Page 1

New York, 17 September 2015

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11. Hugh Scott-Douglas

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Phillips welcomes you to the launch of New Now

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129. Neil Raitt

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New Now New York, 17 September 2015

Auction & Viewing Location 450 Park Avenue New York 10022 Auction 17 September 2015 at 2pm Viewing 10 – 17 September Monday – Saturday 10am - 6pm Sunday 12pm - 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010615 or New Now. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

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Contemporary Art Department Head of Sale Rebekah Bowling +1 212 940 1250 rbowling@phillips.com Cataloguers Katherine Lukacher +1 212 940 1215 klukacher@phillips.com Samuel Mansour +1 212 940 1219 smansour@phillips.com Administrator Annie Dolan +1 212 940 1288 adolan@phillips.com Property Manager Paul Steffens +1 212 940 1376 psteffens@phillips.com

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450 Park Avenue

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Welcome Phillips is proud to launch the Fall 2015 season in New York with New Now, our re-energised mid-season contemporary art sale. New Now focuses on what’s happening right now in the contemporary art world. Juxtaposing works from a younger generation with those by established artists, the diverse range of works in this sale engage established collectors and newcomers alike. As a business, Phillips is singularly dedicated to contemporary art, design and photographs. The level of focus, along with our expertise, allows us to stand apart in our industry. Not only do we lead the world in a number of auction categories, but we are also constantly innovating and evolving to become the world’s leading platform for buying, selling and discovering contemporary art and design. We’re proud of our heritage. And even more excited about our future–we’re looking forward to sharing it with you. Ed Dolman Chairman and CEO

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1. Math Bass

b. 1982

Newz!, 2014 gouache on raw canvas 40 x 38 in. (101.6 x 96.5 cm) Initialed “MB” along the overlap. Estimate $15,000-20,000 Provenance Private Collection

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2. Michael Staniak

b. 1982

Untitled, 2013 casting compound, acrylic on board, in artist’s steel frames, diptych each 24 x 18 in. (61 x 45.7 cm) Signed and dated “MICHAEL STANIAK 2013” on the reverse of each element. Estimate $8,000-12,000 Provenance Acquired directly from the artist Private Collection

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3. Joe Reihsen

b. 1979

Destruction probable but not guaranteed, 2014 natural polymers, synthetic polymers on panel, in artist’s aluminum frame 60 1⁄2 x 47 1⁄2 in. (153.7 x 120.7 cm) Signed and dated “Joe Reihsen 2014” on the reverse. Estimate $15,000-20,000 Provenance Private Collection

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4. Chris Succo

b. 1979

EVERYTHING IN IT’S RIGHT PLACE (BKNP), 2014 oil, lacquer on canvas, in artist’s painted wood frame 67 3⁄4 x 55 5⁄8 in. (172.1 x 141.3 cm) Signed and dated “Chris Succo 2014” on the reverse. Estimate $10,000-15,000

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Provenance RH Contemporary, New York Private Collection Literature New York, RH Contemporary, CHRIS SUCCO, BEAUTY KNOWS NO PAIN, April 18, 2014 - July 12, 2014

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5. Dan Rees

b. 1982

Artex Painting, 2011 oil on canvas, in artist’s frame canvas 55 x 39 1⁄4 in. (139.7 x 99.7 cm) frame 56 1⁄4 x 40 5⁄8 in. (142.9 x 103.2 cm) Signed and dated “Dan Rees 2011” on the reverse. Estimate $30,000-40,000 Provenance Jonathan Viner Gallery, London

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6. Artie Vierkant

b. 1986

Image Object Tuesday 14 January 2014 7:14 PM, 2014 UV print on Sintra 56 3⁄8 x 56 3⁄8 in. (143.2 x 143.2 cm) Signed, titled and dated “Artie Vierkant ’14 IMAGE OBJECT TUESDAY 14 JANUARY 2014 7:14 PM” on the reverse. Estimate $15,000-20,000 Provenance Higher Pictures, New York

