Sell or Auction Your David Hockney Signed Paper Pools of 1000 for up to Nearly $45,000 or More at Nate D. Sanders Auctions
FREE VALUATION. To buy, auction, sell or consign your David Hockney signed Paper Pools of 1000 that is for sale, please email your description and photos to [email protected] of Nate D. Sanders Auctions (http://www.NateDSanders.com).
Sell Your David Hockney Signed Paper Pools of 1000
Below is a recent realized price for a David Hockney signed copy of Paper Pools, one of 1000 copies. We at Nate D. Sanders Auctions can obtain up to this amount or more for you:
David Hockney Signed Paper Pools of 1000. Sold for Nearly $45,000.
Here are some related items we have sold:
Artist David Hockney Signed Book — ”That’s the way I see it”
David Hockney signed first edition of ”That’s the way I see it”, published by Thames and Hudson: London: 1993. The British multi-media artist inscribes the title page ”for Frank / love david” in giant script. Coffee table book showcases his wildly diverse achievements in stage design, art and photography in 365 full-color images. 248pp. are bound in blue cloth boards with gilt lettering and yellow print design. Features pictorial endpapers. Measures 9” x 10.75”. Fine. Shallow scratching to dustjacket, else fine.
Andy Warhol 1965 Red ”Liz” Lithograph — Limited to Approximately 300
Andy Warhol lithograph of Hollywood superstar, Elizabeth Taylor. Made with acrylic and silkscreen ink on canvas and limited to approximately 300. Warhol signs and dates the piece at lower right in black pen, ”Andy Warhol 65”. Simply titled ”Liz”, this red version is part of a series with different background colors. Warhol began his Taylor paintings in 1963 and used a publicity photo for the film ”Butterfield 8” as his source. Measures 22” x 22”. Matted and framed, measures 29” x 29”. Not examined out of the frame, but viewable portion is near fine. Sold for $42,250.
Jasper Johns ”Between the Clock and the Bed” Lithograph
Jasper Johns lithograph entitled ”Between the Clock and the Bed”, printed in colors in 1989. Signed by Johns in pencil, dated and numbered 21/32, apart from the 11 artist’s proofs. Printed on HMP paper with Friends of the Philadelphia Museum watermark, and publisher’s blindstamp of ULAE (245) of West Islip, New York. Image measures 33.75” x 19.5”, framed to 51.5” x 39.25”. In very good condition with a few very small spots of foxing in margin and minor buckling, overall in very good condition. Sold for $18,000.
Massive archive from Thomas Hart Benton, including autograph letters, an artistic sketch and personal, handwritten notes about 81 of his lithographs. Archive also contains Benton’s will, as well as drafts and pre-publication material related to the catalogue raisonne, ”The Lithographs of Thomas Hart Benton.” Throughout his career, Benton produced 95 lithographs, many made to be sold in limited editions during the 1930’s, with the purpose of making art accessible to regular people. Of these and others, Benton handwrites the story of each lithograph, describing in moving detail the inspiration behind his subjects — the people and landscapes of America. Of the lithograph ”Instruction,” which shows an African-American man reading to a young boy, Benton handwrites: ”A painting of this was made in 1940 directly from life. One of my students at the K.C. Art Institute found the man selling snake medicine…He caught rattle snakes and let them rot and ferment in gallon jars and sold the result as an aphrodisiac. He was also a preacher…this picture shows him telling about the Bible…” Of the lithograph ”Down the River,” Benton writes, ”A scene on the White River in the Ozarks. Drawings for it were made in 1939 while on a float trip down the river. The area presented is now under seventy-five feet of water due to the construction of Bull Shoals dam…such scenes are still common…Twice yearly, Spring and Autumn, I have floated these rivers for many years, fishing, camping…watching the river banks go by. The boy in the picture is my son T.P. Benton.” For the lithograph entitled ”Lonesome Road,” Benton recalls, ”…in 1926…I took a train to Little Rock…out of the window I saw this negro with his donkey cart on the hot dusty road…” Benton also comments on the popular lithos he created of the characters in ”Grapes of Wrath,” including Ma and Pa Joad, and ”Departure of