Judy Chicago (b. 1939)
Untitled (Three circles)
Sprayed acrylic lacquer on acrylic
15 x 15 inches (38.1 x 38.1 cm)
PROVENANCE:
The artist;
George Whenham, Pasadena, California, acquired from the above circa 1970;
Estimate: $3,000-$5,000

77041
Patrick Heron (1920-1999)
Mini with Umber and Crimson, 1971
Gouache on paper
Signed, titled, dated, and inscribed mount verso: Patrick Heron / Mini with Umber and / Crimson: Dec 1971 / 7-1/8” x 9-5/8”
PROVENANCE:
The artist;
The Waddington Galleries, acquired from the above in 1972;
Mr. Stanley Korshak, acquired from the above in 1973;
By descent to the present owner.
Estimate: $6,000-$8,000

77042
Carlos Mérida (1891-1984)
No. 1, 1982
Gouache and ink on paper
Signed and dated lower right: Carlos / Mérida / 1982
PROVENANCE:
Private collection, Dallas.
NOTE:
This lot is accompanied by a copy of a certiﬁcate of authenticity issued by the artist in 1982.
Estimate: $15,000-$25,000

77043
Untitled, 1933
Gouache and watercolor on paper
Signed and dated lower center: Carlos / Mérida / 1933
PROVENANCE:
Estimate: $5,000-$7,000

77044
Las Vestales, 1968
Colored pencil on paper
Signed lower right: Carlos
Signed, titled, and dated on verso: Carlos / Mérida “Las Vestales” / 1968
PROVENANCE:
Estimate: $4,000-$6,000

77045
Carlos Cruz-Diez (b. 1923)
Signos y ritmos vegetales, 1956
Oil on canvas
32 x 25-1/2 inches (81.3 x 64.8 cm)
Signed and dated lower right: Carlos / Cruz-Diez / 56
Titled on the reverse of the stretcher: Signos y ritmos vegetales
Signed, dated, and inscribed on the reverse: Carlos Cruz-Diez / Masnou- 1956
PROVENANCE:
Alfredo Sadel, Caracas, Venezuela (label verso);
Alexis and Elizabeth Jean Corﬁno;
Private collection, California, by descent from the above.
Estimate: $20,000-$40,000

77046
Günther Uecker (b. 1930)
Poesie der Destruktion, 1984
Mixed media on canvas
24 x 24 x 5-1/2 inches (61.0 x 61.0 x 14.0 cm)
Signed, titled, and dated on the reverse: Poesie der Destruktion / 84 / Uecker
PROVENANCE:
Riva Yares Gallery, Santa Fe, New Mexico (label verso);
Private collection, Chicago;
Jewish Federation of Metropolitan Chicago, Chicago.
Estimate: $100,000-$150,000
After making his name at the tail end of the 1950s with the influential ZERO group—a German-centered, global
movement that he co-founded along with Heinz Mack and Otto Piene—Uecker began experimenting with new,
sculptural tactics for disrupting the history of painting. The artist found creative freedom in one of the most common
materials, the sort of nails found in any average toolbox, and found that he could conjure the extraordinary by banging,
bending, and arranging them into evocative compositions. He had initially experimented by piercing three-dimensional
objects, like chairs or pianos, with outgrowths of nails.
From there he moved on to his mature style, geometric arrangements of nails on canvas that performed the same duty
as brushstrokes. Often, this meant creating almost hypnotic patterns: swirling spirals or undulating, fluid waves. In this
way, Uecker contrasted the violent force at the foundation of his practice (a sharp metal spike pounded by force with a
hammer) with eye-pleasing compositions, made all the more seductive by the way that light from various angles would
play off the densely crowded field of nails. Depending on their orientation, they could resemble swarms of birds or bees,
or elegant, almost fractal geometries.
Poesie der Destruktion, as its title strongly suggests, is invested in rationalizing or harnessing those two opposing forces:
creative beauty, and destruction. While many of Uecker’s works are meticulously composed—painstaking, serial rows of
nails arranged to convey optical effects—this square-shaped composition has the deceptive appearance of randomness. A
ground of camouflage-like, orange and black streaks of oil paint, interspersed with passages of raw canvas, is obscured by
a thicket of bashed and mangled nails. It’s as if the painting itself is shielded beneath this carapace of metal, which takes
the cool rationality of Uecker’s earlier arrangements and forcibly flattens and smashes it into submission. The tortured bits
of metal curve and flex beyond the borders of the painting itself.
An Uecker work like Spirale (1966), with its ordered curvature of precisely angled nails, sought to seduce. With Poesie
der Destruktion, the artist has no such placating aims. It’s a tougher vision, one that rewards patience and an open mind.
What we find here is more akin to a poetics of war, of shrapnel: the aftermath of a disaster or explosion. The painting—
which at first seems intent on repelling, on warding off—ultimately asks us to revel in the wreckage.

77047
Jules Olitski (1922-2007)
Juno Emanation- 2, 1979
Acrylic on canvas
22-1/2 x 79 inches (57.2 x 200.7 cm)
Signed, titled, dated, and inscribed on the reverse: Jules / Olitski / ‘79 / Juno Emanation- 2 / 1979 / water base acrylic on canvas / 22 1/2 x 79” / 79-05-6
PROVENANCE:
Harcus Krakow Gallery, Boston, Massachusetts, 1982;
Private collection;
Doyle Auctions New York, May 8, 2013, lot 131;
Private collection.
EXHIBITED:
Harcus Krakow Gallery, Boston, Massachusetts, “Jules Olitski,” February 9- March 8, 1980.
NOTE:
We would like to thank Lauren Poster, Director of the Jules Olitski Family Estate, for her cataloguing assistance.
Estimate: $20,000-$30,000

77048
Jennifer Losch Bartlett (b. 1941)
Swimmers and Rafts, Jumble, 1979
Oil on canvas (2) and enamel, silkscreen, and baked enamel on steel (50)
60 x 60 inches (152.4 x 152.4 cm) (canvas, each)
12 x 12 inches (30.5 x 30.5 cm) (steel tile, each)
Each canvas titled, dated, and inscribed, on the reverse of the stretcher: Swimmers & Rafts / Jumble / [x] of 2 canvases
Each tile with an afﬁxed label to the reverse with the title, date, row number, and plate number
PROVENANCE:
Paula Cooper Gallery, New York.
EXHIBITED:
Paula Cooper Gallery, New York, “Jennifer Bartlett,” November 7-December 1, 1979.
Estimate: $20,000-$30,000

I did a series of paintings, Swimmers, where I tried to make a more frontal account of human presence.
I had ellipses as swimmers. They were black, brown, tan, pink; they all referred to human ﬂesh tones.
I thought I would try more ellipses in different sizes to convey the way we exist as bodies in the world.

