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Lot 154
ANISH KAPOOR (Né en 1954) Out of the Dark, 2023. Sérigraphie en couleurs sur papier Somerset. Signée et numérotée sur 332 exemplaires. 38,6 x 66,4 cm Silkscreen in colour on 410 g/m² Somerset Tub Sized Satin paper, with matt varnish and smoothed edges, signed and numbered on 332 exemplaries.
Lot 221
JASPER JOHNS (Né en 1930), D’Après. Sans titre (Cross Hatch), 1977. Sérigraphie en couleurs sur papier d'art. Edition de 3 000 exemplaires Imprimée par Simca Print Artists Inc. New York Publiée par Brooke Alexander Inc, New York pour Jaspers Jones screenprints. 25,4 x 26 cm Colour silkscreen on art paper, edition of 3000 exemplaries.
Lot 157
James McQueen (British 1977-), 'I Had Fun Once It Was Awful', 2022, mixed media, archival pigment and silkscreen on 410gsm Somerset Satin paper, signed and numbered from an edition of 95 in pencil; sheet: 101.5 x 67.5cm; 112.5 x 78.5cm inc frameARR sheet: 101.5 x 67.5cm; 112.5 x 78.5cm inc frame
Lot 156
James McQueen (British 1977-), 'Happiness Is Expensive', 2022, mixed media, archival pigment and silkscreen on 410gsm Somerset Satin paper, signed and numbered from an edition of 95 in pencil; sheet: 101.5 x 67.5cm; 112.5 x 78.5cm inc frameARR sheet: 101.5 x 67.5cm; 112.5 x 78.5cm inc frame In Very Good Condition No knocks, tears, or creases to the sheet The work has been float-mounted leaving all corners and edges of the sheet visible Framed to a good standard by the publisher Not examined out of the frame
Lot 83
Takashi Murakami (Japanese 1962-), 'Murakami.Flower #11245 (Jungle Camouflage)', 2024, archival pigment and silkscreen print on wove paper, signed and numbered from an edition of 100, published by Kaikai Kiki Co., Ltd; sheet: 50 x 50cm In very good conditionNo knocks, tears or creases to the sheetOne minor mark to the left border of the sheet, this is visible upon close inspectionThis work has been stored flat and has never been framed.
Lot 22
Connor Brothers (British Duo), 'Truth Is Weirder Than Any Fiction I've Seen', 2015, giclee with silkscreen varnish on wove paper, signed, dated and numbered from an edition of 35; 141.5 x 94cm inc frameARR In very good condition No visible knocks or tears to the sheet Light waving to the lower left hand edge of the sheet, visible in raking light Some extremely minor imperfections around the sheets white border, visible in raking light Deckled edges in good condition This work has been framed in a black frame and has been float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Lot 101
Andy Warhol (American 1928-1987), 'Neuschwanstein', 1987, Offset lithograph & silkscreen on varick rag paper, from an edition of 1200 + 250APs, bearing the Artist's printed signature lower left, jointly published by Edition Schellmann, Maximilian Verlag & Sabine Knust ; sheet: 91 x 62cm sheet: 91 x 62cm Literature: Editions Schellmann 1969-89 P.294 The second edition of Neuschwanstein, jointly published by Edition Schellmann, Maximilian Verlag & Sabine Knust. An offset lithograph and screen print, printed in 1987 by Andy Warhols 'Master Printer' Rupert Jasen Smith. Bearing the printers 'S' blind stamp/embossment mark.ProvenanceEstate of Andy WarholAndy Warhol Foundation for the Visual ArtsBlind stamped Rupert Jasen SmithWith unique estate archive numbering in pencil to verso In very good condition No knocks, tears or creases to the sheet Markings verso, these are from time of production and are not considered damage. This work has been stored flat and has not been framed.
Lot 16
Connor Brothers (British Duo), 'Anger Management', 2023, giclee with silkscreen varnish on wove paper, signed, dated, and numbered from an edition of 75 in pencil; sheet: 75 x 50cmARR sheet: 75 x 50cm In very good condition No knocks, tears or creases to the sheet This work has been stored flat and has not been framed.
Lot 76
Peter Blake (British 1932-), 'Red Nose Day', 2019, silkscreen print in colours on 410gsm Somerset Tub White paper, signed and numbered from an edition of 250, published by Comic Relief; sheet: 62 x 60cmARR sheet: 62 x 60cm In very good condition No visible knocks, tears or creases to the sheet| Framed edge to edge in a white frame This work has not been examined outside of the frame.
