SUSAN SHEEHAN GALLERY
Cover: David Hockney, Rain, 1973
BOOTH A22
VIP PREVIEW: DECEMBER 6-7, 2023 SHOW DATES: DECEMBER 8-10, 2023
LOCATION: Miami Beach Convention Center 1901 Convention Center Drive Miami Beach, FL 33139
FOR SHOW INFORMATION: https://www.artbasel.com/miami-beach
SUSAN SHEEHAN GALLERY 146 Greene Street New York, NY 10012 +1-212-489-3331 info@susansheehangallery.com www.susansheehangallery.com
“I arr th comp I’ve
rive at Gemini at 8:00 am, much to the surprise of the printers who tell me hat the artists don’t usually show up until 11:00...It’s terrific getting into plicated lithography again...Every little thing put on a stone really appears. e almost completed the first four. Rain, Mist, Sun, and Lightning, and hope to do four more -- Snow, Frost Wind, and a rainbow.”
-David Hockney
David Hockney drawing Lightning on a lithographic stone, Gemini G.E.L., Los Angeles, 1973.
David Hockney began his prolific printmaking career in 1954 as a student at the Bradford College of Art where he produced his first three lithographs. In the 1960’s, the artist devoted his energies to experimenting with various printing techniques. For the first half of the decade, he preferred etching, attracted to its inherent spontaneity and linearity, and the technical flexibility that being able to work on the metal printing plates at home provided. In 1964, however, lithography once again captured Hockney’s interest when he was invited to the Tamarind Lithography Workshop in Los Angeles by printer Ken Tyler – who Hockney soon referred to as “The Master Printer of Los Angeles.” When Hockney returned to the West Coast in 1973, he spent a concentrated period at the storied print workshop Gemini G.E.L. to produce his renowned Weather Series. The Weather Series lithographs were Hockney’s first major undertaking at Gemini. This series was inspired by 18th and 19th century Japanese woodcuts, especially those representing atmospheric conditions through shorthand stylizations and serial formats. Weather Series reflects a direct equivalence between subject matter and technique – the watery droplets of tusche in Rain, and the perfect lines drawn over broad stripes of yellow and blue to show the falling light in Sun. Demonstrating what true collaboration should be, Hockney and the master printers at Gemini experimented with every possible variation on all aspects of the images, continuously redrawing and reproofing, through various states. The lithographs were printed in as many as seven colors, some with screenprint added on top to produce the details of the weather, such as the falling snow in Snow or the gold beams of sunlight in Sun. Weather Series is a diverse amalgamation of colors and spaces combined with Hockney’s own memories of environments, some nostalgic and others aesthetic. The exceedingly rare, complete matched set of six mixed media prints.
David Hockney and Ken Tyler in the Gemini G.E.L. studio working on Rain, Los Angeles, 1973.
David Hockney Weather Series: Sun, 1973 Lithograph with screenprint Sheet size: 37 1/8 x 30 3/8 inches Printer and publisher: Gemini, G.E.L., Los Angeles Edition size: 98, plus proofs Catalogue Raisonné: MCAT 127 Signed, dated, and numbered From the rare complete set Weather Series
David Hockney Weather Series: Rain, 1973 Lithograph with screenprint Sheet size: 39 1/4 x 31 1/2 inches Printer and publisher: Gemini, G.E.L., Los Angeles Edition size: 98, plus proofs Catalogue Raisonné: MCAT 128 Signed, dated, and numbered From the rare complete set Weather Series
David Hockney Weather Series: Mist, 1973 Lithograph Sheet size: 36 7/8 x 31 5/8 inches Printer and publisher: Gemini, G.E.L., Los Angeles Edition size: 98, plus proofs Catalogue Raisonné: MCAT 129 Signed, dated, and numbered From the rare complete set Weather Series
David Hockney Weather Series: Lightning, 1973 Lithograph Sheet size: 39 1/4 x 31 3/8 inches Printer and publisher: Gemini, G.E.L., Los Angeles Edition size: 98, plus proofs Catalogue Raisonné: MCAT 130 Signed, dated, and numbered From the rare complete set Weather Series
David Hockney Weather Series: Snow, 1973 Lithograph with screenprint Sheet size: 40 1/8 x 33 3/8 inches Printer and publisher: Gemini, G.E.L., Los Angeles Edition size: 98, plus proofs Catalogue Raisonné: MCAT 131 Signed, dated, and numbered From the rare complete set Weather Series
David Hockney Weather Series: Wind, 1973 Lithograph with screenprint Sheet size: 39 7/8 x 30 3/4 inches Printer and publisher: Gemini, G.E.L., Los Angeles Edition size: 98, plus proofs Catalogue Raisonné: MCAT 132 Signed, dated, and numbered From the rare complete set Weather Series
“Ken had a swimming pool in the garden and every day we would have lunch by the swimming pool…I kept looking at the swimming pool; and it’s a wonderful subject – water, the light on the water…every time you see it, it takes on a different character. You look at the surface, you look below it, you look through it, every day it looks different.” -David Hockney
Ken Tyler lying on the diving board of his swimming pool, New York.