77049
Andy Warhol (1928-1987)
Art Paul
Polaroid
3-5/8 x 2-7/8 inches (9.2 x 7.3 cm)
Signed in lower margin: Andy Warhol
PROVENANCE:
Collection of Arthur Paul and Suzanne Seed, Chicago. Illinois.
NOTE:
This lot is accompanied by three gelatin silver press photographs by
Lutz Böhme, two depicting Andy Warhol with Art Paul and one of Andy
Warhol with a camera.
Estimate: $4,000-$6,000

77050
Joseph Beuys, 1980
The complete portfolio of three screenprints on Arches Cover Black
paper (F./S. II.245 and II.247 have diamond dust)
40 x 30 inches (101.6 x 76.2 cm) (each)
Signed and numbered in pencil lower right
Ed. 70/90 + 15 A.P.
Published by Rupert Jasen Smith, New York
Printed by Editions Schellmann & Klüser, Munich,
Germany/New York
LITERATURE:
Feldman/Schellmann, II.245-247.
Estimate: $50,000-$70,000

77051
Campbell’s Soup Box (Onion Mushroom), 1986
Synthetic polymer paint and silkscreen ink on canvas
24 x 20-1/2 inches (61.0 x 52.1 cm)
Stamped twice with the artist’s signature, dated, and inscribed on the reverse: Certiﬁed / A1090.6 / © 1986 Andy Warhol
PROVENANCE:
The artist;
James D. Perry, New York, gift from the above circa 1986;
Jeffrey Milburn, gift from the above;
Andrew B. Cambron, acquired from the above in November 1989;
Oliver’s Inc., Kennebunkport, Maine;
Art Brokerage, Inc., Idaho;
Private Collection, acquired from the above in March 1991;
Sotheby’s New York, May 12, 2016, lot 196;
Private collection, California;
Heritage Auctions November 11, 2016; lot 66130;
Revolver Gallery, Los Angeles;
Private Collection, New York.
Estimate: $150,000-$250,000

77052
David Hockney (b. 1937)
Fredda Bringing Ann and Me a Cup of Tea, 1983
Photographic collage on paper
Ed. 5/10
Signed, titled, and dated lower center: Fredda bringing Ann and Me a cup of tea April 16th 1983 David Hockney
PROVENANCE:
Richard Gray Gallery, Chicago, Illinois (label verso);
Pillsbury and Peters Fine Art, Dallas (label verso);
Private collection, Dallas, acquired from the above.
LITERATURE:
L. Wechsler, David Hockney Cameraworks, London, 1984, no. 116 (another from the edition illustrated);
P. Melia, David Hockney, Manchester, 1995, no. 6.8 (another from the edition illustrated in color, p. 122).
Estimate: $15,000-$20,000

77053
Keith Haring (1958-1990)
Untitled, 1989
Ink on cardboard
12 x 9 inches (30.5 x 22.9 cm)
Signed and dated on recto: K. Haring 89
NOTE:
This work is accompanied by a certiﬁcate of authenticity from the artist’s estate.
Estimate: $10,000-$15,000

77054
Keith Haring (1958-1990)
Untitled, 1984
Sumi ink on paper
Signed and dated on verso: K. Haring Jan. 14-84
PROVENANCE:
Martin Lawrence Galleries (label verso).
Estimate: $80,000-$120,000

77055
Jeff Koons (b. 1954)
Ice Bucket, 1986
Cast stainless steel
9-1/4 x 7 x 12 inches (23.5 x 17.8 x 30.5 cm)
Ed. 1/3
PROVENANCE:
The artist;
Daniel Weinberg Gallery, Los Angeles, California;
Anita Reiner, acquired from the above in 1986;
Estate of the above, 2013;
Heritage Auctions, New York, May 2, 2016, lot 69227;
EXHIBITED:
Daniel Weinberg Gallery, Los Angeles, California, “Luxury and Degradation,” July 19-August 16, 1986;
[The above exhibition also traveled to] International With Monument Gallery, New York, October, 1986;
Faggionato Fine Arts, London, “Object/Sculpture/Object,” October 9-November 24, 2000 (another example exhibited);
Gimpel Fils, London,”The (Ideal) Home Show,” July 11-September 8, 2001, (another example exhibited);
Dickinson Roundell Inc., New York, “Aftershock: The Legacy of the Readymade in Post-War and Contemporary American
Art,” May 5-June 20, 2003, (another example exhibited);
Astrup Fearnley Museum of Modern Art, Oslo, Norway, “Jeff Koons: Retrospective,” April 9, 2004-December 12, 2004,
(another example exhibited);
Whitney Museum of American Art, New York, “Jeff Koons: A Retrospective,”June 27-October 19, 2014;
Cristin Tierney Gallery, New York, “Meet Me Halfway: Selections from the Anita Reiner Collection,”
February 26-April 4, 2015.
LITERATURE:
A. Muthesius, Jeff Koons, Cologne, 1992, p. 77, no. 14;
R. Rosenblum, ed., The Jeff Koons Handbook, London/New York, 1992, p. 157;
Dickinson Roundell, Inc., ed., Aftershock: The Legacy of the Readymade in Post-War and Contemporary American Art,
New York, 2003, p. 87, no. 37, another example illustrated;
Astrup Fearnley Museum of Art, Jeff Koons: Retrospective, Oslo, 2004, p. 41, another example illustrated;
Hans Werner Holzwarth, ed., Jeff Koons, Madrid, 2009, pp. 198 and 207, another example illustrated;
Whitney Museum of American Art, Scott Rothkopf, Jeff Koons: A Retrospective, New York, 2014, p. 79, pl. 37.
NOTE:
This work comes with a certiﬁcate of authenticity from the artist’s studio.
Estimate: $80,000-$120,000

