archivesofamericanart: Anatomy of a horse, according to Ray Johnson. Ray Johnson mail art to David Bourdon, not before 1962. David Bourdon papers, Archives of American Art, Smithsonian Institution. Ray Johnson is one of my heroes. I interned with his estate a few years ago and became very familiar with his mail art, library & personal photos from his childhood & beyond. 
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archivesofamericanart:

Anatomy of a horse, according to Ray Johnson.

Ray Johnson mail art to David Bourdon, not before 1962. David Bourdon papers, Archives of American Art, Smithsonian Institution.

Ray Johnson is one of my heroes. I interned with his estate a few years ago and became very familiar with his mail art, library & personal photos from his childhood & beyond. 

A gift to my mom from one of the teachers at work who trained with NASA & teaches classes on space with us. This patch went into  outer space with astronaut Nicole Scott in 2011! I wanted to be an astronaut when I was 4 or 5, until I realized that I am afraid of heights, and space is just a bit high up…
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A gift to my mom from one of the teachers at work who trained with NASA & teaches classes on space with us. This patch went into  outer space with astronaut Nicole Scott in 2011!

I wanted to be an astronaut when I was 4 or 5, until I realized that I am afraid of heights, and space is just a bit high up…

So, E.E. Cummings was a painter, too! Sale 2318 Lot 110 E. E. CUMMINGS Two studies of nudes. Woman with Downcast Eyes, oil on canvas. 310x230 mm; 12x9 1/8 inches * Landscape with Nudes, oil on card stock, 1940. 445x218 mm; 17 1/2x8 5/8 inches. Listed in Landmarks of Modern Literature and Thought: Superb Rare Books, Manuscripts and Art, Lame Duck Books, Boston, Catalogue number 2 copies of which are included with this lot. Ex-collection the artist’s estate, with the inventory numbers on the frame versos and with a letter from John Wronoski, Lame Duck Books, August 24, 2001. Estimate $1,200-1,800
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So, E.E. Cummings was a painter, too! Sale 2318 Lot 110 E. E. CUMMINGS Two studies of nudes. Woman with Downcast Eyes, oil on canvas. 310x230 mm; 12x9 1/8 inches * Landscape with Nudes, oil on card stock, 1940. 445x218 mm; 17 1/2x8 5/8 inches. Listed in Landmarks of Modern Literature and Thought: Superb Rare Books, Manuscripts and Art, Lame Duck Books, Boston, Catalogue number 2 copies of which are included with this lot. Ex-collection the artist’s estate, with the inventory numbers on the frame versos and with a letter from John Wronoski, Lame Duck Books, August 24, 2001. Estimate $1,200-1,800
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So, E.E. Cummings was a painter, too!

Sale 2318 Lot 110

E. E. CUMMINGS 
Two studies of nudes. 

Woman with Downcast Eyes, oil on canvas. 310x230 mm; 12x9 1/8 inches * Landscape with Nudes, oil on card stock, 1940. 445x218 mm; 17 1/2x8 5/8 inches. Listed in Landmarks of Modern Literature and Thought: Superb Rare Books, Manuscripts and Art, Lame Duck Books, Boston, Catalogue number 2 copies of which are included with this lot. Ex-collection the artist’s estate, with the inventory numbers on the frame versos and with a letter from John Wronoski, Lame Duck Books, August 24, 2001. 
Estimate $1,200-1,800

