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東部夏令時間
\n晚間拍賣：4月16日下午6:00 （拍品 104-173）
\n日間拍賣：4月17日
\n第一部分：上午10:00 （拍品 174-235）
\n第二部分：下午1:00 （拍品 236-299）
\n第三部分：下午4:00 （拍品 300-362）
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\nMODERNISM 1880-1960: Editions & Works on Paper拍賣將於4月16日舉行。立即查看拍賣並登記參與競投。
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\n","auctionDetailsSmall","紐約拍賣 2025年4月16至18日","extraInfo","

editions@phillips.com
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After Jean-Michel Basquiat, Superhero Portfolio, 1982-87/2022. Editions & Works on Paper New York.

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Louise Bourgeois and Andy Warhol: Looking out, looking in

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Left: Louise Bourgeois, Together, 2004. Editions & Works on Paper New York. Right: Andy Warhol, Double Mickey Mouse, 1981. Editions & Works on Paper New York.

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The dichotomy between ease and anxiety is beautifully synthesized by Louise Bourgeois’ ethereal Together, through which the artist notes, “The spiral is an attempt at controlling the chaos. It has two directions. Where do you place yourself, at the periphery or at the vortex?” and accompanies with a short, declarative verse:

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I want them to like

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me and to tell me

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that I am ok

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I want to be noticed

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I want to be given

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I want to be loved

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Bourgeois’ figure radiates outward in search of connection while maintaining a sense of command within whatever disorder emerges from its proliferation. It is an embrace of the self while acknowledging the external, unwieldy nature of sprawl.

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Consider then the reach of Mickey Mouse. From his humble beginnings on a steamboat, his trademark ears have since reached every corner of the earth on airplanes and cruise lines and well beyond to the farthest reaches of space via intellectual property. Galactic battles on down to family vacations reduced to a flat image of a smiling mouse, rendered here in kaleidoscopic fragmentation by Warhol. Through his hallmark use of iconography, Warhol presents Mickey as the core image of an ever-growing catalogue of experiences, memories, ideas, and representations, all returning to the central figure in his 1935 color debut.

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Robert Longo and Banksy: Less fighting, more therapy

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Robert Longo, Frank & Glenn, 1991. Editions & Works on Paper New York.

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Choose your weapon: fists, banana gun, or ‘90s nostalgia; any will do – when violence isn’t appropriate, it can be appropriated, as Robert Longo and Banksy deftly navigate in this pairing. It was somewhat of a thing in the late 1900s (as the kids are saying) to put a man in a nice suit and let him go berserk across television, film, and culture, as if the coming millennium needed a four-in-hand knot to justify the violent means that were bringing us there. For Longo, the vernal push and pull of Frank and Glenn’s roughhousing is given away by their clean faces, jocular smiles, and shirtsleeves that any Brooks Brother would object to, giving it a playful, fraternal feeling. Contrast to the stone-faced professionalism of Messrs. Vega and Winnfield, whose point collars and pleated trousers are emblematic of ‘90s power dressing. Hand them a gun or a banana, it doesn’t really matter – they mean business either way.

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Ruth Asawa and Anni Albers: Two stitches in a great weave

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Left: Ruth Asawa, Chair, 1965. Editions & Works on Paper New York. Right: Anni Albers, Second Movement IV, 1978. Editions & Works on Paper New York.

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Ask a philosopher to talk about chairs and you’ll get winding citations from Plato to Wittgenstein and be no better off than where you started – the idea and artistic technique of meandering, however, led to Ruth Asawa’s Chair lithograph. Under the mentorship of Josef Albers, Asawa developed her signature linework, which emphasized an autonomy of space and its relationship between subject, form, and concentricity. As a substrative domain, space occupies, moves, weaves between positive and negative, and acted as the condition in which Asawa approached each medium in her remarkable oeuvre.

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Such is the confluence that brings this pairing together that Asawa’s partner can be none other but Anni Albers, whose Second Movement IV perfectly balances Chair’s fluid geometry with the equilibrium of Albers’ structural harmony. Albers references Andean weaving and an immaculate sense of spatial balance to reflect her early Bauhaus training and modernist sensibility. Where Asawa gives the work personal touch – Chair is also known as Addie’s Chair, named after her daughter – Albers opts for the anonymity of her historical references. Albers offers an element of assemblage between cultures, times, and techniques that gives both works timeless relevance, best bonded by Charles Sherrington’s metaphor for the brain as a loom: “Swiftly the head mass becomes an enchanted loom where millions of flashing shuttles weave a dissolving pattern, always a meaningful pattern though never an abiding one; a shifting harmony of subpatterns.”

