Kelly Troester
\nWorldwide Co-Head of Editions
\nktroester@phillips.com
\n

\n\n

Cary Leibowitz
\nWorldwide Co-Head of Editions
\ncleibowitz@phillips.com
\n

\n\n

Jason Osborne
\nSpecialist, Editions
\njosborne@phillips.com

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MODERNISM celebrates Editions and Works on Paper from the turn of the 20th Century through the following decades in what was a transformative period of time where artists redefined the boundaries of visual expression spurred by progress and innovation amongst continual global challenges. Featuring selections by Man Ray, Henri de Toulouse-Lautrec, Jean Cocteau, Georges Braque, Yves Klein, Wassily Kandinsky, Alexander Calder, Josef Albers, Pablo Picasso, Salvador Dalí, Marc Chagall and others, each work in this session represents not just an aesthetic achievement, but moments in time when these artists pushed their ideas and fine print, art-making boundaries to new visions of our world, historic ones that are now as important as ever.
\n
\nPriority Bidding
\nDeadline to submit priority bids is Sunday 19 October, 2pm EST
\n
\nVIEW CONDITIONS OF SALE >
\n
\nPriority Bidding is here! Secure a lower Buyer’s Premium. Learn more >

\n\n

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MAN RAY Obstruction, 1920/1961-64

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GEORGES BRAQUE Si je mourais là-bas (If I Died There) (V. 181), 1962

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AFTER PABLO PICASSO Tête de Femme (Head of a Woman, Dora Maar), 1943

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JULIETTE NICHOLS [Houses and Trees], circa 1915

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HENRI DE TOULOUSE-LAUTREC Le Jockey (D. 279, A. 365, W. 308), 1899

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WASSILY KANDINSKY Holzschnitt für die Ganymed-Mappe, from Der Dritten Ganymed-Mappe (Woodcut for the Ganymede Portfolio, from The Third Ganymede Portfolio) (R. 181), 1924

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PABLO PICASSO Visage de femme (Woman's Face) (A.R. 220), 1953

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MARC CHAGALL Les Arums (Arum Lilies) (M. 748), 1975

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JEAN COCTEAU Visage aux points (Dotted Face), 1948

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ALEXANDER CALDER Untitled, 1964

\n","1759783502",{"_81":1866,"_83":1867,"_85":1868,"_98":1869},"2025-10-15T04:00:00.000000Z","2025-10-20T04:00:00.000000Z",{"_87":88,"_89":90,"_91":92,"_93":57,"_94":95,"_96":97},[1870,1871],{"_101":102,"_103":104,"_105":106,"_107":108},{"_101":110,"_103":110,"_105":111,"_107":108},[1873],{"_81":480,"_150":236,"_152":1820,"_1825":55,"_1874":294},"sequenceID","articles",[1877,1900],{"_1878":1879,"_1880":72,"_1881":1882,"_1825":1883,"_1884":1885,"_1886":1887,"_1888":1889,"_1890":1551,"_1891":467,"_1892":1893,"_459":467,"_1894":1895,"_1896":1897,"_1898":1899},"coverUrl","https://flockler.com/thumbs/sites/889/warhol-space-editions-0c485b62-74eb-4df5-98af-b15a1a7384ae_s600x0.png","section","summary","Works from our October MODERNISM and Editions & Works on Paper Sales are more than meets the eye. ","Graphic Masterpieces of Meaning","body","

Andy Warhol, Moonwalk, 1987. Editions & Works on Paper New York.

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Andy Warhol: Money for nothing, pics for free

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Rendered in dayglow hues befitting its decade, Andy Warhol’s 1987 work Moonwalk was intended to be part of a larger series titled TV, in which moments of American television history, from Martin Luther King Jr.’s famous “I Have a Dream” speech to The Beatles’ first performance on the Ed Sullivan Show, would be processed through Warhol’s inimitable iconography. However, the artist’s unexpected death later that year resulted in Moonwalk being the only print from the proposed series to be realized, making it a remarkably sought-after work.

