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Lot 286
Andy Warhol (American 1928-1987) Sigmund Freud, 1980 (F. & S. II. 235) 160/200, signed and numbered in pencil (lower right), from Ten Portraits of Jews from the Twentieth Century, on Lenox Museum Board, with the blindstamp of the printer, Rupert Jasen Smith, co-published by Ronald Feldman Fine Arts, New York and Jonathan A Editions, Tel Aviv and with artists's copyright inkstamp (to reverse)Dimensions:102cm x 81.3cm (40 1/8in x 32in)
Lot 287
Andy Warhol (American 1928-1987) Liz, 1964 (F. & S. II. 7) signed and dated in ball-point pen (lower right), edition of approximately 300, printed by Total Color, published by Leo Castelli Gallery, New York, offset lithograph printed in coloursDimensions:the sheet 58.7cm x 58.7cm (23 1/8in x 23 1/8in)
Lot 50
After ANDY WARHOL (AMERICAN 1928-1987) Observer, Warhol By Warhol offset lithographic poster, 1986, signed in black marker 'Serena… Andy Warhol 86', condition A, not backedDimensions:29 1/2 x 19 1/2 in. (75 x 49 cm.)Provenance:Provenance:The current owner worked at the Anthony d'Offay Gallery, LondonNote: Signed on the occasion of the exhibition 'Warhol on Warhol' (self portraits) at the Anthony d'Offay Gallery in London. The current owner was worked at the gallery and asked Warhol to sign two posters during the opening of the show in 1986. In his diaries, Warhol recalls a night out in London during the exhibition: 'Sunday 6 July 1986. Got the Concorde, was met by Anthony d'Offay, went to the Ritz hotel [porters $20], had a really big double room, like three rooms. Cabbed to Mr Chow's [$7.50] all these great people, Mick and Jerry, all the English swells...' (source: The Guardian, 2 March 2008)
Lot 51
After ANDY WARHOL (AMERICAN 1928-1987) Warhol, The Tate Gallery lithographic poster, 1971, signed "Andy Warhol" in black marker lower right, condition A; not backedDimensions:30 x 20 in. (76 x 51 cm.)Provenance:Provenance:The current owner worked at the Anthony d'Offay Gallery, LondonNote: Signed during a private opening for the Andy Warhol exhibition at the Anthony d’Offay Gallery, London, July 9 – August 22, 1986. This was Warhol’s last exhibition in England before his death the following year.
Lot 920
WARHOL, ANDY (Pittsburgh 1922-1987 Manhattan /NYC) - "Two Dollar Thomas Jefferson“, 2 Dollarnote mit Original-Signatur "Andy Warhol" und gestempelter Briefmarke, Schein datiert 1976, rückseitig gestempelt "Andy Warhol". In Acrylrahmen mit beiliegendem Galerie-Zertifikat. Rahmen H. 15,2 x B. 20,2 cm, Schein ca. L. 15,5 x B. 6,6 cm. (Schein ohne Gebrauchsspuren).
Lot 941
nach WARHOL, ANDY (Pittsburgh 1922- 1987 Manhattan /NYC), Farbserigrafie / Farboffset: "Marilyn", unsigniert. Maße im Passepartoutausschnitt 14 x 14 cm. Hinter Glas im Passepartout und in Galerieleiste gerahmt; Gesamtmaße mit Rahmen 26 x 29 cm. Aus einer privaten Sammlung im Siegerland (Rahmen bestoßen).
