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Auction Description for Swann: CONTEMPORARY ART

CONTEMPORARY ART (270 Lots)

by Swann Auction Galleries


270 lots with images

15 November 2016

Live Auction

New York, NY, USA

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ADOLPH GOTTLIEB Crimson Ground.

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Description: ADOLPH GOTTLIEB Crimson Ground. Color screenprint, 1972. 610x483 mm; 24x19 inches, full margins. Signed, dated and numbered 14/150 in pencil, lower margin. A brilliant, richly-inked impression with vibrant colors. Associated American Artists 73.

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ADOLPH GOTTLIEB Flotsam.

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Description: ADOLPH GOTTLIEB Flotsam. Color screenprint on smooth, cream wove paper, 1967. 760x560 mm; 29 7/8x22 inches, full margins. Signed, dated and numbered 25/75 in pencil, lower margin. A very good impression with strong colors. Associated American Artists 45.

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JACKSON POLLOCK Parsons Gallery Poster.

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Description: JACKSON POLLOCK Parsons Gallery Poster. Offset lithograph printed in black on cream wove paper, 1951. 435x558 mm; 17 1/8x22 inches (sheet), full margins. Printed by Acme Press, New York. A very good impression of this scarce poster. By 1950, Pollock (1912-1956) was lionized by many, including the gallerist Betty Parsons and art critic Clement Greenberg, as the leader of the Abstract Expressionists. An exhibition in the same year at the Betty Parsons Gallery proved such: featuring his renowned "drip" paintings Autumn Rhytmn and One, now at the Metropolitan Museum of Art and The Museum of Modern Art, New York, respectively. But in 1951, Parsons exhibited Pollock's newest work, a series of paintings devoid of color, completed exclusively in black enamel on untreated canvas. His seeming turn from abstract to figurative and "drip" painting to hands-on drawing baffled many in the art world and to some signaled his decline. Pollock reproduced designs for six of the black enamel paintings in screenprint to coincide with the exhibition. O'Connor/Thaw P 26.

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WILLEM DE KOONING Woman at Clearwater Beach.

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Description: WILLEM DE KOONING Woman at Clearwater Beach. Lithograph on J. B. Green cream wove paper, 1971. 716x1028 mm; 28 1/4x40 1/2 inches (sheet), full margins. Signed, dated and numbered 13/44 in pencil, lower margin. Printed by Fred Genis, Hollander''s Workshop, Inc., New York, with the blind stamp lower left. Published by Knoedler, New York, with the blind stamp lower right. A superb, richly-inked impression of this large, scarce lithograph. This is the first lithograph that de Kooning made with the famed lithographic printer Irwin Hollander, who had trained at Tamarind Lithography Workshop in California and then opened a studio on East 10th Street in New York in 1964. According to Hollander, "It was not until [de Kooning] returned from his trip to Japan that he responded to do a body of lithographs. Perhaps the seeing and feeling of calligraphy, sumi brush painting and Zen inspired him sufficiently to do prints. Whatever, the results were beautiful . . . We worked for a year together in 1970 and 1971, proofing 38 images, of which 24 were editioned." Graham 5.

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WILLEM DE KOONING Woman with Corset and Long Hair.

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Description: WILLEM DE KOONING Woman with Corset and Long Hair. Lithograph on Akawara paper, 1970. 805x600 mm; 31 3/4x23 5/8 inches, full margins. Signed, dated and numbered 52/61 in pencil, lower margin. Printed by Fred Genis, Hollander''s Workshop, Inc., New York, with the blind stamp lower left. Published by Knoedler, New York. A superb, dark impression. Dutch born Willem de Kooning (1904-1997) arrived in New York, a stowaway on a cargo ship from Rotterdam, after a somewhat difficult childhood frought with familial and monetary diffculties. Nevertheless, he had gained a solid artistic training in Europe and soon found work as a commercial artist in New York. By 1942 he had become friends with Jackson Pollock and Franz Kline and together these 3 artists would form the nucleus of the New York School of Abstract Expressionsim. De Kooning worked at Atelier 17 in the early 1940s along with Pollock and Mark Rothko, an experience that led him to create his first etching (see lot 502). He produced his first lithographs--among the most noteworthy Abstract Expressionist prints--while visiting his young daughter in San Francisco in 1960. At a party there thrown by his friend and fellow artist William Zogbaum, he learned from the California artist Karl Kasten about the huge lithography presss and stones that had recently been installed at the Univeristy of California, Berkeley. The next day de Kooning went to the UC Berkeley studio and created 2 monumental lithographs, each one nearly 4x3 feet, using an ordinary floor mop to brush the tusche on the stones in broad, entirely abstract, sweeping gestures. In its bold, gestural apperance and the contour suggestions of a woman''s torso and hair, Woman with Corset and Long Hair fuses these expressive strokes with de Kooning''s interest in the female form. Graham 17.