Lot 175
Roy Lichtenstein (American 1923-1997), 'This Must Be The Place', 1965/2002, silkscreen in colours on wove paper, numbered from an edition of 24 Studio Proofs in pencil, the regular edition was 300, stamped with the artists signature, re-edition Roy Lichtenstein Foundation, New York, 2002; sheet: 62.7 x 45.2cmsheet: 62.7 x 45.2cmIn very good condition No knocks or tears to the sheet Extremely minor imperfection to the upper left hand corner of the sheet, visible upon close inspection This work has been stored flat and has not been framed.
Lot 146
Harland Miller (British 1964-), ‘Paintings For Charles Addams’, 2013, silkscreen print on 410gsm Somerset paper, signed, dated, and numbered from an edition of 50 in pencil, published by White Cube; sheet: 134 x 95cm (Framed)ARR sheet: 134 x 95cm (Framed) In very good condition No visible knocks, tears or creases to the sheet This work has been framed in a red frame with a white/gold mount. This work has been float mounted within the mount, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Lot 24
CryptoPunks, '10,000 On-Chain', 2023, Archival pigment print on 330gsm Somerset Enhanced Radiant White paper with a silkscreen matte varnish seal, numbered from an edition of 829 verso; sheet: 60 x 60cmsheet: 60 x 60cmIn very good condition No knocks, tears or creases to the sheet This work has been stored flat and has not been framed.
Lot 20
A Ramachandaran (1935-2024)Visions of Ramdev, Song of the Shimbul Tree (Diptych) signed and dated 'Ramachandran 2001' lower rightoil on canvas, framed202.01 x 142.9cm (79 9/16 x 56 1/4in).Footnotes:ProvenanceProperty from a Corporate Collection, UK.Born in 1935, Ramachandran was a prolific Indian artist whose career, spanning from the mid-20th century to the early 21st century, masterfully blended modern dramatic representations with imagery and aesthetics deeply rooted in Indian classical art, engaging lyrically with life and nature. In 1957, Ramachandran studied under the guidance of renowned masters like Ramkinkar Baij and Benodebehari Mukherjee at Viswa Bharati University in Santiniketan. The vibrant cultural and intellectual atmosphere of Santiniketan deepened his connection to the art traditions of India and other Eastern civilizations, sparking a lifelong fascination with and exploration of the mural paintings of Kerala temples. His studies extended to Rajasthani miniature traditions, which significantly reshaped his visual language. As a result, Ramachandran seamlessly integrated various elements of Indian classical art into his oeuvre, embracing composite motifs, decorative features, and the exuberance of forms and colours. His artistic journey includes a diverse range of influences, such as muralist traditions, watercolours, tempera, silkscreen painting, Tibetan tangkas, and the frescoes of Ajanta and Jaipur.In the diptych, Visions of Ramdev, Song of the Shimbul Tree, Ramachandran drew extensively on his research and background in the Kerala muralist tradition, as well as influences from Japanese screen paintings, inspiring him to segment his canvases into panels. Ramachandran has occasionally been viewed as a contentious figure within the Indian modern art scene, mistakenly labelled by some as a 'neo-revivalist' or 'anti-modernity' artist. These claims arise from his powerful figuration and innovative use of Indian mythology, alongside his enduring fascination with Asian artistic traditions.In the present lot, the colours and forms of the murals in Kerala temples depicting Hindu mythology significantly influenced Ramachandran visual expression. The themes of Hindu myths became a rich resource for his creativity and artistic style. The title of the work references Ramdev Pir, a revered character in Indian mythology who was celebrated for helping the oppressed and advocating for the equality of all people. This present lot also reflects Ramachandran's focus on tribal community life, particularly among the tribes from Rajasthan, whose way of life and cultural background profoundly fuelled his creativity. This diptych depicts a peaceful, rural setting and features a group of four seated figures beneath a large, vibrant tree. The tree, prominently positioned across both panels, is adorned with foliage and bears fruits. The figures, dressed in traditional Indian attire, are arranged in calm, seated postures, giving the scene a serene and reflective atmosphere. Each wear richly patterned clothing in earthy tones of orange, purple, green, and yellow. The warm, muted colours unify the scene, and the repetitive patterns, both in the figures' clothing and the tree's branches, create a sense of harmony and rhythm. The painting explores themes of nature, tradition, and spirituality, with its calm composition and traditional elements inviting contemplation. As such, decorative elements, dramatic atmospheres and myths have become an integral part of his work along with his strong lines, dynamic compositions and a refined understanding of colour theories. However, while Ramachandran draws profound inspiration from Indian traditional art and temple murals, his work cannot simply be categorized as decorative. 