Frieze Masters 2025

SUSAN SHEEHAN GALLERY

OCTOBER 15TH (BY INVITATION)

OCTOBER 16TH-19TH (PUBLIC DAYS)

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New York, NY 10012

212-489-3331

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TWENTIETH CENTURY MASTER PRINTS

FRIEZE MASTERS 2025

SUSAN SHEEHAN GALLERY

Pablo Picasso

Pablo Picasso’s immense body of work is often understood through chronological periodization, with distinct eras such as the early Blue and Rose periods, African art and Primitivism, Synthetic Cubism, Neoclassicism, and Surrealism. Transformations between creative eras were often catalyzed by the emergence of a new lover and muse. Picasso loved in the same way he worked—prolifically and intensely, marked by dramatic highs and lows.

His relationship with his last great love, Jacqueline Roque, was different. Jacqueline devoted herself entirely to the artist, and Picasso created more portraits of her than of any muse before.

Two masterful linocuts from 1962, Buste de Femme au Chapeau and Portrait de Jacqueline au Chapeau de Paille, embody the artist’s unfettered joy during this period.

In the 1940s, Picasso moved to the village of Vallauris in southern France with his then-partner, Françoise Gilot, and their children, Claude and Paloma. The artist immersed himself in the town’s culture and became particularly entranced by the region’s rich history of pottery, dating back to Roman times. He soon began creating ceramic editions with Suzanne and Georges Ramié at the Madoura workshop. It was there that he met Jacqueline, a young relative of Suzanne, who worked as a saleswoman at the shop. Shortly afterward (though with considerable overlap), his relationship with Françoise came to an end.

During the 1950s, Picasso also created a series of posters for ceramic exhibitions and bullfights to promote tourism in Vallauris. Irritated by the production delays he faced while working with Paris print shops from afar, Picasso turned to local printer Hidalgo Arnera, who specialized in linocut—a form of relief printmaking that was considerably more direct than intaglio or lithography. Picasso’s initial forays into the medium were relatively simple, but the ever-ambitious artist soon sought to create more complex compositions.

In the traditional linocut technique, each color is carved and printed on a separate block of linoleum, which must be perfectly aligned during the printing process. Picasso quickly grew weary of the tediousness and, in collaboration with Arnera, developed a new method known as “reduction linocut.” In this groundbreaking technique, the artist could print multiple colors from the same block through successive rounds of carving. The stakes were high—a single mistake at any stage could ruin the entire composition—but the results were extraordinary.

Since early childhood, Picasso had been lauded for his singular talent as a draftsman and painter. In Buste de Femme au Chapeau, this exceptional skill manifests in a new medium. The larger-than-life image of Jacqueline’s face is rendered in vibrant hues of red, yellow, green, and blue—a new development for the artist, whose previous printmaking endeavors had not focused on color. The composition is remarkably well balanced: Jacqueline’s nose and hair are transformed into rigid vertical elements, offset by the horizontal lines of her patterned dress and festive straw hat. The latter element can be interpreted as a cordobés hat, a cultural symbol of the exiled artist’s home region of Andalusia.

Portrait de Jacqueline au Chapeau de Paille was created at the same time as Buste de Femme au Chapeau, and the two works are nearly identical in subject matter and color scheme. Both notably lack any background, directing all attention to the muse. However, the thickly layered ink of the former is replaced by a simplified, Cubist composition in Portrait de Jacqueline au Chapeau de Paille. Despite the reduction of forms, the work is charged with motion and symbolism. Jacqueline’s features are presented in both frontal and profile orientation, refusing to submit to either perspective.

Picasso once claimed that “all good portraits are in some degree caricatures.” In Portrait de Jacqueline au Chapeau de Paille, he renders Jacqueline’s distinctive profile—marked by a stately, patrician nose—in exaggerated proportion and vibrant crimson. In the same striking red, Picasso includes an unmistakable symbol of female fertility in place of a blushing cheek. His use of dual perspective gives rise to his iconic “double-face” motif, in which the muse’s public and private selves are presented simultaneously. The sunny, passionate left side partially obscures the darker portion of her visage on the right.

The nineteen years Picasso spent with Jacqueline were undoubtedly among the happiest of his life. For Jacqueline, however, their age difference proved tragic in the end. Despite the artist’s resistance to his own mortality, Picasso passed away at his home in Mougins, France, in 1973. Jacqueline was never able to truly accept his death, eventually taking her own life in 1986.

Buste de Femme au Chapeau and Portrait de Jacqueline au Chapeau de Paille offer a glimpse of the good times—Picasso’s relationship and artistic practice at the peak of emotional and creative fervor.

Buste de Femme au Chapeau, 1962

Sheet size: 29 3/8 x 24 1/4 inches (74.6 x 61.6 centimeters)

Printer: Imprimerie Arnéra, Vallauris, France

Edition size: 50, plus proofs

Catalogue Raisonné: Bloch 1072, Baer 1318

Signed and inscribed “pour Arnera père”

This impression was dedicated to Hidalgo Arnera, the master printed who introduced Picasso to linocut printmaking in Vallauris, France in the late 1950s.