77056
Jeff Koons (b. 1954)
Balloon Rabbit (Red), Balloon Monkey (Blue), and Balloon Swan (Yellow)
(three works), 2017
Porcelain
9-3/4 x 6-1/2 x 7-1/2 inches (24.8 x 16.5 x 19.0 cm);
11 x 5-3/4 x 7 inches (27.9 x 14.6 x 17.8 cm); 9-1/2 x 8-1/4 x 16 inches (24.1 x 21.0 x cm)
Ed. 444/999; 96/999; 386/999
Each with printed artist’s signature, title, date, and edition number on the bottom
Produced by Bernardaud, Limoges, France
Estimate: $30,000-$50,000
Jeff Koons, Balloon Swan (Yellow) at Museo Jumex in Mexico City. Image courtesy Andy García

77057
Alighiero Boetti (1940-1994)
I fregi e gli sfregi, 1989
Embroidery on canvas
8-3/4 x 8-3/4 inches (22.2 x 22.2 cm)
Signed on the reverse: Alighiero Boetti
PROVENANCE:
NOTE:
This work is registered in the Archivio Alighiero Boetti, Rome, under no. 89 RL 87
and is accompanied by a photo-certiﬁcate of authenticity from the Archivio.
Estimate: $30,000-$40,000

77058
Alighiero Boetti (1940-1994)
Le turbe i disturbi, circa 1990
Embroidery on canvas
11-1/8 x 10 inches (28.3 x 25.4 cm)
PROVENANCE:
Caterina Boetti, Rome, Italy;
NOTE:
This work is registered in the Archivio Alighiero Boetti, Rome, under no. 5469
and is accompanied by a photo-certiﬁcate of authenticity from the Archivio, issued on December 11, 2006.
Estimate: $30,000-$50,000

77059
David Park (1911-1960)
Study for Interior, 1957
Watercolor on paper
Inscribed on verso: C-1284 Lydia Park Moore 8-29-66
PROPERTY FROM A DISTINGUISHED SOUTHERN CALIFORNIA
COLLECTION
PROVENANCE:
The artist;
Maxwell Galleries, San Francisco;
Acquired from the present owner from the above in 1979.
EXHIBITED:
Whitney Museum of American Art, New York, “David Park,”
November 3, 1988- January 15, 1989 (label verso);
The Oakland Museum, Oakland, California, “David Park,” May 20-
August 6, 1989 (label verso).
LITERATURE:
R. Armstrong, David Park, exhibition catalogue, Berkeley, California,
1988, no. 70, p. 119, illustrated.
Estimate: $6,000-$8,000
77060
William Theophilus Brown
(1919-2012)
Bathers, 1958
Oil on canvas laid on panel
12 x 15-3/4 inches (30.5 x 40.0 cm)
Signed and titled on the reverse:
William Brown / “Bathers”
PROVENANCE:
UCLA Thieves Market, Los
Angeles;
Acquired by the present owner
from the above in 1979.
Estimate: $3,000-$5,000

77061
Manuel Neri (b. 1930)
Vicola III, 1988
Oil-based pigments and charcoal on paper
Signed and dated lower left: Neri 88
NOTE:
We would like to thank Anne Kohs for her kind assistance with the catalog entry. Ms. Kohs points out
that “Mary Julia Klimenko was the model for the ‘Vicola’ series of drawings. There are a total of twenty-
six drawings from two different drawing sessions with Mary Julia Klimenko that are titled ‘Vicola.’ Twelve
drawings are from the ﬁrst series of working with the model and are numbered in Arabic numbers (Vicola
No. 1 to Vicola No. 12). Fourteen drawings are from the second session and are numbered in Roman
numerals (Vicola I to Vicola XIV).”
Estimate: $5,000-$7,000

77062
Wayne Thiebaud (b. 1920)
Untitled- Landscape, 1965
Pastel and pencil on paper
Signed and dated upper left: Thiebaud 1965
PROVENANCE:
Charles Campbell Gallery, San Francisco, California;
Private collection, Northern California.
Estimate: $60,000-$80,000

77063
Le Pho (1907-2001)
Les Poppies
Oil on canvas
15 x 18 inches (38.1 x 45.7 cm)
Signed in English and Vietnamese lower left: Le Pho
Titled on the reverse of the stretcher: Le Poppies
PROVENANCE:
Artist studio, 1978;
Wally Findlay Galleries, Beverly Hills, California, 1979;
Private collection, California, acquired from the above in 1979.
NOTE:
This lot will be included in the Le Pho catalogue raisonné being prepared by the Findlay Institute
and is accompanied by a certiﬁcate of authenticity.
Estimate: $6,000-$8,000

77064
Le Pho (1907-2001)
Les deux enfants et les roses
Oil on canvas
28-3/4 x 36-1/4 inches (73.0 x 92.1 cm)
Signed lower left: Le Pho
PROVENANCE:
The artist;
Wally Findlay Galleries, Palm Beach, Florida, acquired from the above in 1979;
Private collection, Florida, acquired from the above in 1979;
Private collection, California;
Heritage Auctions Dallas, June 9, 2010, lot 72017;
Private collection, Texas, acquired from the above.
NOTE:
This lot will be included in the Le Pho catalogue raisonné being prepared by the Findlay
Institute and is accompanied by a certiﬁcate of authenticity.
Estimate: $20,000-$30,000

77065
Hunt Slonem (b. 1951)
Gouldians III, 1989
Oil on panel
54-1/2 x 34-1/2 inches (138.4 x 87.6 cm)
Signed and dated on the reverse: Hunt Slonem ‘89
PROVENANCE:
Bergen Museum of Art and Science, New Jersey (label verso).
Estimate: $4,000-$6,000
77066
Blue Magpies, 1989
Oil on panel
38-1/4 x 25-1/2 inches (97.2 x 64.8 cm)
Signed, titled, and dated on the reverse: Hunt Slonem / 1989 / Blue Magpies
PROVENANCE:
Bergen Museum of Art and Science, Paramus, New Jersey (label verso).
Estimate: $3,000-$5,000

77067
Troupial, 1990
Oil on canvas
45-1/2 x 55-1/2 inches (115.6 x 141.0 cm)
Signed, titled, and dated on the reverse: Hunt Slonem ‘90 / Troupial
PROVENANCE:
Bergen Museum of Art and Science, New Jersey (label verso).
Estimate: $6,000-$8,000

