Contemporary Art Evening Sale NY

PART I Con temporary Art 13

MAY

2 010

NEW YORK

13

PART I Con temporary Art MAY

2 0 10

7p m

NE W YO RK

Lots 10 0 -152 Viewing Saturday 1 May, 10am-6pm Sunday 2 May, 12pm - 6pm Monday 3 May, 10am-6pm Tuesday 4 May, 10am-6pm Wednesday 5 May, 10am-6pm Thursday 6 May, 10am-6pm Friday 7 May, 10am-6pm Saturday 8 May, 10am-6pm Sunday 9 May, 12pm-6pm Front Cover Urs Fischer, The Grass Munchers, 2007, Lot 104 Inside Front Cover Richard Prince, Oh Henry, 2003, Lot 113 (detail) Title Page Barnaby Furnas, Duel (July 4th), 2004, Lot 115 (detail) Inside Back Cover Mark Bradford, All I Need is “One” More Chance, 2002 Lot 108 (detail) Back Cover Jean-Michel Basquiat, Rubber, 1984, Lot 116

Monday 10 May, 10am-6pm Tuesday 11 May, 10am-6pm Wednesday 12 May, 10am-6pm Thursday 13 May, 10-12pm

101 KELLEY WALKER

b. 1969

Untitled, 2007 Gold leaf on laser cut steel. Diameter: 58 in. (147.3 cm).

Estimate $70,000-90,000 Provenance Paula Cooper Gallery, New York

Kelley Walker’s retooled recycling logo is an impressive example of self-reflexivity in art-making. In a cyclical chain of associations the image refers to its own lack of originality as a pre-existing emblem of ‘recycling,’ to the conventionality of the artistic strategy of appropriation itself as one continually ‘recycled’, and to the feedback loop of its own self-consciousness.

E. Palmerton, “Grey Flags,” Frieze, October 2006 Referencing both Warhol’s antagonism and American commercialism, Kelley Walker’s diverse body of work challenges conventions of fine art. Politicizing imagery, questioning traditions of materials, and manipulating symbols, Walker encourages viewers to engage his works with a critical lens toward American corruption. The present lot exemplifies this function by addressing our relationship with iconic symbolism such as the recycling stamp. Cut from steel and pressed with gold leaf, the sculpture is a gilded reminder of America’s waste and the ubiquity of images that allude to its struggle.

102 George Condo b. 1957 Young Woman with Pearl Necklace, 2005 Bronze. 19 1/2 x 12 x 9 in. (50 x 31 x 22 cm). Signed, dated “Condo 05” numbered, stamped by the foundry on the reverse. This work is an artist’s proof from an edition of four plus two artist’s proofs and is accompanied by a certificate of authenticity.

Estimate $120,000-180,000 Provenance Luhring Augustine, New York Exhibited New York, Skarstedt Fine Art, George Condo: New Sculptures, May 5 – June 10, 2005 Literature G. Condo, George Condo, Existential Portraits: Sculpture, Drawings, Paintings

2005/2006, Berlin, 2006, pp. 44, 134 (illustrated)

George Condo’s harrowed sculptural portraits are predicated on the artist’s sordid instinct toward satire and his love for the malleability of the materials he uses. His gilded bronze busts, such as the present lot, are grotesque distortions of human forms, dripping mismatched features on obscene, nebulous faces. Lurid and gorgeous, they speak to sensuality and impurity, exhibiting Condo’s playful view of humanity with gritty, globular deformations. Exemplary of Condo’s sculptures, the present lot displays the influence of Cubism on his oeuvre—the work is as much about the passage of time as it is about women. Baconesque and Surreal, the smeared, lopsided face of a woman is disjointed by her large, drooping mouth and mismatched eyes. Lumpy pearls—an attempt at feminine beauty—rest on her single breast, while her rope-like short hair flops above gigantic, protruding ears.

George Condo’s women are erotic but essential portraits, often nude, and reveling in a soulful femininity. Demystified by their exaggerated expressions and corrupted by their shocking fleshiness, the works at once exude vulgarity and warmth.

103 RUDOLF STINGEL

b. 1956

Untitled (Plan B), 2008 Oil and enamel on linen. 95 x 76 in. (241.3 x 193 cm). Signed “Stingel 2008” on the reverse.

Estimate $300,000-400,000 Provenance Paula Cooper Gallery, New York

Throughout the last seven centuries, moments of profound change have been articulated aesthetically through ruptures in the illusionistic space of painting and its relationship to architectural space. In Rudolf stingel’s work, the parameters of painting and architecture are turned inside out. The traditional qualities of painting—pictorialism, flatness illusion, composition, autonomy—become corrupted by a new symbolic framework, in which painting metamorphoses— sometimes literally, sometimes through association—into a fragment of rococo wallpaper or stucco wall, a mirrored floor, a thick rectangle of Styrofoam trampled by footprints, an oversized photograph, or a dirty carpet. Stingel’s dislocation produces a disturbing sense of artifice—an un-natural state that, in the nineteenth century, was deemed decadent and morally suspect.

C. Iles, “Surface Tension,” Rudolf Stingel, Chicago, 2007 With stunning gilded polish, the present lot references Stingel’s earlier project Plan B, 2004, a two-pronged installation in which the artist used an industrially manufactured carpet with a standard floral design, but in the striking colors of electric blue roses on a hot pink background, to cover the Beaux-Arts hall in New York’s Grand Central Station and also the lobby and outdoor plaza of the Walker Art Center, Minneapolis. Stingel’s signature engagement with the parameters of painting were carried out in Plan B to essentially make the plane of the ground a painting, and here in the present lot he brings that ground back on to the wall again. The illusionistic rendering of the carpet pattern receding in space plays against the flatness of Stingel’s iconic gold to create a painting brilliant in both concept and beauty.

O

104 URS FISCHER

b. 1973

The Grass Munchers, 2007 Cast aluminum, pigments and wax. 22 x 24 3/8 x 17 3/8 in. (56 x 62 x 44 cm).

This work is from an edition of two plus one artist’s proof.

Estimate $400,000-600,000 Provenance Galerie Eva Presenhuber, Zurich EXHIBITED Zurich, Galerie Eva Presenhuber, Urs Fischer: Large, Dark & Empty, September 8,

2007 - November 17, 2007 (another example exhibited) LITERATURE V. Knoll, “Urs Fischer at Eva Presenhuber,” ArtForum, New York, December 2007, p. 368;

B. Curiger, M. Gioni and J. Morgan, Urs Fischer: Shovel in a Hole, New York, 2009, p. 383 (illustrated)

Urs Fischer is an artist who comes to grips with things in a radical manner.

If artists are equipped with the ability to make us experience the world in new ways and see it differently, then Fischer achieves this by digging into reality with particularly large claws.

B. Curiger, “Spaces Generated by Vision or Basements Save Windows,” Urs Fischer: Shovel in a Hole, New York, 2009, p. 12

Urs Fischer’s rich and varied body of work tackles grand themes such as creative struggle, the brevity of life, and questioning the given experience around us with particular wit and clarity while simultaneously mastering the formal issues of materiality, mass, classic form, and equilibrium. His works can be comprised of massive gestures or, as in the present lot, extraordinary fragility and nuance. Fischer’s subjects tend to be of the everyday­— the bodies, objects, and architecture we interact with daily and may take for Bruce Nauman, Henry Moore Bound to Fail (Back View), 1967-70

granted—and he recomposes them in a way which provides a startling new

© 2010 Bruce Nauman / Artists Rights Society (ARS), New York

perspective.

The present lot titled The Grass Munchers is an aluminum cast of the artist’s arms and hands with three wax casts of hands grasping on to his figure in gestures that seem to either support or pull him in different directions.

“Hands, a traditional motif in the history of art and a frequent element in Fischer's oeuvre, appear in The Grass Munchers: a cast aluminum fragment of the artist's shoulders, arms, and hands is held, or pulled, by the wax casts of three hands. Depending on how one reads the work, the hands either carry the artist or simply grasp him in a stable relationship of reciprocal support,” (V. Knoll, “Urs Fischer at Eva Presenhuber,” ArtForum, New York, December 2007, p. 368).

The present lot with the classic subject of the human body handled with intense realism and heavy symbolism echoes classic art historical concerns, but is handled in a way that is uniquely Urs Fischer.

There are no limits to Fischer’s perceptions and psychological penetration of our contemporary soul. His delight in acquiring knowledge via the senses can only be described as Baroque, focusing on reality throughout the 360 degrees of its compass. Large numbers of vanitas symbols, candles really burning, and vegetables actually rotting combine with horror and trash symbolism inspired by heavy metal and references to the work of Martin Kippenberger to address the widespread cultural phenomenon of pleasure in angst, the secret delight in terror. […] but unlike the German artist [Kippenberger], Fischer never provokes merely for the sake of provoking. In the morass of adolescent taste Fischer discovers possibilities for expanding art’s frame of reference, recognizing a rich and vital vein of imaginative potential. The imagination is the agent of Fischer’s realism and symbolism. […] His work reinstates the realistic and symbolic with compelling force—and at the cutting edge of current developments.

B. Curiger 2009, p. 16

Urs Fischer, What if the Phone Rings, 2003

In The Grass Munchers, Urs Fischer elegantly renders a fraction of the human body to great psychological effect. The reduction of the body to the hands distills the essence of the gesture, and brings our attention to the expressive quality of the hands—long a subject for artistic exploration and a particularly key image for Urs Fischer whose body of work has long referenced the body.

“Fischer’s artistic practice is broad-based, far-reaching, sharply focused, raw clever and disarming. He applies a scalpel to the tissues of the exhibition world and indulges his love of anatomy, both real and symbolic. His early

Detail of the present lot

drawings already show him dissecting bodies, revealing skeletons, brains, intestines, and genitals, as well as showing fingers cut off and reattached incorrectly,” (B. Curiger, paces Generated by Vision or Basements Save Windows,” Urs Fischer: Shovel in a Hole, New York, 2009, p. 15). The body and its potential for containing meaning have proven to be an inexhaustible source of inspiration for the artist to this day.

When flesh is still attached to bone in Fischer’s work, the body is placed under attack: it is melting, fractured, decapitated, and penetrated. Fischer’s bodies, despite (or perhaps because of) this incompletion and decay are contemporary, sexually charged fragments and capture in their pose the artist’s eye for the poignant brevity of an everyday gesture or the familiarity of an intuitive placement of arms or legs. With his various disembodied heads, arms, feet, and hands, as well as the extraordinary melting wax females, Fischer plunders the art historical trope of the partial figure, updating the legacy for our own time.

J. Morgan, “If You Build Your House on a Bed of Rotting Vegetables,” Urs Fischer: Shovel in a Hole, New York, 2009, p. 46 Fischer’s contemporary take on realism and the formal qualities of this sculpture reference a wealth of brilliant moments in art history—from classical Greek sculpture up to Robert Gober’s contemporary fragmented legs. “Fischer incorporates finely orchestrated allusions to other artists and art into his works. Indeed at times his works seem to overflow with such references, as though the artist wished to test the Pavlovian responses of his audience. The references are shadowy conjurings rather than visual quotations or appropriations—a kind of momentary trompe l’oiel. Fischer has ranged widely in this regard. He has evoked Bruce Nauman in such sculptural elements as heads, hands, and a multitude of feet and has combined them with references to the loneliness of life in the studio,” (B. Curiger 2009, p. 13-14).

Jean-Michel Basquiat, Untitled (Hand Anatomy), 1982 © 2010 The Estate of Jean-Michel Basquiat / ADAGP, Paris / ARS, New York

Fischer is openly indebted to a wide array of historical sources ranging from the centuries-old tradition of nature morte, the nineteenth-century sculptural trope of the partial figure, aspects of Surrealism, and even an engagement with the legacy of institutional critique (ambiguously emptied of politics). In addition he has a clear affinity with such individual figures as Franz West and Dieter Roth. As ever, however, Fischer employs a distancing effect to these legacies through the Urs Fischer, 100 Years, 2006 (p. 381 of the book)

use of an “inappropriate” alteration of materials or method of production leaving the odd impression for the viewer of having been seduced by the effect—sexual, beautiful, macabre, or poignant—or referential allure only to have its verity tarnished by the hint of cynicism that appears to be at work refusing us (and him) the pleasure of comfortably settling into a familiar realm. It is as if Fischer applies the principles of the vanitas (another frequent theme in his work) to the history of art itself such as we grasp for the fruit we like it decays before our eyes.

J. Morgan, “If You Build Your House on a Bed of Rotting Vegetables,” Urs Fischer: Shovel in a Hole, New York, 2009, p. 44 While The Grass Munchers carries a bevy of art historical references within its fine form, it is a work that is uniquely Urs Fischer’s. The artist has proven that he is not just another member in the long line of art history, but an avant-garde player taking the practice and definition of art to new heights.

As a self-taught artist he works without limits. In his critically acclaimed 2007 work You Fischer radically reframed the art viewer’s exhibition experience by literally removing the floor below them. The gallery’s floor was completely removed and dug up to create a pit in the earth—leaving the viewer with a literal absence. “Its symbolic power was so compelling that the critic Jerry Saltz was moved to write of a Herculean project…brimming with meaning and mojo.” On the one hand, he declared, You evoked the groundlessness of existence, naked fear, and many a phobia, but on the other, it also made a heavenly ecstasy a reality, as an “inversion machine” that “pulsates with erotic energy,” (B. Curiger 2009, p. 15). The poetic absence of You is echoed in the removed body parts in The Grass Munchers as is the concept of the extreme repositioning of the viewer. The title of the work brings to mind (among other things…) a bovine passive creature—perhaps a reference to the central cast figure who limply is pulled in different directions by outside hands. One could view this work as the artist telling us not to passively go through life accepting what is around us, being caught up in the to and fro of everyday. The artist again pulls the floor out from under us with this important sculpture.

Bruce Nauman, From Hand to Mouth, 1967 © 2010 Bruce Nauman / Artists Rights Society (ARS), New York

105 UGO RONDINONE

b. 1964

21. Mai 2006, 2006 Acrylic on linen. Diameter : 31 1/2 in. (80 cm).

Estimate $60,000-80,000 Provenance Acquired directly from the artist

If time is an arrow, one way for the artist to affect its course might be to demonstrate how perception can be altered through time. Given the social space in which this might be attempted, I imagine that a perfect audience for Rondinone would be his identical twin, a second self with spookily similar perceptions, but enough of an individual to argue the toss of any work.

P. Timoney, “Ugo Rondinone,” Frieze, June/August 1998 Swiss artist Ugo Rondinone has spent his formidable career working in a diverse range of mediums, exploring the psychological and emotional impact of simple, often banal, elements of everyday life. Since the mid-1990’s, the artist has created mesmerizing circular pictures that create a specific atmosphere and seem to resonate sound. Referential of Jasper Johns’ Targets and 1960s Op Art pictures, Rondinone’s target paintings project a fresh, contemporary aesthetic through his use of spray paint and a smooth, blurred finish. The present lot is exemplary of this series. A deep, hypnotizing visual well, the work seems to pulsate and threatens to swallow onlookers, at once attracting and engaging its viewers.

106 ROSEMARIE TROCKEL

b. 1952

Untitled, 1986 Wool on canvas. 86 1/2 x 55 1/4 in. (219.7 x 140.3 cm).

Estimate $150,000-200,000 Provenance Private collection, Vienna Exhibited Cologne, Museum Ludwig, October 29, 2005 – February 12, 2006; and Rome,

MAXXI-Museu nazionale delle arti del XXI secolo, May 19 – August 6, 2006, Rosemarie Trockel: Postmenopause Literature Ludwig Museum, ed., Rosemarie Trockel: Postmenopause, Cologne 2005,

pp. 131,164 (illustrated)

While the knit format accentuates the feminine, it also offers a telling departure from the prototypic representation of woman as idealized goddess, mother, saintly virgin, and sex object. Rather than signifying woman as someone to be looked at and desired, or as someone who possesses an eternal feminine essence that keeps her close to nature, outside and subordinate to the actualities of life, Trockel establishes an identity for woman as a worker.

S. Stich, “The Affirmation of Difference in the Art of Rosemarie Trockel,” Rosemarie Trockel, Boston, 1991, p. 13 Rosemarie Trockel’s expansive oeuvre was born of her upbringing in West Germany in the shadows of such artists as Joseph Beuys and Andy Warhol.

Their influence drove Trockel’s art toward use of unconventional materials and ideas of consumerism and mass-production. Her sculptural works, often composed of found or appropriated objects, challenge traditions of authority and gender structures, and interact with feminist criticism. The present lot is exemplary of Trockel’s series of knitted works: manufactured textiles and clothing that reference Russian Constructivism, the Bauhaus, and feministoriented Marxism. A patterned knitted rectangle stretched over a canvas, the piece parodies contemporary art practice—reflecting a Warholian factorylike process—and comments on histories of women’s work.

107 MARK HANDFORTH

b. 1969

Chain Trashcan, 2006 Steel, resin and enamel. 40 1/2 x 32 1/4 x 22 7/8 in. (103 x 82 x 58 cm). This work is accompanied by a certificate of authenticity.

Estimate $60,000-80,000 Provenance Modern Institute, Toby Webster Ltd., Glasgow Literature Glasgow, Hutchesons Hall, Glasgow International Festival of Contemporary Visual

Art, April 19 - May 1, 2006

Handforth’s sculptures may traffic in the well-pressed suits of modernism, but their motifs, unlike those of so many works of the past decade, always run counter to formal pastiche and instead resonate socially. The artist’s most recent assemblages may have the tilted, expansive angles of classic Mark Di Suvero works… Aesthetics end up recalling the dead-zone nighttime highways of the modern, industrial United States and, more specifically, the dark roads that skirt Handforth’s adopted home of Miami.

T. Griffin, “Mark Handforth: Love, Reign O’er Me,” Mark Handforth, September 2002 Mark Handforth’s sculptures obstruct existing spaces with found or appropriated objects, questioning the properties of industrial materials in our social culture. Known for his twisted lampposts and fluorescent light installations, the artist delights in guiding viewers to consider the innate qualities and forms of objects they use and spaces they inhabit. The present lot, a bent steel trashcan saddled with a heavy red chain, is an extension of this concept. Negating the purpose of the metal bin, Handforth examines its structural qualities while inviting a comparison of materials. Heavy and grimy, the chain contrasts against the shiny cage of the trashcan, causing the strong industrial bin to appear precarious under its weight. The work references the sculptural traditions of Oldenburg and Duchamp, meanwhile challenging the space it occupies.