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Beyond its inspiration and place within Warhol’s final projects lay a quintessentially Warholian factor: the source image did not come from a television broadcast. Its place in our popular consciousness is most often remembered as an ident for MTV. Warhol amalgamated two photographs taken by Neil Armstrong of his fellow astronaut Edwin “Buzz” Aldrin Jr. during the Apollo 11 mission, extracting elements like the American flag from one and Aldrin’s visor from another. The work is a standout reminder of Warhol’s capacity for image-making as a form of spectacle and the artist’s role in manufacturing an idealized representation, even when its source isn’t as it appears in reality.

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Andy Warhol, Sunset, 1972. Editions & Works on Paper New York.

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Warhol's Sunset series, published in 1972, was commissioned by the architects Johnson & Burgee for their new Marquette Hotel in Minneapolis. In contrast to the building’s highly geometric and functional aesthetic, Warhol's screenprints decorated each guest room in vibrant color, with an impressive 472 installations for the hotel’s opening. A massive undertaking, the total project encompassed 632 unique color impressions, with 160 pieces set aside and assembled into 40 portfolios of four, making the series one of Warhol's most ambitious editions, with no two pieces the same. The 472 prints from the hotel are differentiated by the additional "Hotel Marquette Prints” ink stamp on the reverse, designating their history in this cutting-edge hotel. In 1981, the hotel underwent a renovation, and the Sunset prints were all removed from the rooms and returned to Warhol.

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Unlike many of Warhol’s famed screenprints, his source material for the series was not appropriated from popular culture but reworked from an unfinished film started five years prior. In his 1967 Sunset film, Warhol captured dusk across America as a meditation on temporality and everyday life. Unsatisfied with the project, Warhol instead translated the iconography into an edition that sought to capture the unique illumination of each day's end. Employing color to transcend naturalistic representation, the vibrancy of the Sunset series reflects Warhol's mastery of color theory and his adept application of the screenprint medium.

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Man Ray: Hang in there

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Man Ray, Obstruction, 1920/1961-64. MODERNISM: Editions & Works on Paper New York.

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Man Ray first met Marcel Duchamp in 1915, sparking both a lifelong friendship and an era-defining shift in modern art. Through Duchamp’s readymades, Ray identified what would come to distinguish his own approach to working with objects from that of his dear friend. “My attitude toward the object is different from Duchamp’s, for whom retitling an object sufficed,” Ray said. “I need more than one factor, at least two. Two factors that are not related in any way. The creative act for me rests in the coupling of these two different factors to produce something new, which might be called a plastic poem.”

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The poeticism Man Ray described is apparent in Obstruction through its simultaneously graceful and mathematical construction. Consisting of 63 individual wooden coat hangers – inspired by those discarded by his landlady, a dressmaker – each hanger drapes more examples of itself. To each end of the first, Ray drilled a hole and hung another; to each of these two hangers, he hung two more, and so on, until the progression was deemed complete. With the original sculpture, which consisted of 117 hangers, he only stopped adding more rows when the accumulation began to obstruct the space of his studio, hence its title. Through Obstruction, first executed in 1920 and revisited from 1961-64 in the present work, Man Ray introduces notions of movement and multiplicity – his two factors – to the genre of readymade sculpture, affecting the maximum possible impact with the least possible physical modification in a foreshadowing of Alexander Calder’s famous mobiles.

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Keith Haring: Dog whisperer

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Keith Haring, Dog, 1986. Editions & Works on Paper New York.

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One of the artist’s most iconic motifs, Keith Haring’s barking dog imagery first appeared in his subway drawings of the early 1980s. Drawn “by necessity quick and simple” to evade arrest, Haring’s bold, energetic figurations conveyed messages of love, unity, and defiance against the injustices of his era. These powerful sentiments were embodied by the dog motif, which endured across Haring’s oeuvre.

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By the 1980s, local health campaigns pushed for dog owners to clean up after their pets and “put children before dogs,” while city officials lobbied for tougher enforcement against graffiti, loitering, informal gatherings, and loud music. The subtext of these campaigns was not lost on the gay community, which was becoming increasingly visible as liberation movements grew in New York and around the United States. The dog motif echoes imagery of Anubis, the ancient Egyptian god of funerary rites and grave protection. Haring's Dog, adorned with drawings of dancing figures, man-dog hybrids, erotic scenes, and more, subverts the traditional notion of protection, challenging the authority and governmental power symbolized by the dog, and turning it into a dynamic expression of rebellion and creative dissent against a backdrop of systemic oppression.

