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Lot 146
Andy Warhol (1928-1987)Mildred Scheel (Feldman and Schellmann 238)Screenprint in colours with diamond dust, 1980, signed and numbered from the edition of 1000 in pencil, on Arches 88 wove paper, printed by Rupert Jasen Smith, New York, published by the Deutsche Krebshilfe e.V., Cologne, the full sheet printed to the edges, 775 x 546mm (30 ½ x 21 ½in) (unframed)
Lot 148
Andy Warhol (1928-1987)Hans Christian Andersen (Feldmann & Schellmann 398)Screenprint, 1987, with the authentication stamp verso, signed and numbered from the edition of 25 by the Executor of the Andy Warhol Estate, the publisher Art Expo Denmark, and the printed Rupert Jasen Smith, on Lenox Museum Board, with the publishers blindstamp, the full sheet printed to the edges, sheet 965 x 965mm (38 x 38 in) (unframed)
Lot 149
Andy Warhol (1928-1987)Kiku (not in Feldman & Schellmann)The complete deluxe book, 1983, containing the screenprint in colours, the edition was 1500, on thick wove paper, published by Gendai Hanga Center, Tokyo, on the occasion of their exhibition 'Andy Warhol', bound as issued within the original grey cloth boards with embossed title in silver, overall, 285 x 212 x 18mm (11 1/4 x 8 3/8 x 3/4in) (vol)
Lot 152
Andy Warhol (1928-1987)(after) Soup Can I (Sunday B. Morning) (set of ten) The complete set of ten screenprints in colours, 2018, on Archival Museum Board, published by Sunday B Morning, with their rubber stamps in blue ink verso, the full sheet printed to the edges, 890 x 585mm (35 x 23in) (unframed) (10) This work is accompanied by a certificate of authenticity issued by the publisher.
Lot 154
Andy Warhol (1928-1987)(after)Dollar Signs (Sunday B. Morning) (set of four) The complete set of four screenprints in colours, 2013, each numbered from the edition of 1000 in pencil verso, on Archival Museum Board, published by Sunday B Morning, each with their rubber stamps in blue ink verso, each the full sheet printed to the edges, each 495 x 438mm (19 1/2 x 17 1/4in) (unframed) (4)Each print in this set is accompanied by a certificate of authenticity issued by the publisher.
Lot 155
Andy Warhol (1928-1987)(after)The Scream (Sunday B. Morning) (set of three) The complete set of three screenprints in colours, 2017, each numbered from the edition of 1500 verso, on Archival Museum Board, published by Sunday B Morning, each with their rubber stamps in blue ink verso, each the full sheet printed to the edges, each 890 x 640mm (35 5/8 x 25 5/8in) (unframed) (3)Each print in this set is accompanied by a certificate of authenticity issued by the publisher.
Lot 4
PAUL ANKA. 28 LPs from Paul Anka to include US and UK issues: The Painter (Warhol Sleeve, UA-LA653-G, import notch), Swings For Young Lovers (US, ABC 347, white label promotional copy), Paul Anka (US first issue ABC-240), Sings His Big 15 (US, Mono ABC 323), Sings His Big 15 Vol 2 (Stereo ABC 390, laminated sleeve, US), 3 Great Guys (Mono RCA Red Spot, RD-7608). Condition varies though is generally reflective of age at VG to VG+.
Lot 310
Original vintage propaganda poster of Mao Zedong, featuring an iconic portrait of the leader attributed to Zhang Zhenshi and a committee of artists, which hung at Tiananmen Square prior to 1967. Andy Warhol modeled his now-iconic portraits of Mao Zedong off of the official state portrait of the Chinese Communist leader. Mao was a Chinese communist revolutionary who became the founding father of the People's Republic of China (PRC), which he ruled as the chairman of the Communist Party of China from its establishment in 1949 until his death in 1976. The caption below reads 'Long Live Chairman Mao!' Condition: Excellent condition. Country of printing: China, designer: Zhang Zhenshi, size (cm): 75x53, year of printing: 1960s.