77068
Donald Roller Wilson (b. 1938)
Holly (Half Jewish...), 1994
Oil on panel
11-1/2 x 9-1/2 inches (29.2 x 24.1 cm)
Signed and dated upper center: Donald Roller Wilson 1994/27
Signed and dated on label afﬁxed to the reverse of the frame: Donald Roller Wilson / 1994
PROVENANCE:
Wright Gallery, Palm Beach, Florida (label verso).
Estimate: $8,000-$12,000

77069
Donald Roller Wilson (b. 1938)
It Had Been a Matter of No Sequence Which Found Cookie Being Held by Her Own Self, Serving as Her Own Mother, 1980
Oil on canvas
27-3/4 x 50 inches (70.5 x 127 cm)
Signed and dated lower center: Donald Roller Wilson 1980
PROVENANCE:
The artist;
Estimate: $25,000-$35,000

77070
Red Grooms (b. 1937)
Somewhere in Beverly Hills, 1966-1976
Acrylic on plywood and masonite construction
94-1/2 x 84-1/2 x 24-3/4 inches (240.0 x 214.6 x 62.9 cm)
Signed and dated lower right: Red Grooms 1966-1976
PROVENANCE:
Marlborough Gallery, New York;
Sotheby’s New York, May 4, 1987, lot 81a;
EXHIBITED:
Pennsylvania Academy of Fine Arts, Philadelphia, and elsewhere, “Red Grooms: A Retrospective 1956-1984,” 1985-1986,
cat. no. 115, illustrated;
The Tampa Museum, May 21- August 22, 1983 (label verso).
LITERATURE:
C. Ratcliff, Red Grooms, New York, 1984, no. 103, p. 92, illustrated.
Estimate: $40,000-$60,000
I had always done these 3D things that you could walk through.
They were always done off the seat of my pants without blueprints or course.

77071
George Rodrigue (1944-2013)
Tiffany Moon, 1992
Acrylic on canvas
40 x 30 inches (101.6 x 76.2 cm)
Signed lower right: Rodrigue
Signed, titled, and dated on the reverse: “Tiffany / Moon” / George Rodrigue / 1992
Estimate: $20,000-$40,000

77072
Deborah Butterﬁeld (b. 1949)
Untitled (Small horse), 1980
Wire mesh
36 x 42 x 18 inches (91.4 x 106.7 x 45.7 cm)
PROVENANCE:
Zolla Lieberman Gallery, Chicago, Illinois;
Collection of Arthur Paul and Suzanne Seed, Chicago, Illinois;
acquired from above.
Estimate: $30,000-$40,000

77073
Robert Longo (b. 1953)
Ho Chi Minh, Dancers, and Dog (triptych), 1985
Charcoal, acrylic, and pencil on paper
27 x 30 inches (68.7 x 76.2 cm); 24 x 30 inches (61.0 x 76.2 cm); 19 x 27 inches (48.3 x 68.6 cm) (sight)
Signed lower right on the left and center works: Robert Longo
PROVENANCE:
Donald Young Gallery, Chicago, Illinois (label verso);
Metro Pictures Gallery, New York (label verso).
Estimate: $30,000-$50,000

An artist can have an intention, but the viewer has their own subjective experience.

77074
Alex Katz (b. 1927)
Red Robins (four panels), 1977
Acrylic on panel
61 x 96 inches (154.9 x 243.8 cm) (each)
One panel inscribed on the reverse: Katz K-333 (4 PTS)
PROVENANCE:
Robert Miller Gallery Inc., New York.
NOTE:
The present lot was likely part of a stage set that Katz executed for Kenneth Koch’s 1977 play, The Red Robins.
Estimate: $60,000-$80,000

I like to make an image that is so simple you can't avoid it,
and so complicated you can't ﬁgure it out.

77075
Tom Blackwell (b. 1938)
Sunday in New York, 1986
Oil on canvas
62 x 42 inches (157.48 x 106.68 cm)
Signed, titled, and dated on the reverse: Sunday in New York / Tom Blackwell 1986
PROVENANCE:
The artist;
Present owner, commissioned from the above in 1986.
LITERATURE:
L. Meisel, Photorealism Since 1980, New York, 1993, no. 230, p. 90, illustrated.
Estimate: $80,000-$120,000

77076
Jack Mendenhall (b. 1937)
Exterior with Rolls Royce, 1983
Watercolor on paper
Signed and dated lower right: Mendenhall 1983
PROVENANCE:
OK Harris Works of Art, New York.
Estimate: $2,000-$3,000

77077
Ralph Goings (b. 1928)
Sugar Dispenser, Front View, 1989
Watercolor and gouache on paper
5 x 3 inches (12.7 x 7.6 cm) (image)
Signed, dated, and inscribed on verso: Ralph Goings / Santa Cruz, CA 1989
PROVENANCE:
OK Harris Works of Art, New York (label verso);
Jerald Melberg Gallery, Charlotte, North Carolina (label verso);
Jonathan Novak Contemporary Art, Los Angeles (label verso).
Estimate: $4,000-$6,000

77078
Sugar Dispenser, 1989
Watercolor and gouache on paper
4 x 3 inches (10.2 x 7.6 cm) (image)
Signed and dated lower right: Goings 89
Signed, dated, and inscribed on the reverse: Ralph Goings / Santa Cruz, CA 1989
PROVENANCE:
Estimate: $4,000-$6,000

77079
Pepper Shaker- Blue, 1994
Watercolor and gouache on foamcore
4-1/2 x 3 inches (11.4 x 7.6 cm) (image)
Signed and dated lower right: Goings 94
Signed, titled, dated, and inscribed verso: “Pepper Shaker- Blue” / 4-1/2 x 3 Aug. 1994 / Ralph Goings
PROVENANCE:
Estimate: $4,000-$6,000

77080
Salt Shaker, 2001
Oil on canvas
11 x 14 inches (27.9 x 35.6 cm)
Signed lower right: Goings
Signed, titled, and dated on the reverse: Ralph Goings / 2001 / Salt Shaker
PROVENANCE:
OK Harris Works of Art, New York (label verso).
Estimate: $40,000-$60,000

77081
Igor Mitoraj (1944-2014)
Tindaro Nero II, 2008
Black marble
23-5/8 x 10-3/4 x 11-1/2 inches (60.0 x 27.3 x 29.2 cm)
Incised to the lower right side of the neck: Mitoraj
PROVENANCE:
Private collection, Great Neck, New York.
LITERATURE:
B. Nero, Igor Mitoraj, France, 2008, pp. 36-39, illustrated.
Estimate: $30,000-$50,000