108 MARK BRADFORD

b. 1961

All I Need is “One” More Chance, 2002 Collage, acrylic paint and felt tip pen on canvas. 82 x 84 in. (208.3 x 213.4 cm).

Titled and dated “All I Need is One More Chance 2002” on the reverse.

Estimate $250,000-350,000 provenance Lombard-Freid Projects, New York Literature S. Nelson, Mark Bradford, New York, 2006, p. 19 (illustrated)

All I Need is “One” More Chance is a large grid-like composition and gestural collage of layered, scavenged materials. As a mixed media piece, it is painterly and sculptural, formal and graffiti-esque, with natural and artificial forms. As a juxtaposition of ideas, it resembles a visual mapping, an explosive assemblage of cultural systems. It mimics the aesthetic of organizational structures, the maniacality of bureaucracy and the ritualistic behavior of humans in the modern world. Bradford’s ability to make these works of organic textural forms and pixilated eruptions, punctured by bursts of color is no small feat. As an artist, Bradford possesses inherent technical skill and merit with an uncanny ability to explore overlapped meaning. His work carries an air of mysticism, a myopic view of utopia—a reinterpreted topography of landscape with darker undertones. There are displaced remnants of real life scattered across the canvas—a collision of aesthetics where opposites collide. The artist captures a still moment, a snapshot of the daily minutiae as well as the excitement and idealism of life, in a single frame.

109 ANTONY GORMLEY

b. 1950

Sublimate II, 2004 Bright mild welded steel blocks. 76 3/8 x 20 7/8 x 11 3/4 in. (194 x 53 x 30 cm).

Estimate $350,000-450,000 provenance Private Collection, Moscow; Gary Tatintsian Gallery, Moscow; Galerie

Nordenhake, Berlin Exhibited Berlin, Galerie Nordenhake, Antony Gormley: Clearing, September 3 – October 9,

2004; Moscow, Gary Tatintsian Gallery, Inc., We Can Do It, January – May 20, 2005 Literature E. van der Heeg, “We Can Do It,” Herald of Europe, London, March 2006, p. 4

Since the very beginning of his artistic career, Antony Gormley has concentrated on the long focused subject of art history: human form. As a sculptor, Gormley has used his own body for casting purpose throughout different periods of his artistic career, and by using body as an agent, Gormley intertwines many themes such as life and death, mind-body relationship, interaction between figure and ground/space and spirituality.

The recent Sublimate series explores the emphasis of inner randomness and the occupation of the inner space. Gormley uses the body as an occupied space, the body is pixilated, decomposed and then reconstructed. The present lot is a figure of architecture as well as sculpture, Gormley calculated a space taken scale, vertical/horizontal relativity and surface into account, in many fundamental ways, concerns both architecture and figure sculpture.

In recent years Gormley has somewhat broadened his aesthetic scope. Many of his latest works do not focus on the phenomenological, so much as the perceptual aspects of the body. No question is not how a body places itself in an outer physical space, but rather in the inner space of the viewer. His Sublimate [series] is instructive in that regard. Nobody has been broken up, deconstructed into a system of rectilinear solid steel blocks in various sizes. What we see is a representation where the viewer has to recompose the shape in his own mind in order to make it appear as an image. Here are obvious parallels to how a computer breaks down an image into pixels, or even to Gestalten psychology, but Gormley’s sculptures have wider implications. His works do not merely require analysis in the gaze of the beholder; they also reveal what qualities are demanded of an object in order for it to appear as a work of art.

E. van der Heeg, “We Can Do It,” Herald of Europe, London, March 2006, p. 4

110 DAMIEN HIRST

b. 1965

Untitled, 2002 Household gloss with butterflies on shaped canvas. 84 3/4 x 84 3/4 in. (215.3 x 215.3 cm).

Estimate $700,000-900,000 Provenance Private collection, New York

During the past decade, Hirst has experimented with butterflies as a medium. Using them like kaleidoscope pieces, he created large, stainedglass-like patterns and mandalas that referenced religion and ceremony, vanity and luxury, and the delicacy of life. Eventually these solid surfaces of butterflies gave way to solid panels painted with vibrant gloss and stuck with butterflies as though captured in air while flying. The present lot is an exciting example of this series, which continues Hirst’s artistic legacy of applying a moralizing spin on delicate or expensive objects. Referencing at once romance, commercialized love, and the history of scientific cataloguing, the candy-pink heart is a startling momento mori, reminding of inevitable mortality and the randomness of life. Beautiful and soulful, the butterflies speak to the fragility of nature. Captured, admired and adored, the dead butterflies are trapped in the dried veneer—their bodies representing everlasting marks on the canvas, an infinity that will outlast our lives. “I used to walk into a room and get on the table and go “Hee-hah!” I used to believe I was going to live forever. And then you suddenly become aware that you’re not. You’re celebrating the fact that nothing can stop you… You’re kind of like that and celebrating every moment in that way.”

(Damien Hirst in A.H. Guest, “Damien Hirst,” Interview Magazine, New York, December 2008/January 2009, p. 150)

111 LISA YUSKAVAGE

b. 1962

KK in Red Room, 2000 Oil on linen. 20 x 18 in. (50.8 x 45.7 cm). Signed, titled and dated “Yuskavage ‘KK in Red Room’ 2000” on the overlap. This work is accompanied by a certificate of authenticity.

Estimate $150,000-250,000 provenance Marianne Boesky Gallery, New York Exhibited Geneva, Centre d’Art Contemporain, Lisa Yuskavage, 2001

Yuskavage has an exquisite ability to capture the vulnerability of the female form in the quietest of moments and provides a glimpse into the private lives of her subjects, naked and meditative. She strikes a delicate balance exploring the sumptuous side of fecundity as well as the more provocative element of self-exploration. The delicious colors, folded skin, soft lighting, and lush fabrics cloaking her subjects only add to a sense of immediacy, of voyeurism as the viewer uninvited. Yuskavage’s approach to painting the female form is without pretense and instead distorts clichés of romanticism and more exploitive renditions of women. Her subjects are vulgar and voluptuous, subtle and restrained, fantastical and realistic—the artist dispels the Madonnawhore complex by creating women who are everything in between.

112 JEFF KOONS b. 1955 Stay in Tonight, 1986 Oil based ink on canvas. 69 x 48 in. (175.3 x 121.9 cm). This work is from an edition of two plus one artist’s proof and is accompanied by a certificate of authenticity.

Estimate $ 6 0 0 , 0 0 0 - 8 0 0 , 0 0 0 PROVENANCE Private Collection EXHIBITED Chicago, Museum of Contemporary Art, Jeff Koons, May 31 - September 21, 2008

(another example exhibited) LITERATURE J. Koons and R. Rosenblum, The Jeff Koons Handbook, London, 1992, pp. 73,

158 (illustrated); J.C. Ammann, “Der Fall Jeff Koons/Jeff Koons: Case Study,” Parkett, no. 19, March 1989, p. 61

In the liquor advertisements, the purpose was not so much to direct the viewer as to define social class structure. For example, the Frangelico ads define a $45,000 and up income, and are more concerned with being lost in one’s own thought patterns. The public is being deceived in these advertisements on different levels of thought, because they are educated in abstraction and luxury on different levels of income.

Jeff Koons in J. Koons and R. Rosenblum, The Jeff Koons Handbook, London, 1992, p. 72

113 RICHARD PRINCE

b. 1949

Oh Henry, 2003 Acrylic and t-shirts on canvas. 75 x 110 in. (190.5 x 279.4 cm).

Estimate $1,000,000-1,200,000 Provenance Gladstone Gallery, New York; Sandra and Gerald Fineberg Collection, Boston;

Luhring Augustine, New York Exhibited New York, Gladstone Gallery, Richard Prince, April 30 – June 18, 2005; New York,

Soloman R. Guggenheim Museum, September 28, 2007 – January 9, 2008; Minneapolis, Walker Art Center, March 22 – June 15, 2008 and London, Serpentine Gallery, June 26 – September 7, 2008, Richard Prince: Spiritual America Literature B. Appel, “Richard Prince,” artcritical.com (online content), July 2005; N. Spector,

Richard Prince, New York, 2007, p. 187 (illustrated)

Can a joke be a painting? More to the point, can a painting be a joke? Richard Prince has spent the better part of the last two decades trying to answer these questions, engaging in a voyage to the center of painting’s very own heart of darkness. Starting his journey in 1987, Prince broadened his aesthetic strategies beyond the realm of photographic appropriation and into the body, if not the soul, of painterly expression. As he moved in this painterly direction, was Prince the equivalent of Marlon Brando’s Kurtz in Francis Ford Copppola’s 1979 film Apocalypse Now, disappearing up the river into Camboida in an attempt to take post war painting practices to their excessive logical conclusions? Or was he more akin to Martin Sheen’s Captain Willard, setting out on a classified recon mission with orders to exterminate painting with extreme prejudice? In the end, perhaps he is more like the comedian Bob Hope singing his theme song “Thanks for the Memories” on a USO tour in Saigon because at the core of his painting agenda rests the repetitious, twisted structural logic of the joke, a staple of old school stand up comedy.

D. Fogle “How I Learned to Stop Worrying and Love the Joke (Painting),” Parkett 72, New York/Zurich 2004, p. 108

Preparatory notes for the present lot

Oh Henry, completed in 2003, is a large-scale joke painting Richard Prince

steeped in white or piled into colorful, nearly abstract patterns yet still retain their

rendered on a smooth, powdery surface. The plush pastel hues shy away

familiarity. The same jokes occur in different works, alternately write big or little,

from his more stark, monochromatic paintings from earlier on in his career.

sharp or fading, straight or rippled as if spoken by someone on a bender.

The present lot embodies an advanced take on his joke theme, employing

R. Smith, “Pilfering From a Culture Out of Joint”, The New York Times,

a wider range of color that ultimately presents a composition more in tune

September 28, 2007

with his painterly Nurse series and most recent de Kooning-esque Women series, where vivid colors and imagery coalesce. The joke itself, written

Prince started telling jokes, or rather retelling jokes, in the 1980s when he

large across the entire width of the canvas of the left canvas and fading into

began to reproduce illustrations from The New Yorker in graphite on an

the t-shirt covered right panel, is stenciled in place with a conviction for

intimate scale. His attraction to the humor in the cheap joke is perfectly in

design; Prince’s large yellow Helvetica type breaks the canvas in two, yet

tune with his interest in low cultural forms. These works soon evolved away

simultaneously appears to meld each visual reference taking place before

from the cartoons to the purer text of lone jokes on canvas, such as the

your eyes in a highly stylized and provocative manner.

present lot. The artist explains, “It occurred to me that if I was to call them ‘jokes’ then I would need to get rid of the illustration and focus on the punch

Mr. Prince has devoted his career to this surface unreality, attempting to collect,

line” (Richard Prince in B. Appel www.rovetv.net (online content)).

count and order its ways. He has said that his goal is a ‘virtuoso real’, something beyond real that is patently fake. But his art is inherently corrosive; it eats

By separating a cartoon from its caption and adding a non sequitur of a joke,

through things. His specialty is a carefully constructed hybrid that is also some

Prince creates strange, hybrid emblems that offer mutable narratives. What

kind of joke, charged by conflicting notions of high, low and lower... [Borscht belt

emerges from these disjunctions of image and text is a transgressive perversity,

jokes] are a signature staple…appearing on modernist monochromes, on fields of

an uninhibited play of meaning in which attraction, deceit, failure, sex, and death

checks and as arbitrary punch lines for postwar New Yorker or Playboy cartoons.

intermingle to produce work that is at once erotic, humorous, and macabre.

These examples of a better class of humor are variously whole, fragmented,

Through this deliberate confusion of discursive systems, Prince brings to the

surface the hostility, fear, and shame fueling much American humor. What began as a fairly abstract exercise, according to the artist, ‘gradually became tragic in a quite unexpected way.’

N. Spector, Richard Prince, New York, 2008, p Mining the lowbrow Borscht-Belt humor, a comedic genre developed in the Catskills by comedians like Jack Benny, Sid Ceasar and Rodney Dangerfield, Prince appropriates one-liners that can be both straight forward funny and also have layers of subtext. In the present lot, the joke reads: “Oh Henry let’s not park here, Oh Henry let’s not park, Oh Henry let’s not. Oh Henry let’s. Oh Henry. Oh. Another One, Oh Henry Let’s” This Borscht Belt classic, part of the Prince repertory or ‘act’ if you like, is a ‘prime’ example of the “joke” paintings the artist began back in 1987 (after 10 years of working within the photographic appropriation/re-photography mode) which mines the underlying character of 50s style, middle American humor.

Confronting issues of sexual identity, fantasy and frustration as well as class and social acceptability, the brilliant use of the t-shirt in the second panel of the diptych painting—an ‘actual’ Blue Collar staple of costume and rebellion—adds a three dimensional, visual cue to the “yuk-proven” efficacy of the joke.

B. Appel, “Richard Prince,” artcritical.com (online content), July 2005

The artist’s studio

114 KEHINDE WILEY

b. 1977

Support the Army and Look After the People, 2007 Oil on canvas in the artist’s wooden frame. 101 3/4 x 89 1/2 in. (258.4 x 227.3 cm).

Signed and dated “Kehinde Wiley 07” on the reverse.

Estimate $80,000-120,000 provenance Tilton Gallery, New York Exhibited Sheboygan, John Michael Kohler Arts Center, Kehinde Wiley: The World Stage—

China, February 11 – May 6, 2007; Savannah, Telfair Museum of Art, Selections of Contemporary Art, November 7, 2007 – February 1, 2000 Literature J. Jankauskas, G. Tate and P. Miller, Kehinde Wiley: The World Stage— China,

Sheboygan, 2007, p. 31 (illustrated); John Michael Kohler Arts Center, ed., Museum Newsletter, Sheboygen, March/April 2007, cover (illustrated); M. Schumacher, “Iconic Ironic, Wiley Creates Larger Than Life Images in Mao Era Tradition,” Milwaukee Journal Sentinel, March, 7, 2007 reference Duo Duo, S. Landsberger and M. Wolf, Chinese Propaganda Posters from the

Collection of Michael Wolf, Cologne, p. 88 (illustrated)

Kehinde Wiley is a significant African-American artist who transcends

For Wiley, the illustrations in the posters parallel worldwide generalizations of

the boundaries between what is considered high culture, hip-hop culture,

individuality wherein singular identities are lost or obliterated through prescribed

contemporary and traditional representation as seen in the masterwork,

group characterizations of different societies. […]The painting Support the Army

Support the Army and Look After the People, part of the artist’s series The World

and Look After the People bridges the gap between Wiley’s previous paintings

Stage: China. The picture is a key to understanding Wiley’s body of work and

and his new body of work. Two young men occupy the picture plane: the man on

is an important progression for the artist. Renowned for his compelling

the left holds an art book featuring the French Neoclassical painter Jean August

portraits of African American male youth in contemporary urban fashion

Ingres, while the man on the right mends a hooded sweatshirt dangling from

positioned in the tradition of eighteenth and nineteenth century European

his hands. This dissimilar pairing demonstrates the link between Wiley’s prior

painting, Wiley advances his oeuvre, bringing his subjects to the “World

concerns and his new interests. The reference to Ingres points to his fascination

Stage” with a series of paintings based on visits to different countries. The

with Western art historical masters, while his highlighting of a cheerfully

World Stage: China, the first of his World Stage series evolved out of an

performed domestic skill exposes his reaction to the idyllic scenes central to the

invitation to take a studio in Beijing. While working there, the artist derived

propaganda posters associated with the Chinese Cultural Revolution. Wiley’s

inspiration from China, evident in his color choice, his elaborate chinese

paintings, like the posters, encapsulate prevalent societal views of the moment;

enamel patterning, and conceptually through his reference to historic

but also provide an alternate, more valid actuality.

propaganda posters from China’s Cultural Revolution. Wiley has found an

J. Jankauskas, Kehinde Wiley, The World Stage: China, Sheboygan, 2007, p. 7

interesting connection between the way the Chinese national identity was controlled by Mao, with the manner in which the African American identity

This vividly colored painting was inspired compositionally by a propaganda

is portrayed today. In this rare double portrait, Wiley presents a painting

poster designed by the Revolutionary Committee of Nanjing Textile Factory

that works on many different levels, both satiric and serious. His inclusion of

in the year 1976. The original poster in traditional Chinese colors of red

Western Culture, High Culture, Hip-Hop Culture is a profound work, with all

and gold, (echoed in Wiley’s frame), shows a young army recruit reading

of these subtle and obvious meanings displayed in this artwork.

from Mao’s red book while an older family member mends his army jacket.

In Kehinde Wiley’s painting, the Chinese figures are replaced by African American youth who the artist photographed in the United States, the army jacket is replaced by a “hoodie” the contemporary clothing staple, and Mao’s red book is replaced by a book on the famous traditional nineteenth century French painter Jean Auguste Dominique Ingres. Ingres, had a typical 19th century European fascination with “the Orient”, incorporating textile patterns into many of his works, similar to Kehinde Wiley’s use of the Chinese inspired gorgeous floral motif that weaves itself around the central subjects. With the Ingres reference embedded in this new masterpiece, Wiley rightly positions himself in the lineage of art history, while opening up that history to the world stage.

Support the army and look after the people, Revolutionary Committee of Namjing Textile Factory, 1976

115 BARNABY FURNAS

b. 1973

Duel (July 4th), 2004 Oil on canvas. 128 1/4 x 76 in. (325.8 x 193 cm). Signed, titled and dated “Barnaby Furnas Duel (July 4th) 04” on the reverse.

Estimate $400,000-600,000 Provenance Stuart Shave/Modern Art, London Exhibited London, Stuart Shave Modern Art, Barnaby Furnas, October 14 – November 21,

2004; BALTIC Centre for Contemporary Art Gateshead, Barnaby Furnas, April 16 - June 19, 2005; London, Royal Academy of Arts, USA Today, October 6 – November 4, 2006 Literature BALTIC Centre for Contemporary Art Gateshead, ed., Barnaby Furnas, New

York, 2005, pp. 3, 7-8, 33 (illustrated); Royal Academy of Arts, ed., USA Today, London, 2006, p.