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7. Petra Cortright

b. 1986

p3240473_v_iRIGHT, 2013 digital print on aluminum, in artist’s frame 36 1⁄4 x 40 1⁄2 in. (92.1 x 102.9 cm) Estimate $18,000-22,000 Provenance Steve Turner Contemporary, Los Angeles

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8. Ibrahim Mahama

b. 1987

Untitled, 2014 jute coal sacks 96 x 48 in. (243.8 x 121.9 cm) Signed and dated “Ibrahim 2014� along the stretcher. Estimate $12,000-18,000 Provenance Acquired directly from the artist by the present owner

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9. Korakrit Arunanondchai

b. 1986

My Trip to the White Palace #7, 2013 denim on digital printed canvas with foil stamping 91 x 56 in. (231.1 x 142.2 cm) Signed and dated “K.A. 2013� on the reverse. Estimate $25,000-35,000 Provenance Bill Brady Gallery, Kansas City Exhibited Kansas City, Bill Brady Gallery, Painting with history in a room filled with men with funny names, September 13 - October 19, 2013

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10. Christian Rosa

b. 1982

From Nada to Prada, 2013 pencil, resin, charcoal, oil stick, oil on canvas 40 1⁄8 x 35 3⁄8 in. (101.9 x 89.9 cm) Signed and dated “Christian Rosa 2013” along the overlap. Estimate $25,000-35,000 Provenance Private Collection

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11. Hugh Scott-Douglas

b. 1988

Untitled, 2013 cyanotype on linen, in two parts each 76 7⁄8 x 33 5⁄8 in. (195.5 x 85.4 cm) overall 76 7⁄8 x 67 1⁄4 in. (195.5 x 170.8 cm) Signed and dated “Hugh Scott Douglas 2013” on the stretcher. Estimate $30,000-40,000 Provenance Croy Nielsen, Berlin Private Collection

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12. Alex Hubbard

b. 1975

Bodies, the exhibition, the show, 2012 oil, resin, fiberglass on canvas 12 x 12 1⁄4 in. (30.5 x 31.1 cm) Signed, titled and dated “A HUBBARD 2012 ‘BODIES THE EXHIBITION, THE SHOW’” on the stretcher. Estimate $10,000-15,000 Provenance Blum & Poe, Los Angeles

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13. Leo Gabin

since 2000

Twerkin While Burger Serving, 2011 gesso, acrylic, spray paint, silkscreen on canvas 116 x 81 in. (294.6 x 205.7 cm) Signed, titled and dated “Leo Gabin 2011 ‘TWERKIN WHILE BURGER SERVING’” on the reverse. Estimate $15,000-20,000 Provenance Private Collection, New York

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14. Blair Thurman

b. 1961

Spiders from Mars, Prototype / Pink, 2001 neon, hanging hardware, Plexiglas with transformer 40 x 29 1/2 x 2 in. (101.6 x 74.9 x 5.1 cm) Estimate $12,000-18,000 Provenance Galerie Frank Elbaz, Paris

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15. Michiel Ceulers

b. 1986

L’art est plagiat ou révolution, ce qui importe est le lien entre l’expression et la chos, 2012 oil, spray paint on canvas 60 x 48 in. (152.4 x 121.9 cm) Signed twice, titled and dated “Michiel Ceulers ‘L’art est plagiat ou révolution ce qui importe est le lien entre l’expression et la chose’ 2012 Michiel Ceulers” on the reverse. Estimate $20,000-30,000 Provenance Nicodim Gallery, Los Angeles

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16. Jonas Lund

b. 1984

Flip City 29, 2014 digital painting on canvas, gel medium, GPS tracker 50 x 40 in. (127 x 101.6 cm) Signed, titled, numbered and dated “FLIP CITY 29 Jonas Lund” along the stretcher; further numbered “29” on the GPS tracker affixed to the stretcher. The buyer of this lot is obligated to register his/her ownership with the artist (Jonas Lund) at flip-city.net and agrees to the terms of ownership as stamped on the back of this painting.

