Editions

jueves, 29 de octubre | 07:00 p. m. (02:00 p. m. Toronto)

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Editions

Waddington’s Auctioneers & Appraisers

1 - Rembrandt Van Rijn (1606-1669), SELF PORTRAIT IN A CAP AND SCARF WITH THE FACE DARK: BUST, 1633, signed in plate; from New Hollstein's fourth state of five

2 - Rembrandt Van Rijn (1606-1669), THE ANGEL APPEARING TO THE SHEPHERDS, 1634, signed in plate; from New Hollstein's third state of six, 10.2 x 8.5 in — 26 x 21.6 cm

3 - Rembrandt Van Rijn (1606-1669), JAN LUTMA, GOLDSMITH [1584-1669], 1656, signed in plate; from New Hollstein's fourth state of five, 7.8 x 5.9 in — 19.7 x 15 cm

4 - Rembrandt Van Rijn (1606-1669), THE ARTIST DRAWING FROM THE MODEL, CA. 1639, from New Hollstein’s third state of four, 9.4 x 7.1 in — 24 x 18 cm

9 - Francisco José de Goya y Lucientes (1746-1828), NI ASI LA DISTINGUE (EVEN THUS HE CANNOT MAKE HER OUT), PLATE 7 FROM LOS CAPRICHOS, 1799 [H. 42], numbered "7" top right corner and titled lower margin, plate 7.8 x 5.8 in — 19.7 x 14.7 cm

11 - Henri de Toulouse-Lautrec (1864-1901), POUR TOI!..., FROM LES VIEILLES HISTOIRES, 1893 [W. 6], signed and numbered "No. 14" in pencil, from the edition of 100; published by Edouard Kleinmann, Paris, blindstamp, 14.2 x 10.6 in — 36 x 27 cm

13 - Henri de Toulouse-Lautrec (1864-1901), NUIT BLANCHE, FROM LES VIEILLES HISTOIRES, 1893 [W. 8], signed and numbered "No. 35" in pencil, from the edition of 100; published by Edouard Kleinmann, Paris, blindstamp, image 10.2 x 6.7 in — 26 x 17 cm

14 - Henri de Toulouse-Lautrec (1864-1901), SAGESSE, FROM LES VIEILLES HISTOIRES, 1893 [W. 9], signed and numbered "No. 32" in pencil, from the edition of 100; published by Edouard Kleinmann, Paris, blindstamp, 14.2 x 10.6 in — 36 x 27 cm

15 - Henri de Toulouse-Lautrec (1864-1901), ULTIME BALLADE, FROM LES VIEILLES HISTOIRES, 1893 [W. 10], signed and numbered "No. 43" in pencil, from the edition of 100; published by Edouard Kleinmann, Paris, blindstamp, sheet 13.8 x 10.9 in — 35.1 x 27.6 cm

16 - After Henri de Toulouse-Lautrec (1864-1901), FEMME COUCHÉE - RÉVEIL, FROM ELLES, 1969 [W. 158; D. 182; A. 174], numbered 441/1250; printed by Westerham Press, published by the Toulouse-Lautrec Circle of London, 15.75 x 20.87 in — 40 x 53 cm

17 - Franz von Stuck (1863-1928), KAMPFENDE FAUNE (FIGHTING FAUNS), CA. 1889, signed lower right; published by Gesellschaft für vervielfältigende Kunst, Vienna, plate 3.9 x 5.7 in — 10 x 14.5 cm

18 - Franz von Stuck (1863-1928), FORELLENWEIHER (TROUT POND), CA. 1890, signed lower right, plate 10.9 x 8.8 in — 27.8 x 22.3 cm

19 - Max Klinger (1857-1920), VERFOLGTER CENTAUR (PURSUED CENTAUR), PLATE III FROM INTERMEZZI, OPUS IV, 1881 [S. 54 II], plate 8 x 16.2 in — 20.4 x 41.2 cm

20 - Paul Delvaux (1897-1994), LES POMPÉIENNES, 1970 [J. 41], signed and numbered 9/50; printed by Mourlot, Paris, published by Le Bateau Lavoir, Paris, 25.6 x 19.7 in — 65 x 50 cm