Portrait de Jacqueline au Chapeau de Paille, 1962

Sheet size: 29 1/2 x 24 3/8 inches

(57.2 x 61.9 centimeters)

Printer: Imprimerie Arnéra, Vallauris, France

Publisher: Galerie Louise Leiris, Paris

Edition size: 50, plus proofs

Catalogue Raisonné: Bloch 1067, Baer 1279 Signed

Albers

Homage to the Square: Edition Keller Ia-Ik, 1970

Screenprints

Sheet size: 21 5/8 x 21 5/8 inches, each (54.9 x 54.9 centimeters, each)

Printer: Herbert Geier, Ingolstadt, Germany

Publisher: Josef Keller Verlag, Starnberg, Germany

Edition size: 125

Catalogue Raisonné: Danilowitz 203.1-203.10

Each print is initialed, dated, numbered, and titled sequentially ‘EK la’ through ‘EK Ik’

The rare complete portfolio of ten screenprints that retains its original black linen-covered portfolio box, colophon, and interleaving sheets.

David Hockney

Lithographic Water Made of Lines, Crayon, and a Blue Wash, 1978-80

Lithograph

Sheet size: 29 x 33 7/8 inches (73.7 x 86 centimeters)

Printer and Publisher: Tyler Graphics Ltd., Bedford, New York

Edition size: 48, plus proofs

Catalogue Raisonné: MCAT 212

Signed, dated, and numbered

Jasper Johns

Flag I, 1960

Lithograph

Sheet size: 22 x 30 inches

(55.9 x 76.2 centimeters)

Printer and Publisher: ULAE, West Islip, New York

Edition size: 23, plus proofs

Catalogue Raisonné: ULAE 4

Signed, dated, and numbered

Provenance:

David Whitney, New York

David Whitney (1939-2005) was an American curator and collector. The long-time partner of renowned architect Philip Johnson, Whitney established close friendships with leading artists including Jasper Johns. He organized several important exhibitions at the Whitney Museum of American Art featuring the artist’s work.

Robert Rauschenberg/Joseph Beuys

Robert Rauschenberg’s Booster and Joseph Beuys’s La Rivoluzione siamo Noi engage the personal and the political through life-sized self-portraits. For Rauschenberg, politics had long been integral to his visual language. He achieved international acclaim with works such as Buffalo II, presented at the 1964 Venice Biennale, which features an assemblage of iconic images of American identity including John F. Kennedy, space travel, and a bald eagle. Prior to Booster, however, Rauschenberg resisted biographical interpretations of his work.

This changed in February 1967, when Rauschenberg arrived at Gemini G.E.L. and announced his intention to “create a self-portrait of an inner man.” The timing was not incidental. The previous years had been marked by difficulties in both his career and personal life. Despite the solidification of his status as one of the leading artists of his generation, Rauschenberg faced lukewarm gallery sales, struggles with substance abuse, and a breakup with his partner. Leo Castelli encouraged Rauschenberg to work with the experimental printer Kenneth Tyler, in hopes that the collaborative nature of the process would reinvigorate the artist’s creativity.

The project began with a complete X-ray of Rauschenberg’s body. Taken in six segments (X-ray machines were then limited to one-foot images), the process literalized his desire to self-examine. Additional elements include an astrological chart for 1967, silkscreened over the lithograph, and imagery of athletes, power drills, car crashes, and a solitary chair, which Rauschenberg transferred through photolithographic plates.

Situated in the context of postwar “big science,” a period marked by unprecedented government investment in scientific research, Booster reads as an inquiry into humanity’s evolving relationship with technology. In the context of concurrent NASA Apollo missions, the title is often interpreted as a reference to a rocket booster; through the lens of the X-ray machine, Rauschenberg’s body becomes data to be analyzed. Yet personal references abound: the astrological chart reflects Rauschenberg’s reliance on an astrologer for life advice— one such piece of which prompted his move to Captiva Island, Florida, in 1970—while the chair may allude to his former partner Steve Paxton, a dancer who used a similar prop in performance.

As Gemini G.E.L. co-founder Sidney Felson recalled, Rauschenberg “was always recording the feelings of the moment.” In Booster, that moment is both historic and intimate—a self-portrait shaped by personal crisis as much as by the outward forces impressing upon postwar American culture.

For Joseph Beuys, the circumstances were reversed. The artist’s work had long drawn from a self-stylized mythology of his personal history. Beuys joined the Luftwaffe as a gunner during World War II, stationed in Crimea and the Balkans. In March of 1944, his plane crashed along the frozen steppes of the Russian front. According to the artist, he was rescued by a group of nomadic Tartar tribesmen who wrapped his semi-conscious body in felt and animal fat to keep him warm as he healed. Although this epic tale has never been verified, fat and felt became central to Beuys’s identity and were recurring materials in his work.

Though always philosophically charged, Beuys’s work became increasingly political as his career progressed. He engaged with materialist critiques of capitalism and came to view art as a vehicle for sociopolitical change, coining the term “social sculpture” to describe art that spurred political action and organization.

Beuys first began creating multiples in the mid-1960s, and they soon became integral to his practice. The artist produced more than 500 editioned objects and prints throughout his career. For Beuys, these works were politically charged—he considered each to be an “antenna” capable of reaching a broader audience than a sculpture, performance, or lecture. A single edition might be the catalyst for change, as it possessed, in the artist’s own words, “the character of a kernel of condensation upon which many things may accumulate.”