Lot 755
ANDY WARHOL Pittsburgh 1928 - 1987 New York: Cologne Cathedral. Karten mit Ansichten des Kölner Doms. Folge von 4 Bll. Farbsérigraphien nach den großformatigen Farbsérigraphien mit Diamantenstaub aus der gleichnamigen Mappe 1985. Vgl. Feldman/Schellmann II.361-364. - Auf leichtem Karton. Jeweils 20,5 x 15 cm. Unter Blende montiert. Beiliegen: Pat Hackett (Hrsg.); Andy Warhol. Das Tagebuch. Dt. Ausgabe. Mit zahlr. teils farb. Abb. München, Droemer, 1989. 4°. OPpbd. 742 SS. Einband geringfügig bestoßen. Seiten teilweise unten etwas gelockert. - Plakat zur Ausstellung „Andy Warhol - Der Dom zu Köln“ im Historischen Brederhof in Königswinter-Dollendorf März-April 1985. Mit dem Copyright von Andy Warhol und der Verlegeradresse Hermann Wünsche. Auf Vélin. 87 x 61 cm. Mit Knick- und schwachen Kratzspuren. [ms]
Lot 754
ANDY WARHOL Pittsburgh 1928 - 1987 New York: Two Dollar Jefferson. Ready-made. Zwei-Dollar-Note mit collagierter und abgestempelter 13 Cent-Briefmarke zwischen 2 Plexiglasscheiben, 1976. In schwarzem Filzstift signiert. Verso mit dem Namensstempel. 6,5 x 15,5 cm (Gesamtgröße: 15 x 20,5 cm). „Sowohl durch die handschriftliche Signatur als auch durch die namentliche Stempelung wird der Geldschein im Kunstkontext nobilitiert und erscheint nun selbst als Kunstwerk. Warhol lässt uns auf affirmative Weise die Zwei-Dollar-Note als Bild bewusst werden, zumal man deren druckgrafische Gestaltung normalerweise kaum im Detail betrachtet, und macht sie somit zum Gegenstand der Reflexion. Ein Nebeneffekt ist, dass der Schein durch Warhols Bearbeitung wesentlich wertvoller geworden ist als er in seiner Funktion als Wertzeichen angibt“ (Quelle: H. Butin, Internet.). Beiliegt: Echtheitszertifikat der Galerie 32, Nizza vom 14. Oktober 2019. [bg]
Lot 753
ANDY WARHOL Pittsburgh 1928 - 1987 New York: One Dollar Washington. Ready-made. Ein-Dollar-Note zwischen 2 Plexiglasscheiben, 1957. In schwarzem Filzstift signiert. Verso mit dem Namensstempel. 6,5 x 15,5 cm (Gesamtgröße: 15 x 20,5 cm). Beiliegt: Echtheitszertifikat der Galerie 32, Nizza vom 14. Oktober 2019. [bg]
Lot 316
Zwei-Dollar-Banknote, gestempelt und signiert "Andy Warhol", 1976 Zwei-Dollar-Banknote mit dem Portrait von Thomas Jefferson (amerikanischer Präsident von 1801 bis 1809). Die Rückseite zeigt die Darstellung der Unabhängigkeitserklärung nach einem Gemälde von John Trumbull. Die Frontseite ist mit "Andy Warhol" mit Filzstift signiert sowie mit der Nr. "J13843065A" versehen. Die Rückseite ist mit "Andy Warhol" gestempelt. Im Plexiglasrahmen. Mit Expertise der Galerie 32 Nice, Frankreich, vom 14. Oktober 2019. Maße 6,3 x 15,5 cm bzw. 15 x 20 cm (Rahmen). A two dollar bill stamped and signed "Andy Warhol", 1976 A two dollar bill with portrait of Thomas Jefferson (US-president from 1801 to 1809), the reverse with the Declaration of Independence after a painting by John Trumbull. Front is signed "Andy Warhol" with a black marker. Also no. "J13843065A". Reserve with stamped signing "Andy Warhol". With perspex frame. Comes with an expertise from Gallery 32 in Nice, France, from 14th October 2019. Dimensions 6.3 x 15.5 cm, 15 x 20 cm (frame).