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WILLEM DE KOONING Two Women.

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Description: WILLEM DE KOONING Two Women. Lithograph on cream wove paper, 1973. 350x290 mm; 13 3/4x11 3/8 inches, full margins. Artist's proof, aside from the edition of 100. Signed in pencil, lower right. Printed by Styria Studio, Inc., New York. A very good. well-inked impression.

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WILLEM DE KOONING Untitled.

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Description: WILLEM DE KOONING Untitled. Lithograph on Somerset satin paper, circa 1975. 480x640 mm; 19x25 1/4 inches, full margins. Signed and numbered 6/60 in pencil, lower margin. A very good, dark impression of this scarce lithograph.

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WILLEM DE KOONING Devil at the Keyboard.

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Description: WILLEM DE KOONING Devil at the Keyboard. Color lithograph on cream wove Beckett paper, 1976. 850x520 mm; 33 1/2x20 1/2 inches, full margins. Signed and numbered 9/125 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 For Lisa.

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Description: WILLEM DE KOONING For Lisa. Color lithograph, 1984. 450x590 mm; 17 5/8x23 1/4 inches (sheet), full margins. Artist's proof, aside from the edition of 250. Signed in black crayon and inscribed "A.P." in pencil, lower margin. Published by Brand X Editions, Ltd., New York, with the blind stamp lower left, to benefit the Children's Museum, Los Angeles. A very good impression with strong colors.

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WILLEM DE KOONING Untitled.

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Description: WILLEM DE KOONING Untitled. Color screenprint, 1972. 855x582 mm; 33 3/4x23 inches, full margins. Signed and numbered 24/75 in pencil, lower margin. Printed by Ives-Sillman, New Haven, with the blind stamp lower right. Published by the Yale University Press, New Haven. A very good impression of this scarce print.

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WILLEM DE KOONING Untitled.

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Description: WILLEM DE KOONING Untitled. Color screenprint on Arches wove paper, 1972. 610x915 mm; 24 1/8x36 1/8 inches, full margins. Signed and numbered 15/75 in pencil, lower margin. Printed by Ives-Sillman, New Haven, with the blind stamp upper right. Published by the Yale University Press, New Haven. A superb impression with vibrant colors.

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ROBERT MOTHERWELL Capriccio.

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Description: ROBERT MOTHERWELL Capriccio. Collotype and color photo screenprint on Arches wove paper, 1961. 517x397 mm; 20 3/8x15 5/8 inches, full margins. Signed and numbered 48/200 in pencil, lower margin. Printed by Daniel Jacomet, Paris. Published by Berggruen & Cie, Paris. A very good impression. Belknap App. 1.

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ROBERT MOTHERWELL Summer Time in Italy (Blue).

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Description: ROBERT MOTHERWELL Summer Time in Italy (Blue). Color lithograph on Rives BFK, 1965-66. 565x430 mm; 22x17 inches, full margins. Artist''s proof, aside from the edition of 100. Signed and inscribed "artist''s proof" in pencil, lower margin. Printed and published by Hollander''s Workshop, Inc., New York, with the blind stamp lower right. A very good impression. Belknap 22.

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ROBERT MOTHERWELL Summer Time in Italy (with Crayon).

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Description: ROBERT MOTHERWELL Summer Time in Italy (with Crayon). Lithograph on Arches Cover, 1965-66. 495x363 mm; 19 1/2x14 1/4 inches, full margins. Signed and numbered 94/100 in pencil, lower right. Printed and published by Hollander''s Workshop, Inc., New York, with the blind stamp lower right. A very good impression. Belknap 23.