The photograph featured in La Rivoluzione siamo Noi (We Are the Revolution) was originally used as a poster for an exhibition of Beuys’s work at Lucio Amelio Gallery in Naples in 1971. The artist presents himself mid-stride, his posture strong and upright with his gaze directed squarely at the viewer. The translation of the title and the composition of the image embody Beuys’s politically oriented practice, challenging the viewer to press forward in the fight for change.

Beuys co-founded the German Green Party, which integrated politics with environmentalism, and the Free International University, which rejected traditional educational frameworks that conflicted with the artist’s democratic ideals for learning and teaching spaces. As a professor at the Kunstakademie Düsseldorf in the 1960s and early 1970s, Beuys grew increasingly frustrated by the institution’s restrictions on his teaching methods. He intentionally overenrolled his classes with students who had been rejected and organized an occupation of the administrative offices. These actions led to his dismissal from the academy, an event that only intensified his political convictions.

Robert Rauschenberg

Booster, 1967

Lithograph with screenprint

Sheet size: 71 3/4 x 35 1/2 inches (182.3 x 90.2 centimeters)

Printer and Publisher: Gemini G.E.L., Los Angeles

Edition size: 38, plus proofs

Catalogue Raisonné: Gemini 41.9

Signed, dated, and numbered

Other known impressions of this rare print can be found in the collections of The Museum of Modern Art, New York, the National Academy of Design, New York, the Buffalo AKG Art Museum, the Philadelphia Museum of Art, the National Gallery of Art, Washington D.C., the Los Angeles County Museum of Art, the Fine Arts Museum (De Young), San Francisco, The British Museum, and the National Gallery of Australia.

Joseph Beuys

La rivoluzione siamo Noi, 1972

Silkscreen with handwritten text

Sheet size: 75 3/8 x 39 5/8 inches (191.5 x 100.7 centimeters)

Publisher: Edition Staeck, Heidelberg and Edizioni Lucio Amelio, Naples

Edition size: 180, plus proofs

Catalogue Raisonné: Schellmann 47

Signed, titled, numbered, and stamped Hauptstrom (Mainstream)

Willem de Kooning

Litho #1 (Waves #1), 1960

Lithograph

Sheet size: 45 3/4 x 31 3/4 inches (116.2 x 80.6 centimeters)

Printer: Nathan Oliviera and George Miyasaki, University of California, Berkeley

Edition size: Approximately 8

Catalogue Raisonné: Graham 2

Signed and dated

Provenance:

The Artist

By descent to a family member of the artist

Exceedingly rare. Other known impressions of this print can be found in the collections of the Yale University Art Gallery, the Museum of Fine Arts, Boston, the Fine Arts Museums of San Francisco, Legion of Honor, and the Staatliche Museen zu Berlin (Kupferstichkabinett).

Jasper Johns

Cicada, 1979

Screenprint

Sheet size: 22 x 18 1/8 inches (55.9 x 46 centimeters)

Printer: Simca Print Artists Inc., New York

Publisher: Jasper Johns and Simca Print Artists, Inc., New York

Edition size: 100, plus proofs

Catalogue Raisonné: ULAE 204

Signed, dated, and numbered

From the 1981 portfolio Marginalia: Hommage to Kusuo Shimizu, which also includes works by Christo & Jeanne-Claude, Sam Francis, Claes Oldenburg, and Jean Tinguely.

Roy Lichtenstein, “Masterpiece,” 1962, 1975

Acrylic and silkscreen ink on canvas

Size: 7 3/4 x 7 1/2 x 5/8 inches, overall (19.7 x 19.1 x 1.6 centimeters)

Signed, dated ‘1975’, and titled on the canvas overlap, verso The work retains its original hand-made wood frame

Richard Pettibone created a very small but unknown number of paintings with this image for a fundraiser at the The Institute of Contemporary Art, Philadelphia in 1975.

Donald Judd

Donald Judd is best known for his three-dimensional works which emphasized materiality and physical presence over illusionistic or symbolic meaning. However, woodcut printmaking remained an integral part of his practice until his death in 1994, likely due to the medium’s direct nature: the printed image exists as evidence of the physical reality of the carved block.

Untitled, the complete set of three sugar pine woodblocks, occupies an ambiguous space between print and object. While recalling the functional blocks Judd employed to create his woodcut print series, these works were conceived exclusively as editioned objects. As in his contemporary woodcut prints of the 1990s, the divisions of space are rendered with exceptional crispness, exemplifying the artist’s commitment to manufactured precision.

The set is the only multiple that Judd made in wood. The blocks were fabricated by master woodworker Jim Cooper, with whom Judd had collaborated for many years—first as a carver of woodcut blocks and later in the design of Judd’s kitchen at his home and studio at 101 Spring Street in SoHo.

Judd relied on Cooper’s technical expertise to achieve uniformity across the three blocks: two painted, one in red and one blue, and one finished with a clear polyurethane varnish. Even in the varnished block, where the wood grain remains visible, the finish ensures a consistent tactile surface across the set. In this way, the focus becomes the work’s seriality. Judd’s vision is fully realized only when the blocks are displayed together in sequence, making clear that the sole variation lies in color.