Lot 83 PAUL CADMUS Male Nude, NM 165. Color crayons on blue Strathmore paper toned with raw umber and white acrylic, 1981. 540x475 mm; 21 1/4x18 3/4 inches. Signed and inscribed “NM165” in crayon, lower left recto. Estimate $20,000-30,000 Lot 84 - PAUL CADMUSMale Nude, NM 199.  Color crayons on blue paper, 1986. 673x445 mm; 26 1/2x17 1/2 inches. Signed and inscribed “NM199” in crayon, lower right recto. Exhibited DC Moore Gallery, New York; Midtown Payson Galleries, New York; and Louis Newman Galleries, Beverly Hills, with the labels on the frame back. Estimate $20,000-30,000 Lot 85 PAUL CADMUS Male Nude, NM 276. Color crayons on pale bluish gray paper toned with old rose acrylic, 1996. 330x520 mm; 13x20 1/2 inches. Signed and inscribed “NM 276” in white crayon, lower right recto. Cadmus was in his early 90s when he made this series. One of his last, the evolution of his career culminates here as a master draftsman of the human form, specifically males. Paul’s opinion was not that men were more beautiful than women, but that men were more vain and knew how to pose better for longer. The Male Nude, NM series were of his long time lover, Jon Anderson, 32 years younger, whom he met in Nantucket in 1965, “NM” standing for “Nantucket Man.” “From 1965 onward, Paul Cadmus, in collaboration with Jon Anderson, explored all aspects of the male nude, combining a reserved but blissful eroticism with formal explorations of torsion and foreshortening in the context of innovative, often witty composition,” observes Justin Spring in his book Paul Cadmus: The Male Nude. “One of the most delightful aspects of the Anderson drawings is their variety. Cadmus was continually exploring and innovating even as he strove for formal perfection through his repeated drawings of the same model.” Cadmus and Anderson stayed lovers for the rest of Cadmus’ life, when he died in their home of 25 years together of old age, 5 days shy of his 95th birthday. Estimate $18,000-22,000
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Lot 83 PAUL CADMUS Male Nude, NM 165. Color crayons on blue Strathmore paper toned with raw umber and white acrylic, 1981. 540x475 mm; 21 1/4x18 3/4 inches. Signed and inscribed “NM165” in crayon, lower left recto. Estimate $20,000-30,000 Lot 84 - PAUL CADMUSMale Nude, NM 199.  Color crayons on blue paper, 1986. 673x445 mm; 26 1/2x17 1/2 inches. Signed and inscribed “NM199” in crayon, lower right recto. Exhibited DC Moore Gallery, New York; Midtown Payson Galleries, New York; and Louis Newman Galleries, Beverly Hills, with the labels on the frame back. Estimate $20,000-30,000 Lot 85 PAUL CADMUS Male Nude, NM 276. Color crayons on pale bluish gray paper toned with old rose acrylic, 1996. 330x520 mm; 13x20 1/2 inches. Signed and inscribed “NM 276” in white crayon, lower right recto. Cadmus was in his early 90s when he made this series. One of his last, the evolution of his career culminates here as a master draftsman of the human form, specifically males. Paul’s opinion was not that men were more beautiful than women, but that men were more vain and knew how to pose better for longer. The Male Nude, NM series were of his long time lover, Jon Anderson, 32 years younger, whom he met in Nantucket in 1965, “NM” standing for “Nantucket Man.” “From 1965 onward, Paul Cadmus, in collaboration with Jon Anderson, explored all aspects of the male nude, combining a reserved but blissful eroticism with formal explorations of torsion and foreshortening in the context of innovative, often witty composition,” observes Justin Spring in his book Paul Cadmus: The Male Nude. “One of the most delightful aspects of the Anderson drawings is their variety. Cadmus was continually exploring and innovating even as he strove for formal perfection through his repeated drawings of the same model.” Cadmus and Anderson stayed lovers for the rest of Cadmus’ life, when he died in their home of 25 years together of old age, 5 days shy of his 95th birthday. Estimate $18,000-22,000
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Lot 83 PAUL CADMUS Male Nude, NM 165. Color crayons on blue Strathmore paper toned with raw umber and white acrylic, 1981. 540x475 mm; 21 1/4x18 3/4 inches. Signed and inscribed “NM165” in crayon, lower left recto. Estimate $20,000-30,000 Lot 84 - PAUL CADMUSMale Nude, NM 199.  Color crayons on blue paper, 1986. 673x445 mm; 26 1/2x17 1/2 inches. Signed and inscribed “NM199” in crayon, lower right recto. Exhibited DC Moore Gallery, New York; Midtown Payson Galleries, New York; and Louis Newman Galleries, Beverly Hills, with the labels on the frame back. Estimate $20,000-30,000 Lot 85 PAUL CADMUS Male Nude, NM 276. Color crayons on pale bluish gray paper toned with old rose acrylic, 1996. 330x520 mm; 13x20 1/2 inches. Signed and inscribed “NM 276” in white crayon, lower right recto. Cadmus was in his early 90s when he made this series. One of his last, the evolution of his career culminates here as a master draftsman of the human form, specifically males. Paul’s opinion was not that men were more beautiful than women, but that men were more vain and knew how to pose better for longer. The Male Nude, NM series were of his long time lover, Jon Anderson, 32 years younger, whom he met in Nantucket in 1965, “NM” standing for “Nantucket Man.” “From 1965 onward, Paul Cadmus, in collaboration with Jon Anderson, explored all aspects of the male nude, combining a reserved but blissful eroticism with formal explorations of torsion and foreshortening in the context of innovative, often witty composition,” observes Justin Spring in his book Paul Cadmus: The Male Nude. “One of the most delightful aspects of the Anderson drawings is their variety. Cadmus was continually exploring and innovating even as he strove for formal perfection through his repeated drawings of the same model.” Cadmus and Anderson stayed lovers for the rest of Cadmus’ life, when he died in their home of 25 years together of old age, 5 days shy of his 95th birthday. Estimate $18,000-22,000
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Lot 83

PAUL CADMUS 
Male Nude, NM 165. 

