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Lot 207
ANDY WARHOL 11.70: Flowers Con sello en la parte posterior “Fill in your own signature” Serigrafía. Publicada por Sunday B. Morning. (N. Pennsylvania, EEUU, 1928 - Nueva York, EEUU, 1987) Las gráficas editadas por Sunday B. Morning son reediciones autorizadas e incluidas en el Catálogo Razonado de Andy Warhol. El sello "fill in your own signature" pretendía dar a estas piezas un carácter de broma. La excelente calidad de impresión es muy parecida a la de las primeras ediciones firmadas a mano, tanto que a simple vista se ven prácticamente iguales. 90 x 90 cm Ver ilustración.
Lot 795
After Andy Warhol 1928-1987- "Marilyn"; c.1980 after the original edition, published by Sunday B Morning circa mid 1980s, bears stamps reading `Fill in your own signature` and `Sunday B Morning`, each stamped in ink verso, screenprint in colours, full sheet printed to the edges, full suite of ten images depicting Marilyn Monroe in various colour combinations, loose and boxed as issued, 91.2x91.2cm., ea (10) (unframed)
Lot 565
Andy Warhol, American 1928-1987- "Red Lenin", 1987, (Feldman & Schellmann II. 403), printed by Rupert Jasen Smith, New York; screenprint in colours on Arches 88 paper, signed in pencil by the executor of the Estate of Andy Warhol and numbered 61/120 on a stamped certificate of authenticity, 100x74.9cm Provenance: Purchased 2000, Martin Lawrence Limited Editions
Lot 13
Seen (American, b.1961) No Parking, 2009, Spray paint and mixed media on no parking sign, signed and dated in pencil verso, 410 x 510 mm (16 1/4 x 20 1/4 in) Provenance: Purchased from the artist, New York. This extremely rare work on a No Parking sign is by the artist known as the Godfather of Graffiti, Seen (aka Richard Mirando), who conquered the subways of New York City in the early 1970s and became one of the most influential graffiti writers in the world after being prominently featured in PBS documentary Style Wars. With his crew United Artists, Seen`s full colour throw ups would dominate entire subway carriages for the next sixteen years to come. In the 1980s Seen started establishing himself as an artist, producing works on canvas and showcasing his art globally with artists such as Keith Haring, Andy Warhol, and Jean-Michel Basquiat. Mostly recently, Seen`s impact on the world of graffiti can be seen at the biggest exhibition of street art to date the Museum of Contemporary Art (MoCA), Los Angeles.
Lot 24
Kallir (Otto) Egon Schiele Oeuvre-Katalog Der Gemälde, first edition, Paul Zsolnay Verlag, 1966 § Alexandre (Paul) The Unknown Modigliani, first edition, 1994 § Werner (Alfred) Modigliani, first edition, 1967 § Tuchman (Maurice) Esti Dunow, Klaus Perls. Chaim Soutine (1893-1943), Catalogue Raisonné Wekverzeichnis, 2 vol, slipcase, Benedikt Tashen Verlag, 1993 § Tadgell (Christopher) Merric Boyd Drawings, first edition, 1975 § Man (Felix H.) Artists` Lithographs, first edition, 1970 Salvador Dalí rétrospective 1920-1980, Paris, 1979 § McShine (Kynaston) Andy Warhol A Retrospective, first edition, 1989, illustrations, original cloth or boards, most with dust-jackets; and a quantity of others similar, v.s. (c.90).
Lot 728
After Andy Warhol 1928-1987- "Marilyn"; c.1980 after the original edition, published by Sunday B Morning circa mid 1980`s, bears `Fill in your own signature` and `Sunday B Morning` each stamped in ink verso, screenprint in colours, full sheet printed to the edges, full suite of ten images depicting Marilyn Monroe in various colour combinations, 91.2x91.2cm., ea., loose and boxed as issued, (10), (unframed).
Lot 688
* After Andy Warhol, American 1928-1987- "Marilyn"; c.1980 after the original edition, published by Sunday B Morning circa mid 1980`s, bears `Fill in your own signature` and `Sunday B Morning` each stamped in ink verso, screenprint in colours, full sheet printed to the edges, full suite of ten images depicting Marilyn Monroe in various colour combinations, 91.2x91.2cm., ea., loose and boxed as issued, (10), (unframed)
Lot 766
Andy Warhol (1928-1987), from `Ladies and Gentlemen`, Edition of 125, 25 AP, 1 PP,signed, numbered and dated `75 in pencil on verso. screenprint in colours on Arches paper, from a portfolio of ten screenprints image number 11.135 from the set 11.128 - 137, Printed by Alexander Heinrici, New York Published by Luciano Anselmino, Milan, Italy 111 x 73cm.; 43.75 x 28.75in.