77082
Niki de Saint-Phalle (1930-2002)
Juggler Vase, 2000
Painted polyester
13-1/4 x 10-3/4 x 8-1/2 inches (33.7 x 27.3 x 21.6 cm)
Ed. 8/8
Signed and editioned on the reverse: Niki de St. Phalle 8/8
PROVENANCE:
Galerie Alexandre Leadouze, Paris;
Private collection, Miami, acquired from the above.
Estimate: $15,000-$25,000

77083
Ugo Rondinone (b. 1964)
Small Mountains (six works), 2016
Painted stone on concrete base, each
5-1/2 x 5-1/2 x 5-1/2 inches (14.0 x 14.0 x 14.0 cm) (largest)
Each initialed, titled, and dated on the bottom: Small / [Color] / Mountain / U.R. 2016
PROVENANCE:
Nevada Museum of Art, Reno, Nevada.
Estimate: $15,000-$25,000
Ugo Rondinone, Seven Magic Mountain, 2016 in Las Vegas, Nevada.
Image courtesy Kimberly Reinhart

77084
Angel Botello (1913-1986)
Cat, circa 1965
Bronze
17-1/4 x 20 x 8 inches (43.8 x 50.8 x 20.3 cm)
Edition unknown
Incised on the back left paw: Botello
PROVENANCE:
Gallery Botello, San Juan, Puerto Rico;
Acquired by the present owner from above in 1972.
NOTE:
Juan Botello has kindly conﬁrmed the authenticity of this lot, which is accompanied by a copy of a certiﬁcate of
authenticity from Galeria Botello dated November 15, 1982.
Estimate: $15,000-$20,000

77085
ARMAN (1928-2005)
Prom Night, 1992
16 x 13-1/2 x 7-1/2 inches (40.6 x 34.3 x 19.1 cm)
Ed. 1/8 + 4 A.P.
Incised to the base: bocquel 1/8 / arman
PROVENANCE:
Private collection, Pennsylvania;
Rago Arts and Auction Center, Lambertville, New Jersey, May 7, 2016, lot 664.
NOTE:
This work is recorded in the Arman Studio Archives New York under number: APA# 8309.92.003.
Estimate: $4,000-$6,000

77086
Manuel Carbonell (1918-2011)
Untitled (Woman)
Bronze with brown patina
28-3/4 x 9-1/2 x 8-1/4 inches (73.0 x 24.1 x 21.0 cm) on a 1-1/2 inch (3.8 cm) metal base
Incised on the reverse: M. Carbonell
PROVENANCE:
Private collection, Marina del Rey, California.
Estimate: $8,000-$12,000

77087
ARMAN (1928-2005)
Nero’s Banquet, 1984
Burned coffee table, cast in bronze with black patina
17-1/4 x 47 x 24 inches (43.8 x 119.4 x 61.0 cm)
A.P. from an edition of 8 + 4 A.P.
Incised on the back right quadrant: Arman
PROVENANCE:
Marisa del Re Gallery, New York.
NOTE:
This work is recorded in the Arman Studio Archives New York under number: APA# 8103.84.005.
Estimate: $10,000-$15,000

77088
Betty Woodman (1930-2018)
Persimmon Pillow Pitcher
Ceramic
17-1/2 x 23-1/4 x 14-3/4 inches (44.5 x 59.1 x 37.5 cm)
Stamped to the reverse: Woodman
PROVENANCE:
Halder/Rodriguez Galleries, New York.
Estimate: $6,000-$8,000

77089
Peter Voulkos (1924-2002)
Untitled (Plate), 1979
Stoneware and porcelain “pass-throughs” with cobalt oxide slip and glaze, gas ﬁred
21-1/4 x 22 x 4-1/4 inches (54.0 x 55.9 x 10.8 cm)
Signed and dated on the reverse: Voulkos 79
PROVENANCE:
Hansen Galleries, San Francisco.
NOTE:
We wish to thank Sam Jornlin, Voulkos & Co. Catalogue Project, for her cataloguing assistance.
Estimate: $4,000-$6,000

77090
Julian Opie (b. 1958)
Incident in the Library II, 1983
Oil on steel
69-1/2 x 31 x 8-1/2 inches (176.5 x 78.7 x 21.6 cm)
Signed and dated on the reverse: Julian Opie / ‘83
PROVENANCE:
Lisson Gallery, London (label verso);
Private collection, Oregon, acquired from the above in 1994.
EXHIBITED:
Hayward Gallery, London, “Julian Opie: One Man Show,” 1993-94.
Estimate: $15,000-$25,000
Drawing from a variety of influences as diverse as billboard signs, contemporary
dance, classical sculpture and portraiture, Opie reconstructs his impressions of our
contemporary surroundings in a concise and pictorial language. Known as the “painter
of modern life” his reductive style evokes both a visual and spatial experience of the
world around us. In his first solo show at Lisson Gallery, Opie created an imaginary
museum put into disarray created by the lightning bolt from Hergé’s The Seven Crystal
Balls. Also featured in the museum are crude quotations from famous paintings by
Monet, Picasso, Pollock, Rothko and Hockney and a series of paintings on steel of
books falling from stacks. Incident in the Library II, 1983, from this series, references
important 20th century thinkers such as Keynes and Tolstoy and a book about Gertrude
Stein tumbling down. Playful and ironic, Opie attempts to disperse with the idea of art
historical hierarchy while also sharing his influences and authors that he admires.