137 (illustrated); P. Mitchell, “USA Today: A political outlook emerging amongst artists,” World Socialist Web Site wsws.org (online content), November 13, 2006; M. Henry, Abstract America, London, 2008, p. 383 (illustrated); S. Momin, Barnaby Furnas, New York, 2009, p. 55 (illustrated)

At this alchemical point, America’s past inevitably appears to zoom forward, with

Barnaby Furnas’s incendiary works generously employ liquid media,

hallucinatory clarity, into its present (and vice versa) and something happens

playfully manipulating its viscosity to create his violent, slashing painted

akin to what William S. Borroughs famously wrote in reference to the phantasmal

images. Preoccupied with apocalyptic, destructive events that have shaped

titual subject of The Naked Lunch (1959): “A frozen moment when everyone

our contemporary culture and attitudes, the artist’s work tends toward

sees what’s on the end of every fork. And it isn’t too pretty.” So, no, Furnas’s

the political while maintaining a gorgeous abstraction that speaks to the

world isn’t too pretty. But what counts is that it has the urgent, convinced and

histories of both Expressionism and figurative History Painting. Detached

convincing feel of facts revealed. His art reminds us, in fact, that in a culture of

yet subjective, the artist positions his viewers within an imperative moment:

increasingly double-dealing surfaces, painting might be the truest thing we have,

his figures depicted represent a dichotomy of salvation and Antichrist,

and that its remit as a raiser of consciousness may still be valid.

existing in a time arch that bends the past into the now. Meanwhile, his

M. Herbert, “Barnaby Furnas: Blood in the Water,” Barnaby Furnas, New York,

aggressive and bold trademark gesture references immediacy and

2005, pp. 10 -11

directly includes the viewer.

Referencing the spatial relations of an early video game, the present lot is exemplary of Furnas’ evocative and explosive paintings. Two elongated figures in pinstriped suits confront one another within a landscape sprayed with fireworks and blood. Flattened and compressed, the image sardonically depicts Independence Day as a violent and combative event. The work comments on the sinister nature of corporate capitalism while paying teasing homage to the endurance of American patriotism.

116 JEAN-MICHEL BASQUIAT

1960-1988

Rubber, 1984 Acrylic, oil and Xerox collage on wooden door. 82 x 33 5/8 in. (208 x 85.4 cm). Initialed and dated “JMB ‘84” on the reverse.

Estimate $1,500,000-2,500,000 Provenance Acquired directly from the artist; The Raymond and Patsy Nasher Collection, Dallas Literature R. D. Marshall & J.L. Prat, ed., Jean-Michel Basquiat, vol. II, Paris, 1996, p. 118, No.

3 (illustrated); D. Marshall & J.L. Prat, ed., Jean-Michel Basquiat, vol. III, Paris, 2000, p. 197, No. 3 (illustrated)

As for the crown, if you look at the Whitney catalogue, Robert Ferris Thompson made the comment that Jean-Michel thought he was royalty. He described it as royalty and the streets. In my opinion, the crown meant that he thought he was from royalty. Not because he solely thought of himself as being a king, but it was a symbol of his family being royal.

Gerard Basquiat in J. Deitch, ed., Jean-Michel Basquiat 1981: The Studio of the Street, Milan and New York, 2007, p. 90

Jean-Michel Basquiat, Grillo, 1984 © 2010 The Estate of Jean-Michel Basquiat/ADAGP, Paris/ARS, New York

Basquiat’s paintings of 1982-85 reveal a confluence of his many interests and

Visually divided into three distinct sections by a triad of blue squares, the

energies, and their actual contents—the words—describe the subjects of

panel bears the illusion of a vertical triptych. Within each section floats

importance to Basquiat. He continually selected and injected into his works words

a faceless and figureless head bearing cartoon-like resemblance to the

which held charged references and meanings—particularly to his deep-rooted

artist, who has placed himself in many of his works. Each head floats alone

concerns about race, human rights, the creation of power and wealth, and the

in its space, punctuated by oversized yellow crowns that hint at power

control and valuation of natural, elements, animals, and produce—all this in

and authority; the marked absence of form and function invoke a sense of

addition to references to his ethnic heritage [and] popular culture.

lost identity. Orbit-like and eyeless, affixing reptilian tongues mid-air, the

R. Marshall, Whitney Museum of American Art, Jean-Michel Basquiat, New

demonic faces appear hungry, confined and suspended in space and time.

York 1992, pp. 18-21 Rage and frustration are ongoing themes in Basquiat’s oeuvre, and in the Known for his gestural, painterly brush strokes and swathes of bright hues,

present lot Basquiat divulges in direct references to racial issues of a Black

Jean-Michel Basquiat drew on various inspirations to create his profound

outsider trapped within the confines of White society. The work reflects a

and personal art. Juxtaposing naïve scribbled lines and haphazard lettering

feeling of dysphoria, tangential of an African Diaspora reflective of Basquiat’s

onto canvas, wood, and other surfaces, his work is both deliberate and

upbringing in a foreign land. Forced to adapt to American society in the

playful. The present lot is part painting, part sculpture: richly thematic with

heyday of pop-culture, the artist also seeks to pay homage to his ancestral

biographical symbolism, it engages found material, collage, and the classic

roots. Referencing African tribal culture and Haitian symbolism, the cutout

painted gesture.

eyes and mouth visually function like masks, while similarly nefarious and skeletal crocodile heads signify voodoo forms. The symbols command

Basquiat’s transcendence as an artist was largely rooted in his ability to

themselves as mysterious ancient ciphers resurfacing in a modern context.

amalgamate different themes with precision. Like many artists, his work was fed by crippling depression from a violent childhood. Born into an

Graffiti and punk rock were both strong influences for Basquiat and his inner

abusive broken home in Brooklyn to immigrant parents, Basquiat ran away

rebellion, and the present lot mimics their look and mood. This aggression

at the age of 15 and thereafter grew up an urban nomad. Befriending other

extends beyond the subject matter and composition to the saturated colors

struggling young artists such as Keith Haring and Kenny Scharf, Basquiat

within the piece. Tension between streaks of electric yellow and blocks of

became a preeminent figure in the flourishing graffiti movement of the East

brilliant blue contrasts against neutral tones of gray, creams, and browns,

Village during the 1970s and ‘80s. His witty and poetic graffiti was easily

a duality that carries over to the combination of quick-drying acrylic and

distinguished from the rest with its trademark copyright logo and “Samo”

slow-setting oil paint that fight the particularity of Xeroxed transparencies

sayings, and Basquiat himself was hard to ignore, with his bare feet and wild

and displaced verbiage. Superficially nonsensical words such as Rubber©

hair. At once angry and creatively brilliant, his art became a mouthpiece for

contain an underlying message known only to the artist—seemingly

his bursting, frenetic and undying energy.

senseless, the works are filled with rich metaphors, many derived from a purely subconscious level.

The present lot, like so many of his graphic and gestural pictures, is a raw rendition of Basquiat’s pain. This iconic work embodies Basquiat’s depth of

Opposite Page: Jean-Michel Basquiat with the present lot December 1984,

character and wisdom that drove a continual inner exploration and profound

Photo: Stellan Holm

insight. A displaced individual, the artist channeled his early existentialist anxieties into exciting and evocative art such as Rubber, 1984.

117 ANDY WARHOL

1928 – 1987

Jackie, 1964 Acrylic and silkscreen ink on linen. 20 x 16 1/8 in. (50.8 x 41 cm).

Estimate $800,000-1,200,000 Provenance Leo Castelli Gallery, New York; David Pincus, Philadelphia; Gian Enzo Sperone,

Rome; Toni Cordero, Turin Exhibited Philadelphia, Institute of Contemporary Art, Andy Warhol, October 8 – November 21,

1965; Philadelphia Museum of Art, Silkscreen: History of a Medium, December 17, 1971- February 27, 1972 Literature Institute of Contemporary Art, ed., Andy Warhol, Philadelphia, 1965, pl. 21;

R. Crone, Warhol, New York, 1970, cat. no. 120; Philadelphia Museum of Art, ed., Silkscreen: History of a Medium, Philadelphia, 1971, cat no. 232; G. Frei and N. Printz, The Andy Warhol Catalogue Raisonné, Vol.02A, Paintings and Sculptures 1964-1969, New York, 2004, Jackie cat. no. 1202

In the face of the woman whose feelings were reproduced in all the media to such an extent that no better historical document on the exhibitionism of American emotional values is conceivable.

R. Crone, Warhol, New York, 1970, p. 29 Andy Warhol began his 1964 series of paintings of Jackie Kennedy taken from newspaper photos from shortly before, during and immediately after the murder of President John F. Kennedy on November 22, 1963. Out of all of the available imagery surrounding the tragedy, Warhol carefully chose eight photographs of the First Lady to use in his paintings. The image used in the present lot was taken from a newspaper photograph of Jackie immediately after her husband’s death when she was on board Airforce One standing next to Vice President Lyndon B. Johnson as he took the oath of office as President. Jackie was still wearing the same blood-stained pink suit that she had worn while riding in the motorcade when her husband was shot.

According to Lady Bird Johnson’s diary, Jackie refused to change saying “I want them to see what they have done to Jack.”

Lyndon B. Johnson takes the oath of office as President of the United States.

Photo: Cecil Stoughton.

This powerful moment is captured elegantly in Warhol’s canvas.

Silkscreened in black over blue, Warhol employed this economy of means to create a compelling and unforgettable image. The muted blue and the black of the background and Jackie’s hair combine to create a simple, poignant reflection of loss, accentuated by the close composition cropping around the First Lady’s head. All of the details of the moment—the plane, the future president, and all but the collar of the blood stained suit- are removed from the frame and so complete focus is on Jackie. With her head cast downward and her dark hair partially shielding her eye, Jackie’s intensity is emphasized in Warhol’s cropping, creating the iconic image of Jackie standing in for a nation in mourning. It is not just a portrait of Jackie, but a portrait of America with its innocence lost and its unbelievable sadness.

Warhol’s paintings of Jackie are a central part in his oeuvre, along the lines of his Soup Cans, and Jackie is often referred to as one of the three ‘Women Andy Warhol in his studio. Photo: Billy Name/Bruce Coleman Inc.

of Warhol’ along with stars Marilyn Monroe and Liz Taylor. “The images of Marilyn, Liz and Jackie, like the Soup Cans, are consumed by the public in mass doses. Yet through Andy’s paintings, they have taken on new meaning.

Andy Warhol, Silver Liz, 1963 © The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York

These frozen images are modern-day Madonnas. Andy was a strict Catholic.

His Marilyn, Liz and Jackie became religious relics and, like Leonardo’s La Gioconda, they are portraits of women radiating beauty. They are not public stars but are Andy’s paintings, icons of our time. They are, in essence, holy.”

(P. Brant, “Uh, Let’s Go,” Women of Warhol: Marilyn, Liz & Jackie, New York, 2000, n.p.)

The painting of Jackie in the present lot particularly fits this description as religious icon as Warhol was so astute to recognize her, and this image of her, as the symbol of the feelings of the whole country upon the death of our president. While she still has equal beauty, glamour, and fame to Liz Taylor and Marilyn Monroe, she is called upon to be more—to intercede on our behalf with God, to carry our sorrow, to be the image of our pain. The quiet beauty of this small painting holds all of the transformative capacity of a religious relic.

An ethereal language suffuses Warhol’s fanzine mythos. Marilyn, Liz and Jackie—a cult of movies and fame that, for Andy, revived the calendar of saints and divine intercessors. Like all ritual artists. Imagery to Andy is both representation and actuality, image and icon. Andy consecrated celebrity in the guise of the sacerdotal. In this sense, earlier manifestations of Marilyn, Liz and Jackie are to be found in the sentimental holy cards distriubuted on Sundays and Feast Days to the church-goers of Andy’s Pittsburgh Catholic boyhood. Andy blithely submitted to his alternative Trinity’s stellar autocracy. Absolutism equals absolution. Andy celebrated the divinity and glory of Marilyn, Liz and Jackie in a Mass of repetition, monotonously intoned, unto the heavenly measurelessness inherent to the grid and/or serial format—the same image again and again, stretching away to infinity. In theory, all three should have been depicted according to Andy’s vision of the screen star scripted at home and endemic to popular culture at the time. But they are not. Instead, they are stark and unnerving, imagery suggesting a repressed ancient memory. And for good reason.

R. Pincus-Witten, Women of Warhol: Marilyn, Liz & Jackie, New York, 2000, n.p.

Source images for Warhol’s Jackie, 1963-4. The Andy Warhol Museum, Pittsburgh, Founding Collection, The Andy Warhol Foundation for the Visual Arts Inc.

118 DAN FLAVIN

1933 - 1996

Untitled (to Jörg Schellmann), 1994 Blue and pink fluorescent lights. 96 x 24 x 7 7/8 in. (244 x 61 x 20 cm). This work is from an edition of five, of which only three were fabricated and is accompanied by a certificate of authenticity.

Estimate $250,000-350,000 Provenance Paula Cooper Gallery, New York Exhibited New York, Gering & López Gallery, Dan Flavin/Josef Albers, May 4 – June 14, 2008

(another example exhibited) Literature T. Bell and M. Govan, Dan Flavin: The Complete Lights 1961-1996, New York, 2004,

p. 403, pl. 659 (illustrated)

Composed of four horizontal blue fluorescent lights perched atop a towering pink fluorescent light Untitled (to Jörg Schellmann), 1994 is a delicate example of Dan Falvin’s monumental body of work. Installed along a 45 degree corner wall the elongated pink florescent light illuminates the rear of the work creating a soft feminine pink glow which runs up the wall where it meets with the cool glow of the blue fluorescent light and melts into a purple haze.

The amalgamation of the feminine pink glow with the masculine blue hue crates an ethereal juxtaposition of the feminine qualities of light against the masculinity of the physical metal light fixtures.

The choice of florescent light as a medium satisfied certain art-historical demands of the period. For one, the direct use of electrical light as an artistic medium responded to the desire for innovative form. Furthermore, the commercial availability and mundane familiarity of the fluorescent light allowed it to be subversive when placed in the context of more traditional painting and sculpture…although Flavin’s art is easily identifiable as by Flavin, it rejects the individualized, hand-marked character of gestural painting and sculpture.

T. Bell, “Fluorescent Lights as Art,” Dan Flavin: The Complete Lights, 19611996, pp. 109-110

119 CHRISTOPHER WOOL b. 1955 Untitled (P447), 2004 Enamel on linen. 96 1/4 x 71 1/2 in. (244.5 x 181.6 cm). Signed, titled and dated “Wool (P447) 2004” on the reverse.

Estimate $600,000-800,000 Provenance Luhring Augustine Gallery, New York; Private Collection, France

Within Christopher Wool’s body of work, we can observe a contrast between text based works and those based on ornamentation. Wool’s ornamental works are created by applying and layering patterns such as floral designs, simple linear flourishes or arabesques, through the use of rollers, stamps or a various spray applications. The resulting creation is an “all over” painting keeping in the tradition of Pollock; one which disregards composition and nuances.

U. Loock in B. Curiger, ed., Birth of the Cool: American Painting from Georgia O’Keefe to Christopher Wool, Hamburg/Zurich, 1997 In 1995 Christopher Wool began creating works where the surface pigment is applied using a spray gun. The subsequent compositions were tangled masses of lines with the highly fluid black pigment left to drip down the surface of the panel. The present lot Untitled (P447) is a striking example of a more recent work which illustrates clearly a progression that Wool has made with his approach to the treatment of the composition.

Hints of the dark tangled conglomeration of sprayed lines are visible randomly scattered throughout the surface, however, with this work Wool has taken to erasing or blurring areas. Erasure is not a new element to his paintings. “This erasure is not an entirely new concept in Wool’s oeuvre, in 1997 overpainting with white becomes very specifically about erasure— erasure as process of producing and articulating an image… the white paint that covers aspects of them reinforces the “negative space” of the picture plane as it echoes the original ground of the surface. Wool’s work accentuates the tensions and contradictions between the act of painting, the construction of a picture, its physical attributes, the visual experience of looking at it, and the possibilities of playing with and pushing open the thresholds of its meanings. They are defined by what they’re not—and by what they hold back” (A. Goldstein, WOOL, Los Angeles, 1998).

120 Roni Horn b. 1955 Key and Cue, No. 807: Expectation—is contentment, 1994 Solid aluminum and cast black plastic. 57 3/4 x 5 x 5 in. (146.7 x 12.7 x 12.7 cm). Inscribed “807” on the side. This work is from an edition of three.

Estimate $50,000-70,000 Provenance Galerie Hauser & Wirth, Zurich

When I was first becoming familiar with Emily Dickinson’s poetry, I found myself reading the ‘Index of First Lines’. Since Dickinson did not title her poems, each was posthumously given a number as a reference point. Each of the 1,775 poems is referred to by number or first line. The Index plays an especially important role in locating a Dickinson poem. In reading it, I found myself thinking of the first lines as entrances, tools, maps, signs, connections. I found myself thinking of alphabets, keys, and elemental things, thinking of things that were self-contained yet only beginnings.

From the 1,775 first lines, I selected lines which are complete statements and detached them from the poem. In these instances I saw the statement as self-contained. While the content of the first line may carry the content of the poem it was taken from, the content of a Key and Cue has more to do with the particularity that distinguishes Dickinson’s poetry as a whole. Each Key and Cue carries these qualities and speaks as the part that contains the whole.

The first lines I selected had to have a certain containment (closure) and yet a certain complexity that would hold this completeness open. An experience of a Key and Cue is the experience of an entrance; but since every entrance is also a point of departure, the Key and Cue prepares the viewer for departure. So while the Key and Cue is an object present like any other everyday thing, it is also a cue, a prompt, a signal to something that can only be brought here, wherever the viewer is, by the viewer. Each Key and Cue is a view in a room.

Roni Horn in L. Neri, L. Cooke and T. de Duve, Roni Horn, London, 2000, p. 116

121 STEVEN PARRINO

1958 - 2005

Pull Down, 1987 Acrylic on canvas. 72 x 48 in. (182.9 122 cm). Signed titled and dated “S. Parrino ‘Pull Down’ 1987“ on the stretcher.

Estimate $250,000-350,000 Provenance Gracie Mansion Gallery, New York

The present lot delights in Steven Parrino’s characteristic deconstruction of the painted surface. Removing art from the flatness of the wall, Parrino’s “misshaped paintings” reflect his subculture lifestyle. His colors mimic the chrome of Harley-Davidson motorcycles and guitar amplifiers, while his scrupulously mauled canvases channel the rebellion of Punk culture as well as the restraint of Minimalism.