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ROBERT MOTHERWELL Madrid Suite, Number 3.

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Description: ROBERT MOTHERWELL Madrid Suite, Number 3. Lithograph on Arches, 1965-66. 504x635 mm; 19 3/4x25 inches, full margins. Signed and numbered 38/100 in brown pencil, lower margin. Printed and published by Hollander''s Workshop, Inc., New York, with the blind stamp lower right. From the same-titled suite. A very good impression of this early lithograph. Belknap 12.

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ROBERT MOTHERWELL Untitled.

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Description: ROBERT MOTHERWELL Untitled. Lithograph on Arches, 1966. 480x360 mm; 19x14 inches, full margins. Signed and numbered 70/225 in pencil, lower margin. Printed by Irwin Hollander, New York, with the blind stamp lower right. Published by Tanglewood Press, New York. From New York International. Belknap 28.

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ROBERT MOTHERWELL Lament for Lorca.

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Description: ROBERT MOTHERWELL Lament for Lorca. Color lithograph on handmade paper, 1981-82. 1010x1435 mm; 39 3/4x56 1/2 inches, full margins. Initialed and numbered 1/52 in pencil, lower right. Printed and published by Tyler Graphics, Ltd., with the blind stamp, lower right. A superb impression of this large lithograph. Motherwell (1915-1991) began work on his celebrated Elegy to the Spanish Republic theme, which would occupy a considerable part of his career and significantly impact Abstract Expressionism, in 1948. He conceived the series as a lamentation or funeral song following the decades of atrocities that marked the Spanish Civil War. The recurring motifs of the theme are a series of vertical ovals and rectangles repeated in varying sizes and distortions. Motherwell related the motif to the display of the dead bull''s testicles in the Spanish bullfighting ring. This image, his Lament for Lorca, pays homage to the Spanish poet Garcia Lorca. Motherwell was a champion of Lorca''s work and his poems relating to the bullfighting culture in particular. Belknap 254.

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ROBERT MOTHERWELL Untitled.

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Description: ROBERT MOTHERWELL Untitled. Color etching and aquatint on German Etching paper, 1974. 508x406 mm; 20x16 inches, full margins. Signed and numbered 20/32 in pencil, lower right. Printed by Catherine Mosley in the artist''s studio, Greenwich, with his blind stamp, lower right. Published by Brooke Alexander, Inc., New York. A very good impression. Belknap 135.

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HELEN FRANKENTHALER In the Wings.

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Description: HELEN FRANKENTHALER In the Wings. Color sugar-lift etching, soft-ground etching, aquatint, etching and lithograph on light blue HMP hand made paper, 1987. 343x540 mm; 13 1/2x21 1/4 inches, full margins. Artist's proof, aside from the edition of 50. Signed, dated and inscribed "AP 8/12" in pencil, lower left. Printed and published by Tyler Graphics Ltd., Mount Kisco. A superb impression with strong colors. Harrison 135.

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HELEN FRANKENTHALER Cameo.

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Description: HELEN FRANKENTHALER Cameo. Color woodcut on grayish pink TGL handmade paper, 1980. 1070x816 mm; 41 3/4x32 1/8 inches (sheet), full margins. Signed and numbered 35/51 in pencil, lower right. Printed by Roger Campbell, Lee Funderburg and Kenneth Tyler. Published by Tyler Graphics, Ltd., Bedford Village, with the blind stamp lower right. A very good impression of this large print. Harrison 75.

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HELEN FRANKENTHALER Solar Imp.

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Description: HELEN FRANKENTHALER Solar Imp. Color screenprint, 2001. 1000x760 mm; 39 3/8x29 7/8 inches, full margins. Signed twice and numbered 60/126 in pencil, lower margin. Printed by Brand X Editions, Ltd., New York. Published by the Vera List Art Project, Lincoln Center for the Performing Arts, New York. A very good impression with vibrant colors.

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HELEN FRANKENTHALER Skywriting.