21 - Käthe Kollwitz (1867-1945), MARCH OF THE WEAVERS, PLATE 4, FROM REVOLT OF THE WEAVER, 1893-1897, published by Alexander von der Becke between 1946-61, 8 x 11.25 in — 20.3 x 28.6 cm

22 - Sybil Andrews (1898-1992), THE OLD STEELYARD, WOODBRIDGE, 1929, image 9 x 5.75 in — 22.9 x 14.6 cm; sheet 10.25 x 7.25 in — 26 x 18.4 cm

23 - Maurice de Vlaminck (1876-1958), LES HOMMES ABANDONNÉS, 1927, signed; from the unnumbered edition of 300, 7.5 x 5.5 in — 19 x 14 cm

24 - Kerr Eby (1889-1946), REFUGEES, 1933; SHADOWS, 1936, each plate 9.9 x 14.6 in — 25.2 x 37.2 cm (2 Pieces)

25 - After Rembrandt Van Rijn (1606-1669), COTTAGE WITH A WHITE PALING; VIEW OF AMSTERDAM, signed in plate; 19th century restrikes, plate 5.6 x 6.6 in — 14.2 x 16.7 cm; plate 4.9 x 6.5 in — 12.4 x 16.5 cm (2 Pieces)

26 - After Marc Chagall (1887-1985), LES DEUX PERROQUETS, LE ROI ET SON FILS, PLATE 98, FROM LES FABLES DE LA FONTAINE, 1952, bear a signature and editioned “H.C” for Hors Commerce, aside from the edition of 100; published by Tériade, Paris, plate 11.5 x 9.3 in — 29.2 x 23.5 cm

27 - Marc Chagall (1887-1985), PLATE 14, FROM MEIN LEBEN, 1922 [C. BOOKS 22; K. 14C], signed and numbered 67/110, plate 8.3 x 6.2 in — 21 x 15.8 cm

29 - After Henri Matisse (1869-1954), L'ESPAGNOLE À LA MANTILLE, 1925, signed and numbered 109/200 in pencil; printed by Jacques Villon, published by Galerie Bernheim-Jeune, Paris, plate 15.6 x 10.9 in — 39.7 x 27.6 cm

30 - Joan Miró (1893-1983), UNTITLED, PLATE 3 FROM HOMENATGE A JOAN PRATS, 1971 [M. 705], signed and numbered 27/75, there were also 8 copies lettered from A to H and 5 H.C.; published and printed by Polígrafa, Barcelona, sheet 25.6 x 33.5 in — 65 x 85 cm

31 - Pablo Picasso (1881-1973), LA SÉRÉNADE RUSTIQUE, 1966 [B. 1444; B.A. 1478], stamp-signed and numbered 41/50; printed by Atelier Crommelynck, Paris, and published by Galerie Louise Leiris, Paris, plate 8.7 x 12.6 in — 22 x 32 cm

32 - Pablo Picasso (1881-1973), FEMME ASSISE AU CHAPEAU ET FEMME DEBOUT DRAPÉE FROM LA SUITE VOLLARD, 1934-1939 [B. 210], signed; published by Ambroise Vollard, Paris, plate 10.8 x 7.8 in — 27.5 x 19.7 cm

33 - Pablo Picasso (1881-1973), L'ÉCUYÈRE (THE CIRCUS RIDER), 1960 [B. 999; M. 333], sight 20 x 26 in — 50.8 x 66 cm

34 - Pablo Picasso (1881-1973), FEMME ACCROUPIE AU BRAS LEVÉ, 1956 [B. 791; M. 275], a proof aside from the signed and numbered edition of 50, 19.75 x 26 in — 50.2 x 66 cm

35 - After Pablo Picasso (1881-1973), FAUNE MUSICIEN ET DANSEUSE, 1945, a later impression, 13 x 15.5 in — 33 x 39.4 cm

36 - After Georges Braque (1882-1963), EURYBIA AND EROS, 1932 [V. 21], a later impression, plate 16 x 13 in — 36 x 29 cm

37 - Pierre-Auguste Renoir (1841-1919), SUR LA PLAGE, À BERNEVAL, CA. 1892 [D.5; S.5], signed in plate, a later impression, plate 5.3 x 3.75 in — 13.5 x 9.5 cm