When David Hockney visited Ken Tyler’s Bedford, New York print workshop in 1978, the swimming pool in the backyard caught his attention. Fascinated by the way the water and light perpetually shifted from different perspectives throughout the day, Hockney began working on an ambitious series of eleven lithographs depicting the scene, making the additive layers of lithography the subject of the prints. The first seven prints were created using one set of aluminium plates, and a second series of four prints were made with a different set. Hockney drew on most of the plates directly, but a few blue-wash plates were produced from photographic film, masking film, and drawn-on plastic sheets, placed on the aluminum plates, and prepared with a light-sensitive coating. The series emphasized Hockney’s tendencies to experiment with various media and his own increasing interest in manipulating photographic processes, made possible by the increased technical resources that became available to Hockney when working at Tyler Graphics. Ranging from simple to more complex variants, the series examines the ever-shifting view of the pool in different light, while simultaneously revealing the way the image changes with different lithographic washes and lines.
D i
David Hockney taking photos of Tyler’s swimming pool with one of his paper pulp pools framed as a screen in the background, Bedford, New York, 1979.
David Hockney Lithographic Water Made of Lines and Crayon, 1978-80 Lithograph Sheet size: 29 1/4 x 34 inches Printer and publisher: Tyler Graphics Ltd., Bedford, New York Edition size: 42, plus proofs Catalogue Raisonné: MCAT 211 Signed, dated, and numbered
David Hockney Lithographic Water Made of Lines, 1978 Lithograph Sheet size: 29 1/4 x 34 inches Printer and publisher: Tyler Graphics Ltd., Bedford, New York Edition size: 42, plus proofs Catalogue Raisonné: MCAT 210 Signed, dated, and numbered
David Hockney Celia with Green Hat, 1984 Lithograph Sheet size: 29 1/2 x 22 inches Printer and publisher: Tyler Graphics Ltd., Bedford, New York Edition size: 98, plus proofs Catalogue Raisonné: MCAT 268 Signed, dated, and numbered
ANDY WARHOL PRINTS FROM THE CY TWOMBLY FOUNDATION At Art Basel Miami 2023, we are honored to present the complete portfolio of Andy Warhol’s Campbell’s Soup II and selected prints from Campbell’s Soup I, from the holdings of the the Cy Twombly Foundation. These prints were stored in their original boxes and had never been framed. They are notable for their overall excellent condition; pristine surfaces; extraordinary, unfaded original colors; and exceptional provenance.
A room in Andy Warhol’s New York townhouse, Cy Twombly’s Roman Notes drawing from 1970 is displayed on the easel at right.