Cooper’s exceptional craftsmanship in Untitled extends beyond the blocks themselves, as each was issued in a wooden storage box designed by the artist. Ingeniously simple in construction, the boxes employ sliding cleats to secure the artworks. Wall cleats were also specially designed, ensuring that the works hang flush against the wall and eliminating the need for hardware or supports that might compromise Judd’s aesthetic.

Donald Judd

Untitled, 1991

Woodblocks

Size: 14 3/8 x 19 5/8 x 2 inches, each

(36.5 x 49.9 x 5 centimeters, each)

Fabricator: Jim Cooper, New York

Publisher: Peder Bonnier, New York

Edition size: 20, plus proofs

Catalogue Raisonné: Schellmann 14-16

Each woodblock is signed ‘Judd’ by the artist, verso

Stamp-signed ‘JUDD,’ numbered, and dated, verso

The complete set of three woodblocks that retains its original three wooden boxes fabricated by Jim Cooper. Each box is stamped with the corresponding edition number.

Donald Judd

Untitled, 1991-94

Woodcuts

Sheet size: 26 1/2 x 39 1/8 inches, each (67.3 x 99.4 centimeters, each)

Printer: Derrière l’Etoile Studios, New York

Publisher: Brooke Alexander Editions, New York

Edition size: 10, plus proofs

Catalogue Raisonné: Schellmann 223-226

Each print is numbered and stamped by the estate of the artist, verso. These woodcuts were printed during the artist’s lifetime and under his supervision.

The complete set of four woodcuts

Untitled, 1992

Sheet size: 26 3/8 x 39 inches, each (67 x 99 centimeters, each)

Printer: Derrière l’Etoile Studios, New York

Publisher: Brooke Alexander Editions, New York

Edition size: 25, plus proofs

Catalogue Raisonné: Schellmann 211-214

Each print is signed and numbered, verso

The complete set of four woodcuts

Untitled, 1992

Sheet size: 26 1/2 x 39 inches, each (67.3 x 99 centimeters, each)

Printer: Derrière l’Etoile Studios, New York

Publisher: Brooke Alexander Editions, New York

Edition size: 25, plus proofs

Catalogue Raisonné: Schellmann 215-218

Each print is signed and numbered, verso

The complete set of four woodcuts

Kelly

Colored Paper Image XV (Dark Gray and Blue), 1976

Colored and pressed paper pulp

Sheet size: 32 x 31 inches

(81.3 x 78.7 centimeters)

Printer: Ellsworth Kelly and Kenneth Tyler, fabricated at HMP Paper Mill, Woodstock, Connecticut

Publisher: Tyler Graphics Ltd., Bedford, New Yrok

Edition size: 23, plus proofs

Catalogue Raisonné: Axsom 155

Signed and numbered

Ellsworth Kelly

Colored Paper Image XIV (Yellow Curve), 1976

Colored and pressed paper pulp

Sheet size: 32 1/2 x 31 1/4 inches

(82.6 x 79.4 centimeters)

Printer: Ellsworth Kelly and Kenneth Tyler, fabricated at HMP Paper Mill, Woodstock, Connecticut

Publisher: Tyler Graphics Ltd., Bedford, New York

Edition size: 24, plus proofs

Catalogue Raisonné: Axsom 154

Signed and numbered

Jasper Johns

The Seasons, 1987

Etchings with aquatint

Sheet size: 26 x 19 1/4 inches, each

(66 x 48.9 centimeters, each)

Printer and Publisher: ULAE, West Islip, New York

Edition size: 73, plus proofs

Catalogue Raisonné: ULAE 238-241

Each print is signed, dated, and numbered

The complete set of four etchings with aquatint

Jasper Johns

False Start II, 1962

Lithograph

Sheet size: 30 1/2 x 22 3/4 inches (77.5 x 57.8 centimeters)

Printer and Publisher: ULAE, West Islip, New York

Edition size: 30, plus proofs

Catalogue Raisonné: ULAE 10

Initialed, dated, and editioned

Provenance: Mark Lancaster, New York

Mark Lancaster (1938-2021) was a British-American artist and designer who worked as an assistant to Andy Warhol in the 1960s and to Jasper Johns in the 1970s and 80s. During this period, Lancaster also designed lighting, costumes, and sets for the Merce Cunningham Dance Company.

Jasper Johns

Corpse and Mirror, 1976

Screenprint

Sheet size: 42 7/8 x 53 3/8 inches (108.9 x 135.6 centimeters)

Printer and Publisher: Jasper Johns and Simca Print Artists, Inc., New York

Edition size: 65, plus proofs

Catalogue Raisonné: ULAE 169

Signed, dated, and numbered

Cy Twombly

Cy Twombly’s output of graphic work is relatively modest compared to some of his contemporaries. The methodical nature of printmaking was generally at odds with his creative process, which was instinctive and immediate, often driven by sudden bursts of energy. The prints he did produce were often the product of circumstance, realized at the request of friends.

The creation of the mixed-artist portfolio, On the Bowery, was one such occasion. Organized in 1969 by Luitpold Domberger of the eponymous German print shop and publisher, the portfolio is composed of screenprints by ten artists—John Giorno, Charles Hinman, Robert Indiana, Will Insley, Gerald Laing, Les Levine, Robert Ryman, Richard Smith, John Willenbecher, and Cy Twombly—who lived and worked in the Bowery neighborhood of Lower Manhattan. Conceived as an homage to the area, the portfolio reflects the Bowery’s significance as an epicenter of creative activity from the 1940s through the 1970s.

