[{"_1":2,"_3":-5,"_4":-5},"loaderData",{"_5":6,"_7":8},"actionData","errors","root",{"_1128":1129,"_1130":1131,"_1132":19,"_1133":1134,"_1135":19,"_1136":1137,"_1138":1139,"_1140":1141,"_1142":1143,"_1144":1145,"_1146":1147,"_1148":1149,"_24":1150},"routes/($lang).detail.($maker).($seoName).($auctionCode).$lotOrObjectNumber",{"_9":10,"_11":-5,"_12":13,"_14":15,"_16":17,"_18":19,"_20":21,"_22":23,"_24":25},"lot",{"_637":58,"_1059":1060,"_91":92,"_1061":1062,"_1063":47,"_639":640,"_679":683,"_1064":1065,"_1066":109,"_1067":111,"_1068":1069,"_187":1060,"_60":61,"_1070":1071,"_681":76,"_1072":184,"_1073":19,"_1074":19,"_1075":19,"_1076":1077,"_1078":19,"_140":19,"_141":126,"_1079":19,"_1080":19,"_1081":126,"_133":126,"_1082":19,"_1083":1084,"_121":122,"_1085":1086,"_1087":1088,"_1089":1090,"_1091":1092,"_1093":1094,"_1095":1096,"_1097":1098,"_93":94,"_148":1099,"_139":126,"_1100":-7,"_1101":-7},"sanityLotElc","auction",{"_91":92,"_93":94,"_95":96,"_97":49,"_98":99,"_100":101,"_102":103,"_104":105,"_106":107,"_108":109,"_110":111,"_112":113,"_114":115,"_116":115,"_117":118,"_119":120,"_121":122,"_123":19,"_124":19,"_125":126,"_127":19,"_128":19,"_129":19,"_130":126,"_131":19,"_132":19,"_133":126,"_134":19,"_135":19,"_136":19,"_137":19,"_138":126,"_139":126,"_140":19,"_141":126,"_142":143,"_144":145,"_146":147,"_148":149,"_150":151,"_152":153,"_154":155,"_156":157},"messageBanners",[],"title","Iran do Espírito Santo - Evening & Day Editions, New York Friday, October 25, 2019 at EDT | Phillips","isPreview",false,"COOKIE_DOMAIN","phillips.com","conditionsOfSalePdfLinkConfig",{"_89":90},"metadata",[26,27,28,29,30,31,32,33,34,35,36,37],{"_16":83},{"_38":87,"_40":88},{"_38":60,"_40":81},{"_38":86,"_40":83},{"_38":85,"_40":81},{"_38":84,"_40":77},{"_78":82,"_40":83},{"_78":80,"_40":81},{"_78":79,"_40":77},{"_50":51},{"_42":43,"_44":45,"_46":47,"_48":49},{"_38":39,"_40":41},"name","apple-itunes-app","content","app-id=397496674","tagName","link","rel","canonical","href","https://www.phillips.com/detail/iran-do-espirito-santo/133471","location","New York","script:ld+json",{"_52":53,"_54":55,"_38":56,"_57":58,"_59":47,"_60":61,"_62":63,"_64":65,"_66":67},"@context","https://schema.org","@type","Product","Iran do Espírito Santo - Evening & Day Editions","sku","133471","url","description","CRTN XXIV","image",[77],"brand",{"_54":75,"_38":76},"offers",{"_54":68,"_69":70,"_71":72,"_73":74,"_59":47},"Offer","price",2500,"priceCurrency","USD","availability","https://schema.org/SoldOut","Brand","Iran do Espírito Santo","https://dist.phillips.com/auction-assets/NY030219/376_001.jpg?fit=cover&optimize=medium&width=1302","property","og:image","og:description","Discover Iran do Espírito Santo's CRTN XXIV featured in Phillips' Evening & Day Editions Auction in New York. Browse, bid, and explore art, design, and luxury at Phillips.","og:title","Iran do Espírito Santo Evening & Day Editions","twitter:image","twitter:description","twitter:title","keywords","Phillips Auctioneers LLC, auction, Lot, Iran do Espírito Santo, New York Auction 25 October 2019","NY080126","https://www.dist.phillips.com/content/web/docs/forms/NY_Conditions_of_Sale_NY080126.pdf","auctionId",1095,"auctionCode","NY030219","auctionName","Evening & Day Editions","auctionLocation","auctionTimezone","America/New_York","auctionStartDateTime","2019-10-25T14:00:00.000000Z","auctionEndDateTime","2019-10-26T00:30:00.000000Z","lowestEstimate",300,"highestEstimate",600000,"auctionStatus","PAST","saleTypeId","Auction","bannerImage","https://dist.phillips.com/auction-assets/NY030219/NY030219.jpg?fit=cover&optimize=medium&width=1302","contactEmail","editions@phillips.com","conditionRequestEmail","auctionDetails","