Lot 289
NO RESERVE Osten (Gert von der) & Horst Keller, editors. Kunst der Sechziger Jahre Sammlung Ludwig im Wallraf-Richartz Museum, second, enlarged edition, tipped-in colour illustrations, original embossed plastic wrappers fastened with two large screws, preserved in modern cloth drop-back box, Cologne, 1969 § Anfam (David) & Julian Barnes. Howard Hodgkin, colour illustrations, some folding, price list loosely inserted, original cloth-backed boards, dust-jacket (folding out to become poster), New York, Gagosian Gallery, 2003; and 3 others, 4to & 8vo (5)⁂ The first is an important catalogue of the art of the 1960s featuring the work of Warhol, Lichtenstein and many others.
Lot 197
KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ POSTER (YELLOW) - 1983Screenprint, unframed (Dimensions: 100cm x 70cm (39.5in x 27.5in), full sheet)Biography: Keith Haring had a startlingly brief but intense career, spanning just over a decade. He learnt basic cartoon skills from his father, and studying popular culture such as Dr. Seuss and Walt Disney, before starting to train as a commercial graphic artist. But it was moving to New York City that set his path; there he discovered a thriving alternative art community in the streets, subways and clubs, he quickly made friends and became a part of this scene. Inspired by artists like Jean Dubuffet, Pierre Alechinsky, Christo and Andy Warhol, Haring’s aim was to create a truly public art, using his graphic skills. The subway became his artistic laboratory, when he started drawing with white chalk onto unused advertising panels that had been covered in matte black paper, becoming a familiar presence in the city and developing his distinct visual language. Between 1980 and 89, he gained international recognition, with exhibitions across the globe and a huge number of high-profile collaborations with other artists, musicians and designers. Always committed to disseminating his work as widely as possible, he established the Pop Shop in 1986, selling affordable goods with his drawings on them. After being diagnosed with AIDS in 1988, he established his foundation, which continues to expand the audience for his work, while generating funding for AIDS organisations and children's programmes, as he had intended. An icon within contemporary art, Haring created a visual language that remains instantly recognisable across the world – his dream realised.
Lot 196
SUNDAY B. MORNING (AMERICAN) CAMPBELL'S SOUPScreenprints, set of 9 with 'Published by Sunday b. Morning' and 'Fill in your own signature' blue ink stamps verso and one 'Golden Mushroom' with 'Fill in your own signature' in black ink, unframed (Dimensions: 89cm x 58.5cm (35in x 23in), full sheet) (Qty: 10)Biography: Sunday B Morning produce high quality silkscreen prints after works by Andy Warhol. The ‘Blue inks’ are the current editions and printed on museum board, they are stamped on the reverse with the original edition of 250 being numbered as well. Sunday B Morning first started producing prints in 1970 with a stamp on the reverse which read ‘Fill in your own signature’. It is not clear whether Warhol was pleased with the prints but he did sign one or two ‘This is not by me. Andy Warhol’ which only made them more desirable. Sunday B Morning continue to produce screen prints from the original Factory photo negative stencils.
Lot 199
KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ POSTER (GREEN) - 1983Screenprint, unframed (Dimensions: 100cm x 70cm (39.5in x 27.5in), full sheet)Biography: Keith Haring had a startlingly brief but intense career, spanning just over a decade. He learnt basic cartoon skills from his father, and studying popular culture such as Dr. Seuss and Walt Disney, before starting to train as a commercial graphic artist. But it was moving to New York City that set his path; there he discovered a thriving alternative art community in the streets, subways and clubs, he quickly made friends and became a part of this scene. Inspired by artists like Jean Dubuffet, Pierre Alechinsky, Christo and Andy Warhol, Haring’s aim was to create a truly public art, using his graphic skills. The subway became his artistic laboratory, when he started drawing with white chalk onto unused advertising panels that had been covered in matte black paper, becoming a familiar presence in the city and developing his distinct visual language. Between 1980 and 89, he gained international recognition, with exhibitions across the globe and a huge number of high-profile collaborations with other artists, musicians and designers. Always committed to disseminating his work as widely as possible, he established the Pop Shop in 1986, selling affordable goods with his drawings on them. After being diagnosed with AIDS in 1988, he established his foundation, which continues to expand the audience for his work, while generating funding for AIDS organisations and children's programmes, as he had intended. An icon within contemporary art, Haring created a visual language that remains instantly recognisable across the world – his dream realised.
