Spanning over 100 years of modern and contemporary art, Editions & Works on Paper celebrates its tenth anniversary this April. The sale features masterworks and collectible pieces from Pablo Picasso, KAWS, Joan Miró, Roy Lichtenstein, Cindy Sherman, Laura Owens, Robert Indiana and more, now on view at 450 Park Avenue in New York.

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Editions & Works on Paper is on view in New York through 23 April ahead of the 24 April auction, with three sessions at 10am, 2pm & 6:30pm EDT.

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Be sure to create an account on Phillips.com to save your favorite pieces from this and more upcoming sales, place advance bids and get notified on when your lots head to our saleroom.

\n","publishDate","2018-04-19T15:14:13.000000Z","coverPosX",72,"coverPosY",97,"articleUrl","https://www.phillips.com/article/31029665/vr-walkthrough-editions-and-works-on-paper","displayOrder",3,"auctionEditorialID",290,"editorialID",318,"flocklerID",31029665,"https://flockler.com/thumbs/sites/889/p205_001-d01fa6b8-98a9-4169-865b-adbc6f0ad337_s600x0.jpg","Through a series of prints on offer in our upcoming sale, Specialist Kip Eischen looks at how printmaking provided Brice Marden a portal into the organic.","Brice Marden Prints 1961 – 2000","

Robert Mapplethorpe Brice Marden, 1976 © The Robert Mapplethorpe Foundation. Courtesy Art + Commerce.

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I am seeing my life as part of the struggle between man and nature. I know there is a possibility of some sort of union.
\n— Brice Marden
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Spanning four decades, the prints by Brice Marden featured in our 2pm session of New York Editions & Works on Paper (lots 250-271) are a collection of the artist's most profound triumphs. Fertile ground for meditative mark-making and an emerging minimalist ethos, printmaking transformed Brice Marden as much as the enigmatic artist transformed printmaking.

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The early experiment of Watsonville, 1963, announced Marden's forthcoming iconoclasm. Marden traveled with his sister-in-law, the folk singer Joan Baez, during the same year through the rolling hills of Watsonville, California's "artichoke capital." For him, this experience felt "like being in a Rothko." Discarding with the technicolor hues of more famous 1960s works, Watsonville instead arrived at a humble type of expressionism; energetic forms that quantified the sky, life and landscape within rectilinear shapes all collapsed into perspectival convergence. As most paintings, prints or drawings that would follow it, the early etching was a measured exploration of worldly experience.

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Brice Marden Watsonville, 1963

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Transcendence—something like the boundless feeling of gazing upon an ocean's vastness—would define Brice Marden's printmaking. Sailing the Greek Isles during the early 1970s, he sketched Mediterranean landscapes endlessly. His Adriatics portfolio of 1973 was a paradox akin to ancient Greek ideology that considered earthly elements as immaterial forces. Those countless studies of landscape condensed into one mesmerizing and strikingly flat horizon, an homage to the cunning planarity and tromp l'oeil effects of ancient Mediterranean painting. Yet beneath Marden's block forms, as the screenprints Lana and Lana 2, 1966, both suggested, swirled seas of pure energy.

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Brice Marden Adriatic, 1973

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Brice Marden Lana and Lana 2, 1966

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Printmaking provided Brice Marden with a portal into the organic; he described the process like a ". . . walk through the mud." His grids became a playground for happenstance and intervention. Etching for Parkett, 1985, abandoned mechanistic precision; each cell differed from the next with smudged lines or rogue interjections. He recalled works like this as an "...exercise in how much you can keep something the same when you make it look different."

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It was after a deep personal crisis in the 1980s that Brice Marden found salvation within strict systems of image making that provided him with small pockets for expression. Studying Eastern calligraphy during a 1984 trip to Asia reunited him with his estranged family and announced a mature style that brimmed with the vitality seen in Etchings to Rexroth, 1986. Pastoral writing by Taoist poets was the template for works like Distant Muses, 2000, the print that caps this prolific portfolio of prints illustrating its artist's pensive, inner landscape.