Auction 25 October 10am, 2pm & 6pm EDT

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450 Park Avenue, New York (map)

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Evening Editions, 6pm

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Lots 1-121

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Day Editions, Morning Session, 10am

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Lots 122-285

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Day Editions, Afternoon Session, 2pm

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Lots 286-415

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Viewing 17-24 October

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Monday-Saturday 10am-6pm

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Sunday 12pm-6pm

\n","auctionDetailsSmall","New York Auction 25 October 2019","extraInfo","Kelly Troester
\nWorldwide Co-Head of Editions, Modern
\n+1 212 940 1221
\nktroester@phillips.com

\nCary Leibowitz
\nWorldwide Co-Head of Editions, Contemporary
\n+1 212 940 1222
\ncleibowitz@phillips.com

\nGeneral Inquiries
\n+1 212 940 1220
","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[224,225,226,227,228,229,230,231,232,233,234,235,236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277,278,279,280,281,282,283,284,285,286,287,288,289,290,291,292,293,294,295,296,297,298,299,300,301,302,303,304,305,306,307,308,309,310,311,312,313,314,315,316,317,318,319,320,321,322,323,324,325,326,327,328,329,330,331,332,333,334,335,336,337,338,339,340,341,342,343,344,345,346,347,348,349,350,351,352,353,354,355,356,357,358,359,360,361,362,363,364,365,366,367,368,369,370,371,372,373,374,375,376,377,378,379,380,381,382,383,384,385,386,387,388,389,390,391,392,393,394,395,396,397,398,399,400,401,402,403,404,405,406,407,408,409,410,411,412,413,414,415,416,417,418,419,420,421,422,423,424,425,426,427,428,429,430,431,432,433,434,435,436,437,438,439,440,441,442,443,444,445,446,447,448,449,450,451,452,453,454,455,456,457,458,459,460,461,462,463,464,465,466,467,468,469,470,471,472,473,474,475,476,477,478,479,480,481,482,483,484,485,486,487,488,489,490,491,492,493,494,495,496,497,498,499,500,501,502,503,504,505,506,507,508,509,510,511,512,513,514,515,516,517,518,519,520,521,522,523,524,525,526,527,528,529,530,531,532,533,534,535,536,537,538,539,540,541,542,543,544,545,546,547,548,549,550,551,552,553,554,555,556,557,558,559,560,561,562,563,564,565,566,567,568,569,570,571,572,573,574,575,576,577,578,579,580,581,582,583,584,585,586,587,588,589,590,591,592,593,594,595,596,597,598,599,600,601,602,603,604,605,606,607,608,609,610,611,612,613,614,615,616,617,618,619,620,621,622,623,624,625,626,627,628,629,630,631,632,633,634,635,636],"articles",[167,168,169,170],"departments",[161],"auctionCurrency",{"_158":72,"_159":160},"totalLotCount",413,"auctionMobilityAuctionRowId","1-223MMD","auctionUrl","https://www.phillips.com/auction/NY030219","auctionResultsFile","https://www.dist.phillips.com/content/web/auction-results/auctionResultsFile_NY030219.pdf","currencyCode","currencySign","$",{"_162":163,"_164":165,"_166":165},"departmentId",5,"departmentName","Editions","departmentDisplayName",{"_171":215,"_173":165,"_174":216,"_16":217,"_177":218,"_179":219,"_181":182,"_183":184,"_185":220,"_187":184,"_189":221,"_191":222,"_193":223},{"_171":205,"_173":165,"_174":206,"_16":207,"_177":208,"_179":209,"_181":182,"_183":184,"_185":210,"_187":211,"_189":212,"_191":213,"_193":214},{"_171":195,"_173":165,"_174":196,"_16":197,"_177":198,"_179":199,"_181":182,"_183":184,"_185":200,"_187":201,"_189":202,"_191":203,"_193":204},{"_171":172,"_173":165,"_174":175,"_16":176,"_177":178,"_179":180,"_181":182,"_183":184,"_185":186,"_187":188,"_189":190,"_191":192,"_193":194},"coverUrl","https://flockler.com/thumbs/sites/889/23_001-252979ef-c1db-41c2-ba10-3b40030952e4_s600x0.jpg","section","summary","New York painter Joan Mitchell was also a master printmaker, as demonstrated by her work with Kenneth Tyler of Tyler Graphics in the 1980s and '90s. We review her expressive, colorful lithographs from our upcoming Editions sale.","Joan Mitchell's Approach to Printmaking","body","