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Description: HELEN FRANKENTHALER Skywriting. Color screenprint, 1997. 763x1018 mm; 30 1/8x40 1/8 inches (sheet), full margins. Signed and numbered 13/110 in pencil, lower left. Published by Brand X Editions, Ltd., New York. A superb impression with vibrant colors.

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JOAN MITCHELL Sunflower V.

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Description: JOAN MITCHELL Sunflower V. Color etching, 1972. 680x437 mm; 26 3/4x17 1/4 inches, full margins. Signed and numbered 19/75 in pencil, lower margin. Printed by Arte Adrien Maeght, Paris. Published by Maeght, Paris. A very good, richly-inked impression of this early etching.

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JOAN MITCHELL Arbres (Black, Yellow and Blue).

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Description: JOAN MITCHELL Arbres (Black, Yellow and Blue). Color lithograph, 1990. 760x563 mm; 30x22 1/8 inches, full margins. Signed and numbered 43/125 in pencil, lower margin. Printed by Atelier Bordas, Paris. Published by Jean Fournier and Éditions de la Différence, Paris. A very good impression with strong colors.

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JOAN MITCHELL Champs (Black, Gray and Yellow).

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Description: JOAN MITCHELL Champs (Black, Gray and Yellow). Color lithograph, 1991-92. 762x562 mm; 30x22 1/8 inches (sheet), full margins. Signed and numbered 45/125 in pencil, lower margin. Printed by Atelier Bordas, Paris. Published by Editions Jean Fournier and Editions de la Difference, Paris. A very good impression with fresh colors.

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JOAN MITCHELL Champs (Grey).

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Description: JOAN MITCHELL Champs (Grey). Color lithograph on Arches, 1981. 762x563 mm; 30x22 1/8 inches (sheet), full margins. Signed and numbered 52/125 in pencil, lower margin. Printed by Atelier Bordas, Paris. Published by Editions Jean Fournier, Paris. A very good impression.

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LOUISE NEVELSON Celebration #6.

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Description: LOUISE NEVELSON Celebration #6. Color aquatint, 1979. 985x690 mm; 38 3/4x27 1/4 inches, full margins. Signed, dated and numbered 17/50 in pencil, lower margin. Published by Pace Editions, Inc., New York. A superb impression with strong colors.

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LOUISE NEVELSON Essences #6.

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Description: LOUISE NEVELSON Essences 6. Soft ground etching, 1977. 895x600 mm; 35 1/4x23 3/4 inches, full margins. Signed, titled, dated and numbered 9/30 in pencil, lower margin. Published by Pace Editions, Inc., New York. A very good, well-inked impression of this large, scarce etching.

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LOUISE NEVELSON Untitled (T-795) * Untitled (T-801).

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Description: LOUISE NEVELSON Untitled (T-795) * Untitled (T-801). Both lithographs, one printed in black and red, on Rives BFK, 1963. One 825x590 mm; 32 1/2x23 1/4 inches (sheet), full margins; the other 805x560 mm; 31 3/4x22 inches (sheet), full margins. Both bon a tirer impressions, aside from the edition of 20. Both signed and inscribed "bon à tirer" and one inscribed "artist's proof" in pencil, lower margin. Both printed by John Dowell, Jr., Tamarind Lithography Workshop, Los Angeles. Very good impressions. Baro 33 and 36.

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LOUISE NEVELSON Seated Nude.

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Description: LOUISE NEVELSON Seated Nude. Pencil on light tan wove paper, circa 1935. 455x303 mm; 18x12 inches. Signed and dedicated in pencil, lower left recto.

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LOUISE BOURGEOIS Composition.

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Description: LOUISE BOURGEOIS Composition. Lithograph, 1940-44. 230x298 mm; 9x11 3/4 inches, full margins. Edition of approximately only 7-10. Signed in pencil, lower right. Printed by Will Barnet at the Art Students League, New York. A very good, dark impression of this extremely scarce, early lithograph. Ex-collection Will Barnet; thence by descent. Wye/Smith 12; Museum of Modern Art 415.

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LOUISE BOURGEOIS Summer.