For Steven Parrino, the making of art in New York was—like life in the city itself—an unremitting, unsentimental negotiation between production and destruction. Taking as many cues from Warhol as he did from experimental music, this post-painter wrenched canvases off their stretchers, twisting them into glossy vortexes, and pummeled smooth sheetrock panels with a sledgehammer. What’s most American in Parrino’s work are its automatic procedures, its blackouts, and its conceptual relationship with B-horror movies, underground comics, and noise.

J. Kelsey, “Steven Parrino,” Artforum, January 2006, p. 116

122 Donald Judd 1928 - 1994 Untitled (91-138 Menziken), 1991 Anodized aluminum, transparent amber over yellow Plexiglas. 9 7/8 x 39 3/8 x 9 7/8 in.

(25 x 100 x 25 cm). Stamped “DONALD JUDD 91-138 ALUMINUM AG MENZIKEN” on the reverse.

Estimate $250,000-350,000 Provenance Monika Sprüth & Philomena Magers, Munich; Private collection, Germany

Untitled (91-138 Menziken), 1991 is a classic intimate Donald Judd volumetric wall piece divided by a central panel. The cavernous interior space radiates with an orange hue filtered from the clear amber placed atop of yellow Plexiglas panel at the rear. The orange diffusion reflects along the interior aluminum walls of the piece creating a dynamic and brilliant spatial volume of color and light. As the viewer moves across the work subtle elements of the work begin to emerge. Judd creates a void where space, light and object play and intertwine to create an internal pool of colors which, depending on the orientation of the viewer, fade from dark orange to hints of pale yellow.

123 Anish Kapoor b. 1954 Untitled, 2007 Stainless steel. 55 x 55 x 12 in. (140 x 140 x 30 cm).

Estimate $700,000-1,000,000 Provenance Private Collection

With its stainless steel surface of impeccably mirror-like polish, the present lot, Untitled, 2007, is a signature work for Anish Kapoor. The sculpture reflects an upside-down portrait of the viewers, interiors, and architecture surrounding it. Kapoor’s sculpture invites the viewer in and provokes their engagement allowing them to look at the world afresh with this flipped view.

The viewer experiences simple mystery, beauty and fascination through the glossy finished reflective facades. Kapoor‘s desire to go beyond the object is emphasized here in the limitless space of the reflective world.

The perspectival distance between subject and object, or the mimetic balance between the mirror and its reflection, are replaced by a movement of erasure and inversion—‘reverse, affirm, negate.’ It is as if the possibility of pictoriality or image-making, associated with visual pleasure, has been unsettled to reveal emptiness, darkness, blankness, the blind spot. However the purpose of Kapoor’s work is not to represent the mediation of light and darkness, or negative and positive space, in a dialectical relationship in which emptiness will travel through the darkening mirror to assume the plenitude of presence. Kapoor stays with the state of transitionality, allowing it the time and space to develop its own affects —anxiety, unease, restlessness—so that viewing becomes part of the process of making the work itself. The spectator’s relation to the object involves a process of questioning the underlying conditions through which the work becomes a visual experience in the first place.

H. Bhabha, “Anish Kapoor: Making Emptiness,” Anish Kapoor, London, 1998, p. 11

124 YAYOI KUSAMA

b. 1929

Infinity Nets (OQ4), 2000 Acrylic on canvas. 63 3/4 x 51 1/4 in. (162 x 130.2 cm). Signed, titled and dated “Yayoi Kusama Infinity-Nets (OQ4) 2000” on the reverse.

Estimate $200,000-300,000 Provenance Ota Fine Arts, Tokyo; Private Collection, Tokyo

Nothing I do stays in the gallery space. Everything I do is a walk in my mind.

There are no limits… As long as I have the energy, I will carry on. I’d like to live 200 or 300 years.

Yayoi Kusama in J. McCurry, “Coming Full Circle,” The Guardian, June 6, 2009 The present lot is exemplary of the expansive and exciting career of Yayoi Kusama, who has manifested her obsession with hypnotizing repetitive dot patterns in an ongoing series of Infinity Nets. The project has spanned almost the duration of her formidable career, which has taken many turns around the theme of Kusama’s private psychological challenges. Kusama’s work is not created with the intent of challenging conventions—rather she has invented her own visual language to convey the complexities of her own mind.

Yayoi Kusama has been honored as one of the world’s preeminent avantgarde artists for nearly half a century. Her entire being is devoted to her unique aesthetic, a cathartic expression of her personal history. Born in Japan, Kusama recalls a traumatic wartime childhood that, from a young age, she escaped through hallucinations. Her art brought her to America in the 1950s, where she began covering surfaces with obsessively repetitive painted circles—her astonishing Infinity Net paintings. Whether physically positioning herself in polka-dotted rooms with camouflaged objects, or vigorously painting flat surfaces, Kusama conveys a sense of endless spaces locked in a particular moment. The world she shares is the world she escapes to, trance-like and whimsical.

Like Kusama herself, the present lot is a thoughtful and self-affirming product of methodical reflection and dedicated focus. Kusama was trained in Nihonga painting, a rigorous style developed during the Meiji period (1868-1912) that combines traditional Japanese techniques and materials with 19th-century European representative subject matter. By the 1950s she began to experiment with more abstracted natural forms, resulting in her transcendent organic patterns. The present lot is an awe-inspiring impasto expanse of white, labor-intensive loops. At once meditative and agitated, the work is wholly symbolic of Kusama’s complicated being.

125 FRANK STELLA

b. 1936

Khurasan Gate III, 1968 Acrylic and pencil on shaped canvas. 60 x 180 in. (152.4 x 457.2 cm). Signed “Stella” on the stretcher.

Estimate $600,000-800,000 Provenance John Berggruen Gallery, San Francisco; Collection of Richard A. Cramer

Frank Stella’s Khurasan Gate III from 1968 is a prime example of his Protractor

his paintings using varying semicircular units. The sections or segments of

series which he begun in the late 60s. With this series Stella departed

color that he fills the canvas with seem to radiate out as it they were drawn

dramatically from the black paintings which he gained much acclaim and

according to precise angles of calibration on a protractor. The resulting

notoriety for in the early 60s, and his new series of works on unconventionally

shapes that Stella created were the result of his attempt to achieve a strong

shaped canvases composed of vibrant color palettes heralded a new era for

sense of unity between the image he wanted to paint and the shape of the

minimalism. Stella was greatly influenced by his contemporary Jasper Johns

ground he used. This method or process acted as a total denial or refusal

who in his art saw the object itself as being the image. Stella wanted to take

to accept the more conventional and established practice of starting with a

this idea farther, and in his art eliminated not only the entire idea of subject

predetermined rectangular ground and constructing the composition within

matter, but also the evidence of the painter’s touch by leaving no trace

it. The paintings Stella produced in this series acutely express his belief that

whatsoever of individual style. By presenting shapes and patterns which

a painting is a tangible object in and by itself and not merely some sort of

easily and readily adapt to one another, Stella eliminated the concepts of

screen to reflect.

foreground and background emphasizing the work’s presence as an object.

As he said himself, “[...] only what can be seen there is there,” (Stella in B.

The titles for paintings from this series evolved from Stella’s fascination with

Glaser, “Questions to Stella and Judd,” in 1966, Artnews, 1966).

historic cities he visited in Asia Minor in the early 1960s including Khurasan, Basra, Damascus and Harran. Each painting is titled after the city followed

With the Protractor series, Stella has fully achieved his goal. Whereas as in

by a roman numeral which indicates to which of the groups—“interlaces,”

the early 1960s he was working with a limited color palette producing his

“rainbows,” or “fans”—the work belongs. Khurasan Gate III, is an example

Black paintings, he later began use a far wider range of colors, which he

from the group of fans.

typically applied in straight or curved lines. In this series, he constructed

PROPERTY FROM an important european collection

126 ROBERT MANGOLD

b. 1937

Red February #3, 1963 Oil on canvas. 84 x 62 1/2 in. (213 x 159 cm).

Estimate $180,000-250,000 Provenance Peter Freeman, Inc., New York

Mangold is plainly comfortable with the bare bones materiality of his medium and the mutations to which it lends itself. Likewise he seems at ease with the notion that no realities external to his studio reflection impose their authority upon his choices, and none internal to it carry the weight of unalterable necessity. Art history sets the stage for the decisions he has made, and abstraction’s legacy in particular elaborates and qualifies our understanding of the aspirations and reticences implicit in his oeuvre. Painterly intuition rather than a priori ideas guide his hand. Correspondingly direct, prolongued and repeated experience of mark, form, hue, space, surface, shape and scale is why all the other things that can be said about the larger context for those decisions matters. Insatiable but discriminate looking at the paintings which result from this rigorous empiricism is the basis of out bond with their maker.

R. Storr, “Betwixt and Between,” Robert Mangold, London, 2000, p. 78

PROPERTY FROM an important european collection

127 ADOLPH GOTTLIEB

1903 - 1974

Black Note, 1971 Oil on canvas. 60 x 48 in. (152.5 x 122 cm). Signed, titled and dated on the reverse.

Estimate $300,000-400,000 PROVENANCE American Contemporary Art Gallery, Munich Exhibited New York, Marlborough Gallery, Adolph Gottlieb: Paintings 1971-1972, November 1972 Literature Marlborough Gallery, ed., Adolph Gottlieb: Paintings 1971-1972, New York, 1972, pl.

2 (illustrated)

One of the most celebrated colorists of Abstract Expressionism, Adolph Gottlieb refers to a natural landscape with a striking field of color and stripped down forms so elemental in Black Note. The painting is an informed example of the Burst Series, Gottlieb’s signature motif during the 1960’s and 1970’s which he continued to work on despite suffering immobility from a stroke in 1970.

Black Note highlights Adolph Gottlieb’s interest in using color as a symbol.

Robert Doty, the Associate Curator at the Whitney Museum of American Art in 1968, who, with Diane Waldman of The Solomon R. Guggenheim Museum co-curated the first retrospective of Adolph Gottlieb’s work understood the process as an expression of gesture: …at a certain point intuition becomes operative as well, and the choice of a certain color may be dictated by impulse. This is the point at which feeling takes over from rationality. Gottlieb supported the discourse by adding, “I use color in terms of emotional quality, as a vehicle for feeling…feeling is everything I have experienced or thought.”

Adolph Gottlieb in R. Doty and D. Waldman, Adolph Gottlieb, New York, 1968

Over the years Gottlieb’s painting has become monumental. As his concepts developed, they simplified. The culmination of Gottlieb’s schematic arrangement was reached in the painting Burst. It was immediately hailed as a milestone by the critic Clement Greenberg: “What makes such a picture difficult- difficult in the best sense is its monumental simplicity, which seems more than the conventions of easel painting can tolerate.

R. Doty and D. Waldman, Adolph Gottlieb, New York, 1968

PROPERTY FROM an important european collection

128 KENNETH NOLAND

1924 - 2010

Untitled, 1964 Acrylic on canvas. 69 1/4 x 69 1/4 in. (176 x 176 cm).

Estimate $300,000-400,000 Provenance Acquired directly from the artist; Private Collection

Noland’s name stands for a particular kind of American painting –one based on the potency of color. His pictures are among the most original, elegant and unabashedly beautiful of our time. And they are among the most abstract, admired as much because they test the limits of what can be eliminated (without compromising reason or expression) as for their seductive hues. In Noland’s hands, the orchestration and placement of colors have become, almost for the first time in the history of Western art, independently expressive elements, removed from even the most tenuous connection with any preexisting image.

The powerful associative qualities of color harmonies, like evocative sounds or scents, are made the carriers of profound emotions, but they are completely detached from any specific reference, from anecdote or symbol.

K. Wilkin, Kenneth Noland, New York, 1990, p. 7

PROPERTY FROM an important european collection

129 ROBERT MANGOLD

b. 1937

Curled figure study, 2002 Oil on canvas. 30 x 39 3/4 in. (76 x 101 cm).

Estimate $100,000-150,000 PROVENANCE Peter Freeman Inc., New York

The stunning scrolling curves that Robert Mangold designates “curled figures” exist on a heroic scale by comparison with Matisses’s leaves, which were drawn on a pad of paper he could easily hold with one hand, while he drew with the other. Mangold’s curled figures, by contrast, span large, multipaneled canvases, and seem to imply the coordination of the artist’s whole body in a feat sf strength and virtuosity, executing what appears at a normal distance from the canvas to be a perfect arabesque in a single draftsmanly act. The curled figures are compound spirals, which we read as unwinding from left to right, and we naturally infer that they must have been drawn from left to right as well, since we write in the same direction that we read. I want to describe the spirals somewhat closely, and in relationship to the space in which they are sited, since the points through which they unfurl have been plotted with the precision of a master shot in billiards.

A. C. Danto, “The Art of the Curve,” Robert Mangold: Curled Figure and Column Paintings, New York, 2003, p. 6

130 Mary Heilmann b. 1940 Black Dahlia III, 2001 Oil on canvas. 15 x 12 in. (38.1 x 30.5 cm). Signed, titled and dated “Mary Heilmann Black Dahlia III 2001” on the overlap.

Estimate $30,000-40,000 Provenance Galerie Volker Diehl, Berlin; Private collection, New York

For the past thirty years Mary Heilmann has been championed as the consummate artist’s artist. Her un-fussy approach is as notable for the unremitting intimacy it admits as the quixotic sociability it invites… “casual” is one of the most common words describing Heilmann’s paintings, which so gracefully traverse craft traditions popular culture and the fine arts. Owing in part to her works’ messy assurance, by turns glib and erudite, Heilmann also confounds irony and sincerity. With their visceral convolutions of color, runny streaks of paint and riotous compositions, her recent paintings wear their pleasures on their sleeve.

S. Hudson, Whitney Museum of American Art: 2008 Whitney Biennial Exhibition, New York, p. 153

PROPERTY FROM an important european collection

131 PETER HALLEY

b. 1953

Blue Prison, ca. 2000 Oil on canvas. 41 1/4 x 41 1/4 in. (105 x 105 cm).

Estimate $50,000-70,000 Provenance Galerie Javier Lopez, Madrid

Blue Prison is a matrix of horizontal bars (what Halley aptly calls cells) and vertical columns, illustrative of its name. The painting has an intense glare –electric yellow set against opaque hues of deep blue and maroon on top of a thick stripe of black. It is hard on the eyes and repelling just like a prison, without guards, metal beams, and barbwire fence. The piece resembles a computer chip as a critique of our technology saturated world and overemphasis on bureaucratizing every last vestige of human interaction. Halley is known for his Neo-Geo and neo-conceptualist approach to his work and offers a social commentary here with a claustrophobic cluster of shapes mimicking the physical oppression of suburbia and urban city life. It is metaphoric, slightly tongue-in-cheek as much as it provides a serious look at our physical and mental limitations within modern society.

PROPERTY FROM an important european collection

132 DONALD JUDD

1928-1994

Untitled (1968-76), 1968-76 Cadmium red paint on wood. 20 7/8 x 17 x 2 in. (53 x 43 x 5 cm).

Estimate $80,000-120,000 Provenance Susan Sheehan, New York

The simple composition and structure of Untitled (1968-76) is typical of Donald Judd, known for his reductionist approach to art. He sought to democratize the field in reaction to the conventional justifications of Abstract Expression –a movement that emphasized spontaneous and subconscious creative processes. As the forefather of Minimalism, Judd advocated rigorous and deliberate creation without compositional hierarchy or medium classification. His works were neither paintings nor sculptures and instead, meaningful structures stripped down to their bare essentials.

Judd supported the use of industrial machinery to create his threedimensional works. His geometric forms were manufactured with exactitude, down to their basic forms. In Untitled (1968-76), the cadmium red provides an enriching aesthetic –an updated version of color-field paintings. The bright crimson hue stands out in delectable contrast to the neutrality of the wood; the cheeriness of the cherry red against the preciseness of the structure, presents viewers with a powerful visual tension.

There are many examples of seriality and diagrammatic forms throughout Judd’s work. While wood is a seemingly basic material, he added grooves that progress and recess –a subtle incremental pattern that moves left to right and vice versa. The repetition of lines combined with the vivid coloration is electric and surprisingly meditative.

Untitled (1968-76) is a prime example of the artist’s oeuvre –manufactured, robust, and simplified. And yet the piece is complex and reflects Judd’s love of psychology, physiology, mathematics, and engineering.

133 MARK TANSEY

b. 1949

Redeployment, 1995 Oil on canvas. 80 x 100 3/4 in. (203.2 x 255.9 cm). Signed, titled and dated “Tansey ‘Redeployment’ 1995” on the reverse.

Estimate $1,500,000-2,500,000 Provenance Acquired directly from the artist; Curt Marcus Gallery, New York Exhibited Copenhagen, Galleri Faurschou, Border, March 3 – April 29, 1995; Literature Galleri Faurschou, ed., Mark Tansey, Copenhagen, 1995, p. 21 (illustrated)

Kazimir Malevich Red Square, Visual Realism of a Peasant Woman in Two Dimensions, 1915

Paintings from the late 1990s portray the world of appearances in flux, and are Jacques-Louis David

dynamic in their cinematic effect, capturing landscapes and figures equally and

Le Premier Consul franchissant les Alpes au

subjecting them to distortions and transformations…. Using a copy machine, he

col du Grand-Saint-Bernard, 1800

makes collages in which the initial composition can be tested and established—a process where the actions of the hand and the activity of the mind are on equal

Everything has vanished, only a mass of material has remained from which the new forms will be built…

Kazimir Malevich in D. Crone, Kazimir Malevich: The Climax of Disclosure, London, 1991, p. 1

Mark Tansey’s vivid paintings represent a variance of deconstruction: reassigned imagery is held against conventional attachments to history, while pictorial realism challenges the psychological reliance on the photograph as truth. “A picture might be decoded by distinguishing rifts (contradictions, discrepancies, implausibilities) from resonance (plausible elements, structural similarities, shared characteristics, verifications). In fact the notion of rift and resonance is fundamental to the picture-constructing process as well.”

Mark Tansey in M. Taylor, The Picture in Question: Mark Tansey and the Ends of Representation, Chicago, 1999, pp. 55- 56

Tansey’s monochromatic works utilize the emotional impact of color to reference both political and emotional currents, and eliminate a pictorial hierarchy: landscape and figures assume equal importance. In the present lot, rich red articulates the image, and is itself also a subject of the picture.

