Miró and the United States

 The Phillips Collection is pleased to present Miró and the United States, a major traveling exhibition organized in collaboration with the Fundació Joan Miró in Barcelona. This groundbreaking exhibition recounts a little-known yet decisive period of transatlantic exchange between Joan Miró and American artists, revealing how the United States informed his artistic development and influenced post-war art on both sides of the Atlantic. For Miró, the United States represented more than just geography—it offered expansive horizons, new audiences, and the possibility of creative freedom. Assembling significant loans and notable first-time showings, the exhibition stages rare juxtapositions that foreground the generative impact of these cross-cultural encounters, revealing how Miró and his American contemporaries mutually influenced one another and advanced new artistic directions. 

First shown at the Fundació Joan Miró in Barcelona, the exhibition opens in Washington, DC, on March 21, 2026, and runs through July 5, 2026.

While Miró’s relationship with France and his native Spain is well-documented, Miró and the United States centers the US as a key point of contact in the artist’s career. An established international figure by the 1940s, Miró engaged in the US with new ideas, large-scale projects, public commissions, and an influential network of American artists, institutions, and collectors. His partnership with his longtime dealer Pierre Matisse, his seven visits to the United States between 1947 and 1968, and two retrospectives at the Museum of Modern Art in New York (1941 and 1959) all proved instrumental. Coming from a Spain devastated by the Franco dictatorship, the United States represented for Miró not only a creative frontier but also a landscape of hope, democracy, innovation, and endless possibilities.

“Presenting this exhibition in Washington, DC, underscores art’s role in fostering cross-cultural exchange and affirms the Phillips as a space where global conversations in modern art unfold,” says Jonathan P. Binstock, Vradenburg Director & CEO of The Phillips Collection. “At a moment when the geopolitics of culture are being reexamined, Miró’s transatlantic journey feels acutely relevant. His movement between Spain and the United States—from repression to optimism, from constraint to openness—speaks powerfully to the role of art as both a personal and political act. The Phillips Collection invites visitors to reflect on this history and to imagine broader horizons.”

The exhibition brings together approximately 75 works—paintings, sculptures, works on paper, films, and archival material—from American and European collections, including significant loans from the Fundació Joan Miró. Major works by more than 30 American artists whose paths intersected with Miró’s, among them Alexander Calder, Louise Bourgeois, Lee Krasner, Jackson Pollock, Helen Frankenthaler, Norman Lewis, and Adolph Gottlieb, represent two generations of Abstract Expressionists. Together, the artworks chart a dynamic period of artistic dialogue and experimentation.

Miró’s interactions with American artists spurred some of his most inventive work, from sculptural explorations informed by Calder and Bourgeois to gestural, energetic painting in conversation with Pollock and Abstract Expressionism. Creative exchanges with architect Josep Lluís Sert expanded Miró’s ambitions for murals, public art, and monumentality. Through repeated visits to the United States, Miró met artists in their studios, collaborated on prints and architectural projects, and closely followed exhibitions at galleries and museums, connections that transformed his practice and reverberated across post-war American art.

Highlights of Miró’s work include Somersault (1924) and Person Throwing a Stone at a Bird (1926), which helped launch his reputation in the US early in his career; the monumental Mural Painting, 20 March 1961 (1961), on loan for the first time from Harvard Art Museum; and 22 pochoirs on paper from his Constellations series of 1959.

“Miró and the United States reframes Miró’s legacy by tracing the exchanges his work ignited with a rising generation of American artists—encounters that accelerated modern art on both sides of the Atlantic,” says Elsa Smithgall, Chief Curator at The Phillips Collection and curator of the museum’s presentation in collaboration with Marko Daniel, Matthew Gale, and Dolors Rodríguez Roig from the Fundació Joan Miró. “The exhibition is a glowing testament to the vitality of transnational exchange as a driver for experimentation in contemporary art. We invite audiences to rediscover a pioneering Catalan artist whose art of human feeling continues to resonate today.”

By tracing the fertile exchange between Miró and American artists, Miró and the United States deepens understanding of the artist’s legacy and the transatlantic networks that defined the post-war era.

Featured Artists

William Baziotes
Louise Bourgeois
Alexander Calder
Elaine de Kooning
Willem de Kooning
Perle Fine
Sam Francis
Herbert Ferber
Helen Frankenthaler
Arshile Gorky
Adolph Gottlieb
Grace Hartigan
Franz Kline
Lee Krasner
Norman Lewis 
Len Lye
Alice Trumbull Mason
Peter Miller
Joan Mitchell
Joan Miró
Robert Motherwell
Louise Nevelson
Barnett Newman 
Isamu Noguchi
Alfonso Ossorio
Jackson Pollock
Jeanne Reynal
Mark Rothko
Rufino Tamayo
Sonja Sekula
Theodoros Stamos
Janet Sobel
Michael Corinne West

 

This exhibition is organized for The Phillips Collection by Elsa Smithgall, in collaboration with Marko Daniel, Matthew Gale, and Dolors Rodríguez Roig, at the Fundació Joan Miró, Barcelona.

Joan Miró, The Red Sun, 1948, The Phillips Collection.