Lot 215
JONAS WOOD (AMERICAN B.1977) FOR LOUIS VUITTON - MONOGRAM SQUARE - 2019Silk scarf, signed and dated within design, within original box and accompanied by purchase receipt, unframed (Dimensions: 90cm x 90cm (35.5in x 35.5in))Biography: You could call [my work] a visual diary or even a personal history. I’m not going to paint something that doesn’t have anything to do with me. Of all of the possible things I could paint, the thing that interests me is something that I can get close enough to in order to paint it honestly. Jonas Wood was born in Boston, and his first exposure to art came through his grandfather, whose personal collection included works by Francis Bacon, Alexander Calder, Robert Motherwell and Andy Warhol. Wood studied in New York, before gaining his MFA from the University of Washington, Seattle in 2002. After completing his studies, he moved to L.A. and worked for Laura Owens. He now shares a studio with his wife, the artist Shio Kusaka, and recurring motifs and ideas can be seen across both their works. They have also started to exhibit together, in Hong Kong and the Netherlands. Wood’s first solo museum exhibition was at the Hammer Museum in Los Angeles in 2010, he then received a number of high-profile commissions, including a mural for the High Line in New York. In 2019, he had his first solo survey show at the Dallas Museum of Art.
Lot 198
KEITH HARING (AMERICAN 1958-1990) MONTREUX JAZZ POSTER (PINK) - 1983Screenprint, unframed (Dimensions: 100cm x 70cm (39.5in x 27.5in), full sheet)Biography: Keith Haring had a startlingly brief but intense career, spanning just over a decade. He learnt basic cartoon skills from his father, and studying popular culture such as Dr. Seuss and Walt Disney, before starting to train as a commercial graphic artist. But it was moving to New York City that set his path; there he discovered a thriving alternative art community in the streets, subways and clubs, he quickly made friends and became a part of this scene. Inspired by artists like Jean Dubuffet, Pierre Alechinsky, Christo and Andy Warhol, Haring’s aim was to create a truly public art, using his graphic skills. The subway became his artistic laboratory, when he started drawing with white chalk onto unused advertising panels that had been covered in matte black paper, becoming a familiar presence in the city and developing his distinct visual language. Between 1980 and 89, he gained international recognition, with exhibitions across the globe and a huge number of high-profile collaborations with other artists, musicians and designers. Always committed to disseminating his work as widely as possible, he established the Pop Shop in 1986, selling affordable goods with his drawings on them. After being diagnosed with AIDS in 1988, he established his foundation, which continues to expand the audience for his work, while generating funding for AIDS organisations and children's programmes, as he had intended. An icon within contemporary art, Haring created a visual language that remains instantly recognisable across the world – his dream realised.
Lot 401
WARHOL ANDY: (1928-1987) American Pop Artist. A good signed 8 x 11 Playboy magazine cover, `Andy Warhol´, an appealing copy of Playboy, issued in January 1986, Vol. 33, nº 1. The 250 pages magazine shows to the front cover a drawing of the rabbit Playboy logo and the printed title "Holiday Anniversary Issue". Signed in bold black felt tip to the clear right border of the cover. G to VG £400-600
Lot 117
Andy Warhol (1928-1987)Flash - November 22 (Feldman and Schellmann 11.36)Screenprint in colours, 1963, signed in blue ball-point pen and numbered from the edition of 200 verso, on wove paper, published by Racolin Press, New York, the full sheet printed to the edges, 565 x 559mm (22 ¼ x 22in) (unframed)
Lot 120
Andy Warhol (1928-1987)Ingrid Bergman. The Nun (Feldman & Schellmann 314)Screenprint in colours, 1983, signed, dated and numbered from the edition of 250 in pencil, on Lenox Museum board, printed by Rupert Jasen Smith, New York, with his blindstamp, published by Galerie Börjeson, Malmö, with their blindstamp verso, the full sheet printed to the edges, sheet 964 x 964mm (36 x 36in) (framed)
Lot 125
Andy Warhol (1928-1987)(after)Dollar Signs (Sunday B. Morning) (set of four)The complete set of four screenprints in colours, 2013, each numbered from the edition of 1000 in pencil verso, on Archival Museum Board, published by Sunday B Morning, each with their rubber stamps in blue ink verso, each the full sheet printed to the edges, each 495 x 438mm (19 1/2 x 17 1/4in) (unframed) (4)Each print in this set is accompanied by a certificate of authenticity issued by the publisher.
