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6275 Los(e)/Seite
![[CORNELL, DA VINCI, STERN] A COLLECTION OF THREE ART PORTFOLIOS, 1970Scomprising: a) JOSEPH CORNELL. Catalogue of the Exhibi](https://cdn.globalauctionplatform.com/39dfb77b-ac6c-47cf-a313-ad02012d8a05/44950af1-d7b3-42af-9fcc-ad030001665f/468x382.jpg)
Los 699
[CORNELL, DA VINCI, STERN] A COLLECTION OF THREE ART PORTFOLIOS, 1970Scomprising: a) JOSEPH CORNELL. Catalogue of the Exhibition. February 28-march 20, 1976 (New York: Leo Castelli Gallery, Richard L. Feigen & Company, James Corcoran Gallery [1976]), comprising loose leaves with texts by Donald Bartheleme, Bill Copley, Tony Curtis, Howard Hussey, Allegra Kent, Julien Levy, Jonas Mekas, Robert Motherwell, Hans Namuth, and Sandra Leonard Starr, each in a different form (stapled folded letter, a enveloped note, booklet, a four-page book, portfolio pages and special features in folder pockets), a photograph of Cornell by Hans Nemuth, with studio stamp on verso, measuring: 20 x 15 cm (7 7/8 x 5 7/8 in.), within the original portfolio with marbled paper and ribbon tie closure; portfolio dimensions: 25 x 18 cm (9 7/8 x 7 1/8 in.)b) MAN IN THE TREVIRA ERA. Artist: Leonardo da Vinci, a fifteen-piece slide puzzle created by 1st On; box dimensions: 47 x 47 cm (18 1/2 x 18 1/2 in.)c) LEVI'S IN AMERICA. A PORTFOLIO BY BERT STERN, commissioned by Hystron Fibers and Levi Strauss (New York: Hystron Fibers, 1971), from an overall edition of 5,330, folio, comprising 9 silkscreen and lithograph prints (smallest: 13.2 x 13.2 cm, largest: 45 x 45 cm), of which one (Love Letter) is signed; portfolio dimensions: 47 x 47 cm (18 1/2 x 18 1/2 in.)PROVENANCEGifted by Allegra Kent, wife of Bert Stern, to the current owner, with handwritten inscriptions on letter CONDITION comprising: a) Appears in good orginial condition, very light wear, use and soiling to the exterior and spine of the portfolio. The ribbon tie has frayed. Minor wear to the contents inside, soiling and toning visible to the loose leaves and special features. A Reminiscence by Allegra Kent, has scattered marks/notes in red. b) Appears in age-appropriate condition, wear, use and soiling to the exterior box, damage to the corners, ripping and lifting, the puzzle is in good condition, overall surface dust and light surface scuffs and scratches to the pieces. c) Appears in good original condition, light wear, use and soiling to the exterior, toning to the forward and acknowledgement page, light wear and use to the perimeter of each loose leave lithograph and silkscreen prints. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 104
JESUS RAFAEL SOTO (VENEZUELAN 1923-2005) Sotomagie II (from Serie Sotomagie), 1967 silkscreen on plexiglass 34.5 x 34.5 x 8 cm (13 5/8 X 13 5/8 x 3 1/8 in.) signed and inscribed with edition 15/100 on Denise Rene publisher's label PROVENANCEPrivate Collection, VenezuelaCONDITION The sculpture appears in good original condition. Light surface scratches visible to the naked eye. With no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 105
JESUS RAFAEL SOTO (VENEZUELAN 1923-2005) Mirror, 2005 glass and silkscreen on plexiglass 50 x 50 x 3 cm (19 3/4 x 19 3/4 x 1 1/8 in.) signed and inscribed with edition 59/99 on verso; publisher's plaque on verso: Editions Stephane Klein & TAT Arts, "Miroirs d'Artistes", Fondation Pompidou, Paris 2005 PROVENANCEGaleria de arte Odalys Private Collection, VenezuelaCONDITION The sculpture appears in very good original condition. No apparent issues visible to the naked eye. With no significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