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Description: LOUISE BOURGEOIS Summer. Lithograph on Rives, 2 impressions, 1941-42. 204x275 mm; 8x10 3/4 inches, full margins. Both version 2 (of 2). Both proofs, aside from the edition of approximately only 13. One impression inscribed "Printed by Will Barnet ASL in the 40s" and "Louise Bourgeois (W.B.)" by Will Barnet in pencil, lower margin. Printed by Will Barnet at the Art Students League, New York. Very good impressions of this scarce, early lithograph. Ex-collection Will Barnet; thence by descent. Wye/Smith 13.2; Museum of Modern Art 422.2.

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LOUISE BOURGEOIS Escalier de 63.

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Description: LOUISE BOURGEOIS Escalier de 63. Lithograph, 1939. 360x257 mm; 14 1/4x10 1/4 inches, full margins. Possibly a unique impression. Inscribed "Proof" and "L. Bourgeois" by another hand, likely the printer Will Barnet, in pencil, lower margin. With a lithograph by an unkown artist, verso. Printed by Will Barnet at the Art Students League, New York. A superb impression of this extremely scarce print. We have not located another recorded impression. Ex-collection Will Barnet, New York; thence by descent. Museum of Modern Art 1100.

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LOUISE BOURGEOIS Children in Tub.

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Description: LOUISE BOURGEOIS Children in Tub. Drypoint and aquatint on Somerset wove paper, 1993. 106x137 mm; 4 1/4x5 1/2 inches, full margins. Ninth state (of 9). Initialed and numbered 24/35 in pencil, lower margin. Printed by Harlan and Weaver Intaglio, New York. Published by Peter Blum Editions, New York. From Autobiographical Series. A superb, richly-inked impression of this extremely scarce print. Wye/Smith 150; Museum of Modern Art 434.

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IRENE RICE PEREIRA Abstract Composition.

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Description: IRENE RICE PEREIRA Abstract Composition. Gouache on wove paper, circa 1960. 227x118 mm; 9x4 5/8 inches. Signed in pen and black ink, lower right recto.

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VIJA CELMINS Strata.

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Description: VIJA CELMINS Strata. Group of 5 (of 6) color lithographs on Arches Cover, 1962. Each 485x385 mm; 19x15 1/8 inches (sheets), full margins. Each signed and numbered 4/10 in pencil or white pencil, lower margin. Printed at the John Herron School of Art Studios, Indianapolis. Very good impressions of these extremely scarce, early lithographs. We have not found another set of these lithographs at auction in the past 30 years.

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SAM FRANCIS Hurrah for the Red, White and Blue (Variant I).

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Description: SAM FRANCIS Hurrah for the Red, White and Blue (Variant I). Color lithograph on Rives BFK, 1961. 502x654 mm; 19 1/4x25 1/4 inches, full margins. Signed and numbered 27/45 in pencil, lower margin. Printed at Emil Matthieu Atelier, Zurich. Published by Kornfeld and Klipstein, Bern. A very good impression of this scarce, early lithograph. Lembark 18.

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SAM FRANCIS Untitled.

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Description: SAM FRANCIS Untitled. Offset color lithograph, 1968. 762x508 mm; 30x20 inches, full margins. Signed and numbered 97/144 in pencil, lower margin. Printed by Mourlot, Paris. Published by HKL, Ltd., Boston, for the Smithsonian Institution, Washington, D.C. A very good impression with strong colors. Lembark P 3.

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SAM FRANCIS Untitled.

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Description: SAM FRANCIS Untitled. Color lithograph on Rives BFK, 1981. 610x464 mm; 24x18 1/4 inches (sheet), full margins. Signed and numbered 3/150 in pencil, lower margin. Printed by the Litho Shop, Inc., Santa Monica. Published by the Democratic National Committee Service Corporation, Washington, D.C. A superb impression. Lembark 241.

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SAM FRANCIS Concert Hall Set II.

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Description: SAM FRANCIS Concert Hall Set II. Color lithograph on Rives BFK, 1977. 648x406 mm; 25 1/2x16 inches, full margins. Signed and numbered 2/75 in pencil, lower margin. Printed by the Litho Shop, Inc., Santa Monica. Published by Louisiana Museum of Modern Art, Denmark, with the blind stamp lower right. A superb impression with fresh colors. Lembark 224.