Oil on canvas
36 1/8 × 28 1/8 in.
The Phillips Collection, Acquired 1951 

Joan Miró

Painting (Fratellini)

1927
Oil and aqueous medium on canvas
51 1/4 × 38 1/4 in.
Philadelphia Museum of Art: A. E. Gallatin Collection, 1952-16-1
© Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2026

Joan Miró

Ciphers and Constellations in Love with a Woman from the Constellations Series
1959
22 pochoirs on paper after the gouaches

24 x 20 in.
Fundació Joan Miró, Barcelona
© Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2026

Joan Miró

Sketch for Mural for Cincinnati

1947
Gouache, pastel, ink, and graphite on paper
19 1/8 × 49 7/8 in.
Fundació Pilar I Joan Miró a Mallorca
© Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2026 

Joan Miró

b. 1893, Barcelona, Spain–d. 1983, Palma de Mallorca, Spain
Somersault
1924

Oil, graphite, charcoal, and tempera on canvas board 36 3/8 × 28 5/8 in.
Yale University Art Gallery, Gift of Collection Société Anonyme

Joan Miró

b. 1893, Barcelona, Spain–d. 1983, Palma de Mallorca, Spain
Person Throwing a Stone at a Bird
1926

Oil on canvas
29 × 36 1/4 in.
The Museum of Modern Art, New York. Purchase, 1937

Joan Miró

b. 1893, Barcelona, Spain–d. 1983, Palma de Mallorca, Spain
Painting
1927

Tempera and oil on canvas
28 3/4 x 36 1/4 in.
Lent by The Metropolitan Museum of Art, Gift of Pierre Matisse, in memory of Pierre Loeb, 1984

Joan Miró

b. 1893, Barcelona, Spain–d. 1983, Palma de Mallorca, Spain
Still Life with Old Shoe
1937

Oil on canvas
32 × 46 in.
The Museum of Modern Art, New York. Gift of James Thrall Soby, 1970

Joan Miró

Woman and Birds at Sunrise

1946
Oil on canvas
21 1/4 × 25 1/2 in.
Fundació Joan Miró, Barcelona, On loan from a private collection
© Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2026 

 

Figure, Bird in the Night II 1972 Oil on canvas 24 × 19 7/8 in. Fundació Joan Miró, Barcelona, 

Joan Miró

b. 1893, Barcelona, Spain–d. 1983, Palma de Mallorca, Spain
His Majesty the King
1974

Acrylic on wood, bronze, and iron 100 3/8 × 14 1/2 × 16 3/8 in. Fundació Joan Miró, Barcelona

Whistler. Dandy and Disruptor

 

The Van Gogh Museum and The Mesdag Collection present the largest European retrospective of work by James McNeill Whistler (1834–1903) in thirty years – and the first ever to be held in the Netherlands. 

Whistler was one of the most influential and controversial artists of the nineteenth century. He was also a fervent advocate of the idea that art need not serve a moral, social or political purpose, but exists purely for its own beauty.

Dandy and disruptor

Born in the United States, Whistler moved to Paris aged twenty-one and divided his time between Paris and London for nearly fifty years, moving in the circles of Dante Gabriel Rossetti, Gustave Courbet, Edouard Manet and Oscar Wilde. He was a master of self-promotion and an outspoken dandy with exquisite taste, acutely aware of his striking presence, and notoriously quarrelsome.

He fiercely defended his artistic vision, even at the cost of bankruptcy. When the critic John Ruskin described his work as like flinging a pot of paint in the public’s face, Whistler sued him for libel – a watershed in art history. He published an account of his many disputes under the revealing title The Gentle Art of Making Enemies. The influential English art critic Roger Fry aptly summarised his attitude:

‘He seemed to be always inaugurating a revolution, leading intransigent youth against the strongholds of tradition and academic complacence.’

Whistler and Van Gogh

Vincent van Gogh admired Whistler and mentioned his etchings in various letters. He counted Whistler among the artists he and his brother Theo had ‘loved in our time’. Whistler and Van Gogh shared a fascination with Japanese aesthetics and pushed the boundaries of what art could be. Van Gogh referred to the famous portrait of Whistler’s mother in a letter to his sister Willemien, writing:

‘There’s a painting that Whistler did of his mother which is like that. But above all in our old Dutch paintings we find it sometimes. When I think of Mother she too appears like that to me.’

Whistler and Van Gogh

Vincent van Gogh admired Whistler and mentioned his etchings in various letters. He counted Whistler among the artists he and his brother Theo had ‘loved in our time’. Whistler and Van Gogh shared a fascination with Japanese aesthetics and pushed the boundaries of what art could be. Van Gogh referred to the famous portrait of Whistler’s mother in a letter to his sister Willemien, writing:

‘There’s a painting that Whistler did of his mother which is like that. But above all in our old Dutch paintings we find it sometimes. When I think of Mother she too appears like that to me.’

Two exhibitions, one story

In the exhibition Whistler. Dandy and Disruptor, the Van Gogh Museum presents a major retrospective of some 100 works, including one of his most famous paintings: Arrangement in Grey and Black: Portrait of the Painter’s Mother. The exhibition also includes dreamlike nocturnes of the Thames, works from the series White Girls and life-sized society portraits.