Lot 131
Andy Warhol (1928-1987)(after)The Scream (Sunday B. Morning) (set of three)The complete set of three screenprints in colours, 2017, each numbered from the edition of 1500 verso, on Archival Museum Board, published by Sunday B Morning, each with their rubber stamps in blue ink verso, each the full sheet printed to the edges, each 890 x 640mm (35 5/8 x 25 5/8in) (unframed) (3)Each print in this set is accompanied by a certificate of authenticity issued by the publisher.
Lot 175
BEATLES BOOKS/MAGAZINES. A collection of approximately 59 items (48 books and 11 magazines) to include: A Spaniard In The Works (Penguin Books 1980), In His Own Write (Penguin Books 1980), The Beatles: An Introduction (Leonard Bernstein/With Jacket Artwork By Andy Warhol (comes with extra reproduction of sleeve suitable for framing), a copy of Beatles Get Back (from the Let It Be box set), Thank U Very Much: Mike McCartney's Family Album, The Beatles: An Authorised Biography, Lennon And McCartney, The Beatles: An Illustrated Record, The Yellow Submarine Gift Book, The Man Who Gave The Beatles Away, I, Me, Mine (1982 publication), Love Me Do: The Beatles Progress, Yellow Submarine - New English Library, The True Story Of The Beatles, Beatles Help! (Mayflower Dell), Beatles In Their Own Words, Behind The Beatles Songs, John Lennon In His Own Words, Paul McCartney In His Own Words, George Harrison: Yesterday & Today (x2), All Together Now: The First Complete Beatles Discography 1961-1975, The Long And Winding Road: A History Of The Beatles On Record, The Lennon Tapes, The Ballad Of John And Yoko, Paul McCartney's Wings (Jeremy Pascall). Condition varies but generally very good.
Lot 916
ANDY WARHOL (AMERICAN 1928-1987) MAO, 1974 Screenprint in colours on wallpaper, signed, dated and indistinctly inscribed, 101.7 x 75.2cm (40 x 29 1/2") Condition Report: Overall the paper bears creases and the print was previously rolled when stored. There is a horizontal curved shape tare in the paper, approx. 2.5cm in length, at the right edge, at middle. There are two tiny damage marks with light slightly visible from rear but paper not appearing to be holed right through and another slight tiny indentation to the paper located to the right of these. A few barely discernible horizontal/diagonal, slight in nature, glistening lines over the lower middle section of the right half area, one of which being slightly abrasive in feel. A few tiny white marks located top area of head and diagonal slight white mark located at the bottom of the chin.