Andy Warhol Campbell’s Soup II, 1969 Screenprints Sheet size: 35 x 23 inches, each Printer: Salvatore Silkscreen Co., Inc., New York Publisher: Factory Additions, New York Edition: 250, plus proofs Catalogue Raisonné: Feldman and Schellmann II. 54-63 Signed in ball-point pen and stamp numbered, verso The very rare complete portfolio of ten screenprints that retains its original corrugated cardboard portfolio box and protective plastic storage bag. Provenance: Collection of Cy Twombly, Rome Cy Twombly Foundation
Andy Warhol Campbell’s Soup I, 1968 Screenprints Sheet size: 35 x 23 inches, each Printer: Salvatore Silkscreen Co., Inc., New York Publisher: Factory Additions, New York Edition: 250, plus proofs Catalogue Raisonné: Feldman and Schellmann II. 44, 47, 53 Signed in ball-point pen and stamp numbered, verso Provenance: Collection of Cy Twombly, Rome Cy Twombly Foundation
Ed Ruscha Made in California, 1971 Lithograph Sheet size: 20 1/8 x 28 inches Printer: Cirrus Editions, Los Angeles, California Publisher: Grunewald Graphic Arts Foundation, University of California, Los Angeles Edition: 100, plus proofs Catalogue Raisonné: Engberg 52 Initialed, dated, and numbered
Jasper Johns Cicada, 1979 Screenprint Sheet size: 22 x 18 1/8 inches Printer: Simca Print Artists Inc., New York Publisher: The Artist and Simca Print Artists Inc., New York Edition size: 100, plus proofs Catalogue Raisonné: ULAE 204 Signed, dated, and numbered From the portfolio Marginalia Hommage to Kusuo Shimizu
Helen Frankenthaler East and Beyond, 1973 Woodcut Sheet size: 31 1/2 x 22 inches Printer and Publisher: ULAE, West Islip, New York Edition size: 18, plus proofs Catalogue Raisonné: Harrison 41 Signed, dated, and numbered
Wayne Thiebaud Shoe Rows, 1979 Etching and aquatint Sheet size: 23 x 29 3/4 inches Printer: Crown Point Press, San Francisco Publisher: Parasol Press, Ltd. New York Edition: 50, plus proofs Signed, dated, and numbered From the portfolio Recent Etchings I
Wayne Thiebaud Bird, 1979 Etching and aquatint Sheet size: 23 x 29 3/4 inches Printer: Crown Point Press, San Francisco Publisher: Parasol Press, Ltd. New York Edition: 50, plus proofs Signed, dated, and numbered From the portfolio Recent Etchings I
In 1991, the publisher Jean-Claude Meyer approached Roy Lichtenstein (1923–1997) with an extraordinary proposal: to provide illustrations for a forthcoming French edition of Allen Ginsberg’s The Fall of America: Poems of These States 1965–1971, which the legendary Beat poet had first published in 1972. Ginsberg chose eleven poems from the provocative collection—examining patriotism, travel, unrequited love, and war—to be translated in French, and Lichtenstein executed ten accompanying collages. Representative of Lichtenstein’s iconic style, the collages were created using motifs and stripes cut from printed paper, affixed in a manner evocative of comic book imagery. In the illustration accompanying “Bayonne Entering N.Y.C.,” a Cubistinspired, explosive cityscape complements Ginsberg’s frenetic vision of Manhattan; another depicts the poet in a lotus pose, inspired by an image of Buddha that Lichtenstein saw on a yoga class pamphlet. Etchings with aquatint were printed from the collages, and the following year in 1992, the eighty numbered copies were published. Although this portfolio marked Lichtenstein’s only foray into illustrated books, printmaking had long played a significant role in his artistic output. Over the course of his career, his more than 400 prints jumped between woodcut and lithography, etching and screenprinting. Indeed, it could be said that Lichtenstein’s prolific printmaking efforts more naturally echoed his predilection for seriality and repetition than his work in any other media. His skill and confidence permeate the Nouvelle Chute de l’Amérique etchings, which masterfully encapsulate the vividness and intensity of Ginsberg’s prose.
Roy Lichtenstein photographed by Allen Ginsberg, 1994.
Roy Lichtenstein La Nouvelle Chute de l’Amérique, 1992 Etchings with aquatint Approximate sheet size: 18 7/8 x 13 15/16 inches, each, sheet sizes vary Printer: Atelier Dupont-Visat, L’Inéditeur, Paris Publisher: Les Éditions du Solstice, Paris Edition: 80, plus proofs Catalogue Raisonné: Corlett 267-276 Each sheet is intitialed and numbered The complete portfolio of 10 etchings with aquatint, with 11 printed poems by Allen Ginsberg, title page, and colophon that retains its orginal paper folder in a red-cloth-covered folio cover fitted inside a blue cloth-covered slipcase.