Extending like an arrow from the upper right corner and surrounded by blank white space, the rust-hued wedge features a battle scene that fades into a solid, densely pigmented triangle. Calling to mind the paintings of Kazimir Malevich, a leader of the Avant-garde Suprematist movement, particularly

footing… the transformation into paint further composes and unites the image space. Here Tansey’s use of the monochrome makes it possible to define the representational image as a “conjectural field,” a place where the impossible becomes possible and thoughts, theses and fictions can be examined.

Mönig, “The Picture Looks Back,” Mark Tansey, New York, 2005, p. 7 Geometrically divided into three segments, Redeployment compositionally references a classical vanishing point. The battle scene is focused in the foreground and blurs into red near the fulcrum, creating another dimension within the picture itself. Furthering the distance from reality, Tansey’s iconic work optically invites the viewer to accept the fiction, psychologically connecting actual, referenced history with the artificiality of a painted image. Hence the picture assumes an inherent drama: the work references cinema and time, and reflects the way history occupies unique brackets our mental composition.

Like a gashing wound on the canvas, the battle scene opens into a recognizable 19th century image of war. Photography and History Painting both feed Western understanding of such histories as the Napdenic Wars, and in the present lot Tansey pays homage to the latter tradition.

Monumental and dramatized, this dynamic picture reflects the cultural impact of genre painting while questioning the historical accuracy of photography, and positioning the viewer as the judge of reality.

his 1915 painting Red Square, this painting positions the abstraction of the Russian Avant-Garde (originally a military term) against the representational imagery of the soldiers. The figures are reminiscent of Napoleonic soldiers painted during their campaigns into Russia. Tansey’s painting encompasses all of these literal and figurative opposing forces: France vs. Russia, Neoclassical painting of the 19th century and 20th century Avant-Garde movements, figuration and abstraction.

The power of color in Mark Tansey’s work is punctuated by his use of white.

A recurring subject of his oeuvre, the color white possesses a special role in the present lot, filtering slowly into the image to pull it forward from the red slash, and inhabiting the space around the image. Clean, blank, and empty, it is uncontained and seems to push beyond the edge of the canvas: a cool atmosphere inhabited by a human battle.

Mark Tansey The Innocent Eye Test, 1981

134 JOHN BALDESSARI

b. 1931

Lion Jet Truck, 1988 Three photographs with acrylic mounted on board in artist’s frame.

96 x 56 in. (244 x 142.2 cm).

Estimate $250,000-350,000 Provenance Private Collection

Lion Jet Truck is a composite photo collage that provides an attractive visual and forms an interpersonal dialogue with the viewer. The disparate imagery is taken from movie stills reshaped in grid-like fashion to create a new storyline, like an obscure Old Hollywood film. It is up to the audience to figure out its meaning only given bits of information, forced to create rather than react to his work. And it is inherently and entirely conceptual. The two brightly hued dots covering the figures’ faces are a landmark trait of the artist, heavy with meaning that extends far beyond the subject matter.

Baldessari developed colored disks and other geometrical shapes based on the outlines of his motifs. The painted dots whose provenance could equally be traced back to price labels, to the tossed ball motif that he used so frequently in the early 1970s or even to the hats the artist used to conceal his face in his 1974 series of self-portraits (“Artist’s Identity Hidden with Various Hats”) soon became Baldessari’s central motif and hallmark. These colored disks are used mainly to hide the countenances of the figures he paints, and it is this, paradoxically, that lends them their revelatory function. Without a face to monopolize it, viewers can turn their attention to other structural features of these works, such as gestures and postures of the figures or the photographic style of their reproduction. To the extent that Baldessari interrupts and inhibits the flow of practiced perception, he diverts viewers’ consciousness to the act of perception itself and to its many pitfalls. The painted dots, in other words, not only shift perception away from what should be the works’ motifs but shift it so profoundly that it focuses henceforth on itself. What the painted dots also do is to make us suspicious of the illusory familiarity of photographic images, exposing these as media reproductions of reality that by their very nature gloss over their own status as a construct. It is as if the faces blocked out by Baldessari’s colored disks were there to alert viewers to their own blindness to the seductive power of images.

R. Fuchs, “Masking the Face – Facing the Mask,” John Baldessari: Noses & Ears, Etc. (Part Two), New York, 2006, p. 9

135 ANDY WARHOL

1928-1987

Brillo Soap Pads Box, 1964 Silkscreen ink and house paint on plywood. 17 x 17 x 14 in. (43.2 x 43.2 x 35.6 cm).

Estimate $250,000-350,000 Provenance Stable Gallery, New York

Andy Warhol took the mass produced, mass-consumed retail world and turned it into art. What Duchamp did in 1917 with Fountain, Warhol does again with the Brillo Box almost 50 years later. Paying homage to Duchamp and his essential movement in art-history, Warhol revives the Dadaist philosophy by re-creating the everyday object. Essential in every American household, since the use of coal-oven stoves in 1900, Warhol transforms mundane objects into an art form. The original design of the box is one that Warhol would have seen as “POP”. The elemental form and primary colors which represent Brillo is a perfect example of an object that screams Warhol.

It is also an object that through its re-composition by the artist, Warhol simultaneously transitions the way one looked at art. Through the eyes of Warhol the consumer “everyday” was out and thus would change art-history forever, defining Pop Art and Warhol a forefather of it all.

Pop art challenged the tradition of aesthetics by transforming images of mass-produced commodities of popular culture into fine art displayed in a gallery. By completely dislocating the image from its context and isolating it as an autonomous object, a commodity became a receptor of thought and reconsideration. Andy Warhol was the leading figure of this revolution in thought and aesthetics. Pop artists were using paint and mediums in entirely new ways to challenge the essence of art, dripping it, splashing it, and even entirely submerging objects with images in order to cast them in new light. Objects that would normally be ignored for their banality were screaming for attention through their unusual display. It was an attempt to expose the truth of a mass consumer culture. Warhol posed questions that could no longer be ignored.

Photo © Billy Name / SLP Stock

In 1964 Warhol exhibited his first series of Brillo Boxes at a solo show at New

not found objects at all, but hand-made objects, meticulously recreated in

York’s Stable Gallery alongside other boxes meant to replicate the packaging

another medium. With this project, Warhol further blurred the line between

for Del Monte Peach Halves, Campbell’s Tomato Soup, and Heinz’s Ketchup.

the ready-made and traditional art by engaging in recognizable artistic

Each of the boxes was constructed of wood in the dimensions of the actual

production, but only in his replication of a mass-produced consumer object.

box with the label from the respective brand silk-screened on its surfaces.

Warhol was not only furthering the debate about the place of the ready-made

To the viewer, the boxes looked just as one would find them in any store.

in the art world introduced by Duchamp, he was also expanding on the ideas

Warhol also utilized unusual methods of display for both the Campbell’s

he had explored in his variations on Campbell’s Soup Cans.

Soup Cans and the Brillo Boxes in order to link them back to the original product as much as possible. The Soup Cans were displayed in a continuous

While the Soup Cans had been heralded as revolutionary for their use

row, as they would be in a grocery store shelf. The Brillo Boxes were a

of consumer objects as subject matter, Warhol went a step further with

three dimensional extension of what Warhol had done with the Campbell’s

the Brillo Boxes. Though the Soup Cans introduced a new practice of the

Soup Cans, stacked in columns just as if they were for sale. By displaying

obvious utilization of generic commodities, they were still executed in a

his works in a nontraditional format Warhol was removing them even more

more traditional medium of paint on a canvas. Warhol’s Brillo Boxes, though

from the realm of the traditional art world. The utilization of such ubiquitous

crafted out of wood, look to the viewer exactly like the boxes one would

household brands revealed the “commercial framework behind the pristine

have found in the store. With this work, Warhol forced the public to expand

spaces of the art gallery and art museum, while rubbing the nose of high

their notion of what constitutes art even further by making his art appear

culture in the mundane disorder of the supermarket stockroom” (P. Walsh,

all the more commercial and even superficial.There is one key difference

“Brillo Boxes,” Andy Warhol Foundation for the Visual Arts, 1998).

between Warhol’s work and the products after which they were modeled: Warhol’s boxes were empty. By leaving the boxes empty of the products with

Not surprisingly, such novelty was not immediately received positively.

which they are labeled, he makes a subtle, yet powerful comment about the

Many critics of the show felt that as an artist, Warhol should be creating

importance of the image and of advertising in the modern world. Through

images of his own instead of replicating the images of others, especially

this piece Warhol seems to be arguing that it was not the items themselves

those created as labels for commercial products. Critics of Warhol’s work

that mattered but rather how they were packaged and what image they

believed that such utilization of such labels degraded the seriousness of art.

portrayed. This piece is an emblem of Warhol’s mission to challenge

Warhol’s Brillo Box “made the form of that question finally and forever clear:

the notion of what defined art and the attitudes it provoked. Warhol is

how is it possible for something to be a work of art when something else,

synonymous with the Pop Art movement, and the present lot makes it clear

which resembles it to whatever degree of exactitude, is merely a thing, or an

why. With this exemplary piece, Warhol utilizes the mass produced product

artifact, but not an artwork? Why is Brillo Box when the Brillo cartons in the

by removing it from its intended context and reinventing it as an object of art,

warehouse are merely soap-pad containers?” (A.C. Danto, “Andy Warhol:

a sculpture. In keeping with the Pop movement, Warhol essentially brings life

Brillo Box” Art Forum, New York, 1993). A new philosophical question

and art in closer proximity, radically altering the definition and boundaries of

regarding the aesthetics and future of art was launched.

art forever.

Warhol’s boxes continued the debate sparked by the use of the readymade: whether the context in which an object was created and displayed is enough to categorize it as art. While Warhol’s box sculptures seemed to raise the same questions brought up by works such as Marcel Duchamp’s Fountain, the essential difference, of course, is that Warhol’s boxes were

Andy Warhol in Stable Gallery Š 1963 Fred W. McDarrah

136 Joseph Cornell 1903 - 1972 Hotel Andromeda, 1954 Wood, acrylic, paper collage, metal hardware, shell and glass. 18 1/4 x 12 1/2 x 3 1/2 in.

(46.4 x 31.8 x 9 cm). Signed “Joseph Cornell” on the reverse.

Estimate $150,000-250,000 Provenance C&M Arts, New York; The Joseph and Robert Cornell Memorial Foundation,

New York Exhibited Los Angeles, Manny Silverman Gallery, Joseph Cornell: Collages and Box

Constructions, September 19 – November 9, 1996; West Palm Beach, Norton Museum of Art, Joseph Cornell: Box Constructions and Collages, March 7 – May 4, 1997; St.Louis, Greenberg Van Doren Gallery, Joseph Cornell: Collages and Box Constructions, April – June 1998; New York, Joseph Hellman Gallery, Joseph Cornell: Memories, March 31 – April 24, 1999 Literature D. Windham, C. Orr-Cahall, and E. Rea, Joseph Cornell: Box Constructions and

Collages, West Palm Beach, 1997, n.p. (illustrated); D. Waldman, Joseph Cornell: Memories, New York, 1999, pl. 12 (illustrated)

Joseph Cornell began his series of Hotels in 1950 as a group of works sharing a spare structure that provides the illusion of looking through a hotel window onto aging facades papered with advertisements or up into the night skies.

Cornell culled his extensive collection of old travel guides to reinvent the aura of grand European and American hotels gone into decadent disrepair. The present lot, with its deep blue hues and weathered wooden frame suggests a view into the northern hemisphere’s constellation Andromeda, named after a Greek mythological princess. Andromeda Hotel is a fine example of Cornell’s unequalled ability to coalesce the beauty, mystery and particular aura of objects During a lifetime that coincided with an emphasis on change for the sake of change, theory and art as an ends unto themselves, and upheavals in technology, science, and international relations, Cornell deliberately chose to make art as a life-affirming act of communication and educational outreach. In describing his purpose as ‘making people at home with things generally considered aesthetic,’ he sought beauty, wonder, spirituality, and humanity as the outcomes of his invitation to journey with him into diverse arenas. First and foremost, Cornell— navigator of the imagination—was idealistic, radical, and contemporary in embracing the prospect of endless transformation while honoring the thread of history and the revolutionary strength of objects.

L. Roscoe Hartigan, Joseph Cornell: Navigating the Imagination, Salem, 2007, p. 87

137 ROY LICHTENSTEIN 1923 - 1997 Untitled, 1967 Acrylic on canvas. 16 x 19 5/8 in. (41 x 50.5 cm). Signed and dated “Lichtenstein ‘67” on the reverse.

Estimate $350,000-450,000 Provenance Leo Castelli Gallery, New York; Galleria Mareschalchi, Bologna

Lichtenstein has noted that the 1930s were “kind of blindly geometric.” The geometric forms of the period and the naïveté of the style appealed to him: “I think they believed that simplicity was art. They believed very much in the rational and logical. To me there is something humorous in being that logical and rational about a work of art –using a diagonal that goes from one corner of the picture to another and using arcs that have their midpoint at the edge of the picture. All these are very logical things: dividing pictures into halves or thirds, or repeating images three times or five times. They used these formulas because they thought that if they did it would be art. Actually, it can be. There are two things here: the naïve quality of believing that logic would make art, and the possibility that it could.”

Lichtenstein constructed the compositions of these paintings out of a basic set of forms –circle, semicircle, rectangle, square and triangle- arranged in the manner of classic Art Deco design (in sets of threes of fours, for example). These subdivisions and repetitions activate each composition, creating a hub of energy contained only by the parameters of the canvas. Lines of speed or vectors appear to converge or diverge among the densely packed forms. The energy generated by these strategies is boosted by the tension between jagged or irregular silhouettes and self-contained geometric shapes.

D. Waldman, Roy Lichtenstein, New York, 1993, p. 169

138 TOM WESSELMANN

1931 - 2004

Sunset Nude (Light), 2004 Oil on canvas. 77 x 86 in. (195.6 x 218.4 cm). Signed, titled and dated “Tom Wesselmann Sunset Nude (Light) 2004 Wesselmann 04” on the overlap.

Estimate $800,000-1,200,000 PROVENANCE Bernard Jacobsen Gallery, London Exhibited London, Bernard Jacobson Gallery, Tom Wesselmann: New Work, May 25-June 30, 2004 Literature D. Hickey, Tom Wesselmann: New Work, London, 2004, p.19 (illustrated), D. Echer,

ed., Tom Wesselmann, Rome, 2005, p. 272 (illustrated)

Redolent with a sensual energy, brimming with the hot house passages of

the zigzag pattern of the white lines and consequently venture further away from

brilliant color and the artist’s signature mix of still-life, landscape and the

the early nudes and closer to Wesselmann’s pure abstractions. Gradually, the

odalisque figure the paintings individually and collectively project a rather

boundaries between Wesselmann’s figurative and non-representational works

glorious farewell.

have begun to blur and the differences have become less overt.

J. Tully, Tom Wesselmann – Sunset Nudes, New York, 2006, n.p.

M. Lombino, “Variations on the Nude,” Tom Wesselmann: The Intimate Images, Long Beach, 2003

In the tradition of Manet and in the style of Pop-Art, Wesselman presents Sunset Nude (Light), a delectable female figure with sensuous curves and

Rather than exploiting the female nude, Wesselman is able to transcend the

an inviting smile. As the last painting of his Sunset Nudes series, she is

naked form on display into something pure and refined. The paired-down

both exciting and calming –a yielding vulnerability as she lies in the sun

style and primitivism of the piece highlight the innocence of the girl, a flower

with nipples erect and mouth open against a beautiful seascape. Her erotic

in her hair, fruit and palm tree by her side. Her contours are outlined and

body-language is provoking but non-offensive and highlights her femininity

so are those of the natural setting that becomes part of the surrounding

with simplified, reductivist shapes and lines. She is sexed-up with ravenous,

foreground and background. With no eyes, she is lost. Thus, the foliage and

cartoonish curvature and yet, she is present and aware.

fauna become part of her identity.

This figure-ground reversal (developed as a result of the visual effects of the

The Sunset Nude Series was the last of the series before Wesselman’s

cut-laser wirks he began in the 1980s) eventually led Wesselmann to the next

death. This piece evokes a subtle knowing of his departure. It is therefore, a

major shift in the direction of the nudes, which occurred about a decade

culmination of his oeuvre, of his life-long career that spanned the course of

later in the current figurative series entitled Sunset Nudes.In this series,

over fifty years. It pushes the boundaries of pop-art, solidifying his position

Wesselmann continues to depict the familiar nude figure, now placed in front of a

as an incredible talent in the sunset of life.

windowshowing a partial view of the sun, low on the distant horizon. Each of the figures has the same iconic features that highlight the more sensual body parts

What stands out in these last paintings are the artist’s unwavering drive to refine

–lips, nipples, hair. In a movement toward a more abstract overall composition,

and extend his visual vocabulary and launch it in the jet stream of Modern and

Wesselmann outlines the body once with a thin line and again with a wide

Post-War painting and sculpture. Though branded as a Pop Artist decades ago

band of flesh tone, leaving a strip of white (negative space) through the torso

and assured of a lofty position in that profile epoch, Wesselmann quietly and

and the length of each limb. [not so in ours, only through torso & one leg]The

deliberately labored far beyond those laurels and explored new territory. These

resulting wide white lines that intersect Sunset Nudes act as much as abstract

last, palpably fresh and beautifully executed works deliver a fitting swan song.

compositional elements as signifiers of the contours of the body. Some works in

J.Tully, Tom Wesselmann – Sunset Nudes, New York, 2006, n.p.

this series remain similar in composition to the earlier nudes, sharing elements such as leg and arm position, frontal face, and nearby flowers. Others emphasize

139 Andy Warhol 1928 - 1987 Flowers, 1970 Portfolio of ten screenprints on paper. 36 x 36 in. (91.4 x 91.4 cm) each. Each signed and numbered of 250 on the reverse. Each work is from an edition of 250, plus 26 artists proofs.

Estimate $400,000-600,000 PROVENANCE Private Collection, Switzerland LITERATURE F. Feldman and J. Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-

1987, New York, 2003, pp. 76-77, no. II. 64-73 (illustrated)

Warhol’s garish and brilliantly colored flowers always gravitate toward the surrounding blackness and finally end in a sea of morbidity. No matter how much one wishes these Flowers to remain beautiful they perish under one’s gaze, as if haunted by death.

J. Coplans, Andy Warhol, New York, 1978, p. 52 Andy Warhol’s iconic flower screenprints are a hallmark of the artist’s career.