Lot 315
Zwei-Dollar-Banknote mit vier Briefmarken, gestempelt und signiert "Andy Warhol", 1976 Zwei-Dollar-Banknote mit dem Portrait von Thomas Jefferson (amerikanischer Präsident von 1801 bis 1809). Die Rückseite mit Darstellung der Unabhängigkeitserklärung nach einem Gemälde von John Trumbull. Die Frontseite ist mit "Andy Warhol" mit Filzstift signiert. Vier aufgeklebte US-Postage-Briefmarken zu 13 Cent, die zusammen ebenfalls die Unabhängigkeitserklärung darstellen, zweifach abgestempelt in "Atlanta 4. July 1976" sowie mit der Nr. "F21569981A" versehen. Die Rückseite ist mit "Andy Warhol" gestempelt. Im Plexiglasrahmen. Mit Expertise der Galerie 32 Nice, Frankreich vom 14. Oktober 2019. Maße 6,3 x 15,5 cm bzw. 15 x 20 cm (Rahmen). A two dollar bill with four postal stamps, stamped and signed "Andy Warhol", 1976 A two dollar bill with portrait of Thomas Jefferson (US-president from 1801 to 1809), the reverse with the Declaration of Independence after a painting by John Trumbull. Front is signed "Andy Warhol" with a black marker, four 13 cent US postal stamps which also depict the Declaration of Independence, stamped in Atlanta on 4th July 1977, also with no. "F21569981A". Reserve stamped "Andy Warhol". With Perspex frame. Comes with expertise of Galery 32 in Nice, France, from 14th October 2019. Dimensions 6.3 x 15.5 cm, 15 x 20 cm (frame).
Lot 37
MadonnaThree Original Promotional Pop Art Posters for the Album 'True Blue', 1986official subway advertising posters printed on paper used in the marketing campaign in the UK for the new album, each featuring an image taken by Herb Ritts which reflects the main LP artwork, printed in various Warhol-style colourways and produced in very limited numbers 152 x 101cm (60 x 40in) (3)For further information on this lot please visit Bonhams.com
Lot 38
Andy Warhol (1928-1987)Herself, from 'Ingrid Bergman', 1983 signed and numbered 62/250 in pencilscreenprint in colours96.5 x 96.5cm (38 x 38in).printed by Rupert Jasen Smith, with his blindstamp, published by Galerie Börjeson, Malmö, with their and the artist's copyright stamp on the reverseFootnotes:LiteratureFeldman & Schellmann, Andy Warhol Prints 1962-1987, Fourth Edition, 2003, no.II. 313For further information on this lot please visit Bonhams.com
Lot 42
Andy Warhol (1928-1987), Queen Ntombi Twala of Swaziland from the series 'Reigning Queens', signed and numbered '13/40 Andy Warhol' (lower right), and stamped with the artist's copyright (on the reverse), silkscreen in colours on Lenox museum board, image & full sheet 100x80 cm, Published in 1985 by George C. P. Mulder, Amsterdam, and printed by Rupert Jasen Smith, New York, in an edition of 40.Literature: -F.Feldman, J.Schellmann, 'Andy Warhol. Prints. A Catalogue Raisonné 1962-1987', 2003, p. 145, cat. no. II.347.