'My decorativeness is a very sophisticated part of a visual language. It is not the ordinary sense of decorativeness,' says Ramachandran, in Open Magazine, A Ramachandran: 'I am an artist who paints by the acre', to Rosalyn D'Mello in 2019. Instead, it transcends conventional ornamentation to create visual drama that captivates the viewer. His vibrant canvases are imbued with a sense of blossoming life that celebrates nature and existence in its countless manifestations. In this work Ramachandran evokes a sense of movement and vitality, inviting the audience to engage with the complexity of life itself and the interconnectedness of all living things. This perspective elevates his art beyond mere decoration to a powerful expression of the human experience.'You see, just by sitting and observing alone doesn't help you. As an artist, the process of painting for me is to look at nature, and then, when I draw, starting from clear lines, I am trying to get an inner rhythm of each image. They are not just leaves. There is a flow of life that passes through each image. Now that gives a painting its own life.' ( A. Ramachandran)Finally, inspired by the natural surroundings and people of rural areas outside Udaipur in Rajasthan, Ramachandran weaves lyrical narratives adorned with motifs of flora and fauna to celebrate the beauty of these landscapes and their inhabitants. His art seeks to provide a reprieve, offering a soothing escape from the burdens of everyday existence. Rather than exacerbate their struggles, Ramachandran intends to bring solace to viewers. 'Instead of shouting slogans and fighting, why not console people? Why not, you know, sing them a lullaby and put them to sleep, like a mother to a child, or sing a song which is soothing, which lets people forget their miseries?' (A. Ramachandran)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
Lot 52
Andy Warhol (American, 1928-1987)Marilyn Monroe (Marilyn) (Feldman & Schellmann II.22) Screenprint in colours, 1967, on wove paper, signed with the initials in pencil and stamp-numbered 78/250 verso (there were also 26 artist's proofs lettered A-Z), printed by Aetna Silkscreen Products, Inc., published by Factory Additions, New York, the full sheet, framed Sheet 914 x 914mm (36 x 36in)Footnotes:ProvenanceBruce R.Lewin Gallery, New York.Private Collection, Australia.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
Lot 417
A SMALL QUANTITY OF PICTURES AND PRINTS ETC, to include a watercolour of Henley signed Alex Power, approximate size 41cm x 58cm, six small Cries of London prints, four framed silver coloured Arabic motifs, a modern indistinctly signed watercolour of Hong Kong , a Joanne Sibley waterfall print, an unframed Charles Penny silkscreen print 'Garden by the Sea', framed Pipal leaf and straw pictures, ninety framed golf balls in three frames, signed Philip Martin print of Lichfield Cathedral, etc
Lot 156
Large original monochrome silkscreen on paper entitled Conductor by American Contemporary artist Susan Rothenberg. Pulled in a printer's proof small edition of five, this outstanding impression encapsulates Rothenberg's artistic style of synthesizing abstraction and representation. Signature and date in graphite on lower right: S. Rothenberg 85. Edition number in graphite on lower left: P.P. 2/5. Housed in a black frame with silver color brackets and a white mat. Sight size: 31.50"L x 25.50"H. Frame size: 41"L x 36.50"H x 1.25"W. Artwork can be unframed and rolled for shipment. Artist: Susan Charna Rothenberg (American 1945-2020)Issued: 1985Dimensions: See DescriptionEdition Number: Printer Proof: P.P. 2 of 5Country of Origin: United StatesCondition: Age related wear.
Lot 378