Vibrant and lush, they were the most abstract works the artist produced in the 1960s and ‘70s, layering contrasted colors in a graphic, flattened grid.

Warhol deliberately rejected hierarchical composition by choosing a square format, embracing the simplicity of the symmetrical form and positioning it as a building block for a larger network of images. The device of repetition was Warhol’s most significant instrument for image branding. His gridded portraits of celebrities, commercial items, popular moments in time, and ordinary people were an ongoing comment on the ubiquity of fame, while visually equalizing all his subjects. Likewise, his series of monumental flower prints has become a recognizable brand in itself.

Referencing the long tradition of painted flowers in art history, Warhol’s flowers both reflect and confront nature: unnatural and synthetic, they are emblematic of artificial virility. The artist’s obsession with death was a prime force in his art, and his bold flower prints allude to the immortality of celebrity, even as it often kills the individual. Coolly detached symbols of vitality, the fabricated prints contain a moment commoditized and preserved in time. The present lot is an exciting and rare example of this series.

Delighting in an intensely electric palette, this set of ten prints hints toward eminent decay while ebulliently celebrating life.

140 ANDY WARHOL

1928-1987

Ads Painting (Rebel Without a Cause [James Dean]), 1985 Acrylic and silkscreen ink on canvas. 22 x 22 in. (55.9 x 55.9 cm). Signed, dated “Andy Warhol 85” stamped by the Andy Warhol Art Authentication Board and numbered “A125.076” on the overlap. This work is accompanied by a letter of authentication from the Andy Warhol Art Authentication Board, Inc.

Estimate $700,000-900,000 Provenance Ronald Feldman Gallery, New York; Private Collector, Wisconsin; Museum

Works, Aspen

James Dean is not our hero because he was perfect, but because he so perfectly

by angling a spotlight on their commodity-like exhibition in print media.

represented the damaged but beautiful soul of his time.

Warhol was innately attuned to the inevitable arch of fame over time, casting

Andy Warhol in Interview Magazine

a critical eye on the struggle to reconcile declining vitality with an heroic image of the past.

While his meteoric assumption to fame was Andy Warhol’s ultimate art act, celebrity itself was an obsession that consumed Warhol during his early

James Dean’s acting when he gets old is the worst thing. But they did a good

childhood in industrial Pittsburgh. The son of blue-collar Slovak immigrants,

thing—when he’s drunk and talking into the microphone it’s like a rock star,

Warhol revered famous icons of popular culture and was fascinated by the

he’s right on top of the microphone and it’s just noises coming out and it’s so

American phenomenon of the superstar. His early work in advertising and

abstract.

illustration was fed by his interest in material consumed at a mass scale,

Andy Warhol in The Andy Warhol Diaries, New York, 1989, p. 354

and would continue to drive his rapidly developing art toward the concept of fame itself.

The engine of silver screen populist propaganda was a guidebook to Warhol’s dissection of fame and its shadows, and he carefully sifted through

From childhood, Warhol believed in the myth of stardom. His attraction to

commercial material for the iconic images he appropriated. The present lot

the persona of the youthful and famous motivates some of the first sikscreen

is a vibrant silkscreen based on a Japanese poster advertising the film Rebel

paintings… Warhol’s identification with them is twofold, both as objects of desire

Without a Cause. Appropriating a foreign image of an American treasure,

and as role models…. But it was when the Disasters’ theme of death coincided

Warhol captures the globalism of stardom and pop culture, redelivering a

with his fascination with stardom and beauty that Warhol found the subjects of

classic, historic image with a fresh energy. At once celebratory and cynical,

his best-known groups of celebrity portraits… The ironic implication of doomed

the work embodies the loneliness of celebrity and the dynamism of a life

beauty produced a number of strong, memorable paintings.

shortened by its availability to society.

K. McShine, Andy Warhol: A Retrospective, New York, 1989, p. 17 So I got home and I watched Rebel Without a Cause, and gee, it was so Lust, premature glory, and eminent disaster are all reoccurring themes in

strange to see Sal Mineo looking like a baby, just a real baby, and James Dean

Warhol’s silkscreens, most notably in his portraits of movie stars whose

and Dennis Hopper look like grown men. You can’t figure out what this young

stories were rooted in tragedy. Idols of Hollywood, such as Marilyn Monroe

thing is doing with them, and yet they’re all supposed to be the same age. And

and James Dean, were so overexposed through popular media that their

James Dean looked so modern—the jeans and the Lacoste shirt and the red

lives became public property: giving themselves to fame meant relinquishing

windbreaker, and leaning over with no underwear showing.

rights to their private personas. Warhol sought to capture the vastness of

Andy Warhol, Ibid, p. 480

their stardom and their ubiquity as characters occupied by public fantasy,

141 LIZA LOU

b. 1969

Offensive/Defensive, 2008 Glass beads on aluminum panel. 72 x 36 in. (182.9 x 91.4 cm).

Estimate $250,000-350,000 Provenance L&M Arts, New York Exhibited New York, L&M Arts, Liza Lou, September 24 – December 13, 2008 Literature L. Nochlin and R. Pincus-Witten, Liza Lou, New York, 2008, pp. 94 – 99 (illustrated);

C. Schultz, “Interview with Liza Lou,” Whitehot Magazine, New York, October 2008 (illustrated); S. Dubin, “Where in the World is Liza Lou,” Art in America, New York, November 2008, p. 168 (illustrated); J. Castro, “Liza Lou: Fragile Security,” Sculpture Magazine, Washington DC, April 2009, p. 35

Beginning in 2007, Liza Lou’s Relief series reflect in glass bead work Muslim prayer rugs from the Caucasus region. The vibrant colored beaded work is dramatically interrupted but areas of black which appear to be reminiscent of topographical global maps allowing the work to demonstrate levels of abstraction. The carefully composed beading allows for the areas of black to physically lie on top of the colored beadwork seeping through the “rug” like continuous mold growing on trees.

The rug’s pattern has been transposed to a 5 x 10 panel of honeycombed aluminum. That’s two-dimensional. There is also a three-dimensional matter of the height and depth at which the knotted fibers are shorn from the rug’s warp and weft, the rug’s “topography. The word is both geographic allusion and index of Liza Lou’s political alertness to the world’s disarray. There are six “scaled-up” prayer rugs like those found in the near east. The pattern’s are ancient; some turn into crumbling cities, evolve into maps, oceans, viruses, territories.

R. Pincus-Witten, Liza Lou, New York, 2008, p. 21 Through Offensive/Deffensive the South African artist makes a socio-political comment on religion at the present moment and the disruptive effects it holds. The time consuming, colorful design of the ancient rug in the present lot reveals a precise pattern to an artform that is ancient, rich and colorful in history. Slowly this remarkable traditional artform begins to lose itself as time goes by filling what was then “colorful” to painted beads in black. “all of this body of work is about break down and control, so you have this tremendous amount of control and order and then chaos, as the patterns break down,” (C. Schultz, “Interview with Liza Lou,” Whitehot Magazine, New York, October 2008).

142 CHRIS OFILI

b. 1968

Silver Moon, 2005 Nickel silver. 79 1/8 x 53 7/8 x 69 in. (201 x 137 x 175 cm).

Estimate $450,000-600,000 PROVENANCE Contemporary Fine Arts, Berlin Exhibited Berlin, Contemporary Fine Arts, Chris Ofili: The Blue Rider, November 19 –

December 23, 2005; Moscow, Gary Tatintsian Gallery, Hunky Dory, March 2 – April 20, 2007 Literature L. Harding, “Ofili ponders the nature of relationships,” The Guardian, London,

November 19, 2005; V. Pukemova, Hunky Dory, Moscow, 2007, p. 49 (illustrated)

Chris Ofili is known for his crude depictions of human and mythical creatures addressing the sacred and the profane, usually with the inclusion of bodily fluids as subject matter or medium. This monumental bronze sculpture is part of a twin set, one female and one male, Silver Moon and Blue Moon.

The female from the front view resembles a tribal figure with simple clothing and bold hair, sitting quietly, seemingly patient and dignified with eyes closed. However, from behind, she is revealed to be engaging in a lewd act of public indecency –perversely defecating blueish color excrement (the same blue as her counterpart who in turn, defecates silver feces). She is ‘moonlighting’ explicitly in front of viewers, her buttocks bare and brightly shined, adding emphasis to the serpent-like stool standing erect leaning back toward her posterior, as if trying to re-enter.

It’s not just about turds. It’s what they symbolise that I’m interested in here. The sculptures are a dialogue. It’s about relationships. It’s about how people can be very intense and very comfortable with each other at the same time Chris Ofili in L. Harding, “Ofili ponders the nature of relationships,” The Guardian, London, November 19, 2005

143 GEORGE CONDO

b. 1957

Widow’s Watch, 1995 Oil on canvas. 67 x 67 in. (170.2 x 170.2 cm).

Estimate $300,000-400,000 Provenance Pace Wildenstein, New York ; Private collection, Los Angeles; Caratsch de Pury

& Luxembourg, Zurich; Luhring Augustine, New York Literature T. Kellein, George Condo: One Hundred Women, Ostfildern-Ruit, 2005, p. 79

(illustrated)

George Condo mines a broad swath of contemporary imagery as well as the rich history of Western art to distill archetypes that are all his own. As a “semi-autodidact,” Condo’s meticulous eye takes in everything from the Old Masters of European painting to the thoroughly modern discipline of psychology to the visual trappings of Saturday morning cartoons. The present lot, Widow’s Watch, exemplifies this interplay. The scene marries the Baroque majesty of a Bronzino portrait to the dreamlike atmosphere of Giorgio di Chirico, without sacrificing the artist’s trademark dark sense of humor or the constant hint of private sadness.

Physiognomies, inner emotions and outward appearances coincide time again in surprising ways, all without plan. As is often the case when designing an artistically interesting physis, the beginnings lie in scribbles and crude sketches.

Condo searches at the same time for a stylistic framework for his figures, but does not leave it at that. After a succession of variations, his work is only really finished once his deep-seated feeling of grotesqueness has generated instinctive crystalline formations in illusionist spaces.

T. Kellein, George Condo: Sculpture, Zurich, 2003, p. 7

144 LISA YUSKAVAGE

b. 1962

Bad Habits: Asspicking, Foodeating, Headshrinking, Socialclimbing, Motherfucker, 1996 Cast hydrocal with artificial pearls and flowers in five parts. Asspicking: 9 x 4 x 5 1/2 in.

(22.9 x 10.2 x 14 cm); Foodeating: 10 x 4 3/4 x 5 1/2 in. (25.4 x 12.1 x 14 cm); Headshrinking: 12 1/2 x 4 1/2 x 3 3/4 in. (31.8 x 11.4 x 9.5 cm); Socialclimbing: 10 x 4 x 3 3/4 in. (25.4 x 10.2 x 9.5 cm); Motherfucker: 9 1/2 x 4 x 3 1/2 in. (24.1 x 10.2 x 9 cm). Signed, titled and dated “Lisa Yuskavage ‘Bad Habits: Asspicking, Foodeating, Headshrinking, Socialclimbing, Motherfucker’ 1996” on the underside of Asspicking; each individually titled and numbered of ten on the underside. This work is from an edition of ten plus five artist’s proofs.

Estimate $120,000-180,000 Provenance Boesky Callery Gallery, New York Exhibited New York, Boesky Callery Gallery, Lisa Yuskavage, October – November 1996

(another example exhibited); Chicago, Museum of Contemporary Art, My Little Pretty: Images of Girls by Contemporary Women Artists, April 19 – June 22, 1997 (another example exhibited); Philadelphia, Institute of contemporary Art, Lisa Yuskavage, December 2, 2000 – February 9, 2001 (another example exhibited).

Literature R. Vine, “Lisa Yuskavage at Boesky Gallery,” Art in America, February

1997, p. 104; Museum of Contemporary Art, Chicago, ed., My Little Pretty: Images of Girls

by Contemporary Women Artists, Chicago, 1997, p. 10 – 12 (another example illustrated); L. Liebmann and B. Adams, Young Americans 2: New American Art at the Saatchi Gallery, London, 1998, n.p., (another example illustrated); C. Gould, K. Siegel, & M. Hull, Lisa Yuskavage, Philadelphia, 2000, pp. 10, 17 – 18, 41, 74 (another example illustrated); C. Lovelace, “Lisa Yuskavage: Fleshed Out,” Art in America, July 2001, p. 84; T. Jenkins, Lisa Yuskavage: Small Paintings 1993 – 2004, New York, 2004, p. 28 (illustrated)

I don’t think there is an uninteresting person alive. It’s just that not everyone has access to themselves, to the full range of their emotional life. That is why my work often embarrasses me and why I need it to embarrass me. Being embarrassed allows me to access more surprising pictorial solutions. I don’t know precisely how, but it seems to function as a clarifying agent Lisa Yuskavage in C. Gould, “Screwing it on Straight,” Lisa Yuskavage, Philadelphia, 2000, p. 12 The five figurines echo the mannerist distortions of her earlier work –the bloated bellies, elongated necks, and giant butts; in fact, some of the figures are lifted directly from certain paintings. After she had finished with each figure, Yuskavage (who talks to her art, although she is quick to point out that it does not talk back) wagged her finger, chastising the little sculptures as variously, “asspicker, foodeater, headshrinker, socialclimber, motherfucker.”

The names are funny and angry, lifted from a scene in the film River’s Edge, where a frustrated teenager inarticulately accuses his mother’s refrigeratorraiding boyfriend of being a “foodeating motherfucker.” The title of the group is Bad Habits, borrowed from the title of a 1970 painting by Philip Guston, a hero to many artists for the scathingly witty, unsparing self-criticism of his later work (Guston counted painting as among his bad habits, along with drinking, smoking, and eating). The figures’ sources come from high and low.

K. Siegel, “Local Color,” Lisa Yuskavage, Philadelphia, 2000, p. 17

145 BANKSY b. 1975 Untitled (Toxic Marys), 2003 Spray paint on panel in two parts. 74 x 70 3/4 in. (188 x 180 cm) overall. This work is accompanied by a certificate of authenticity from Pest Control.

Estimate $150,000-250,000 PROVENANCE Private Collection, Los Angeles Exhibited New York, The Vs. Project: Banksy vs. T5S, May 21, 2003 – July 15, 2003; London,

Andipa Gallery, Banksy, April 23, 2009 – May 16, 2009

Grafitti artist Banksy’s works have cropped up on streets and walls around the world since the 1980s. Secretive and elusive about his identity, the artist has grown from cult figure into an internationally renowned contemporary artist. Politically engaging and inherently challenging of authority, Banksy’s spray painted stencil images are nevertheless light-hearted and grounded in wit. Utilizing materials such as canvas and panel in addition to his outdoor murals and street graffiti, the artist delights in producing works that are innately confrontational and often impermanent. The present lot speaks to this tradition, confronting the questionable purity of religion with dual Madonnas back-to-back, each feeding her child from a poisoned bottle.

Their lower halves, visually composed from dripping paint, are obstructed by ominous bomber planes flying beneath them. The work is a dynamic reminder of human fragility and an iconic example of Banksy’s oeuvre.

146 MARGHERITA MANZELLI

b. 1968

Miss Missy, 1997 Oil on canvas. 19 3/4 x 17 1/2 in. (50.2 x 44.5 cm). Signed, titled and dated “Margherita Manzelli ‘Miss Missy’ 1997” on the reverse.

Estimate $70,000-90,000 Provenance CRG Gallery, New York

Margherita Manzelli uses the techniques of painterly realism to create fictional worlds. Her paintings look like female portraits but they are more like abstract paintings of state of mind. The figures function as portals to enter a mental space, a synaesthetic fusion of forms, sounds, and rhythms. Her interest in depicting the fluid space of dreams and irrational thought connects her with Italian Symbolism and the early work of Futurists like Umberto Boccioni and Luigi Russolo. Her paintings appear to be realist, but her representational skill is really a platform to transport the viewer into a state of mind that transcends earthbound reality.

J. Deitch, Form Follows Fiction, Torino, 2001

147 PAUL MCCARTHY b. 1945 Untitled (from Propo-Series) (Peaches), 1991/2002 Cibachrome print mounted on aluminum. 49 x 73 in. (124.5 x 185.5 cm). This work is from an edition of three.

Estimate $60,000-80,000 Provenance Luhring Augustine, New York; Bortolami Dayan Gallery, New York Exhibited San Francisco Art Institute, Work Zones: three decades of contemporary art from

San Francisco Art Institute, 11 May - 29 July, 2006 (another example exhibited) Literature P. McCarthy, ed., Paul McCarthy: Propo, Milan, 1999, n.p. (illustrated)

Paul McCarthy’s monumental career has bridged performance, painting, photography, sculpture, and video; and has continued to challenge the conventions of art and the human body. His surreal, often sardonic photographs of staged moments reflect McCarthy’s enduring study of cultural production and perceptions of power, aggression, violence, and pleasure. The present lot is a still-life of five jars of preserved peaches stacked in a pyramid. Grime on the jars quickly overshadows the initial innocence of the image, and the photograph assumes a corrupted nature, like a criminal mug shot. Referencing the Duchamp ready-made and Warhol’s repeated soup cans, the photograph is at once an inventory of a commercially manufactured, iconic American object, and a pernicious portrait of evidence to carnage.

The formal decision-making and much of the actual content of the artist’s work don’t merely signify but, bluntly, brutally and beautifully perform the complicated visceral relation between thinking about the body, and embodying thinking….

Duschamp discerned, as Thierry de Duve has made clear, that once painters stopped grinding their own pigment, all painting became a ready-made. [Allan] Kaprow understood the radical promise in Pollock’s ‘near destruction’ of the tradition of painting. As he tests the limits of the performance called selfhood, part of McCarthy’s project has been to challenge not only the ramifications of the readymade, but what painting is and cannot be.

B. Hainley, “Paul McCarthy”, Frieze, April 2001, p. 90

148 LEANDRO ERLICH

b. 1973

La Vista (The View), 1997-2005 Installation of thirteen dvds on lcd screens with glass window pane and walls. Overall installation: 79 x 56 x 44 in. (200.7 x 142.3 x 111.8 cm); screens 3 1/4 x 6 in. (8.3 x 15.2 cm) each.