![ALEXANDER KOSOLAPOV (RUSSIAN B. 1943) Gorby silkscreen 66 x 57 cm (26 x 22 1/2 in.) [sight] signed lower right, inscribed wi](https://cdn.globalauctionplatform.com/39dfb77b-ac6c-47cf-a313-ad02012d8a05/96e04f4e-973e-47db-98cb-ad0401832c21/468x382.jpg)
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ALEXANDER KOSOLAPOV (RUSSIAN B. 1943) Gorby silkscreen 66 x 57 cm (26 x 22 1/2 in.) [sight] signed lower right, inscribed with edition 3/25 lower left RELATED LITERATUREForbidden Art: The Postwar Russian Avant-Garde (Los Angeles, New York: Curatorial Assistance, Distributed Art Publishers, 1998), ex. cat., p. 52 (illustrated)CONDITION Observed in frame. The work appears in excellent original condition. No significant issues to report otherwise.N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Los 554
2 Plakate ostdeutscher Künstler, 2. H. 20. Jh. a) Weber, Horst (1932 Olbersdorf bei Zittau-1999 Dresden): Ausstellungsplakat ''Horst Weber - Arbeiten zu Biblischen Themen'' in Kreuzkirche Dresden 1978, Lithographie, sign., 49,5 x 63 cm (Bl); b) Ruthenberg, Ekkehart (geb. 1943 Greifswald): Ausstellungsplakat Weihnachtliche Kunst in der Kreuzkirche (Dresden) 1977, Siebdruck, sign., dat., 42 x 29,5 cm (Bl). 2 posters by East German artists, 2nd half of the 20th c. a) Weber, Horst (1932 Olbersdorf near Zittau-1999 Dresden): Exhibition poster ''Horst Weber - Arbeiten zu Biblischen Themen'' in Kreuzkirche Dresden 1978, lithograph, signed, b) Ruthenberg, Ekkehart (b. 1943 Greifswald): Exhibition poster Christmas Art in the Kreuzkirche (Dresden) 1977, silkscreen, sign., dat.
Los 555
2 Plakate Dresdener Künstler, 2. H. 20. Jh. a) Schieferdecker, Jürgen (1937 Meerane-2018 Dresden): ''n - a fair bomb'', 1980, Siebdruck/ Offset, sign., dat., num. Ex. 12/ 40. Einige Knitter und min. Lichtrand, 64 x 44,5 cm (Bl); b) Kloppert, Manfred (geb. 1943, lebt und arbeitet in Dresden): ''Darum lasst uns alles wagen (...)'', 1974, Siebdruck, sign., dat., min. Randläsur am ob. Blattrand, 84 x 59 cm (Bl). 2 posters by Dresden artists, 2nd half of 20th century. a) Schieferdecker, Jürgen (1937 Meerane-2018 Dresden): ''n - a fair bomb'', 1980, silkscreen/ offset, signed, dated, numbered ex. 12/ 40. Ex. 12/ 40. Some creases and min. light margin b) Kloppert, Manfred (born 1943, lives and works in Dresden): ''Darum lasst uns alles wagen (...)'', 1974, silkscreen, signed, dated, min. marginal tear at upper edge. Margins
Los 556
Staeck, Klaus. Geb. 1938 Pulsnitz, lebt in Heidelberg 4 politische Plakate: a) ''Alternative '76 CDU/ Sicher in die 50er Jahre'', 1975, Siebdruck (Steidl, Göttingen), sign., dat., min. Randeinriss unt. Blattrand, 59 x 84 cm (Bl); b) ''Würden Sie dieser Frau ein Zimmer vermieten?'', 1971, Siebdruck (Steidl, Göttingen), sign., dat., min. Eselsohr li. o. , 84 x 59 cm (Bl); c) ''Bekanntmachung betr. Radikalenerlaß (...)'', 1975, Siebdruck (Steidl, Göttingen), sign., dat., 84 x 59,5 cm (Bl); d) o.T. (betende Hände nach Dürer, mit Flügelmuttern zusammengeschraubt), 1970, Siebdruck, sign., dat. , 84 x 57,5 cm. Staeck, Klaus. Born 1938 Pulsnitz, lives in Heidelberg. 4 political posters: a) ''Alternative '76 CDU/ Sicher in die 50er Jahre'', 1975, silkscreen (Steidl, Göttingen), sign., dat., min. marginal tear lower. margin b) ''Would you rent a room to this woman?'', 1971, silkscreen (Steidl, Göttingen), sign., dat., min. dog-ear l. o. c) ''Bekanntmachung betr. Radikalenerlass (...)'', 1975, silkscreen (Steidl, Göttingen), signed, dated d) o.T. (praying hands after Dürer, screwed together with wing nuts), 1970, silkscreen, sign., dat.