Roy Lichtenstein Crying Girl, 1963 Lithograph Sheet size: 18 x 24 inches Printer: Colorcraft, New York Publisher: Leo Castelli Gallery, New York Edition size: About 300 Catalogue Raisonné: Corlett Fine II.1 Signed, dated, and inscribed ‘To Bob Elliott’
In 1961, Richard Diebenkorn began to experiment with printmaking at Kathan Brown’s print studio Crown Point Press. During the 1980s, Diebenkorn introduced consistent color into his printed work, often painting acid directly on his plates to create abstract, watercolor-like effects. Blues and greens, and geometric patterns and spatial divisions dominated his work in this period, often inspired by the natural landscape of his environment in the Bay Area north of San Francisco. In 1992, a year before his death, Diebenkorn produced his monumental graphic work, High Green, in two variations. One of Diebenkorn’s final projects with Crown Point Press, the artist spent two weeks working tirelessly on the print. After the print was completed, he decided to return to the studio, rework the plates, and remix the inks. He tinkered with the nuances of the original image, adding and subtracting details, and subtly shifting color values, eventually arriving at a somewhat different second version of the image. When the artist examined the two images side-by-side, he was happy with both and decided to keep both versions. The image of High Green, as with many of Diebenkorn’s later compositions, may be traced back to his experiences looking out of windows from an elevated vantage point, which for him, created abstractions of the surrounding landscape. As with his signature Ocean Park series, which captured the spatial geography of his California home and studio, his final works reveal both an evocative fragility in their lucid washes of color and a determined strength in the balance of color planes.
Richard Diebenkorn, Crown Point Press, San Francisco, 1991.
Richard Diebenkorn High Green, Version II, 1992 Etching, aquatint, and drypoint Sheet size: 52 5/8 x 33 3/4 inches Printer and Publisher: Crown Point Press, San Francisco Edition: 65, plus proofs Initaled, dated, numbered, and titled
Richard Diebenkorn Touched Red, 1991 Etching, aquatint, and drypoint Sheet size: 35 5/8 x 26 3/8 inches Printer and Publisher: Crown Point Press, San Francisco Edition: 85, plus proofs Initialed, dated, and numbered
Richard Diebenkorn Ochre, 1983 Medium: Woodcut Sheet size: 27 1/4 x 38 1/8 inches Printer: Shi-un-do Print Shop, Kyoto, Japan Publisher: Crown Point Press, San Francisco Edition: 200, plus proofs Initialed, dated, and numbered
Ellsworth Kelly Green Curve, 1988 Lithograph Sheet size: 37 1/2 x 84 inches Printer and Publisher: Gemini G.E.L., Los Angeles Edition size: 25, plus proofs Catalogue Raisonné: Axsom 221 Signed and numbered
Ellsworth Kelly Philodendron II, 1983-85 Lithograph Sheet size: 25 x 36 inches Printer and Publisher: Gemini G.E.L., Los Angeles Edition size: 30, plus proofs Catalogue Raisonné: Axsom 208 Signed and numbered
John McLaughlin Untitled, 1963 Lithograph Sheet size: 20 x 30 inches Printer and Publisher: Tamarind Lithography Workshop, Los Angeles Edition: 15, plus proofs Catalogue Raisonné: Tamarind 792 Signed, dated, and numbered, verso
Sol LeWitt Bands of Color in Four Directions and All Combinations, 1971 Etchings Sheet size: 21 1/8 x 21 1/8 inches, each Printer: Crown Point Press, San Francisco Publisher: Parasol Press Ltd., New York and Wadsworth Atheneum, Hartford, Connecticut Edition: 25, plus proofs Catalogue Raisonné: Krakow Witkin 1971.04 Each sheet is signed and numbered The rare complete set of sixteen etchings.
Robert Mangold Seven Aquatints, 1973, published 1974 Aquatints Sheet size: 26 7/8 x 22 1/8 inches, each Printer: Crown Point Press, San Francisco Publisher: Parasol Press Ltd., New York Edition size: 50, plus proofs Catalogue Raisonné: Parasol RM7 Each sheet is signed, dated, and numbered The very rare complete set of seven aquatints
SUSAN SHEEHAN GALLERY 146 Greene Street New York, NY 10012 Tel: +1-212 489-3331 info@susansheehangallery.com www.susansheehangallery.com