Lot 1102
§ Sam Taylor Wood, b. 1967 - artist`s working proof for `XV Seconds` produced in 2000 The original weighed two tons, stood 60 feet tall and ran 900 feet around the outside of Selfridges to the bemusement of shoppers on London’s Oxford Street. The giant photograph – Selfridges claim that it was the biggest photograph and artwork ever seen in London – was created by UK conceptual artist Samantha “Sam” Taylor-Wood, essentially to wrap the building and hide the scaffolding while workmen renovated the façade of the famous department store in 2000. Sam Taylor-Wood turned the project into a much vaunted work of art. Called “XV Seconds”, the photomontage was her version of the Elgin marbles, a frieze in which the Greek gods were replaced by 21 icons of modern culture including Sir Elton John, Blur guitarist Alex James, Ray Winstone, Richard E. Grant, Timothy Spall, Adrian Dunbar, Jane Horrocks, Amanda Ooms and models Jodie Kidd and Alex Wek. The artist’s working proof of the creation, a 24-foot computer-printed scale model of the finished article, signed on the reverse by Sam Taylor-Wood in black ink, is offered here. PROVENANCE; This lot is sent for sale by Mr Mario Capaldi, the creative director of the company responsible for overseeing production of the finished article, who believes the proof to be unique. He said: “The fit and colour management of the project was vital to its success. It was something no one had experience before, but it had to be bang on. I suggested the printers should produce a working proof, printed on the same material and exactly to scale, for Sam to approve. The job took many months to complete and when it was finished, the proof was returned to me. I cheekily asked Sam to sign it and I believe it to be unique. I remember her saying that even she did not have a copy.” “The full size version stopped the traffic when it was first unveiled in April 2000 and pictures of the artist posing in front of it with Elton John were on television and in all the newspapers. What happened to the original finished artwork is not clear, but on completion of the project Mr Capaldi was given this proof which he asked Sam Taylor Wood to sign for him. The artist commenced work on a series of major photographic works called “Five Revolutionary Seconds” in 1995. The title refers to an old Royal Air Force camera which registered a 360-degree view in one continuous five-second-long revolution. The Selfridges installation XV Seconds was her first major public commission. Its name was also a reference to the famous Warhol quip "Everyone is famous for 15 seconds". It was made with the special camera with her good friend Sir Elton John sitting in the centre of the circle as Zeus in a pose after the portrait by Ingres. The resulting photograph, which took 15 seconds to take, was the largest, heaviest, longest to print and the most difficult to achieve technically. Its unveiling coincided with the opening of Tate Modern and brought Sam Taylor-Wood’s work to the attention of a new and much wider audience. Nominated for the Turner Prize in 1998, she made her debut as a feature film director in 2009 with Nowhere Boy, based on the childhood experiences of John Lennon and was nominated for a BAFTA award last year. Since graduating in 1990 Sam Taylor Wood has had many solo exhibitions and has been represented in many multiple exhibitions throughout the World. The proof measures 19" x 24`, NOTE; A smaller version of this print was produced in 2000 in an edition of ten measuring 10" x 83" but it only covered part of the whole image. A copy was offered at Phillips de Pury in New York on 14th November 2008, lot no 417.
Lot 406
WARHOL ANDY: (1928-1987) American Pop Artist. Black ink signature (‘Andy Warhol’) to the clear area of the front cover of a printed 8vo programme for a Gala performance at the Lincoln Centre, New York, in honour of Joanne Woodward and Paul Newman, 5th May 1975. Together with two autograph envelope panels, one addressed to the Duchess of Gloucester and signed (‘The Queen’) by Queen Victoria. Neatly laid down and matted. G to VG, 2
Lot 298
Andy Warhol (1928-1987) Wild Raspberries (f.&s. IV book comprising eighteen offset lithographs with extensive handcolouring in watercolour with title page and justification bound in the original fuchsia buckram boards with fuchsia tissue overlays in front of the plates in good condition overall 445 x 285 mm (17 1/2 x 11 1/4 in) The work was created in collaboration with Suzie Frankfurt who provided the recipes. The lettering was done by Warhol`s mother Julia Warhola.