Lot 31
Francis Picabia (1879-1953), Jeudi (Thursday), signed and dated 'Francis Picabia 1951' (lower right), oil on canvas, 46x38,5 cm, The elusive and mercurial Francis Picabia (1879-1953) dedicated his life escaping any and every label that couldpossibly be put on him, whether it regarded his personal life or his artistic endeavours.In 1912 a New York Times critic called him the “Cuban who out-cubed the Cubists”, much to Picabia’s pleasure,as he loved to provoke and to play up his “exotic” background. Born in Paris to a wealthy Cuban father and aFrench mother with her own fortune, Picabia actually never fitted in any specific culture or art scene, nor couldhe or would he play the ‘poor Romantic painter’ card.After studying at the École des Arts Décoratifs in Paris, Picabia tries his hand at Impressionism, but whereasMonet and his colleagues work en plein air, Picabia uses postcards as inspiration. This approach is key tohis art: he is playing with the assumptions and structures of a certain style, translating these into a ready-madestyle, and thus questioning the whole movement altogether. The next typical Picabia move is to then make aclean break and jump to a completely different style, while vehemently condemning the previous one. Thisprocedure would become Picabia’s very trademark.Picabia’s career is one that covers most art movements of the first half of the 20th century. After a brief periodof experimenting with Impressionism and Fauvism, he transitions to Cubism, only to denounce the latteragain at the onset of World War I. During WWI Picabia spends quite some time in New York, then a haven forEuropean artists escaping the war. Here he plays a catalytic role in bringing modern art to America. He diveshead over heels into Dadaism together with his Dada friends Marcel Duchamp, Man Ray and the photographerAlfred Stieglitz. His Portraits Mécaniques, in which bodies morph into pistons and pumps, were exhibited atAlfred Stieglitz’s gallery 291 while Stieglitz’s journal of the same name carries numerous other Picabia’s Dadacontributions. Travelling between New York, Zürich and Barcelona, Picabia picks up new artistic ideas and artfriends as new toys to play with, ever ready to let go of them as soon as he becomes captivated by new ones.By 1920 Dada slowly sizzles out and we see Picabia denounce the movement in his typical way with the crypticstatement: “I separated from Dada because I believe in happiness and I loathe vomiting; the smells of cookingmake a rather unpleasant impression on me.”Dadaism is followed by a short fling with Surrealism while the frenzied mood of the 1920s and 1930s is reflectedin Picabia’s skipping between abstraction, figuration and optical illusion on an almost daily basis. Time andtime again he is playing with the fictional idea of originality and the boundaries of good taste. Materials likehousehold paint, feathers and pasta are put to good use in his everlasting attempt to deliberately mock theholiness of a certain style.In 1937, Picabia’s work takes yet another surprising turn as he starts to produce realistic nude portraits. Subjectsfrom soft-core pornographic magazines are worked over with smooth, fluid brushwork to imitate the sheen ofphotographic paper. Initially, their garish appearance was much frowned upon, decennia later to be connectedwith the work of Rauschenberg, Warhol and Koons and considered a tongue-in-cheek attack on mass media.After WWII Picabia leaves Southern France to return to Paris and although plagued by ill health during his finalyears, he keeps on working tirelessly. True to his fierceful dislike of consistency he creates hybrid works thatmerge the very disciplines he had previously helped shape. See the present lot (Jeudi/Thursday, no. 31) on sale,showing one of his latest works of 1951 and in itself reminiscent of a work by him of 1949, titled ‘Colloquium’.