Joan Mitchell Sunflowers II, 1992. Lot 23 in our Editions & Works on Paper Evening Sale on 25 October in New York.

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Belonging to the post-war New York School of Action painters, Joan Mitchell distinguished herself among her contemporaries as an accomplished printmaker.

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Mitchell made prints throughout almost every stage of her career up until her death. With Tyler Graphics and its founder Kenneth Tyler in the early 1990s, Mitchell embarked on the most innovative and ambitious prints of her oeuvre. Kenneth Tyler first persuaded Joan Mitchell to make lithographs with him in the early 1980s, urging that her paintings could be translated beautifully into lithography. She completed her first suite of lithographs with Tyler in 1981, titled the Bedford Series, and thereafter a fruitful relationship was born.

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\n
Mitchell's explosive mark-making meets the ethereal quality of paper, creating prints that are at once free-flowing while contained within the margins.
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Joan Mitchell Bedford I, from Bedford Series, 1981. Lot 210 in our Editions & Works on Paper Day Sale on 25 October in New York.

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The lithographs of the Bedford Series (lot 210 in Editions & Works on Paper), 1981, and later Sunflower Series (lot 23), 1992, embrace the very nature of the medium. The greasiness, oiliness and rubbings of lithographic crayon and tusche become as much the subject of these works as her gestural brushstrokes embody the emotional resonance of her paintings.

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Joan Mitchell and Kenneth Tyler surrounded by numerous prints by Mitchell on the walls, floors and table, Tyler Graphics Ltd. artist's studio, Mount Kisco, New York, 1992, Photographer: Marabeth Cohen-Tyler National Gallery of Australia, Canberra. Gift of Kenneth Tyler, 2002

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Sunflowers II, from the Sunflower Series, presents a pictorial achievement in Mitchell's oeuvre. Here, Mitchell combined deep rich tones with gestural marks that greatly echo the ethos of her career. Through color and line, disordered bouquets of sunflowers appear and again disappear to the viewer. Joan Mitchell's electric gestural prints were deliberate and considered. She worked on clear mylar sheets of color separation, revising until the composition was as she wanted. In Sunflowers II, Mitchell's explosive mark-making meets the ethereal quality of paper, creating prints that are at once free-flowing while contained within the margins.

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Tyler Graphics allowed Mitchell to work in more colors than ever before, creating richly colored works that rivaled the more subdued hues of the prints she had produced in years before. Tyler was flexible, and Mitchell precise: "Ken," she said to him in the studio, "I want to try a color like the color of dying sunflowers."

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"Color, and, in particular, the color blue, was often discussed in great detail during my printmaking collaborations with Joan," said Kenneth Tyler. "Her studies of Matisse, van Gogh, Cézanne and Monet...led to a mastery of color unparalleled by her contemporaries. I never worked with anyone since [Josef] Albers that had such a keen knowledge of color and how colors interacted with each other. Joan's works are about the colors in life as she observed and recorded them…"

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Kenneth Tyler and Joan Mitchell with working proofs of Mitchell's 'Sunflowers II' as well as 'Fields', 'Trees' and 'Weeds' hanging in the background. Tyler Graphics Ltd. artist's studio, Mount Kisco, New York, 1991, photo by Marabeth COHEN-TYLERKenneth Tyler and Joan Mitchell with proofs of Mitchell's 'Fields', 'Trees' and 'Weeds' works hanging in the background, Tyler Graphics Ltd. artist's studio, Mount Kisco, New York, 1991, photo by Marabeth COHEN-TYLER