Provenance Steve Turner Contemporary, Los Angeles Exhibited Los Angeles, Steve Turner Contemporary, Flip City, June 5 - July 3, 2014

Estimate $6,000-8,000

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17. Hugh Scott-Douglas

b. 1988

Panel Painting, 2011 black, white acrylic dispersion polymer on raw canvas 40 x 30 in. (101.6 x 76.2 cm) Signed and “Hugh Scott-Douglas 2011” along the overlap. Estimate $15,000-20,000 Provenance Jessica Silverman Gallery, San Francisco Private Collection

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18. Kevin Beasley

b. 1985

Untitled (Helmet), 2011 foam, spray paint, resin, t-shirt 10 x 19 1⠄2 x 13 in. (25.4 x 49.5 x 33 cm) This work is accompanied by a certificate of authenticity signed by the artist. Estimate $6,000-8,000 Provenance The Butcher’s Daughter Gallery, Detroit Literature Fore, exh. cat., The Studio Museum in Harlem, New York, 2012, pp. 6, 7, 44 (illustrated)

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19. Ayan Farah

b. 1978

Untitled (Fold), 2013 India ink on cotton polyester 33 1⁄2 x 24 3⁄8 in. (85.1 x 61.9 cm) Signed, titled and dated “Untitled (Fold) Ayan Farah 2013” on the reverse. Estimate $8,000-12,000 Provenance Vigo Gallery, London

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20. Margo Wolowiec

b. 1985

Not One, Not Two, 2014 handwoven polyester, cotton, linen, dye sublimation ink, fabric dye 38 x 28 in. (96.5 x 71.1 cm) Signed and dated “Margo Wolowiec 2014� along the overlap.

Provenance Anat Ebgi, Los Angeles Exhibited East Hampton, East Hampton Shed, Margo Wolowiec + Nik Pence, September 12 - 14, 2014

Estimate $10,000-15,000

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21. Leif Ritchey

b. 1975

Sheer, 2014 acrylic on canvas 86 1⁄2 x 70 1⁄2 in. (219.7 x 179.1 cm) Signed, titled and dated “Leif Ritchey 2014 SHEER” on the reverse. Estimate $10,000-15,000 Provenance ltd los angeles, Los Angeles

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22. Stefan Brüggeman

b. 1975

Puddle Painting 2, 2013 aluminum paint, spray paint on canvas 63 x 45 1⁄4 in. (160 x 114.9 cm) Signed, inscribed, initialed and dated “SB 2013 BRÜGGEMANN BLACK” on the reverse.

Provenance Jonathan Viner Gallery, London Exhibited London, Jonathan Viner Gallery, Stefan Brüggemann: To Be Titled, October 4 - November 2, 2013

Estimate $20,000-30,000

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23. Rashid Johnson

b. 1977

Soul on Ice, 2010 spray paint on mirror, in artist’s frame 77 1⁄2 x 65 1⁄2 in. (196.7 x 166.3 cm)

Provenance Massimo di Carlo, London Private Collection

Estimate $30,000-40,000

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24. Joe Bradley

b. 1975

Nude (Bust), 2007 stretched vinyl over canvas, in 2 parts overall 62 x 60 in. (157.5 x 152.4 cm) Signed, titled and dated “NUDE (BUST) Joe Bradley 07” along the stretcher bar of the lower element, and again along the overlap of the upper element. Estimate $300,000-500,000 Provenance Office Baroque, Brussels Exhibited Brussels, Office Baroque, DANGLING MAN: JULIEN BISMUTH, JOE BRADLEY, JEF GEYS, SEAN LYNCH, October 26 December 1, 2007

The present lot, Nude (Bust), 2007, depicts the primitive upper chest and head of a figure rendered in blush pink vinyl. Joe Bradley’s monochromatic panels, in title, reference the history of painting the female nude. By paring down the human form into 2 quadrilateral elements, Bradley has intentionally eliminated the most seductive component identified with the history of the female nude: the female gaze. This seductive femininity has instead been replaced by Bradley’s choice of color: a pale pink, the color of soft shapely flesh. Furthermore, slick vinyl reconstitutes the historical medium of malleable oil paint, the vinyl having been aptly stretched to create a taut, glossy surface. Bradley resolves his