“Notre tête est ronde pour permettre à la pensée de changer de direction: Our heads are round so ourthoughts can change direction”, is another famous quote by Picabia. In 2016 the Museum of Modern Art in NewYork took this citation as the title for its extensive exhibition of Picabia’s work. (MoMa, 2016-17). After havingconsidered his manifold and capricious career we can see why. Impressionism, Cubism, Dadaism, Surrealism,Realism: Picabia has been there and done that. As his friend Marcel Duchamp once said, his oeuvre was a ‘akaleidoscopic series of art experiences’.Consistent in being inconsistent is one thing, but the true genius of Picabia does reveal itself if you try to lookpast Style with a capital S. With wispy watercolours on the one hand and kitschy photo-realism on the other,often in one and the same year, he is the first to push the boundaries between high art and low art, betweendelicate good taste and downright kitsch.Especially in this era where the premises of high art and low art are continuously being questioned, Picabia canbe looked upon as a refreshing example who knew how to scramble elements of good and bad taste. Or, in hisown words: “If you want to have clean ideas, change them like shirts.”-Francis Picabia: ‘the grasshopper of contemporary art’ in: Christies, stories, 18-02-2022, Francis Picabia: ‘the grasshopper of contemporary art’ | Christie’s(christies.com)-Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction / by Anne Umland et al. (Catalogue accompanying the major 2016 exhibitionon the artist, jointly organized by The Museum of Modern Art, New York, and the Kunsthaus Zürich. NY : MoMa, 2016-Francis Picabia: the art ‘loser’ who ended up winning it all : an extravagant new retrospective of the avant-garde French-Cuban artist highlights oftentroubling yet always distinctive work / by Jason Farago, in: The Guardian 23-11-2016.-Dada and beyond: The many Artistic lives of Francis Picabia / by Albert Mobilio, in: New York Times 02-12-2016.-Francis Picabia, 1879-1953, MoMa, Art and artists, Francis Picabia | MoMA-Francis Picabia, awful artist and provocatuer of genius / by Michael Gibson, in: New York Times 21-12-2002-Picabia / by W.A. Camfield, NY : Guggenheim Foundation, 1970, Provenance:-Anon. sale, Loudmer Paris, 23 March 1992, cat. no. 175.-Collection Galerie Beaubourg, Marianne and Pierre Nahon, Ventes.-Galerie Lasés, Amsterdam, where acquired by the present owner.Literature: M.L. Borràs, 'Picabia', London 1985, p. 500, cat. no. 1149, illustrated.'Francis Picabia Anthology', p. 195, cat. no. 124, illustrated in colour.Exhibited:-Paris, Palais des Congrès, 'Picabia: dandy et héraut de l'art du XXe siècle', 1980-81, cat. no. 79.-Milan, Studio Marconi, 'Picabia, Opere 1898-1951', February - March 1986, cat. no. 48, illustrated in colour.-Florence, Galleria Vivita 1, 'Francis Picabia', 14 October - 10 December 1988, p. 47, illustrated in colour.-Montrouge, 39ème Salon de Montrouge, 'Picabia et Montrouge-Barcelone', April - May 1994, p. 56, illustrated in colour.-Lisbon, Centro Cultural de Belém, 'Francis Picabia antologia/anthology', 1997, p. 195, cat. no. 36, illustrated in colour.-Vence, Galerie Beaubourg, 'Picabia', July - October 1998.
Lot 41
Andy Warhol (1928-1987), Queen Ntombi Twala of Swaziland from the series 'Reigning Queens', signed and numbered '32/40 Andy Warhol' (lower right), and stamped with the artist's copyright (on the reverse), silkscreen in colours on Lenox museum board, image & full sheet 100x80 cm, Published in 1985 by George C. P. Mulder, Amsterdam, and printed at Rupert Jason Smith, New York, in an edition of 40.Literature: -F.Feldman, J.Schellmann, 'Andy Warhol. Prints. A Catalogue Raisonné 1962-1987', 2003, p. 145, cat. no. II.348.
Lot 40
Andy Warhol (1928-1987), Queen Ntombi Twala of Swaziland, from the series 'Reigning Queens', signed and numbered '13/40 Andy Warhol' (lower right), and stamped with the artist's copyright (on the reverse), silkscreen in colours on Lenox museum board, image & full sheet 100x80 cm, Published in 1985 by George C. P. Mulder, Amsterdam, and printed by Rupert Jasen Smith, New York, in an edition of 40.Literature: -F.Feldman, J.Schellmann, 'Andy Warhol. Prints. A Catalogue Raisonné 1962-1987', 2003, p. 145, cat. no. II.349.
Lot 39
Andy Warhol (1928-1987), Queen Beatrix of the Netherlands, from the series 'Reigning Queens', signed and numbered '23/40 Andy Warhol' (lower right), and stamped with the artist's copyright (on the reverse), silkscreen in colours on Lenox museum board, image & full sheet 100x80 cm, Published in 1985 by George C. P. Mulder, Amsterdam, and printed by Rupert Jasen Smith, New York, in an edition of 40.Provenance:-Kunsthandel Lambert Tegenbosch, Heusden, where acquired by the present owner.Literature: -F.Feldman, J.Schellmann, 'Andy Warhol. Prints. A Catalogue Raisonné 1962-1987', 2003, p. 143, cat. no. II.339. -G.Mulder, 'Reigning Queens, Andy Warhol', 1985, p. 21.