In the exhibition Whistler. Loving the Netherlands, The Mesdag Collection focuses on Whistler’s special relationship with the country: the art he produced there – including the famous series of Amsterdam etchings – and his influence on Dutch artists such as Willem Witsen and George Hendrik Breitner.

Whistler had frequent contact with Hendrik Willem Mesdag and visited The Mesdag Collection on his last day in the Netherlands, making The Hague the ideal location for this focus exhibition.

Loving the Netherlands

Whistler felt a close connection with the Netherlands. Rembrandt was his great inspiration, he valued old Dutch paper for the warm glow it gave his etchings, and spent time with Dutch artists. ‘Holland is the country for artists. It has atmosphere’, he wrote. Whistler visited the country at least eleven times between 1863 and 1902.

His Amsterdam Set of etchings from 1889 – made from a boat on Amsterdam’s canals – shows the city transformed into a composition of light, shadow and texture, with the famous gables deliberately excluded from the composition. Whistler himself called this his best work to date.

International collaboration

The exhibition was organised in collaboration with Tate Britain in London, and is curated by Edwin Becker (Van Gogh Museum), Renske Suijver (The Mesdag Collection) and Carol Jacobi (Tate Britain).

Images

James Abbott McNeill Whistler, Arrangement in Grey: Portrait of the Painter, 1872, Oil paint on canvas, 74.9 x 53.3 cm, Detroit Institute of Arts, Bequest of Henry Glover Stevens, in memory of Ellen P. Stevens and Mary M. Stevens

James Abbott McNeill Whistler, Arrangement in Grey and Black No. 1 [also known as Arrangement in Grey and Black: Portrait of the Painter’s Mother], 1871, Oil paint on canvas, 144.3 × 162.5 cm, Musée d’Orsay, Paris

James Abbott McNeill Whistler, At the Piano, 1858–59, Oil paint on canvas, 67.6 × 93.4 cm, Taft Museum of Art, Cincinnati, Bequest of Louise Taft Semple

James Abbott McNeill Whistler, Nocturne: Blue and Gold – Old Battersea Bridge, c.1872–75, Oil paint on canvas, 68.3 × 51.2 cm, Tate, Presented by the Art Fund 1905

James Abbott McNeill Whistler, Nocturne: Blue and Silver – Chelsea, 1871, Oil paint on wood, 50.2 × 60.8 cm, Tate, Bequeathed by Miss Rachel and Miss Jean Alexander 1972

James Abbott McNeill Whistler, Portrait of George W. Vanderbilt, 1897–98, Oil paint on canvas, 208.6 × 91.1 cm, National Gallery of Art, Washington, Gift of Edith Stuyvesant Gerry

James Abbott McNeill Whistler, Mother of Pearl and Silver: The Andalusian, 1891–1900, Oil paint on canvas, 191.5 × 89.8 cm, National Gallery of Art, Washington, Harris Whittemore Collection

James Abbott McNeill Whistler, Arrangement in Yellow and Gray: Effie Deans, c.1876–78, Oil paint on canvas, 194 × 93 cm, Rijksmuseum, Amsterdam, Gift of M.C. Baroness van Lynden-van Pallandt

James McNeill Whistler, Snow, Amsterdam, 1882, Watercolour on paper, Private Collection

James McNeill Whistler, The Embroidered Curtain, 1889, Etching and drypoint on paper, 24 × 16 cm, Amsterdam City Archives

James McNeill Whistler, Zaandam, 1889, Etching and drypoint on paper, 13 × 21.6 cm, Rijksmuseum, Amsterdam, Purchased with the support of the F.G. Waller-Fonds

James McNeill Whistler, Zaandam, 1889, Etching and drypoint on paper, 13 × 21.6 cm, Rijksmuseum, Amsterdam, Purchased with the support of the F.G. Waller-Fonds

James McNeill Whistler, The Pierrot [from the Amsterdam Set], 1889, Etching and drypoint on paper, 23.1 × 15.9 cm, Amsterdam City Archives