Los 507
Schlegel, Christine/Fischer, Steffen/Smy, Wolfgang/Hampel, Angela/Trendafilov, Gudrun 3 Bl. Siebdrucke zu Texten von Elke Erb und Uwe Kolbe. Jeweils Zweckenlöcher. 73,5 x 51 cm (Bl) Schlegel, Christine/Fischer, Steffen/Smy, Wolfgang/Hampel, Angela/Trendafilov, Gudrun 3 sheets of silkscreen prints on texts by Elke Erb and Uwe Kolbe. Each with two holes
Los 521
Hahn, Bernd. 1954 Neustadt/Sachsen- lebt und arbeitet Burgstädtel b. Dresden O. T. 1990. Farbsiebdruck auf chamoisfarbenem Bütten, sign., dat. und num. Ex. 72/99. 40 x 53 cm (Bl) Hahn, Bernd. 1954 Neustadt/Saxony- lives and works Burgstädtel b. Dresden O. T. 1990. colour silkscreen on buff handmade paper, signed, dated and num. Ex. 72/99
Los 183
*Sir Terry Frost RA (1915-2003)'Trembath Blues' (Kemp 208) silkscreen print in colours, on Velin Arches 300gsm paper, 2000, signed, dated and numbered 220/300 in pencil, printed by Advanced Graphics, London, published by Advanced Graphics and the Royal Academy of Arts, Londonfull sheet printed to the edges 23.5 x 28.5cm,with accompanying hardback book'Terry Frost: Six Decades' at the RA, the final text page also signed and numbered 220/300 in pencil (2)*Artist's Resale Right may apply to this lot.Condition report: Print not viewed out of glazed frame - paper stuck down. Edges of paper uneven, but not damaged. Appears to be in good condition.
Los 11
Jesus Rafael Soto (Venezuelan, 1923 - 2005) Titled: "Multiple III" (from Jai Alai Series), 1969 Signed "Soto" and numbered on base. Numbered: (141/300) Medium: Silkscreen on Plexiglas with metal rods Jesus Rafael Soto was born in Ciudad Bolivar and studied at the School of Visual and Applied Arts in Caracas. During this period he became acquainted with Los Disidentes, a group of artists that included Alejandro Otero and Carlos Cruz-Diez. In addition to his fellow compatriots, Soto's work was influenced by Kazimir Malevich and Piet Mondrian. The main artistic tenets evinced in Soto's works are pure abstraction, vibrations, progressions and geometric rigor. They can be seen through the use of lines and superimposed squares in his sculptures, made with paint and a series of industrial and synthetic materials. He spent much time in Europe, becoming a key member of the Group Zero movement, which included such artists as Lucio Fontana, Gunther Uecker and Yves Klein. As a result, Soto's work also incorporates modernist concepts such as light, time, movement, color manipulation and space. All of these facets place him as an important figure within the Kinetic and Op Art movements. Dimensions: 19.75 x 6 x 6 in.
Los 12
Jesus Rafael Soto (Venezuelan, 1923 - 2005) Titled: "Multiple II" (from Jai Alai Series), 1969 Signed "Soto" and numbered on base. Numbered: (141/300) Medium: Silkscreen on Plexiglas with metal rods Jesus Rafael Soto was born in Ciudad Bolivar and studied at the School of Visual and Applied Arts in Caracas. During this period he became acquainted with Los Disidentes, a group of artists that included Alejandro Otero and Carlos Cruz-Diez. In addition to his fellow compatriots, Soto's work was influenced by Kazimir Malevich and Piet Mondrian. The main artistic tenets evinced in Soto's works are pure abstraction, vibrations, progressions and geometric rigor. They can be seen through the use of lines and superimposed squares in his sculptures, made with paint and a series of industrial and synthetic materials. He spent much time in Europe, becoming a key member of the Group Zero movement, which included such artists as Lucio Fontana, Gunther Uecker and Yves Klein. As a result, Soto's work also incorporates modernist concepts such as light, time, movement, color manipulation and space. All of these facets place him as an important figure within the Kinetic and Op Art movements. Dimensions: 19.75 x 6 x 6 in.