Lot 43
Andy Warhol (1928-1987), Queen Ntombi Twala of Swaziland from the series 'Reigning Queens', signed and numbered '27/40 Andy Warhol' (lower right), and stamped with the artist's copyright (on the reverse), silkscreen in colours on Lenox museum board, image & full sheet 100x80 cm, Published in 1985 by George C. P. Mulder, Amsterdam, and printed by Rupert Jasen Smith, New York, in an edition of 40.Literature: -F.Feldman, J.Schellmann, 'Andy Warhol. Prints. A Catalogue Raisonné 1962-1987', 2003, p. 145, cat. no. II.346.
Lot 235
Andy Warhol (1928-1987)Blackglama (Feldman & Schellmann II.351)Screenprint in colours, 1985, signed in pencil, numbered from the edition of 190, as included in the portfolio Ads., printed by Rupert Jasen Smith, published by Ronald Feldman Fine Arts, Inc., New York, on Lenox Museum Board, the full sheet printed to the edges, sheet 965 x 965mm (38 x 38in)
Lot 403
Assorted volumes to include:-Gardner, John"James Bond in Licence Renewed", Richard Marek Publishers 1981, djVarious Crime Club Collins publications, Robert BarnardLewisohn, Mark (ed) "The Complete Beatles Chronicle" Bernstein, Leonard (ed) "The Beatles", jacket designed by Andy Warhol and assorted other volumes (2 boxes)
Lot 141
2 DOLLARS (Thomas Jefferson) / Serial number: KO5739639A / Dimension: 155.955 X 66.294 Millimeters / Year: 1976 / Signed in black: Andy Warhol (front) / Stamp Andy Warhol (back). - Weight: 700 g - Region: Etats-Unis - Sizes: H=150mm L=200mm - Condition: At first sight - good condition - no restoration - not repaired - Author / artist: Andy Warhol (recto) / Tampon Andy Warhol (verso).
Lot 142
2 DOLLARS (Thomas Jefferson) / Serial number: D02961165A / Dimension: 155.955 X 66.294 Millimeters / Year: 1976 / Signed in black: Andy Warhol (front) / Stamp Andy Warhol (back). - Weight: 700 g - Region: Etats-Unis - Sizes: Avec encadrement= H=150mm L=200mm - Condition: At first sight - good condition - no restoration - not repaired - Author / artist: Andy Warhol (recto) / Tampon Andy Warhol (verso).
Lot 103
After Andy Warhol (1928-1987) American "Superman, from Myths, 1981"With the Andy Warhol/Ronald Feldman stamp, screenprint in colours, 95cm by 95cmAn un-signed and un-numbered test print, aside from and after the edition of 150, which was published by Ronald Feldman Fine Arts, Inc., New York, and printed by Rupert Jasen Smith, New York.Un-signed and un-numbered test print, aside from and after the edition of 150, which was published by Ronald Feldman Fine Arts, Inc., New York, and printed by Rupert Jasen Smith, New York.
Lot 88
Andy Warhol (1928-1987), 2 Dollar Schein Thomas Jefferson mit schwarzem Acryl signiert und von der Amerikanischen Post gestempelt, K05739635A, in einem Rahmen aus Plexi Glas. 20 x 15 cm. | Andy Warhol (1928-1987), Two Dollar Bill Thomas Jefferson signed in black acrylic and stamped by the United States Postal Service, K05739635A, in a frame of plexi glass, 20 x 15 cm.
Lot 475
Andy Warhol(1928-1987)Two Dollar Bill (1976)pen and ink signature on a Two Dollar banknote, with rubber stamp verso, and American Post Office mark dated April 13, 1976,15.5 x 6.5cms, in plexiglass box frame.Serial number: K05739645A Stamp and / Signed with acrylic felt in black: Andy Warhol (front) / Andy Warhol stamp (back).