The portfolio was edited by Bill Katz, who began his career in the 1960s as an ad hoc studio assistant to artists such as Robert Indiana, Ellsworth Kelly, Agnes Martin, and Cy Twombly. Katz has since risen to prominence for his curatorial work and his designs for studio and gallery spaces for artists, dealers, and collectors worldwide. His introductory text for On the Bowery traces the neighborhood’s history from its 17th-century Dutch colonial origins to the 1960s. His writing demonstrates a deep understanding of the area, which attracted artists with its affordable rents (the Bowery had previously been considered New York’s “skid row”) and large, airy lofts that made ideal studios.

Twombly began developing the visual language of his “Blackboard” paintings in lower Manhattan in the 1950s. In May of 1968, he took a studio at 356 Bowery where he expanded upon the theme, creating some of his earliest monumental gray-ground works. In Untitled, Twombly’s calligraphic spirals are printed with heightened contrast, as layered lines of deep charcoal and white bring the artist’s free-flowing rhythm into focus.

Cy Twombly

Untitled, 1969-71

Screenprint

Sheet size: 25 1/2 x 25 1/2 inches (64.8 x 64.8 centimeters)

Printer and Publisher: Edition Domberger, Filderstadt

Edition size: 100, plus proofs

Catalogue Raisonné: Bastian 27

Signed and numbered, verso

From the portfolio On the Bowery, edited by William Katz, which also includes screenprints by John Giorno, Charles Hinman, Robert Indiana, Will Insley, Gerald Laing, Les Levine, Robert Ryman, Richard Smith, and John Willenbecher.

Roy Lichtenstein

Sweet Dreams, Baby!, 1965

Screenprint

Sheet size: 37 5/8 x 27 5/8 inches (95.6 x 70.2 centimeters)

Printer: Knickerbocker Machine and Foundry Inc., New York

Publisher: Original Editions, New York

Edition size: 200, plus proofs

Catalogue Raisonné: Corlett 39, RLCR 1172

Signed and numbered

Provenance:

Galerie Ileana Sonnabend, Paris

Purchased directly from the above at the time of publication By descent to the previous owner

From the portfolio 11 Pop Artists III, Volume II, which also includes prints by Allan d’Arcangelo, Jim Dine, Allen Jones, Gerald Laing, Peter Phillips, Mel Ramos, James Rosenquist, Andy Warhol, John Wesley, and Tom Wesselmann.

Roy Lichtenstein

Brushstrokes, 1967

Screenprint

Sheet size: 23 x 31 inches

(58.4 x 78.7 centimeters)

Printer: Aetna Silkscreen Products, New York

Publisher: Leo Castelli Gallery, for the Pasadena Art Museum, California

Edition size: 300, plus proofs

Catalogue Raisonné: Corlett 45, RLCR 1293

Signed and numbered

Andy Warhol

Flowers, 1964

Offset lithograph

Sheet size: 23 x 23 inches

(58.4 x 58.4 centimeters)

Printer: Total Color, New York

Publisher: Leo Castelli Gallery, New York

Edition size: Approximately 300

Catalogue Raisonné: Feldman and Schellmann II.6

Signed and dated

Provenance: The Artist

Galerie Ileana Sonnabend, Paris By descent to the previous owner

Joan Mitchell

Joan Mitchell made her first prints as a student at the Ox-Bow School of Art in Michigan in the 1940s and returned to the medium periodically throughout her career. In 1981, master printer Kenneth Tyler, renowned for his experimental techniques and collaborative relationships with artists, persuaded Mitchell to create large-scale lithographs in his Bedford, New York workshop. Tyler believed lithography could translate the evocative abstraction of her paintings, and the resulting Bedford Series demonstrated Mitchell’s instinctive grasp of the medium.

The success of the Bedford Series led the artist and printer to reunite in 1992 to create the Sunflower Series. With more than ten years between the projects, the subdued palette of the Bedford Series is transformed in the Sunflower Series, where Mitchell’s explosive marks are rendered in rich complementary hues. Here, the gestural marks that defined her deliberate approach to painting—a careful process of action, reflection, and revision—are more clearly articulated. Throughout the project, Mitchell worked on clear Mylar sheets for color separation, visualizing and revising layers of ink until each composition met her standards.

Mitchell completed the Sunflower Series at Tyler’s studio in Mount Kisco, New York, which offered more space to create prints on a grander scale. Even with the larger press, Mitchell’s vision could not be confined to a single sheet. Each work in the Sunflower Series was conceived as a diptych to be framed as a single monumental piece. The scale underscores her position as a key figure in the male-dominated New York School. As early as the 1950s, Mitchell received critical acclaim for her immense “all-over” paintings, such as Hemlock, accessioned by the Whitney Museum of American Art in 1958.

Mitchell’s lyrical abstraction is often read through an emotional lens, and sunflowers are a particularly charged motif that, in the artist’s own words, “are like people to me.” The Sunflower paintings and lithographs created in the final years of Mitchell’s life embody the complete life cycle of the flower, unwinding and reforming across a brilliant spectrum of color.