Estimate $30,000-50,000 Provenance Galerie 43, Buenos Aires Exhibited 51st Venice Biennale Italian Pavilian, June 12-November 6, 2005 Literature L. Erlich & G. Sacco, Argentina: la Biennale di Venezia 49. esposizione

Internationale d’Arte, Venice, 2001, pp. 36-37 (illustrated)

A voyeur’s dream, Leandro Erlich’s La Vista is a striking play on reality. Erlich is famous for his ability to confound the viewer’s sense of what is real and what is perceived, consistently blurring the lines between both. La Vista is as profound as it is fascinating. The viewer peers through a constructed window, complete with Venetian blinds, to the apartment building across the street – in this case a fabricated façade with twelve different DVDs playing on a loop. What they see are twelve different apartments whose inhabitants go about their daily lives seemingly unaware of being watched.

The viewer is intrigued as different stories unfold in the building across the street, temporarily forgetting that what they are watching is contrived. They know that they should not be watching but are unable to look away. Fans of Hitchcock will easily recognize the similarities between this piece and one of his most famous movies, The Rear Window, in which James Stewart plays a man temporarily confined to a wheel chair who spends his days observing his Greenwich Village neighbors through his back window. The camera’s perspective in The Rear Window mirrors the viewer’s perspective in La Vista.

As the plot of the movie evolves, Stewart witnesses and ultimately helps to solve a murder. Various secondary plotlines emerge, creating a complicated web of stories that ultimately teach Stewart not only about the different facets of humanity but also about his own nature. Many people have interpreted the film as representing the spectator and the screen, something that Erlich literally embodies in La Vista. This ability of his to intelligently confound the viewer and question the real world is what has garnered him a position as one of the most provocative artists of his generation.

149 Jules de Balincourt

b. 1972

I Infect You, You Infect Me, 2006 Acrylic and oil on panel. 48 x 84 in. (121.9 x 213.4 cm). Signed, titled and dated “Jules de Balincourt ‘IINFECTYOUYOUINFECTME’ 2006” on the reverse.

Estimate $60,000-80,000 Provenance Zach Feuer Gallery, New York Exhibited Berlin, Arndt and Partner, Accidental Tourism and the Art of Forgetting, January 21

– March 18, 2006; London, Royal Academy of Arts, USA Today, October 6-November 4, 2006

Jules de Balincourt’s vibrant, often frenetic images express emotional and psychological currents as much as they do physical landscapes and places. The New York-based French artist imbues his works with a sense of humor, highlighting conditions of his adopted American society. His spirited paintings are composed of bright, stenciled sections with expressive details.

In the present lot, two large abstracted clusters approach each other, linked by chaotic sparring in the center of the picture. The rigid lines appear to bend and crack on contact, and the work imbues a vivid, graphic tension with bright colors against black. Each side contains a ribbon of text: “I INFECT YOU/ YOU INFECT ME,” infusing the work with a sinister ambiance—a disquieting danger creeping behind the celebration, or perhaps the joy of a cross-contamination of ideas between people.

What is at stake in negating intelligible mimetic imagery with passages of pure facture and, inversely, in undermining the autonomy of materials and process with overt images? And how can mining this dialectic through the act of painting help illuminate and analyze the human and material conditions of contemporary life? Where this ambition takes hold and directs Jules de Balincourt’s practice, his work is at its strongest.

C. Bedford, “Jules de Balincourt”, Artforum, September 21 ,2007

150 WANGECHI MUTU

b. 1972

Untitled, 2003 Graphite, watercolor, ink, and paper collage on mylar. 35 3/4 x 24 in. (90.8 x 61 cm).

Estimate $60,000-80,000 Provenance Salon 94, New York Exhibited London, Royal Academy of Arts, USA Today, October 6 – November 4, 2006 Literature Royal Academy of Arts, ed., USA Today, London, 2006, p. 293 (illustrated)

Kenyan-born artist Wangechi Mutu’s collage works play with metamorphosis, touching on themes of transformation, excess, and desire. Mutu’s deconstructed female figures reflect the violence inherent in a universal pursuit of external perfection, affluence, and power. Meanwhile, the seductive beauty of her ethereal images entrances the viewer, engaging her audience in a dialogue about consumption and Western ideals. The present lot is an exciting example of Mutu’s oeuvre. Referencing surrealism and dada, the image appears to be an assemblage of individual body parts comprised of found objects. Conflicting textures and imagery reflect the disjuncture of modern Africa and a struggle to reconcile tradition with the future, and internal turmoil with the superficial preoccupations of globalism and commercial culture.

[Mutu’s female forms] might be read as a commentary on sub-Saharan Africa as planetary site of the world’s most vivid juxtapositions of the sublime and the horrific, dousing caustic chemicals (or is that melted strawberry ice cream?) upon characters that recall the Africanized syncopations of Romare Bearden’s collaged bodies and ghettoscapes, the fantastical literary imaginings of Amos Tutuola, and the mutant ‘hood societies of Pedro Bell. These women appear at times conjured from a fantastical realm of nocturnal toadstool reveries and at other times, fabricated from the rotting remains of open sewers, garbage heaps of toxic waste. Alternately engaging in mutual frolic or ecstatic disfiguration, their glorified orifices bestow life-giving fluids and anoint the land with toxic elixirs. It is ironic and telling, however, that a good portion of the oozing in Wangechi’s art is not done via the usual body parts; rather, liquid pours as frequently from bodily punctures and ruptures. Which is to say, this is an ecstatic aesthetic of trauma.

There is funky movement here for sure, but for the most part the movement and visages of these figures -alternately alluring or disconcerting- sublimate the screams from within the tortured web of history.

M. Veal, Wangechi Mutu: A Shady Promise, Bologna, 2008, p. 10

151 WOLFGANG TILLMANS

b. 1968

Supercollider (Refraction) C, 2003 C-print. 68 x 57 in. (172.7 x 144.8 cm).

Estimate $40,000-60,000 PROVENANCE Galerie Daniel Buchholz, Germany Literature Tate Britain, ed., Wolfgang Tillmans: If One Thing Matters, Everything Matters,

London, 2003, p. 298 (illustrated); J. Hammond, “Wolfgang Tillmans: Freischwimmer, A German photographic artist swims against the tide,” Metropolis, Tokyo, December 2004 (illustrated)

German-born, London-based photographer Wolfgang Tillmans’ rich and intimate pictures testify to the artist’s experimental spirit. Challenging the history of image consumption with magazine-style exhibition and a variety of photographic techniques, Tillmans has manipulated the conventions of photography and repurposed the photograph itself. His pictures expose a multitude of moments, yet become art objects rather than pictorial records.

The present lot is an expansion on this concept. Exposing film directly to light in the darkroom, Tillmans creates “blushes” of two-dimensional planes of color. Reflective of his fractured figurative photographs, the work is an abstract and striking example of Tillmans’ artistic agility.

Like everything in my work, they’re a mix of intention and accident… People can’t really think about pictures as objects… They’re still only a representation of what’s on them. The myriad formal choices that a photographer makes are always taken for granted or overlooked. I’m trying to go against this thinking that photos can only be accessed via their subject matter. I think about just the same questions that a painter would about the problems of representation. I just found that photographs are the language I speak best in.

Wolfgang Tillmans in V. Aletti, “Wolfgang Tillmans: A Project for Artforum”, Artforum, February 2001

152 TIM NOBLE & SUE WEBSTER

b. 1966 and 1967

Lucky, 1999 UFO caps, light bulbs, Foamex and sequencer. 40 x 81 in. (101.6 x 205.7 cm). This work is from an edition of five and is accompanied by a certificate of authenticity.

Estimate $250,000-350,000 Provenance Acquired directly from the artist; Stuart Shave/Modern Art, London

Sue Webster and Tim Noble extend… dysfunctions, in a traditional, English, mocking, punk style, to describe actual or latent violence toward the principal human concerns of work and love in relation to the cultural absolutes of baked beans and Union Jacks. This extension of disorders takes the form of sundry tortures, violent confrontations, self abuses, suffogacies and displacements, damage to property and the ridiculing of other artists’ works – as well as the destruction of nature, the vilification of knowledge and the general spreading of shit according to the theories of Sid Vicious.

N. Brown, Frieze, September/October 1996 British artist team Tim Noble and Sue Webster are renowned for their exciting appropriations of found objects and emblems of kitch. Echoing the process of psychological recognition, the artists transform cultural detritus into objects that are at once abstracted and widely recognizable.

Their light sculptures reference carnival signs in English seaside towns, the history of cabaret, and the gritty glow of Times Square. Antimonumental and witty, the present lot is an ironic example of the artists’ oeuvre. The word “Lucky” is spelled in bright white, yellow and red lights, projecting a charming retro aesthetic while referencing gambling and sex. Ironical and invasive, the work confronts its viewers and engages a dialogue about form and culture.

INDEX Baldessari, J. 134 Banksy 145 Basquiat, J.M. 116 Bradford, M. 108 Condo, G. 102, 143 Cornell, J. 136 de Balincourt, J. 149 Erlich, L. 148 Fischer, U. 104 Flavin, D. 118 Furnas, B. 115 Gormley, A. 109 Gottlieb, A. 127 Halley, P. 131 Handforth, M. 107 Heilmann, M. 130 Hirst, D. 110 Horn, R. 120 Judd, D. 122, 132 Kapoor, A. 123 Koons, J. 112 Kusama, Y. 124 Lichtenstein, R. 137 Lou, L. 141 Mangold, R. 126, 129 Manzelli, M. 146 Mccarthy, P. 147 Mutu, W. 150 Noble, T. & Webster, S. 152 Noland, K. 128 Ofili, C. 142 Parrino, S. 121 Prince, R. 113 Rondinone, U. 105 Stella, F. 125 Stingel, R. 103 Tansey, M. 133 Tillmans, W. 151 Trockel, R. 106 Walker, K. 101 Warhol, A. 117, 135, 139, 140 Webster, S. & Noble, T. 152 Wesselmann, T. 138 Wiley, K. 114 Wool, C. 119 Yuskavage, L. 111, 144

GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you.

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller.

BUYER’S PREMIUM Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

1 PRIOR TO AUCTION Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips de Pury & Company sale, please contact us at +1 212 940 1240 or +44 20 7318 4010.

Pre-Sale Estimates Pre-Sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.

Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only.

Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury & Company accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

Symbol Key The following key explains the symbols you may see inside this catalogue.

O Guaranteed Property

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may be provided by Phillips de Pury & Company, by a third party or jointly by us and a third party.

Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration against the final purchase price if such party is the successful bidder.

PHOTOGRAPHS AUCTION 20 MAY 2010 5pm Viewing 13 – 20 May

LONDON

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 30 7318 4021 Catalogues +44 20 7318 4039 / +1 212 940 1240 www.phillipsdepury.com

THOMAS RUFF LMV 09 h.t.b. 03, 1999 Estimate £25,000-35,000

∆ Property in Which Phillips de Pury & Company Has an Ownership Interest

providing or participating in a guarantee on the lot, Phillips de Pury & Company will make

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part

an announcement in the saleroom that interested parties may bid on the lot.

or has an economic interest in the lot equivalent to an ownership interest.

•

Consecutive and Responsive Bidding No Reserve

Unless indicated by a

•

The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The , all lots in this catalogue are offered subject to a reserve. A reserve

is the confidential value established between Phillips de Pury & Company and the seller and

auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders.

below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

4 AFTER THE AUCTION

2 BIDDING IN THE SALE

Payment Buyers are required to pay for purchases immediately following the auction unless other

Bidding at Auction

arrangements are agreed with Phillips de Pury & Company in writing in advance of the

Bids may be executed during the auction in person by paddle or by telephone or prior to the

sale. Payments must be made in US dollars either by cash, check drawn on a US bank or

sale in writing by absentee bid.

wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins.

Proof of identity in the form of government issued identification will be required, as will an

Credit Cards

original signature. We may also require that you furnish us with a bank reference. New clients

As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and

are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us

Mastercard to pay for invoices of $10,000 or less.

to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses.

Collection

Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury &

It is our policy to request proof of identity on collection of a lot. A lot will be released to the

Company staff member immediately. At the end of the auction, please return your paddle to the

buyer or the buyer’s authorized representative when Phillips de Pury & Company has received

registration desk.

full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long

Bidding by Telephone

Island City, Queens, New York. All purchased lots should be collected at this location during

If you cannot attend the auction, you may bid live on the telephone with one of our multi-

our regular weekday business hours. As a courtesy to clients, we will upon request transfer

lingual staff members. This service must be arranged at least 24 hours in advance of the sale

purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York,

and is available for lots whose low pre-sale estimate is at least $1000. Telephone bids may

New York for collection within 30 days following the date of the auction. For each purchased lot

be recorded. By bidding on the telephone, you consent to the recording of your conversation.

not collected from us at either our warehouse or our auction galleries by such date, Phillips

We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable

de Pury & Company will levy an administrative fee of $35, a storage fee of $5 per day and a pro

taxes, which we can execute on your behalf in the event we are unable to reach you by

rated Insurance charge of 0.1% of the purchase price per month.

telephone.

Loss or Damage Absentee Bids

Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to

If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury

lots for a maximum of five days following the auction.

& Company will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the

Transport and Shipping

currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible

As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand

price taking into account the reserve and other bidders. Always indicate a maximum bid,

carry only. We will, at the buyer’s expense, either provide packing, handling and shipping

excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted.

services or coordinate with shipping agents instructed by the buyer in order to facilitate such

Any absentee bid must be received at least 24 hours in advance of the sale. In the event of

services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of

identical bids, the earliest bid received will take precedence.

the Conditions of Sale for more information.

Employee Bidding

Export and Import Licenses

Employees of Phillips de Pury & Company and our affiliated companies, including the

Before bidding for any property, prospective bidders are advised to make independent inquiries

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

as to whether a license is required to export the property from the United States or to import

reserve when submitting their absentee bids and otherwise comply with our employee bidding

it into another country. It is the buyer’s sole responsibility to comply with all import and export

procedures.

laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments

Endangered Species

set below may be lowered to the next bidding increment.

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may

$50 to $1,000

by $50s

require a license or certificate prior to exportation and additional licenses or certificates upon

$1,000 to $2,000

by $100s

importation to any foreign country. Please note that the ability to obtain an export license

$2,000 to $3,000

by $200s

or certificate does not ensure the ability to obtain an import license or certificate in another

$3,000 to $5,000

by $200s, 500, 800

country, and vice versa. We suggest that prospective bidders check with their own government

(i.e. $4,200, 4,500, 4,800)

regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility

$5,000 to $10,000

by $500s

to obtain any necessary export or import licenses or certificates as well as any other required

$10,000 to $20,000

by $1,000s

documentation. The denial of any required license or certificate or any delay in obtaining such

$20,000 to $30,000

by $2,000s

documentation will not justify the cancellation of the sale or any delay in making full payment

$30,000 to $50,000

by $2,000s, 5,000, 8,000

for the lot.

$50,000 to $100,000

by $5,000s

$100,000 to $200,000

by $10,000s

above $200,000

auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty.

All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party

DESIGN INCLUDING THE HALSEY MINOR COLLECTION

AUCTION 9 JUNE 2010 Viewing 1 – 9 JUNE

NEW YORK

Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

HARRY BERTOIA Early “Dandelion” Sculpture, ca. 1960 Estimate $130,000-150,000

FRANCIS BACON A Bullfight No. 1 (Study), 1971 Estimate $10,000-15,000

JEAN DUBUFFET Personnage au chapeau, 1962 Estimate $20,000-30,000

BRUCE NAUMAN Bound to Fail, 1967-70 Estimate $25,000-35,000

ROBERT RAUSCHENBERG Preview, from Hoarfrost Editions series, 1974 Estimate $30,000-40,000

MODERN AND CONTEMPORARY EDITIONS AUCTION NEW YORK 8 JUNE 2010 Viewing 1 – 8 June Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1220 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship

(c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which

between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers,

is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone

on the other hand. All prospective buyers should read these Conditions of Sale and Authorship

bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips de Pury

Warranty carefully before bidding.

& Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer.

1 INTRODUCTION

Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

recording of the conversation.

and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

or other written material posted by Phillips de Pury & Company in the saleroom, in each case

accepts personal liability to pay the purchase price, as described more fully in Paragraph 6

as amended by any addendum or announcement by the auctioneer prior to the auction.

(a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips de Pury & Company before the commencement of the auction that the bidder is acting

By bidding at the auction, whether in person, through an agent, by written bid, by telephone

as agent on behalf of an identified third party acceptable to Phillips de Pury & Company and

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so

that we will only look to the principal for such payment.

changed or supplemented, and Authorship Warranty. (e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain

& Company to prospective buyers. While we undertake to exercise reasonable care in

all the terms on which Phillips de Pury & Company and the seller contract with the buyer.

undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

2 PHILLIPS de PURY & COMPANY AS AGENT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the

catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or

reserve when submitting their absentee bids and otherwise comply with our employee bidding

financial interest in a lot as a secured creditor or otherwise.

procedures.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

5 CONDUCT OF THE AUCTION

•

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

(a) Unless otherwise indicated by the symbol

such description is changed or supplemented, as provided in Paragraph 1 above) and in the

is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller.

condition that they are in at the time of the sale on the following basis.

The reserve will not exceed the low pre-sale estimate at the time of the auction.

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent

(b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a

on information provided to us by the seller, and Phillips de Pury & Company is not able to

lot for sale (including after the fall of the hammer) if he or she believes there may be error or

and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge

dispute and take such other action as he or she deems reasonably appropriate.

each lot is offered subject to a reserve, which

this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing,

(c) The auctioneer will commence and advance the bidding at levels and in increments he or

we shall exercise such reasonable care when making express statements in catalogue

she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place

descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale

one or more bids on behalf of the seller up to the reserve without indicating he or she is doing

and in light of (i) the information provided to us by the seller, (ii) scholarship and technical

so, either by placing consecutive bids or bids in response to other bidders.

knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made.

(d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by

pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly,

prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on

estimates in pounds sterling or euros should be treated only as a guide.

the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

to bidding and have satisfied themselves as to both the condition of the lot and the accuracy

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

of its description.

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,”

prepare and provide condition reports to assist prospective buyers when they are inspecting

“returned to owner” or “bought-in.”

lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale

referred to in the catalogue or condition report. All dimensions are approximate. Illustrations

and Authorship Warranty as if sold in the auction.

are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots.

6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale

and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer

estimate, whether written or oral, and information in any catalogue, condition or other report,

price up to and including $50,000, 20% of the portion of the hammer price above $50,000 up to

commentary or valuation, is not a representation of fact but rather a statement of opinion held

and including $1,000,000 and 12% of the portion of the hammer price above $1,000,000.

by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury

(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law.