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Henri de Toulouse-Lautrec: In motion

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Henri de Toulouse-Lautrec, Le Jockey, 1899. MODERNISM: Editions & Works on Paper New York.

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Henri de Toulouse-Lautrec, the storied chronicler of late 19^th-century urban Paris, completed several notable pastoral works away from the boulevards and dance halls of the city. One such edition and one of his final published works, the lithograph Le Jockey was produced in 1899 while Lautrec was a patient in a countryside psychiatric hospital two years before his death. Near the end of his stay, Henri Stern, one of Lautrec’s main printers, as well as publishers at Pierrefort de Rue Bonaparte suggested he work on a series of editions centered on some of his earliest iconography: horses and horse racing. He took on the project despite his health, yet Le Jockey is the only one of the four prints in the series set at the racetrack near the Bois de Boulogne to be fully editioned or printed in color.

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Unlike the other prints in the series, Le Jockey features a race in progress. Echoing the rückenfigur, a pose associated with German Romanticism in which the subject faces away from the viewer, the work places the audience as spectators watching horses and jockeys fly past. However, Lautrec’s motion emphasizes the figure rather than drawing focus to the landscape, giving visual legibility to Lautrec’s artistic philosophy and the alteration to the pose’s meaning as well as his compositional focus on human and equine forms; in Lautrec’s own words: “Nothing exists but the figure... landscape is nothing, and should be nothing but an accessory.”

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Helen Frankenthaler: Reaching new heights

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Helen Frankenthaler, Freefall, 1992-93. Editions & Works on Paper New York.

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Helen Frankenthaler played an immense role In the mid-20thcentury fine print renaissance. Her monumental soak-stain paintings acted as a springboard for extraordinary approaches to printmaking and emboldened a new generation to explore and redefine the medium through her constant experimentation. Freefall is ambitious and grand in scale: at over six feet tall, it is the largest print Frankenthaler ever made. The work began as a handmade paper maquette composed of dyed paper pulp and gel, after master printmaker Ken Tyler of Tyler Graphics persuaded Frankenthaler to embrace the artistic potential of paper as both a medium and an experiment in form, which the artist then continually developed until it reached its towering, celestial form. “Since I am essentially a painter,” Frankenthaler noted, “I never feel that work in another medium is a matter of reproducing what is on canvas. Rather, it is my translation of my image in a new vocabulary.”

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While Frankenthaler continually sought new challenges in printmaking, she became most fond of the jigsaw woodblock method, a relief technique in which a single block is cut into separate pieces that are individually inked and then reassembled like a puzzle for printing. Unlike traditional woodcut printing, which typically revealed negative space between color areas, this technique allowed for a more seamless color transition. While Frankenthaler’s gestural, fluid style is almost at odds with the necessary precision of woodblock prints, the artist relished in the ability to learn how to adjust her “gesture, [her] language, [her] mark within the jigsaw’s rigid laws.”

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Georges Braque: All worth saying is worth seeing

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Georges Braque, Si je mourais là-bas (If I Died There), 1962. MODERNISM: Editions & Works on Paper New York.

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Georges Braque’s illustrations take the form of woodcuts, a new technique for the artist but uniquely well-suited to his aesthetic sensibilities. Through these eighteen woodcuts, Braque evokes Cubist collage, mimicking the look and texture of torn paper for an array of compositions that emphasized immediacy and privacy: still lifes, florals, a repetition of birds, and more. The tenderness of Braque’s imagery, with a peaceful, masterful balance of line, color, and negative space, offset the intensity of Apollinaire’s writings in a marriage of beauty and melancholy. This rare deluxe version is made special by an additional suite of images, each signed and numbered in pencil.

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A masterpiece of the illustrated book, Braque’s Si je mourais là-bas unites images with the words of the artist’s close friend, Guillaume Apollinaire. The artist and poet met in Paris before the outbreak of the First World War; Braque dedicated his livre d’artiste to the poet, referring to him as his “comrade in the trenches,” though both men eventually served at different times. Such camaraderie was evident in the mutual admiration they held towards one another, with Braque being especially grateful for Apollinaire’s promotion of – and at times of backlash, defense of – Cubism in the Parisian cultural sphere.