38 - After Pierre-Auguste Renoir (1841-1919), FEMME NUE COUCHÉ, TOURNÉE A DROITE, 1906, titled to gallery label verso, plate 5.2 x 7.7 in — 13.3 x 19.5 cm

39 - After Pierre-Auguste Renoir (1841-1919), BAIGNEUSE DEBOUT A MI-JAMBES, CA. 1910 [S. 23], from a posthumous edition, plate 6.5 x 4.3 in — 16.5 x 11 cm

40 - Pierre-Auguste Renoir (1841-1919), FEMME NUE COUCHÉE, TOURNÉE À GAUCHE, FROM L'HISTOIRE DES PEINTRES IMPRESSIONNISTES, 1906 [S. 15], second state of 2; published by H. Floury, Paris, with wide margins, plate 5.5 x 7.75 in — 14 x 19.7 cm

42 - John Sloan (1871-1951), FIFTH AVENUE CRITICS, FROM NEW YORK CITY LIFE, 1905, titled to lower margin; printed by A. Porcabeuf, Paris, 6.75 x 4.75 in — 17.1 x 12.1 cm

43 - Pierre-Auguste Renoir (1841-1919), LE CHAPEAU EPINGLÉ, 3E PLANCHE, CA. 1894 [D. 8; S. 8], signed in plate; second state of two, from La Vie Artistique by Gustave Geffroy, plate 4.4 x 3.2 in — 11.3 x 8.2 cm

44 - After Marie Laurencin (1885-1956), LA MORT D'AIMÉE, 1930, signed and numbered 5/30, 12 x 14.5 in — 30.5 x 36.8 cm

45 - Pierre-Auguste Renoir (1841-1919), FEMME NUE ASSISE, FROM L'HISTOIRE DES PEINTRES IMPRESSIONNISTES, CA 1906 [S. 12], a later impression, plate 7.1 x 5.7 in — 18 x 14.5 cm

46 - After Pablo Picasso (1881-1973), DEUX NUS FROM LA FLUTE DOUBLE, 1943, bears a signature; published by Au Vent D'Arles, Saint-Paul-de-Vence, France, 16.5 x 21.25 in — 41.9 x 54 cm

50 - Salvador Dalí (1904-1989), NARCISSUS, FROM THE MYTHOLOGY, 1964 [F. 63-3], signed, dated, and numbered 15/150, there were also 15 proofs numbered in Roman; published by Pierre Argillet, Paris, 30.2 x 22.6 in — 76.8 x 57.5 cm

52 - Salvador Dalí (1904-1989), THE RESURRECTION, 1979 [F. 79-11], signed and numbered IXXXVI/C, the total edition was 750; published by Gala Publishers, Los Angeles and Dalart N.V., New York; blindstamp; contained within its original leather portfolio, sheet 29.5 x 21.6 in — 75 x 54.8 cm

53 - Salvador Dalí (1904-1989), THE IMMACULATE CONCEPTION, 1979 [F. 79-12], signed and numbered IXXXVI/C, the total edition was 750; published by Gala Publishers, Los Angeles, and Dalart N.V., New York, blindstamp, sheet 29.5 x 21.5 in — 75 x 54.7 cm

54 - Salvador Dalí (1904-1989), IL PARADISO PERDUTO, 1974 [F. 74-5-N], signed and numbered 230/250; printed by Grapholith, Paris, published by Ethis, Geneva & ELDEC S.p.A., Rome, sheet 25.6 x 18.9 in — 65 x 48 cm

55 - Salvador Dalí (1904-1989), DALÍ DREAMS, 1978 [F. 78-3], signed and numbered 149/250 the total edition was 720, variously editioned; published by Dalart N.V., New York, blindstamp, sheet 28.5 x 20.5 in — 72.4 x 52.1 cm

56 - Salvador Dalí (1904-1989), PILADE AIMAIT HERMIONÉ FROM L'ART D'AIMER D'OVIDE , 1978 [F. 79-2K], signed and numbered 21/144; printed by Société Art Press Litho, under the supervision of Art Graphics International, Paris, image 10.4 x 8.5 in — 26.4 x 21.5 cm

