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20th Century & Contemporary Art Day Sale New York, 17 May 2017

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© The Estate of Jean-Michel Basquiat / ADAGP, Paris / ARS, New York 2017 NY_TCA_DAY_MAY17_IFC+IBC_BL.indd 3

171. Jean-Michel Basquiat

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© 2017 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn


151. Tony Crag

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© 2017 Lisa Yuskavage NY_TCA_DAY_MAY17_2-83_BL.indd 5

142. Lisa Yuskavage

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© Laura Owens NY_TCA_DAY_MAY17_2-83_BL.indd 7

119. Laura Owens

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© Joe Bradley

117. Joe Bradley

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© 2015 Stephen Flavin / Artists Rights Society (ARS), New York

217. Dan Flavin

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Executives.

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20th Century & Contemporary Art.

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Alexander Payne

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Business Development – Client Advisory. London. New York.

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Asia.

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© 2017 Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York

00. Lisa Yuskavage

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221. John Chamberlain

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NY Guide for Prospective Buyers Each Phillips auction is governed by the applicable Conditions of Sale and Authorship Warranty. All prospective bidders should read these sections carefully. They govern the purchasing agreement under which you buy at auction from Phillips. They may be also amended by saleroom addendum or auctioneer’s announcement during the auction. The complete Conditions of Sale and Authorship Warranty applicable to this auction (Version 2-15-2017) are found online at phillips.com, along with detailed information on each lot. 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, ofer 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. All Lots are Subject to ‘Buyer’s Premium’ Phillips 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 $200,000, 20% of the portion of the hammer price above $200,000 up to and including $3,000,000 and 12% of the portion of the hammer price above $3,000,000. Condition and Condition Reports Phillips does not warrant or guarantee condition on any lot. Solely as a convenience to clients, Phillips may provide condition reports on many lots, which are also available online on the lot detail pages. If there is not a condition report available, that is not a representation that a lot is in perfect condition. 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 all lots at our pre-sale exhibitions, and contact our staff with any questions. Bidding at Auction You may bid in the auction in person, online, on the phone, or by placing an absentee bid. The easiest way to arrange or register to bid at auction is to set up a client account online. Go to our homepage, phillips.com and fill out the account form. When you want to register for an auction, click Register on sale pages or lot detail pages, and you’ll confirm your account details, be asked for a credit card number for identification purposes and our Bids Department will process your request. We recommend registering at least 24 hours prior to sale to ensure that you can bid. Good luck!

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Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. Alternatively, we will either provide packing, handling and shipping services or coordinate with shipping agents in order to facilitate such services for property purchased at Phillips. In the event that the property is collected in New York by the buyer or the buyer’s designee (including any private carrier) for subsequent transport out of state, Phillips may be required by law to collect New York sales tax, regardless of the lot’s ultimate destination. Please refer to Paragraph 17 of the Conditions of Sale for more information. Some lots are sold under special conditions. Phillips uses the following symbols to designate these lots: O ◊ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ◊. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated via a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the remuneration may be netted against the purchase price. Where Phillips has guaranteed a minimum price on every lot in the catalogue, Phillips will not designate each lot with the symbol(s) for the guaranteed property but will state our fnancial interest at the front of the catalogue. ∆ Property in Which Phillips Has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. •No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot will not exceed the low pre-sale estimate.

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© Yayoi Kusama

203. Yayoi Kusama

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20th Century & Contemporary Art Day Sale New York, 17 May 2017

Auction & Viewing Location 450 Park Avenue New York 10022 Auction Wednesday, 17 May, 11am

20th Century & Contemporary Art Department

Head of Sale John McCord +1 212 940 1261 jmccord@phillips.com

Viewing 4 – 17 May Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010417 or 20th Century & Contemporary Art Day Sale. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

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Cataloguer Annie Dolan +1 212 940 1288 adolan@phillips.com

Administrator Carolyn Mayer +1 212 940 1206 cmayer@phillips.com

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Original. Evocative. Masterful. NY_TCA_DAY_MAY17_2-83_BL.indd 19

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Property from a Private Collection

101. Harold Ancart

b. 1980

Untitled signed and dated “Harold Ancart 2012� on the reverse oilstick and pencil on paper 67 1/4 x 44 7/8 in. (170.8 x 114 cm.) Executed in 2012. Estimate $40,000-60,000 Provenance C L E A R I N G, New York Acquired from the above by the present owner

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102. Shara Hughes

b. 1981

I don’t Deserve These Flowers signed, titled, inscribed and dated “SHARA HUGHES “I don’t Deserve These Flowers” 2010 GEORGIA” on the reverse oil, acrylic, enamel and spray paint on canvas 48 x 48 in. (121.9 x 121.9 cm.) Executed in 2010. Estimate $8,000-12,000 Provenance Museum 52, New York Acquired from the above by the present owner

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103. Matt Connors

b. 1973

Summer-Record signed and dated “Matt Connors 2011” on the stretcher oil and acrylic on canvas 85 x 60 1/4 in. (216 x 153 cm.) Painted in 2011. Estimate $30,000-40,000 Provenance Acquired directly from the artist by the present owner Exhibited Kunsthalle Dusseldorf, Matt Connors – Gas...Telephone... One Hundred Thousand Rubles, October 22 - November 20, 2011

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104. Kerry James Marshall

b. 1955

Drawing (Two Heads) (Study for Vignette) signed with the artist’s initials and dated “KJM ‘05” lower right ink on board 20 x 15 in. (50.8 x 38.1 cm.) Executed in 2005. Estimate $50,000-70,000 Provenance Jack Shainman Gallery, New York Acquired from the above by the present owner Literature Luc Tuymans and Kerry James Marshall, “Artists in Conversation”, BOMB, no. 92, Summer 2005 (illustrated, cover)

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Property from a Private Collection

105. Latifa Echakhch

b. 1974

Tambour 62’ signed, titled and dated “Latifa Echakhch TAMBOUR 62’ 2012” on the stretcher India ink on canvas diameter 68 in. (172.7 cm.) Executed in 2012. Estimate $80,000-120,000 Provenance kaufmann repetto, New York Acquired from the above by the present owner

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Property from a Private Collection

106. Julia Wachtel

b. 1956

Landscape No. 13 (backyard) signed and dated “Julia Wachtel 1990” on the overlap of the ffh part; further signed “Julia Wachtel” on the reverse of the same part oil, Flashe and lacquer on canvas, in 6 parts overall 60 x 110 1/4 in. (151.8 x 280 cm.) Executed in 1990. Estimate $60,000-80,000 Provenance Vilma Gold, London Acquired from the above by the present owner

Landscape No. 13 (backyard) from 1990 encapsulates Julia Wachtel’s subversive use of appropriated imagery as a form of social commentary in a singular image. Throughout her prolifc career over the past few decades, Wachtel has established herself as a master in the utilization of paradoxical subject matter to instigate an emotional reaction. The present lot belongs to the artist’s series of Landscape paintings, begun in the 1980s, all of which feature newsworthy political imagery interwoven with cartoon caricatures from pop culture. In Landscape No. 13 (backyard), Wachtel breaks the canvas into six distinct, vertical sections. Five of these outer sections illustrate a destructive political scene, wrought with rundown buildings in a nameless wasteland. In stark juxtaposition, the sixth section located in the inside part of

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the composition features a cartoon donkey with an umbrella atop his head, adorned with a whimsical expression of crossed eyes, a lazy tongue and turned out feet with mismatched shoes. Despite the dark imagery sandwiched around this playful fgure, the composition retains a sense of joyfulness. The monochromatic image of destruction is itself washed over with a gradient of neons, while the donkey stands starkly against a bright white background. As such, Wachtel subversively suggests the similarity of these two types of imagery—real world news and imaginary cartoons. Despite the very diferent messages portrayed by each in the media, the artist reminds the viewer that both come from the same source, whether television or newspaper. As she explained of the series, “I see the cartoon

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characters as witnesses refecting the existential condition of exposure to the global reality of horror and deprivation that exists somewhere on earth all the time. Whether it’s famine, civil war, genocide, etc., we are exposed to these realities and updated continuously in real time” (Julia Wachtel, quoted in “Julia Wachtel on Kimye and the Champagne Life”, Whitewall, March 14, 2014, online). In today’s day and age, Wachtel’s themes of technology and its power as illustrated in art feel all the more poignant. With her inclusion in the Whitney Museum of American Art’s present show, Fast Forward: Painting from the 1980s, as well as in recent shows at the Bergen Kunsthall and Walker Art Center in 2014 and 2016, Wachtel’s oeuvre is celebrated for its timeless relevance.

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107. Celeste Dupuy-Spencer

b. 1979

Ceviche and Peruvian Meat signed, titled and dated “Celeste Dupuy-Spencer “Ceviche and Peruvian Meat” 2011” on the reverse oil on canvas 30 x 24 in. (76.2 x 61 cm.) Painted in 2011. Estimate $10,000-15,000 Provenance Acquired directly from the artist by the present owner Exhibited New York, Museum 52, Leidy Celeste Nicole, June 30 July 31, 2011

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108. Derek Fordjour

b. 1974

Untitled (Girl with trophy) signed and dated “FORDJOUR ‘15” on the reverse oil on wood panel 60 x 52 in. (152.4 x 132.1 cm.) Painted in 2015. Estimate $8,000-12,000 Provenance Acquired directly from the artist by the present owner

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109. Seth Price

b. 1973

Olive Graphics inkjet on canvas 48 x 32 1/4 in. (121.9 x 81.9 cm.) Executed in 2004-2009. Estimate $20,000-30,000 Provenance Reena Spaulings Fine Art, New York Acquired from the above by the present owner Exhibited New York, Reena Spaulings, Seth Price, January 22 February 22, 2009 Museo d’Arte Moderna di Bologna, Seth Price, May 26 July 26, 2009, pp. 53, 55 (illustrated)

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110. Michael Williams

b. 1978

Code Nude signed, titled and dated “CODE NUDE 2011 Michael Williams” on the reverse oil and airbrush on canvas 72 x 56 in. (182.9 x 142.2 cm.) Executed in 2011. Estimate $25,000-35,000 Provenance The Journal Gallery, New York Acquired from the above by the present owner

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Property from an Important West Coast Collection

111. Cory Arcangel

b. 1978

Photoshop CS: 60 by 60 inches, 300 DPI, RGB, square pixels, default gradient “Blue, Yellow, Blue”, mousedown y=15000 x=2130, mouseup y=4680 x=3570; photoshop tool “Wand”, click= y=9120 x=4780, tolerance=30; default gradient “Spectrum”, mousedown y=8790 x=1410, mouseup y=10770 x=16230 chromogenic print mounted to Plexiglas, in artist’s frame 61 1/2 x 61 1/2 in. (156.2 x 156.2 cm.) Executed in 2013. Estimate $100,000-150,000 Provenance Lisson Gallery, New York Acquired from the above by the present owner

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112. Rob Pruitt

b. 1964

Suicide Painting XXV signed, titled and dated “Rob Pruitt 2014 SUICIDE PAINTING” on the stretcher acrylic on linen 107 7/8 x 80 7/8 in. (274.3 x 205.7 cm.) Painted in 2014. Estimate $70,000-100,000 Provenance Private Collection, New York

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113. Danh Vo

b. 1975

We The People (detail) hammered copper 50 x 95 x 15 in. (127 x 241.3 x 38.1 cm.) Executed in 2011. Estimate $70,000-100,000 Provenance Galerie Chantal Crousel, Paris Acquired from the above by the present owner Exhibited New York, Public Art Fund, City Hall Park, We The People, May 17 - December 5, 2014

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114. Carol Bove

b. 1971

YES! THIS DAMN UNIVERSE! acrylic on linen 84 x 36 in. (213.4 x 91.4 cm.) Painted in 2011. Estimate $100,000-150,000 Provenance Maccarone, New York David Zwirner, New York Acquired from the above by the present owner

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Property from a Private European Collection

115. Shahzia Sikander

b. 1969

Elusive Realities #1 acrylic on canvas 120 1/8 x 80 1/8 in. (305.1 x 203.5 cm.) Painted in 2000. Estimate $12,000-18,000 Provenance Deitch Projects, New York Acquired from the above by the present owner Exhibited New York, Whitney Museum of American Art at Philip Morris, Acts of Balance, April 21 - July 7, 2000, p. 8 (illustrated)

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116. Christian Marclay

b. 1955

Actions (Splash, Blorsht, Bllb on blue) signed and dated “Christian Marclay 2012” on the reverse acrylic and silkscreen ink on watercolor paper 48 x 35 in. (121.9 x 88.9 cm.) Executed in 2012. Estimate $50,000-70,000 Provenance White Cube, London Acquired from the above by the present owner

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117. Joe Bradley

b. 1975

Standing Figure (Robot) signed “Joe Bradley” on the reverse of the yellow part; further signed and dated “JOE BRADLEY 2007 Joe Bradley” on the stretcher of the center blue part acrylic on canvas, in 4 parts overall 109 x 38 in. (276.9 x 96.5 cm.) Painted in 2007. Estimate $400,000-600,000 Provenance CANADA, New York Acquired from the above by the present owner

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“I fnd that oftentimes I’ll approach a subject with a certain degree of irony or distance, and then through the process of working and spending time with it, I come out the other end a true believer.” Joe Bradley

118. Joe Bradley

b. 1975

PIG signed, titled and dated “Joe Bradley 09 PIG” on the overlap oil and soot on canvas 65 1/8 x 88 1/4 in. (165.4 x 224.1 cm.) Executed in 2009. Estimate $400,000-600,000 Provenance Peres Projects, Berlin Private Collection, United Kingdom Phillips, New York, May 14, 2015, lot 71 Acquired at the above sale by the present owner

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119. Laura Owens

b. 1970

Untitled each signed “L Owens� on the overlap acrylic and oil on canvas, in 3 parts each 70 x 40 in. (177.8 x 101.6 cm.) overall 70 x 120 in. (177.8 x 304.8 cm.) Painted in 1994. Estimate $200,000-300,000 Provenance Rosamund Felsen Gallery, Los Angeles Greene Nafali, New York Acquired from the above by the present owner

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120. Joe Bradley

b. 1975

Untitled (Human Form) signed and dated “JOE BRADLEY 2011” on the stretcher; further signed “Joe Bradley” on a label afxed to the stretcher silkscreen on canvas 75 x 78 3/4 in. (190.5 x 200 cm.) Executed in 2011.

Provenance Peres Projects, Los Angeles and Berlin Private Collection (acquired from the above in 2011) Christie’s, London, February 14, 2013, lot 228 Acquired at the above sale by the present owner

Estimate $60,000-80,000

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121. Wade Guyton

b. 1972

Untitled signed and dated “Wade Guyton 2010� on the overlap Epson UltraChrome inkjet on linen 34 x 24 in. (86.4 x 61 cm.) Executed in 2010. Estimate $60,000-80,000 Provenance Friedrich Petzel Gallery, New York Acquired directly from the above by the present owner

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122. Sue Williams

b. 1954

Frequencies signed and dated “Sue Williams 06� on the reverse oil and acrylic on canvas 52 x 62 in. (132.1 x 157.5 cm.) Painted in 2006. Estimate $30,000-50,000 Provenance Galerie Eva Presenhuber, Zurich Acquired from the above by the present owner Exhibited Zurich, Galerie Eva Presenhuber, Sue Williams, June 10 - July 29, 2006

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123. Jim Hodges

b. 1957

AGAIN? (TRA LA LA LA LA) silk fowers and pins, in 21 parts installed 23 x 23 in. (58.4 x 58.4 cm.) Executed in 1995, this work is accompanied by a photo-certifcate of authenticity signed by the artist. Estimate $50,000-70,000 Provenance CRG Gallery, New York Anthony Meier Fine Arts, San Francisco Acquired from the above by the present owner

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Property from a Private Collection

124. Josh Smith

b. 1976

Untitled (JSP10176) signed, titled and dated “JSP10176 JOSH SMITH 2010” on the overlap oil on canvas 60 x 48 in. (152.4 x 121.9 cm.) Painted in 2010. Estimate $20,000-30,000 Provenance Luhring Augustine, New York Acquired from the above by the present owner

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125. Sam Gilliam

b. 1933

Tholos Revisited VIII signed, titled and dated “Tholos Revisited VIII 1982 Sam Gilliam” on the reverse; further titled “Tholos Revisited VIII” on the reverse of the aluminum element acrylic, aluminum and collage on canvas 33 x 42 in. (83.8 x 106.7 cm.) Executed in 1982. Estimate $25,000-35,000

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Provenance Middendorf/Lane Gallery, Washington, D.C. Acquired from the above by the present owner in December 1982 Exhibited New York, The Studio Museum in Harlem, Red & Black to “D”: Paintings by Sam Gilliam, November 15, 1982 - February 27, 1983, no. 11

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126. Christopher Wool

b. 1955

Untitled signed and dated “Wool 1990” on the reverse enamel on rice paper 74 x 37 3/8 in. (188 x 94.9 cm.) Executed in 1990. Estimate $120,000-180,000 Provenance Helen van der Heij, Amsterdam Fredrik Roos Collection, Malmo (acquired from the above in 1990) Private Collection (thence by descent) Christie’s, London, July 2, 2014, lot 185 Private Collection, New York

Throughout Christopher Wool’s oeuvre, the artist utilizes a handful of technical devices to explore numerous visual tensions within his practice. Predominantly in black and white, the stark contrast of his monochrome palette is the frst and most obvious juxtaposition found throughout his alkyd paintings on canvas and paper. In the present lot from 1990, Wool has applied the dark black alkyd paint with a patterned stencil onto thin rice paper, creating an additional contrast between the heaviness of the four fgures and the sheer paper ground on which they rest. The composition exhibits a further opposition in the mechanical process of stenciling he employs combined with the evidence of his own hand, apparent in the slight imperfections of the paint’s application. Vertically oriented, the

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four fgures are illustrated walking across the surface in diferent, horizontal directions, thus presenting yet another visual tension in the orientation of the composition. The repeated silhouetted fgure calls to mind the artist’s earlier Pattern paintings of the 1970s, which frst blurred the lines between fne art and decoration. Unlike these early, spotted Pattern paintings, which seem to recall the drip application of Abstract Expressionist masters like Jackson Pollock, the present lot’s pattern seems to instead harken back to a prehistoric cave painting. As the fgures march across the narrow composition of the rice paper, Wool’s pattern reverses these cave paintings from a dark background with light, carved shapes to a light background with a darker shape, thus linking his own characteristic and contemporary style to the historic beginnings of art.

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Property from a Private Collection

127. Urs Fischer

b. 1973

CROOKER / CREAGH / CRANOR / CRANER signed “Urs Fischer” on a label afxed to the interior of the “F” element silkscreen print on mirror-glass, UV-adhesive, aluminum, polyacetal and screws, in 4 parts foam head 15 1/2 x 16 1/2 x 12 3/4 inches (39.4 x 41.9 x 32.4 cm.) key 17 3/4 x 8 1/4 x 1 5/8 inches (45.1 x 21 x 4.1 cm.) spirit level 4 5/8 x 25 1/2 x 1 3/4 inches (11.7 x 64.8 x 4.4 cm.) F 16 1/2 x 13 1/4 x 3 1/2 inches (41.9 x 33.7 x 8.9 cm.) Executed in 2012, this work is number 3 from an edition of 3 plus 1 artist’s proof. Estimate $250,000-350,000

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Provenance Gagosian Gallery, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Gagosian Gallery, Urs Fischer: Beds & Problem Paintings, February 23 - April 7, 2012, pp. 60-69 (another example exhibited and illustrated) Venice, Palazzo Grassi, Urs Fischer: Madame Fisscher, April 15 - July 15, 2012, pp. 162-163, 165 (illustrated) Literature Urs Fischer, exh. cat., Museum of Contemporary Art, Los Angeles, 2013, pp. 162-165 (another example illustrated)

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In the present two lots, Urs Fischer has perfected his creation of the three-dimensional image, challenging the viewer’s understanding of the traditional scopes of sculpture and photography. Revisiting the medium of mirrored boxes, which he began a few years prior, Fischer has shrunken the objects to an even smaller scale, while still visually altering the actual size of the item printed on its surface. To illustrate the artist’s chosen imagery on each of the four elements, Fischer utilized a mechanical clamp to hold the glass in place to ensure that the pictures were printed seamlessly onto the surface. The present lots are composed of glass surfaces rather than polished steel, representing an additional aesthetic shif in the artist’s sculptural practice. Executed in 2012 in editions of 3, SMITH / JOHNSON / WILLIAMS / JONES and CROOKER / CREAGH / CRANOR / CRANER are each composed of four individual boxes, which measure less than 30 inches in height. They are placed on the foor presenting the viewer with these mirrored cubes of household objects, such as ping-pong paddles, asparagus and a clothes pin, at their feet rather than at eye level,

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further establishing Fischer’s emphasis on viewer consumption playing a key component of an art object’s efect. As the viewer walks through the space, he or she is meant to happen upon these three-dimensional images, calling attention to the fact that these objects are both entirely nonfunctional and not real. As Adam McEwen recalled of his initial reaction to CROOKER / CREAGH / CRANOR / CRANER, “This image of a battered Mul-T-lock key, printed a micron thick on a cuboid of refective glass, slides around my eyes in the same way that the word ‘key’ slides around my brain. I can’t grasp either of them. The little key sculpture is as close as a three-dimensional object can come to being only an idea; the way it behaves is closer to the behavior of a word than of a thing” (Adam McEwen, quoted in “Problems No Problem”, in Beds & Problem Paintings, exh. cat., Gagosian Gallery, Los Angeles, 2012, p. 5). Debuted at Gagosian Gallery alongside Fischer’s Problem Paintings and then subsequently included in the artist’s celebrated show Madame Fisscher at Palazzo Grassi in 2012, both of the present lots exemplify Fischer’s fascination with visual vocabulary as it translates to sculpture.