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Pablo Picasso: Facets of a face

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After Pablo Picasso, Tête de Femme (Dora Maar) (Head of a Woman, Dora Maar), 1943. MODERNISM: Editions & Works on Paper New York.

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The aquatint Tête de Femme (Dora Maar), produced in 1943 by the Roger Lacourière in Paris, continues Picasso’s series of women's faces that was a mainstay throughout his practice. Picasso regularly depicted the women in his life and the states of their relationships, often displaying the ongoing tension between artist and sitter. Surrealist photographer Dora Maar, whom Picasso met in 1935 and remained entangled with until 1946, was the inspiration for and subject of many of his works in the tumultuous years between the Spanish Civil War and the close of the Second World War. Maar’s political influence on Picasso led to the creation of Guernica and the Weeping Woman, and she posed directly for the latter.

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The piece, representative of his iconic portraiture, implies a degree of strain alongside care and inspiration that mirrors Picasso’s relationship with Maar. While their time together was creatively stimulating for both, his continued involvement with other women, especially Marie-Thérèse Walter, caused considerable friction. Their conflicts, as well as her more overtly political nature, led to sadness becoming a crucial theme in his prints, paintings, and drawings concerning her. The composition of Maar’s face in the aquatint crowds and overwhelms her head. Though Picasso’s relationship with Maar and with women in general were not uncomplicated, pieces like Tête de Femme (Dora Maar) also prove that their presences in his life were hugely influential on his work and development.

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Yves Klein: Victory in color

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Yves Klein, La Victoire de Samothrace (Winged Victory of Samothrace), 1962/73. MODERNISM: Editions & Works on Paper.

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The classical La Victoire de Samothrace commemorates a Greek naval victory in the 2nd century B.C. in the image of the mythological Niké, the winged goddess of victory, her marble drapery dynamically formed as if windswept. Inspired by his studies and travels throughout Europe, Yves Klein executed his rendering of La Victoire de Samothrace in the final year of his life, during a period in which the artist embarked on a series of projects reinterpreting major works of the art historical canon with his instantly recognizable International Klein Blue (IKB) pigment.

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Exacting a small-format plaster replica coated in the intensely ultramarine hue, Klein transformed this crown jewel of the permanent collection of the Louvre with his radical, monochrome sensibilities. Through his application of IKB pigment, the artist stripped the famed sculpture of its historical and cultural specificity, save for the stone base that serves as a trace reminder of the original marble. To the artist, IKB was not just a color, but a portal to the infinite, inspired by an experience in being struck by the immaterial void of the sky as a young man on the beaches of Nice; it symbolized a certain freedom, obliterating the constraints of representationalism and the physical realm. Thus, under Klein’s command, La Victoire de Samothrace becomes not just a mere synthesis of antiquity and experimentalism, but a totem of immateriality, of a spiritual dimension beyond the visible world.

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Discover More from Editions >

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Recommended Reading

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A Quarter-Century of Print Center New York >

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Image and Mode: Andy Warhol's Portraits of Power >

\n","publishDate","2025-10-02T14:46:30.000000Z","authorCredit","Arian Murati","coverPosX","coverPosY","articleUrl","https://www.phillips.com/article/162668599/masterpieces-of-meaning","auctionEditorialID",8171,"editorialID",5081,"flocklerID",162668599,{"_1878":1901,"_1880":72,"_1881":1902,"_1825":1903,"_1884":1904,"_1886":1905,"_1888":1906,"_1890":1551,"_1891":467,"_1892":1907,"_459":294,"_1894":1908,"_1896":1909,"_1898":1910},"https://flockler.com/thumbs/sites/889/jn-1-de25bb33-3e2b-4c4d-98d5-51e497384e63_s600x0.jpg","Rare works by this fascinating artist continue to capture collectors' imaginations.","Modernism on the Shore: Juliette Nichols in Provincetown","

Juliette Nichols, [Woman and Child at Garden Fence], circa 1915. MODERNISM: Editions & Works on Paper.