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choice of vinyl, stating: “I could never really get the right surface on canvas. And I think I wanted a surface that has no brush stroke. ..I really wanted them to kind of read as objects; I didn’t want whoever was looking at it to be distracted by the hand in there.” The modular, graphic form of Bradley’s robot paintings is seen in the present lot, which alludes to the flat figures of 80’s video games and the shaped colorful canvases produced by the Colorfield, minimalist painters such as Ellsworth Kelly. As a whole, Nude (Bust), 2007 at once encompasses a study in the history of art, exploring the boundaries of Minimalism through disembodied figuration.

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50. Tim Gardner

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Property From A Private American Collection

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Property From A Private American Collection O♌

25. Ulrich RĂźckriem

b.1938

The Sleeping Giants, 2008 Dolomite stone wedges in 4 pairs and granite slab each Dolomite stone wedge 102 x 42 x 24 in. (259.1 x 106.7 x 61 cm) granite slab 165 1/4 x 55 x 27 1/2 in. (419.7 x 139.7 x 69.9 cm) Estimate $80,000-120,000 Provenance Donald Young Gallery, Chicago

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Property From A Private American Collection O x

26. Ed Ruscha

b. 1937

Selma/Vine, 1998 acrylic on paper 14 x 22 in. (35.6 x 55.9 cm) Signed and dated “Ed Ruscha ’98” lower right. This work will be included in a future volume of Edward Ruscha Catalogue Raisonné of the Works on Paper, edited by Lisa Turvey. Estimate $70,000-90,000

Provenance Gagosian Gallery, Los Angeles Private Collection Exhibited Los Angeles, Gagosian Gallery, Ed Ruscha, November 20, 1998 - January 16, 1999 New York, Whitney Museum of American Art, Cotton Puffs, Q-Tips, Smoke and Mirrors: The Drawings of Ed Ruscha, June 24 - September 26, 2004, then traveled to Los Angeles, Museum of Contemporary Art (October 17, 2004 - January 17, 2005), Washington, D.C., National Gallery of Art (February 13 - May 30, 2005) Literature Cotton Puffs, Q-Tips, Smoke and Mirrors: The Drawings of Ed Ruscha, exh. cat., Whitney Museum of American Art, New York, 2005, p. 231, pl. 190 (illustrated)

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Property From A Private American Collection O x

27. Ed Ruscha

b. 1937

Zero, 1996 colored pencil on lithograph 16 1⁄8 x 28 in. (41 x 71.1 cm) Signed and dated “Ed Ruscha 1996” lower right. This work will be included in a future volume of Edward Ruscha Catalogue Raisonné of the Works on Paper, edited by Lisa Turvey. Estimate $70,000-90,000 Provenance Two x Two, Dallas

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Property From A Private American Collection O x

28. Olafur Eliasson

b. 1967

Grey to yellow movie - yellow to grey movie, 2009 watercolor, pencil on paper, diptych each 17 x 12 in. (43.2 x 30.5 cm) Signed “Olafur Eliasson” on a label affixed to the reverse of one of the panels. Estimate $15,000-20,000 Provenance Tanya Bonakdar Gallery, New York Exhibited New York, Tanya Bonakdar Gallery, Olafur Eliasson, February 11 - March 20, 2010

Property From A Private American Collection O x

29. Olafur Eliasson

b. 1967

Blue and grey to yellow movie, 2009 watercolor, pencil on paper 16 x 12 1⁄4 in. (40.6 x 31.1 cm) Signed and dated “Olafur Eliasson 2009” on the reverse; further signed “Olafur Eliasson” on a label affixed to the reverse of the frame. Estimate $12,000-18,000 Provenance Tanya Bonakdar Gallery, New York Exhibited New York, Tanya Bonakdar Gallery, Olafur Eliasson, February 11 - March 20, 2010