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Property from a Private Collection

128. Urs Fischer

b. 1973

SMITH / JOHNSON / WILLIAMS / JONES signed “Urs Fischer” on a label afxed to the interior of the staple gun element silkscreen print on mirror-glass, UV-adhesive, aluminum, polyacetal and screws, in 4 parts ping-pong paddle 25 x 14 7/8 x 2 3/4 in. (63.5 x 37.8 x 7 cm.) calculator 19 3/8 x 24 3/4 x 7 in. (49.1 x 62.7 x 118 cm.) asparagus 25 5/8 x 2 7/8 x 2 1/2 in. (65.1 x 7.3 x 6.3 cm.) staple gun 17 1/2 x 20 5/8 x 3 7/8 in. (44.5 x 52.4 x 9.8 cm.) Executed in 2012, this work is number 3 from an edition of 3 plus 1 artist’s proof.

Provenance Gagosian Gallery, Los Angeles Acquired from the above by the present owner

Estimate $250,000-350,000

Literature Urs Fischer, exh. cat., Museum of Contemporary Art, Los Angeles, 2013, pp. 158-161 (another example illustrated)

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Exhibited Los Angeles, Gagosian Gallery, Urs Fischer: Beds & Problem Paintings, February 23 - April 7, 2012, pp. 52-53, 57-59 (another example exhibited) Venice, Palazzo Grassi, Urs Fischer: Madame Fisscher, April 15 - July 15, 2012, pp. 162-163, 168-169 (another example exhibited and illustrated)

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Property from a Private European Collection

129. Tim Gardner

b. 1973

Untitled (Nick: Bachelor’s) pastel on gessoed paper mounted on canvas 50 x 38 1/2 in. (127 x 97.8 cm.) Executed in 2004. Estimate $8,000-12,000 Provenance 303 Gallery, New York Acquired from the above by the present owner Exhibited New York, 303 Gallery, Tim Gardner, April 14 - May 28, 2005

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130. Mark Bradford

b. 1961

Soccer Ball Bag 1 nylon string and paper on soccer balls 50 x 25 7/8 x 25 7/8 in. (127 x 65.7 x 65.7 cm.) Executed in 2011. Estimate $50,000-70,000 Provenance Sikkema Jenkins & Co., New York Acquired from the above by the present owner

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Property from a Private Collection

131. Thomas Houseago

b. 1972

Spoon V Tuf-Cal, hemp and iron rebar 24 x 100 x 25 in. (61 x 254 x 63.5 cm.) Executed in 2010. Estimate $80,000-120,000 Provenance Michael Werner Gallery, New York Acquired from the above by the present owner Exhibited New York, Michael Werner Gallery, Thomas Houseago: The Moon and the Stars and the Sun, April 15 - June 5, 2010, no. 9, pp. 45-48 (illustrated)

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132. Piotr Uklański

b. 1968

The Nazis (Set B with 41 works) color coupler prints mounted on Sintra, in 41 parts each 13 3/4 x 10 in. (34.9 x 25.4 cm.) Executed in 1999, this work is number 6 from an edition of 10 plus 2 artist’s proofs. Estimate $100,000-150,000 Provenance Gavin Brown’s Enterprise, New York Private Collection (acquired from the above in 2001) Christie’s, London, February 8, 2007, lot 78 Acquired at the above sale by the present owner

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Exhibited London, The Photographer’s Gallery, Piotr Uklański: The Nazis, August 8 - September 12, 1999 (another example exhibited) Warsaw, Zacheta Gallery, Piotr Uklański: The Nazis, October 30 - December 3, 1999 (another example exhibited) New York, Jewish Museum, Mirroring Evil: Nazi Imagery/ Recent Art, March 17 - June 30, 2002, pl. 5, pp. 108-110 (another example exhibited and illustrated) Bremen, Neues Museum Weserburg, Afer Images: Kunst als Soziales Gedachtnis, June 27 - October 4, 2004 (another example exhibited) Literature Patrick Frey, ed., Piotr Uklański: The Nazis, Zurich, 1999, n.p. (another example illustrated) Piotr Uklański and Rodeo Biuro, ed., Earth, Wind and Fire, Ostfldern-Ruit, 2004, pp. 122-123 (another example illustrated, detail) Adam Lindemann, Collecting Contemporary, Cologne, 2006, p. 132 (another example illustrated)

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From the Estate of James Frank Woodward

133. Richard Prince

b. 1949

Untitled (Picasso) signed and dated “R Prince. 2012” on the reverse; further stamped by the Richard Prince Studio and numbered “RPS# 4088” on the reverse inkjet, oil crayon and acrylic on canvas 47 3/8 x 48 in. (120.4 x 122 cm.) Executed in 2012. Estimate $150,000-250,000 Provenance Sadie Coles HQ, London Acquired from the above by the present owner

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134. Thomas Houseago

b. 1972

Oxford Mask incised with the artist’s signature, foundry mark and number “Houseago 20/21” on the lef turnover edge bronze 19 x 14 1/2 x 3 1/2 in. (48.3 x 36.8 x 8.9 cm.) Executed in 2010, this work is number 20 from an edition of 21 plus 5 artist’s proofs. Estimate $30,000-50,000

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Provenance Michael Werner Gallery, New York Acquired from the above by the present owner Exhibited Modern Art Oxford; Oxford, Ashmolean Museum of Art and Archaeology, Thomas Houseago: What Went Down, December 11, 2010 - February 20, 2011, p. 207 (another example exhibited and illustrated)

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135. Thomas Houseago

b. 1972

Dumb Head Tuf-Cal, hemp, iron, rebar, redwood and graphite 83 x 28 x 28 in. (210.8 x 71.1 x 71.1 cm.) Executed in 2008. Estimate $25,000-35,000 Provenance David Kordansky Gallery, Los Angeles Acquired from the above by the present owner in 2008

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Property from a Belgian Collector

136. Sam Durant

b. 1961

No Lie Can Live Forever vinyl text on electric sign 81 7/8 x 57 7/8 in. (208 x 147 cm.) Executed in 2003, this work is artist’s proof 1 from an edition of 3 plus 2 artist’s proofs, and is accompanied by a certifcate of authenticity signed by the artist. An example of this edition is currently installed on the Eldorado Building as a part of Project Row Houses, Houston.

Provenance Blum & Poe, Los Angeles Acquired from the above by the present owner Exhibited Houston, Project Row Houses, Round 19: Sam Durant, October 18, 2003 - March 14, 2004 (another example exhibited)

Estimate $25,000-35,000

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137. IvĂĄn Navarro

b. 1972

Esto es Malo neons, synchronizer, wood, paint, mirror, one-way mirror and electric energy 48 x 48 x 10 in. (121.9 x 121.9 x 25.4 cm.) Executed in 2013, this work is number 2 from an edition of 3 plus 1 artist’s proof, and is accompanied by a certifcate of authenticity signed by the artist.

Provenance Galerie Daniel Templon, Paris Acquired from the above by the present owner Exhibited Paris, Galerie Daniel Templon, Where is the next war?, April 25 - June 1, 2013 (another example exhibited)

Estimate $25,000-35,000

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138. Jef Elrod

b. 1966

Coyanosa signed and dated “Jef Elrod 2014” on the overlap acrylic and UV ink on canvas 90 x 65 in. (228.6 x 165.1 cm.) Executed in 2014. Estimate $80,000-150,000 Provenance Galerie Max Hetzler, Paris Acquired from the above by the present owner Exhibited Paris, Galerie Max Hetzler, ESP, October 23 - November 22, 2014, no. 12, n.p. (illustrated)

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139. Jef Elrod

b. 1966

Code-Act signed and titled “Jef Elrod “CODE-ACT”” on the overlap acrylic on canvas 84 x 80 in. (213.4 x 203.2 cm.) Painted in 1999. Estimate $50,000-70,000 Provenance Leo Koenig, Inc., New York Private Collection, New York

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140. Laura Owens

b. 1970

Untitled signed “Laura Owens” lower center acrylic on canvas 84 x 92 in. (213.4 x 233.7 cm.) Executed in 1997.

Provenance Greene Nafali, New York ACME Gallery, Los Angeles Acquired from the above by the present owner in June 2001

Estimate $40,000-60,000

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“I began looking at Chinese Literati paintings and at Southern Song Dynasty pottery and painting, and I realized that I didn’t have to use the brush, that I could simply pour the paint, that I could use nature to paint a picture of itself by pouring the paint. That gravity would paint my painting with me” Pat Steir

141. Pat Steir

b. 1938

Ice #2 oil on linen 48 x 48 in. (121.9 x 121.9 cm.) Painted in 2002. Estimate $100,000-150,000 Provenance Marlborough Gallery, New York Baldwin Gallery, Aspen Acquired from the above by the present owner

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Property from a Private European Collection

142. Lisa Yuskavage

b. 1963

Rubble signed “Lisa Yuskavage” on the overlap oil on linen 60 x 48 in. (152.4 x 121.9 cm.) Painted in 2007. Estimate $250,000-350,000 Provenance greengrassi, London Acquired from the above by the present owner Exhibited London, greengrassi, Lisa Yuskavage, October 4 November 17, 2007

Emerging in the mid-1990s as one of the late century’s most important contemporary fgurative painters, Lisa Yuskavage has continually pushed the boundaries of traditional portrait painting. Similar to works by her contemporaries such as John Currin and Elizabeth Peyton, Lisa Yuskavage’s paintings of women reveal an admiration for fguration of the past with a unique contemporary voice. Uniquely and unlike these artists, whose paintings ofen depict recognizable characters from their own lives, Yuskavage relies on fctional depictions of the female nude or partial nude for her subject matter. “I am quite conscious that I am creating fction”, she has said. “If I didn’t, I wouldn’t be able to construct and manipulate them aggressively as paintings” (Lisa Yuskavage, quoted in Lisa Yuskavage, exh. cat., Institute of Contemporary Art, Philadelphia, 2000, p. 10). In the present lot, Yuskavage depicts two voluptuous women embracing amongst a pile of rubble. Painted in rich hues of cool violets and warm golds, Rubble simultaneously recalls the likes of the Renaissance masters like Carravagio in her expert use of the oil medium and Parmigianino in her impossibly proportioned subjects. The fgure closest to the viewer is depicted partially clothed in a luminous, golden dress behind which her friend,

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or possibly lover, depicted in the nude, comforts her. The ambiguity of their relationship is heightened by the placement of another ghostly nude fgure in the distance behind them, staring of into the lef side of the canvas. Indeed, the women in Rubble do not make direct eye contact with the viewer, a characteristic of Yuskavage’s paintings that make them all the more thought-provoking. As poignantly described in a letter by David Zwirner to the artist regarding Yuskavage’s women of 2006, a year before this work was painted, he writes, “I see women who are fragile, vulnerable, and exposed, looking back at me. They are not real, but they still make me uncomfortable. And I can’t help thinking that it’s the painting itself looking back at me: naked, heavy, with all its baggage in tow and yet still viable and alive. Then I can stop worrying about where your women are going or where they are coming from, but instead lose myself in the medium itself” (David Zwirner, quoted in Lisa Yuskavage, exh. cat., David Zwirner, New York, 2006, n.p.). In its subversively mysterious setting, Rubble’s females are even more obviously fctional than others in Yuskavage’s oeuvre, allowing us to concentrate on, as Mr. Zwirner aptly espouses, the artist’s masterful utilization of painting’s most traditional conventions to create a composition that is as much beautiful as it is uncomfortable.

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143. Mike Kelley

1954-2012

Physiological Landscape acrylic and marker on paper, in 2 parts each 18 x 23 1/2 in. (45.7 x 59.7 cm.) Executed in 1983. Estimate $60,000-80,000

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Provenance Rosamund Felsen Gallery, Los Angeles Acquired from the above by the present owner Exhibited New York, Whitney Museum of American Art, Mike Kelley: Catholic Tastes, November 5, 1993 February 20, 1994, no. 42

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144. John Wesley

b. 1928

Rain With No Floor signed, titled and dated “”RAIN WITH NO FLOOR” John Wesley 1980” on the reverse acrylic on canvas 40 1/2 x 30 5/8 in. (102.9 x 77.8 cm.) Painted in 1980. Estimate $60,000-80,000

Provenance Robert Elkon Gallery, New York Acquired from the above by the present owner Exhibited New York, Robert Elkon Gallery, John Wesley. New Paintings, March 8 - April 10, 1980 (titled as Rain without Floor, dated 1979) Literature John Wesley, exh. cat., Fondazione Prada, Venice, 2009, no. 389, p. 238 (illustrated, titled as Rain without Floor, dated 1979)

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145. William Kentridge

b. 1955

9 Films signed “KENTRIDGE” lower lef graphite and colored pencil on paper 83 x 59 in. (210.8 x 149.8 cm.) Executed in 2004. Estimate $150,000-200,000 Provenance Goodman Gallery, Johannesburg Private Collection Christie’s, London, July 1, 2009, lot 140 Acquired at the above sale by the present owner

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107803

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146. William Kentridge

b. 1955

Porter Series: Géographie des Hebreux ou Tableau de la dispersion des Enfants de Noë signed, titled, numbered and dated “Noah: Porter Series 2005 Edition 3/3 W Kentridge” on a fabric label afxed to the reverse; further signed “KENTRIDGE” on the reverse mohair, silk and embroidered tapestry 100 x 136 1/2 in. (254 x 346.7 cm.) Executed in 2005, this work is number 3 from an edition of 3. Estimate $80,000-120,000 Provenance Galleria Lia Rumma, Milan Acquired from the above by the present owner in 2006 Exhibited Westport Arts Center, Allegories of Displacement, September 15 - October 25, 2006 Philadelphia Museum of Art, William Kentridge: Tapestries, December 12, 2007 - April 6, 2008, pl. 27, p. 85 (illustrated) Johannesburg, Goodman Gallery, Advance/...Notice /, February 2 - 25, 2012 (another example exhibited)

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147. Terry Winters

b. 1949

Untitled dated “1994” upper right; further signed and dated “Terry Winters 1994” on the reverse oil on linen 40 x 53 in. (101.6 x 134.6 cm.) Painted in 1994.

Provenance Acquired directly from the artist by the present owner Exhibited New York, Gagosian Gallery, 1995 Yamantaka Donation: An Exhibition to Beneft Tibet House, February 4 - March 4, 1995

Estimate $20,000-30,000

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148. Philip Taafe

b. 1955

Composition with Gemstones signed, titled and dated “COMPOSITION WITH GEMSTONES Philip Taafe 2001” on the reverse mixed media on canvas 85 x 61 1/2 in. (215.9 x 156.2 cm.) Executed in 2001.

Provenance Galerie Thaddaeus Ropac, Paris Private Collection, Tokyo

Estimate $40,000-60,000

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Property from a Belgian Collector

149. Francis Alÿs

b. 1959

Lovers (i) signed, titled, numbered and dated “#1 Lovers - 2001 - F. Alÿs” lower right (ii) signed with the artist’s initials and numbered “#2 - F.” lower lef graphite and masking tape on vellum, diptych (i) 13 1/2 x 9 1/2 in. (34.3 x 24.1 cm.) (ii) 13 1/2 x 8 in. (34.3 x 20.3 cm.) Executed in 2001. Estimate $15,000-20,000 Provenance Gladstone Gallery, New York Acquired from the above by the present owner

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150. William Kentridge

b. 1955

Circle, cone, cube each signed “KENTRIDGE” lower right charcoal and pastel on newspaper, triptych (i-ii) 15 1/2 x 15 1/2 in. (39.4 x 39.4 cm.) (iii) 15 1/4 x 14 1/2 in. (38.7 x 36.8 cm.) Executed in 2010. Estimate $40,000-60,000 Provenance Goodman Gallery, Cape Town Acquired from the above by the present owner

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Property from an Important Private Collection, Miami

151. Tony Crag, R.A.

b. 1949

Elliptical Column stainless steel height 177 1/8 in. (449.9 cm.) Executed in 2012, this work is accompanied by a certifcate of authenticity issued by Lisson Gallery, London. Estimate $350,000-450,000 Provenance Lisson Gallery, London Private Collection, Miami (acquired from the above by the present owner in 2012) Please note that the work illustrated will be sold as viewed in the catalogue. For further images and installation information, please contact the department.

“Most of the time I admit I do not know who is leading, me or the sculpture.” Tony Cragg

Since the 1970s, British sculptor Tony Cragg has redefned the notions surrounding the discipline of sculpture by challenging the medium’s primary purpose in the art historical trajectory. From his beginnings in working with found objects made of wood, stone and plastic, Cragg has continually acknowledged the apparent uselessness of his sculptures. They exist outside what he has called the “limited utilitarian censored reality”, for Cragg thinks that no sculptor should be driven by what is useful and what is not. He or she should instead, as he espoused in an interview with Jon Wood, make forms that will exist and last forever outside of this reality (Tony Cragg, quoted in interview by Jon Wood in Tony Cragg familiae, exh. cat., Neues Museum Nürnberg, Neurnberg, 2005, p. 53).

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As exemplifed in the present lot, it is a sculpture’s purpose to create a series of dialogues, those between sculptor and material, sculpture and its surroundings, and viewer and sculpture. This frst dialogue occurs in the production process between the sculptor and his or her chosen material. “Sculptures are ofen and at their best not just a result of an artist taking a material…but rather the result of a dialogue between the material and the artist”, Cragg has said (Tony Cragg, quoted in “Articulated Column”, in Tony Cragg familiae, exh. cat., Neues Museum Nürnberg, Nuernberg, 2005, p. 55). A tower of stainless steel, Elliptical Column is composed of steel layers stacked atop one another along a bending central axis. From the ground, the layers twist and turn with the curved axial support, creating a varied surface which refects and distorts the space surrounding it. Cragg’s choice of a refective, polished steel is a direct result of this aforementioned dialogue between sculptor and material. The steel informs the structure, and not vice versa, thus originating with the surface itself.

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The refections within the column’s surface introduce the second dialogue—between the sculpture and the space it occupies. Commissioned for the present owner, Elliptical Column is not complete until it is installed, a key part of its composition being the images and changing light refected on its smooth surface. While many of Cragg’s contemporaries rely on the same refective qualities for their own sculptures, the alternating recessions and projections of Cragg’s globular, organic shapes create an even more varied surface that intentionally distorts its surroundings. While an industrial material, the steel takes on an almost liquefed trait that reads more like rippled water than a spherical mirror or dish. As one is faced with their own refections in Elliptical Column, there is the culmination of the viewing experience which ends with the conversations the work inspires. As the artist described of a sculpture’s capabilities, “there’s an idea that sculpture is something solid and

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static, and that it’s a frozen moment of time… Sculpture is relatively solid, for the main part, but so is our everyday material reality…although the world looks very solid, actually it’s incomplete— it’s totally fowing the whole time. However, looking at sculpture somehow the world can suddenly fx up again” (Tony Cragg, quoted in interview by Jon Wood in Tony Cragg familiae, exh. cat., Neues Museum Nürnberg, Neurnberg, 2005, p. 54). When viewed from afar, it becomes clear that Cragg’s stainless steel columns are not just abstract conglomerations of stacked shapes, but are instead intended to resemble a human profle. From the tip to the base of the sculpture, the viewer can follow its contour as if drawing their own facial profle, thus presenting an even deeper meaning. As such, the sculpture has the capability to evoke something familiar beyond the refections on its surface. This fnal dialogue thus concludes the multi-faceted purpose of Elliptical Column, a masterpiece possessing the ability to be not useful, but rather thought-provoking and evidently, refective.

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Property from a Private Collection

152. Michael Bevilacqua

b. 1966

Surface to Air titled ““Surface to Air”” on the stretcher of the middle panel; further signed, titled and dated “Michael Bevilacqua 2004 Surface to Air”” on the reverse of the right panel acrylic on linen, triptych each 72 x 96 in. (182.9 x 243.8 cm.) overall 72 x 288 in. (182.9 x 731.5 cm.) Painted in 2004.

Provenance Deitch Projects, New York Acquired from the above by the present owner Exhibited New York, Deitch Projects, Michael Bevilacqua: Surface to Air, April 5 - 30, 2005

Estimate $40,000-60,000

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108045

153. David Ostrowski

b. 1981

F (A thing is a thing in a whole which it’s not) signed “David Ostrowski” on the overlap acrylic and lacquer on canvas 94 1/2 x 75 in. (240 x 190.5 cm.) Executed in 2014. Estimate $30,000-40,000 Provenance Peres Projects, Los Angeles and Berlin Acquired from the above by the present owner

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154. Stefan Brügemann

b. 1975

Puddle Painting (6) (Silver Dots) signed, titled and dated “2016 Brüggemann PUDDLE PAINTING (SILVER DOTS) 2016 Brüggemann 2016 Brüggemann 2016 Brüggemann” on the reverse oil and spray paint on canvas 67 1/4 x 51 1/4 in. (170.8 x 130.2 cm.) Executed in 2016. Estimate $30,000-40,000 Provenance Hauser & Wirth, New York Anderson Ranch Arts Center Beneft Auction, Aspen, July 21, 2016 Acquired at the above sale by the present owner

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Property from a Distinguished Private Collection O

155. Ugo Rondinone

b. 1964

SIEBTEROKTOBERNEUNZEHHUNDERTNEUNUNDNEUNZIG (No. 162) black and white photograph, in artist’s white wood frame with yellow Plexiglas, in 15 parts (i) (iii) (vii) (ix) 11 1/8 x 14 in. (28.3 x 35.6 cm.) (ii) (vi) (xii) 12 1/2 x 17 in. (31.8 x 43.2 cm.) (iv) (viii) (xiii) (xiv) 16 x 20 in. (40.6 x 50.8 cm.) (v) (x) (xi) 20 3/8 x 24 1/8 in. (51.8 x 61.3 cm.) (xv) 13 1/4 x 16 1/4 in. (33.7 x 41.3 cm.) Executed in 2000.