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All the way back in 1870, a unique and under-sung voice in American art was born on the banks of the Ohio River, just across from the West Virginia line. At the time, the US was in the midst of Reconstruction, and the Midwestern region was undergoing a wave of modernization that saw the construction of factories and the laying of rail lines, creating and connecting hubs throughout the area. It was against this cultural backdrop that Juliette Nichols was born in Marietta, Ohio, finding herself in France by the early 1900s. Studying in Paris, she learned Japanese woodcut techniques from Edna Boies Hopkins and exhibited her work at the American Women’s Art Association alongside a few other artists who would eventually form the group known as the Provincetown Printers.

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Following our recent offerings of works by the Provincetown Printers, Phillips is continuing the journey with a revelatory discovery of this remarkable artist, about whom not much is known. This season in our MODERNISM: Editions & Works on Paper auction, we present five works by Juliette Nichols that showcase what collectors have come to love about her work.

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American Experimentalism

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Juliette Nichols, [Group of Figures], circa 1915. MODERNISM 1880–1960: Editions & Works on Paper.

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As the winter of 1915–1916 approached, a community of artists decided to remain in the small fishing village of Provincetown, Massachusetts, beyond the summer. With a shared sense of camaraderie and community, they braved the harsh New England winter to focus on their artistic pursuits in woodblock printing. That winter, the white-line woodcut, otherwise known as the “Provincetown Print” was said to be born. This inventive technique allowed the printer to see the entire composition on a singular piece of wood and afforded endless possibilities for texture, color, and shading, using watercolor as ink. Most of this community of primarily female artists quickly took up this technique, and the distinctive aesthetic of the Provincetown art colony became firmly established. This spirit of invention among the predominantly French-trained, American-born artists exemplifies the more inventive side of early modern American creativity and highlights these artists’ complete control of the printing process from beginning to end.

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Juliette Nichols, [Green and Purple Poppy] and [Red and Green Poppy], circa 1916. MODERNISM: Editions & Works on Paper.

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Juliette Nichols had met several artists in this group when they studied together in Paris. While living in Provincetown, she exhibited with the group at the Berlin Photographic Company in New York. Soon after, she returned to Paris and then New York City, where she had an apartment on West 4th Street in Greenwich Village before ultimately moving back to her hometown of Marietta, Ohio.

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Modern Imagery

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Juliette Nichols, [Houses on the Waterfront, Day], 1915. MODERNISM: Editions & Works on Paper.

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Across these works, the artist ushers classic subjects into the modernist conversation. These often expressively carved and vibrantly hued scenes that include bathers, landscapes, and seascapes show us the forward-thinking and innovative approach of the Provincetown Printers as torchbearers of a new visual language in the early 1900s. The works are bold, formally daring, and as referential to Japanese printmaking as they are to early European Modernism. But perhaps what makes them so intriguing to us today is the opportunity they offer to view a distinctive kind of American lifestyle through Nichols’ eyes — a lifestyle she not only depicted but one she also lived.

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These images are exuberant, experimental, radically contemporary to their time, saturated, and rich, but what keeps our eyes lingering is the joy of this bucolic way of life. A slice of Americana, we can imagine spending the days reading, swimming, sailing, and even napping under a tree after a long stint of gardening before the change of seasons brings with it winter ice skating and ballroom fêtes. These works offer a window into American leisure at its very best and call to mind how artists have historically depicted coastal destinations. The Cape is to Nichols and the Provincetown Printers as Arles was to Van Gogh and Gauguin.

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The Quiet New England Inventor

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Juliette Nichols, [Houses and Trees], 1915. MODERNISM: Editions & Works on Paper.

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As we uncover more about the Provincetown Printers and their contribution to American art, we’re reminded of how frequently creators in New England have charted a radical course before their discovery by wider culture. One thinks of the composer Charles Ives working in Connecticut, whose 1908 work The Unanswered Question quietly changed the course of classical music even though it wasn’t performed until 1946. Or think of Emily Dickinson, that most notable Amherst reclusive modernist, whose works also didn’t fully emerge until much later. Looking at these works by Juliette Nichols today, by their experimental nature, their varied impressions of the same composition, their use of collage and hand-coloring, and a palette that rivals that of Matisse and the Fauvists, we can see just how forward-thinking she was. And just as we’ve seen before with defining creative moments from this region of the country, perhaps now is the time that Juliette Nichols gets her due.

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Discover more from MODERNISM: Editions & Works on Paper >

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