& Company in our absolute discretion. Neither Phillips de Pury & Company nor any of our

All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive

affiliated companies shall be liable for any difference between the pre-sale estimates for any

of applicable taxes. Phillips de Pury & Company will only accept valid resale certificates from

lot and the actual price achieved at auction or upon resale.

US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or

(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

participation in the sale. All bidders must register for a paddle prior to bidding, supplying such

following the auction regardless of any intention to obtain an export or import license or other

information and references as required by Phillips de Pury & Company.

permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows:

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid

behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of

in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

in person at our Client Accounting Desk at 450 West 15th Street, Third Floor, during regular

Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum

weekday business hours.

amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does

(ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and the buyer

not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest

provides to us acceptable government issued identification. Checks and banker’s drafts

possible price taking into account the reserve and other bidders. Any absentee bid must be

should be made payable to “Phillips de Pury & Company LLC.” If payment is sent by mail,

received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid

please send the check or banker’s draft to the attention of the Client Accounting Department

received will take precedence.

at 450 West 15th Street, New York, NY 10011 and make sure that the sale and lot number is written on the check. Checks or banker’s drafts drawn by third parties will not be accepted.

CONTEMPORARY ART AUCTIONS LONDON EVENING SALE 29 JUNE 2010 7pm DAY SALE Viewing 21 – 29 June

30 JUNE 2010 10am & 2pm

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 30 7318 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240 www.phillipsdepury.com GILBERT AND GEORGE Damned Buddleia, 1980 Estimate £150,000-200,000

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank

shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to

transfer details:

recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable

Citibank

the seller to commence legal proceedings to recover the amounts due and legal costs.

322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33

(b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips

ABA Routing: 021 000 089

de Pury & Company and our affiliated companies, Phillips de Pury & Company retains, and

For the account of Phillips de Pury & Company LLC

the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in

Account no.: 58347736

any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as

Please reference the relevant sale and lot number.

the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default

(d) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

to one of our affiliated companies, we will so notify the buyer. Our security interest in any

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent.

release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s

(c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer

unconditional obligation to pay the Purchase Price.

also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the

7 COLLECTION OF PROPERTY

payment of any outstanding amount due. Phillips de Pury & Company will notify the buyer if the

(a) Phillips de Pury & Company will not release a lot to the buyer until we have received

buyer’s property has been delivered to an affiliated company by way of pledge.

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including

10 Rescission by Phillips de Pury & Company

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

other terms as we in our sole discretion shall require, including completing any anti-money

without notice to the buyer if we reasonably believe that there is a material breach of the

laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

foregoing conditions, and no later than five days after the conclusion of the auction, he or she

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the

should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for

sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

collection of purchased property.

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury

(b) Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th

& Company and the seller with respect to such rescinded sale..

Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury

11 Export, Import and Endangered Species Licenses and Permits

& Company will upon request transfer on a bi-weekly basis purchased lots suitable for hand

Before bidding for any property, prospective buyers are advised to make their own inquiries

carry back to our premises at 450 West 15th Street, New York, New York for collection within

as to whether a license is required to export a lot from the United States or to import it into

30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the

another country. Prospective buyers are advised that some countries prohibit the import

responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five

of property made of or incorporating plant or animal material, such as coral, crocodile,

days after the auction. Until risk passes, Phillips de Pury & Company will compensate the

ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.

buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid,

Accordingly, prior to bidding, prospective buyers considering export of purchased lots should

subject to our usual exclusions for loss or damage to property.

familiarize themselves with relevant export and import regulations of the countries concerned.

It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased

export, import and endangered species licenses or permits. Failure to obtain a license or

lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling,

permit or delay in so doing will not justify the cancellation of the sale or any delay in making

insurance and shipping services or coordinate with shipping agents instructed by the buyer in

full payment for the lot.

order to facilitate such services for property bought at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and

12 Client Information

responsibility, and we will not be liable for acts or omissions of third party packers or shippers.

In connection with the management and operation of our business and the marketing and

Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924

supply of auction related services, or as required by law, we may ask clients to provide

6477 at least 24 hours in advance of collection in order to schedule pickup.

personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that is defined by law as

(d) Phillips de Pury & Company will require presentation of government issued identification

“sensitive,” they agree that Phillips de Pury & Company and our affiliated companies may use

prior to release of a lot to the buyer or the buyer’s authorized representative.

it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If

8 FAILURE TO COLLECT PURCHASES

you would like further information on our policies on personal data or wish to make corrections

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the

to your information, please contact us at +1 212 940 1228. If you would prefer not to receive

auction, the buyer will incur a late collection fee of $35, storage charges of $5 per day and pro

details of future events please call the above number.

rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer

13 Limitation of Liability

authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction

(a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our

or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable

affiliated companies and the seller to the buyer in connection with the sale of a lot shall be

discretion. The proceeds of such sale will be applied to pay for storage charges and any other

limited to the Purchase Price actually paid by the buyer for the lot.

outstanding costs and expenses owed by the buyer to Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within

(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any

two years of the original auction.

of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or

9 REMEDIES FOR NON-PAYMENT

any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement

or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our

fails to make payment of the Purchase Price for a lot in cleared funds within five days of the

affiliated companies in connection with the conduct of the auction or for any other matter

auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the

relating to the sale of any lot.

following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii)

(c) All warranties other than the Authorship Warranty, express or implied, including any

cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated

warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de

damages; (iii) reject future bids from the buyer or render such bids subject to payment of a

Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law.

deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer,

(d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our

exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury

affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

& Company and instruct our affiliated companies to exercise a lien over any of the buyer’s

the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss

property which is in their possession and, in each case, no earlier than 30 days from the date

or damage is characterized as direct, indirect, special, incidental or consequential, or for the

of such notice, arrange the sale of such property and apply the proceeds to the amount owed

payment of interest on the Purchase Price to the fullest extent permitted by law.

to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of

by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s

Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any

reasonable discretion, it being understood that in the event such resale is for less than the

fraud or fraudulent misrepresentation made by any of us or in respect of death or personal

original hammer price and buyer’s premium for that lot, the buyer will remain liable for the

injury caused by our negligent acts or omissions.

THE ITALIA AUCTION CONTEMPORARY ART PHOTOGRAPHS EDITIONS DESIGNS AUCTION 30 JUNE 2010 Viewing 21 – 29 June

LONDON

Phillips de Pury & Company Howick Place London SW1P 1BB Enquiries +44 30 7318 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240 www.phillipsdepury.com SALVATORE SCARPITTA Trapped-canvas, 1958 Estimate £250,000-350,000

AUTHORSHIP WARRANTY 14 Copyright

Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a

The copyright in all images, illustrations and written materials produced by or for Phillips de

period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions

Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain

and limitations set forth below.

at all times the property of Phillips de Pury & Company and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of

& Company and the seller make no representations or warranties that the buyer of a lot will

record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not

acquire any copyright or other reproduction rights in it.

extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created

15 General

prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above,

less than 50 years ago with an intent to deceive) and has a value at the date of the claim under

and Authorship Warranty set out the entire agreement between the parties with respect to the

this warranty which is materially less than the Purchase Price paid; (iii) property where the

transactions contemplated herein and supersede all prior and contemporaneous written, oral

description in the catalogue states that there is a conflict of opinion on the authorship of the

or implied understandings, representations and agreements.

property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department

whose description or dating is proved inaccurate by means of scientific methods or tests not

in charge of the sale, quoting the reference number specified at the beginning of the sale

generally accepted for use at the time of the publication of the catalogue or which were at such

catalogue. Notices to clients shall be addressed to the last address notified by them in writing

time deemed unreasonably expensive or impractical to use.

to Phillips de Pury & Company. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves (c) These Conditions of Sale are not assignable by any buyer without our prior written consent

the right, as a condition to rescinding any sale under this warranty, to require the buyer to

but are binding on the buyer’s successors, assigns and representatives.

provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable

by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury

for any reason, the remaining provisions shall remain in full force and effect. No failure by any

& Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the

party to exercise, nor any delay in exercising, any right or remedy under these Conditions of

buyer the reasonable costs charged by the experts commissioned by the buyer and approved in

Sale shall act as a waiver or release thereof in whole or in part.

advance by us.

16 Law and Jurisdiction

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim

(a) The rights and obligations of the parties with respect to these Conditions of Sale and

for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury

Authorship Warranty, the conduct of the auction and any matters related to any of the

& Company in writing within three months of receiving any information which causes the

foregoing shall be governed by and interpreted in accordance with laws of the State of New

buyer to question the authorship of the lot, specifying the auction in which the property was

York, excluding its conflicts of law rules.

included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the

(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction

same condition as at the time of its auction and is able to transfer good and marketable title in

of the (i) state courts of the State of New York located in New York City and (ii) the federal

the lot free from any third party claim arising after the date of the auction.

courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

and Authorship Warranty relate or apply.

Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips

(c) All bidders and sellers irrevocably consent to service of process or any other documents in

de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other

connection with proceedings in any court by facsimile transmission, personal service, delivery

remedy available as a matter of law. This means that none of Phillips de Pury & Company, any

by mail or in any other manner permitted by New York law or the law of the place of service, at

of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy

the last address of the bidder or seller known to Phillips de Pury & Company.

expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

phillips de pury & company

Chairman

Directors

Advisory Board

Simon de Pury

Aileen Agopian

Maria Bell

Sean Cleary

Janna Bullock

Finn Dombernowsky

Lisa Eisner

Patty Hambrecht

Lapo Elkann

Alexander Payne

Ben Elliot

Rodman Primack

Lady Elena Foster

Olivier Vrankenne

H.I.H. Francesca von Habsburg

Chief Executive Officer Bernd Runge

Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

International Specialists

Berlin Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Brussels Olivier Vrankenne, International Senior Specialist +32 486 43 43 44

Buenos Aires Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060

Geneva Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

London Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611 Los Angeles Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771

Milan Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671

Moscow Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Shanghai/Beijing Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805

Singapore Chin-Chin Yap, Specialist, Contemporary Art +1 347 784 6916 Zurich/Israel Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32

General Counsel

Managing Directors

Patricia G. Hambrecht

Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)

WORLDWIDE OFFICES NEW YORK

PARIS

GENEVA

450 West 15 Street, New York, NY 10011, USA

15 rue de la Paix, 75002 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

tel +1 212 940 1200 fax +1 212 924 5403

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +41 22 906 80 00 fax +41 22 906 80 01

LONDON

BERLIN

Howick Place, London SW1P 1BB, United Kingdom

Auguststrasse 19, 10117 Berlin, Germany

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +49 30 8800 1842 fax +49 30 8800 1843

SPECIALISTs AND DEPARTMENTS

CONTEMPORARY ART

Michael McGinnis, Senior Director +1 212 940 1254

and Worldwide Head, Contemporary Art

New York

Aileen Agopian, New York Director +1 212 940 1255

Roxana Bruno +1 212 940 1229

Sarah Mudge, Head of Part II +1 212 940 1259

Rodman Primack +1 212 940 1256

Jean-Michel Placent +1 212 940 1263

Timothy Malyk +1 212 940 1258

Jeremy Goldsmith +1 212 940 1253

MODERN AND CONTEMPORARY EDITIONS

New York

Cary Leibowitz, Worldwide Co-Director +1 212 940 1222

Kelly Troester, Worldwide Co-Director +1 212 940 1221

Jannah Greenblatt +1 212 940 1332

Joy Deibert +1 212 940 1333

PHOTOGRAPHS

Sara Davidson +1 212 940 1262

New York Vanessa Kramer, New York Director +1 212 940 1243

Shlomi Rabi +1 212 940 1246

Caroline Shea +1 212 940 1247

Maria Bueno +1 212 940 1261

Carol Ehlers, Consultant +1 212 940 1245

Alexandra Leive +1 212 940 1252

Sarah Krueger +1 212 940 1245

Peter Flores +1 212 940 1223

(Uli) Zhiheng Huang +1 212 940 1288

Sarah Stein-Sapir +1 212 940 1303

(Administrative Assistant to Michael McGinnis)

LONdON

Peter Sumner, Head of Sales, London +44 20 7318 4063

Henry Allsopp +44 20 7318 4060

Laetitia Catoir +44 20 7318 4064

LONDON

Lou Proud +44 20 7318 4018

Sebastien Montabonel +44 20 7318 4025

Alexandra Bibby +44 20 7318 4087

Rita Almeida Freitas +44 20 7318 4087

Helen Hayman +44 20 7318 4092

Emma Lewis +44 20 7318 4092

Judith Hess +44 20 7318 4075

Leonie Moschner +44 20 7318 4074

Ivgenia Naiman +44 20 7318 4071

Sarah Buchwald +44 20 7318 4085

Catherine Higgs +44 20 7318 4089

New York

George O’Dell +44 20 7318 4093

Carmela Manoli +1 212 940 1302

Raphael Lepine +44 20 7318 4078

Tanya Tikhnenko +44 20 7318 4065

Phillippa Willison +44 20 7318 4070

PARIS Edouard de Moussac + 33 1 42 78 67 77

JEWELRY

Nazgol Jahan, Worldwide Director +1 212 940 1283

Emily Bangert +1 212 940 1365

Heather Zises +1 212 940 1290

GENEVA

Carolin Bulgari +41 22 906 80 00

Veronica Lota +41 22 906 80 00

DESIGN Alexander Payne, Worldwide Director +44 20 7318 4052

New York

LONDON

Lane McLean +44 20 7318 4032

THEME SALES

Alex Heminway, New York Director +1 212 940 1269

Tara DeWitt +1 212 940 1265

Corey Barr, New York Manager +1 212 940 1234

Meaghan Roddy +1 212 940 1266

Steve Agin, Consultant +1 908 475 1796

Marcus Tremonto +1 212 940 1268

Anne Huntington +1 212 940 1210

Alexandra Gilbert +1 212 940 1268

Stephanie Max +1 212 940 1301

New York

LONDON Domenico Raimondo +44 20 7318 4016

Ellen Stelter +44 20 7318 4021

Ben Williams +44 20 7318 4027

Marcus McDonald +44 20 7318 4014

Marine Hartogs +44 20 7318 4021

PARIS

LONDON Tobias Sirtl, London Manager +44 20 7318 4095

Henry Highley +44 20 7318 4061

Arianna Jacobs +44 20 7318 4054

Siobhan O’Connor +44 20 7318 4040

Johanna Frydman +33 1 42 78 67 77

Private sales New York Andrea Hill +1 212 940 1238

editorial Karen Wright, Senior Editor Iggy Cortez, Assistant to the Editor

art and production Fiona Hayes, Art Director NEW YORK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer Orlann Capazorio, US Production Manager London Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager

Marketing NEW YORK Trish Walsh, Marketing Manager

SALE INFORMATION

Auctions

Administrator Part I

Part I Sale, Thursday 13 May 2010 at 7pm

Peter Flores +1 212 940 1223

Viewing

Administrator Part II

Saturday 1 May, 10am – 6pm

(Uli) Zhiheng Huang +1 212 940 1288

Sunday 2 May, 12pm – 6pm Monday 3 May, 10am – 6pm

Property Managers

Tuesday 4 May, 10am – 6pm

Jeffrey Rausch +1 212 940 1367

Wednesday 5 May, 10am – 6pm

Barrett Langlinais +1 212 940 1362

Thursday 6 May, 10am – 6pm Friday 7 May, 10am – 6pm Saturday 8 May, 10am – 6pm Sunday 9 May, 12pm – 6pm Monday 10 May, 10am – 6pm Tuesday 11 May, 10am – 6pm Wednesday 12 May, 10am – 6pm Thursday 13 May, 10am – 12pm

Photography Morten Smidt, Kent Pell Catalogues Leslie Pitts +1 212 940 1240 $60/£30 at the Gallery catalogues@phillipsdepury.com

Viewing & Auction Location

Absentee and Telephone Bids

450 West 15 Street New York NY 10011

Rebecca Lynn, Manager +1 212 940 1228 +1 212 924 1749 fax Maureen Morrison, Bid Clerk +1 212 940 1228

Sale Designation

bids@phillipsdepury.com

In sending written bids or making enquiries please refer to this sale as NY010110 or Contemporary Art Part I Sale.

client accounting Sylvia Leitao +1 212 940 1231

senior director and Worldwide head

Buyers Accounts

Michael McGinnis +1 212 940 1254

Nicole Rodriguez +1 212 940 1235

new york Director Aileen Agopian +1 212 940 1255 Specialists Roxana Bruno +1 212 940 1229 Sarah Mudge Head of Part II +1 212 940 1259 Rodman Primack +1 212 940 1256 Jean-Michel Placent +1 212 940 1263 Timothy Malyk +1 212 940 1258 Jeremy Goldsmith +1 212 940 1253

Seller Accounts Barbara Doupal +1 212 940 1232 Nadia Somwaru +1 212 940 1280 Client Services +1 212 940 1200 Shipping Beth Petriello +1 212 940 1373 Jennifer Brennan +1 212 940 1372

Dr. Michaela de Pury Berlin +49 17 289 73611 Olivier Vrankenne Brussels & Paris +32 486 43 43 44 Peter Sumner Head of Day Sales London +44 20 7318 4063 Henry Allsopp London +44 20 7318 4060 Laetitia Catoir London +44 20 7318 4064 Judith Hess London +44 20 7318 4705 Leonie Moschner London +44 7815 050 461 Ivgenia Naiman London +44 20 7318 4071 Brooke de Ocampo London +44 777 551 7060 Fiona Biberstein Zurich +41 43 344 86 32 Katie Kennedy Perez Geneva +41 22 906 8000 Svetlana Marich Moscow +7 495 225 88 22 Maya McLaughlin Los Angeles +1 323 791 1771 Chin-Chin Yap Hong Kong/Singapore +1 212 940 1250 Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804 Cataloguer Part I Sara Davidson +1 212 940 1262 Cataloguer Part II Alexandra Leive +1 212 940 1252

Front Cover Urs Fischer, The Grass Munchers, 2007, Lot 104 Inside Front Cover Richard Prince, Oh Henry, 2003, Lot 113 (detail) Title Page Barnaby Furnas, Duel (July 4th), 2004, Lot 115 (detail) Inside Back Cover Mark Bradford, All I Need is “One” More Chance, 2002 Lot 108 (detail) Back Cover Jean-Michel Basquiat, Rubber, 1984, Lot 116

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