Provenance Sadie Coles HQ, London Acquired from the above by the present owner Exhibited London, Sadie Coles HQ, Hell Yes!, January 13 February 12, 2000 (other variants exhibited)

Estimate $30,000-40,000

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156. Erwin Wurm

b. 1954

Hypnosis stamped “A.P. II/IV” on the underside aluminum 30 x 34 1/2 x 12 in. (76.2 x 87.6 x 30.5 cm.) Executed in 2008, this work is artist’s proof number 2 from an edition of 15 plus 4 artist’s proofs. Estimate $35,000-50,000 Provenance Private Collection, Austria Exhibited Salzburg, Galerie Thaddaeus Ropac, Erwin Wurm: Hypnosis, January 26 - March 8, 2008 Literature Bernd Müller, ed., Erwin Wurm, Cologne, 2009, pp. 126-127 (other examples illustrated)

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157. Maurizio Cattelan

b. 1960

Untitled (Joseph Beuys Suit) felt suit, wood and metal hanger 49 x 24 x 1 1/2 in. (124.5 x 61 x 3.8 cm.) Executed in 2000, this work is from an edition of 10 plus 3 artist’s proofs. Estimate $70,000-100,000 Provenance Marian Goodman Gallery, New York Acquired from the above by the present owner Exhibited New York, Solomon R. Guggenheim Museum, Maurizio Cattelan: All, November 3, 2011 - January 22, 2012, no. 76, pp. 223-224 (another example illustrated) Literature Francesco Bonami, et al., Maurizio Cattelan, New York, 2003, p. 189 (another example illustrated)

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Property from a Belgian Collector

158. Alighiero Boetti

1940-1994

La Persona e Il Personaggio signed “Alighiero Boetti” lower edge embroidery on fabric 8 7/8 x 8 1/2 in. (22.5 x 21.6 cm.) Executed in 1985, this work is unique and is accompanied by a certifcate of authenticity provided by the Archivo Alighiero Boetti, Rome, and is registered under number 6904. Estimate $20,000-30,000 Provenance Real Arte Aste Casa d’Aste Meeting Art S.p.A., June 9, 2012, lot 70 Acquired at the above sale by the present owner

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Property from a Belgian Collector

159. Alighiero Boetti

1940-1994

Il Cimento dell’Armonia e dell’ Invenzione (3) signed, titled and dated “Alighiero Boetti 1970” on the reverse crayon on paper 27 1/2 x 39 1/ 2 in. (70 x 100.5 cm.) Executed in 1969, this work is unique and is accompanied by a certifcate of authenticity provided by the Archivo Alighiero Boetti, Rome, and is registered under number 7061.

Provenance Private Collection (acquired directly from the artist in 1970) Sotheby’s, London, February 10, 2015, lot 27 Acquired at the above sale by the present owner Exhibited Rome, Museo d’arte contemporanea Roma, Ritratto di una città #2: Arte a Roma 1960-2001, May 16 September 15, 2013

Estimate $50,000-70,000

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160. Ugo Rondinone

b. 1964

yellow blue red mountain signed, titled and dated “yellow blue red mountain ugo rondinone 2016� on the underside painted stone on concrete base 14 x 7 1/4 x 7 1/4 in. (35.6 x 18.4 x 18.4 cm.) Executed in 2016. Estimate $25,000-35,000 Provenance Private Collection

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161. Sigmar Polke

1941-2010

Untitled signed and dated “Sigmar Polke 2002” lower right acrylic on paper 39 3/4 x 27 1/4 in. (101 x 69.2 cm.) Executed in 2002. Estimate $60,000-80,000 Provenance Galeria Heinz Holtmann, Cologne Galería Pepe Cobo, Madrid Phillips, New York, May 11, 2012, lot 200 Acquired at the above sale by the present owner

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162. A.R. Penck

b. 1939

TTT (RT) 2 signed and titled “TTT RT2 a.r. penck” lower center acrylic on canvas 78 3/4 x 118 1/8 in. (200 x 300 cm.) Painted in 1982. Estimate $120,000-180,000 Provenance Private Collection Christie’s, New York, September 14, 2004, lot 98 Private Collection, Palm Beach Leo Koenig Inc., New York Acquired from the above by the present owner

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Property from a Distinguished Private Collection O

163. Jack Pierson

b. 1960

Self Portrait #1 color pigment print 52 1/2 x 43 in. (133.4 x 109.2 cm.) Executed in 2003, this work is number 4 from an edition of 7. Estimate $10,000-15,000 Provenance Regen Projects, Los Angeles Acquired from the above by the present owner in July 2004

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Property from a Distinguished Private Collection O

164. Olafur Eliasson

b. 1967

The Earthquake Series signed “Olafur Eliasson� on a label afxed to the reverse of the frst element color coupler print, in 16 parts each 9 1/2 x 14 1/8 in. (24.1 x 35.9 cm.) overall 48 1/4 x 68 in. (122.6 x 172.7 cm.) Executed in 2000, this work is number 3 from an edition of 6.

Provenance Bonakdar Jancou Gallery, New York Acquired from the above by the present owner in January 2001 Exhibited Houston, The Menil Collection, Olafur Eliasson: Photographs, May 26 - September 5, 2004, p. 69 (another example exhibited and illustrated)

Estimate $40,000-60,000

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Property from a Distinguished New York Collection

165. Mark Grotjahn

b. 1968

Untitled (CR.CY and Cream Butterfy Blonde Butterfy Drawing in Two Parts) titled and dated “Untitled (CR.CY and Cream Butterfy Blonde Butterfy Drawing in Two Parts) 2009� on the reverse of the right drawing colored pencil on paper, in 2 parts (i) 9 5/8 x 6 3/4 in. (24.4 x 17.1 cm.) (ii) 7 7/8 x 5 3/8 in. (20 x 13.7 cm.) Executed in 2009. Estimate $25,000-35,000 Provenance 6th Annual Beneft Auction for The Drawing Center, New York, October 8, 2009 (donated by the artist) Acquired at the above sale by the present owner

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Property from a Distinguished New York Collection

166. Richard Prince

b. 1949

Untitled (Cowboy) signed, numbered and dated “Richard Prince ap 1989” on the reverse; further signed, numbered and erroneously dated “Richard Prince ap 1988” on the reverse of the mat Ektacolor print image 23 x 18 1/4 in. (58.4 x 46.4 cm.) sheet 24 x 20 in. (61 x 50.8 cm.) Executed in 1989, this work is artist’s proof number 1 from an edition of 2 plus 1 artist’s proof. Estimate $250,000-350,000 Provenance Acquired directly from the artist by the present owner Literature Rosetta Brooks, Jef Sian and Luc Sante, Richard Prince, London, 2003, p. 25 (another example illustrated and erroneously dated 1999)

Richard Prince’s cowboys are among the most iconic examples of his prolifc oeuvre. The present lot, an early work from 1989 is a unique artist’s proof aside from the artist’s small editioned series of luminously colored photographs, representing one of the artist’s early experimentations with appropriated imagery. Adapted from a Marlboro cigarette advertisement, the present lot depicts three quintessentially American cowboys in a receding row, looking of into the distance. They are dressed in patriotic garb, adorned in red, white, and blue, set against what is assumed to be a warm, sunny Western landscape. All three men are smiling in symmetrical, profle view, not one making direct eye contact with the camera. While the photograph is anything but candid, Prince’s choice of cropping at the brims of their hats and extending only to their upper torsos captures a split second in time that gives the essence of a genuine, American moment. As Prince has described, the cowboy pictures “were

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too good to be true. They were about wishful thinking, public pictures that happen to appear in the advertising sections of mass-market magazines… it was their look I was interested in. I wanted to represent the closest thing to real thing”. To achieve this level of reality, Prince has removed the text from the Marlboro advertisement, reframing the image in a way that rejects the obvious reappropriation of mass media sources, and instead elevates the source imagery to one that is seemingly original. The result is paradoxically comforting and disquieting, calling into question the meaning behind the staged smiles. It is “normalcy as special efect”, as Prince once explained, thus challenging the notions of Pop art begun by his predecessors, and elevating the nostalgic to the extraordinary. (Rosetta Brooks, “A Prince of Light or Darkness?”, Richard Prince, London, 2003, p. 56)

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Property from a Distinguished New York Collection

167. Donald Judd

1928-1994

Untitled stamped with the artist’s name, number and fabricator “DONALD JUDD 91-114 © ALUMINUM AG MENZIKEN” on the reverse clear anodized aluminum and green acrylic sheet 10 x 39 3/8 x 9 3/4 in. (25.4 x 100 x 24.8 cm.) Executed in 1991. Estimate $400,000-500,000 Provenance Rhona Hofman Gallery, Chicago Acquired from the above by the present owner in 2004 Exhibited Geneva, ART & PUBLIC, Donald Judd Drawings, March 16 - April 19, 2006

Executed in 1991, only three years before the artist’s passing, Untitled exemplifes Donald Judd’s commitment to material, space, and color as the three fundamental elements of art. A key fgure of the Minimalist movement beginning in the 1960s, Judd continually rejected traditional notions of art history, as demonstrated by the present lot. From 1988 to 1994, Judd worked with Alu Menziken, an aluminum manufacturing company based in Switzerland, in the construction of these industrial boxes. Menziken’s primary area of focus was the production of automobiles, machinery, and aerospace, making Judd’s preference for working with this company a true testament to his aesthetic ideology and practice—a rejection of the traditional artist’s studio in favor of the factory as a place of artistic production. In Untitled, Judd utilizes the industrial materials of clear anodized aluminum and colored acrylic sheets to create a singular form that is without allusion to the pictorial world. The foating

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rectangular box, a defning characteristic of the works fabricated by Menziken, is bisected by a central panel, which divides the sculpture into three equal parts. While the viewer is initially confronted with a powerful, static form, new spatial relations come into play as his or her position shifs, refecting the surrounding space in diferent iterations. In its design, Judd experiments with the striking dichotomy inherent within the structure of the Menzikenfabricated works, and also alludes to the importance of color. While the outer aluminum structure remains austere and unchanging, the interior is imbued with a richness and complexity made possible by the emerald green hue of the acrylic sheet. Floating and isolated, each of these boxes takes on a wholly distinct personality with each color variant. Ultimately, and as exemplifed by the present lot, Judd’s preference for modest, simple forms allowed him to truly explore the artistic possibilities of color, light, and space for which he is renowned.

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Property from a Distinguished New York Collection

168. Rudolf Stingel

b. 1956

Untitled signed and dated “Stingel 2007” on the reverse oil and enamel on canvas 30 1/2 x 41 in. (77.5 x 104.1 cm.) Executed in 2007. Estimate $200,000-300,000 Provenance Paula Cooper Gallery, New York Private Collection Sotheby’s, New York, May 13, 2010, lot 382 Acquired at the above sale by the present owner

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Property from a Distinguished New York Collection

169. Lucio Fontana

1899-1968

Concetto spaziale, Attese signed, titled and inscribed “L. Fontana C. Spaziale 1 + 1-537” on the reverse waterpaint on canvas 8 3/4 x 14 in. (22.2 x 35.6 cm.) Executed in 1962. Estimate $250,000-350,000 Provenance Galerie Pierre, Stockholm Private Collection, Stockholm Sotheby’s, New York, May 16, 2002, lot 200 Acquired at the above sale by the present owner Literature Enrico Crispolti, Lucio Fontana: Catalogue Raisonné des pentures, sculptures et environnements spatiaux rédigé, vol. II, Brussels, 1974, no. 62T44, pp. 132-133 (illustrated) Enrico Crispolti, Fontana: Catalogo generale, vol. II, Milan, 1986, no. 62T44, p. 450 (illustrated) Enrico Crispolti, Lucio Fontana: Catalogo ragionato di sculture, dipinti, ambientazioni, vol. II, Milan, 2006, no. 62T44, p. 635 (illustrated)

“I do not want to make a painting; I want to open up space, create a new dimension for art, tie in with the cosmos, as it endlessly expands beyond the confning plane of the picture. With my innovation of the hole pierced through the canvas in repetitive formations, I have not attempted to decorate a surface, but on the contrary, I have tried to break its dimensional limitations” (Lucio Fontana, quoted in Lucio Fontana, exh. cat., Walker Art Center, Minneapolis, 1966).

thus transforming the work into a sculptural object. The gestural slashes, a momentous, seemingly violent act, disrupts the purity of the monochromatic surface. Beyond the physical implications of the work, the inclusion of “attese” in the title, which translates to “expectations”, suggests a contemplative interpretation of the object as existing both in space and in time, furthering Fontana’s desire to represent the infnite.

Striking in both color and form, Concetto spaziale, Attese refects Lucio Fontana’s fascination with space travel and his radical post-modernist vision of art. In the 1946 Manifesto Blanco (White Manifesto), overseen by Fontana, he laid the groundwork for the technical and spatial experiments that occupied him for the rest of his life. Fontana sought to develop a new artistic language that could convey an infnite dimension, breaking from the traditional view of art by combining sculpture, painting and architecture. Begun in 1958, Fontana’s tagli, like the present example, display his mastery of these complex theories and his evolved technical perfection: Fontana incised the painted canvas and then gently opened the cut with his hands, exposing a dimensional space that exists below the fat surface,

In 1966, Fontana exhibited his Concetto Spaziale series in the Italian Pavillion at the XXXIII Venice Biennale and won the International Grand Price for Painting, just two years before his death. There, white canvases with these iconic cuts were hung in a white room designed by architect Carlo Scarpa, creating an immersive “spatial environment”. Executed in 1962, Concetto spaziale, Attese is a prime example of Lucio Fontana’s tagli paintings, rendered in color rather than white, arguably his most iconic and revered group of work. With its radiant yellow hue, the present lot stands out with its black depths, which stand in stark contrast to the colored ground, challenging the viewer to see through the canvas into the infnity of space.

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Property from an Important Private Collection, Miami

170. James Rosenquist

1933 - 2017

Paramus signed, titled and dated ““PARAMUS” J. ROSENQUIST 1966” on the reverse oil on shaped canvas 48 x 62 in. (121.9 x 157.5 cm.) Painted in 1966, this work is documented in the artist’s archive under number 66.16. Estimate $350,000-450,000 Provenance Richard L. Feigen & Co., Chicago Private Collection, Chicago (acquired from the above) Private Collection, Miami (acquired from the above in 2008)

James Rosenquist carrying Paramus outside Leo Castelli Gallery, New York, 1966 ©Bob Adelman

Literature Walter Hopps and Sarah Bancrof, James Rosenquist: A Retrospective, exh. cat., Solomon R. Guggenheim Foundation, New York, 2003, fg. 2, p. v (illustrated with the artist)

A few months afer his celebrated, frst exhibition at the Leo Castelli Gallery in 1965, which included his seminal mural F-111 (now in the collection of the Museum of Modern Art), the late James Rosenquist embarked upon a series of paintings inspired by the decimation of information by television in post-war America. At this time, the artist had only been in New York for ten years, having just recently secured his place in the circle of American Pop masters. In addition to the changing art world Rosenquist became a part of, the years of 1965 and 1966 also marked important changes in American politics and technological advancements, with both the height of the Cold War and the advent of space travel, events which were constantly documented in homes on the radio and on TV. In 1966, Rosenquist was particularly inspired by Project Gemini’s low Earth orbit missions, part of NASA’s large-scale objective to support the advancement of the Apollo mission. Each of these was heavily covered by news outlets around the country, and Paramus, one of Rosenquist’s 1966 masterworks, responds to such events. It depicts Gemini’s view of an astronaut’s New Jersey hometown, afer which it is titled, painted in vibrantly saturated colors on a shaped canvas. The canvas’s rounded vertical edges recall that of a convex TV screen, thus meant to capture the picture precisely how it was illuminated in the homes of thousands of Americans as they followed these missions. As Rosenquist recalled of the 1966 television paintings, “I became interested in how the use of color in advertising and on TV afected the image you’re looking at…Reality is diferent on

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TV; the color on the screen is a metaphor for color in reality”. Indeed, the colors Rosenquist uses in Paramus are saturated to the point of invention, bleeding into one another in a sort of abstract color feld. An ambiguous black form mirroring the rounded edge of the canvas imposes upon the composition from the lef side, standing in stark contrast to the rich sea of sky blue, pastel green and hot pink. “I liked the idea of using these strange colors, the kind of blurry, garish colors you would see on old color TV sets” (James Rosenquist, Painting Below Zero, New York, 2009, pp. 175-176). The resulting work thus inconspicuously documents the sort of TV pictures exactly as they were projected onto 1960s screens. While aesthetically abstract, Paramus is in actuality a realistic depiction of its inspiration, consistent with the Pop billboard-style paintings found throughout the artist’s oeuvre. As Jerry Saltz so aptly espoused in an article celebrating the artist’s legacy last month, Rosenquist “extended art into the hyperspace of culture and brought more of the culture into art; he took the non sequiturs of everyday life and created what amounted to a buzzing optically alive American Cubism of changing perspectives, optical energy, and aesthetic audacity” (Jerry Saltz, “In Remembrance of James Rosenquist: 1933 – 2017”, Vulture, April 1, 2017, online). Indeed, with its contextual implications and aesthetic vibrancy, Paramus is a stellar example of the late artist’s importance in post-war American art and contemporary interpretations of the surrounding world.

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Property from the Estate of Jean-Michel Basquiat

171. Jean-Michel Basquiat

1960-1988

Untitled signed and dated “Jean-Michel Basquiat 1983” on the reverse acrylic and Xerox on canvas mounted on tied wood supports 35 1/4 x 36 in. (89.5 x 91.4 cm.) Executed in 1983. Estimate $600,000-800,000 Provenance Acquired directly from the artist by the present owner

Executed in 1983 at the pinnacle of the artist’s career, the present lot combines many of JeanMichel Basquiat’s most noteworthy techniques and imagery. Xeroxed collages of skulls, repetitive text, and vibrant blocks of blue paint cover the canvas in a chaotic symmetry, quickly drawing the viewer’s eye from one place in the composition to the next. These elements cover a canvas stretched atop a wooden support, exposed at the corners, a technique that Basquiat frequently utilized at this time to stress the rawness of the medium, uniquely making the work both object and painting. The use of childlike, handwritten text is perhaps the most distinctive aesthetic convention present, even more densely applied than in other works by the artist from this year. Phrases like “Bird of God” and “Pure All Beef” read as a stream of consciousness, revealing Basquiat’s inner demons and imagination. As Tony Shafrazi described, “Basquiat’s use of text is too deeply hermetic and coded to be directed to a particular class in a glib or knowing fashion. Since his scrawls are ofen autobiographical in nature, and chronicle a tumultuous personal life and journey, they are possessed of a more unconscious desire to confess or report... Basquiat’s early grafti grew out of an instinct of primal expression that was more in line with the historical origins of the art” (Tony Shafrazi, Jean Michel-Basquiat, New York, 1999, p. 13).

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The grafti-like imagery present in Untitled not only pulls from Basquiat’s own humble beginnings as a street artist, but also from the infuences of some of his most well-known contemporaries. The rows of Xeroxed paper recall the same repetition present in Andy Warhol’s silkscreen canvases, an artist with whom Basquiat began collaborating at this time. Unlike Warhol, however, Basquiat is not appropriating and repeating anything derived from mass media imagery, but rather his own personal motifs and symbols. The imperfection of the Xeroxed paper rows, combined with the artist’s Cerulean blue brushstrokes, which disrupt the linear borders of the collage, exemplify Basquiat’s inimitable contribution to the history of painting, distinct from those of his contemporaries. His distinctive style even further bridges the visceral energy of New York’s 1980s art scene with the personal, expressionistic tendencies of his abstract predecessors, such as Cy Twombly and Jackson Pollock, and yet Basquiat is entirely distinct from them too. As Klaus Kertess explains, “words play a more obsessive and prominent role in his art than in Twombly’s; and his chanting rhythmic repetitiveness for the frst time mixed sound into this brew of sense and senses. Basquiat’s visceral receptivity also brought some of Pollock’s lyric passion back into painting”(Klaus Kertess, “Brushes with Beatitude” in JeanMichel Basquiat, exh. cat., Whitney Museum of American Art, New York, 1993, p. 54). Indeed, the present lot simultaneously demonstrates some of the 20th Century’s key players’ infuences on the artist and further Basquiat’s unique personal style, making it a stellar example of his wholly distinct place in the trajectory of art history.

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Property from the Collection of Scott D.F. Spiegel Basquiat was a drawer; he drew to release from his mind his dynamic texts, shapes and symbols in a deluge of artistic spontaneity onto paper. His creative imagination led him to frequently reuse and reimagine disparate graphic symbols, turning them into striking visual combinations, scattered with poetic snippets, resulting in an elegant, artistic vocabulary. For Basquiat, the drafsmanship of drawing was never a means of studying or preparation but an artistic practice in its own right. PHILLIPS is proud to present for sale the following three works on paper by Jean-Michel Basquiat from the Collection of Scott D.F. Spiegel, an esteemed Los Angeles art collector whose cutting edge acquisitions of 1980’s artwork and commitment to emerging art is publicly visible by the multitude of works purchased for the Museum of Contemporary Art, Los Angeles through the Scott D. F. Spiegel Endowment Fund. The following six works coming from the Collection of Scott D.F. Spiegel represent the best of Jean-Michel Basquiat’s works on paper which stand within the artist’s practice as his most pure of creations.

“Drawing, for Basquiat, was something you did rather than something done…… an activity rather than a medium.” Robert Storr

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Basquiat’s Transcendental Skull by Fred Hofman At the time of his death, Basquiat possessed a large number of his 1982, individualized, single head studies many of which were exhibited by Robert Miller Gallery in 1990 and shown, displayed in salon style on a single wall. The fact that Basquiat kept so many of these in his personal collection further emphasizes their importance as artistic starting points, faces from which he drew inspiration. The three single head drawings from the Collection of Scott D.F. Spiegel were acquired by Scott when other Basquiat collectors remained focused on his paintings. This further highlights Scott’s ability to see the quality and artistic importance of Basquiat’s works on paper. Jean-Michel Basquiat’s 1982 image of a cow skull is an anomaly in his oeuvre. Prior to the creation of this work the artist rendered a decomposing cow alongside a standing black fgure in Acque Pericolose, 1981. Other early images of the head of a four-legged creature are Television and Cruelty to Animals, 1983 and Roosevelt III, 1983 both of which are more caricature renderings and refer to the friendly creature from the Rocky and Bullwinkle show. Basquiat’s 1982 image of a cow skull stands apart, less referential to nature or popular culture, more symbolic and iconic.