Blinky Palermo 1943 Leipzig - 1977 Kurumba, Malediven Flipper. 1970. Zwei Blatt Farbserigrafien (Diptychon). Signiert, datiert und nummeriert. Aus einer Auflage von 90 Exemplaren. Auf Velin. Jeweils: 79,5 x 59,5 cm (31,2 x 23,4 in). Papier jeweils: 86 x 66 cm (33,8 x 25,9 in). Gedruckt bei Serigraphisches Atelier Laube, München, und herausgegeben als Edition der Galerie Heiner Friedrich, München. [EH]. • Die räumliche Entgrenzung der Farbe ist in der vom Künstler vorgenommenen Gegenüberstellung der beiden Druckvarianten spürbar. • Das Diptychon geht auf des Gemälde 'Flipper' von 1965 zurück. • Palermos Œuvre gehört neben Gerhard Richter und Sigmar Polke zu den bedeutendsten Positionen der deutschen Kunst der 1960er und 1970er Jahre. PROVENIENZ: Sammlung Bayern. LITERATUR: Fred Jahn, Blinky Palermo. Gesamte Grafik und alle Auflagenobjekte 1966-1975, München 1983, WVZ-Nr. 8. Das Diptychon geht auf das Gemälde 'Flipper' von 1965 zurück. Der zweifarbige Druck ist dem Druck des dreifarbigen Originalentwurfs gegenübergestellt. Blinky Palermo hat erst nach dem Andruck entschieden, auch von der zweifarbigen Variante eine Auflage zu erstellen, und einige Wochen später bestimmt, die Blätter als Diptychon abzugeben. Zu diesem Zeitpunkt waren aber schon wenige Einzelblätter verkauft worden und ein Teil der Auflage war an der Oberfläche beschädigt worden. Diese Blätter hat der Künstler 1972 aussortiert und vernichtet. Also, vermutet Fred Jahn im Werkverzeichnis, sind nur zwischen 50 und 60 Exemplar aus der ursprünglichen Auflage von 90 existent. Aufrufzeit: 07.12.2024 - ca. 17.29 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONBlinky Palermo 1943 Leipzig - 1977 Kurumba, Malediven Flipper. 1970. Two sheets Silkscreen in colors (diptych). Signed, dated and numbered. From an edition of 90 copies. On wove paper. 79.5 x 59.5 cm (31.2 x 23.4 in). Sheet: 79,5 x 59,5 cm (31,2 x 23,4 in). Printed by Serigraphisches Atelier Laube, Munich, and published as an edition by Galerie Heiner Friedrich, Munich. [EH]. • The artist's juxtaposition of the two print variants makes the spatial dissolution of color palpable. • The diptych is based on the painting “Flipper” from 1965. • Alongside Gerhard Richter and Sigmar Polke, Palermo's oeuvre represents one of the most important positions in German art of the 1960s and 1970s. PROVENANCE: Collection, Bavaria. LITERATURE: Fred Jahn, Blinky Palermo. Gesamte Grafik und alle Auflagenobjekte 1966-1975, Munich 1983, no. 8. The diptych is based on the painting “Flipper” from 1965. The two-color print is juxtaposed with the print of the original three-color version. Blinky Palermo only decided to produce an edition of the two-color version after the trial proof, and a few weeks later, he decided to sell the sheets as a diptych. By this time, however, only a few single sheets had been sold, and part of the edition had suffered surface damage. The artist sorted out and destroyed these sheets in 1972. In his catalog raisonné, Fred Jahn assumes that from the original edition of 90, only between 50 and 60 copies have survived. Called up: December 7, 2024 - ca. 17.29 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 371
Roy Lichtenstein 1923 New York - 1997 New York Sweet Dreams Baby!. 1965. Farbserigrafie. Signiert und nummeriert. Aus einer Auflage von 200 Exemplaren. Auf festem Velin. 90,7 x 64,9 cm (35,7 x 25,5 in). Papier: 95,6 x 69,7 cm (37,6 x 27,4 in). Aus dem Portfolio '11 Pop Artists', Vol. III. Gedruckt bei Knickerbocker Machine and Foundry, Inc., New York. Herausgegeben von Original Editions, New York. [EH]. • Eines der frühesten Zeugnisse des für Lichtenstein so charakteristischen, die Bildprache von Comic-Heften imitierenden Stils. • Zu den drei Bänden des Portfolios '11 Pop Artists' tragen US-amerikanische und britische Künstler, darunter Roy Lichtenstein, Andy Warhol und Jim Dine, 1965 je drei druckgrafische Arbeiten bei. • Die Arbeiten der Portfolios werden im Rahmen der Ausstellung 'Pop and Op' zwischen 1965 und 1967 auf verschiedenen Stationen in den USA gezeigt. PROVENIENZ: Privatsammlung Nordrhein-Westfalen. LITERATUR: Mary Lee Corlett, The prints of Roy Lichtenstein. A catalogue raisonné 1948-1997, New York 1994, WVZ-Nr. 39 (m. Abb.). 'Roy Lichtenstein, sicherlich einer der wichtigsten Künstler unserer Epoche, ja ein Erfinder eines außerordentlichen Werks.' Leo Castelli, zit. nach: Kunstforum international Bd.137, 1997, H.-N. Jocks sprach mit dem Kunsthändler, Entdecker der Pop-Art und König der Kunstwelt Leo Castelli, S. 663ff. Bis zu Beginn der 1960er Jahre arbeitet Roy Lichtenstein in einem expressiven, stark abstrahierenden Stil. Erst im Jahr 1961 findet der Künstler mit dem wegweisenden Gemälde 'Look Mickey' zu den Ausdruckswerten, die für sein weiteres künstlerisches Schaffen eine so zentrale Rolle spielen. Die Reduzierung in der Farbgebung, die prägnante Konturierung und die Rasterung der Fläche sind einige der besonderen Merkmale, die hier ihren richtungsgebenden Einsatz finden. Als weiteres Charakteristikum fällt in diesem Gemälde die Verwendung einer Sprechblase auf, die Lichtensteins klare Orientierung an den Stilelementen