the Joads.” In a poignant description of ”Morning Train,” Benton writes, ”Soldier leaving a small plains town. This litho was also called ‘Going West’ which in soldiers argot meant going to die…” Of Benton’s very first lithograph ”The Station,” he writes, ”First lithograph…in 1926 I made a trip in a Model T Ford from Springfield, MO to Taos NM, stopping on the way at the new oil towns of the Texas, panhandle.” Benton writes vividly to describe ”Fire in the Barn Yard”: ”This picture was made from a memory of my childhood. My grandfather ‘Pappy’ Wise had a cotton farm a few miles, 5 or 6, out of Waxahachie, Texas and one night when I was about 7 or 8 yrs old a giant light appeared in the sky. It was so great that speculation about the end of the world was bruited about among the grown folks at the farm. As it turned out a straw stack had caught fire on an adjoining farm…such things are immensely impressive to young’uns.” In addition to handwritten notes by Benton referencing 81 of his lithographs (each on a 8.5” x 11” sheet, most with pictures of the lithograph), there are copious autograph notes by Benton answering questions about his lithographs (”damned if I know” Benton writes about the titling of one piece), and ten autograph letters signed by Benton (with an additional ANS). Letters range in date from 1964 to 1973, all regarding the catalogue raisonne. Letter dated 16 May 1966 reads in part, ”…You might have a note at the end of your catalogue, or maybe in your foreword, saying that Benton made a number of experimental lithographs which were not circulated and which are not obtainable or even in some cases recorded…Thomas H. Benton”. In a 25 January 1968 letter, Benton draws a sketch of his lower body that he injured in the Bahamas and writes, ”…one 3” cut in my right leg, (7 stitches,) one knocked in rib due to a clumsy guy who got catapulted into my chest when the boom of the mainsail came around on a wind shift, one $80 loss at poker, one prolonged drunk to sustain above injuries…you know how these tropical s.o.b.’s clear land with a machete. [He then draws a stump and himself] Small stump. Dried out. Sharp as a razor. Me walking in the brush. Stump up pant’s leg. Tripped up – fell down. Stump performed neat operation on the fore muscle of my right leg below knee.” Much more content throughout the letters, showcasing Benton’s dry wit, such as ”I finally got to a satisfactory end with my legal problems, they will be signed, witnessed and damned before the dark of this day.” He also writes in a 16 March 1970 letter, ”…I have turned sculptor this winter – working on a complicated football action in wax for a bronze casting. What with the recalcitrant medium – wax is tough, hard and contrary, – I haven’t done anything else…one other thing. I have finally got a will contrived…” Copies of both Benton and his wife’s Last Will & Testament are included in this archive. The last portion of the archive that contains handwritten notes by Benton consists of two parts: edits to the draft of the catalogue raisonne and answers in response to questions by Creekmore Fath, the book’s author. In over 50 pages, Benton sheds light upon his creative process and previously unknown works, including one entitled ”Hoeing Cotton.” Of the painting associated with the lithograph ”Island Hay,” Benton writes, ”A very small painting, but one of my best.” He writes that he first got interested in lithography in 1929 when he made a ”small litho of ‘The Station’ – called ‘Okalahoma”’ and that ”George Miller did all my printing. While I lived in New York (up to Spring of 1935 most lithographs were done in George’s studio on East 14th St…George knew the kind of light and shade contrasts I wanted.” Completing the archive is a signed copy by Benton of ”The Lithographs of Thomas Hart Benton” as well as hundreds of pages of notes and drafts by the author, with additional content from Benton that did not make it into the book. Also included are eleven 9” x 12” lithograph copies on print-weight paper; a 1954 Art Museum of New Britain, Connecticut book of Benton’s work; and approximately 13 letters by Benton’s wife and daughter, Rita and Jessie. All items in generally very good condition and quite legible. An exceptional archive of material related to the body of work of one of America’s greatest artists. Sold for $17,365.