Joan Mitchell

Sunflowers III, 1992

Lithograph on two sheets

Sheet size: 56 7/8 x 82 1/2 inches, overall (144.5 x 209.6 centimeters, overall)

Printer and Publisher: Tyler Graphics, Ltd., Mount Kisco, New York

Edition size: 34, plus proofs

Signed, dated, and numbered on the right sheet

Andy Warhol in the 1950s

Andy Warhol moved to New York City in 1949, where he began a successful career as a commercial artist. Throughout the 1950s, Warhol collaborated with designer Israel Miller of the Manhattan shoe store I. Miller to produce full-page advertisements for The New York Times. These illustrations, celebrated for their sophistication and accuracy, were created using Warhol’s innovative “blotted line” technique which integrated printmaking and drawing and allowed Warhol to replicate images with ease.

Untitled (Cake) and Melorange Glacé are two rare and unique blotted line drawings from this period. These images are related to Wild Strawberries, a satirical cookbook written by Suzie Frankfurt in 1959 that Warhol illustrated. The extravagent desserts were inspired by Serendipity 3, a boutique coffee house on the Upper East Side of Manhattan that Warhol frequented. The artist hosted coloring parties for his illustrations at the eclectic café, where he often traded his shoe drawings in exchange for his meals.

Andy Warhol

Untitled (Cake), 1959

Unique blotted line drawing with ink wash in colors and applied gold collage

Sheet size: 28 5/8 x 22 5/8 inches (72.7 x 57.5 centimeters)

Stamped on the verso by The Estate of Andy Warhol and The Andy Warhol Foundation

Initialed ‘VF’ by Vincent Fremont of The Andy Warhol Foundation

Provenance:

The Estate of Andy Warhol

Susan Sheehan Gallery, New York

American Private Collection

Unique blotted line drawing with ink wash in colors

Sheet size: 27 7/8 x 21 3/4 inches

(70.8 x 55.2 centimeters)

Signed and titled

Signed in ink

Andy Warhol’s Shoes

À la Recherche du Shoe Perdu was a series of hand-colored offset lithographs— sixteen single sheets, one folded sheet, and one folded cover—created during Warhol’s tenure as an illustrator for the shoe company I. Miller. The portfolio was never formally published. Rather, Warhol used the shoe illustrations as examples of his work, assembling impromptu sets to market his skills to potential clients. The portfolio features poetry by Ralph Pomeroy in lettering by Warhol’s mother, Julia Warhola. Warhol and his friends hand-colored the sheets at “coloring parties” hosted by the artist. As a result, there are often significant variations between proofs, including changes in the lettering and the occasional addition of collage.

Andy Warhol

Uncle Sam Wants Shoe, c. 1955

Hand-colored offset lithograph with gold foil collage

Sheet size: 9 3/4 x 13 3/4 inches (24.8 x 34.9 centimeters)

Catalogue Raisonné: Feldman and Schellmann IV.69

Stamped on the verso by The Estate of Andy Warhol and The Andy Warhol Foundation

Initialed ‘VF’ by Vincent Fremont of The Andy Warhol Foundation

Provenance:

The Estate of Andy Warhol

Susan Sheehan Gallery, New York

American Private Collection

From the portfolio À la Recherche du Shoe Perdu

Dial M for Shoe, c. 1955

Hand-colored offset lithograph

Sheet size: 9 3/4 x 13 3/4 inches (24.8 x 34.9 centimeters)

Catalogue Raisonné: Feldman and Schellmann IV.72

From the portfolio À la Recherche du Shoe Perdu

My Shoe is Your Shoe, c. 1955

Hand-colored offset lithograph Sheet size: 9 3/4 x 13 3/4 inches (24.8 x 34.9 centimeters)

Catalogue Raisonné: Feldman and Schellmann IV.70

Stamped on the verso by The Estate of Andy Warhol and The Andy Warhol Foundation

Initialed ‘T.J.H.’ by Tim Hunt of The Andy Warhol Foundation

From the portfolio À la Recherche du Shoe Perdu

Andy Warhol

December Shoe, c. 1955

Hand-colored offset lithograph with title and signature by hand in ink

Sheet size: 9 7/8 x 14 inches

(25 x 35.6 centimeters)

Catalogue Raisonné: Feldman and Schellmann IV.73

Stamped on the verso by The Estate of Andy Warhol and The Andy Warhol Foundation

Initialed ‘T.J.H.’ by Tim Hunt of The Andy Warhol Foundation

Provenance: The Estate of Andy Warhol

Shoe of the Evening, Beautiful Shoe, c. 1955

Hand-colored offset lithograph

Sheet size: 9 3/4 x 13 3/4 inches (24.8 x 34.9 centimeters)

Catalogue Raisonné: Feldman and Schellmann IV.77

Stamped on the verso by The Estate of Andy Warhol and The Andy Warhol Foundation Initialed ‘VF’ by Vincent Fremont of The Andy Warhol Foundation

Provenance: The Estate of Andy Warhol

Susan Sheehan Gallery, New York American Private Collection

Andy Warhol

Shoe Bright, Shoe Light, First Shoe I’ve Seen Tonight, c. 1955

Hand-colored offset lithograph

Sheet size: 9 3/4 x 13 3/4 inches

(24.8 x 34.9 centimeters)

Catalogue Raisonné: Feldman and Schellmann IV.82

Stamped on the verso by The Estate of Andy Warhol and The Andy Warhol Foundation Initialed ‘T.J.H.’ by Tim Hunt of The Andy Warhol Foundation