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JIMMY ERNST Composition.

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Description: JIMMY ERNST Composition. Gouache on paper, 1950. 331x295 mm; 13x11 5/8 inches. Signed and dated in pen and black ink, lower right recto.

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PAUL JENKINS Phenomena Leaning.

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Description: PAUL JENKINS Phenomena Leaning. Watercolor on heavy Arches wove paper, 1961. 770x565 mm; 30 3/8x22 1/4 inches. Signed in pen and purple ink, upper right recto, and signed, titled, dated and inscribed "New York" in pen and black ink, upper verso.

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PAUL JENKINS Alternate Black & White.

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Description: PAUL JENKINS Alternate Black & White. Complete set of 7 lithographs with the cover lithograph, 1970. Each 580x450 mm; 22 7/8x17 3/4 inches (sheets), full margins, loose as issued. Each signed, dated and numbered 31/60 in pencil, lower margin; the cover signed and dated in pen and black ink, lower left. Published by Chiron Press, New York, with the blind stamp lower right. Very good impressions.

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PAUL JENKINS Three prints.

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Description: PAUL JENKINS Three prints. Untitled, color lithograph, 1964. Signed, dated and numbered 32/65 in pencil, lower left * Untitled, lithograph, 1966. Signed, dated and numbered 13/20 in pencil, lower left * Untitled, lithograph, 1966. Signed, dated and numbered 14/20 in pencil, lower left. Various sizes and conditions. Very good impressions.

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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 105/200 in pencil, lower margin. Printed by Styria Studio, New York, with the blind stamp lower right. From America: The Third Century. A superb impression with strong colors.

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ROBERT GOODNOUGH Portfolio #1-#4.

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Description: ROBERT GOODNOUGH Portfolio #1-#4. Group of 4 color screenprints, 1973. Each 560x760 mm; 22x30 inches, full margins. Each signed, dated and numbered 63/150 in pencil, lower margin. Each published by Pace Editions, Inc., New York, with the blind stamp lower left. Superb impressions with strong colors.

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PAUL BURLIN Two drawings.

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Description: PAUL BURLIN Two drawings. Untitled (Abstract), India ink on paper, 1968. 350x426 mm; 13 3/4x16 3/4 inches. Signed, dated and annotated upper left and lower right verso * Untitled (Small Abstract), india ink on paper, 1968. 230x304 mm; 9x12 inches. Signed and dated in pencil, lower right recto. Paul Burlin (1886-1969), born in New York as Isodore Berlin, began his career in the first decades of the 20th Century studying at the National Academy of Design and the Art Students League, traveling in Europe and the southwestern United States and showing his work as one of the youngest exhibitors in the celebrated Armory Show in 1913. Burlin continued to follow avant-garde trends through the 1950s and 60s, working in the style of Abstract Expressionism. Towards the end of his life and up to his death in 1969, Burlin continued to draw and paint despite loss of eyesight.

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ZAO WOU-KI Paysage au Soleil.

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Description: ZAO WOU-KI Paysage au Soleil. Color etching on Rives, 1950. 245x245 mm; 9 3/4x9 3/4 inches, full margins. Signed and numbered 160/200 in pencil, lower margin. Printed by LeBlanc, Paris. Published by La Guilde Internationale de la Gravure, Paris. A superb impression of this very scarce, early etching. Ågerup 39.

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ZAO WOU-KI La Cathédrale.

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Description: ZAO WOU-KI La Cathédrale. Color lithograph on Rives, 1952. 330x488 mm; 13x19 1/4 inches, full margins. Signed and numbered 10/50 in pencil, lower margin. Printed by Desjobert, Paris. Published by La Hune, Paris. A very good impression of this early lithograph. Âgerup 73.

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ZAO WOU-KI Sans titre.

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Description: ZAO WOU-KI Sans titre. Color lithograph on Rives, 1958. 390x615 mm; 15 1/2x24 1/4 inches, full margins. Signed, dated and numbered 39/120 in pencil, lower margin. Printed by Desjobert, Paris. Published by l''Œuvre Gravée, Zurich. A very good impression of this scarce, early lithograph with strong colors. Ågerup 115.

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