Pablo Picasso Signed “Modele nu et Sculptures” Etching
Pablo Picasso “Modele nu et Sculptures” etching, signed by Picasso in pencil on the lower margin. Created in May 1933 in Paris, etching is plate 72 of the desirable Vollard Suite, a set of neoclassical etchings commissioned by dealer Ambroise Vollard. From an edition of 250, on Montval laid paper with the Galatea watermark just underneath Picasso’s signature. Paper measures 15.25″ x 19.75″, framed to 24.25″ x 28″. In very good to near fine condition with two imperceptible spots of foxing at edge of image. Catalog raisonne reference: Bloch 185 and Baer 344. Sold for $11,550.
Incredible journal and sketchbook by comic pioneer Sheldon Mayer at the dawn of the Golden Age of Comics, from 1935-1937 when Mayer was working at companies that would ultimately become DC Comics, while also hustling to market his own strips like ”Scribbly” which he joyously recounts selling in this book. Journal is trademarked ”The Scribble-in Book”, giving clarity to the inspiration behind Mayer’s first commercial success with ”Scribbly the Boy Cartoonist”, and is also titled on the front cover by Mayer ”Sketch Book and Worthless Observations of Yours Trooly / 1935” with a self-portrait. The very first page is also a self-portrait of Mayer at his drawing table, signed ”Sheldon Mayer” at bottom and dated ”June – ’35” with ”Scribble In Book” written at top.
The first part of the book is mostly sketches (many with amusing captions), including characters for his very first published comic strips, ”The Strange Adventures of Mr. Weed” and ”J. Worthington Blimp, Esq.”, with sketches actually titled ”Mr. Weed” and ”Mr. Blimp”. Other sketches are titled ”Us Humans”, ”Jupiter Jones”, ”Every Thing’s Jake” and a character named Herbie, often portrayed by Mayer in period costume from the 1800s. There are also many self-portraits throughout the book to complement the journal writing of his life. In addition to the sketches, Mayer often writes jokes, perhaps testing out gag cartoons, such as ”thumbing his nose” at Hitler across the Atlantic Ocean, and a playful commentary about women vs. men in politics and who talks more, and a woman in the White House. There are also two photos of Mayer with his girlfriend Addie tucked into the journal.
As a young man of about 18, some of the diary content is about girls and his social life, but a large portion of the writing is about his struggles and success as a young cartoonist, who especially thrived at McClure working under Max Gaines, beginning in 1936. Earlier, on 20 August 1935 he writes about selling his first comic strips, ”Sold Mr. Weed and what will now be called J. Worthington Blimp to a dinky comic magazine outfit [”New Comics”]. Won’t get much or anything for it for a while – but what the hell – it’s a start.” He then writes of working in a factory (”the place is full of morons. Well – maybe that’s where I belong”) before being fired from the job shortly after getting into a fight. Next to a self-portrait drawing where’s he’s comically punching himself, he writes, ”Out of a job again! Back to plodding the streets – the old portfolio under my arm and fancied approval of its contents by those crotchety old editors in my mind. But it’s all fake – what the hell is the use? Sure – praise comes from all sides – ‘Great stuff, m’boy. Wonderful – you’ve got a great future.’ Yeah but what about the present? ‘Well-I’ll tell you – we’re not in line for anything like this now – too much money involved. Come back in the spring – good day, Mr. Mayer!’ Down the elevator again. That damn car doesn’t sink half as fast as my heart is sinking now.”