Color crayons on blue Strathmore paper toned with raw umber and white acrylic, 1981. 540x475 mm; 21 1/4x18 3/4 inches. Signed and inscribed “NM165” in crayon, lower left recto. 
Estimate $20,000-30,000


Lot 84 - PAUL CADMUS
Male Nude, NM 199. 

Color crayons on blue paper, 1986. 673x445 mm; 26 1/2x17 1/2 inches. Signed and inscribed “NM199” in crayon, lower right recto. 

Exhibited DC Moore Gallery, New York; Midtown Payson Galleries, New York; and Louis Newman Galleries, Beverly Hills, with the labels on the frame back. 
Estimate $20,000-30,000

Lot 85

PAUL CADMUS 
Male Nude, NM 276. 

Color crayons on pale bluish gray paper toned with old rose acrylic, 1996. 330x520 mm; 13x20 1/2 inches. Signed and inscribed “NM 276” in white crayon, lower right recto. 

Cadmus was in his early 90s when he made this series. One of his last, the evolution of his career culminates here as a master draftsman of the human form, specifically males. Paul’s opinion was not that men were more beautiful than women, but that men were more vain and knew how to pose better for longer. The Male Nude, NM series were of his long time lover, Jon Anderson, 32 years younger, whom he met in Nantucket in 1965, “NM” standing for “Nantucket Man.” 

“From 1965 onward, Paul Cadmus, in collaboration with Jon Anderson, explored all aspects of the male nude, combining a reserved but blissful eroticism with formal explorations of torsion and foreshortening in the context of innovative, often witty composition,” observes Justin Spring in his book Paul Cadmus: The Male Nude. “One of the most delightful aspects of the Anderson drawings is their variety. Cadmus was continually exploring and innovating even as he strove for formal perfection through his repeated drawings of the same model.” Cadmus and Anderson stayed lovers for the rest of Cadmus’ life, when he died in their home of 25 years together of old age, 5 days shy of his 95th birthday. 
Estimate $18,000-22,000

Woe is me! In the upcoming of American art: Sale 2318 Lot 15 FRANK XAVIER LEYENDECKER Poetry and Music. Oil on artist’s board. 635x490 mm; 25x19 1/4 inches. Signed in oil on the cartouche, lower center recto. Estimate $8,000-12,000
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Woe is me!

In the upcoming of American art: Sale 2318 Lot 15

FRANK XAVIER LEYENDECKER 
Poetry and Music. 

Oil on artist’s board. 635x490 mm; 25x19 1/4 inches. Signed in oil on the cartouche, lower center recto. 
Estimate $8,000-12,000

This is the best thing. Alcatraz is missing out. Sale 2315 Lot 157 CLAES OLDENBURG Proposal for a Colossal Monument in the Form of a Typewriter Eraser for Alcatraz Island. Offset color lithograph on Arches, 1972. 790x610 mm; 31x24 inches (sheet), full margins. Artist’s proof, aside from the edition of 30. Signed and inscribed “AP 24/25” in pencil, lower margin. Published by Multiples, Inc., New York. A very good impression. Axsom 136. Estimate $3,000-5,000
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This is the best thing. Alcatraz is missing out.

Sale 2315 Lot 157

CLAES OLDENBURG 
Proposal for a Colossal Monument in the Form of a Typewriter Eraser for Alcatraz Island. 

Offset color lithograph on Arches, 1972. 790x610 mm; 31x24 inches (sheet), full margins. Artist’s proof, aside from the edition of 30. Signed and inscribed “AP 24/25” in pencil, lower margin. Published by Multiples, Inc., New York. A very good impression. Axsom 136. 
Estimate $3,000-5,000