57 - Salvador Dalí (1904-1989), THE CURSE CONQUERED, FROM AFTER 50 YEARS OF SURREALISM, 1974 [F. 74-8], signed and editioned “E.A.”; from the edition totalling 460; published by Transworld Art, New York, plate 15.2 x 12.4 in — 38.6 x 31.5 cm

58 - Salvador Dalí (1904-1989), FIVE CONTINENTS, 1966 [F. 66-2], signed in pencil and numbered 00/25 in pen, from the total edition of 358; published and printed by the World Federation of United Nations Association, New York and Desjourbert, Paris, 30 x 24.1 in — 76.2 x 61.1 cm

59 - Salvador Dalí (1904-1989), BALLET OF THE FLOWERS, 1980 [F. 80-6], signed and numbered 350/350, there were also 75 printer's proofs; printed by Atelier Dumas, New York and published by Levine and Levine for Dalart, image 22.4 x 18.1 in — 57 x 46 cm

60 - Salvador Dalí (1904-1989), CANTO 11 FROM LA DIVINE COMÉDIE, LE PARADIS, 1959-63 [F. 89], signed and editioned “E.A.” in blue pencil; a proof aside from the signed and numbered edition of 150; published by Les Heures Claires, Paris, 13 x 10.25 in — 33 x 26 cm

61 - After Salvador Dalí (1904-1989), THE PERSISTENCE OF MEMORY, FROM CHANGES IN GREAT MASTERPIECES, 1974, signed and numbered 265/350; published by Sidney Z. Lucas, New York, image 22 x 24.6 in — 55.9 x 62.5 cm

63 - After Raoul Dufy (1877-1953), AVANT LES COURSES, DEAUVILLE OU LE PADDOCK, FROM CENTENAIRE MOURLOT, CA. 1935, stamped-signed and numbered 28/75; published by Mourlot, Paris, 1953, sheet 19.75 x 25.5 in — 50.2 x 64.8 cm

64 - Karel Appel (1921-2006), A BEAST DRAWN MAN G, 1961, signed, with the central fold as issued; published by De Bezige Bij, Amsterdam, sight 19.5 x 31.9 in — 49.5 x 81 cm

65 - Antoni Tàpies (1923-2012), A FROM APARICIONS, 1982 [G. 845], signed and editioned "H.C. VI/XV", aside from the numbered edition of 99; published by Ediciones Poligrafa, Barcelona, plate 17.5 x 25.4 in — 44.4 x 64.5 cm

66 - Walter Joseph Phillips (1884-1963), A WINNIPEG STREET, SNOW-BOUND, PLATE 7 FROM TEN CANADIAN COLOUR PRINTS, 1927, 4.3 x 6.3 in — 11 x 16 cm

67 - Walter Joseph Phillips (1884-1963), MT ST. NICHOLAS, 1940, sight 4.75 x 5.5 in — 12.1 x 14 cm

68 - Molly Lamb Bobak, RCA (1920-2014), FLORENCE, sight 11 x 14.5 in — 27.9 x 36.8 cm

69 - Henry Moore (1898-1986), HEAD OF PROMETHEUS, 1950 [C. 22], numbered 32/50; printed by Mourlot, Paris, published by Henri Jonquières, Paris, image 12.5 x 9.3 in — 31.7 x 23.5 cm

70 - James Rosenquist (1933–2017), PUSHBUTTONS, 1972 [G. 51], signed, titled, dated, and numbered 51/75; printed and published by Petersburg Press, London, image 21 x 27 in — 53.3 x 68.6 cm

71 - Victor Pasmore (1908-1998), LINEAR DEVELOPMENT NO. 5, 1970, initalled, dated "70", and editioned "VIII/X", an artist's proof aside from the signed and numbered edition of 60; printed by Kelpra Studio, London, published by Marlborough Graphics Ltd., London, sheet 18.5 x 18.5 in — 47 x 47 cm

72 - Robert Rauschenberg (1925-2008), UNTITLED (SHIP CAPTAIN FACES CHARGE IN OIL SPILL), FROM PEACE PORTFOLIO I, 1970, signed, dated "70", and numbered 157/175; published by Solomon and Company, New York, blindstamp, 26 x 20.9 in — 66 x 53 cm