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Brice Marden Distant Muses, 2000

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\n","2018-04-10T21:05:40.000000Z",50,0,"https://www.phillips.com/article/30840268/brice-marden",2,279,312,30840268,"https://flockler.com/thumbs/sites/889/ny030118-d6591a52-c78b-48f6-bd85-07869357e256_s600x0.jpg","Explore the labyrinth of meanings behind Indiana's number series, simultaneously juvenile and complex, specific and infinite.","One Through Zero: Robert Indiana's Visual Vocabulary","

Robert Indiana NUMBERS ONE through ZERO, 1978-2003. The complete set of 10 painted aluminum polychrome sculptures in colors, on black steel base. Impressed '© 1978-2003 R Indiana 8/8' on the underside of each.

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Art is a mirror in which each one of us can see what we think.
\n— Constantin Brancusi
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Robert Indiana's sculptures were the wellspring of his most meaningful notions. Like Andy Warhol, or Constantin Brancusi before him, Robert Indiana sculpted an iconic visual vocabulary. Spanning from early assemblage to the coveted LOVE paintings, Indiana's work was always, at heart, inherently sculptural. The serialization of common words, such as "LOVE", into both painting and three-dimensional figures forced reconciling commonplace text with overlooked intrigue. These numbers' sculptural shapes elicit powerful, subconscious reactions.

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Brancusi in New York 1913 - 2013. Image courtesy Paul Kasmin Gallery.

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NUMBERS ONE through ZERO glimpsed at the most profound, though divergent, influences upon Robert Indiana. On one hand was the innocence that the artist so admired in curious works like Gertrude Stein's intentionally juvenile book, To Do: A Book of Alphabets and Birthdays. On the other, Indiana said, "I discovered the businessman's calendar and thought the numbers had a robustness, a kind of...crude vigor...which I liked." Counting these numbers might be an act of innocence or nostalgia. Or, probing these curvaceous forms that reference death, sexuality, sadness and ecstasy might open a portal to a spectrum encapsulating human emotion's entirety.

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Indiana's work was always, at heart, inherently sculptural.
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Early critics read Indiana's work like a riddle; even in a practice that was rooted in numerical divination and the ancient I Ching, this sculpture pays the most endless dividends. Combinations and permutations of its arrangement or installation are infinite. Indiana believed that numbers held life's hidden secrets and that "everyone kind of drifts into some projection of their own experience." NUMBERS ONE through ZERO is then exactly like Brancusi's mirror; the progression of familiar shapes portrays life's endless emotions. For example, ONE's triumphant combination of red and blue is also a signifier for birth's physical tumult; the white and blue on FIVE evoke a transition from adolescence; SEVEN's autumnal hues gently remind of a forthcoming sunset; NINE, in yellow and black, warns of an impending end.

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NUMBERS' labyrinth of references might even call to mind the masterful work of Renaissance masters; however, no codex is needed. Each arrangement of this sculpture that reflects back to the viewer will add up correctly.

\n","2018-04-11T20:54:12.000000Z","https://www.phillips.com/article/30865162/robert-indiana-numbers",1,280,313,30865162,"https://flockler.com/thumbs/sites/889/2-21c96a75-78b7-4075-90d7-5bc9041a699d_s600x0.jpg","Our experts pick their top lots from a diverse sale spanning nearly 100 years of modern and contemporary art.","Specialist Picks: Five Stand-Out Works from New York Editions","

Cary Leibowitz, Worldwide Co-Head of Editions
\nAndy Warhol Tomato Soup, from Campbell's Soup I, 1968
\nEstimate $50,000 - 70,000

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Writing about something in this sale is fun — it's hard to focus on one work and my favorites change every few hours. But right here and now, it seems like such an easy decision: Tomato Soup! Of course, tomato soup. It's where everything has really started in the last 50 years. It grabbed the torch Mister Duchamp's urinal passed along.

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Andy Warhol created two portfolios of Campbells prints with ten different flavors of prints per set. There are many paintings on canvas out there too, although, in those, he played with the color combos more—pinks, browns, yellows—and, of course, they're about 100 times the price of a print edition.