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Mike Kelley and Jean-Michel Basquiat: Who will save the day?

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Left: Mike Kelley, Lenticular 4, 2007. Editions & Works on Paper New York. Right: After Jean-Michel Basquiat, Superhero Portfolio, 1982-87/2022. Editions & Works on Paper New York.

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The city can feel a bit like living in one big bottle at times, what with all the important things happening here and nowhere else. Is it any wonder our masked and caped crusaders leap from building to building, rather than subdivision to subdivision? As Jean-Michel Basquiat’s Superhero Portfolio and Mike Kelley’s Lenticular 4 show us, there is an inverted relationship between superhuman dreams and spatial reality: the places we call home and the idols we adore can be just as alienating as they are liberating.

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Basquiat’s heroes and nemeses – Batman and Robin, The Flash, The Joker and Riddler – are all creatures of the city, renderings of the good and evil that manifest through its rhythms and dynamism as seen through the private logic of a child’s frenetic notebook scribbles. Their likenesses and storylines melded, they become murals on the page. Kelley’s Superman is a transplant to himself, his home planet, and his experience in our world. As the artist notes, he is “saddled with the responsibility to watch over his hometown forever. What a horrible scenario – but everyone is stuck with their past.” The Man of Steel, faster than a speeding bullet, more powerful than a locomotive, is just as disaffected as the rest of us.

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Sam Francis and Roy Lichtenstein: Anything but guileless

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Left to right: Sam Francis, Veiled Sail, 1969. Editions & Works on Paper New York. Sam Francis, Untitled, 1968. Editions & Works on Paper New York. Roy Lichtenstein, Painting in Gold Frame, from Paintings Series, 1984. Editions & Works on Paper New York.

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“Artists at their windows” constitutes a subgenre of art history that anyone with a library card or museum membership can embark upon for personal discovery, if not inclined to write a dissertation or two. For our purposes, we will instead focus on the fundamental, almost subliminal shape guiding our eye towards the view: the simple rectangle. Paper, canvas, and windows share the same shape for multiple reasons, chief among them cost efficiency, ease of orientation, and form-fitting relative to other structures and items around them – this relational courteousness allows our eyes and hands to focus on whatever the shape frames for us, rather than engaging through necessity with the architecture of the object to reach a subject. This is, rather, until we examine Sam Francis’ Veiled Sail and Untitled and Roy Lichtenstein’s Painting in Gold Frame, which both directly use framing as substance and device.

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Francis immediately goes for the outer limits of the print, enclosing the central space and punctuating the negative area with splatters, as if to create a layer between the view itself and our perspective of it. Lichtenstein too employs a gestural style, creating a tension between the scene and the frame which makes the field of view possible. Taken together, the three works are expressive explorations of the endless prospects of a simple configuration.

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Discover More from Editions >

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Recommended

\n\n

Browse & Bid: Editions & Works on Paper New York Auction >

\n\n

Read: Why Modernism is More Important Than Ever >

\n","publishDate","2025-04-03T13:23:44.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/157140340/unexpected-pairings-editions-new-york-1","displayOrder",1,"auctionEditorialID",2418,"editorialID",4877,"flocklerID",157140340,"https://flockler.com/thumbs/sites/889/warhol-double-mm-a28d26ba-d5de-4e61-ac00-5e575b01579b_s600x0.jpg","From Andy Warhol to Louise Bourgeois, a closer look at the top 15 lots in our upcoming Editions & Works on Paper Auction in New York. ","Top of the Lots","

Andy Warhol, Double Mickey Mouse, 1981. Editions & Works on Paper New York.

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Andy Warhol

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Andy Warhol, Grace Kelly, 1984. Editions & Works on Paper New York.

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It comes as no surprise that the King of Pop wins the top lots in the Editions category, representing seven of the top 15 highest-value lots. By its very nature, Warhol’s practice pairs well with the printmaking process, obsessed as it is with the production, repetition, and dissemination of an image.

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Andy Warhol, Marilyn, 1967. Editions & Works on Paper New York.

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To see this repetition, look no further than Double Mickey Mouse, inspired by Warhol’s visit to the Whitney Museum of American Art 1981 exhibition Disney Animation and Animators. As a global entertainment icon and perhaps the most recognizable cartoon character in the world, Mickey Mouse is a perfectly emblematic subject for the artist.