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Creating Moments like Matisse: Joan Mitchell's Late Oeuvre >

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\n","publishDate","2019-10-10T19:42:15.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/48570555/joan-mitchell-printmaking-lithographs-editions","displayOrder",3,"auctionEditorialID",662,"editorialID",763,"flocklerID",48570555,"https://flockler.com/thumbs/sites/889/13_001-e1b11821-637e-41e1-a5cc-e9d3f462d7e4_s600x0.jpg","We take a closer look at the rare printmaking method that's been used by artists from the 17th century to the present. ","M.C. Escher and the Mezzotint","

M.C. Escher Eye, 1946

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Dutch artist M.C. Escher is best known for geometrically-inspired prints that explore symmetry, pattern and perspective, ultimately questioning reality and the limits of possibility. After studying art in Haarlem, Escher spent over a decade living in and traveling through southern Europe, where the lush Italian landscape and Moorish architecture of Spain significantly inspired his work. Following the rise of fascism in Italy, Escher returned permanently to the Netherlands in 1941. Despite having much in common with the Surrealists thematically, he never made contact with them and Escher’s work was essentially ignored by the mainstream art establishment until the very end of his lifetime. Escher’s aesthetic became world-famous through his posters, puzzles and other commercial products, however, these should not be confused with his original prints and drawings – fine art printmaking at the highest level – for which he explored various methods during his long career.

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M.C. Escher Self-Portrait, 1929

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In 1946, Escher became interested in mezzotint, a classically northern European technique capable of achieving extremely subtle graduation of light and dark. This complex procedure was used to create the present work, Eye. The mezzotint is a burnishing process that uniquely captures subtle gradient tonality and works from dark to light. Essentially, mezzotint can be compared to drawing via erasure, but on a metal plate. Unlike the traditional etching technique, which involves incising precisely engraved lines, mezzotint does not cause the same linearity to carry over into the finished work, allowing for a more organic appearance that better mimics the velvety quality of light and shadow.

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Johann Jakob Haid Everything is Vanity, c. early 18th century

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Though new to Escher at the time, the process of mezzotint was developed in 17th century Germany and named mezzo-tinto, or “half-tone.” Historically, the medium was often applied to works depicting dark or mysterious scenes, taking full advantage of mezzotint’s penchant for creating visual drama. In Everything is Vanity, by German artist Johann Jakob Haid (c. 1704-1767), this strong contrast in color, achieved through subtle gradation, is clearly visible. Haid takes full advantage of the medium’s possibilities in exploring texture, achieving notably distinct appearances in objects like clear soap bubbles, perfectly smooth and reflective, a skull with a softer, more matte appearance and a small puff of barely-there smoke fading into the inky-black background.

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Thanks to the medium’s sumptuous effect, English artists and printmakers found it to be a perfect medium for portraiture, which became ever-more popular thanks to a growing middle class. By the 18th century, it was the most popular reproductive printmaking method in Europe. Lasting well into the 1820s, the mezzotint later spread to the United States where it found footing among graphic artists.

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Eye has two handwritten notes that reveal a bit more information about the present work, and what Escher thought was significant about it. Directly beneath the image, on the right, a short note stating “eigen drunk” (hand-printed) is present, subtly referencing the highly-skilled nature of this particular printmaking process, and differentiating this particular work in the context of Escher’s typical woodcuts. Further down, another annotation, “zwarte kunst prent ‘Oog’” (black art print “Eye”), denotes the work’s title and further emphasizes Escher’s use of mezzotint as a means of achieving specific formal qualities.

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White and black, day and night, the graphic artist lives on these. — M.C. Escher
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M.C. Escher Eye, 1946 (detail)

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Per Escher himself, this work is a self-portrait: “… a last example of globular reflection: an eye, which is of course my own, copied as faithfully as possible in a concave shaving glass. It was necessary and logical to portray somebody in a pupil, an observer, reflected in the convex mirror of the eye. I chose the features of Good Man Bones, with whom we are all confronted whether we like it or not.”