77091
Bjarne Melgaard (b. 1967)
The Times Never Will be There Again, 2012
Oil on canvas
16 x 20 x 2 inches (40.6 x 50.8 x 5.1 cm)
Signed and dated on the reverse: Bjarne Melgaard 2012
PROVENANCE:
Public Art Fund, New York, Spring Beneﬁt, 2014;
Estimate: $3,000-$5,000

77092
Tony Cragg (b. 1949)
Untitled (#1851)
Pencil on paper
Signed lower right: Tony Cragg
Signed and inscribed verso: Tony Cragg #1851
PROVENANCE:
LITERATURE:
A. Buchmann, Anthony Cragg: Works on Paper Volume I, Berlin, 2017, p. 351.
Estimate: $4,000-$6,000

77093
Vincenzo Agnetti (1926-1981)
Untitled
Chalk and ink on paper
PROVENANCE:
The artist;
Alberto Rizzo, gift from the above;
Private collection, New York, by descent from the above.
NOTE:
This work is registered with the Vincenzo Agnetti Archive under archive number 0433EXT1979031703109.
Estimate: $6,000-$8,000

77094
Christopher Wool (b. 1955)
Untitled, 2002
Screenprint on Japanese paper
50-1/4 x 34-3/4 inches (127.6 x 88.3 cm) (image)
P.P. 5/5 from an edition of 80 + 5 P.P.
Signed, dated and numbered in lower margin: P.P. 5/5 Wool 2002
Published by Brand X Editions, New York
PROVENANCE:
Estimate: $10,000-$15,000

77095
Wade Guyton X Kelley Walker
Untitled (Zebra_Limes_Chex), 2013
Color-printed laminate on wood
16 x 24 x 4-1/4 inches (40.6 x 61.0 x 10.8 cm)
Ed. 11/16 + 3 A.P.
PROVENANCE:
Kunsthaus Bregenz, Bregenz, Austria;
NOTE:
This work is accompanied by a certiﬁcate of authenticity from Kunsthaus Bregenz.
Estimate: $8,000-$12,000

77096
Julio Larraz (b. 1944)
Discovery
Oil on canvas
59-1/4 x 71 inches (150.5 x 180.3 cm)
Signed upper right: Larraz
Signed, titled, and inscribed on the reverse: “Discovery” / Fr[...] / I 57 10 18 / Larraz
PROVENANCE:
The artist;
Estimate: $40,000-$60,000

77097
Romare Bearden (1911-1988)
Untitled, circa 1947-48
Ink and watercolor on paper
Signed lower right: Bearden
PROVENANCE:
The artist;
Collection of Dr. Al Murray, gift from the above;
Jerald Melberg Gallery, Charlotte, North Carolina, acquired from the above in 2011 (label verso);
Private collection, Connecticut, purchased from the above in 2014.
Estimate: $10,000-$15,000
Celebrated for his collage works, Romare Bearden was a pioneer of African-American
art. Inﬂuenced by high modernists such as Henri Matisse and Georges Braque, Bearden
incorporated many of his personal experiences into his artwork juxtaposed by allegorical
scenes of classical art and myth. Created soon after his return to New York from being drafted
into the US Armed Services, this work alludes to the artist’s desire for a fantastical reality and
the underlying necessity of trusting one’s own vision amongst many peers. The incorporation
of watercolor into Bearden’s work became an important part of his oeuvre, allowing him to
reference the expressionist masters whom he studied with. While Abstract Expressionism was
the popular movement of the time, Bearden seamlessly and proudly blended his experiences as
an African-American man with a style able to appeal to the masses.
If you’re any kind of artist, you make a miraculous journey, and you come
back and make some statements in shapes and colors of where you were.

77098
Richard Duardo (1952-2014)
JFK, 1990
Acrylic on canvas
55-1/2 x 51-1/2 inches (140.97 x 130.81 cm)
Signed and dated on the reverse: Richard Duardo 1990
PROVENANCE:
The artist;
Estimate: $2,000-$3,000

77099
Paul Rusconi (b. 1965)
David Beckham
Nail enamel and acrylic on Plexiglas
38 x 29 inches (96.52 x 73.66 cm)
The artist’s blindstamp on metallic label adhered to the reverse
PROVENANCE:
Chris Tye-Walker, Los Angeles;
Private collection.
Estimate: $8,000-$12,000

77100
Lui Liu (b. 1957)
Dangerous Game, 2000
Oil on canvas
48 x 36 inches (121.9 x 91.4 cm)
Signed and dated lower left: Lui Liu 2000
Signed, titled, and dated on the reverse: Dangerous Game / 2000 / Lui Liu
NOTE:
We wish to thank Lui Liu for verifying the authenticity of this lot based on photographs.
Estimate: $30,000-$50,000

77101
David Bates (b. 1952)
Lake Texoma, 1991
Oil on panel
24 x 48 inches (61.0 x 121.9 cm)
Signed lower left: Bates
Signed, titled, dated, and inscribed on the reverse: David Bates / -Lake Texoma- / 24 x 48 91- / Winter
PROVENANCE:
Meridian International Center, Washington D.C. (label verso).
LITERATURE:
Edward Lucie-Smith, Art Today, Singapore, 1995, no. 336, p. 337, illustrated.
Estimate: $20,000-$40,000

77102
Frank Romero (b. 1941)
Chisel, Paintbrush, and Hammer from the Studio Objects Series
(three works)
Acrylic on paper, each
16 x 20 inches (40.6 x 50.8 cm) (sheet, each)
Each initialed and dated: FER 10/30; FER / 10/29; FER 11/1/[...]
PROVENANCE:
The artist;
Private collection, Los Angeles, acquired from the above in 1997.
NOTE:
This lot is accompanied by a copy of a sales receipt from the Frank
Romero Studio.
Estimate: $3,000-$5,000

77103
Karel Appel (1921-2006)
Untitled, 1969
Gouache on paper
Signed and dated lower left: Appel 69
PROVENANCE:
Bijan Bahar;
Private collection.
Estimate: $10,000-$15,000

77104
Peter Howson (b. 1958)
Untitled (Working men)
Oil on canvas
7 x 9-1/4 inches (17.78 x 23.49 cm)
Signed lower right: Howson
Estimate: $2,000-$4,000

77105
Peter Howson (b. 1958)
Untitled (Man and dog)
Oil on canvas
12 x 14 inches (30.48 x 35.56 cm)
Signed lower right: Howson
Estimate: $2,000-$3,000

77106
Joseph Lambert Cain (1904-2003)
Coloring Contest, 1935
Oil on canvas
20 x 20 inches (50.8 x 50.8 cm)
Signed lower left: Jo Cain
PROVENANCE:
The artist;
Estate of the above;
Irving Galleries, Palm Beach, Florida.
Estimate: $3,000-$5,000