73 - Robert Indiana (1928-2018), 25 / NEW YORK CITY CENTER ANNIVERSARY, 1968, signed, dated "'68", and numbered 122/144; published by H.K.L. Ltd., 35 x 25 in — 88.9 x 63.5 cm

74 - Roy Lichtenstein (1923-1997), RISING SUN ANNOUNCEMENT, CA. 1967 [C. 54-6], signed to mat by the artist; published by Rosa Esman, New York, 4 x 6.5 in — 10.2 x 16.5 cm

75 - Andy Warhol (1928–1987), LINCOLN CENTER TICKET, 1967 [F.&S., II.19], from the unsigned edition of 500, there was also a signed edition of 200 screenprints on opaque acrylic; published by Lincoln Center List Poster and Print Program, New York, sheet 45 x 24.25 in — 114.3 x 61.6 cm

78 - David Hockney (1937-2026), ZEICHNUNGEN UND GRAFIK, GALERIE KAMMER, HAMBURG EXHIBITION POSTER, 1981 [B. 62], signed in felt tip pen lower right, 35 x 25 in — 88.9 x 63.5 cm

79 - David Hockney (1937-2026), GREY ART GALLERY & STUDY CENTER EXHIBITION POSTER, 1980 [B. 85], signed and numbered VII/XV in felt tip pen; published by Petersburg Press, London & New York, 34.5 x 24.5 in — 87.6 x 62.2 cm

80 - Alex Katz (b. 1927), SUSAN, 1976 [M. 90], signed and numbered in Roman "XV/L", from the deluxe edition of 50, aside from the numbered edition of 125; printed by Chiron Press, New York

81 - Gene Davis (1920-1985), BULLET PROOF #5 FROM SERIES 1, 1969, signed and numbered 77/150, there were also 25 artist's proofs; published by Petersburg Press, London, 24 x 30 in — 61 x 76.2 cm

84 - Joseph Yvon Fafard, RCA (1942-2019), HI, 1979, image 5.5 x 5.5 in — 14 x 14 cm

85 - William Kurelek, OSA, RCA (1927-1977), GOLF, 1977, image 12 x 9.5 in — 30.5 x 24.1 cm

86 - William Kurelek, OSA, RCA (1927-1977), SKIING, 1977, image 12 x 9.5 in — 30.5 x 24.1 cm

87 - William Kurelek, OSA, RCA (1927-1977), MAP OF METROPOLITAN TORONTO, 1976, 29 x 35 in — 73.7 x 88.9 cm

88 - William Kurelek, OSA, RCA (1927-1977), LIGHT TRADING ON THE TORONTO STOCK EXCHANGE, 1973, image 16.25 x 19.25 in — 41.3 x 48.9 cm

89 - Francine Savard (b. 1954), ET, SI, 2007, 55.5 x 45 in — 141 x 114.3 cm

90 - Andrew Valko (b. 1957), HIGHWAY KISS, 2007, signed, titled, and dated "07", image 13 x 16 in — 33 x 40.6 cm

91 - Patrick Heron (1920-1999), INTERLOCKING SCARLET AND PINK IN DEEP GREEN, 1970, signed, dated, and numbered 77/100; published by Waddington Graphics, London, sheet 28 x 40 in — 71.1 x 101.6 cm

92 - Jack Hamilton Bush, OSA, ARCA (1909-1977), CROSS OVER, 1974, 34.75 x 26 in — 88.3 x 66 cm

93 - Victor Vasarely (1906-1997), PLANETARY FOLKLORE (ALGORITHMS) FROM PERMUTATIONS, 1968, signed and numbered 72/150; published by Editions Denise René, Paris, blindstamp, image 23.6 x 23.6 in — 60 x 60 cm

94 - Jenny Holzer (b. 1950), MONEY CREATES TASTE FROM TRUISMS, 1977-79, 2004, signed and numbered 3/90 in ink to certificate of authenticity, there were also 10 artist's proofs; published by Kunstverein Ulm, Germany, 3 x 3 in — 7.6 x 7.6 cm

95 - Edward John (Ted) Bartram, OSA, RCA (1938-2019), ZEBRA ROCK #2, FROM CANADIAN SHIELD SERIES, 1973, sheet 29.5 x 33.1 in — 75 x 84 cm