Hockney, Warhol and Mitchell Lead Heritage's April 23 Prints & Multiples Auction

Tightly curated selection highlights iconic imagery, master printers and the evolving possibilities of editioned art Heritage’s April 23 Prints & Multiples Signature® Auction brings together a tightly curated selection of 94 works that underscore the breadth and sophistication of postwar and contemporary printmaking. Anchored by major works from David Hockney, Andy Warhol, Joan Mitchell and Lynda Benglis, the sale emphasizes collaboration, technical innovation and the enduring appeal of editioned works by some of the most influential artists of the 20th century. “This is a very deliberate sale,” says Desiree Pakravan, Heritage’s Consignment Director of Prints and Multiples. “Every work was chosen for its relevance and its ability to represent a defining moment in an artist’s printmaking practice.” Among the leading highlights is David Hockney’s Hotel Acatlan, Two Weeks Later, from Moving Focus (1985), a vibrant diptych that exemplifies the artist’s ongoing exploration of perception and shifting viewpoints. Published by Tyler Graphics, the work belongs to Hockney’s celebrated Moving Focus series, in which space is fractured and reassembled across multiple panels. Held in the collections of both the Museum of Modern Art, New York, and the Tate, London, the composition reflects the artist’s fascination with how time, memory and vision intersect. A second Hockney, Lithographic Water Made of Lines, Crayon and Two Blue Washes (1978–80), offers a more distilled but equally compelling meditation on surface and illusion. Built from layered marks that evoke the shimmer of light across water, the work demonstrates Hockney’s mastery of the lithographic medium and his enduring engagement with the visual language of Southern California. “Hockney’s prints are always about more than what they depict,” says Pakravan. “They’re about how an image can be constructed, broken apart and experienced over time.” The auction also features one of Andy Warhol’s most recognizable and sought-after collaborations: Mick Jagger (1975), a dynamic screenprint that captures the Rolling Stones frontman with Warhol’s signature immediacy and flair. Signed by both Warhol and Jagger, the work occupies a space between portraiture and celebrity artifact, reinforcing the artist’s ability to collapse the boundaries between fine art and popular culture. Examples of the print reside in major institutional collections including the Museum of Modern Art, the National Gallery of Art and the Tate. Warhol’s Wild Raspberries (1959), offered here as a complete artist’s book, reveals an earlier, more intimate facet of his practice. Created in collaboration with Suzie Frankfurt and featuring lettering by Warhol’s mother, Julia Warhola, the volume presents a whimsical, satirical take on mid-century culinary culture. With its hand-colored illustrations, gilt embellishments and playful, often absurd recipes, Wild Raspberries anticipates many of the themes that would define Warhol’s later work: repetition, surface and the performance of taste. From a different trajectory within postwar art, Joan Mitchell’s Trees IV (1992) stands as a powerful late-career statement. The monumental diptych, also produced with Tyler Graphics, translates Mitchell’s gestural, painterly language into the print medium without sacrificing its intensity. Sweeping passages of color and mark evoke landscape without describing it, placing the work in dialogue with both Abstract Expressionism and the technical possibilities of large-scale lithography. The sale’s contemporary selections extend that conversation into more recent decades. Raymond Pettibon’s Untitled (A Sea of Grinding Tectonic Plates…) (2008) pairs his characteristic text with a turbulent visual field, merging literary and graphic elements into a work that feels at once immediate and expansive. The result is a distinctly modern form of narrative printmaking, where language and image operate in tandem. Complementing the two-dimensional works is a group of three-dimensional editions that further expands the definition of printmaking. Among them is Lynda Benglis’ Ghost Dance (1992), a striking bronze and gold leaf sculpture that captures the artist’s interest in movement, ritual and material transformation. Twisting and luminous, the form retains the immediacy of gesture while achieving a sense of permanence and weight. Additional highlights include a selection of Pablo Picasso ceramics, which bridge the gap between functional object and sculptural form, as well as editions by Alex Katz that reflect the artist’s crisp, graphic sensibility and enduring