Lot 4453
Warhol, Andy: (1928 Pittsburgh - New York 1987). Ingrid Superstar. Collage. Aquarell, Filzstift und farb. Papier. New York 1966. Blgr. ca. 27,7 x 21 cm. Unten rechts mit Filzstift monogr. sowie verso mit Bleistift bez. "Factory". Punktuell auf rotes Papier sowie unter Passep. mont. Auf der Rückseite mit einem gedruckten Interview von I. Superstar mit "Vevet". - Die Schauspielerin und Warhol-Muse I. Superstar, "zählt zu den rätselhaftesten Erscheinungen aus dem Umfeld von Andy Warhol und seiner Factory. Selbst die Warhol-Biografen Victor Bockris, David Bourdon, Ultra Violet und Steven Watson sind sich uneinig über ihren wirklichen Namen und ihre genauen Lebensdaten. Bockris verwendete in seinen Büchern den Nachnamen "Ingrid von Scheflin", Bourdon nannte sie "Ingrid von Scheven", Ultra Violet "Ingrid von Scherven" und Steven Watson schließlich "Ingrid von Schefflen". ... Die hochgewachsene Frau prägte mit ihrem markanten Gesicht zahlreiche Warhol-Produktionen (unter anderem The Chelsea Girls, Bike Boy u. a.). Warhol wählte die aus der Arbeiterklasse stammende Schauspielerin als Gegenpart zu seiner High-Society-Aktrice Edie Sedgwick. Ingrid brachte mit ihrem Naturtalent, spontan zu agieren, Humor in die Warhol-Filme, trat aber meistens nur in Nebenrollen auf, wobei sie oft Opfer der Warholschen "Dramaturgie" wurde. Schließlich löste Ingrid Superstar die immer stärker drogenabhängige Sedgwick ganz ab. (...) Sie verschwand im Dezember 1986 spurlos aus ihrer Wohnung in Kingston, New York City. Zum Zeitpunkt ihres Verschwindens war sie 42 Jahre alt. Ihre Mutter suchte noch jahrelang mit Zeitungsanzeigen nach der Vermissten. Ingrid wurde später für tot erklärt, ihre Leiche jedoch nie gefunden" (Wikipedia). - Collage. Watercolour, felt-tip pen and coloured paper. New York 1966. Monogrammed lower right in felt-tip pen. R
Lot 4454
Warhol, Andy: (1928 Pittsburgh - New York 1987). Five Bananas. Orig.-Zeichnung. Gelber und blauer Filzstift auf Japan-Papier, New York wohl 1966. Ca. 49 x 32 cm. Unten Mitte sign. Oben punktuell auf Trägerkarton mont. Berühmtestes Bananenmotiv des Pop-Künstlers ist das 1966 gestaltete Platten-Cover für die experimentelle Rockband Velvet Underground & Nico. - Original drawing. Yellow and blue felt-tip pen. Signed lower centre. R
Lot 4450
Warhol, Andy: (1928 Pittsburgh - New York 1987). Wallpaper "Andy Warhol". Schablonen-Druck (Pochoir) in Grün, Gelb, Hellbraun und Rot auf 2 Blatt Zeichenpapier. New York (1967). Blgr. ca. 46 x 31 bzw. 49,5 x 31,2 cm. 1 Bl. unten Mitte mit Filzstift sign., 1 Bl. verso mit Bleistift monogr. sowie bez. "Factory". Warhols erste Wallpaper (Cow) wurden vom 2. bis zum 27. April 1966 in der Leo Castelli Gallery zum erstenmal ausgestellt. Später folgten Wallpapers mit zahlreichen Warhol-Motiven (Marylin, Flowers, Dollarsign etc.). - Name Wallpaper. Pochoir in green, yellow, light brown and red on 2 sheets. 1 sheet signed in felt-tip pen at lower centre, 1 sheet verso monogrammed in pencil and inscribed "Factory". R
Lot 203
Andy Warhol (Pittsburgh, 1928-Nueva York, 1987) John & Lorraine Chamberlain.Serigrafía sobre papel. Sello de The Estate of Andy Warhol y The Andy Warhol Foundation y numerada 'UP 45.12' en el reverso. Realizada en 1978. Se adjunta certificado de autenticidad expedido por la Andy Warhol Foundation. Bibliogafía: "Andy Warhol Prints: A Catalog Raisonné 1962-1987", por Frayda Feldman y Claudia Defendi. Nº IIIC.35. Pág.:299. Nueva York, 2003. Andrew Warhola comúnmente conocido como Andy Warhol, fue un artista plástico y cineasta estadounidense que desempeñó un papel crucial en el nacimiento y desarrollo del pop art. Tras una exitosa carrera