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Andy Warhol, Skulls, 1976. Editions & Works on Paper New York.

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The Skulls screenprints further display Warhol’s iterative fascination, bringing us to another important theme for the artist — death. Appearing like an echo of life, the bold colors of these four screenprints belie their morbid content. Likewise, in both Grace Kelly and Marilyn, we see the artist approach the image of an iconic celebrity shortly after their deaths. Marilyn Monroe died in 1967, the same month Warhol began experimenting with silkscreen. Later, in 1982, Warhol revisited themes of celebrity and royalty following the death of Princess Grace Kelly, showcasing his long interest in the intersections between fame and tragedy. Together, they each represent an important milestone in the lineage of Warhol’s iconography.

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Andy Warhol, Geronimo, from Cowboys and Indians, 1986. Editions & Works on Paper New York.

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Across the Warhol works in the sale, we also find the artist’s key themes of American and personal mythology. Geronimo, from his final major portfolio, Cowboys and Indians, shows us his careful enquiry into the confluence between the American imagination and the darker corners of its history. Diamond Dust Shoes, on the other hand, is deeply personal and self-referential, an example of the mature artist looking back to his early days producing commercial advertising imagery for the shoe trade in New York.

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Andy Warhol, Diamond Dust Shoes (Black), 1980. Editions & Works on Paper New York.

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After Jean-Michel Basquiat

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After Jean-Michel Basquiat, Superhero Portfolio, 1982–87/2022. Editions & Works on Paper New York.

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Turning now to Jean-Michel Basquiat — an artist who had a complex relationship with Warhol as a collaborator, mentor, and friend — we discover his Superhero Portfolio, comprised of four screenprints that each reinterpret Basquiat canvases made between 1982 and 1987. Drawing upon his childhood memories of mainstream comic book imagery, Basquiat merges archetypal figures like Batman, Robin, and Flash with his own personal iconography and textual elements — in a way, much like Warhol. Each print invites viewers into Basquiat’s world, where recognizable imagery speaks of contemporary life with themes of identity, stardom, and memory.

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Roy Lichtenstein

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Roy Lichtenstein, Reflections on Girl, from Reflections Series, 1990. Editions & Works on Paper New York.

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Lauded for his distinctive visual language — frequently utilizing Ben-Day dots and drawing from popular historical imagery in a satirical social commentary — Roy Lichtenstein’s printmaking is fundamental to his practice. Across more than 350 prints, Lichtenstein left a legacy in the medium that is as esteemed by collectors as it is by institutions. On offer in this sale are two works from his Reflections series, which began as a series of three paintings of the Popeye character Wimpy and evolved to reference some of the most iconic subjects of his output.

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Roy Lichtenstein, Reflections on Conversation, from Reflections Series, 1990. Editions & Works on Paper New York.

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Where the Reflections series showcases the artist’s interpretation of stylized comic book imagery, the Landscapes series sees the artist engage with the brushstroke motif, harkening to the very first visual mode he explored as a younger artist. What’s more, across these three prints, we find two of the most iconic printmaking workshops from both coasts, with Reflections produced by the famed Tyler Graphics, Ltd. in Mount Kisco, New York, and Landscapes produced by Gemini G.E.L. in Los Angeles.

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Roy Lichtenstein, View from the Window, from Landscapes Series, 1985. Editions & Works on Paper New York.

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Ellen Gallagher

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Ellen Gallagher, DeLuxe, 2004–05. Editions & Works on Paper New York.

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Contemporary artist Ellen Gallagher’s works often subvert mainstream visual ideology, questioning who has the authority to build the image of Black feminine identity. In DeLuxe, the artist probes concepts of construction, process, and transformation that are inherent to printmaking in a monumental set of 60 prints that also encompass collage, drawing, and painting. Gallagher appropriates found imagery in each print, primarily drawn from postwar magazine advertisements for beauty products targeted to Black women, including from the publications Sepia, Our World, and Ebony. Gallagher alters the images in various ways — masking faces, removing or whiting out the eyes, pasting new text or collage elements, and more — creating new imagery that plays on the intent of the advertised products themselves, which range from wigs to skin-bleaching creams.

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Seeing how this source material is transformed in Ellen Gallagher’s creative vision, we discover the artist’s personal defiance of the unspoken underlying message in the original imagery — that Black women must alter their appearance to be accepted. A stunning example of Ellen Gallagher’s investigative imagination, an edition of this work is in the permanent collection of the Museum of Modern Art in New York.