influence on contemporary figuration. Throughout the auction, the presence of master printers and publishers, particularly Tyler Graphics, underscores the collaborative nature of printmaking at the highest level. These partnerships enabled artists to push the boundaries of scale, color and process, resulting in works that are as technically ambitious as they are visually compelling. “Printmaking has always been a space for experimentation,” Pakravan says. “What this sale shows is how artists across generations have used editions not as secondary works, but as primary expressions of their ideas.” IMAGES   Henri Matisse (1869-1954) Nadia au sourire enjoué, 1948 Aquatint on Marais paper 15-1/2 x 12-1/2 inches (39.4 x 31.8 cm) (sheet) B.A.T. 4/5 (aside from an edition of 25) Initialed and dated in ink lower right Auction 8250 | Lot: 77001 Estimate: $15,000 - $25,000. Starting Bid: $7,500 Alex Katz (b. 1927) Ada with Flowers, 1980 Screenprint in colors on Grammercy paper 48 x 36 inches (121.9 x 91.4 cm) (sheet) Ed. 45/65 (aside from 7 artist's proofs) Signed and editioned in pencil lower left Published by the artist and Simca Print Artists, Inc., New York; with their blindstamp lower right Auction 8250 | Lot: 77002 Estimate: $15,000 - $20,000. Current Bid: $7,500 Andy Warhol (1928-1987) One Work, from Flowers, 1970 Screenprint in colors on wove paper 38 x 38 inches (96.5 x 96.5 cm) (sheet) An untrimmed proof aside from the edition of 250 Published by Factory Additions, New York Printed by Aetna Silkscreen Products, Inc., New York Auction 8250 | Lot: 77003 Estimate: $8,000 - $12,000. Starting Bid: $4,000 Andy Warhol (1928-1987) One Work, from Flowers, 1970 Screenprint in colors on wove paper 38 x 38 inches (96.5 x 96.5 cm) (sheet) An untrimmed proof aside from the edition of 250 Published by Factory Additions, New York Printed by Aetna Silkscreen Products, Inc., New York Auction 8250 | Lot: 77004 Estimate: $8,000 - $12,000. Current Bid: $4,000 Andy Warhol (1928-1987) One Work, from Flowers, 1970 Screenprint in colors on wove paper 38 x 38 inches (96.5 x 96.5 cm) (sheet) An untrimmed proof aside from the edition of 250 Published by Factory Additions, New York Printed by Aetna Silkscreen Products, Inc., New York Auction 8250 | Lot: 77005 Estimate: $8,000 - $12,000. Current Bid: $4,000 Alex Katz (b. 1927) Autumn 2, 2023 Screenprint in colors on Saunders Waterford paper 40 x 80 inches (101.6 x 203.2 cm) (sheet) P.P. 2/4 (aside from an edition of 75) Signed and editioned in pencil along lower edge Published by Lococo Fine Art, St. Louis, Missouri Auction 8250 | Lot: 77011 Estimate: $6,000 - $8,000. Starting Bid: $3,000 Roy Lichtenstein (1923-1997) Red Barn, 1969 Screenprint in colors on Fabriano paper 14-1/4 x 17-1/8 inches (36.2 x 43.5 cm) (sheet) Ed. 199/250 Signed, editioned, dated, and inscribed along lower edge Published by Gabriele Mazzotta Editore, Milan Auction 8250 | Lot: 77015 Estimate: $15,000 - $20,000. Current Bid: $9,750 Roy Lichtenstein (1923-1997) Still Life with Lobster, from Six Still Lifes, 1974 Lithograph and screenprint in colors on B.F.K. Rives paper 38-5/8 x 37-1/2 inches (98.1 x 95.2 cm) (sheet) Ed. 99/100 (aside from 10 artist's proofs) Signed, editioned, and dated in pencil lower right Co-published by Multiples Inc. and Castelli Graphics, New York; with their ink stamp verso lower left Printed by Styria Studio, New York; with their blindstamp lower right Auction 8250 | Lot: 77016 Estimate: $20,000 - $30,000. Current Bid: $10,000 Roy Lichtenstein (1923-1997) Wallpaper with Blue Floor Interior, 1992 Screenprint in colors on Paper Technologies, Inc. Waterleaf, five panels 100-7/8 x 30-1/4 inches (256.2 x 76.8 cm) (each panel) Ed. 151/300 (aside from 50 artist's proofs) Signed and editioned in silver ink lower left of the fourth panel Published and printed by Gemini G.E.L., Los Angeles, with their blindstamps (Total: 2 Items) Auction 8250 | Lot: 77017 Estimate: $40,000 - $60,000. Starting Bid: $20,000 Roy Lichtenstein (1923-1997) The Solomon R. Guggenheim Museum Poster, 1969 Screenprint in colors on B.F.K. Rives paper 28-1/2 x 28-1/2 inches (72.4 x 72.4 cm) (sheet) Ed. 51/250 (aside from an unknown number of artist's proofs) Signed, editioned, and dated in pencil lower right Published by the artist and Leo Castelli Gallery, New York Auction 8250 | Lot: 77018 Estimate: $8,000 - $12,000. Current Bid: $4,000 Jasper Johns (b. 1930) Flag (Moratorium), 1969 Offset lithograph in colors on wove paper 19-5/8 x 27-3/8 inches (50.0 x 69.5 cm) (sight) Ed. 48/300 Signed and editioned in pencil along lower edge Published by the Committee Against the War in Vietnam; with the artist's copyright ink stamp