Los 263
Grafik Kunstdruck (Op-Art Hochglanz) mit eigenhändiger Unterschrift, 1975 (das Original-Kunstwerk ist aus dem Jahr 1972 - Tupa-2), Éditions du Griffon (Neufchâtel, Schweiz), 27 x 27 cm, signiert mit schwarzem Filzstift „Vasarely“, in sehr gutem ZustandSigned silkscreen printing, from 1975 (the original artwork is from 1972 - Tupa-2), Publisher: Éditions du Griffon (Neufchâtel - Suisse, Switzerland), 11 x 11 inch, signed in black felt tip „Vasarely“, in very fine condition
Los 1215
Storm Thorgerson (British, 1944-2013). "Dark Side of the Moon" Program Cover, signed, silkscreen print. Limited print that was signed with pen in the lower right. Framed and glazed. Imagery comes from the Pink Floyd 1975 USA Comic Tour Program. This was the "Dark Side of the Moon" tour of 1975. Storm Thorgerson worked on a lot of Pink Floyd as well as many other Rock and Roll album covers. Overall: 24 1/2 x 19 3/4 in. Sight: 15 1/2 x 10 1/2 in.
Los 1220
Storm Thorgerson (British, 1944-2013). Signed, limited edition silkscreen print, artwork created by Storm for Pink Floyd's 40th anniversary in 2007, featuring a collection of album covers and imagery relating to Pink Floyd. Signed in marker to lower margin. Originally from an edition of 160, framed and glazed. Storm Thorgerson: Many people agree that Storm Thorgerson is the best album designer in the world. Look at the evidence. By which I mean look at your collection of LPs - Douglas Adams from ’Eye of the Storm’, 2000. Storm began Hipgnosis with Aubrey Powell in the 60’s, he ended up designing album covers for Pink Floyd, Led Zeppelin, Genesis and countless others. Many say that Storm Thorgerson could genuinely claim to be the 6th member of Pink Floyd, certainly his visuals for them and others have played an essential part in rock and roll culture. OVerall: 46 3/4 x 46 1/4 in. Sight: 35 1/2 x 35 1/2 in.
Los 343
ROBERT HEINDEL (1938-2005, by & after). The Protecting Veil, Nos. 13 & 15. Silkscreen prints, each signed & numbered 181/195 & 179/195 respectively lower margin; 17¼” x 21¾” (image), in matching glazed frames. (each 31½” x 35” over-all) (2). *Please Note: Artist's Re-Sale Rights might apply.
Los 827
PAINTINGS AND PRINTS to include an unframed continental coastal view oil on canvas, indistinctly signed, size approximately 43cm x 53cm, continental landscape signed Cafieri, oil on canvas, unframed Emile Bellet silkscreen print, depicting a female figure overlooking a bay, Nigel Hemming print, etc
Los 11
Sturtevant (1924-2014)Study for Warhol's Marilyn 1965 signed, titled, and dated 1965acrylic and silkscreen ink on canvas50.8 by 40.6 cm.20 by 16 in.Footnotes:This work will be included in the forthcoming catalogue raisonné being compiled by the Sturtevant Estate, Paris.ProvenancePrivate Collection, HoustonAcquired directly from the above by the present owner circa 1977Each artistic generation is defined by its novel visionaries and 'enfants terribles'; Marcel Duchamp, Robert Rauschenberg, Maurizio Cattelan, Richard Prince – these are artists whose work shatters the cultural zeitgeist and reshapes the landscape of contemporary art practice in its time. American artist Sturtevant was one of the most prominent and highly regarded conceptual pioneers of the latter half of the Twentieth Century, caricaturing and challenging the entrenched ideas of what constituted the art image and object, inspiring artists, philosophers, and critical theorists for generations. In the painting presented here for sale, there is no finer representation of Sturtevant's lifelong artistic project than this: one of the earliest Study for Warhol's Marilyn works, from 1965, the first year of her 'repetitions,' as she termed them. Executed with all the panache of a consummate master, the underpainting, silkscreen quality, and electrifying colour palette are superbly definitive of the Pop Art canon that she sought to rattle. Her ideas were revolutionary and her artworks supremely astute, engaging in the broader discourse around media and cultural theory that had gained immense traction with artists, writers, and critics in the early 1960s. Her practice went head-to-head with the artist-titans of her time, repeating the paintings of Frank Stella, Jasper Johns, and Anselm Kiefer. Sturtevant's Warhol Marilyn series, however, stands as the