Lot 34
Vincent Michea (French, born 1963)Nº16, 2006 acrylic on canvas130 x 130cm (51 3/16 x 51 3/16in).Footnotes:ProvenanceAcquired from the Jack Bell Gallery, London in 2013.Saatchi Collection. ExhibitedLondon, Saatchi Gallery, Pangaea: New Art from Africa and Latin America, 2014LiteratureSaatchi Gallery, Pangaea: New Art from Africa and Latin America, p.109Vincent Michea's graphic style is heavily influenced by the Pop Art movement, particularly artists such as Roy Lichtenstein and Andy Warhol. He moved to the Senegalese capital Dakar from Paris in 1986 as a graphic designer focusing on cinema and music. In the middle of such a vibrant city, Michea became obsessed with West African music, and specifically a collector of African vinyl. The present lot not only shows his love of Senegalese popular culture, but highlights the growing widespread popularity that African music has today.For further information on this lot please visit Bonhams.com
Lot 2
Keith Haring (American, 1958-1990)Dog 1986 signed, dated 86 and numbered 8/10 on a label affixed to the reverseenamel and silkscreen on plywood128 by 96 by 4 cm.50 3/8 by 37 13/16 by 1 9/16 in.This work is number 8 from an overall edition of 35, consisting of 15 white on black, 10 black on yellow, 10 red on black, 7 artist's proofs and 3 unique colour variant trial proofs.Footnotes:ProvenanceEdition Schellmann, Munich - New YorkPrivate Collection, SwitzerlandLiteratureJörg Schellmann, Edition Schellmann 1969-1989, Munich 1989, p. 137, another example illustrated in colourJörg Schellmann, Forty Are Better Than One, Munich 2009, p. 143, another example illustrated in colourDog, from 1986 is a quintessential and powerful work by Keith Haring. A pioneer of the Contemporary Art world, Keith Haring's work would go on to redefine art as we know it. Working alongside artworld giants such as Andy Warhol and Jean-Michel Basquiat, Haring sought to break down the barriers between high and low culture, creating a whole new vocabulary of symbols, one that would become synonymous with the visual culture of the latter half of the twentieth century. Executed in 1986, Dog is boldly demonstrative of the artist's unique vocabulary and more specifically his most recognisable motif, the barking dog.Addressing highly controversial and taboo subjects, Haring didn't shy away from uncomfortable truths surrounding social injustice, AIDS, the drug crisis and racism, which he depicted using his unique iconography. Embedded in the fast and decadent culture of 1980s New York, Haring's work mimicked the city's own convergence of high and low culture, bringing together the creative principles of graffiti, semiotics and the art historical canon. By elevating primitive stick figures and cartoon characters to the same level as high art, Haring sought to democratise art, championing the individual and standing up for the oppressed. Based on a keen awareness of how pictures can serve a similar function to words, Haring was impressed early on by the hieroglyphic writings of the ancient Egyptians. In the present work, the plywood has been cut to the shape of a dog, reminiscent of the Egyptian deity, Anubis. Half-human, half-jackal, Anubis, god of the underworld, would lead your soul to the afterlife. Describing his work, Haring stated 'I was thinking about these images as symbols, as a vocabulary of things. In one a dog's being worshiped by these people. In another one the dog is being zapped by a flying saucer. Suddenly it made sense to draw on the street, because I had something to say. I made this person crawling on all fours, which evolved into the 'baby.' And there was an animal being, which now has evolved into the dog. They really were representational of human and animal. In different combinations they were the difference between human power and the power of animal instinct' (the artist in an interview with David Sheff, 'Keith Haring: Just Say Know', www.rollingstone.com, 10 August 1989).The barking dog is one of Haring's trademark picture-words, with Anubis standing in for its most macabre iteration: death. Visually assertive, the bright yellow paint used in conjunction with the shine of the black silkscreen ink in the present work acts as a warning sign, while the X-branded men, television sets and transgressive images of men and dogs emphasise the animal instinct in each of us. The dizzying frenzy of the work's interior filled with dozens of Haring's picture-words, create a fluid sentence moving through the crawling baby in the lower left foot – the emblem of a positive future – through to anthropomorphic dogs dancing on top of men – playing into Egyptian conceptions of life and death as well as Christian notions of the 'dance of the dead'. Scattered throughout are human targets branded by the letter X, including one involved in explicit liaisons with a dog in the foot of the right leg and another at the very top, the winged man or angel – symbol of death but also of the battle of good against evil – rides a dog, the X sealing their fates. These symbols would have deeply resonated