77107
Boyle Family (20th Century)
Study for the Negev Site, Israel from World Series 1968-, 1992
Mixed media, resin, and ﬁberglass on a wood frame
18 x 18 x 5-1/2 inches (45.7 x 45.7 x 14.0 cm)
Dedicated on the reverse: For our dear friends Deborah and John, / Rachel and Max, love from Boyle Family
PROVENANCE:
The artist;
Private collection, Los Angeles, California, gift from the above.
Estimate: $4,000-$6,000

77108
Pablo Lehmann (b. 1974)
Heterotopias I, 2008
Cut-out Canson Mi-Teintes 160 gms acid free paper
21-1/4 x 16-3/4 inches (54.0 x 42.5 cm)
Signed, titled, dated, and inscribed on the reverse of the frame: Pablo Lehmann / “Heterotopias I / 59 x 93 cm / Papel
Calado / 2008
EXHIBITED:
ArteBa Contemporary Art Fair, Buenos Aires, 2008.
NOTE:
We wish to thank Pablo Lehmann for his cataloguing assistance. Mr. Lehmann points out that the text is from Michel
Foucault’s 1966 book, The Order of Things: An Archaeology of the Human Sciences.
Estimate: $4,000-$6,000

77109
Jean Dufy (1888-1964)
Paris, Viaduc du Point-du-Jour
Watercolor on paper laid on board
18 x 23-3/4 inches (45.7 x 60.3 cm)
Signed lower left: Jean Dufy
PROVENANCE:
Estate of Joza Jeans and George Hannon, Austin, Texas.
NOTE:
Jacques Bailly will include this work in the forthcoming third volume of his Jean Dufy catalogue raisonné. The lot is accompanied by Monsieur Bailly’s
photo-certiﬁcate, no. 4664, dated March 5, 2018.
Estimate: $10,000-$15,000

77110
Larry Rivers (1923-2002)
Portrait of an Artist (Howard Kanovitz), 1960
Oil on canvas laid on panel
21 x 19 inches (53.3 x 48.3 cm)
Signed and dated lower right: Rivers ‘60
PROVENANCE:
Holland Goldowsky Gallery, Chicago, Illinois;
Marlborough-Gerson Gallery, Inc., New York (label verso);
Collection of Arthur Paul and Suzanne Seed, Chicago, Illinois.
NOTE:
We would like to thank David Joel from the Larry Rivers Foundation for his cataloging assistance. Mr. Joel points out that
“Howard Kanovitz and Larry Rivers were good friends for many years. In the 80s Howard played trombone in Larry’s East
13th Street band. Many of the portraits that Larry made were of his friends and family, and Howard was certainly a close
friend. As an artist who initially aligned himself with the Abstract Expressionists, Kanovitz ultimately felt stifled and in the
early 60s broke off from Ab Ex, becoming a pioneer of Photo-realism. Rivers’ portrait of Kanovitz emerging from an abstract
field done in 1960 is both a fitting tribute to his friend and an acknowledgement of Kanovitz’s burgeoning interest in the
recognizable.”
Estimate: $8,000-$12,000

77111
Tom Otterness (b. 1952)
Untitled (Female), 1983
Oil stick and pencil on paper
Dated lower right: 4/10/83
Signed and dated verso: Otterness / 4/10/83
PROPERTY FROM THE PRUDENTIAL INSURANCE
COMPANY OF AMERICA
PROVENANCE:
Brooke Alexander Gallery, New York.
NOTE:
We wish to thank the Tom Otterness Studio for cataloguing assistance.
Estimate: $1,000-$1,500
77112
Tom Otterness (b. 1952)
Untitled (Male), 1983
Oil stick and pencil on paper
Dated lower right: 4/10/83
Signed and dated verso: Otterness / 4/10/83
PROPERTY FROM THE PRUDENTIAL INSURANCE
COMPANY OF AMERICA
PROVENANCE:
Brooke Alexander Gallery, New York.
NOTE:
We wish to thank the Tom Otterness Studio for cataloguing assistance.
Estimate: $1,000-$1,500

77113
Vasily Shulzhenko (b. 1949)
Napoleon at the Isle of Elba, 1999
Oil on canvas
28 x 35-1/2 inches (71.12 x 90.17 cm)
Signed in Cyrillic lower right
Signed and titled in Cyrillic and dated and inscribed on the reverse: 90 x 71 cm / 1999
PROVENANCE:
Maya Polsky Gallery, Chicago, Illinois.
Estimate: $2,000-$3,000

77114
Alison Saar (b. 1956)
Cloud 9, 1990
Pencil and watercolor with collage on paper
PROVENANCE:
Thomas Barry Fine Arts, Minneapolis, Minnesota.
EXHIBITED:
Thomas Barry Fine Arts, Minneapolis, Minnesota, early 1990s.
Estimate: $3,000-$5,000

77115
FAILE (20th/21st Century)
Mermaid
Acrylic, spray paint, and pencil on canvas
60-1/2 x 48-1/2 inches (153.7 x 123.2 cm)
Signed on ﬁgures in upper quadrants
EXHIBITED:
One Eye Space, Los Angeles, California, FAILE ﬁrst solo exhibition, 2004.
Estimate: $8,000-$12,000

77116
Hilo Chen (b. 1942)
Beach 71 7915, 1979
Ink and watercolor on paper
Signed and titled on recto: Beach 71 7915 Hilo Chen
PROVENANCE:
Louis K. Meisel Gallery, New York, New York.
Estimate: $4,000-$6,000

77117
Leonard J. Koscianski (b. 1952)
Blond in Pond
Pastel on paper
PROVENANCE:
Robert Berman Gallery, Santa Monica, California;
Estimate: $2,000-$3,000

77118
James Havard (b. 1937)
Posted Navaho Tree, 1986
Acrylic with collage on board
40 x 32 inches (101.6 x 81.28 cm)
Signed, titled, and dated along lower edge: Posted Navaho Tree Harvard 86
Estimate: $2,000-$3,000

77119
Wosene Kosrof (b. 1950)
Abate: The Playwright, 2005
Acrylic on linen
25-3/4 x 25-3/4 inches (65.4 x 65.4 cm)
Signed, dated, and inscribed upper right: Wosene 20/05 11673
Signed, titled, dated, and inscribed on the reverse: Wosene The Playwright 20/05 © 29.144
EXHIBITED:
Mexican Heritage Plaza, San Jose, California, “Words: From Spoken to Seen,” April 22-June 30, 2006.
LITERATURE:
Mexican Heritage Plaza, Words: From Spoken to Seen, exhibition catalogue, San Jose, California, 2006, p. 50.
NOTE:
We wish to thank Patricia L. DiRubbo Ph.D., Color of Words, Inc., for her cataloguing assistance.
Estimate: $5,000-$7,000