lower right Auction 8250 | Lot: 77021 Estimate: $20,000 - $30,000. Starting Bid: $10,000 Jasper Johns (b. 1930) Untitled (US Embassies), 1999 Etching and aquatint in colors on Hahnemuhle paper 22-3/4 x 31-1/8 inches (57.8 x 79.1 cm) (sheet) Printer's Proof 1/4 (aside from an edition of 50) Signed, editioned, and dated in pencil along lower edge Published and printed by Universal Limited Art Editions, New York; with their blindstamp lower left Auction 8250 | Lot: 77022 Estimate: $15,000 - $20,000. Starting Bid: $7,500 Jasper Johns (b. 1930) Untitled, 1992 Etching and aquatint in colors on Echizen Shiro-Torinoko handmade paper 43-3/8 x 52-1/2 inches (110.2 x 133.3 cm) (sheet) P.P. 1/2 (aside from an edition of 50) Signed, editioned, and dated in pencil along lower edge Published by Universal Limited Art Editions, New York; with their blindstamp lower left Auction 8250 | Lot: 77025 Estimate: $8,000 - $12,000. Starting Bid: $4,000 Paul Klee (1879-1940) Seiltänzer, from Die Kunst der Gegenwart, 1923 Lithograph in colors on BSB laid paper 20-3/8 x 14-1/2 inches (51.8 x 36.8 cm) (sheet) Edition of 220 (aside from an edition of 80 on Japon paper) Signed, numbered, and dated in pencil along lower edge Published by Marées-Gesellschaft, R. Piper & Co., Munich; with their blindstamp lower right Printed by Staatliches Bauhaus, Weimar Auction 8250 | Lot: 77026 Estimate: $5,000 - $7,000. Starting Bid: $2,500 Wayne Thiebaud (1920-2021) Down Mariposa, from Recent Etchings II, 1979 Etching on wove paper 15-3/4 x 19-7/8 inches (40.0 x 50.5 cm) (plate) Trial Proof I (aside from an edition of 50 and 10 artist's proofs) Signed and editioned in pencil along lower edge Published by Parasol Press, Ltd., New York Auction 8250 | Lot: 77027 Estimate: $4,000 - $6,000. Current Bid: $2,100 John Baldessari (1931-2020) Studio, 1988 Lithograph and screenprint in colors on Somerset paper 30-1/4 x 38-3/8 inches (76.8 x 97.5 cm) (sheet) B.A.T. (aside from an edition of 150 and 20 artist's proofs) Signed and editioned in pencil along lower edge Published by Cirrus Editions, Los Angeles; with their blindstamp lower left Auction 8250 | Lot: 77031 Estimate: $15,000 - $25,000. Starting Bid: $7,500 Frank Stella (1936-2024) Sinjerli Variation la, 1977 Lithograph and screenprint in colors on Arches paper 32 x 42-1/2 inches (81.3 x 108.0 cm) (sheet) Ed. 33/100 (aside from 20 artist's proofs) Signed, editioned, and dated in pencil lower right Published by Petersburg Press, New York Auction 8250 | Lot: 77033 Estimate: $4,000 - $6,000. Starting Bid: $2,000 Frank Stella (1936-2024) The Battering Ram, from Moby Dick Deckle Edges, 1993 Lithograph, etching, aquatint, relief, engraving, screenprint, and collagraph in colors on TGL handmade paper 59-5/8 x 35-5/8 inches (151.4 x 90.5 cm) (sheet, irregular) Ed. 22/30 (aside from 8 artist's proofs) Signed, editioned, and dated in pencil lower right Published and printed by Tyler Graphics Ltd., Mount Kisco, New York; with their blindstamp lower right Auction 8250 | Lot: 77034 Estimate: $12,000 - $18,000. Current Bid: $6,000 Raymond Pettibon (b. 1957) Untitled (A Sea of Grinding Tectonic Plates...), 2008 Lithograph in colors on B.F.K. Rives paper 60 x 42-1/2 inches (152.4 x 108.0 cm) (sheet) Ed. 39/48 (aside from 12 artist's proofs) Signed and editioned in pencil along lower edge Published by Brooke Alexander Editions, New York Auction 8250 | Lot: 77035 Estimate: $50,000 - $70,000. Starting Bid: $25,000 David Hockney (b. 1937) Lithographic Water Made of Lines, Crayon and Two Blue Washes, 1978-1980 Lithograph in colors on TGL handmade paper 29-1/8 x 34-1/8 inches (74.0 x 86.7 cm) (sheet) P.P. (aside from an edition of 48 and 18 artist's proofs) Signed, editioned, and dated in pencil along lower edge Printed by Tyler Graphics, Ltd., Mount Kisco, New York; with their blindstamp lower right Auction 8250 | Lot: 77036 Estimate: $80,000 - $120,000. Starting Bid: $40,000 David Hockney (b. 1937) Hotel Acatlan, Two Weeks Later, from Moving Focus (diptych), 1985 Lithograph in colors on TGL handmade paper 28-7/8 x 36-1/2 inches (73.3 x 92.7 cm) (each sheet) Ed. 27/98 (aside from 20 artist's proofs) Signed, editioned, and dated in pencil along lower edge Published by Tyler Graphics, Ltd., New York; with their blindstamp lower right of right sheet Auction 8250 | Lot: 77037 Estimate: $100,000 - $150,000. Starting Bid: $50,000 Andy Warhol (1928-1987) Ingrid Bergman with Hat, from Ingrid Bergman, 1983 Screenprint in colors on Lenox Museum Board 37-7/8 x 37-7/8 inches (96.2 x 96.2 cm) (sheet) Ed. 222/250 (aside from 20 artist's proofs, 5 printer's proofs, 30 hors commerce, and 30 trial proofs) Signed and editioned in pencil lower