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Mezzotint is a highly laborious process, and Escher produced only eight examples during his entire career: a feat given the fact that so few artists embrace the demanding technique today. He referred to mezzotint as 'black art,' and these prints are, undoubtedly, among his most alluring. "White and black, day and night," said Escher, "the graphic artist lives on these."

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Nicolas Party Three Trees, 2016

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Though rare, the art of mezzotint is not completely dead. In fact, some of the art world’s most of-the-moment stars value the medium for the exact same reasons as their 17th-century forebearers. Swiss artist Nicolas Party has engaged with mezzotint, even putting on an entire solo show of work in the medium for the Glasgow Print Studio in 2016. Like Escher (and Haid), Party utilized mezzotint to heighten the perceived drama of banal, everyday objects, endeavoring to elevate still-life into the realm of portraiture. In Three Trees, sold at Phillips in 2019, each tree is imbued with an individual personality, as texture, size and shape are manipulated across the work. Light, falling from a mysterious source, lends an eerie quality to the work, which is only increased as the trees’ shadows become starkly enveloped in total darkness behind them. Rather than a landscape, Three Trees evokes a still-life, or even actors on a stage, curtain drawn behind their backs, a spotlight shining brightly from above.

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Escher once said, “I could fill an entire second life with working on my prints.” Eye is an excellent example of the known, yet unknown diversity of his oeuvre, which sought to explore various mediums in printmaking along with some of life’s most fraught questions.

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\n","2019-10-15T18:58:00.000000Z","https://www.phillips.com/article/48953504/mc-escher-and-the-mezzotint",2,665,766,48953504,"https://flockler.com/thumbs/sites/889/106_001-2a8d5e7f-1597-48c5-82ed-cbe39fb1bb3e_s600x0.jpg","We take a closer look at some of the complete sets from artists like Haring, Warhol and Johns coming to auction in our October Editions sale. ","Game, Set & Match","

Keith Haring The Fertility Suite, 1983

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Keith Haring

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Keith Haring The Fertility Suite, 1983

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A simple line drawing of a crawling infant illuminated by radiating lines symbolized, perhaps, the most pervasive icon of Keith Haring’s oeuvre: the ‘Radiant Baby.’ “The reason that the ‘baby’ has become my logo or signature,” said Haring in 1981, “is that it is the purest and most positive experience of human existence. Children are the bearers of life in its simplest and most joyous form.” Haring grew up as the older brother to three younger sisters. The youngest, Kristen, was born when Haring was already eleven years old, and her young life would have a significant impact on the artist.

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Keith Haring The Fertility Suite, 1983

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Greatly influenced by the linear nature and narrative power of cartoons and comics, Haring learned by emulating both. The Fertility Suite, a set of six screenprints, draws upon comics through Haring’s use of thick contours and vivid colors. Large bellied dancing pregnant women appear to worship a kind of ‘fertility god’ in one scene, and a 'radiant baby' in another. Extraterrestrial space ships intervene beaming down upon a pyramid as a pregnant figure cheers on. These are images that celebrate the creation of life in all its absurdity.

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As Haring made these prints in 1983, the artist’s close friends began to have children. Kenny Scharf and Tereza Scharf, Haring’s contemporaries and friends, had a daughter that very year, whose childhood touched Haring’s life. “I think Keith used the baby as a symbol of purity. It’s a symbol of hope,” said Kenny Scharf. “This world is so f—ked up, there’s disease and killings, but the baby is still born. Each baby embodies that hope that we all believe in and have to believe in if we’re going to keep on going. That’s so powerful.”

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Andy Warhol

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Known as an artist of the fabulous and the famous, Andy Warhol created a vast oeuvre of prints unified by his use of repetition and exploitation of the multiple. Warhol came to screenprinting in the early 1960’s, interested by the photomechanical processes of the medium. “I’m for mechanical art," said Warhol. "When I took up silk screening, it was to more fully exploit the preconceived image through the commercial techniques of multiple reproduction.” In many ways, Pop Art was the language of prints and multiples. It was a language of movie stills, consumer goods, cartoons, and closeups. Warhol made prints out of this very context, from his vibrant and lyrical Flowers (lot 60), sourced from a photograph of hibiscus blooms, to his Soup Cans (lot 66), and images of Elizabeth Taylor and Marilyn Monroe (lots 59 and 68). All would come to proliferate society, to be consumed by the masses.