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Basquiat has rendered his image simply, outlining its generalized shape in black. Contained within the edges of this frontally-defned shape Basquiat animates his facial depiction by means of his unexpected choice of a bright, luminous and inviting blue, accompanied by eyes in a bright red. If Basquiat’s choice of colors for his fgure departs from physiognomic likeness it implies and inspires viewer engagement. The work’s assertive frontality, combined with its luminous coloration, draws the viewer towards its mysterious presence. Having distinguished his image from a recognizable creature, Basquiat’s image takes on attributes of a mythic fgure, even suggesting that this creature symbolizes another realm, another state of consciousness. In this regard Basquiat’s cow skull conveys mythic attributes--- akin to some of Picasso’s bovine creatures including, Bulls Skull, c. 1942 and Bulls Skull, Fruit and Pitcher, 1939. Basquiat’s cow skull feels larger than life. While full of vitality and energy, it exudes something more than a physiological presence. Basquiat’s decision to render this fgure in a light-flled blue links the work to atmospheric efects achieved in works such as Untitled (LA Painting), 1982 and Untitled (Black Tar and Feathers), 1982. The deep blue background in both of these works suggests more than a naturalistic atmosphere; it was Basquiat’s means of alluding to something beyond our psycho-physical state of being— the transcendental. So too does his choice of coloration for his simple cow skull, a work clearly heralding a higher state of being.

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Property from the Collection of Scott D.F. Spiegel O

172. Jean-Michel Basquiat

1960-1988

Untitled signed “JM Basquiat� on the reverse oil paintstick on paper 14 x 11 in. (35.6 x 27.9 cm.) Executed in 1982, this work is accompanied by a certifcate of authenticity issued by the Authentication Committee of the Estate of Jean-Michel Basquiat and dates the work 1982/83. Estimate $400,000-600,000 Provenance Scott D.F. Spiegel, Los Angeles (acquired directly from the artist in 1982)

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Property from the Collection of Scott D.F. Spiegel O

173. Jean-Michel Basquiat

1960-1988

Untitled oil paintstick on paper 14 x 11 in. (35.6 x 27.9 cm.) Executed in 1982, this work is accompanied by a certifcate of authenticity issued by the Authentication Committee of the Estate of JeanMichel Basquiat and dates the work 1982/83. Estimate $400,000-600,000 Provenance Scott D.F. Spiegel, Los Angeles (acquired directly from the artist in 1982)

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Property from the Collection of Scott D.F. Spiegel O

174. Jean-Michel Basquiat

1960-1988

Untitled oil paintstick on paper 14 x 11 in. (35.6 x 27.9 cm.) Executed in 1982, this work is accompanied by a certifcate of authenticity issued by the Authentication Committee of the Estate of Jean-Michel Basquiat and dates the work 1982/83. Estimate $400,000-600,000 Provenance Scott D.F. Spiegel, Los Angeles (acquired directly from the artist in 1982)

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175. Ed Ruscha

b. 1937

Nightmares and Migraines signed and dated “Ed Ruscha 1985” lower right dry pigment and acrylic on paper 40 x 60 in. (101.6 x 152.4 cm.) Executed in 1985, this work will be included in Edward Ruscha, Catalogue Raisonné of the Works on Paper, Volume 2: 1977-1997, edited by Lisa Turvey (forthcoming). Estimate $200,000-300,000 Provenance James Corcoran Gallery, Los Angeles Private Collection, Sweden Sotheby’s, New York, November 9, 1989, lot 357 Gallery Spark, Tokyo Private Collection, Tokyo Exhibited Williamstown, Williams College Museum of Art, Edward Ruscha: Words Without Thoughts Never to Heaven Go, July 2 - September 16, 1988 Tokyo, Museum of Contemporary Art, We Love Painting: The Contemporary American Art from Misumi Collection, December 21, 2002 - March 23, 2003, p. 155 (illustrated) Tottori Prefectural Museum, Contemporary Voice: The Contemporary American Art from Misumi Collection, November 19 - December 25, 2005, p. 93 (illustrated)

“They are almost not words…They are objects that become words.” Ed Ruscha

In the present lot, two celestial ovals mirror one another in a parallel composition as they foat aimlessly in a sea of rich blue pigment. In his characteristic way, the American master of text and image Ed Ruscha presents a visual juxtaposition in its truest form, utilizing each of these elements in harmony. The diference in the scale of these two shapes is heightened when the viewer realizes that the larger oval is inscribed inconspicuously along its bottom edge with the words “miniature nightmares”, while the smaller reads “microscopic migraines”. These mysterious phrases are contextually muted by Ruscha’s choice of midnight blue pigment to surround them, which provides a soothing complement to the mention of a nightmare and a migraine. Together with an almost extra-terrestrial presence, both shapes transport the mind into a virtual trans as Ruscha challenges the viewer to interpret this “nightmare” and “migraine” as they wish. As the rings radiate blue, the eye cannot help but wander in circles.

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Executed in 1985, this work on paper was completed the very same year Ruscha received his frst public art commission to paint the rotunda mural of the Miami-Dade Public Library. Inspired by the architectural space, Ruscha began to play with the oval shape in his works on paper, utilizing the same blue color feld that he employed in the production of the mural. While other works on paper from this year also feature the celestial ring and rich dry pigment, Nightmares and Migraines stands out as one of the only ones to include indiscrete text within these spheres, inspiring the artist to combine the forms of text and shape in a single composition as he did in the fnished mural, completed in 1989. As such, the present lot exhibits the qualities of a masterwork in its own right, while serving as a unique exploration of the visual motifs that permeate the artist’s prolifc oeuvre.

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Property from a Private Collection, Chicago

176. Robert Rauschenberg

1925-2008

Pegasits/ROCI USA (Wax Fire Works) signed, numbered and dated “RAUSCHENBERG 13/22 90� lower lef acrylic, fre wax and chair on stainless steel 72 3/4 x 96 3/4 x 17 1/2 in. (184.8 x 245.7 x 44.5 cm.) Executed in 1990, this work is number 13 from an edition of 22 plus one National Gallery of Art proof, published by Saf Tech Arts. Estimate $50,000-70,000 Provenance Bernard Jacobson Gallery, London Acquired from the above by the present owner in 2012 Exhibited Washington, D.C., National Gallery of Art, Rauschenberg Overseas Culture Interchange, May 12 - September 2, 1991, p. 21 (another example exhibited and illustrated) New York, Jacobson Howard Gallery, Last Turn - Your Turn: Robert Rauschenberg and the Environmental Crisis, March 6 - April 12, 2008, p. 13 (another example exhibited and illustrated)

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177. Roy Lichtenstein

1923-1997

Water Lilies Tapestry (Study) signed and dated “rf Lichtenstein ‘95” on the reverse graphite and colored pencil on paper image 4 x 9 in. (10.2 x 22.9 cm.) sheet 8 x 13 1/8 in. (20.3 x 33.3 cm.) Executed in 1995, this work will be included in the catalogue raisonné being prepared by The Roy Lichtenstein Foundation and is included in their online works listing. Estimate $80,000-120,000 Provenance The Estate of Roy Lichtenstein, New York Private Collection, New York Exhibited New York, James Goodman Gallery, Inc., Roy Lichtenstein: Works on Paper, November 20, 2006 - January 15, 2007, no. 10 New York, Mitchell-Innes & Nash, Roy Lichtenstein: The Popular Image, November 10 - December 19, 2014 New York, Van De Weghe Fine Art, Roy Lichtenstein: Paintings, Drawings and Sculpture, September 24 November 20, 2015 Norton Museum of Art, Miami, Spotlight: Lichtenstein and Monet, July 5, 2016 - August 21, 2016

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178. Andy Warhol

1928-1987

Oberkassel 1 signed and dated “Andy Warhol 1981� on the overlap acrylic with diamond dust on canvas 50 1/4 x 42 in. (127.6 x 106.7 cm.) Executed in 1981. Estimate $200,000-300,000 Provenance Hans Mayer, Dusseldorf Acquired from the above by the present owner

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179. Robert Rauschenberg

1925-2008

Prime-Run (Slide) solvent transfer on fabric collage on paper 60 x 40 in. (152.4 x 101.6 cm.) Executed in 1979. Estimate $60,000-80,000 Provenance Sonnabend Gallery, New York Sotheby’s, New York, May 9, 1996, lot 198 Private Collection, New York Acquired from the above by the present owner in 2010

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180. Robert Rauschenberg

1925-2008

Orange Float (Anagram) signed and dated “RAUSCHENBERG 96” lower right vegetable dye transfer on paper 60 x 40 in. (152.4 x 101.6 cm.) Executed in 1996. Estimate $80,000-120,000 Provenance PaceWildenstein, New York Private Collection (acquired from the above in October 1997) Sotheby’s, New York, May 13, 2010, lot 198 Acquired at the above sale by the present owner Exhibited Naples, Philharmonic Center for the Arts, Winter Works: Rauschenberg and Pottorf, December 10, 1996 - January 25, 1997 Arts Abu Dhabi Gallery, RSTW – from the Private Collection of Larry Gagosian, September 22, 2010 - January 24, 2011, n.p. (illustrated)

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181. Andy Warhol

1928-1987

Flowers (Black and White) stamped by the Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “29.020” on the reverse graphite on ivory wove paper 40 x 27 in. (101.6 x 68.6 cm.) Executed in 1974.

Provenance Galerie Sabine Knust, Munich Private Collection, Germany Private Collection, Switzerland Exhibited Munich, Galerie Sabine Knust, Andy Warhol, Flower Drawings 1974, April 15 - June 30, 1999, p. 12 (illustrated)

Estimate $20,000-30,000

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182. Andy Warhol

1928-1987

Diet Sof Drinks stamped by the Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “91.026” on the reverse synthetic polymer paint on HMP paper 31 7/8 x 23 1/2 in. (81 x 59.7 cm.) Executed in 1983-1984. Estimate $30,000-40,000

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Provenance The Andy Warhol Foundation for the Visual Arts, New York Heiner Bastian, Berlin Private Collection, Switzerland Exhibited Berlin, Neue Nationalgaleries; London, Tate Modern; Los Angeles, Museum of Contemporary Art, Andy Warhol Retrospective, October 2, 2001 August 18, 2002

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183. Andy Warhol

1928-1987

Still Life stamped by the Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “313.006” on the reverse ink and watercolor on Strathmore paper 15 1/4 x 13 3/8 in. (38 x 34 cm.) Executed in 1957. Estimate $10,000-15,000 Provenance The Andy Warhol Foundation for the Visual Arts, New York Private Collection, Germany Private Collection, Switzerland

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184. Andy Warhol

1928-1987

Seated Male stamped by the Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “294.001” on the reverse ink and watercolor on Strathmore paper 23 x 15 in. (58.4 x 38.1 cm.) Executed in 1957. Estimate $20,000-30,000 Provenance The Andy Warhol Foundation for the Visual Arts, New York Private Collection, Switzerland

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185. Andy Warhol

1928-1987

Two works: (i) Peacock; (ii) Peacock (i) stamped by the Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “216.013” on the reverse (ii) stamped by the Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “216.017” on the reverse ink on Manila paper each 16 3/4 x 13 7/8 in. (42.5 x 35.2 cm.) Executed in 1957. Estimate $15,000-20,000 Provenance The Andy Warhol Foundation for the Visual Arts, New York Private Collection, Germany Private Collection, Switzerland

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186. Andy Warhol

1928-1987

Three works: (i) Flowers – Yellow and Pink; (ii) Paisley; (iii) Floral Design (i) signed “Andy Warhol” lower right watercolor and ink on paper each 22 1/2 x 28 1/2 in. (57.2 x 72.4 cm.) Executed circa 1959. Estimate $40,000-60,000 Provenance Jack Schondorf Collection (acquired directly from the artist in 1959) Christie’s, New York, May 15, 2001, lots 66 (iii), 68 (ii) and 69 (i) Private Collection, Germany Private Collection, Switzerland

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187. Andy Warhol

1928-1987

Cells silkscreen ink, paper collage, tape and acetate on board 50 x 38 in. (127 x 96.5 cm.) Executed in 1983. Estimate $18,000-22,000 Provenance The Estate of Andy Warhol, New York The Andy Warhol Foundation for the Visual Arts, Inc., New York Andy Warhol @ Christie’s: A Taste of Spring, May 2015, online, lot 61 Acquired at the above sale by the present owner

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188. Andy Warhol

1928-1987

Cells silkscreen ink, paper collage, tape and acetate on board 50 x 38 in. (127 x 96.5 cm.) Executed in 1983. Estimate $18,000-22,000 Provenance The Estate of Andy Warhol, New York The Andy Warhol Foundation for the Visual Arts, Inc., New York Andy Warhol @ Christie’s: A Taste of Spring, online, Spring 2015, lot 60 Acquired at the above sale by the present owner

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189. Andy Warhol

1928-1987

Still Life (Flowers) stamped by the Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “215.018” on the reverse ink on paper 16 3/4 x 13 3/4 in. (42.5 x 34.9 cm.) Executed circa 1956. Estimate $10,000-15,000 Provenance The Andy Warhol Foundation for the Visual Arts, New York Private Collection, New York Private Collection, Germany Private Collection, Switzerland

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190. Ed Ruscha

b. 1937

Three Works: (i) Vowel #54 (E); (ii) Vowel #86 (Y); (iii) Vowel #59 (E) (i) signed, numbered and dated “#54 AUGUST 5, 1996 Ed Ruscha ‘96” on the frst page (ii) signed, numbered and dated “#86 AUG. 30, 1996 Ed Ruscha 1996” on the frst page (iii) signed, numbered and dated “#59 AUG. 6, 1996 Ed Ruscha 1996” on the frst page acrylic on book cover, in 3 parts each 7 1/4 x 5 1/2 in. (18.4 x 14 cm.) Executed in 1996.

Provenance Gagosian Gallery, Los Angeles Acquired from the above by the present owner in 1996 Exhibited Los Angeles, Gagosian Gallery, Ed Ruscha: Vowels - Paintings on Book Covers, September 11 - 28, 1996

Estimate $40,000-60,000

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191. Keith Haring

1958-1990

Self Portrait incised with the artist’s signature, number and date “K. Haring 89 ⊕ 2/10” on the base polyurethane enamel on aluminum 24 x 14 x 13 in. (61 x 35.6 x 33 cm.) Executed in 1989, this work is number 2 from an edition of 10. Estimate $100,000-150,000 Provenance Gallery Seomi, Seoul Acquired from the above by the present owner in 2003 Exhibited Seoul, Arario Gallery, Keith Haring: The Public Artist, December 11, 2002 - February 16, 2003, p. 51 (another example exhibited and illustrated) Literature Gianni Mercurio, ed., The Keith Haring Show, Milan, 2005, no. 221, p. 367 (another example illustrated) Gianni Mercurio, ed., Keith Haring, Milan, 2008, no. 202, p. 325 (another example illustrated)

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192. Keith Haring

1958-1990

Untitled signed and dated “K. Haring 84 ⊕” lower lef ink on paper 38 x 24 3/4 in. (96.5 x 62.9 cm.) Executed in 1984, this work is accompanied by a letter from Jenny Holzer confrming the provenance of this artwork. Estimate $180,000-250,000 Provenance Jenny Holzer (gifed by the artist) Private Collection (acquired from the above)

Instantly recognizable for its black outlined fgures in a frenzied composition, Untitled from 1984 exemplifes Keith Haring’s iconic grafti style art of the 1980s. Originally gifed to fellow contemporary artist Jenny Holzer while collaborating on her project, Sign on a Truck, 1984, the present lot depicts the same vibrancy of this celebrated project, a compilation of interviews with New Yorkers projected on a large color television, in the lead up to the 1984 presidential election. Haring admired Holzer’s Sign on a Truck, and thereafer gifed her the present lot, unique for his signature iconography reproduced on fuorescent green paper. In typical pop fashion, Haring continually bridged the gap between high art and the vibrant public culture surrounding him, transgressing traditional barriers and bringing his art directly from the streets of New York to the studio. Untitled features one of Haring’s most recognizable forms—the tower of dancing fgures—which he revisited again

and again throughout his prolifc, yet tragically short career. Inspired by the reduction of form found in ancient Egyptian hieroglyphics and prehistoric cave paintings, Haring harkens back to these traditional art forms and fuses them with the grafti imagery that surrounded him in 1980s New York, each contributing to the artist’s signature style as realized in pictorial form. In the present lot, Haring’s fve simplistic fgures, which evoke a cartoonish innocence reminiscent of children’s drawings, are stacked atop one another and situated against the vibrant green background. The dynamic composition is imbued with a kinetic energy evident in both the reverberating lines that emanate of of the dancing fgures, and also distinctly emphasized by the fuorescent green paper that the artist has chosen for Holzer. Such makes the present lot a unique and personal example of the artist’s aesthetic, derived wholly from both the ancient and the present, one to which he remained committed to for the remainder of his career.

Keith Haring and Jenny Holzer, New York, 1984 © by WOESSNER

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Richard Pettibone, lots 193–199 In 1962, Richard Pettibone attended Andy Warhol’s frst show of paintings at the Ferus Gallery, hosted in his own hometown of Los Angeles. A year later, Pettibone visited Pasadena where Marcel Duchamp’s major 1963 retrospective was on view. Together, these two shows inspired Pettibone to jumpstart his own artistic career, infuenced by the diferent, yet undoubtedly similar values present in the works of these two artists. Afer impressing both Warhol and the Pop master’s gallerist Leo Castelli with his early paintings on a visit to New York in 1965, Pettibone returned to Los Angeles and immediately received an ofer from the director of Ferus Gallery, Irving Blum, for his frst solo show. The following selection of works date from the very beginning of Pettibone’s prolifc career up until recent years, thus spanning four decades of his oeuvre. The earliest of these from 1963 is titled Le petit blanc, created just before the artist’s frst foray into the 1960s art scene. Named for the French table wine label pressed to the inside of the glass, this work showcases the artist’s meticulous talent in three-dimensional assemblage, his frst preferred medium. In fact, the train on display inside the shadow box is directly infuenced by Pettibone’s interest in model making, specifcally of toy trains and automobiles. These early assemblages illustrate an appreciation for the miniature that would continue to be seen throughout the entirety of the artist’s career. As such, Le petit blanc is a rare example of Pettibone’s early crafsmanship, which was just a few years later replaced by the appropriations he has come to be known for. Four works completed between 1965 to 1969 are stellar examples of the earliest of Pettibone’s appropriations, paying homage to the artists he was particularly inspired by including Duchamp and Jasper Johns. The two early Duchamp works, Marcel Duchamp, “Belle Haleine: Eau de Voilette”, 1921 (violet) and Duchamp Profle, each measure under six inches in height, reducing the Duchampian readymade and recognizable imagery to an even more houseable scale. In the group of Pop artists for whom Pettibone was drawn to, Duchamp may stand out as an outlier, yet he remains even today one of the artist’s most revered muses. As the artist has recently said, “my response to Duchamp hasn’t changed at all in the last 34 years. His work is just as beautiful…in spite of all that talk about chance and giving up taste etc. Duchamp’s work is still drop dead gorgeous” (Richard Pettibone, quoted in Francis M. Naumann, “Appropriating Duchamp, Appropriately” in Richard Pettibone: A Retrospective, exh. cat., The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, 2005, p. 23). Indeed, Pettibone would later revisit Duchamp’s oeuvre,

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as exemplifed by his work Marcel Duchamp, “Bicycle Wheel”, 1913-1964 #1 from 2001, the most recent of the present selection. This work, too, shrinks one of Duchamp’s readymades to a smaller scale, meticulously hand-painted in oil on canvas. It is this tiny scale that is perhaps the most defning characteristic of Pettibone’s masterworks. When frst appropriating the paintings of Warhol and Johns in the 1960s, Pettibone obtained his source imagery not from the physical works themselves, but from illustrations of the works in early issues of ArtForum, thus matching the images’ scales in fat, printed form. In appropriating the pictures this way, Pettibone makes, as he continues to do, a statement on the diferent formats in which art is conveyed to the public. As Michael Duncan aptly explained, “by reducing such subjects back to more or less their original diminutive sizes, Pettibone emulated how photography and vision itself shrinks the world into digestible images…His works make us see that all art is a kind of miniature, condensing larger experiences into compact spaces”. This is evident in Jasper Johns, “Tennyson” from 1965. In the 1970s, Pettibone looked to a diferent source of inspiration for his paintings—the museum space. Both lots 197 and 198 from 1978 and 1975 combine the artist’s early interest in assemblage with appropriation. The resulting works are photorealist, painted illustrations of Pettibone’s own photographs taken at various exhibitions, the frst of which includes works by old masters such as Vermeer, while the second features two works exhibited side by side by Minimalist masters Brice Marden and Robert Morris. In the frst of these, lot 197, Pettibone’s fascination with assemblage is evident in the jigsaw nature of the composition of images, the whole group of which is even still restricted to the small size of under two feet squared. In the range of subject matter that Pettibone has looked to throughout his career, one can see the artist’s admiration for key players in the art historical trajectory. And yet, in his quite distinct recontexualization of their most recognized masterpieces, Pettibone garners his own place alongside them. As Duncan poignantly espoused, “Pettibone presents modern art history as a kind of miniature railroad with stops along the way at Pop Art, Photorealism, Conceptual Art, and photography, all scrutinized, simulated, and commemorated in works that show the meticulous care of a master model maker” (Michael Duncan, “A Snow Shovel Is Nice” in Richard Pettibone: A Retrospective, exh. cat., The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, 2005, p. 11).