From the portfolio À la Recherche du Shoe Perdu

You Can Lead a Shoe to Water but You Can’t Make it Drink, c. 1955

Hand-colored offset lithograph with gold foil collage

Sheet size: 9 3/4 x 13 3/4 inches (24.8 x 34.9 centimeters)

Catalogue Raisonné: Feldman and Schellmann IV.83

Stamped on the verso by The Estate of Andy Warhol and The Andy Warhol Foundation Initialed ‘T.J.H’ by Tim Hunt of The Andy Warhol Foundation

Provenance: The Estate of Andy Warhol Susan Sheehan Gallery, New York American Private Collection

From the portfolio À la Recherche du Shoe Perdu

Louise Bourgeois

He Disappeared Into Complete Silence, 1947 Engravings

Sheet size: 10 x 7 inches, each (25.4 x 17.8 centimeters, each)

Edition size: projected 54, about 20 portfolios extant Catalogue Raisonné: Wye/Smith 29-38

The exceedingly rare portfolio of nine engravings which retains the introduction text by Marius Bewley, text pages by the artist, title page, and justification pages. Lacking the beige linen folder. Our example of this rare set is one of only 20 known examples, some complete and others incomplete, catalogued by the artist’s foundation. This set is numbered 22 on the colophon.

This early rare portfolio was originally intended to be published in an edition of 54. According to records kept at The Easton Foundation (established by the artist), the edition was never completed and about 20 sets are currently accounted for. Of these sets, 10 are “vintage” examples, or sets that were assembled at the time of publication. The additional 10 sets are “assembled” examples, or sets that were assembled by the artist and given away or sold. The foundation’s records indicate that both vintage and assembled sets vary by whether they include all of the portfolio components (the engravings, the text pages, the linen-cover, and the introduction). Set-by-set variations also include which state of any one of the images was chosen. The prints themselves sometimes have a variety of annotations on them, and some are signed, some not. There are variations in the paper and in the typeset of the text, some also have hand drawn corrections on some of the text pages. Essentially each of these sets is unique and do not have the same precise compositional exactitude as many formally published artist’s book portfolios.

Vintage sets of this portfolio are held in the permanent collections of Beinecke Rare Book and Manuscript Library, Yale University, the Biblioteca Nazionale Centrale di Firenze, Florence, the Louise Bourgeois Trust, New York, The Museum of Modern Art, New York, and the National Gallery of Art, Washington D.C..

Assembled sets of this portfolio are held in the permanent collections of the Bibliothèque Nationale de France, the British Museum, the National Gallery of Australia, and the Toledo Museum of Art.

Richard Diebenkorn

Green, 1986

Aquatint and drypoint

Sheet size: 53 1/2 x 40 5/8 inches (135.9 x 103.2 centimeters)

Printer and Publisher: Crown Point Press, San Francisco

Edition size: 60, plus proofs

Catalogue Raisonné: Liguori 294

Initialed, dated, and numbered

Richard Diebenkorn

High Green Version I, 1992

Aquatint, etching, and drypoint

Sheet size: 52 3/4 x 33 3/4 inches (134 x 85.7 centimeters)

Printer and Publisher: Crown Point Press, San Francisco

Edition size: 65, plus proofs

Catalogue Raisonné: Liguori 345

Initialed, dated, and numbered

Richard Diebenkorn

Ochre, 1983

Sheet size: 27 1/4 x 38 1/8 inches

(69.2 x 96.8 centimeters)

Printer: Tadashi Toda, Shi Un Do Print Shop, Kyoto, Japan

Publisher: Crown Point Press, San Francisco

Edition size: 200, plus proofs

Catalogue Raisonné: Liguori 288

Initialed, dated, and editioned

Small Thin, 1980

Aquatint and etching

Sheet size: 26 1/4 x 14 1/4 inches (66.7 x 36.2 centimeters)

Printer and Publisher: Crown Point Press, San Francisco

Edition size: 35, plus proofs

Catalogue Raisonné: Liguori 265

Initialed, dated, and editioned

Essence Mulberry, 1977

Sheet size: 39 1/2 x 18 1/2 inches (100.3 x 47 centimeters)

Printer and Publisher: Tyler Graphics Ltd., Bedford, New York

Catalogue Raisonné: Abrams 57

Edition size: 46, plus proofs

Signed, dated, and numbered

Untitled from Quatre Lithographies, 1986

Lithograph

Sheet size: 28 1/4 x 24 5/8 inches (71.8 x 62.6 centimeters)

Printer: Art Estampe, Paris

Publisher: Éditions de la Différence, Paris

Edition size: 100, plus proofs

Signed, dated, and numbered

Ed

Ruscha

City, 1969

Lithograph

Sheet size: 17 x 24 inches

(43.2 x 61 centimeters)

Printer and Publisher: Tamarind Lithography Workshop, Los Angeles

Edition size: 20, plus proofs

Catalogue Raisonné: Engberg 19

Signed, dated, and editioned

Provenance:

Robert Rogers, printer at Tamarind Lithography Workshop, Los Angeles

Ed Ruscha

1984, 1967

Lithograph with hand-coloring

Sheet size: 20 x 25 inches

(50.8 x 63.5 centimeters)