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Andy Warhol Electric Chair, 1971

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Warhol’s Electric Chair series (lot 67), are from an extensive Death and Disaster series in which Warhol investigated his theory of seriality and the multiple. “When you see a gruesome picture over and over again,” Warhol said, “it doesn’t really have any effect.”

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Andy Warhol Cowboys and Indians, 1986

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One of Warhol’s last series, Cowboys and Indians, lot 70, features popular western icons from Annie Oakley to John Wayne, as well as important Native American figures; a frowning Geronimo (lot 71). This series, while playful, was as Warhol wanted for “grown-ups,” a Warholian take on a beloved West, and all its twentieth-century allure.

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Jean-Michel Basquiat

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After Jean-Michel Basquiat Portfolio I, 1983-2001

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Released posthumously by The Estate of Jean-Michel Basquiat and published by David DeSanctis Carr Fine Art, Los Angeles, this portfolio presents four works that embody Jean-Michel Basquiat’s hybrid text/image iconography.

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After Jean-Michel Basquiat Untitled (Head) from Portfolio I, 1983-2001

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The screenprints of Portfolio I are based on paintings Basquiat completed between 1982 and 1983. Often considered the defining period of Basquiat’s oeuvre, this short period was when the artist was at his healthiest and most productive, having moved to Los Angeles at Larry Gagosian’s behest in an attempt to distance himself from the chaos of the New York art world.

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These four works address themes that are essential to Basquiat’s work, including death, capitalism and racism. Clearly preoccupied with his own mortality in the face of both dizzying fame and severe addiction, Basquiat repeats any motifs, such as the three-point crown, the skull and references to ancient Egypt, appear again and again in Basquiat’s painting.

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Donald Judd

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Donald Judd Untitled, 1993

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Offering a unique view into the artist’s practice, Donald Judd’s use of printmaking both informed and was informed by his sculpture. “I like doing them [prints],” said Judd, “and also I can learn something from them.” Arguably the most sculptural of all print mediums, Judd made woodcuts from the 1960’s onward. This set of four woodcuts (lot 48), completed in 1993, depicts a series of identical rectangular sheets, varied by proportional divisions. In each, an unprinted central rectangular form is framed by a printed section, spreading all the way to the edges of the sheet. A painted stripe on the glass of the original galvanized iron frames partitions the rectangle into either horizontal or rectangular portions. Interested by varying divisions of repeated forms, printmaking suited Judd’s sensibility for the serial object. Printmaking’s inherent ties to the multiple allowed Judd to explore his interest in depicting variations on a single form, in a medium perfectly suited for that purpose.

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Jasper Johns

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Jasper Johns 6 Lithographs (after "UNTITLED 1975"), 1976

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Quoting the evocative gestural brushstroke of the Abstract Expressionists, Jasper John s represented common objects such as flags, targets, masks, maps and numbers: He sought to explore things "seen and not looked at, not examined" in pictorial form. Drawing from common commercial and 'readymade' objects, Johns was a bridge to Pop, Dada and Conceptual art movements.

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Johns has said that he first saw the pattern, known as his crosshatching, on a car zooming by down the Long Island Expressway. Developed in the 1970s, Johns’ crosshatching patterns which would come to dominate his work, “have an hypnotic fascination,” according to art historian Riva Castleman. In 6 Lithographs, Johns manipulates the crosshatch to move and flow in different directions, utilizing the possibilities of multiplicity in printmaking by transferring parts of the whole to different plates. Arranged as a square divided into 9 equal parts, Johns manipulated his crosshatching pattern to change direction, and even swap color. Like this, Johns created a complex system that embodied his way of thinking, a program broken down into an appealing kind of visual language.

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KAWS

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KAWS Ups and Downs, 2013

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KAWS is the pseudonym for New York-based artist Brian Donnelly. A former illustrator for Disney, KAWS is influenced by prominent figures in pop culture, adding his own signature humor and style to iconic and recognizable figures. Like Warhol, who similarly worked as an illustrator before transitioning to fine art, KAWS champions the immense communicative power of the everyday and investigates the truly global experience of television and mass media.