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193. Richard Pettibone

b. 1938

Marcel Duchamp, ‘Bicycle Wheel’, 1913-1964 signed, titled and dated ““Marcel Duchamp, ‘Bicycle Wheel’, 1913-1964” #1 Richard Pettibone 2001” on the reverse oil on canvas, in artist’s frame 11 1/4 x 7 3/4 in. (28.7 x 19.7 cm.) Painted in 2001. Estimate $20,000-30,000 Provenance Leo Castelli Gallery, New York Curt Marcus Gallery, New York Private Collection The Page Gallery, Seoul Acquired from the above by the present owner

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194. Richard Pettibone

b. 1938

Marcel Duchamp, “Belle Haleine: Eau de Voilette”, 1921 (violet) signed, numbered and dated “Set #10 Richard Pettibone 1966” on the reverse acrylic and silkscreen ink on canvas, in artist’s frame 5 3/4 x 4 3/8 in. (14.5 x 11 cm.) Executed in 1966. Estimate $10,000-15,000 Provenance Private Collection (acquired directly from the artist) The Page Gallery, Seoul Acquired from the above by the present owner Exhibited Philadelphia, Institute of Contemporary Art; Saratoga Springs, The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College; Laguna Beach, Laguna Art Museum, Richard Pettibone: A Retrospective, April 30, 2005 - May 28, 2006, p. 56 (another variant exhibited and illustrated)

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195. Richard Pettibone

b. 1938

Duchamp Profle signed and dated “Richard Pettibone 1965” on the reverse acrylic on canvas, in artist’s frame 6 1/8 x 6 1/8 in. (15.6 x 15.6 cm.) Painted in 1965. Estimate $12,000-18,000 Provenance Private Collection (acquired directly from the artist) The Page Gallery, Seoul Acquired from the above by the present owner

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196. Richard Pettibone

b. 1938

Le petit blanc signed and dated “Richard Pettibone 1963� on the reverse mixed media 12 3/8 x 15 1/4 x 2 1/2 in. (31.3 x 38.8 x 6.2 cm.) Executed in 1963. Estimate $10,000-15,000 Provenance Private Collection (acquired directly from the artist) The Page Gallery, Seoul Acquired from the above by the present owner

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197. Richard Pettibone

b. 1938

Thumb Print; Camera and Brush; Ingres, The Princess de Broglie, 1853, Detail; Scribbling; Vermeer, Woman Studying at a Virginal, 1670s, Detail; and Scribbling signed, titled and dated “Thumb Print; Camera and Brush; Ingres, The Princess de Broglie, 1853, Detail; Scribbling; Vermeer, Woman Studying at a Virginal, 1670s, Detail; and Scribbling Richard Pettibone, 1978� on the overlap oil on canvas 11 1/4 x 18 7/8 in. (28.5 x 48 cm.) Painted in 1978. Estimate $15,000-20,000 Provenance Leo Castelli Gallery, New York Private Collection The Page Gallery, Seoul Acquired from the above by the present owner

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198. Richard Pettibone

b. 1938

Brice Marden and Robert Morris signed, titled and dated “Brice Marden and Robert Morris R Pettibone 1975” on the overlap metallic powder in polymer emulsion on canvas, in artist’s frame 4 1/4 x 7 5/8 in. (10.8 x 19.4 cm.) Executed in 1975. Estimate $10,000-15,000 Provenance Private Collection (acquired directly from the artist) The Page Gallery, Seoul Acquired from the above by the present owner

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199. Richard Pettibone

b. 1938

Jasper Johns, “Tennyson” stamped with the artist’s name and date “RICHARD PETTIBONE 1965” lower center acrylic, collage, sculpmetal and rubber stamp, in artist’s frame 8 3/8 x 6 1/8 in. (21.2 x 15.7 cm.) Executed in 1965. Estimate $18,000-25,000 Provenance OK Harris Works of Art, New York Private Collection Christie’s, New York, May 14, 2008, lot 444 Private Collection The Page Gallery, Seoul Acquired from the above by the present owner

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200. Neil Jenney

b. 1945

Atmospheric Formation signed, titled and dated “Neil Jenney Atmospheric Formation 2003 Neil Jenney 2003 Neil Jenney 1997-2004” on the reverse; further stamped with the artist’s name twice on the reverse oil on panel 34 1/4 x 79 1/2 x 4 in. (87 x 201.9 x 10.2 cm.) Painted in 2003. Estimate $70,000-100,000 Provenance Private Collection, New York

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201. Neil Jenney

b. 1945

Atmospheric Formation signed and dated “Neil Jenney 2004� on the reverse oil on panel 32 1/2 x 79 1/2 x 5 1/2 in. (82.6 x 201.9 x 14 cm.) Painted in 2004. Estimate $70,000-100,000 Provenance Private Collection, New York

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202. Yoshitomo Nara

b. 1959

White Night Cat signed in Japanese and dated “2002” on the reverse acrylic and colored pencil on paper 22 x 14 1/8 in. (55.9 x 35.9 cm.) Executed in 2002. Estimate $120,000-180,000 Provenance Marianne Boesky Gallery, New York Acquired from the above by the present owner Literature Yoshitomo Nara: Who snatched the babies?, Paris, 2002, n.p. (illustrated) Noriko Miyamura and Shinko Suzuki, ed., Yoshitomo Nara: The Complete Works, Works on Paper, vol. II, San Francisco, 2011, no. D-2002-009, p. 180 (illustrated with incorrect dimensions)

The lone fgure in Yoshitomo Nara’s White Night Cat menacingly peers through a deep red hole at the viewer with unknown intent. Typical of Nara’s style and themes, this pointy-eared character embodies another side to the Japanese “kawaii” phenomenon found in Japanese illustration and entertainment, utilized by Nara and his contemporaries. Unlike the imagery found in these sources, however, Nara subversively applies the phenomenon to a deeper exploration of the truth in a child’s ignorance. In the present lot, the white cat’s button nose is accompanied by sharp fangs and evil almond-shaped eyes, highlighting Nara’s fxation with the darker side of childhood innocence.

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The fat shapes and sharp contour lines of Nara’s iconic wide-eyed fgures take their cue from popular Japanese anime traditions. In his paintings and drawings, the artist masterfully utilizes these elements to illustrate a central character ofen on a stark white background, as in the present lot. There is little context provided aside from the subtle facial expressions or minimal props that accompany the sof curves of the round faces and bodies. In White Night Cat, Nara builds up his image in textured layers of paint with obsessive rendering on paper. The subject’s white fur blends in with the creamy painted background on which it rests, making the only pops of color the cat’s facial features which portray a distinct, yet mysterious emotion. As such, the subject’s mischievous expression exemplifes Nara’s decades’ long exploration of childlike qualities that the artist himself seems intent on holding on to.

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203. Yayoi Kusama

b. 1929

Meditation signed, titled in Japanese and dated “YAYOI KUSAMA 2008” on the reverse acrylic on canvas 76 3/8 x 76 3/8 in. (194 x 194 cm.) Painted in 2008, this work is accompanied by a registration card issued by the Yayoi Kusama studio. Estimate $350,000-450,000 Provenance Gagosian Gallery, Los Angeles Private Collection, New York David Zwirner, New York Acquired from the above by the present owner

Covered in a sea of eyes, Yayoi Kusama’s Meditation both peers out at the viewer and draws one into its shifing inner depths. Executed in 2008, the present work refects Kusama’s continued investigation of the compulsive nature of her being and the quasipsychedelic manner in which she is able to publicly relate her experiences through painting. She traces the roots of her distinctive repetitive style back to her traumatic childhood when she began to experience a specifc series of hallucinations. As Kusama recalled, “when I was a child, one day I was walking the feld, then all of a sudden, the sky became bright over the mountains, and I saw clearly the very image I was about to paint appear in the sky. I also saw violets which I was painting multiply to cover the doors, windows and even my body. It was then I learned the idea of self-obliteration. I immediately transferred the idea onto a canvas. It was hallucination only the mentally ill can experience” (Yayoi Kusama, quoted in Yayoi Kusama Now, exh. cat., Robert Miller Gallery, New York, 1998, p. 15).

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The repeated motifs of simplifed eyes and cilia-like forms in Meditation can be traced back to earlier works in Kusama’s oeuvre and became even more prevalent in her recurring visual vocabulary in the years to follow. The jagged border of triangular shapes that rings the vivid red surface destabilizes the regularity of the square canvas, an efect that is enhanced by the unbalanced, swirling army of red eyes in the interior of the composition. According to Japanese folk tradition, red is the color best suited for expelling demons and illness. Similarly, the motif of the eye has been utilized for millennia as a powerful talisman to protect and preserve one from both physical and spiritual harm, and is further associated with the ever-present paranoia of one aficted with mental illness. Though its title seemingly implies a sense of serenity, Meditation instead manifests Kusama’s obsessive modus operandi with its ocular repetition depicted in her unique artistic language, assuming both a protective quality and one of ominous paranoia.

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204. Kumi Sugaï

(1919-1969)

SOYOKAZÉ signed and dated “SUGAÏ 58” lower right; further signed, titled and dated “SOYOKAZÉ 1957 SUGAÏ” on the reverse oil on canvas 36 1/4 x 29 in. (92.1 x 73.7 cm.) Painted in 1957. Estimate $40,000-60,000 Provenance Kootz Gallery, New York Acquired from the above by the present owner

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205. Yayoi Kusama

b. 1929

Nets 30 signed, titled and dated “yayoi Kusama 1998 Nets 30” on the reverse acrylic on canvas 18 x 15 in. (45.7 x 38.1 cm.) Painted in 1998, this work is accompanied by a registration card issued by the Yayoi Kusama Studio. Estimate $80,000-120,000 Provenance Robert Miller Galley, New York Gallery TAGBOAT, Tokyo Private Collection, Tokyo

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206. Yayoi Kusama

b. 1929

Swamp signed and dated “1956 YAYOI K” lower lef; further signed, titled and dated “SWAMP 1956 YAYOI KUSAMA” on the reverse gouache and pastel on paper 10 x 13 1/2 in. (25.5 x 34.3 cm.) Executed in 1956. Estimate $50,000-70,000 Provenance Private Collection (acquired directly from the artist circa 1960) Bonhams, New York, November 12, 2012, lot 107 Acquired at the above sale by the present owner

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207. Yayoi Kusama

b. 1929

Upward Vision (No. 1) signed and titled “Upward Vision No 1 YAYOI KUSAMA” on the reverse graphite, ink, gouache and pastel on paper 16 x 13 in. (41 x 33.3 cm.) Executed in 1953. Estimate $60,000-80,000 Provenance Private Collection, Europe Phillips de Pury & Company, London, October 13, 2011, lot 325 Acquired at the above sale by the present owner

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208. Jiro Takamatsu

1936 -1998

Shadow No. 1442 signed, titled and erroneously dated “JIRO TAKAMATSU 1994 No. 1442” on the reverse acrylic on canvas 89 1/2 x 71 5/8 in. (227.3 x 181.8 cm.) Painted in 1997. Estimate $150,000-200,000 Provenance Acquired directly from the artist by the present owner in 1997

A striking example of the Japanese artist’s iconic Shadow paintings, Jiro Takamatsu’s Shadow No. 1442 from 1997 uniquely depicts not one, but two ghostly subjects. With sof, hazy contours, the artist has given us just enough of a visual implication that his two subjects are engaged in conversation, while leaving enough ambiguity to allow the viewer to create their own imagined dialogue. The lefmost fgure stands in profle, and while there is no anatomical indication of his gaze, it appears that he is looking directly at the fgure next to him in a possible embrace. Against a bright white background in typical trompe l’oeil fashion, a characteristic of the artist’s celebrated Shadow series, the gray characters in Shadow No. 1442 exemplify Takamatsu’s ability to evoke a sense of nostalgia with a complete lack of pictorial clarity. As a key member of the Mona-Ha movement and founder of the minimalist art collective Hi Red Center in post-war Tokyo, Takamatsu was

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infuential in breaking the traditional boundaries between high art and everyday objects, working across the disciplines of painting, sculpture and photography. First begun in 1964, Takamatsu’s Shadow series has become the artist’s most well-known body of work. In their large-scale, life-size format, the artist’s shadows become staged fgments of the walls on which they hang, reminding viewers of their originators’ implied presence, which is confned to the boundaries of the canvas. As the curator Yuri Matsuda said of the renowned series, the encounter of one’s real shadow with Takamatsu’s painted ones can be best summarized as “the peter pan point”, reminding the viewer that, while not real, there is an implied and mysterious possibility of who these fgures could represent. A late and stellar example from the Shadow series, the present lot serves as a reminder of the feeting nature of passersby and the enigma that surrounds their pasts and futures, moving from one place to the next.

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209. Jiro Takamatsu

1936 -1998

No. 234 signed, titled and dated “JIRO TAKAMATSU 1968 NO. 234” on the reverse acrylic on canvas 16 1/8 x 12 5/8 x 6 7/8 in. (41 x 32.2 x 17.5 cm.) Painted in 1968. Estimate $120,000-180,000 Provenance Tokyo Gallery, Tokyo Acquired from the above by the present owner

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210. Louise Bourgeois

1911-2010

Figure fabric, pink Portuguese marble, metal and glass 8 3/4 x 17 1/2 x 10 1/4 in. (22.2 x 44.5 x 26 cm.) Executed in 1999, this work is unique. Estimate $250,000-350,000 Provenance Estate of Louise Bourgeois Cheim & Read, New York Private Collection, Europe

Beginning in the mid-1990s, Louise Bourgeois executed a number of fgurative sculptures composed of fabric. Typically housed in vitrines which recall the protective structure of her Cells begun a couple decades earlier, the majority of these sculptures were modeled afer the female body. The present lot from 1999, a reclining female fgure, exemplifes Bourgeois’s investigation of complex emotional states through the fragmentation of the body. This motif, which Bourgoeis refers to as the “partobject”, appears regularly in her mature work. In Figure, Bourgeois renders a delicately stitched body from black fabric, with outstretched arms cut from metal, recalling the artist’s memories of the Renaissance tapestries that her parents would restore in their home. The present sculpture sits upon a base made of Portuguese pink marble, further emphasizing the subject’s femininity. In its horizontal position, Bourgeois creates an object of ambivalence, one which contradicts the prescribed roles of mother, comforter and homemaker. In many of her fgurative works from this period, Bourgeois emphasized the state of horizontality as communicating this ambivalence. As she explained in 1998, “horizontality is a desire to give up, to sleep and be passive, to retreat…

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hanging and foating are states of ambivalence and doubt” (Louise Bourgeois, quoted in Christian Meyer-Thoss, Louise Bourgeois: Designing for Free Fall, Zurich, 1992, p. 69). In making these hanging, foating fgures, Bourgeois calls attention to the perceived domestic roles of the female. Indeed, throughout the entirety of her oeuvre, Bourgeois maintains a deeply personal relationship with her work. In the fabric sculptures from the 1990s, the construction of objects with found material is a way of coming to terms with traumatic childhood memories, particularly surrounding her father’s treatment of her mother throughout her young life. The present lot seemed to be particularly cathartic for the artist, as she kept it on her desk for many years afer its execution. The human body is an important theme revisited throughout Bourgeois’s prolifc oeuvre; from her earliest paintings, to her Cells begun in the 1970s, to her mature fabric works, the human body is constantly referenced and explored. In each of these periods, Bourgeois utilizes the fgure to forge connections between one’s physicality and psyche. As such, Bourgeois’ fgures seem not lifeless but engaged, and move beyond a conventional interpretation of femininity.

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211. Louise Bourgeois

1911-2010

Rondeau for L incised with the artist’s initials and number “L.B. 4/6” on the back right turning edge bronze 11 x 11 x 10 1/2 in. (27.9 x 27.9 x 26.7 cm.) Conceived in 1963 and cast in 1990, this work is number 4 from an edition of 6. Estimate $200,000-300,000 Provenance Cheim & Read, New York Private Collection, California (acquired from the above) Exhibited New York, Museum of Modern Art; Houston, Contemporary Arts Museum; Chicago, Museum of Contemporary Art; Akron Art Museum, Louise Bourgeois: Retrospective, November 3, 1982 - January 5, 1984 (another example exhibited) Frankfurter Kunstverein; Munich, Stadtische Galerie im Lenbachhaus; Lyon, Musée d’art Contemporain; Barcelona, Fundación Tàpies; Kunstmuseum Bern; Otterlo, Kröller-Müller Museum, Louise Bourgeois: A Retrospective Exhibition, December 2, 1989 - July 8, 1991 (another example exhibited) London, Tate Modern; Paris, Centre Pompidou; New York, Solomon R. Guggenheim Museum; Los Angeles, The Museum of Contemporary Art; Washington, D.C., The Hirshhorn Museum and Sculpture Garden, Louise Bourgeois, October 10, 2007 - June 7, 2009 (another example exhibited) London, Hauser & Wirth, Afer Awkward Objects: Lynda Benglis, Louise Bourgeois, Alina Szapocznikow, November 17 - December 16, 2009 (another example exhibited) Buenos Aires, Fundación Proa; Sao Paulo, Instituto Tomie Ohtake; Rio de Janeiro, Museu de Arte Moderna, Louise Bourgeois: The Return of the Repressed, March 19 - November 13, 2011, no. 20, p. 181 (another example exhibited and illustrated) Literature John Howell, ed., Breakthroughs: Avant-Garde Artists in Europe and America 1950 - 1990, New York, 1991, p. 102 (another example illustrated) Robert Storr, Paulo Herkenhof and Allan Schwartzman, Louise Bourgeois, London, 2003, p. 61 (another example illustrated) For further exhibited and literature information, please refer to phillips.com

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A few years before Louise Bourgeois’ death in 2010, a portfolio of her autobiographical, psychoanalytical writings surfaced, providing a deeper look into both her life and art. These analytical notebooks revealed even more profound themes than those illuminated through her daily journal entries that are ever-present in the artist’s prolifc oeuvre. As evident through his repeated mention, these writings were inspired by the artist’s psychoanalyst Dr. Henry Lowenfeld, or “L” as she refers to him on paper, whom she began seeing for the frst time in 1952. The writings describe an increasingly complex relationship between the Doctor and his patient, making it clear that Bourgeois felt a paradoxical sense of admiration for and frustration with him. Confrmed by the artist just before her death, this is the very same “L” referenced in the present lot, Rondeau for L. While many close to Bourgeois assumed the “L” in this title stood for the artist herself, the homage to Dr. Lowenfeld provides the sculpture with even more psychological undertones than if it were an actual self-portrait. Like Bourgeois’s earlier Personnages, Rondeau for L exists as a surrogate for its subjects—both Dr. Lowenfeld himself and the artist’s own psyche. In addition to its poignant dedication to Dr. Lowenfeld, Rondeau for L represents an important aesthetic shif in the artist’s approach to sculpture. In the early 1960s, Bourgeois moved from her upright Personages to poured plaster works, a phase in her art which corresponds to the increasingly introspective phase in her life. The present example is a bronze variant of the original plaster sculpture from 1963, cast in 1990, examples of which have been exhibited in two of the artist’s most important retrospectives within recent years, including her 2007 traveling show beginning at the Tate Modern and culminating at the Hirshhorn, and another in 2011 entitled Louise Bourgeois: The Return of the Repressed, which traveled through Brazil. With its greenish patina and varied surface, the density of the bronze object is emphasized, simultaneously representing both the profound efect of Dr. Lowenfeld on the artist, and the physical weight of the object itself. Like other sculptures cast in the early 1960s, Rondeau for L’s abstract form is thought to be loosely inspired by the artist’s study of folding clothes in her home and studio. The inwardly spiraling object suggests the varied structure of coiled fabric, as evident by the recessions and progression along the surface. The resulting, imperfectly round object thus assumes a uniquely complex structure, as its infnite spiral draws the viewer deeper and deeper into its inner cavity. As Mignon Nixon aptly describes of the shape, “It sits there and takes it. The analytic metaphors could be extended. It holds. It contains. It is something to grasp, to seize, to hold onto, to fll up, to attack. It is a new kind of surrogate in Bourgeois’s art” (Mignon Nixon, The Return of the Repressed, exh. cat., Fundación Proa, London, 2012, p. 92). Indeed, Rondeau for L occupies a unique place in the artist’s oeuvre, a dedication to one of the most infuential people in her life and evidently, her work.