von Comics deutlich macht. Bei der hier angebotenen Serigrafie handelt es sich um eine der frühen druckgrafischen Arbeiten mit dem für Lichtenstein charakteristischen Ausdrucksrepertoire. Anlässlich der groß angelegten Ausstellung 'Pop and Op' werden elf bekannte US-amerikanische und britische Künstler – unter ihnen Lichtenstein, Andy Warhol, Mel Ramos und John Wesley – beauftragt, je drei druckgrafische Arbeiten zu dem dreibändigen Portfolio '11 Pop Artists' beizusteuern. Die entstandenen Arbeiten touren in der Folge gemeinsam mit ausgewählten Op-Art-Prints über mehrere Stationen durch die Vereinigten Staaten. Die aus Band III des Portfolios stammende Serigrafie 'Sweet Dreams Baby!' überzeugt durch ihre kraftvolle Prägnanz. Neben der Verwendung der strukturierenden Benday Dots in den Bereichen des Gesichts und der Faust sind es vor allem die Bewegungslinien und der dazugehörige lautmalerische Schriftzug 'Pow!', die die starke Dynamik und Aussagekraft des Motivs vermitteln. Die markante Arbeit zeigt den unverkennbaren Stil des weltberühmten Künstlers, und dies vor allem auf motivischer Ebene in einer verdichteten und besonders eindrücklichen Form. Aufrufzeit: 07.12.2024 - ca. 17.19 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONRoy Lichtenstein 1923 New York - 1997 New York Sweet Dreams Baby!. 1965. Silkscreen in colors. Signed and numbered. From an edition of 200 copies. On firm wove paper. 90.7 x 64.9 cm (35.7 x 25.5 in). Sheet: 95,6 x 69,7 cm (37,6 x 27,4 in). From the portfolio '11 Pop Artists', vol. III. Printd by Knickerbocker Machine and Foundry, Inc., New York. Published by Original Editions, New York. [EH]. • One of the earliest documents of Lichtenstein's characteristic style that imitates the pictorial language of comic books. • In 1965, American and British artists, including Roy Lichtenstein, Andy Warhol, and Jim Dine, each contributed three prints to the three volumes of the portfolio “11 Pop Artists”. • The works in the portfolios were shown at various locations in the United States between 1965 and 1967 as part of the “Pop and Op” exhibition. PROVENANCE: Private collection North Rhine-Westphalia. LITERATURE: Mary Lee Corlett, The prints of Roy Lichtenstein. A catalogue raisonné 1948-1997, New York 1994, no. 39 (illustrated.). Leo Castelli, quoted from: Kunstforum international vol.137, 1997,H.-N. Jocks, in conversation with the art dealer, discoverer of Pop Art and king of the art world, Leo Castelli, pp. 663ff. Until the early 1960s, Lichtenstein created art in an expressive, highly abstract style. His breakthrough came in 1961 with the seminal painting “Look Mickey,” in which he introduced the expressive values that would play such a pivotal role in his future work. A reduced color scheme, bold contours, and the grid-like division of the pictorial surface are some of the unique characteristics he employed at this pioneering point in his career. The speech balloon in this painting is another notable feature that illustrates Lichtenstein's orientation toward stylistic elements of comic art. The present silkscreen print is one of the early graphic works displaying Lichtenstein's characteristic repertoire. On the occasion of the grand exhibition “Pop and Op,” eleven renowned American and British artists—including Lichtenstein, Andy Warhol, Mel Ramos, and John Wesley—were commissioned to contribute three prints each to the portfolio “11 Pop Artists.” The resulting works then toured the United States with other selected Op Art prints. The silkscreen print “Sweet Dreams Baby!” taken from volume III of the portfolio is particularly compelling for its bold concision. In addition to the structuring of Benday Dots in the areas of the face and fist, it is, above all, the motion lines and the corresponding onomatopoeic lettering “Pow!” that convey the strong dynamics and expressiveness of the motif. This striking work has all the hallmarks of Lichtenstein's distinctive style. Called up: December 7, 2024 - ca. 17.19 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 375