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David Hockney

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David Hockney, An Image of Gregory, from Moving Focus, 1984–85. Editions & Works on Paper New York.

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This work comes from Hockney’s lauded Moving Focus series — the artist’s largest and most ambitious series of prints. Across the twenty-nine lithographs, Hockney explores his fascination with perspective, color, and the depiction of space, seemingly in dialogue with Pablo Picasso and the Cubist rejection of single-point perspective.

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An Image of Gregory depicts Gregory Evans, who appears in more than forty Hockney portraits. The pair met in 1974 and began an intimate relationship that has taken many forms over the decades. The multiple viewpoints that Hockney expresses here embody the sensation of the sitter and his surroundings, echoing Picasso’s approach to depicting how people, space, and time are experienced in reality, but in a manner that is unmistakably David Hockney. As the artist notes, “Cubism itself inferred that memory is a part of vision, it must be a part of vision, which I think discounts the idea that there is a kind of objective vision, because each person has a different memory of something.”

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Keith Haring

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Keith Haring, Untitled, from Three Lithographs, 1985. Editions & Works on Paper New York.

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Abuzz with the captivating motion of 1980s downtown New York, this work is as Keith Haring as it gets. Haring was an outspoken citizen who worked to raise awareness for queer rights, the AIDS epidemic, and drug abuse, among other causes. This lithograph comes from a series that explores such themes, with the present work, known as People Ladder, recognizing the triumph of unity in the face of struggle.

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This lot comes from the collection of pioneering gallerist Brent Sikkema (1948–2024). Sikkema was renowned for championing the work of some of the principal artists of the late 20th and early 21st centuries, including Kara Walker, Vik Muniz, Mark Bradford, Deana Lawson, and many others, and for broadening the market for Latin American art. Sikkema’s generous support inspired loyalty in the artists in his stable, many of whom chose to remain with the gallery even after receiving invitations from the larger mega-galleries.

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Louise Bourgeois

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Louise Bourgeois, Together, 2004. Editions & Works on Paper New York.

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Louise Bourgeois’ Together is absolutely arresting visually, but there’s even more at play here than its pure visual pleasure. For the artist, the spiral holds a deeply personal resonance, in a sense offering her an ability to avoid spirals of despair by harnessing the spiral’s image as a study of herself. By its very nature, a spiral reflects itself in every direction. But this lone figure embedded in a spiral is then reflected again — as if the personal complexity depicted by this amalgamation were standing at the edge of chaos and control, metaphorically peering into deep waters only to find itself again.

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Each impression of Together has varying hand-coloring by the artist, making each a unique variant from the edition of twelve. The imagery was used in her illustrated book Hang On, wherein each composition was accompanied by poetic text derived from the artist’s notebooks — this one paired with text exploring loneliness and a longing for acceptance.

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Discover More from Editions & Works on Paper New York >

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Recommended

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Browse & Bid: MODERNISM 1880–1960: Editions & Works on Paper >

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Read: Unexpected Pairings: Editions New York >

\n\n

Read: Why Modernism Is More Important Than Ever >

\n\n

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This lot comes from the collection of pioneering gallerist Brent Sikkema (1948-2024). Sikkema was renowned for championing the work of some of the principal artists of the late 20^th and early 21^st centuries, including Kara Walker, Vik Muniz, Mark Bradford, Deana Lawson, and many others, and for broadening the market for Latin American art.

\n\n

Mr. Sikkema studied photography and filmmaking at the San Francisco Art Institute. After earning his BFA in 1970 he became director of traveling exhibitions, and later director of exhibitions, at the Visual Studies Workshop, the groundbreaking photographic collective in Rochester, New York. In 1976 he relocated to Boston where he worked for Vision Gallery, handling 19^th and 20^th century photography, later becoming its owner and maintaining an adventurous curatorial program. He made his first foray into the New York City gallery world in 1989, exhibiting in a temporary space. He opened a permanent gallery in 1991; called Wooster Gardens, it quickly became known as a premiere venue for contemporary art. In 1999, Sikkema moved the gallery to Chelsea, partnering with Michael Jenkins under the name Sikkema Jenkins & Co. Sikkema’s generous support inspired loyalty in the artists in his stable, many of whom chose to remain with the gallery even after receiving invitations from the larger mega-galleries.

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Richard Artschwager

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Richard Artschwager