como ilustrador profesional, Warhol adquirió fama mundial por su trabajo en pintura, cine de vanguardia y literatura, notoriedad que vino respaldada por una hábil relación con los medios y por su rol como gurú de la modernidad. Warhol utilizó medios diferentes para crear sus obras, como el dibujo a mano, la pintura, el grabado, la fotografía, la serigrafía, la escultura, el cine y la música. El Museo Andy Warhol en su ciudad natal, Pittsburgh, Pensilvania, contiene una amplia colección permanente de arte. Fue un personaje polémico durante su vida y desde su muerte en 1987 es objeto de numerosas exposiciones retrospectivas, análisis, libros y documentales. Al margen de la fama y de la polémica, está considerado como uno de los artistas más influyentes del siglo xx debido a sus revolucionarias obras. 89 x 114 cm.
Lot 123
ROBERT INDIANA (New Castle, Indiana, USA, 1938 - Vinalhaven, Maine, USA, 2018)."SWEDISH LOVE", 2006.Exclusive edition for Galerie-f.100% Indian wool.Copy 397.Label-certificate on the back with signature on plate and hand-written justification.Measurements: 40 x 40 cm.All "LOVE" carpets of unlimited edition are handmade in the city of Varasani. During the production process they practice respect for the environment and their workers, and do not use child labour. The manufacture of these rugs requires enormous craftsmanship, as each rug is made from start to finish by a single craftsman.Robert Indiana is one of the preeminent figures in the American art scene since the 1960s, leading the development of the assemblage technique, the Hard Edge movement, and American Pop Art. Indiana studied at the Art Institute of Chicago, the Skowhegan School of Painting and Sculpture, and also at the Edinburgh College of Art. As well as a painter, Robert Indiana has been a theatrical and costume set and costume designer, in productions such as Santa Fe Opera's The Mother of Us All, and acted in the film Eat directed by Andy Warhol.He proclaimed himself to be "the American sign painter" and throughout his long career he explored, and at the same time constructed, the American identity through diverse iconography.His particular visual language, which could be defined as 'lyricism', marked by slogans such as HUG, EAT and the famous "LOVE". It has become the emblem that continues to unite many artistic generations and is now part of the collective unconscious worldwide.The iconic LOVE series, recognised by LO and VE stacked one on top of the other and arranged in a square, and to which our piece belongs, was first used in a set of poems written in 1958. Then, in the summer of 1965, MoMA commissioned Indiana to design the Christmas cards, finally approving this red, blue and green design. Its true semantic translation is deeply linked to Christianity and the artist's childhood, brought up according to the Church of Christ, Scientist. In an epistolary with collector Larry Aldrich, Indiana shares that there was a phrase 'God is Love' written by the founder of this church, Mary Baker Eddy, which was an unofficial motto of scientific Christianity. From this was born the idea of higher love that Indiana eventually wanted to convey through all his work from the 1960s until his death. In 2008 Indiana created a very similar image for Barack Obama's presidential campaign, in which this symbol was used for various propaganda items.Robert Indiana had hundreds of solo and group exhibitions worldwide. Particularly in Spain he exhibited three times, in 1992 at the Galería 57, in 2009 at the Galería Barcelona, and finally in 2012 at the Museo de Pasión in Valladolid.
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