Andy Warhol 1928 Pittsburgh - 1987 New York Marilyn Monroe (Marilyn). 1967. Farbserigrafie. Verso links unten schlecht leserlich signiert und mit der gestempelten Nummerierung rechts unten. Aus einer Auflage von 250 Exemplaren. Auf dünnem Karton. 91 x 91,4 cm (35,8 x 35,9 in). Gedruckt von Aetna Silkscreen Products, Inc., New York, und herausgegeben von Factory Additions, New York. • Warhols 'Marilyn' ist die Ikone der modernen Druckgrafik schlechthin. • In seiner Marilyn bündelt Andy Warhol alle Sehnsüchte, die mit ihrer Person bis heute verbunden sind. • Ein Blatt aus dem ersten Mappenwerk, das von den von Warhol gegründeten Factory Additions, New York, herausgegeben wurde. PROVENIENZ: Privatsammlung Hessen (seit 2004, Lempertz). LITERATUR: Frayda Feldman, Jörg Schellmann, Claudia Defendi. Andy Warhol Prints. A catalogue raisonné 1962-1987, New York 2003, WVZ-Nr. II.27. - - Lempertz, Auktion 868, Zeitgenössische Kunst, 3.12.2004, Los 691 (m. Abb.). 'Die Ausstrahlung der Warholschen Porträts ist so stark, daß wir uns heute an Marilyn Monroe in der Gestalt erinnern, die Warhol ihr verliehen hat. Das gilt auch für andere Porträts, am meisten aber für den Star der Stars, für Marilyn.' Carl Haenlein, in: Andy Warhol. Bilder 1961 bis 1981, Ausst.-Kat. Kestner-Gesellschaft Hannover, Hannover 1981, S. 8. Warhols Marilyn-Siebdrucke gehören zu den bekanntesten und auch programmatischsten Werken der Pop-Art. Die Serigrafie als künstlerisches Medium ist von der spontanen Mal-Geste ebenso weit entfernt wie die Serienproduktion vom originalen Einzelwerk. Bei Warhol aber liegt die Eindringlichkeit eines Motivs gerade und erst in der Summe der Bilder. Das zugrunde liegende Gestaltungsprinzip ist hier wie in vielen anderen Werken die Variation des immer gleichen ikonografischen Themas. Selbst schon zur Ware der amerikanischen Konsumgesellschaft geworden, werden auch die Stars, einem industriellen Massenprodukt vergleichbar, der Öffentlichkeit präsentiert. Seit ihrem Tod 1962 entstanden zahlreiche serielle Marilyn-Monroe-Bilder, deren farbige Oberflächen das glamouröse Image der Schauspielerin betonen. Wie in nahezu all seinen weiblichen Porträts sind sie durch Lippenstift, Lidschatten und ein fotogenes Lächeln gekennzeichnet, das ihnen einen maskenhaften Charakter verleiht. Den verschiedenen Leinwandfassungen folgt 1967 nach der Vorlage eines Pressefotos ein Portfolio mit zehn Serigrafien, die ein und denselben Bildgegenstand, das lächelnde Gesicht der Schauspielerin, in zehn Farbvarianten wiederholen. Im vorliegenden Blatt legt Warhol fünf Farbschablonen auf und betont besonders die Lippen in einem kräftigen Lila-Blau , das einen deutlichen Kontrast zum pinken Grund bildet. 'Für die Marilyn-Serie greift Warhol auf eine Werbestandaufnahme für den Film 'Niagara' aus dem Jahre 1953 zurück […] Warhols Bildnis zeigt das Entstehen eines Mythos. Es zeigt, wie der primäre Sinn der Portraitphotographie, nämlich das naturgetreue Abbild eines Menschen zu sein, durch einen sekundären Sinn überlagert und verformt wird, der in diesem Menschen etwas anderes, neues sieht: die perfekte Kreatur, die sexuelle Wunschfigur, die Verkörperung des Amerikanischen Traums usw. Und es zeigt – und hier beginnt der Mythos –, wie dieser sekundäre Sinn, so sehr er eine Projektion sein mag, durch den Realismus, den die Photographie als 'wahres Abbild' verbürgt, dennoch in der 'Wirklichkeit' eines tatsächlich existierenden Menschen verankert wird. Die Marilyns sind fiktiv und realistisch zugleich, sie zeigen ein Wesen, das über den Menschen steht und dennoch einer von ihnen ist.“ (Michael Lüthy, in: Andy Warhol. Thirty are better than none, Frankfurt a. Main 1995, S. 51ff.) [EH] Aufrufzeit: 07.12.2024 - ca. 17.25 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONAndy Warhol 1928 Pittsburgh - 1987 New York Marilyn Monroe (Marilyn). 1967. Silkscreen in colors. Signed (barely legible) on the reverse in the lower left and stamped with the number in the lower right. From an edition of 250 copies. On thin cardboard. 91 x 91.4 cm (35.8 x 35.9 in). Printed by Aetna Silkscreen Products, Inc., New York, and published by Factory Additions, New York. • Warhol's “Marilyn” is the ultimate icon of modern art prints. • In his Marilyn seres, Andy Warhol expressed all the longings associated with her to this day. • A sheet from the first portfolio published by Warhol's Factory Additions, New York. PROVENANCE: Private collection, Hesse (since 2004, Lempertz). LITERATURE: Frayda Feldman, Jörg Schellmann, Claudia Defendi. Andy Warhol Prints. A catalogue raisonné 1962-1987, New York 2003, entry no. II.27. - - Lempertz, auction 868, Zeitgenössische Kunst, December 3, 2004, lot 691 (illustrated). 