most iconic of her career. Superimposing images and techniques, upending the symbolic order of source material and artistic license – using not only the visage of the most recognisable leading lady of the last 70 years, but also the most illustrious portrait of the same era – Sturtevant forced the audience to consider the work of art holistically. Her ideology represented the apex point of Warhol's own practice that conflated ubiquity and fame. Her artworks suspended meaning, and instead engaged the spectator in a hierarchy of images and information, undermining the authorial roots and aura of the work of art. Unlike many whose appropriation has inspired backlash, such as Richard Prince, Jeff Koons, and Sherrie Levine, Sturtevant's Marilyns were painted not only with Warhol's blessing, but with the technicians and materials made available to her at the Factory; the canvases, paints, and screens identical to those that Warhol began producing after the actress's untimely death in 1962. Sturtevant claimed that later, when asked how he made his silkscreened works, Warhol told people to 'ask Elaine [Sturtevant].' Her paintings cannot simply be termed 'copies,' therefore, but are instead something much more complex and subversive, entering the philosophical realm of simulacra – a term the artist consistently nodded to as her holy grail and creative driving force. In an age interwoven with digital and virtual machinations that replicate, reshape, and have largely replaced our engagement with 'the real,' Sturtevant's work has become still more relevant and arresting. Shifting to video and digital art in the latter decades of her practice after moving to Paris in 1990, her earliest paintings retain a mysticism that is reserved for those works of art that are true originals – not simply in appearance, but in substance. In the present work, this sense of presence and significance is palpable and undeniable. As academic Patricia Lee wrote, Sturtevant's 'Warhol Marilyn provocatively embodies a decisive moment in the history of the object in art [...] It is in Sturtevant's work that the issue of the copy and its ramifications in Pop, Minimalism and Conceptual art crystallises' (Patricia Lee, Warhol Marilyn: Sturtevant, London, 2016, p. 17). Not only has Sturtevant's work grown to stand apart from those artists she emulated, but the historical and artistic importance of her practice is assured, with works in global museum collections that include the Musée d'Art Moderne de Paris, the Whitney Museum of American Art, New York, the Museu das Artes de Sintra, Portugal, in addition to her major career retrospective, Double Trouble, that took place at the Museum of Modern Art in New York in 2014. A painting by an artist who emerged to compete at the height of the Pop Art and Minimalist movements, Sturtevant's contribution to and importance as one of the definitive Postmodernists of the Twentieth Century can be held in no doubt, and Study for Warhol's Marilyn from 1965 stands as one of the earliest and most collectible works from her career to come to market.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 8105
Unidentifizierter Grafiker 2. H. 20. Jh., Silhouette einer Frau vor beleuchtetem Fenster, Farbserigraphie auf Papier, u. re. undeutlich sign. "Boom" (?), u. li. num. 318/500, 45 x 40 cm, hinter Glas u. Pp. ger. 75 x 56 cm Unidentified graphic artist 2nd half of the 20th century, silhouette of a woman in front of an illuminated window, color silkscreen on paper, a. re. indistinct sign. ''Boom'' (?), U. left num. 318/500, 45 x 40 cm, behind glass a. Pp. Ger. 75 x 56 cm
Los 8261
Helen Frankenthaler (1928-2011), us-amerikanische Malerin und Grafikerin des abstrakten Expressionismus, expressive Komposition o.T., Farbserigrafie und Offsetlithografie auf Velin, USA, 1990, u. re. im Druck sign., verlegt durch das Lincoln Center, New York, 106 x 80 cm, hinter Plexiglas u. Pp. ger. 130 x 102 cm Helen Frankenthaler (1928-2011), American painter and graphic artist of abstract expressionism, expressive composition o.T., ??color silkscreen and offset lithograph on wove paper, USA, 1990, u. re. signed in print, published by Lincoln Center, New York, 106 x 80 cm, behind plexiglass u. PP ger. 130 x 102 cm
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6275 Los(e)/Seite