His luck turned in 1936, with his entry of 1 March reading, ”Two months have gone by since New Years day – Today is March 1st – I have been working in the capacity of artist for the McClure Newspaper Syndicate since January 15 or there abouts. It is not a permanent job however and may terminate at anytime. The ole mag is bringing in some steady dough and although I’m tired as hell (working day and night) – I’m riding on the crest of a wave.” And then, triumphantly, on 5 April he writes, ”Sold a new strip – ‘Scribbly’ about a kid who wants to grow up and be a cartoonist – to McClure. They’re using it for a new comic magazine – ‘Popular Comics’ – Can you imagine my stuff in the same book with ‘Terry & the Pirates,’ ‘Dick Tracy,’ ‘Smitty’, etc.? Gee, I hope it can stand up! I gave Bill Cook the air – My new boss (God bless him) may use ‘Mr. Weed’ and ‘Blimp!”’. Mayer then follows up on 2 May with a charming self-portrait holding a balloon with the caption, ”Still working – Hurray! I never felt so happy, and ambitious in my life – gee – I hope nobody sticks a pin in my balloon-”
He mentions his boss, the famous Max Gaines, on 29 June 1936, ”Here it is about July – I’m still working – Every day my job seems to become more responsible. That is I am learning to be more useful to Mr. Gaines! (My boss) – I’m very busy and very happy”, and on 1 September he writes about moving into a new apartment and continued success at work, ”People are beginning to notice my stuff too – Several artists, men much older than myself, and with scrap books thirty times heavier than mine, have sought my company, and have openly confessed that ‘Scribbly’ is a piece of work worthy of some note – Some of them, (those with inferiority complexes, probably) have not only admitted but insisted that they wished they had done it – Whoopee – I hope this lasts! I love it!!!”. On 30 October he writes cryptically, ”Spent last Sunday with Mr. Gaines – big doings coming up – very busy – will go into detail after the story breaks.”
at 2:45 in the morning on 16 May 1937, Mayer writes in a worried state about being sued by his former boss, Ving Fuller, for libel: ”Now I must be a big shot – I have a real lawsuit on my hands – Ving Fuller, my old boss – the guy who taught me all I know about cartooning, and whom I used as a character in my strip ‘Scribbly’ – because I thought he’d get a big kick out of it, is suing the publishers, and me, for libel! I’m going nuts! Hereafter, if I have to use characters from real life, I’m going to disguise them so that no one will recognize them!…In the meantime, all the work I have done on Scribbly for the next three issues on the magazine, has to be scrapped & done over again, leaving out Ving, who is an important character. – I am starting a brand new continuity, and will probably be up all night for the next two months or so.” Fortunately, however, it all worked out with Fuller, as Mayer writes on 3 June, ”Gave Ving $100 – He won’t sue”.
Mayer mentions ghosting a comic strip in a 5 September entry (probably George Storm’s ”Bobby Thatcher”), ”Am now ghosting a big time comic strip – appearing in newspapers thruout country – Working at home in my studio – like a real cartoonist – [Richard H.] Waldo – Big Boss – has finally noticed me – I’ve got to make good – Pretty tough sledding ghosting a strip – Lost 5 customers already!”, before sadly recounting that he lost his job on 16 October 1937, though keeping in good spirits knowing that his future as a 20-year old cartoonist was optimistic: ”No more comic strip – back at old job – working hard again – Feeling pretty good – Lone wolf again – No more girl friend – No more malted milk – No more nothin’ – Still feelin’ pretty good – End of Chapter 4 definitely!”
Journal measures 5″ x 7″, with most entries completed in pencil, and a few sketches in pen. There’s also an additional watercolor sketch by Walter Galli tucked into the book. Backstrip is absent, with rear board detached and front board partially detached. Interior of book is well-preserved with most pages intact, although paper is slightly toned and brittle. A very personal and candid journal by comic icon Sheldon Mayer transporting the reader back to the early days of cartooning. From the Sheldon Mayer estate. Sold for $9,279.
Andy Warhol Large Signed Poster of Marilyn Monroe
Andy Warhol signed poster from his acclaimed show at the Tate Gallery in London in 1971, depicting one of his famous images of Marilyn Monroe. The pop artist gained worldwide notoriety for his legendary Marilyn diptych recreations, with reproductions of various colors of this same silk-screened image hanging in museums around the world. Warhol signs in black marker to the bottom right of the commemorative poster from the show, which ran from 17 February through 28 March 1971. Measures 20” x 30”. Faint tape stains to top. Very good plus. Sold for $8,319.
Tom Wesselmann’s “Judy on a Blue Blanket” Dedication Proof Screenprint
One of the most important figures in contemporary & pop art, Tom Wesselmann’s “Judy on a Blue Blanket”, created in 2000. Dedication Proof screenprint in colors, on museum board, is signed by Wesselmann in pencil and numbered “DP VI/XII”. From an edition of 75 done for a fundraiser for the Lincoln Center for Performing Arts. Published by Cooper Square Prints, New York. Measures 40″ x 30″. Near fine condition. Sold for $6,000.