'The aura of Warhol's portraits is so strong that we remember Marilyn Monroe in the likeness Warhol gave her. This is also true for other portraits, but above all for Marylin, the star of all stars.' Carl Haenlein, in: Andy Warhol. Bilder 1961 bis 1981, ex. cat. Kestner-Gesellschaft Hanover, 1981, p. 8. Warhol's Marilyn silkscreens are among Pop Art's most famous programmatic works. Silkscreen printing as an artistic medium is just as far removed from the spontaneous gesture of painting as serial production is from an original work that carries the artist's signature. In Warhol's work, however, a motif's poignancy lies precisely in the totality of the images. As in many of his other works, the underlying design principle here is the variation on the same iconographic theme. Having become a commodity of American consumerism, the stars are presented in a way comparable to an industrial mass product. Since she died in 1962, numerous series of Marilyn Monroe pictures have been created, their colorful surfaces emphasizing the actress's glamorous image. As in almost all of his female portraits, they are characterized by lipstick, eye shadow, and a photo-friendly smile that lends them a mask-like character. Following various canvas versions, Warhol created a portfolio of ten silkscreens based on a press photo in 1967, which repeated the same subject, the smiling face of the actress, in ten color variations. In the present sheet, Warhol used five color stencils and emphasized the lips in a bold purple-blue contrasting sharply with the pink background. “For the Marilyn series, Warhol drew on an advertising image from the 1953 film ‘Niagara’ [..] Warhol's image shows the creation of a myth. It shows how the primary purpose of portrait photography, namely to be a true-to-life likeness of a person, is overlaid and distorted by a secondary purpose, which sees something else in this person: the perfect creature, the object of sexual desire, the embodiment of the American dream. Moreover, it shows –and this is where the myth begins – how this secondary sense, however much it may just be a projection, is anchored in the 'reality' of an existing human being by the realism that photography guarantees as a 'true image.' The Marilyns are fictitious and realistic; they show a being that stands above the people and is one of them.” (Michael Lüthy, in: Andy Warhol. Thirty are better than none, Frankfurt a. Main 1995, pp. 51ff.) [EH] Called up: December 7, 2024 - ca. 17.25 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 370
Andy Warhol 1928 Pittsburgh - 1987 New York Brooklyn Bridge. 1983. Farbserigrafie. Signiert und nummeriert. Verso mit dem Copyright-Stempel. Eines von 5 Probeexemplaren bezeichnet 'PP'. Auf Lenox Museumskarton. 99,5 x 99,5 cm (39,1 x 39,1 in), blattgroß. Gedruckt von Rupert Jasen Smith, New York (mit dem Trockenstempel). Herausgegeben von der Brooklyn Bridge Centennial Commission, New York. [EH]. • In seiner charakteristischen Technik inszeniert Warhol das Wahrzeichen New Yorks. • Entstanden anlässlich des 100. Geburtstags der Brooklyn Bridge. • Warhol ist die Ikone der Popkultur und setzt seiner Stadt hier ein Denkmal. • In den 1960er Jahren beginnt in seiner berühmten New Yorker Factory sein Aufstieg zu einem der weltweit bekanntesten Künstler. PROVENIENZ: Privatsammlung Baden-Württemberg. LITERATUR: Frayda Feldman, Jörg Schellmann, Claudia Defendi. Andy Warhol Prints. A catalogue raisonné 1962-1987, New York 2003, WVZ-Nr. II.290. Aufrufzeit: 07.12.2024 - ca. 17.18 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONAndy Warhol 1928 Pittsburgh - 1987 New York Brooklyn Bridge. 1983. Silkscreen in colors. Signed and numbered. With the copyright stamp on the reverse. One of 5 trial proofs inscribed 'PP'. On Lenox museum cardboard. 99.5 x 99.5 cm (39.1 x 39.1 in), the full sheet. Printed by Rupert Jasen Smith, New York (with the blindstamp). Published by Brooklyn Bridge Centennial Commission, New York. [EH]. • Warhol stages the New York landmark in his characteristic technique. • Created on the occasion of the 100th anniversary of Brooklyn Bridge. • Warhol, an icon of pop culture, memorializes his city with this work. • His rise to fame as one of the world's most famous artists began in his renowned New York Factory in the 1960s. PROVENANCE: Private collection, Baden-Württemberg. LITERATURE: Frayda Feldman, Jörg Schellmann, Claudia Defendi. Andy Warhol Prints. A catalogue raisonné 1962-1987, New York 2003, no. II.290. Called up: December 7, 2024 - ca. 17.18 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 1188
Pop Art Nicholas Krushenick (1929 - 1999 New York)o.T. 1973. Farbserigraphie auf leichtem Velinkarton. 56 x 45,5 cm (66 x 55,5 cm). Signiert, datiert und nummeriert. - Obere rechte Ecke leicht angestoßen. Sehr vereinzelt leichte Farbspur, unten rechts ein kleiner Braunfleck. Insgesamt sehr gut. Prachtvoller, farbsatter und kraftvoller Druck mit breitem Rand. Eines von 350 Exemplaren. Colour silkscreen on light wove cardboard. Signed, dated and numbered. - Upper right corner slightly bumped. Very slight colour traces, a small brown stain lower right. Overall very good. Splendid, colourful and powerful impression with wide margin. - One of 350 copies.