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This set, executed in 2013, marks a gradual progression from KAWS’ earlier works depicting coherent narratives specific to well-known characters, such as Mickey Mouse and the Simpsons, to more deconstructed, ambiguous compositions. While some forms are recognizable, including eyes marked with the artist’s signature X’s, as well as a sea of dismembered hands referencing SpongeBob SquarePants, others are more abstract, such as the haphazard amalgamation of various bodily features and rendering in bright, contrasting colors. By coalescing cartoon imagery with ambiguous abstract forms, KAWS embraces kitsch and rejects Clement Greenberg’s modernist consecration of pure abstraction.

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Alex Katz

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Alex Katz Black Dress, 2015

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An accomplished printmaker, Alex Katz’s Black Dress series was two years in the making. Based on earlier paintings, the Black Dress series depicts nine women in classic fashion; the black dress. Each panel mimics the size of the original paintings and was screen-printed in 25 to 35 different colors.

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Calvin Klein wrote of the portfolio for an exhibition catalogue at Mary Ryan Gallery:

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I also love what a simple black dress says about the woman who wears it. By making such a subtle and concise choice, she’s letting the world know she is strong and her sense of self is powerful. She’s not in need of embellishment or exaggeration. She doesn’t expect to have all eyes on her, although, probably, if she carries herself proudly, she will. And that’s just the most modern and wonderful attitude anyone can have.

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Alex Katz’s Black Dress series is just as modern and wonderful. And, ironically, it has absolutely nothing to do with fashion. His portraits have such strong color fields and clean lines. And despite their apparent simplicity, they’re extremely expressive and perfectly capture the essence of his subjects. You can’t help but notice these women, these beautiful enigmas drawn in bold and certain strokes. You wonder who they are, how they live, what they feel, just exactly what they have going on.

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The sale includes additional sets by Joan Miró, Robert Motherwell, Sol LeWitt, Donald Judd, Jeff Koons and Salvador Dalí.

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\n","2019-10-08T18:59:35.000000Z","https://www.phillips.com/article/48404814/sets-haring-warhol-basquiat-judd-johns-kaws-katz",1,661,745,48404814,"https://flockler.com/thumbs/sites/889/hockney-print-56d93527-9885-4378-8d60-2dd86929f104_s600x0.jpg","Looking at the work of Picasso, Ruscha, Johns and Hockney, we explore some of the diverse formal and thematic possibilities of the grayscale color palette. ","Shades of Gray","

Kenneth Tyler pulling an impression of David Hockney’s Potted Daffodils, 1980

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Wonderfully impartial and utterly adaptable, gray has a mysterious ability to seamlessly fit, unobtrusive and uncomplicated. Printmakers have long worked in grayscale, and there is perhaps no medium better suited for gray: black ink and white paper, these are the fundamental building blocks of printmaking. Gray is a hue of great plasticity, with an infinite zone of differentiated values from warm to cool, light to dark. Looking at the work of Picasso, Ruscha, Johns and Hockney, we see four artists approach the suppleness of grays, all through the medium of lithography.

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Pablo Picasso

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Pablo Picasso Femme au corsage à fleurs (Woman with Flower Bodice) (Jacqueline Roque), 1957

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Pablo Picasso’s prints, up until about 1945, can be categorized by their linear nature. Previously favoring etching amongst the various printmaking techniques, by the late 1950s, with the guidance and collaboration of lithographer Fernand Mourlot in Paris, Picasso quickly acquired a mastery of the traditional tools and techniques of lithography. The artist's work quickly attained a painterly quality in his lithographs through his gestural use of crayon and brush.

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In 1955 Picasso began making portraits of Jacqueline Roque, they would later be married in 1961, and her image would come to dominate his work. Often presented in profile, the viewer is scarcely met by Jacqueline’s gaze in these lithographs, though linocuts from the next few years show her head-on. Instead, there is sensitivity and tenderness towards the handling of her form, an unobtrusive quietness in her depiction. Printed from a brush drawing on a zinc plate, subtlety and lightness in the delicate dark gray washes are retained through Picasso’s use and manipulation of surface, creating a work that flows, from the flowers on her bodice to the swift line of her jaw.