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I love the maturity of this print. It stands there upright, at attention. No blinking; no fancy drips or perspectives; no shocking colors or shadows. This tomato soup print feels very serious, almost as if it's guarding the other works on the wall—the oldest kid that is left to babysit the others. —Cary Leibowitz

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Kelly Troester, Worldwide Co-Head of Editions
\nJoan Miró Série noire et rouge (Black and Red Series), 1938
\nEstimate $20,000 - 30,000

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Pablo Picasso's Guernica was painted the year before Joan Miró's Série noire et rouge, which was shortly followed by his stunning Constellations series in January 1940 — all while dictator Francisco Franco continued to spread fear and violence across Spain, influencing much of the art of this time. You immediately recognize the work's classic Surrealist 'look', with the spindly, odd figures and expanding sun and stars comprising a landscape; but you come back to notice the menacing head with horns (Franco?) in the lower left corner terrorizing a family of three figures to his right. So much drama rendered in a six-by-ten inch frame!

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Miró's earliest prints in the late 1930s were born from a pre-occupation with etching that originated in 1938. It led him to this lush, rich series of etchings with drypoint, created by drawing in two colors—black and red—on two copper plates and printing eight different combinations in small editions of 30. The painter and skilled engraver Louis Marcoussis taught Miró how to print these small jewels of intaglio virtuosity, so if you love a rich impression or a strong platemark even more, the devil is in all of these details. —Kelly Troester

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Kip Eischen, Specialist
\nRoy Lichtenstein Untitled Head, 1995
\nEstimate $10,000 - 15,000

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This blonde from 1995 is a total babe, especially for those of us with a taste for abstraction. She is Picasso's Jacqueline for the Soap-Opera era. We also get to peek at all the most exciting tropes in Roy Lichtenstein's printmaking, albeit with some twists: benday dots fade into this ethereal gradient; the flaxen hair's loose "brushwork" evokes its artist's jabs at Abstract Expressionism; bands of black and yellow recall the artist's masterful work with woodcut. Like that of Picasso's great, often-abstracted love, this figure's impact is so strong that not one view of her could cut it; she confronts us directly while also permitting a glimpse in profile.

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One of my favorite stories from working at Gemini G.E.L. in Los Angeles was the great lengths Roy Lichtenstein went in order to watch soap operas while making prints such as this one. I'm gobsmacked! —Kip Eischen

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Jason Osborne, Cataloguer
\nSam Gilliam I chi; Two; Tre; and Cuatro, 1994
\nEstimate $12,000 - 18,000

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I love these four monoprints by Sam Gilliam. I have always thought of monoprints as the rebels of the print world. Ichi; Two; Tre; and Cuatro each embrace this spirit through their use of varied processes and mediums, i.e. screenprinting, embossing, stitching and acrylic, all on handmade paper. Their tactility, materiality, full sheets and overall compositions suggest painting—another medium in which Gilliam is well-known for pushing boundaries—as much as printmaking.

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They all feel nuanced and slightly resistant to the printmaking process while maintaining their print status. They're insiders and outsiders at the same time...true rebels. —Jason Osborne

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Dakota Peschel, Administrator
\nHelen Frankenthaler Tales of Genji III, 1998
\nEstimate $40,000 - 60,000

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...Blue is meditation, heartbreak, sadness, freedom, peace, clarity, knowledge, wisdom. Blue is the color of the fifth chakra — the throat chakra — representing, within the body, creativity, truth, communication and self-expression. Frankenthaler's exceptional woodcut and pochoir, Tales of Genji III from 1998, is in deep dialogue with many emotional associations and philosophical concepts tied to blue.

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The print itself is arduous, consisting of 18 different woodblocks and a whopping 53 colors. You would never know because it comes off so cool and effortless! The totality of this blue is striking and the meditation on color painstaking and exact. This blue is all-encompassing and embodies Frankenthaler's keen interest in color and feeling. In person, the print is affecting—the presence of one's body and mood crucial to the experience. The blue is vibrant and the language of the forms multifaceted. There is a natural ease and wonder to the blues, but that is not to say it is without seriousness and gravitas. It is ambiguous in a good way. This print is a true gem. —Dakota Peschel

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32

Helen Frankenthaler

Autumn Series

完整圖錄內容

Helen Frankenthaler