Lot 432
Olafur Eliasson. (1967 Kopenhagen - lebt u. arbeitet inBerlin). Life. 2021. Serigraphie in Leuchtfarbe auf 300 g Daunendruck Papier. 84 x 60 cm (89 × 64 cm). Mit Zertifikat, dort signiert, nummeriert und mit weiteren Werksangaben. - Ecken kaum merklich angestoßen, insgesamt sehr gut. Prachtvoller, farbfrischer und satter Druck der nahezu formatfüllenden Darstellung. Die Farben fluoreszierend und im Dunkeln leuchtend. Eines von 365 Exemplaren, die Olafur Eliasson nach Erstellunsgdatum nummerierte. - Anlässlich der gleichnamigen Ausstellung in der Fondation Beyeler vom Museum herausgegeben. Die Ausstellung fand vom 01.01.2021-31.12.2021 statt. - Druck bei Arni Siebdruck, Basel. - Mit "Life" erschuf Olafur Eliasson 2021 eine immersive Ausstellung, in der das Leben in seinen Facetten als ultimativer Erfahrungsraum dargestellt wird und Kultur untrennbar mit Natur in Verbindung steht. Life bedeutet die Öffnung nach Außen, für die Eliasson jegliche Grenzen verschwinden ließ: Er hat etliche Fenster des Museums entfernt, um einen großen Raum anstelle von Museums- und Außenraum zu schaffen. Zudem war "Life" ganztägig geöffnet und dadurch die Erfahrung bei Tag und Nacht machbar. Für die Wirkung bei Nacht färbte Eliasson das Wasser des Seerosenteiches mit fluoreszierenden Farben, die bei Nacht leuchteten und einen fließenden Übergang von Tag zu Nacht bedeutet. Im Austausch und ohne Grenzen zwischen Licht und Dunkelheit, der Natur und den Museumsräumen, der Institution, des Künstlers und der Besucher vereinigen sich alle zu einem unmittelbaren Miteinander. Koexistenz bedeutet Leben, Life war dabei Eliassons Ansatz, die Welt durch die ultimative Öffnung für alle Spezies lebenswert zu machen. Silkscreen in luminous paint on paper. With certificate, there signed, numbered and with further details of the work. - Corners hardly noticeably bumped, overall very good. Splendid, fresh and rich impression of the nearly full-sized depiction. The colours fluorescent and glowing in the dark. - One of 365 copies numbered by Olafur Eliasson according to the date of creation. - Published by the museum on the occasion of the exhibition of the same name at the Fondation Beyeler, Basel.
Lot 1187
Pop Art Nicholas Krushenick (1929 - 1999 New York)o.T. 1972. Farbserigraphie auf CM Fabriano-Velinkarton (mit WZ). 70 x 64 cm. Signiert, datiert und nummeriert. - Ecken kaum merklich angestoßen, verso punktuell eine kleine Anschmutzung, insgesamt sehr gut. Prachtvoller, farbfrischer und satter Druck der formatfüllenden Darstellung. Eines von 300 Exemplaren. - Druck bei Edition Domberger, Stuttgart (unten rechts mit dem Blindstempel und Druckvermerk). Colour silkscreen on CM Fabriano wove cardboard (with watermark). Signed, dated and numbered. - Corners barely noticeably bumped, minor soiling in places on the verso, overall very good. Splendid, colour-fresh and rich impression of the full-format depiction. - One of 300 copies. - Printed by Edition Domberger, Stuttgart (lower right with blindstamp and printer's mark).
Lot 10
Rupprecht Geiger. (1908 - 2009 München). (Pink-Blau-Violett). 1 Arbeit aus: all die roten farben, was da alles rot ist, ein sehr rotes buch/ Hundertbuch III. 1981. Farbserigraphie auf leichtem Velinkarton. 39,5 x 40 cm. Verso signiert. - In ausgesprochen gutem Zustand. Prachtvoller, sehr farbintensiver und leuchtender Druck der formatfüllenden Darstellung. - An den Kanten minimal berieben. Geiger 168/7. - Hg. v. Guido Hildebrandt Verlag, Duisburg. - Druck bei Laube, München. (Purple-orange) 1 colour silkscreen on light velour board. Signed on the verso. - In very good condition. Splendid, very colour-intensive and luminous print of the format-filling depiction. - Minimally rubbed at the edges. - Pub. in the portfolio "all die roten farben, was da alles rot ist, ein sehr rotes buch/ Hundertbuch III". - Pub. by Guido Hildebrandt Verlag, Duisburg. - Printed by Laube, Munich.
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