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Property From A Private American Collection O x

30. Julie Mehretu

b. 1970

Untitled (Terminal #5 O’Hare), 1998 ink, oil on Mylar and vellum 24 x 18 in. (61 x 45.7 cm) Estimate $30,000-40,000 Provenance Michael E. Thomas, Inc., Dallas

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Property From A Private American Collection O x

31. Robert Beck

b. 1959

Art Work by Kipland Kinkel For His Parents, Bill and Faith, 2004 silicon, wood, wound filler, diptych (i) 4 1⁄4 x 16 3⁄4 x 32 1⁄8 in. (10.8 x 42.5 x 81.6 cm) (ii) 4 1⁄4 x 19 5⁄8 x 29 1⁄2 in. (10.8 x 49.8 x 74.9 cm) (i) Signed, titled, numbered, annotated and dated “LEFT 1 of 2 ‘BILL’ R Beck - 2004 3/3” on the underside of the plinth. (ii) Signed, titled, numbered, annotated and dated “RIGHT 2 of 2 ‘Faith’ R. Beck - 2004 3/3” on the underside of the plinth. Estimate $6,000-8,000 Provenance Anthony Meier Fine Arts, San Francisco

Property From A Private American Collection O x

32. Robert Beck

b. 1959

Three works one lot: (i) Untitled (“Art Therapy: In Theory and Practice” ed. Elinor Ulman and Penny Dachinger), 1995-2007; (ii) Untitled (“Child Psychology” by Buford Johnson “Art as healing” by Edward Adamson), 2007; (iii) Untitled (“Psychological Evaluation of Human Figure Drawings by Middle School Pupils” by Elizabeth M. Koppitz, Ph.D/“Children of Crisis: A Study in Courage and Fear” by Robert Coles), 2007 acrylic, charcoal, conte crayon, graphite, ink, latent fingerprint powder, tape, wax pencil on paper (i) 12 x 9 in. (30.5 x 22.9 cm); (ii) 13 1⁄4 x 11 in. (33.7 x 27.9 cm); (iii) 11 1⁄2 x 9 in. (29.2 x 22.9 cm) (i) Signed, titled and dated “Robert Beck 2/10/95 6/7/07 ‘Art Therapy’ ed. by Ulman and Dachinger” on the reverse. (ii) Signed, titled and dated “‘Art as Healing’ by Edward Adamson Robert Beck 7/12/07” on the reverse. (iii) Signed, titled and dated “‘Children of Crisis’ by Robert Coles Robert Beck 1/27/07” on the reverse. Estimate $6,000-8,000 Provenance CRG Gallery, New York

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Property From A Private American Collection O x

33. Robert Beck

b. 1959

Priest Dust, 2005 oil, pastel on paper 84 x 109 in. (213.4 x 276.9 cm) Estimate $6,000-8,000 Provenance CRG Gallery, New York

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Property From A Private American Collection O x

34. Ross Bleckner

b. 1949

Untitled, 1997 oil on canvas 18 x 18 in. (45.7 x 45.7 cm) Signed and dated “Ross Bleckner 1997� on the reverse. Estimate $12,000-18,000 Provenance Largeglass.com, Dallas

Property From A Private American Collection O x

35. Mark Francis

b. 1962

Hyphae (Fuse), 1997-1998 oil on canvas 84 x 84 in. (213.4 x 213.4 cm) Estimate $10,000-15,000 Provenance Interim Art, London

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Property From A Private American Collection O x

36. Philip Taaffe

b. 1955

Bardo Triangle, 2009 mixed media on canvas 48 x 64 1⁄4 in. (121.9 x 163.2 cm) Signed, titled and dated “BARDO TRIANGLE P. Taaffe 2009” on the reverse. Estimate $50,000-70,000 Provenance Gagosian Gallery, New York

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Property From A Private American Collection O x