Lot 300
Andy Warhol (1928-1987) Myths: Mammy (f.&s.II.262 silkscreen printed in colours with diamond dust 1981 signed and inscribed P.P. 3/4 a printer`s proof aside from the edition of 250 published by Ronald Feldman Fine Arts Inc. New York on Lenox Museum Board the full sheet printed to the edges in good fresh condition sheet 965 x 965 mm (38 x 38 in)
Lot 317
Banksy (b.1975) Kate Moss silkscreen printed in a unique combination of colours 2005 signed dated and inscribed AP in pencil an artist`s proof aside from the edition of 50 published by Pictures On Walls London on wove paper with full margins in good fresh condition. 700 x 700 mm (27 1/2 x 27 1/2 in) Provenance: Pictures on Walls Authenticated by Pest Control Accompanied by a certificate of authenticity from Pest Control This unique image stands as yet another example of Banksy`s artistic wit and success in applying modern flavours to iconic masterpieces. In a contemporary re-working of Andy Warhol`s Marilyn Monroe Banksy illustrates his dept to the ground breaking 1960s Pop Art movement with its focus on the mass-produced visual commodities and popular culture. This screenprint originally displayed in Banksy`s 2005 Crude Oil exhibition mimics the bold flat colour in Warhol`s work evoking a mask-like quality which becomes so iconic in the Monroe series. In depicting Kate Moss arguably contemporary societies answer to the beautiful and sexualised figure of Marilyn Banksy revamps this globally recognised format into an evocation of contemporary celebrity culture. This is not however Banksy`s first encounter with the work of Andy Warhol who`s bold and often risqué depictions of popular culture were of primary influence to the development of Urban Art as a genre. His Discount Soupcan (smuggled into the New York Museum of Modern Art by the artist in 2005) also clearly refers to Warhol`s Campbell`s Soup Cans (1962) whilst making a witty critical comment on our current consumerist society. IMPORTANT: This lot is sold subject to Artists Resale Rights details of which can be found in our Terms and Conditions.
Lot 525
Andy Warhol (1928-1987) After the Party (Feldman/Schellmann 11.183) screenprint in colours, 1979, on Arches paper, signed in pencil, numbered 564/1000, there were also 30 artist proofs, 3 printer's proofs and 10 HC impressions, published by Grosset and Dunlap, Inc., New York, float mounted, apparently in good condition, unexamined out of the frame S. 546 x 775 mm. View on Christie's.com
Lot 526
Andy Warhol (1928-1987) Committee 2000 (Feldman & Schellmann II.289) screenprint in colours, 1982, on Lenox Museum Board, signed in pencil, numbered 1065/2000 (there were also 200 artist's proofs), published by Committee 2000, Munich, Germany, the full sheet, with the printer's blindstamp and the Andy Warhol copyright red stamp on the reverse, in very good condition, framed S. 762 x 510 mm. View on Christie's.com
Lot 527
Andy Warhol and Jean Michel Basquiat Warhol Basquiat Paintings offset lithographic poster in colours, 1985, on coated wove paper, from an unknown edition size, published by Tony Shafrazi, New York and Bruno Bischofberger, Zurich, the full sheet, handling creases, unexamined out of the frame S. 485 x 304 mm. View on Christie's.com
Lot 197
Andy Warhol (1928 - 1987) Farrah Fawcett; Roy Halston ca.1979, Two unique polaroid polarcolor prints, 11 x 8.9cm (43/8 x 31/2in.) Provenance: A gift by the artist to the previous owner. Literature: Andy Warhol - Polaroids 1971 -1986, New York, Pace/Macgill Gallery (June 1992), Halston p.63, Farrah Fawcett p.87.
Lot 21
Andy Warhol (American, 1928-1987) The Angels’ Orchestra, collage of die-cut gold card and ink on paper, executed circa 1957, stamped by the Andy Warhol Foundation and the Andy Warhol Estate verso, numbered TOP 289.024. 57.2cm x 72.4cm (22 1/2in x 28 1/2in) Provenance: Private Collection, London.
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6071 item(s)/page