77120
Chi Peng (b. 1981)
Consubstantiality 1, 2003
Digital dye coupler
34 x 45-1/2 inches (86.4 x 115.6 cm)
Ed. 4/10
Signed, titled, dated, numbered, and inscribed in lower margin: 4/10 Consubstantiality 1 2003.4 Chi Peng Beijing 2004
Estimate: $2,000-$4,000

77121
Chi Peng (b. 1981)
Sprinting Forward, 2004
Digital dye coupler
46 x 58-3/4 inches (116.8 x 149.2 cm)
Ed. 1/20
Signed, titled, dated, and numbered in lower margin: Sprinting Forward Chi Peng 2004 1/20
Estimate: $3,000-$5,000

77122
Xiao Bo (b. 1975)
Study Room (triptych), 2006
Oil on canvas
33-1/2 x 19-1/2 inches (85.1 x 49.5 cm)
Each panel initialed and dated on the reverse: xb, 2006
PROVENANCE:
Artistic Island, Beijing;
Phillips New York, November 16, 2007, lot 448;
Private collection.
Estimate: $4,000-$6,000

77123
Ma Yanling (b. 1966)
Untitled, 2005
Acrylic on canvas
55-1/4 x 47-1/4 inches (140.3 x 120.0 cm)
Signed in Chinese and dated on the reverse: 2005.10.
Estimate: $4,000-$6,000

77124
Xin Haizhou (b. 1966)
Change, Youth, 1999
Oil on canvas
51 x 31-1/2 inches (129.5 x 80.0 cm)
Signed and dated lower right: Xin Haizhou
Signed, dated, and inscribed in Chinese on the reverse: Xin Haizhou / 1999
Estimate: $5,000-$7,000

77125
Zhang Xiaogang (b. 1958)
Amnesia and Memory, 2004
Twelve offset lithographs with screenprint in colors on Somerset paper,
with the original cloth-covered portfolio with inset book
30 x 22-1/4 inches (76.2 x 56.5 cm) (sheet, each)
31-1/2 x 23-1/2 inches (80.0 x 59.7 cm) (portfolio)
Ed. 52/88 + 12 A.P.
Each signed, dated, and numbered in pencil in lower margin
Numbered in silver ink on the inside cover of the portfolio box
Published by Gallery Artside, Seoul, 2006
NOTE:
The book includes an additional signed, dated, and numbered lithograph by the artist.
Estimate: $6,000-$8,000

Artist Name Lot List
Agnetti, Vincenzo 77093
Appel, Karel 77103
ARMAN 77085, 77087
Balthus (Balthasar Klossowski de Rola) 77003
Bartlett, Jennifer Losch 77048
Bates, David 77101
Bearden, Romare Howard 77097
Bell, Larry 77032, 77033, 77034
Bengston, Billy Al 77035
Blackwell, Tom 77075
Bo, Xiao 77122
Boetti, Alighiero 77057, 77058
Botello, Angel 77084
Botero, Fernando 77014
Brown, William Theophilus 77060
Butterﬁeld, Deborah 77072
Cain, Joseph Lambert 77106
Calder, Alexander 77005
Carbonell, Manuel 77086
Chen, Hilo 77116
Chicago, Judy 77039, 77040
Coronel, Rafael 77012, 77013
Corse, Mary 77036
Cragg, Tony 77092
Cruz-Diez, Carlos 77045
Dalí, Salvador 77001, 77002
Douaihy, Saliba 77031
Duardo, Richard 77098
Dufy, Jean 77109
Dzubas, Friedel 77017
Epstein, Sir Jacob 77008
FAILE 77115
Family, Boyle 77107
Fish, Janet 77019
Goings, Ralph 77077, 77078, 77079, 77080
Grooms, Red 77070
Grosz, George 77007
Guyton, Wade 77095
Haizhou, Xin 77124
Haring, Keith 77053, 77054
Havard, James 77118
Heron, Patrick 77041
Hockney, David 77052
Hofmann, Hans 77016, 77022
Howson, Peter 77104, 77105
Jenkins, Paul 77018, 77024, 77025
Judd, Donald 77037
Katz, Alex 77074
Kirchner, Ernst Ludwig 77004
Koons, Jeff 77055, 77056
Koscianski, Leonard J. 77117
Kosrof, Wosene Worke 77119
Larraz, Julio 77096
Lehmann, Pablo 77108
Lin, Richard 77038
Liu, Lui 77100
Longo, Robert 77073
Martin, Agnes 77030
Mathieu, Georges 77023
Melgaard, Bjarne 77091
Mendenhall, Jack 77076
Mérida, Carlos 77042, 77043, 77044
Mitoraj, Igor 77081
Moholy-Nagy, Lászlo 77006
Murakami, Takashi 77081
Neel, Alice 77083
Neri, Manuel 77061
Nevelson, Louise 77015
Olitski, Jules 77047
Opie, Julian 77090
Otterness, Tom 77111, 77112
Park, David 77059
Peng, Chi 77120, 77121
Pho, Le 77063, 77064
Rickey, George 77021
Rivera, Diego 77010, 77011
Rivers, Larry 77110
Rodrigue, George 77071
Romero, Frank 77102
Rondinone, Ugo 77083
Rusconi, Paul 77099
Saar, Alison 77114
Saint-Phalle, Niki de 77082
Sekine, Yoshio 77027, 77028
Slaughter, William A. 77058
Slonem, Hunt 77065, 77066, 77067
Stanczak, Julian 77026
Thiebaud, Wayne 77062
Uecker, Günther 77046
Vasarely, Victor 77029
Voulkos, Peter 77089
Warhol, Andy 77049, 77050, 77051
Wilson, Donald Roller 77068, 77069
Woodman, Betty 77088
Wool, Christopher 77094
Xiaogang, Zhang 77125
Yanling, Ma 77123
Zúñiga, Francisco 77009, 77020
Artist Index

Heritage Auctions Modern & Contemporary Art Signature Auction, May 24th, 2018, Sale #5357

Heritage Auctions Modern & Contemporary Art Signature Auction, May 24th, 2018, Sale #5357

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