Printer and Publisher: Gemini G.E.L., Los Angeles

Edition size: 60, plus proofs

Catalogue Raisonné: Engberg 6

Signed, dated, and numbered

Ed Ruscha

That is Right, 1989

Lithographs

Sheet size: 9 1/8 x 11 inches, each

(23.2 x 27.9 centimeters, each)

Printer: Ed Hamilton, Hamilton Press, Venice, California

Publisher: The Artist

Edition size: 30, plus proofs

Catalogue Raisonné: Engberg 173-184

Each print is initialed, dated, and numbered

The complete portfolio of twelve lithographs

Brice Marden

Beyond Eagles Mere 2, 2001

Etching and lithograph

Sheet size: 22 x 30 1/8 inches (55.9 x 76.5 centimeters)

Printer and Publisher: Gemini, G.E.L., Los Angeles

Edition size: 45, plus proofs

Signed, dated, and numbered in pencil

Brice Marden

Muses with Graphite, 2001

Lithograph with graphite

Sheet size: 22 x 30 inches

(55.9 x 76.2 centimeters)

Printer and Publisher: Gemini, G.E.L., Los Angeles

Edition size: 45, plus proofs

Signed, dated, and numbered

Red Line Muses, 2001 Etching and lithograph Sheet size: 22 x 30 inches (55.9 x 76.2 centimeters)

Printer and Publisher: Gemini, G.E.L., Los Angeles

Edition size: 45, plus proofs Signed, dated, and numbered

Greyer Muses, 2001

Etching and lithograph

Sheet size: 22 x 30 inches

(55.9 x 76.2 centimeters)

Printer and Publisher: Gemini, G.E.L., Los Angeles

Edition size: 45, plus proofs

Signed, dated, and numbered

Beyond Eagles Mere, 2001

Etching and lithograph

Sheet size: 22 x 30 1/8 inches (55.9 x 76.5 centimeters)

Printer and Publisher: Gemini, G.E.L., Los Angeles Edition size: 45, plus proofs Signed, dated, and numbered

Brice Marden

Suzhou I-IV, 1998

Etchings with aquatint, drypoint, and scraping

Sheet size: 26 x 18 7/8 inches, each

(66 x 47.9 centimeters, each)

Printer: Jennifer Melby, Brooklyn

Publisher: The Artist

Edition size: 45, plus proofs

Each sheet is signed, dated, numbered, and titled sequentially ‘I’ through ‘IV’ in pencil

The complete set of four etchings with aquatint, drypoint, and scraping

Frank Stella

Double Gray Scramble, 1973

Screenprint

Sheet size: 28 7/8 x 50 5/8 inches (73.3 x 128.6 centimeters)

Printer and Publisher: Gemini G.E.L., Los Angeles

Edition size: 100, plus proofs

Catalogue Raisonné: Axsom 93

Signed, dated, and numbered

Dan Flavin

(to Don Judd, colorist) 2, 1987

Lithograph

Sheet size: 29 1/8 x 40 3/8 inches (74 x 102.6 centimeters)

Printer and Publisher: Gemini G.E.L., Los Angeles

Edition size: 30, plus proofs

Catalogue Raisonné: Gemini 17.2

Signed, dated, and numbered

Dan Flavin

(to Don Judd, colorist) 3, 1987

Lithograph

Sheet size: 29 3/8 x 40 1/4 inches (74.6 x 102.2 centimeters)

Printer and Publisher: Gemini G.E.L., Los Angeles

Edition size: 30, plus proofs

Catalogue Raisonné: Gemini 17.3

Signed, dated, and numbered

Dan Flavin

(to Don Judd, colorist) 5, 1987

Lithograph

Sheet size: 29 3/8 x 40 1/4 inches (74.6 x 102.2 centimeters)

Printer and Publisher: Gemini G.E.L., Los Angeles

Edition size: 30, plus proofs

Catalogue Raisonné: Gemini 17.5

Signed, dated, and numbered

Dan Flavin

(to Don Judd, colorist) 6, 1987

Lithograph

Sheet size: 29 1/8 x 40 3/8 inches (74 x 102.6 centimeters)

Printer and Publisher: Gemini G.E.L., Los Angeles

Edition size: 30, plus proofs

Catalogue Raisonné: Gemini 17.6

Signed, dated, and numbered

December 1984, 1985

Mezzotint

Sheet size: 29 1/2 x 22 3/4 inches

(74.9 x 57.8 centimeters)

Printer: Dorris Simmelink, Gemini G.E.L., Los Angeles

Publisher: Gemini G.E.L., Los Angeles

Edition size: 25, plus proofs

Catalogue Reference: MMA 19, Gemini 9.10

Signed and numbered

Night Sky Woodcut, 1997

Sheet size: 17 5/8 x 12 1/2 inches

(44.8 x 31.8 centimeters)

Printer: Leslie Miller, Grenfell Press, New York

Publisher: Grenfell Press, New York

Edition size: 30, plus proofs

Catalogue Reference: MMA 40 Signed, dated, and editioned

Untitled, 1995

Wood engraving

Sheet size: 16 x 14 inches (40.6 x 35.6 centimeters)

Printer and Publisher: Grenfell Press, New York

Edition size: 47, plus proofs

Catalogue Reference: MMA 38

Signed, dated, and numbered

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