Sale 2315 Lot 135 ROBERT INDIANA The Mother of Us All. Portfolio with complete text and set of 13 color lithographs, 1977. Each 457x356 mm; 18x14 inches, full margins. Each signed, dated and numbered 65/150 in pencil, lower margin. Printed by Mourlot, Paris. Published by Amiel, New York. Very good impressions with vibrant colors. Sheehan 96-108. Estimate $2,500-3,500
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Sale 2315 Lot 135 ROBERT INDIANA The Mother of Us All. Portfolio with complete text and set of 13 color lithographs, 1977. Each 457x356 mm; 18x14 inches, full margins. Each signed, dated and numbered 65/150 in pencil, lower margin. Printed by Mourlot, Paris. Published by Amiel, New York. Very good impressions with vibrant colors. Sheehan 96-108. Estimate $2,500-3,500
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Sale 2315 Lot 135 ROBERT INDIANA The Mother of Us All. Portfolio with complete text and set of 13 color lithographs, 1977. Each 457x356 mm; 18x14 inches, full margins. Each signed, dated and numbered 65/150 in pencil, lower margin. Printed by Mourlot, Paris. Published by Amiel, New York. Very good impressions with vibrant colors. Sheehan 96-108. Estimate $2,500-3,500
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Sale 2315 Lot 135 ROBERT INDIANA The Mother of Us All. Portfolio with complete text and set of 13 color lithographs, 1977. Each 457x356 mm; 18x14 inches, full margins. Each signed, dated and numbered 65/150 in pencil, lower margin. Printed by Mourlot, Paris. Published by Amiel, New York. Very good impressions with vibrant colors. Sheehan 96-108. Estimate $2,500-3,500
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Sale 2315 Lot 135

ROBERT INDIANA 
The Mother of Us All. 

Portfolio with complete text and set of 13 color lithographs, 1977. Each 457x356 mm; 18x14 inches, full margins. Each signed, dated and numbered 65/150 in pencil, lower margin. Printed by Mourlot, Paris. Published by Amiel, New York. Very good impressions with vibrant colors. Sheehan 96-108. 
Estimate $2,500-3,500

Another favorite from tomorrow’s auction. Love the juxtaposition of Classical architecture & Pop Art!  Sale 2315 Lot 128 ROY LICHTENSTEIN Temple. Offset color lithograph, 1964. 584x435 mm; 23x17 1/8 inches, full margins. Signed, dated and numbered 162/300 in pencil, lower right. Published by Leo Castelli Gallery, New York. A very good impression. Corlett 3. Estimate $6,000-9,000
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Another favorite from tomorrow’s auction. Love the juxtaposition of Classical architecture & Pop Art! 

Sale 2315 Lot 128

ROY LICHTENSTEIN 
Temple. 

Offset color lithograph, 1964. 584x435 mm; 23x17 1/8 inches, full margins. Signed, dated and numbered 162/300 in pencil, lower right. Published by Leo Castelli Gallery, New York. A very good impression. Corlett 3. 
Estimate $6,000-9,000

Great Warhol in tomorrow’s auction at Swann! Gotta love my job. Sale 2315 Lot 117A ANDY WARHOL Mao. Color screenprint on Beckett High White paper, 1972. 914x914 mm; 36x36 inches, full margins. Signed in ball-point pen and blue ink and numbered 59/250 with the ink stamp, verso. Printed by Styria Studio, Inc., New York, with the ink stamp verso. Published by Castelli Graphics and Multiples, Inc., New York. A brilliant, richly-inked impression with vibrant, fresh colors. Warhol created the 10 different color screenprint portraits of Chinese Chairman Mao Zedong (1893-1976) following Richard Nixon’s historic visit in China in 1972. He addressed the cult of personality surrounding China’s renowned Premier using his signature portrait style previously reserved for mass-produced consumer products and Hollywood film stars. Famously blending the propaganda utilized to render modern totalitarian rulers and the liveliness of American, western media, these garishly colored, graffiti-like portraits of Mao helped propel Warhol toward international Pop icon status. Feldman 90. Estimate $30,000-50,000
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Great Warhol in tomorrow’s auction at Swann! Gotta love my job.

Sale 2315 Lot 117A

ANDY WARHOL 
Mao. 

Color screenprint on Beckett High White paper, 1972. 914x914 mm; 36x36 inches, full margins. Signed in ball-point pen and blue ink and numbered 59/250 with the ink stamp, verso. Printed by Styria Studio, Inc., New York, with the ink stamp verso. Published by Castelli Graphics and Multiples, Inc., New York. A brilliant, richly-inked impression with vibrant, fresh colors. 

Warhol created the 10 different color screenprint portraits of Chinese Chairman Mao Zedong (1893-1976) following Richard Nixon’s historic visit in China in 1972. He addressed the cult of personality surrounding China’s renowned Premier using his signature portrait style previously reserved for mass-produced consumer products and Hollywood film stars. Famously blending the propaganda utilized to render modern totalitarian rulers and the liveliness of American, western media, these garishly colored, graffiti-like portraits of Mao helped propel Warhol toward international Pop icon status. Feldman 90. 
Estimate $30,000-50,000