with those living through the AIDS epidemic sweeping through New York City. As a gay man, Haring's life and work were entrenched in this community, becoming a huge advocate for AIDS activism. In 1989 following his own fateful diagnosis he would go on to found the Keith Haring Foundation which would provide funding for AIDS organisations and children's programmes. Keith haring died in New York City on 16 February 1990 at the age of 31.During his short ten-year career, Haring managed to produce some of the most iconic and universally recognisable images of the late twentieth century, producing work that would go onto influence a generation of artists. Through the work of the Keith Haring foundation, Haring's work has been recognised across major galleries and institutions worldwide and can be found in the collections of the Whitney Museum of Art, Washington, LACMA, Art institute of Chicago, the Ludwig Museum, Cologne and the Stedlijk Museum, Amsterdam including a recent major retrospective at the Tate Liverpool, currently on view at the BOZAR in Brussels.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 630
Cyndi Lauper signed Andy Warhol postcard, She has also added Time after Time which was one of her hits. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 150
WARHOL (ANDY)Holy Cats by Andy Warhol's Mother, FIRST EDITION, INSCRIBED by Julia Warhol 'To Jane' on front free endpaper, 20 sheets of illustration and calligraphic text on coloured paper, printed recto only, publisher's pictorial boards, spine frayed with some loss, pastedowns slightly cockled, 8vo, [New York, Privately Printed, 1954]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 114
KENNY BURRELL - BLUE LIGHTS VOLUME 1 LP (ORIGINAL US PRESSING - BLUE NOTE BLP 1596). The sublime, mesmerising 1958 LP from Kenny Burrell with stars such as Louis Smith, Junior Cook, Tina Brooks, Duke Jordan, Bobby Timmons, Sam Jones and Art Blakey with this fantastic Andy Warhol cover artwork. This a very clean 1st US pressing (47 W. 63rd no 'R' with deep groove, Blue Note BLP 1596). The record is in VG+ condition, both sides very fine and glossy only has some superficial scuffs/hairlines on the side 1. Matrix: BN-LP-1596-A & BN-LP-1596-B, RVG - plastylite "ear" and "9 M"on both sides. The sleeve is in very well presented Ex condition. The front is Ex+ while the back is VG+ as there are some tiny wear on the corners and small sticker. This copy comes with the original inner in VG condition.
Lot 150
JAZZ - HARD/BOP RARITY LPs. Forward thinking selection of 3 x scarce LPs. Titles are Thelonious Monk - Monk (2nd US pressing, Prestige PRLP 7053 'Washington Ave, Bergenfield NJ' address on both labels - VG with some surface/scuff marks, never heavier/VG famous Andy Warhol lettering sleeve, the main image on the front nice and clean with only light wear, some discolouration on the reverse), Bill Evans Trio - Explorations (1st US mono RLP 351- VG/VG) and Sam Jones - The Soul Society (original UK 'Interdisc' Riverside RLP 12-324 - VG side 1, side 2 G+ with a scratch on B2/VG+ neat condition sleeve).
Lot 26
JOHNNY GRIFFIN - THE CONGREGATION LP (BLUE NOTE BLP 1580 - ORIGINAL US PRESSING, ANDY WARHOL SLEEVE DESIGN). In session with Johnny Griffin, Sonny CLark, Paul Chambers and Kenny Dennis with this elusive original US 1958 Blue Note LP featuring the Andy Warhol design sleeve. The record (BLP 1580, deep grooved, '47 West 63rd NYC' address labels, RVG, Plastylite 'p' and no ®) is in VG+ condition - a well presented copy, there are some light surface/hairline marks to the playing surfaces - these are never heavier in nature and are as stated, surface only. Nice clean labels, some spindle markings noted. The original '47 West 63rd St.' sleeve is in VG+ condition - a very neat example, the striking image on the front in very clean and super glossy order, the reverse shows some light foxing that is typical with these US sleeves.
Lot 1029
PIETRO PSAIER (ITALIAN, 1936-2004), CHARLIE PARKER, artist's proof, signed, studio stamp lower right and stamped verso, framed. 68cm by 68cmNote: Pietro Psaier was an alleged Italian artist who produced Pop Art paintings and prints that mimicked and referenced those of Andy Warhol. It is important to note that there is very little biographical information on Psaier, outside of a 1963 press release. Many surmise that the identity of the artist was manufactured by nefarious art dealers, in order to boost the monetary value of inferior works. Born in 1936 near Rome, Italy, he spent a significant portion of his early adulthood designing cars for Enzo Ferrari. Moving to Greenwich Village in the 1960s, the artist met Andy Warhol, with whom he struck up a friendship. Producing work in the 1970s on commission for various movie stars, the artist ran into financial trouble during the 1980s. In an effort to evade his debts, he purportedly fled to a rural part of Southeast Asia. A death certificate which surfaced in 2011, claims he died in Sri Lanka during the tsunami of December 26, 2004.
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