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“I’m not interested in ‘abstracting’ or taking things out or reducing painting to design, form, line, and color. I paint this way because I can keep putting more things in it—drama, anger, pain, love, a fgure, a horse, my ideas about space. Through your eyes it again becomes an emotion or idea” Willem de Kooning

212. Willem de Kooning

1904-1997

Untitled signed “de Kooning” lower lef oil on vellum mounted on canvas 64 x 41 in. (162.6 x 104.1 cm.) Executed circa 1965. Estimate $300,000-400,000 Provenance Xavier Fourcade, New York Private Collection, Europe Lang and O’Hara, New York Vrej Baghoomian, Inc., New York Private Collection, Los Angeles Private Collection, Italy

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213. Lee Lozano

1930-1999

Untitled (Penis Thumb, Splayed Hand, Hairy Palm) signed and dated “’62 loz” lower right graphite on paper 11 3/4 x 17 3/4 in. (29.8 x 45.1 cm.) Executed in 1962. Estimate $8,000-12,000 Provenance Barry Rosen and Jaap van Liere, New York (acquired directly from the artist) Private Collection Private Collection (acquired from the above)

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214. Brice Marden

b. 1938

Untitled ink on paper 11 1/2 x 10 5/8 in. (29.2 x 27 cm.) Executed in 1976. Estimate $80,000-120,000

Provenance Pace Gallery, New York Hirschl & Adler Modern, New York Private Collection (acquired from the above) Sotheby’s, New York, November 12, 2009, lot 217 Acquired at the above sale by the present owner Literature New York, Hirschl & Adler Modern, Yves Klein, Brice Marden, Sigmar Polke, April 29 - May 26, 1989, no. 17, n.p. (illustrated)

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“The opportunity to try to project all one’s thoughts into a condensed form is irresistible - that is what sculpture is” Joel Shapiro

215. Joel Shapiro

b. 1941

Untitled bronze 111 x 41 x 43 1/2 in. (281.9 x 104.1 x 110.5 cm.) Executed in 1995, this work is artist’s proof number 1 from an edition of 3 plus 1 artist’s proof. Estimate $150,000-200,000 Provenance PaceWildenstein, New York Private Collection, California (acquired from the above by the present owner) Exhibited Los Angeles, PaceWildenstein, Joel Shapiro: Sculpture and Drawings, March 15 - April 20, 1996, pp. 26-27 (another example exhibited) Monte Carlo, Monte Carlo International Sculpture Festival: Contemporary American Sculpture, July - October 2000, no. 17, pp. 42-43 (another example exhibited and illustrated)

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“The reason for working the surfaces several times has to do with my need to locate myself in the space. It’s my way of keeping track of how my sense of the space functions. Working has its own spatial dimensions” Richard Serra

Property from an Important Private Collection, Miami

216. Richard Serra

b. 1939

Stratum G oilstick on paper 19 1/2 x 30 in. (49.5 x 76.2 cm.) Executed in 2006. Estimate $120,000-180,000 Provenance Danese, New York Private Collection, Miami (acquired from the above) Exhibited New York, Danese, Works on Paper I, January 7 February 6, 2010

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Property from a Private Collection

217. Dan Flavin

1933-1996

Untitled (to Ileana and Michael Sonnabend) blue, yellow and pink fourescent light 96 in. (243.8 cm.) Executed in 1970, this work is number 5 from an edition of 5, and is accompanied by a certifcate of authenticity signed by the artist. Estimate $300,000-400,000 Provenance Estate of the Artist Private Collection (acquired from the above) Christie’s, New York, May 9, 2012, lot 464 Acquired at the above sale by the present owner Exhibited New York, Leo Castelli Gallery, untitled (to Barnett Newman) 1970 from Dan Flavin, November 21 - December 12, 1970 Toronto, Jared Sable Gallery, Dan Flavin, September 1974 Literature Collection Sonnabend, exh. cat., Bordeaux, 1988, p. 178 (another example illustrated) La Collezione Sonnabend: Dalla Pop Art in poi, exh. cat., Milan, 1989, p. 114 (another example illustrated) Passions privées: Collections pariculières d’art moderne et contemporain en France, exh. cat., Paris, 1995, p. 494 (another example illustrated) Germano Celant, Madly in Love: The Luigi and Peppino Agrati Collection, Milan, 2002, p. 378 (another example illustrated) Michael Govan and Tifany Bell, Dan Flavin, The Complete Lights 1961-1996, New York, 2004, no. 262, p. 295 (another example illustrated)

“Regard the light and you are fascinated - practically inhibited from grasping its limits at each end. While the tube itself has an actual length...its shadow cast from the supporting pan has but illusively dissolving ends. This waning cannot really be measured without resisting consummate visual efects. Realizing this, I knew that the actual space of a room could be disrupted and played with by careful, thorough composition of the illuminating equipment. For example if a 244cm (8f) fuorescent lamp be pressed into a vertical corner, it can completely eliminate that defnite juncture by physical structure, glare and doubled shadow. A section of wall can be visually disintegrated into a separated triangle by placing diagonal of light from edge to edge on the wall: that is, side to foor, for instance” Dan Flavin, quoted in “...in daylight or cool white” lecture, Brooklyn Museum School of Art, New York, December 18, 1964, published in ArtForum, December 1965

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218. James Turrell

b. 1943

Untitled (XC) signed, titled and dated “James Turrell XC February, 2004� on a label afxed to the reverse hologram and glass construction 23 1/4 x 16 3/4 in. (59.1 x 42.5 cm.) Executed in 2004. Estimate $40,000-60,000 Provenance Haines Gallery, San Francisco Acquired from the above by the present owner in 2004 Exhibited Palo Alto, Pace Gallery, James Turrell, April 28 - August 28, 2016

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219. Dan Flavin

1933-1996

Untitled (for Prudence and her new baby) a ultraviolet and red fuorescent light 96 x 24 x 8 in. (243.8 x 61 x 20.3 cm.) Executed in 1992, this work is number 3 from an edition of 5 and is accompanied by a certifcate of authenticity signed by the artist. Estimate $100,000-150,000 Provenance PaceWildenstein, New York Acquired directly from the above by the present owner in 2008

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Exhibited New York, PaceWildenstein, Dan Flavin: tall cornered fuorescent light, December 3, 1993 January 15, 1994, p. 5 (another example exhibited and illustrated) Rio de Janeiro, Centro Cultural Light, Dan Flavin, May 14 - July 5, 1998, p. 4 (another example exhibited and illustrated) Literature Michael Govan and Tifany Bell, Dan Flavin: The Complete Lights 1961-1996, New York, 2004, no. 636, p. 397 (illustrated)

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220. Richard Artschwager

1923-2013

Apartment House signed and dated “Artschwager ‘67” on the reverse acrylic on Celotex, in artist’s frame 26 3/4 x 20 3/4 in. (67.9 x 52.7 cm.) Executed in 1967. Estimate $100,000-150,000 Provenance Galerie Ricke, Kassel Private Collection, Germany Christie’s, New York, November 13, 2008, lot 313 Acquired at the above sale by the present owner

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221. John Chamberlain

1927-2011

Sofened by Snow painted and chrome-plated steel 23 x 40 1/2 x 23 in. (58.4 x 102.9 x 58.4 cm.) Executed in 2007. Estimate $300,000-500,000 Provenance Private Collection (acquired directly from the artist) Christie’s, Paris, June 3, 2015, lot 34 Acquired at the above sale by the present owner

With a vibrant palette of neons, pastels and patterns, John Chamberlain’s Sofened by Snow is a stellar example of the artist’s ability to create aesthetic beauty out of discarded materials. Casted and modeled out of glossy painted car parts, the present sculpture exemplifes Chamberlain’s expert manipulation of the material into a solid, singular form. As he has explained of his practice, “I wasn’t interested in car parts per se, I was interested in either the color or the shape or the amount. Just the sheet metal. It already had a coat of paint on it. And some of it was formed...I believe that common materials are the best materials”.

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Measuring approximately two feet tall and over three feet in length, Sofened by Snow stands with protruding elements at its widest points, as if exhibiting a sort of personifed presence. The amalgamation of these parts, delicately crushed and meticulously reconfgured, possesses a kinetic energy that is at once solid and animated. In colors inspired by both the Abstract Expressionists with whom Chamberlain was contemporary and the grafti artists surrounding him on the streets of New York, the individual components that make up the present lot visually read like three-dimensional brushstrokes. Renowned as one of contemporary art’s most revolutionary sculptors, Chamberlain is a true expert in the medium which he has founded.

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“My interest in elements or particles in sculpture is paralleled by my interest in words as particles of language” Carl Andre, 1975

In Carl Andre’s œuvre of poetry, the visual relationship between words and their placement on a page is inextricably linked. Made with a typewriter printed onto carbon paper, the artist’s typography is arranged in a variety of patterns. The resulting confgurations of words look as much like sketches of objects as they do poems, thus occupying a unique, but poignantly relevant place in the artist’s body of Minimalist sculpture for which he is most well-known. Over the past few years, Andre’s poems have gained increased recognition by critics, curators and art historians, with increased exhibition and publication. The present lot POETICAL ECONOMY is an early example of the artist’s poetry that was included in Andre’s recent traveling retrospective beginning at the Dia:Beacon in 2014. Composed of its title and a fve-line stanza all relegated to the upper lef quadrant of the page, this work is one of the few in Andre’s oeuvre to call attention to the art form of poetry itself. “I am an eater and drinker and there is no poetry in consumption unless it kills”, it reads, ambiguously occupying a space somewhere between a diary entry and a societal statement on excess.

In contrast, Intimate from a few years later is less defned by its content and more by its visual structure. Composed of a walking man made out of a sequence of nonsensical words, Intimate rejects the regularity of Minimalist shapes and forms while still retaining a visual balance and simplicity. The work was illustrated on the cover of ArtForum’s Summer 2013 issue, with an accompanying article written by Gavin Delahunty, featuring 12 of Andre’s poems including the present lot, all published for the frst time. Delahunty argues that Andre’s poetry should not be considered a complement nor directly infuenced by Andre’s sculpture, but rather as masterworks in their own right which explore both the visual and the literary. As he aptly espouses “Andre’s poems exist in a tantalizing space somewhere between the established categories and forms of poetry and those of sculpture; as such, their status remains uncertain” (Gavin Delahunty, “Carl Andre: Poems” in ArtForum, vol. 51, no. 10, Summer 2013, p. 283). Indeed, both of the present lots poignantly illustrate Andre’s poems as a crucial series of works within his artistic exploration of the complexity of compositional structures.

Cover of ArtForum, vol. 51, no. 10, Summer 2013

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Carl Andre, 1958-1959, from The nostalgia Portfolio, 1971 Photograph © Estate of Hollis Frampton

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Property from the Estate of Hollis Frampton

222. Carl Andre

b. 1935

Intimate signed and dated “@carl andre 1961� on the reverse typewriter carbon on paper 11 x 8 1/2 in. (27.9 x 21.6 cm.) Executed in 1961. Estimate $25,000-35,000

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Provenance The Artist Private Collection Thence by descent to the present owner Literature ArtForum, vol. 51, no. 10, Summer 2013, p. 284 (illustrated, cover) Lynn Kost, ed., Carl Andre: Poems 19581969, exh. cat., Museum zu Allerheiligen, Schafhausen, 2014, p. 17 (illustrated)

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Property from the Estate of Hollis Frampton

223. Carl Andre

b. 1935

POETICAL ECONOMY signed and dated “@carl andre 1959” on the reverse typewriter carbon on paper 10 7/8 x 8 3/8 in. (27.6 x 21.3 cm.) Executed in 1959. Estimate $15,000-20,000

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Provenance The Artist Private Collection Thence by descent to the present owner Exhibited Dia:Beacon, Carl Andre: Sculpture as Place, 1958-2010, May 5, 2014 - March 2, 2015

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Property from the Estate of Hollis Frampton

224. Carl Andre

b. 1935

Wood Saw-Cut Exercise wood 24 x 3 1/2 x 3 1/2 in. (61 x 8.9 x 8.9 cm.) Executed in 1958, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $150,000-200,000 Provenance The Artist Private Collection Thence by descent to the present owner

It was in 1958 when Carl Andre made his foray onto the New York art scene by befriending some of the key members of the emerging Minimalist circle, such as Hollis Frampton and Frank Stella. These friendships inspired many of the artist’s earliest sculptures in his prolifc œuvre, some of which were even composed of materials supplied by Frampton and Stella themselves. In fact, Stella ofered up his own studio space for Andre to begin carving, burning and carbonizing, experimenting with materials such as found wood beams and plastic parts. The resulting works created during this time exemplify a uniquely organic quality that illuminate Andre’s methodical sculptural practice in a way that his later more industrial works do not. An elegant wooden tower measuring two feet tall, the present lot from this period is intricately carved in a sequence of receding positive and negative spaces. In its organic grace, the sculpture bears a distinct resemblance to the Italian Futurist Constantin Brancusi’s Columns from the earlier part of the century. Indeed,

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Andre was inspired by the regularity of shapes achieved in Brancusi’s sculpture, and thus began chiseling, and later burning, away parts of his own wooden towers. Andre’s receding areas of Wood Saw-Cut Exercise are even deeper and more varied than those in Brancusi’s Columns, emphasizing Andre’s interest in what he has coined “negative sculpture”. In 1972, Andre refected on this preoccupation: “I had this thing about negative sculpture. What I wanted to do was cut into the body of the block of plastic or block of wood: [the forms] were concave instead of convex. Which I think was a silly idea. But I think that was my response to Brancusi” (Carl Andre, quoted in Paul Cummings, “Taped Interview with Carl Andre in His Studio in Westbeth, September, 1972”, reprinted in James Meyer, ed., Carl Andre, Cuts: Texts 1959 – 2004, Cambridge, 2005). Its structure oscillating and interacting with the varying textures of the wood grain, Wood Saw-Cut Exercise is a testament to Andre’s ability to turn a found material into the highest form of art.

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225. Carl Andre

b. 1935

Al 4 Blocks aluminum, in 4 parts each 2 x 7 5/8 x 4 in. (5.1 x 19.4 x 10.2 cm.) overall 2 x 15 1/4 x 8 in. (5.1 x 38.7 x 20.3 cm.) Executed in 2008, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $20,000-30,000 Provenance RULE Gallery, Denver Private Collection, St. Louis Phillips de Pury & Company, New York, November 13, 2009, lot 121 Acquired at the above sale by the present owner

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226. Frank Stella

b. 1936

Wake Island Rail signed, titled and dated “WAKE ISLAND RAIL F. Stella ‘77” on the reverse acrylic, oilstick, glitter and silkscreen graph paper on linen 60 7/8 x 84 1/2 in. (154.9 x 214.6 cm.) Executed in 1977. Estimate $80,000-120,000 Provenance Gallery Seomi, Seoul Acquired from the above by the present owner in 1993

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227. Victor Vasarely

1906-1997

GESALT-SIN signed, titled and dated “Vasarely- “GESTALT-SIN” 1969” on the reverse acrylic on canvas 70 1/2 x 48 in. (179.1 x 121.9 cm.) Painted in 1969. The authenticity of the present work has been confrmed by Pierre Vasarely. The work will be included in the forthcoming Catalogue Raisonné de l’Oeuvre Peint de Victor Vasarely, which is currently being compiled by the Fondation Vasarely, Aix-en-Provence. Estimate $50,000-70,000 Provenance Acquired directly from the artist by the present owner

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228. Allan D’Arcangelo

1930-1998

Landscape signed, titled, inscribed and dated “A D’Arcangelo Ithaca N.Y. July 1968 “Landscape”” on the reverse acrylic on canvas 54 x 48 in. (137.2 x 121.9 cm.) Painted in 1968.

Exhibited Modena, Palazzina del Giardini, Allan D’Arcangelo: Retrospective, January 23 - March 28, 2005, p. 74 (illustrated) New York, Barbara Mathes Gallery, Spaces of American. Pop: Allan D’Arcangelo, Joe Goode and Robert Moskowitz, October 2 - December 20, 2014

Estimate $20,000-30,000 Provenance Sydney & Frances Lewis Collection, Richmond Private Collection, Washington, D.C. Acquired from the above by the present owner

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Pictures Generation

Across mediums of photography, painting and drawing, the artists belonging to the “Pictures Generation”, a term coined afer the celebrated 1977 show entitled “Pictures” at Artists Space, brought the media-saturated culture which surrounded them into their studio practices. Deriving their inspiration from the images which defned their own American experiences, artists like Cindy Sherman, Robert Longo and Jack Goldstein appropriated advertisements, flm stills and journalistic photographs as their own, and presented them in an entirely new context. Departing from the Minimalist conceptions of their immediate predecessors, these pioneers took a simple idea and turned it into something masterful, focusing not on the formal qualities of painting and drawing, but rather the emotive qualities of a recognizable image. The following selection of works presents iconic examples of these artists’ individual practices. Despite their basis in 1970s and 1980s Hollywood flm and advertisements, their appropriation of found imagery feels all the more relevant in a millennial age dominated by technology.

As exemplifed by the diversity found across Cindy Sherman’s self-portraits, Robert Longo’s photorealist charcoal drawings and Louise Lawler’s museum-inspired images, what these artists have in common is not necessarily their subject matter but rather their collective belief in art’s power to explore the concept modern identity in an uncertain age. While loosely afliated, these artists, as Gary Indiana poignantly described in a recent article, “above all else…addressed power, especially patriarchal power, at its quotidian level of social engineering, as well as in its grip on art history” (Gary Indiana, “These ‘80s Artists Are More Important Than Ever”, The New York Times Style Magazine, February 13, 2017, online). Indeed, the Pictures Generations movement is one of the frst in art history to be largely dominated by female artists such as Sherman, Louise Lawler and Laurie Simmons, some of whom are only recently gaining the recognition they deserve. Together, the following lots illustrate the Pictures Generation’s unique place in the trajectory of art history, a place that is at once timely and timeless.

229. Robert Longo

b. 1953

Study of Tiger Head 18 titled “STUDY TIGER HEAD 18” lower lef; further signed and dated “Robert Longo 2013” lower right ink and charcoal on vellum image 20 5/8 x 16 in. (52.4 x 40.6 cm.) sheet 24 x 17 in. (61 x 43.2 cm.) Executed in 2013. Estimate $150,000-200,000 Provenance Metro Pictures, New York Acquired from the above by the present owner

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Pictures Generation

230. Cindy Sherman

b. 1954

Untitled (#99) signed, numbered and dated “Cindy Sherman 1982 3/10” on the reverse color coupler print 44 1/4 x 29 in. (112.4 x 73.7 cm.) Executed in 1982, this work is number 3 from an edition of 10. Estimate $150,000-200,000 Provenance Metro Pictures, New York Acquired from the above by the present owner Exhibited New York, Metro Pictures, Cindy Sherman, October 16 - November 13, 1982 (another example exhibited) Amsterdam, Stedelijk Van Abbemuseum, Cindy Sherman, December 1982, no. 64, n.p. (another example exhibited and illustrated) New York, Whitney Museum of American Art, Cindy Sherman, July 9 - October 4, 1987, no. 64, n.p. (another example exhibited and illustrated) Paris, Jeu de Paume; Bregenz, Kunsthaus; Humlebæk, Louisiana Museum of Modern Art; Berlin, Martin-Gropius-Bau, Cindy Sherman, 2006 - 2007, pp. 105, 251 (another example exhibited and illustrated) Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Kunsthaus Zürich, Cindy Sherman - Untitled Horrors, May 4, 2013 - September 14, 2014, p. 74 (another example exhibited and illustrated) Los Angeles, The Broad, Cindy Sherman: Imitation of Life, June 11 - October 2, 2016, no. 46, pp. 62, 154 (another example exhibited and illustrated) Art Gallery of New South Wales, Nude: Art from the Tate Collection, November 5, 2016 to February 5, 2017, p. 201 (another example exhibited and illustrated) Literature Peter Schjeldahl and I. Michael Danof, Cindy Sherman, New York, 1984, no. 64, n.p. (another example illustrated) Peter Schjeldahl and Lisa Phillips, Cindy Sherman, New York, 1987, no. 64, n.p. (another example illustrated) Rosalind Krauss, Cindy Sherman 1975-1993, New York, 1993, p. 100 (another example illustrated) David Anfam, ed., Cindy Sherman, New York, 2014, no. 40, p. 48 (another example illustrated) Simon Baker and Fiontan Moran, eds., Performing For The Camera, London, 2016, p. 133 (another example exhibited)

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Cindy Sherman’s Untitled (#99) comes from the artist’s “Pink Robes” series of four photographs, each featuring the artist adorned in a pink chenille bathrobe. This 1982 series was only the second in the artist’s oeuvre in which the artist employs color. Afer completing her famous “Film Stills” in the late 70s, Sherman frst turned to color in 1980 with her “Horizontal” photographs, in which the images were taken from odd angles and displayed in a wide, large-scale format. The “Pink Robes”, in contrast, are vertically oriented, harkening back to traditional portraiture, yet reimagined in Sherman’s characteristic contemporary interpretation. In each of the four Pink Robe photographs, completed in editions of ten, Sherman highlights vulnerability; evoking notions of female silencing and the gender roles of 20th century women. In the year these works were created, Sherman confrmed this motivation when speaking of the pink robes; she explained that she was “not thinking about movies and generalizations as much as I used to. I think it’s more psychological now, more emotional than theatrical ... I’m not working with environment behind me, I’m concentrating on the face really, so it all comes out through expressing some kind of inner emotion.” (Cindy Sherman, quoted in “A Conversation with Cindy Sherman”, Succès du Bédac, exh. cat., Galerie Déjà Vu, Dijon, 1982, p. 20) In the present lot, the second in the series of four, Sherman is bathed in a sea of darkness, rendered in dramatic chiaroscuro. She holds up the corner of the pink robe to her lef shoulder, not wearing it, but rather covering herself in its drapery. This is unique to (#99), which feels less posed and more candid than the others in the series, where the robe is placed more carefully and without interruption from the artist’s own hand. Shadows cut not only across the pink fabric, but also across her face, turned in a slightly three-quarter view, but with a gaze that makes direct eye contact with the viewer. This direct gaze combined with the intense contrast of light and dark evokes an ironic combination of vulnerability and self-assurance. By protecting herself with the pink robe and not breaking eye contact, Sherman is asserting the feminine woman as an archetype, incapable of objectifcation, with the acknowledgement that this objectifcation permeates modern-day society. In this way, Untitled (#99) is not only a testament to the artist’s mastery of the photography medium, but also, even more importantly, to her own personal interpretation of contemporary gender roles.

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Pictures Generation Property from a Belgian Collector

231. Louise Lawler

b. 1947

Black Cat signed, numbered and dated “Louise A. Lawler 1988/93 4/5” on the reverse chromogenic print face-mounted to Plexiglas 17 1/8 x 23 1/8 in. (43.5 x 58.7 cm.) Executed in 1988-1993, this work is number 4 from an edition of 5. Estimate $50,000-70,000

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Provenance Metro Pictures, New York Private Collection Sotheby’s, New York, November 12, 2014, lot 451 Acquired at the above sale by the present owner Exhibited Geneva, BFAS Blondeau Fine Art Services, Louise Lawler: The Tremaine Pictures 1984-2007, September 13 October 20, 2007, pp. 28-29 (another example exhibited and illustrated)

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Property from a Belgian Collector

232. Louise Lawler

b. 1947

This Picture Is The Same Size As The Painting I Was Asked To Photograph signed, numbered and dated “Louise A. Lawler 1999 3/5� on the reverse Cibachrome print fush-mounted to aluminum 20 1/2 x 15 in. (52.1 x 38.1 cm.) Executed in 1999, this work is number 3 from an edition of 5.