right Published by Galerie Börjeson Malmö, Sweden; with their ink stamp verso lower left Printed by Rupert Jasen Smith, New York; with his blindstamp lower left Auction 8250 | Lot: 77039 Estimate: $30,000 - $50,000. Current Bid: $15,000 Alex Katz (b. 1927) Ada 1, from Ada Portfolio 1, 2022 Screenprint in colors on Saunders Waterford paper 54 x 40-1/2 inches (137.2 x 102.9 cm) (sheet) P.P. 2/4 (aside from an edition of 100) Signed and editioned in pencil along lower edge Published by Lococo Fine Art, , St. Louis, Missouri Auction 8250 | Lot: 77040 Estimate: $10,000 - $15,000. Starting Bid: $5,000 Andy Warhol (1928-1987) Mick Jagger, 1975 Screenprint in colors on on Arches Aquarelle paper 43-3/4 x 29 inches (111.1 x 73.7 cm) (sheet) Ed. 33/250 (aside from 50 artist's proofs and 3 printer's proofs) Signed in ink lower right, editioned in pencil lower left; with Mick Jagger's signature lower left Published by Seabird Editions, London; with their ink stamp verso lower right Printed by Alexander Heinrici, New York Auction 8250 | Lot: 77043 Estimate: $80,000 - $120,000. Current Bid: $43,000 Andy Warhol (1928-1987) Mick Jagger, 1975 Screenprint in colors on Arches Aquarelle paper 43-3/4 x 29 inches (111.1 x 73.7 cm) (sheet) Ed. 37/250 (aside from 50 artist's proofs and 3 printer's proofs) Signed and editioned in pencil along lower edge; with Mick Jagger's signature lower center Published by Seabird Editions, London; with their ink stamp verso lower right Printed by Alexander Heinrici, New York Auction 8250 | Lot: 77044 Estimate: $60,000 - $80,000. Current Bid: $31,000 John Baldessari (1931-2020) Person with Guitar (Pink), 2005 Screenprint in colors on B.F.K. Rives paper cut and mounted on Sintra board, three-dimensional 34-3/4 x 41-3/4 inches (88.3 x 106.0 cm) (sheet) Ed. 15/45 (aside from 10 artist's proofs) Signed, editioned, and dated in white ink along lower edge Published and printed by Gemini G.E.L., Los Angeles Auction 8250 | Lot: 77045 Estimate: $10,000 - $15,000. Starting Bid: $5,000 Christian Marclay (b. 1955) Untitled, 1991 Relief print made with records on wove paper 39 x 38-3/4 inches (99.1 x 98.4 cm) (sheet) Ed. 3/8 Signed, editioned, and dated in pencil lower right Published and printed by Solo Press Inc., New York; with their blindstamp lower right Auction 8250 | Lot: 77046 Estimate: $8,000 - $12,000. Starting Bid: $4,000 Bid Now Time Left: 12 days Track Item Damien Hirst (b. 1965) Ala-Met, from 40 Woodcut Spots, 2011 Woodcut in colors on Somerset paper 31-1/2 x 25 inches (80.0 x 63.5 cm) (sheet) A.P. (aside from an edition of 55) Signed in pencil lower right, edition in pencil verso lower left Published by The Paragon Press, London Auction 8250 | Lot: 77047 Estimate: $7,000 - $9,000. Current Bid: $7,750 Bid Now Time Left: 12 days Track Item Damien Hirst (b. 1965) Dequalinium Chloride, 2016 Woodcut in colors on Somerset paper 34-1/2 x 42 inches (87.6 x 106.7 cm) (sheet) Ed. 10/55 Signed in pencil lower right, editioned in pencil verso lower left Published by Paragon Press, London Auction 8250 | Lot: 77048 Estimate: $25,000 - $35,000. Current Bid: $12,500 Bid Now Time Left: 12 days Track Item Harland Miller (b. 1964) Demons are Forever, 2024 Etching with relief print and hand-coloring on wove paper 49-1/4 x 33-1/2 inches (125.1 x 85.1 cm) (sight) Ed. 31/100 Signed in pencil lower right, editioned on verso Co-published by Manifold Editions & White Cube, London Auction 8250 | Lot: 77049 Estimate: $6,000 - $8,000. Starting Bid: $3,000 Bid Now Time Left: 12 days Track Item Lee Krasner (1908-1984) Free Space (Pink), 1975 Screenprint with collage on Arches paper 7-5/8 x 10-1/4 inches (19.5 x 26 cm) (sheet) Ed. XXXXIII/L (the deluxe edition, aside from an edition of 175 numbered with Arabic numerals) Signed and editioned in pencil lower center Published by Transworld Art, New York Printed by Chiron Press, New York Auction 8250 | Lot: 77050 Estimate: $5,000 - $7,000. Starting Bid: $2,500 Bid Now Time Left: 12 days Track Item Joan Mitchell (1926-1992) Trees IV (diptych), 1992 Lithograph in colors on B.F.K. Rives paper 57 x 41 inches (144.8 x 104.1 cm) (each sheet) Ed. 26/34 (aside from 8 artist's proofs) Signed, editioned, and dated in pencil lower right of right sheet Published and printed by Tyler Graphics, Ltd., Mount Kisco, New York; with their blindstamp lower right of right sheet Auction 8250 | Lot: 77051 Estimate: $40,000 - $60,000. Starting Bid: $20,000 Bid Now Time Left: 12 days Track Item Robert Motherwell (1915-1991) Mask (for Ingmar Bergman), 1989 Lithograph in colors on TGL handmade paper 52-1/2 x 42 inches (133.3 x 106.7 cm) (sheet) A.P. 16/16 (aside from an edition of 62) Signed and editioned