Andy Warhol Twice-Signed Iconic Campbell’s Soup Can
Andy Warhol signed Campbell’s soup can, made famous by Warhol with his 1962 artwork ”Campbell’s Soup Cans”. The pop artist signs ”Andy Warhol” in black felt tip on the tomato soup label, as well as ”Andy” on the metal top of the can. Accompanied by an LOA from Daniel J. Elmergreen, caretaker in the 1980s for art patron Frank Weinstein’s home, where this can originates. In the LOA, Elmergreen writes that Warhol would often go into the cupboards of his friends’ homes to sign ”iconic brands”. Can measures 4” tall and 2.625” in diameter. Bottom lid has hole punctured, so can is empty. Rusting to metal and some discoloration to label, which is still firmly attached to the can. Overall in very good condition, rare as twice-signed and with provenance attesting to the personal nature of signatures. Sold for $3,750.
Andy Warhol Signed Lithograph
1982 Andy Warhol signed and numbered “1851/2000” multi-color lithograph “Committee 2000.” Printed on museum board. Professionally mounted, matted. Gold metal frame. Measures 30″ x 40″ in frame; 20″ x 30″ without. A great image from the iconic Pop artist’s body of work. Purchased on April 14, 2006 for the price of $3,972.19 Detailed proof of purchase to follow via mail An excellent Andy Warhol signed lithograph. Sold for $3,675.
Andy Warhol Gold Limited Edition Book “Exposures”
Rare leather-bound Gold Collector’s Edition of Andy Warhol’s portrait book, “Exposures.” Numbered 12/1000. Warhol signs in pencil “Andy Warhol” on limited edition page. Grosset & Dunlap: New York: 1979. Black leather-bound book includes gilt “Andy Warhol” lettering to front cover and measures 9.5″ x 11.5″. Book includes original COA from Grosset & Dunlap and the black paper cover with gold seal. Additional signed print is not included. Book is in fine condition and protective cover is in very good condition. Sold for $2,500.
Pablo Picasso Signed 14.75” x 22.5 Poster — 1961
Pablo Picasso signed anniversary poster. In bold orange crayon, the artist’s intriguing autograph dedication appears on the upper right in French, ”For George / [one illegible word] / Your / Friend / Picasso / The / 11. / 11. / 61.” Poster is a large print of the front page of the ”Le Patriote de Nice Et Du Sud-Est” periodical, dated 25 October 1961. Headline reads, ”A tes 20 ans, Pablo!”. Measures 14.75” x 22.5”. Mounted and framed to an overall size of 24” x 31”. Toning and creasing, overall very good. Sold for $2,342.
Pablo Picasso Autograph From 1916 — With University Archives COA
Pablo Picasso autograph, signed in Paris on 27 June 1916. In fountain pen, Picasso signs a page of an autograph album for his friend, the film director Harry Lachman, “Picasso 27 Juin 1916 / Paris”. Page measures 5.5″ x 7.25″, also signed by opera singer Marguerite Beriza on verso. Mild uniform toning, overall very good condition. With University Archives COA. Sold for $1,730.
Pablo Picasso Signed Photo — Beckett Encapsulated
Pablo Picasso photo of himself, signed upon the verso ”Picasso”. Glossy photo measures 4.5” x 6.25”, encapsulated by Beckett to a size of 6” x 9”. Minimal creasing, very good plus condition. Sold for $1,664.
Lovely tree and arbor drawing by artist Walt Kuhn, signed and inscribed by him to Mary MacArthur, daughter of Helen Hayes and Charles MacArthur. Celebrated as a skilled cartoonist and painter, Kuhn used green and black pens to draw this nature scene on the blank page of a book. Reads in full ”Dear Mary / Never trust a man / who paints pictures / Walt Kuhn / 1931”. On the verso, screenwriting legend Ben Hecht, who wrote ”The Front Page” with Charles MacArthur, also writes to Mary: ”Mary when you’re twenty three / On that sad day I reflect / You won’t think of marrying me – / Poor bald doddering Bennie Hecht”. Page measures 7” x 8.25”. Near fine. Sold for $1,250.
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