Provenance ART & PUBLIC, Geneva Metro Pictures, New York Private Collection, Bologna Phillips de Pury & Company, London, October 17, 2009, lot 282 Acquired at the above sale by the present owner

Estimate $25,000-35,000

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Pictures Generation Property from a Belgian Collector

233. Cindy Sherman

b. 1954

Untitled (Film Still #41) signed, numbered and dated “Cindy Sherman 9/10 1979” on the reverse gelatin silver print image 6 1/2 x 9 1/2 in. (16.5 x 24.1 cm.) sheet 8 x 10 in. (20.3 x 25.4 cm.) Executed in 1979, this work is number 9 from an edition of 10. Estimate $80,000-120,000 Provenance Metro Pictures, New York Private Collection, New York Acquired from the above by the present owner Exhibited Los Angeles, The Museum of Contemporary Art; Chicago, Museum of Contemporary Art; Prague, Galerie Rudolfnum; London, Barbican Art Gallery; CAPC Museé d’art Contemporain de Bordeaux; Sydney, Museum of Contemporary Art; Toronto, Art Gallery of Ontario, Cindy Sherman Retrospective, November 2, 1997 - January 2, 2000, pl. 49, p. 84 (another example exhibited and illustrated)

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Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum of Modern Art, Cindy Sherman, May 16, 2006 September 10, 2007, p. 52 (another example exhibited and illustrated) New York, Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Dallas Museum of Art, Cindy Sherman, February 26, 2012 - June 9, 2013, pl. 80, p. 121 (another example exhibited and illustrated) Art Institute of Chicago, Nothing Personal: Zoe Leonard, Cindy Sherman, Lorna Simpson, January 23 - May 1, 2016 (another example exhibited) Literature Arthur Danto, Cindy Sherman Untitled Film Stills, Munich, 1990, no. 28 (another example illustrated) David Frankel, ed., The Complete Untitled Film Stills: Cindy Sherman, New York, 2003, p. 37 (another example illustrated)

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Property from a Distinguished Private Collection O

234. Cindy Sherman

b. 1954

Untitled signed, numbered and dated “Cindy Sherman 2/6 2000� on the reverse color photograph image 36 x 24 in. (91.4 x 61 cm.) sheet 42 1/4 x 30 1/4 in. (107.3 x 76.8 cm.) Executed in 2000, this work is number 2 from an edition of 6. Estimate $40,000-60,000 Provenance Metro Pictures, New York Acquired from the above by the present owner in May 2000 Exhibited New York, Metro Pictures, Cindy Sherman, November 11, 2000 - January 6, 2001 (another example exhibited)

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Pictures Generation Property from a Private Collection, Chicago

235. Laurie Simmons

b. 1949

Bending Globe signed and numbered “Laurie Simmons 2/5” on the reverse Cibachrome print 48 x 84 in. (121.9 x 213.4 cm.) Executed in 1991, this work is number 2 from an edition of 5. Estimate $25,000-35,000 Provenance Metro Pictures, New York Private Collection (acquired from the above) Christie’s, New York, November 15, 1995, lot 298 Acquired at the above sale by the present owner Literature Laurie Simmons, interview by Sarah Charlesworth, New York, 1994, p. 25 (another example illustrated, dated as 1989) Denis Cosgrove, ed., Mappings, London, 1999, pp. 261-262 (another example illustrated) Nancy Grubb, ed., Laurie Simmons: Walking, Talking, Lying, New York, 2005, no. 59, p. 95 (another example illustrated)

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236. Jack Goldstein

1945-2003

Untitled acrylic on canvas 71 3/4 x 83 7/8 in. (182.2 x 213 cm.) Executed circa 1986-1988. Estimate $60,000-80,000 Provenance Dart Gallery, Chicago Rebecca Donelson & Associates, Chicago Private Collection, New York Acquired from the above by the present owner

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Pictures Generation Property from a Private Collection, Chicago

237. Cindy Sherman

b. 1954

Untitled (#170) signed, numbered and dated “Cindy Sherman 6/6 1987” on the reverse chromogenic color print 70 1/2 x 47 in. (179.1 x 119.4 cm.) Executed in 1987, this work is number 6 from an edition of 6. Estimate $20,000-30,000 Provenance Metro Pictures, New York Acquired from the above by the present owner in 1996

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Exhibited Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Kunsthaus Zürich, Cindy Sherman - Untitled Horrors, May 4, 2013 - September 14, 2014, p. 115 (another example exhibited and illustrated) Literature Els Barents and Peter Schjeldahl, Cindy Sherman, Munich, 1987, no. 121, p. 253 (another example illustrated) Rosalind Krauss, Cindy Sherman: 1975-1993, New York, 1993, p. 139 (another example illustrated)

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Property from a Private Collection, Chicago

238. Cindy Sherman

b. 1954

Untitled (#174) signed, numbered and dated “Cindy Sherman 4/6 1987” on the reverse chromogenic color print 71 x 47 1/2 in. (180.3 x 120.7 cm.) Executed in 1987, this work is number 4 from an edition of 6. Estimate $70,000-100,000 Provenance Metro Pictures, New York Acquired from the above by the present owner in 1995

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Exhibited Paris, Jeu de Paume; Bregenz, Kunsthaus; Humlebæk, Louisiana Museum of Modern Art; Berlin, MartinGropius-Bau, Cindy Sherman, 2006 - 2007, pp. 135, 255 (another example exhibited and illustrated) Literature Els Barents and Peter Schjeldahl, Cindy Sherman, Munich, 1987, no. 125, p. 261 (another example illustrated) Rosalind Krauss, Cindy Sherman 1975-1993, New York, 1993, p. 230 (another example listed)

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239. Jean Dubufet

1901-1985

Site avec 6 personnages (E 163) signed with the artist’s initials and dated “J.D. 81” lower right acrylic on paper laid down on canvas 26 1/2 x 19 1/2 in. (67.3 x 49.5 cm.) Executed in 1981. Estimate $100,000-150,000 Provenance Estate of the Artist Waddington Gallery, London Manny Silverman Gallery, Los Angeles Private Collection, Los Angeles (acquired from the above) Thence by descent to the present owner Literature Max Loreau, Catalogue des travaux de Jean Dubufet, Fascicule XXXIV: Psycho-sites, Paris, 1984, no. 163, p. 50 (illustrated)

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“Painting for me is a dynamic balance and wholeness of life; it is mysterious and transcending, yet solid and real” Richard Pousette-Dart

Property from an Important Private Collection, Miami

240. Richard Pousette-Dart

1916-1992

Window de la Grange signed and dated “Richard Pousette-Dart 90-91” on the reverse acrylic on linen 60 x 48 in. (152.4 x 121.9 cm.) Painted in 1990-1991. Estimate $200,000-300,000 Provenance Estate of the Artist Private Collection, Miami (acquired from the above in 2009) Exhibited Washington, D.C., Le Marié Tranier Gallery, Richard Pousette-Dart, February 20 - March 28, 1992, no. 31 Boca Raton, Gallery Camino Real, Richard PousetteDart, March 6 - 29, 2008, n.p. (illustrated) Literature Sam Hunter and Joanne Kuebler, ed., Richard Pousette-Dart: The New York School and Beyond, New York, 2005, no. 125, p. 196 (illustrated)

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“I go to the sculpture, and my eye tells me what is right for me... I use action and counteraction, like in music, all the time. Action and counteraction. It was always a relationship—my speaking to the wood and the wood speaking back to me” Louise Nevelson

241. Louise Nevelson

1899-1988

Dawn’s Landscape XLIV painted wood 42 x 39 x 4 in. (106.7 x 99.1 x 10.2 cm.) Executed in 1976. Estimate $120,000-180,000 Provenance Pace Gallery, New York Acquired from the above by the present owner

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242. Helen Frankenthaler

1928-2011

London Memos signed and dated “Frankenthaler ‘71” lower right acrylic and crayon on paper 23 x 29 in. (58.4 x 73.7 cm.) Executed on April 1, 1971. Estimate $40,000-60,000 Provenance Mr. and Mrs. Thomas H. Segal Marianne Boesky Gallery, New York Acquired from the above by the present owner in 2013 Exhibited New York, M. Knoedler & Co., American Works on Paper 1945-1975, November - December 1975, no. 12, n.p. (illustrated) New York, Solomon R. Guggenheim Museum; Edmonton Art Gallery; Toronto, Art Gallery of Ontario; Milwaukee Art Museum; Baltimore Museum of Art; San Francisco Museum of Modern Art; Houston, Museum of Fine Arts; Cambridge, Arthur M. Sackler Museum, Harvard University, Frankenthaler: Works on Paper 1949-1984, February 22, 1985 - October 26, 1986, pl. 40, no. 37, p. 57 (illustrated) Literature John Elderfeld, Frankenthaler, New York, 1989, p. 226 (illustrated)

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Property from an Important Private Collection, Miami

243. Adolph Gottlieb

1903-1974

Plus signed “Adolph Gottlieb” lower right; further signed and titled ““PLUS” ADOLPH GOTTLIEB” on the reverse oil and enamel on linen 36 x 40 in. (91.4 x 101.6 cm.) Executed in 1950. Estimate $120,000-180,000 Provenance Estate of the Artist Collection of Esther Gottlieb, New York Adolph and Esther Gottlieb Foundation, New York PaceWildenstein, New York Private Collection, Miami (acquired from the above by the present owner) Exhibited Bennington College Gallery; Williamstown, Williams College Museum of Art, A Retrospective Show of the Paintings of Adolph Gottlieb, April 23 - May 23, 1954 New York, Stable Gallery, Fourth Annual Exhibition of Painting and Sculpture, April 25 - May 21, 1955 New York, PaceWildenstein, Adolph Gottlieb: Paintings from Four Decades, May 2 - July 14, 2008, no. 2, n.p. (illustrated) Literature Samson Lane Faison Jr., “Art”, The Nation, May 15, 1954, p. 428

“I adopted the term Pictograph for my paintings out of a feeling of disdain for the accepted notions of what a painting should be…I decided that to acquiesce in the prevailing conception of what constituted ‘good painting’ meant the acceptance of an academic strait-jacket. It was therefore necessary for me to utterly repudiate so-called ‘good painting’ in order to be free to express what was visually true for me” Adolph Gottlieb

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244. Lyonel Feininger

1871-1956

Sky Space signed and dated “Feininger 1953” lower lef; further inscribed and dated “27.XII 1953” lower right; further titled “Sky Space” on the reverse watercolor, charcoal and ink on paper 12 1/2 x 19 in. (31.8 x 48.3 cm.) Executed in 1953. Achim Moeller, Managing Principal of The Lyonel Feininger Project LLC, New York – Berlin has confrmed the authenticity of this work, which is registered under no. 1425-04-13-17.

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Estimate $20,000-30,000 Provenance Curt Valentin Gallery, New York Willard Gallery, New York Mrs. Harry Tenenbaum, St. Louis Thence by descent to the present owner Exhibited City Art Museum of Saint Louis, American Art in St. Louis, October 22 - November 30, 1969

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245. Henry Moore

1898-1986

Page from Sketchbook: Two Sculptural Figures on Green Background signed and dated “Moore 48” lower right pencil, wax crayon and watercolor on paper 11 1/2 x 9 1/2 in. (29.2 x 24.1 cm.) Executed in 1948, this work is registered in the Henry Moore Foundation Archives under number 2433A.

Provenance Charles Rosner, London (gifed by the artist) Private Collection, United Kingdom (thence by descent) Sotheby’s, London, June 29, 1994, lot 295 Private Collection Evelyn Aimis Fine Art, Miami Acquired from the above by the present owner

Estimate $40,000-60,000

Literature Ann Garrould, ed., Henry Moore: Complete Drawings 1940-49, vol. 3, London, 2001, no. AG 47-49.43, p. 269 (illustrated)

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Property from a Private Collection

246. Jean Tinguely

1925-1991

M.A.T. titled “M.A.T.” center; further signed and dated “Jean Tinguely 1968” lower right felt-tip pen, pencil, ballpoint pen and India ink on paper 17 1/2 x 33 1/8 in. (44.5 x 84.1 cm.) Executed in 1968. Estimate $30,000-40,000 Provenance Galerie Rudolf Zwirner, Cologne Helga and Walther Laufs Collection (acquired from the above in 1970) Sotheby’s, London, July 2, 2008, lot 115 Acquired at the above sale by the present owner Exhibited Krefeld, Kaiser Wilhelm Museum, Zeichnungen der 50er bis 70er Jahre aus dem Kaiser Wilhelm Museum Krefeld, March 12 - April 27, 1980, no. 146 Krefeld, Kaiser Wilhelm Museum, Sammlung Helga und Walther Laufs, November 13, 1983 - April 8, 1984, no. 380

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247. Manolo Valdés

b. 1942

Reina Mariana incised with the artist’s signature and number “M. Valdes 3/6” along the bottom edge bronze 12 1/4 x 8 x 6 in. (31.1 x 20.3 x 15.2 cm.) Executed in 2002, this work is number 3 from an edition of 6. Estimate $50,000-70,000 Provenance Marlborough Gallery, New York Acquired from the above by the present owner

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248. Sol LeWitt

1928-2007

Irregular Curves signed and dated “Lewitt ‘01” lower right gouache on paper 11 3/4 x 11 3/4 in. (29.8 x 29.8 cm.) Executed in 2001. Estimate $6,000-8,000 Provenance Acquired directly from the artist by the present owner

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249. Alexander Calder

1898-1976

Sculpture in the City signed and dated “Calder 1971” lower right gouache and ink on paper 29 1/4 x 43 in. (74.3 x 109.2 cm.) Executed in 1971, this work is registered in the archives of the Calder Foundation, New York, under application number A02593. Estimate $40,000-60,000

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Provenance Perls Galleries, New York Private Collection, U.S. (acquired from the above in 1972) Acquired from the above by the present owner in 2016 Exhibited New York, Perls Galleries, Calder: Animobiles – Recent Gouaches, October 5 – November 6, 1971, no. 35, p. 24 (illustrated) New York, Ricco/Maresca Gallery, Alexander Calder (1898 – 1976) Gouaches, April 17 – May 17, 2008

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250. Friedel Dzubas

1915-1994

On Ochre signed, titled and dated “Dzubas /71 “ON OCHRE”” on the reverse oil on canvas 56 3/4 x 40 1/8 in. (144 x 102 cm.) Painted in 1971, this work will be included in the forthcoming catalogue raisonné project, Friedel Dzubas: A Catalogue Raisonné of Paintings. Estimate $25,000-35,000 Provenance Private Collection, Europe Van Ham Kunstauktionen, Cologne, May 31, 2011, lot 52 Acquired at the above sale by the present owner

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251. Esteban Vicente

1903-2001

Overhead signed, titled and dated “Esteban Vicente OVERHEAD 1994� on the reverse oil on canvas 62 x 48 in. (157.5 x 121.9 cm.) Painted in 1994. Estimate $25,000-35,000 Provenance Berry-Hill Galleries, Inc., New York Acquired from the above by the present owner Exhibited New York, Berry-Hill Galleries, Inc., Esteban Vicente: New Work, April 22 - May 13, 1995

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252. Ronald Bladen

1918/1988

Untitled signed and dated “Ronald Bladen Bladen 1958� on the reverse oil on panel 33 1/2 x 29 1/4 in. (85.1 x 74.3 cm.) Painted in 1958. Estimate $7,000-10,000 Provenance Washburn Gallery, New York Acquired from the above by the present owner in 1996 Exhibited San Francisco Museum of Modern Art; Vancouver Art Gallery, Ronald Bladen: Early and Late, May 30 - August 13, 1992, no. 15, n.p. (illustrated)

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253. Saul Steinberg

1914-1999

Certifed Landscapes signed and dated “STEINBERG 68” lower right; further titled on the reverse watercolor and ink on paper 23 x 14 1/2 in. (58.5 x 37 cm.) Executed in 1968. Estimate $30,000-40,000

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Provenance Sidney Janis Gallery, New York Harriet Walker Henerson Sotheby’s, New York, May 15, 2008, lot 311 Acquired at the above sale by the present owner Exhibited New York, Sidney Janis Gallery, Drawings by Saul Steinberg, November 5 - 29, 1969, no. 20

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Property from a Belgian Collector

254. Christopher Williams

b. 1956

Nikkor W300 mm f/5.6 with No. 3 shutter 1:5.6 Product Aperture f/64 Product Number 1320 NAS Serial Number 780612 Large Format Camera Lens. Photography by the Douglas M. Parker Studio, Glendale, California. August 2, 2005 signed, titled, numbered and dated “Christopher Williams NIKKOR W...2/10 ‘05” on the reverse gelatin silver print 16 x 19 7/8 in. (40.6 x 50.5 cm) Executed in 2005, this work is number 2 from an edition of 10.

Provenance David Zwirner, New York Acquired from the above by the present owner Exhibited New York, Whitney Museum of American Art; Paris, Centre Pompidou, Collected by Thea Westreich Wagner and Ethan Wagner, November 20, 2015 - March 17, 2017, p. 259 (another example exhibited and illustrated)

Estimate $20,000-30,000

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Property from a Belgian Collector

255. Thomas Ruf

b. 1958

17h 58m/-25° signed, titled, numbered and dated “Thomas Ruf 17h 58m -25° 2/2 1990” on the reverse chromogenic print face-mounted to Diasec 102 3/8 x 74 in. (260 x 188 cm.) Executed in 1990, this work is number 2 from an edition of 2 plus 1 artist’s proof. Estimate $70,000-90,000

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Provenance The Pierre Huber Collection (acquired directly from the artist) Sotheby’s, London, February 28, 2008, lot 353 Acquired at the above sale by the present owner Exhibited Staatliche Kunsthalle Baden-Baden, Thomas Ruf: 1979 to the Present, November 17, 2001 - January 13, 2002, no. STE 6.11, p. 200 (another example illustrated)

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Property from a Private Collection, Chicago

256. Thomas Struth

b. 1954

Paradise 6, Daintree/Australien signed “Thomas Struth” on a label afxed to the reverse color coupler print mounted to Plexiglas 69 5/8 x 87 1/8 in. (176.8 x 221.3 cm.) Executed in 1998, this work is number 7 from an edition of 10. Estimate $50,000-70,000

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Provenance Marian Goodman Gallery, New York Acquired from the above by the present owner in 2000 Exhibited New York, Marian Goodman Gallery, Thomas Struth: New Pictures from Paradise, November 3 - December 31, 1999 (another example exhibited) Centro de Fotografía, University of Salamanca; Staatliche Kunstsammlungen Dresden, Thomas Struth - New Pictures from Paradise, February 27 - September 8, 2002, no. 7421, n.p. (another example exhibited and illustrated)

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257. Thomas Struth

b. 1954

Museo del Vaticano I, Roma signed “Thomas Struth” on a label afxed to the reverse digital color coupler print mounted on Plexiglas 66 1/8 x 81 7/8 in. (168 x 208 cm.) Executed in 1990, this work is number 2 from an edition of 10. Estimate $80,000-120,000

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Provenance Private Collection, Germany Galerie Max Hetzler, Berlin Private Collection, Belgium Sotheby’s, New York, November 15, 2007, lot 568 Private Collection, Miami (acquired at the above sale) Exhibited Hamburger Kunsthalle, Thomas Struth: Museum Photographs, November 11, 1993 - January 16, 1994, no. 15, p. 59 (another example exhibited and illustrated) Raleigh, North Carolina Museum of Art, November 7, 2010 - October 2011

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258. Gregory Crewdson

b. 1962

Untitled (Bud Man) signed “Gregory Crewdson” on a label afxed to the reverse laser direct color coupler print mounted on Sintra 50 x 60 in. (127 x 152.4 cm.) Executed in 1999, this work is artist’s proof 1 from an edition of 10 plus 2 artist’s proofs. Estimate $15,000-20,000 Provenance Luhring Augustine, New York Private Collection (acquired from the above in 2002) Sotheby’s, New York, May 13, 2009, lot 383 Acquired at the above sale by the present owner Literature Rick Moody, Twilight: Photographs by Gregory Crewdson, New York, 2002, pl. 35 (illustrated)

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Property from an Important West Coast Collection

259. Adam Fuss

b. 1961

Untitled (Snake Trails Thru Medium) dated “1997� on the reverse gelatin silver print photogram on linen 71 5/8 x 50 1/2 in. (181.9 x 128.3 cm.) Executed in 2005, this work is unique. Estimate $25,000-35,000 Provenance Fraenkel Gallery, San Francisco Acquired from the above by the present owner

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260. Anne Collier

b. 1970

Studio Floor #1 (Marylin) signed “Anne Collier� on two labels afxed to the reverse chromogenic print image 42 x 54 3/4 in. (106.7 x 139.1 cm.) sheet 46 1/2 x 58 3/4 in. (118.1 x 149.2 cm.) Executed in 2009, this work is number 3 from an edition of 5. Estimate $15,000-20,000 Provenance Acquired directly from the artist by the present owner Exhibited New York, Anton Kern Gallery, Anne Collier, January 21 February 20, 2010 (another example exhibited)

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Property from a Distinguished Private Collection O

261. Doug Aitken

b. 1968

over the ocean color coupler print mounted on Plexiglas 65 3/4 x 48 in. (167 x 121.9 cm.) Executed in 2000, this work is number 5 from an edition of 5. Estimate $8,000-12,000 Provenance 303 Gallery, New York Acquired from the above by the present owner Literature Daniel Birnbaum, Amanda Sharp and Jรถrg Heiser, Doug Aitken, London, 2001, p. 103 (another example illustrated)

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Property from a Distinguished Private Collection O

262. Wang Qingsong

b. 1966

Heaven signed in Pinyin, numbered and dated “15/20 2003 Wang Qingsong 2003� lower right color coupler print image 26 3/8 x 39 3/8 in. (67 x 100 cm.) sheet 43 1/2 x 59 in. (110.5 x 149.9 cm.) Executed in 2003, this work is number 15 from an edition of 20. Estimate $5,000-7,000 Provenance Salon 94, New York Acquired from the above by the present owner Exhibited London, Albion Gallery, Wang Qingsong, June 6 - July 7, 2006, pp. 80-81, 131 (another example exhibited and illustrated)

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Property from a Distinguished Private Collection O

263. Zhang Huan

b. 1965

To Add One Meter to an Anonymous Mountain signed, titled and inscribed in Chinese, and numbered and dated “1995 2/15” on a label afxed to the reverse black and white photograph image 25 3/4 x 40 1/2 in. (65.4 x 102.9 cm.) sheet 34 x 47 1/2 in. (86.4 x 120.7 cm.) Executed in 1995, this work is number 2 from an edition of 15. Estimate $8,000-12,000 Provenance Barry Friedman Gallery, New York Acquired from the above by the present owner in June 2006 Literature Bieito Pérez Outeriño, ed., Zhang Huan: A Pilgrim in Santiago de Compostela, Barcelona, 2001, p. 178 (another example illustrated)

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264. Vik Muniz

b. 1961

Day of the Gods (Mahana No Atua), Afer Gauguin (from Pictures of Pigment) signed and dated “Vik Muniz 2006” on a label afxed to the reverse chromogenic print 71 x 92 in. (180.3 x 233.7 cm.) Executed in 2006, this work is number 1 from an edition of 6 plus 4 artist’s proofs.