in pencil lower center Tyler Graphics Ltd., Mount Kisco, New York; with their blindstamp lower right Auction 8250 | Lot: 77052 Estimate: $6,000 - $8,000. Starting Bid: $3,000 Bid Now Time Left: 12 days Track Item Nathan Joseph Roderick Oliveira (1928-2010) Orange County Nudes (complete portfolio, 14 works), 2003 Iris prints in colors on wove paper 13-3/4 x 17 inches (34.9 x 43.2 cm) (each sheet) Ed. 10/35 Signed, editioned, and dated in pencil along verso lower edge of each sheet Published by Trillium Graphics, Brisbane, California Auction 8250 | Lot: 77053 Estimate: $6,000 - $8,000. Starting Bid: $3,000 Bid Now Time Left: 12 days Track Item Gene Davis (1920-1985) Series 1 (complete portfolio, 6 works), 1969 Screenprints in colors on canvas laid on board, as issued 30 x 24 inches (76.2 x 61.0 cm) (largest) Ed. 19/150 Each signed and editioned in ink along verso lower edge (Total: 6 Items) Auction 8250 | Lot: 77054 Estimate: $10,000 - $15,000. Current Bid: $5,000 Bid Now Time Left: 12 days Track Item Pablo Picasso (1881-1973) Faunes et chèvre, 1959 Linocut in colors on Arches paper 20-3/4 x 25 inches (52.7 x 63.5 cm) (image) Ed. 26/50 (aside from 20 artist's proofs) Signed and editioned in pencil along lower edge Published by Galerie Louise Leiris, Paris Auction 8250 | Lot: 77060 Estimate: $40,000 - $60,000. Starting Bid: $20,000 Pablo Picasso (1881-1973) Minotaur, Buveur et Femmes, from La Suite Vollard, 1933, published 1939 Drypoint, etching on Montval laid paper with the Vollard watermark 13-1/2 x 17-1/2 inches (34.3 x 44.5 cm) (sheet) From the edition of 260 (aside from an edition of 50 with wider margins) Signed in pencil lower right Published by Ambroise Vollard, Paris Auction 8250 | Lot: 77061 Estimate: $12,000 - $18,000. Pablo Picasso (1881-1973) Picador et taureau, 1959 Linocut in colors on Arches paper 23 x 27 inches (58.4 x 68.6 cm) (sight) Ed. 22/50 Signed and editioned in pencil along lower edge Published by Galerie Louise Leiris, Paris Auction 8250 | Lot: 77064 Estimate: $20,000 - $30,000. Starting Bid: $10,000 Pablo Picasso (1881-1973) Raphael and the Fornarina II, from Série 347, 1968, published 1969 Etching on B.F.K. Rives paper 13-1/2 x 16-1/2 inches (34.3 x 41.9 cm) (sight) Ed. 33/50 Signed and editioned in pencil along lower edge Published by Galerie Louise Leiris, Paris Printed by Crommelynck, Paris Auction 8250 | Lot: 77074 Estimate: $10,000 - $15,000. Salvador Dalí (1904-1989) Drawers of Memory, 1965 Lithograph on B.F.K. Rives paper 24-3/4 x 37-3/4 inches (62.9 x 95.9 cm) (sheet) Ed. 117/150 (part of a tirage of 162, variously editioned) Signed and editioned in pencil along lower edge Published by Sidney V. Lucas, Phyllis Lucas Gallery and Old Print Center, New York; with their ink stamp lower left Printed by Hollander's Workshop Inc. New York Auction 8250 | Lot: 77075 Estimate: $5,000 - $7,000. Current Bid: $6,250 Salvador Dalí (1904-1989) Manhattan Skyline, 1976 Photolithograph with lithograph in colors on Japon paper 29-3/4 x 21-1/4 inches (75.6 x 54.0 cm) (sheet) E.A. (part of a tirage of 290, variously editioned) Signed and editioned in white pencil along lower edge Auction 8250 | Lot: 77076 Estimate: $12,000 - $18,000. Current Bid: $6,250 Bid Now Time Left: 12 days Track Item Faith Ringgold (1930-2024) Tar Beach 2, 1990 Quilted screenprint in colors on silk and cotton with pieced fabric borders 65-1/2 x 65-1/2 inches (166.4 x 166.4 cm) (overall) Ed. 16/24 (aside from 7 artist's proofs) Signed, editioned, and inscribed in ink lower right quadrant; additionally inscribed in ink on the reverse Quilted by Gail Fisher-Liebig, La Jolla, California Printed by The Fabric Workshop, Philadelphia Auction 8250 | Lot: 77077 Estimate: $100,000 - $150,000. Starting Bid: $50,000 Jacob Lawrence (1917-2000) Play, 1999 Screenprint in colors on Rising paper 22-7/8 x 32 inches (58.1 x 81.3 cm) (sheet) Ed. 108/135 (aside from 14 artist's proofs and 7 printer's proofs) Signed, editioned, titled, and dated in pencil along lower edge Published by Spradling-Ames Corporation in collaboration with the Hampton University Museum, Hampton, Virginia Printed by Lou Stovall Workshop, Inc., Washington D.C.; with their blindstamp lower left Auction 8250 | Lot: 77078 Estimate: $6,000 - $8,000. Current Bid: $3,400 Keith Haring (1958-1990) One Work, from Pop Shop III, 1989 Screenprint in colors on wove paper 13 x 16 inches (33.0 x 40.6 cm) (each sheet) Ed. 46/200 Signed, editioned, and dated in pencil lower right Published by Martin Lawrence Editions, Los Angeles Printed by Durham Press, Durham, Pennsylvania; with their blindstamp lower left Auction 8250 | Lot: 77082 Estimate: $15,000 - $25,000. Current Bid: $7,500