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Ed Ruscha

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Ed Ruscha Nine Swimming Pools, from the Book Covers series, 1970

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Based on the imagery and subject matter of his artist’s books of the same title, Nine Swimming Pools and Various Small Fires, are two finely hand-drawn lithographs. Published by the experimental, and research-based Graphicstudio at the University of South Florida in small editions of 30, Ruscha’s Book Covers series is difficult to distinguish from his graphite drawings. To achieve their smoky and atmospheric quality, Ruscha carefully worked back into the drawing on stone with a sharp lithographic pencil in order to define detail; the delicate bending of the first few pages of Nine Swimming Pools.

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Ed Ruscha Various Small Fires, from the Book Covers series, 1970

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The first few pages of Nine Swimming Pools are gently bent back as if caught in a light breeze, a heavenly floating book depicting the way Ruscha felt about these works. “If there is any facet of my work that I feel was kissed by angels, I’d say it was my books,” the artist recounted. Both Nine Swimming Pools and Various Small Fires demonstrate the artist’s interest in commercial art and typography: “I like the idea of a word becoming a picture, almost leaving its body, then coming back and becoming a word again.”

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Jasper Johns

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Jasper Johns Flags II, 1973

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A density of surface characterizes the screenprint Flags II, 1973, such that the print takes on an entirely new quality. Thirty-three screens were used and printed in transparent graphite inks. It is neither a painting, drawing, nor relief sculpture, but a bit of all three. By adding varnish to some of the printing inks—notably on the right side—and using cut stencils in concert with more painterly resist stencils, Johns was able to make a surface that emulates encaustic on one side, oil paint on the other.

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Jasper Johns Land's End, 1979

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The planar surface of Land's End reveals itself through a complex overlapping of forms. Rife with motifs used by Johns throughout his work, such as an arm, an arrow, a target and stenciled letters, all are defined by tones of gray. Gray tends to connote ambiguity, but in Land’s End, gray defines surface, uncomplicated by additions of color. Created using a solid lithographic crayon and a single plate, Johns pushed the tonality of this print to its limits. The surface of the plate had to be inked with great precision in order to capture the slight variations in tone that Johns was after. “… a long project,” said Gemini master printer, Charly Ritt, “there was something very subtle next to something very dark and you had to get that dark, dark and rich, and you had to keep that subtlety and openness of something that was light.”

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David Hockney

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David Hockney Potted Daffodils, 1980

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David Hockney is an infinitely versatile artist, having experimented with painting, photography, drawing and sculpture. Printmaking, however, has been a constant feature of Hockney’s work, having first studied lithography as a teenager at the Bradford College of Art.

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Tyler Graphics promise as an experimental and collaborative printshop allowed Hockney to try new things, especially useful to the artist during times of stylistic impasse. A skilled draftsman, David Hockney’s Potted Daffodils and Black Tulips, focused on refining his precise and technical skills in lithography. Kenneth Tyler, master printer and founder of Tyler Graphics wrote of Hockney and his approach to printmaking, “The artist plays an important role in this evolution [of techniques], since it’s his or her imagery that the printers are experimenting with. In David’s case, as one of the most process minded artists to collaborate in a workshop, he would get turned on by a particular step in the printmaking and then try to adapt or alter his drawing so both artist and printer has success. Keeping all avenues open for constant experimentation is what I call the ‘building block’ approach. Each step as represented as a ‘building block’ adds up eventually to some breakthrough.”

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David Hockney Black Tulips, 1980

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Mesmerizing in their monochromatic simplicity, Potted Daffodils and Black Tulips differ markedly from Hockney’s more colorful and often flat Californian landscapes. These prints exemplify the artist’s mastery of lithography and represent an interest in still life, as well as light, shade and form.

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Joan Mitchell Bedford I, from Bedford Series, 1981. Lot 210 in our Editions & Works on Paper Day Sale on 25 October in New York.

Joan Mitchell and Kenneth Tyler surrounded by numerous prints by Mitchell on the walls, floors and table, Tyler Graphics Ltd. artist's studio, Mount Kisco, New York, 1992, Photographer: Marabeth Cohen-Tyler National Gallery of Australia, Canberra. Gift of Kenneth Tyler, 2002

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376

Iran do Espírito Santo

CRTN XXIV

Full-Cataloguing

Iran do Espírito Santo