Provenance Sikkema Jenkins & Co., New York Private Collection (acquired directly from the above)

Estimate $40,000-60,000

Literature Perdro Corrêa do Lago, ed., Vik Muniz: Catalogue Raisonné 1987 - 2015: Everything So Far (Tudo Até Agora), Rio de Janeiro, 2015, p. 648 (another example illustrated, erroneously dated 2005)

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Exhibited Atlanta, High Museum of Art, Vik Muniz, February 28 May 29, 2016, no. 65, p. 130 (another example exhibited and illustrated, erroneously dated 2005)

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265. Vik Muniz

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b. 1961

Floor Scrapers, afer Gustave Caillebotte from Pictures of Magazines 2 signed and dated “Vik Muniz 2011” on a label afxed to the reverse chromogenic print 71 x 102 1/2 in. (180.3 x 260.4 cm.) Executed in 2011, this work is number 4 from an edition of 6.

Provenance Sikkema Jenkins & Co., New York Private Collection, California

Estimate $40,000-60,000

Literature Perdro Corrêa do Lago, ed., Vik Muniz: Catalogue Raisonné 1987 - 2015: Everything So Far (Tudo Até Agora), Rio de Janeiro, 2015, p. 783 (another example illustrated)

Exhibited Atlanta, High Museum of Art, Vik Muniz, February 28 - May 29, 2016, no. 86, p. 157 (another example exhibited and illustrated)

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266. Vik Muniz

b. 1961

Woman I, Afer de Kooning (Pictures of Magazines 2) signed and dated “Vik Muniz 2013” on a label afxed to the reverse digital chromogenic print 92 1/2 x 71 in. (235 x 180.3 cm.) Executed in 2013, this work is artist’s proof number 3 from an edition of 6 plus 4 artist’s proofs.

Provenance Sikkema Jenkins & Co., New York Private Collection (acquired from the above) Literature Perdro Corrêa do Lago, ed., Vik Muniz: Catalogue Raisonné 1987 - 2015: Everything So Far (Tudo Até Agora), Rio de Janeiro, 2015, p. 792 (another example illustrated)

Estimate $40,000-60,000

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267. Deborah Kass

b. 1952

Six Red Barbras (Jewish Jackie Series) signed, titled and dated “6 RED BARBRAS (Jewish Jackie Series) D KASS 93” on the reverse synthetic polymer and silkscreen ink on canvas 45 x 35 in. (114.3 x 88.9 cm) Executed in 1993. Estimate $8,000-12,000 Provenance Team Gallery, New York Acquired from the above by the present owner

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268. Ryan Sullivan

b. 1983

April 15, 2011 oil, enamel and latex on canvas 59 x 45 in. (149.9 x 114.3 cm.) Executed in 2011. Estimate $12,000-18,000 Provenance Maccarone, New York Acquired from the above by the present owner

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Property from a Private European Collection

269. Brad Kahlhamer

b. 1956

U.S.A w/ Trees titled “U.S.A. w/ TREES” lower right; further signed, titled and dated “USA w/ TREES 2000 BRAD KAHLHAMER” on the reverse oil on canvas 64 x 84 1/2 in. (162.6 x 214.6 cm.) Painted in 2000.

Provenance Modern Art, London Acquired from the above by the present owner Exhibited London, Modern Art at Hoxton House; Madison Art Center; Aspen Art Museum, Brad Kahlhamer: Almost American, November 9, 2000 - July 22, 2001, pp. 28-29 (illustrated)

Estimate $4,000-6,000

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270. Walton Ford

b. 1960

Guilty Sow signed, titled and dated “WALTON FORD 1994 GUILTY SOW” on the reverse oil on canvas 24 x 18 7/8 in. (61 x 47.9 cm.) Painted in 1994. Estimate $10,000-15,000 Provenance Renee Fotouhi Fine Art, New York Acquired from the above by the present owner

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271. Jim Shaw

b. 1952

Dream Object (Mike Gonzales and I were at Larry’s Studio) signed and dated “Jim Shaw ‘96” on the reverse acrylic on wood 36 1/4 x 27 7/8 in. (92.1 x 70.8 cm.) Painted in 1996. Estimate $10,000-15,000 Provenance Metro Pictures, New York Patrick Painter Inc., Los Angeles Acquired from the above by the present owner Exhibited New York, Metro Pictures, The Sleep of Reason, September 21 - October 19, 1996

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Property from an Important West Coast Collection

272. Chie Fueki

b. 1973

Signifcant Moment signed, titled and dated “SIGNIFICANT MOMENT, 2005 CHIE FUEKI” on the reverse acrylic, paper and mixed media on wood 72 x 72 in. (182.9 x 182.9 cm.) Executed in 2005. Estimate $10,000-15,000

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Provenance Mary Boone Gallery, New York Acquired from the above by the present owner Exhibited New York, Mary Boone Gallery, Chie Fueki, September 9 - October 21, 2006

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273. Hernan Bas

b. 1978

Faced with infnite he reloaded his rife signed with the artist’s initials and dated “HB 09” lower right acrylic on linen 72 x 48 in. (183 x 122 cm.) Painted in 2009. Estimate $30,000-50,000

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Provenance Galleria Il Capricorno, Venice Acquired from the above by the present owner Exhibited Venice, Galleria II Capricorno, In the land of make me believe, June 2 September 15, 2009

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274. Ethan Cook

b. 1983

Untitled signed and dated “E. Cook 2013” on the overlap hand woven cotton canvas on canvas, in artist’s frame 60 x 48 in. (152.4 x 121.9 cm.) Executed in 2013. Estimate $8,000-12,000 Provenance Rod Barton, London Acquired from the above by the present owner

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275. Ida Ekblad

b. 1980

Jealousy spray paint, chalk, fxative, and “puf paste” on glue primed linen canvas 70 3/4 x 55 1/8 in. (179.7 x 140 cm.) Executed in 2014. Estimate $12,000-18,000

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Provenance Herald St, London Acquired from the above by the present owner Exhibited Dallas, Goss-Michael Foundation, New Wave, October 23 - December 11, 2015

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276. Francesco Clemente

b. 1952

Women and Men #13 signed “Francesco Clemente� on the reverse watercolor on paper 42 x 20 in. (106.7 x 50.8 cm.) Executed in 1985-1986. Estimate $15,000-20,000 Provenance Akira Ikeda Gallery, Tokyo Private Collection, Illinois Acquired from the above by the present owner in 1999 Exhibited Tokyo, Akira Ikeda Gallery, Watercolors, July 7 - 31, 1986, no. 89, p. 14 (illustrated)

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Property from a Belgian Collector

277. Ed Ruscha

b. 1937

S signed, dedicated and dated “Ed Ruscha 2001 For Sonny” on the reverse acrylic on raw linen 20 x 17 7/8 in. (50.8 x 45.5 cm.) Painted in 2001.

Provenance Sonny Bjornson, Los Angeles William Grifn Gallery, Los Angeles Kitty Bowe Hearty, Miami Christie’s, New York, May 10, 2008, lot 189 Acquired at the above sale the present owner

Estimate $60,000-80,000

Literature Robert Dean, Edward Ruscha: Catalogue Raisonne of the Paintings, Volume Six: 1998-2003, New York, 2013, no. P2001.33, p. 272-273 (illustrated)

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278. Eric Fischl

b. 1948

Untitled signed “fschl ‘95” lower right oil on Kromekote paper 39 1/4 x 27 1/2 in. (99.7 x 69.9 cm.) Executed in 1995. Estimate $25,000-35,000 Provenance Acquired directly from the artist by the present owner in 1998

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279. Alex Katz

b. 1927

Nessia signed and dated “Alex Katz ‘13” lower right oil on board 12 x 16 in. (30.5 x 40.6 cm.) Painted in 2013. Estimate $25,000-35,000 Provenance Barbara Krakow Gallery, Boston Acquired from the above by the present owner

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Elevate. Transcend. RedeďŹ ne. NY_TCA_DAY_MAY17_226-291_BL.indd 262

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280. Kendell Geers

b. 1968

Cardiac Arrest VIX cast glass police baton, in 26 parts installed 92 7/8 x 82 5/8 in. (236 x 210 cm.) Executed in 2013. Estimate $5,000-7,000 Provenance Goodman Gallery, Cape Town Acquired from the above by the present owner

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281. Franz West

1947-2012

Two Works: (i-ii) Privat-Lampe des Künstlers II (i) incised with the fabricator’s name, artist’s name, date, and number “METAMEMPHIS FRANZ WEST 1989 401 -” on the underside (ii) incised with the fabricator’s name, artist’s name, date, and number “METAMEMPHIS FRANZ WEST 1989 471 -” on the underside welded iron and electrical fttings each 80 x 15 x 12 7/8 in. (203.2 x 38.1 x 32.7 cm.) Executed in 1989, these works are from an open edition published by Meta Memphis, Milan, beginning in 1989, and are each accompanied by a certifcate of authenticity, issued by Memphis. Each work is unique. Estimate $6,000-8,000 Provenance Meta Memphis, Milan Private Collection, London Acquired from the above by the present owner

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282. Tom Sachs

b. 1966

Chanel Surfoard No. 1 signed, numbered and dated “Tom Sachs 1 1999� on the reverse polyurethrane foam and fberglass surfoard with plastic fns 97 x 22 x 8 1/4 in. (246.4 x 55.9 x 21 cm.) Executed in 1999. Estimate $30,000-40,000 Provenance Mary Boone Gallery, New York Acquired from the above by the present owner

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283. Jef Koons

b. 1955

Seated Ballerina signed, numbered and dated “Jef Koons 11/50 2015” on the underside oil on carved wooden sculpture 18 x 9 5/8 x 17 in. (45.7 x 24.4 x 43.2 cm.) Executed in 2015, this work is number 11 from an edition of 50 plus 10 artist’s proofs. Estimate $60,000-80,000 Provenance Israel Museum, Jerusalem Private Collection, New York

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284. Jef Koons

b. 1955

Dom Pérignon Balloon Venus impressed with the artist’s name and title “Dom Pérignon balloon venus by Jef Koons” on the suede interior lining lacquered polyurethane resin in two parts 19 1/4 x 14 1/8 x 19 3/4 in. (48.8 x 35.8 x 50.3 cm.) Executed in 2013, this work is from an edition of 650 plus 40 artist’s proofs. Estimate $30,000-50,000 Provenance Neiman Marcus, New York Acquired by the present owner from the above

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285. Gerhard Richter

b. 1932

Haggadah (P2) numbered “205/500” on the reverse Diasec-mounted chromogenic print laid on aluminum 39 3/8 x 39 3/8 in. (100 x 100 cm.) Executed in 2014, this facsimile object is number 205 from an edition of 500. Estimate $7,000-10,000 Provenance Fondation Beyeler, Basel Private Collection, Paris Sotheby’s, Paris, December 10, 2015, lot 207 Acquired at the above sale by the present owner

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Art. Design. Seattle Art Museum. Now. Yayoi Kusama: Infnity Mirrors 30 June – 10 September 2017 Phillips is proud to support the Seattle Art Museum in the Seattle presentation of the exhibition Yayoi Kusama: Infnity Mirrors as part of our global arts partnership program. Yayoi Kusama: Infnity Mirrors is organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution.

Dots Obsession–Love Transformed Into Dots, 2007, at the Hirshhorn Museum and Sculpture Garden, Yayoi Kusama, Japanese, b. 1929, mixed media installation, Courtesy of Ota Fine Arts, Tokyo/ Singapore; Victoria Miro, London; David Zwirner, New York, © YAYOI KUSAMA, Photo: Cathy Carver.

phillips.com seattleartmuseum.org

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© 2017 Joel Shapiro / Artists Rights Society (ARS), New York

215. Joel Shapiro

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Art © The Easton Foundation/Licensed by VAGA, New York, NY NY_TCA_DAY_MAY17_226-291_BL.indd 271

210. Louise Bourgeois

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Photographs. Photographs London, 18 May 2017 This masterwork by John Baldessari will be featured in ULTIMATE, an exclusive selection of unique and sold-out work available only at Phillips. Visit our public viewing from 12 – 18 May at 30 Berkeley Square, London W1J 6EX or visit phillips.com Enquiries +44 207 318 4087 photographslondon@phillips.com

John Baldessari Transform (Lipstick), 1990 Estimate: £300,000-400,000

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Zeng Fanzhi. A Man with a Straw Hat. 20th Century & Contemporary Art & Design Evening Sale Hong Kong, 28 May 2017 Phillips is proud to present our upcoming 20th Century & Contemporary Art & Design Evening Sale in Hong Kong this Spring, featuring this painting by Zeng Fanzhi. Please visit our public viewing at Mandarin Oriental, Hong Kong between 25–28 May 2017 or visit phillips.com Enquiries Sandy Ma sma@phillips.com +852 2318 2025

Zeng Fanzhi A Man with a Straw Hat (detail) oil on canvas 239.9 x 162 cm. (94 1/ 2 x 63 3/4 in.) Painted in 2004.

phillips.com

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Art © The Easton Foundation/Licensed by VAGA, New York, NY

211. Louise Bourgeois

24/04/17 09:26


224. Carl Andre

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© Joe Bradley

118. Joe Bradley

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© Richard Prince NY_TCA_DAY_MAY17_226-291_BL.indd 277

133. Richard Prince

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© 2017 Estate of Louise Nevelson / Artists Rights Society (ARS), New York

241. Louise Nevelson

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168. Rudolf Stingel

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© Richard Prince

166. Richard Prince

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208. Jiro Takamatsu

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Art © Adolph and Esther Gottlieb Foundation/Licensed by VAGA, New York, NY

243. Adolph Gottlieb

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© 2017 Richard Serra / Artists Rights Society (ARS), New York NY_TCA_DAY_MAY17_226-291_BL.indd 283

216. Richard Serra

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© Urs Fischer. Courtesy of the artist and Gagosian Gallery


127. Urs Fischer

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©Ed Ruscha NY_TCA_DAY_MAY17_226-291_BL.indd 287

175. Ed Ruscha

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Sale Information Auction & Viewing Location 450 Park Avenue New York 10022 Auction Wednesday, 17 May, 11am Viewing 4 – 17 May Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010417 or 20th Century & Contemporary Art Day Sale. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

20th Century & Contemporary Art Department Head of Sale John McCord +1 212 940 1261 jmccord@phillips.com Cataloguer Annie Dolan +1 212 940 1288 adolan@phillips.com Administrator Carolyn Mayer +1 212 940 1206 cmayer@phillips.com Property Manager Ryan Falkowitz +1 212 940 1284 rfalkowitz@phillips.com Photography Kent Pell Matt Kroenig Jean Bourbon Marta Zagozdzon

Auction License 2013224

Auctioneers Hugues Joffre - 2028495 August Uribe - 0926461 Sarah Krueger - 1460468 Henry Highley - 2008889 Catalogues Emma Miller Gelberg +1 212 940 1240 catalogues@phillips.com $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1371 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200 Shipping Ruth Ballester +1 212 940 1320

Front cover Donald Judd, Untitled, 1991, lot 167 (detail) © 2017 Judd Foundation / Artists Rights Society (ARS), New York Back Cover Jean-Michel Basquiat, Untitled, 1982, lot 173 © The Estate of Jean-Michel Basquiat / ADAGP, Paris / ARS, New York 2017

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Art © Estate of James Rosenquist/Licensed by VAGA, New York, NY (detail) NY_TCA_DAY_MAY17_226-291_BL.indd 289

170. James Rosenquist

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450 Park Avenue New York 10022 phillips.com +1 212 940 1200 bidsnewyork@phillips.com Please return this form by fax to +1 212 924 1749 or email it to bidsnewyork@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one): Paddle Number

In-person Absentee Bidding Telephone Bidding

• Company purchases: If you are buying under a business entity we require a copy of government-issued identification (such as a resale certificate, corporate bank information or the certificate of incorporation) to verify the status of the company. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

As a private individual On behalf of a company

• If you cannot attend the sale, we can execute bids confidentially on your behalf.

Sale Title Title

• Private purchases: Proof of identity in the form of government-issued identification will be required.

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable) Address

• Phillips 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 $200,000, 20% of the portion of the hammer price above $200,000 up to and including $3,000,000 and 12% of the portion of the hammer price above $3,000,000 on each lot sold.

• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

City

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable sales or use tax. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.

State/Country

Zip Code Phone

Mobile

Email

Fax

• If you write an amount, it shall be treated as an absentee bid if we cannot reach you.

Phone (for Phone Bidding only)

• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Phone number to call at the time of sale (for Phone Bidding only) 1.

2.

• If we receive identical bids, the first bid received will take precedence.

Please complete the following section for telephone and absentee bids only Lot Number

Brief Description

In Consecutive Order

US $ Limit* Absentee Bids Only

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of willful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded. • Please submit your bids to the Bid Department by fax at +1 212 924 1749 or scan and email to bidsnewyork@phillips. com at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +1 212 940 1228. • Absent prior payment arrangements, please provide a bank reference. Payment can be made by cash (up to $10,000), credit card (up to $50,000), money order, wire transfer, bank check or personal check with identification. • Lots cannot be collected until payment has cleared and all charges have been paid. • By signing this Bid Form, you consent to our use of your personal data, including sensitive personal data, in accordance with Phillips’s Privacy Policy published on our website at www. phillips.com or available on request by emailing dataprotection@phillips.com. We may send you materials about us and our services or other information which we think you may fnd interesting. If you would prefer not to receive such information, please email us at dataprotection@phillips.com.

* Excluding Buyer’s Premium and sales or use taxes

Signature

Date

• Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

By signing this form, you accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

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Index Aitken, D. 261

Gardner, T. 129

Rauschenberg, R. 176, 179, 180

Alÿs, F. 149

Geers, K. 280

Richter, G. 285

Ancart, H. 101

Gilliam, S. 125

Rondinone, U. 155, 160

Andre, C. 222, 223, 224, 225

Goldstein, J. 236

Rosenquist, J. 170

Arcangel, C. 111

Gottlieb, A. 243

Ruf, T. 255

Artschwager, R. 220

Grotjahn, M. 165

Ruscha, E. 175, 190, 277

Guyton, W. 121 Sachs, T. 282

Bas, H. 273 Basquiat, J.-M. 171, 172, 173, 174

Haring, K. 191, 192

Serra, R. 216

Bevilacqua, M. 152

Hodges, J. 123

Shapiro, J. 215

Bladen, R. 252

Houseago, T. 131, 134, 135

Shaw, J. 271

Boetti, A. 158, 159

Hughes, S. 102

Sherman, C. 230, 233, 234, 237, 238 Sikander, S. 115

Bourgeois, L. 210, 211 Bove, C. 114

Jenney, N. 200, 201

Simmons, L. 235

Bradford, M. 130

Judd, D. 167

Smith, J. 124 Steinberg, S. 253

Bradley, J. 117, 118, 120 Kahlhammer, B. 269

Steir, P. 141

Kass, D. 267

Stella, F. 226

Calder, A. 249

Katz, A. 279

Stingel, R. 168

Cattelan, M. 157

Kelley, M. 143

Struth, T. 256, 257

Chamberlain, J. 221

Kentridge, W. 145, 146, 150

Sugaï, K. 204

Clemente, F. 276

Koons, J. 283, 284

Sullivan, R. 268

Collier, A. 260

Kusama, Y. 203, 205, 206, 207

Brüggemann, S. 154

Taafe, P. 148

Connors, M. 103 Cook, E. 274

Lawler, L. 231, 232

Takamatsu, J. 208, 209

Cragg, T. 151

Lewitt, S. 248

Tinguely, J. 246

Crewdson, G. 258

Lichtenstein, R. 177

Turrell, J. 218

Longo, R. 229 Lozano, L. 213

Uklański, P. 132

Dubufet, J. 239

Marclay, C. 116

Valdés, M. 247

Dupuy-Spencer, C. 107

Marden, B. 214

Vasarely, V. 227

Durant, S. 136

Marshall, K. J. 104

Vicente, E. 251

Dzubas, F. 250

Moore, H. 245

Vo, D. 113

D’Arcangelo, A. 228 de Kooning, W. 212

Muniz, V. 264, 265, 266 Wachtel, J. 106

Echakhch, L. 105 Ekblad, I. 275

Nara, Y. 202

Wang, Q. 262

Eliasson, O. 164

Navarro, I. 137

Warhol, A. 178, 181, 182, 183, 184, 185,

Elrod, J. 138, 139

Nevelson, L. 241

186, 187, 188, 189 Wesley, J. 144

Feininger, L. 244 Fischer, U. 127, 128

Ostrowski, D. 153

West, F. 281

Owens, L. 119, 140

Williams, C. 254 Williams, M. 110

Fischl, E. 278 Flavin, D. 217, 219

Penck, A.R. 162

Williams, S. 122

Fontana, L. 169

Pettibone, R. 193, 194, 195, 196, 197,

Winters, T. 147

Ford, W. 270

198, 199

Wool, C. 126

Fordjour, D. 108

Pierson, J. 163

Wurm, E. 156

Frankenthaler, H. 242

Polke, S. 161

Fueki, C. 272

Pousette-Dart, R. 240

Fuss, A. 259

Price, S. 109 Prince, R. 133, 166

Yuskavage, L. 142 Zhang, H. 263

Pruitt, R. 112

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© Fondazione Lucio Fontana, by SIAE 2017 NY_TCA_DAY_MAY17_IFC+IBC_BL.indd 5

169. Lucio Fontana

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phillips.com

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20TH CENTURY & CONTEMPORARY ART DAY SALE [Catalogue]  

Phillips presents the 20th Century & Contemporary Art Day Sale on 17 May in New York.

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