37. Terry Winters

b. 1949

Free Union, 1983 oil on linen 79 x 104 1⁄4 in. (200.7 x 264.8 cm) Estimate $50,000-70,000 Provenance Collection of Suzanne and Howard Feldman Matthew Marks Gallery, New York Exhibited Los Angeles, Museum of Contemporary Art, Terry Winters, September 15, 1991 - January 12, 1992, then traveled to New York, Whitney Museum of American Art (February 13 - May 3, 1992) New York, Matthew Marks Gallery, Terry Winters 1981-1986, November 6 - December 24, 2004 Literature L. Phillips, K. Kertess, Terry Winters, exh. cat., Whitney Museum of American Art, New York, 1992, p. 51 (illustrated) Terry Winters 1981-1986, exh. cat., Matthew Marks Gallery, New York, 2004, pl. 10 (illustrated)

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The present lot, Free Union, 1983 represents an early masterpiece by American painter Terry Winters. Winters’ pieces from the 1980’s find their visual foundation in biology and the natural world, locating themselves in direct opposition to the starkness of the 1970’s Minimalist and Conceptualist movements. With its delicate and exquisite brushwork, Free Union depicts Umbrian red and earthy brown modular structures, which appear to float upon a pulsating, reflective pond. The artist’s painterly organic shapes emerge at various stages of formation, slowly making their way to the surface of the composition. Free Union, 1983 has been aptly described by curator Lisa Phillips as “one of Winters’s most striking works from this period, irregular fan-shaped membranes floating like apparitions on a silvery, vaporous ground, where bits of rudimentary, cellular matter surface and dissolve. The feeling of genesis is unmistakable here: the filmy space of biological lowlife is where identity begins.”(Lisa Phillips in Terry Winters, Whitney Museum of American Art, New York, 1991)

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Property From A Private American Collection O x

38. Joel Shapiro

b. 1941

Untitled, 2001 bronze 16 3⁄4 x 13 x 12 3⁄4 in. (42.5 x 33 x 32.4 cm) This work is unique. Estimate $50,000-70,000 Provenance PaceWildenstein, New York Exhibited New York, PaceWildenstein, Joel Shapiro: Recent Sculptures and Works on Paper, April 27 - May 26, 2001

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Property From A Private American Collection

Property From A Private American Collection O x

39. Philip Taaffe

b. 1955

O x

40. Philip Taaffe

b. 1955

Untitled #5, 2000 oil pigment on paper 16 3⁄4 x 39 3⁄8 in. (42.5 x 100 cm) Signed and dated “P. Taaffe 2000” on the reverse.

Untitled #7, 2000 oil pigment on paper 15 3⁄4 x 37 1⁄2 in. (40 x 95.3 cm) Signed and dated “P. Taaffe 2000” on the reverse.

Estimate $8,000-12,000

Estimate $8,000-12,000

Provenance Gagosian Gallery, New York

Provenance Gagosian Gallery, New York

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Property From A Private American Collection O x

41. Tom Orr

b. 1950

Shell, 1999 steel diameter 120 in. (304.8 cm) smallest 12 x 12 in. (30.5 x 30.5 cm); largest 120 x 120 in. (304.8 x 304.8 cm)

Estimate $6,000-8,000 Provenance Turner & Runyon, Dallas

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Property From A Private American Collection O x

42. Rebecca Purdum

b. 1959

Marble 413, 1995-96 oil on canvas 60 x 60 in. (152.4 x 152.4 cm) Signed, titled and dated “Rebecca Purdum Marble 413 12-95” along the overlap. Estimate $6,000-8,000 Provenance Jack Tilton Gallery, New York

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Property From A Private American Collection O x

43. Joseph Havel

b. 1954

Veil 2, 2000 oil, graphite on paper 40 1⁄4 x 26 1⁄4 in. (102.2 x 66.7 cm) Signed and dated “Havel 00” lower left. Estimate $2,000-3,000 Provenance Dunn and Brown Contemporary, Dallas

Property From A Private American Collection O x

44. Gary Gissler

b. 1955

Come Out, 1999 graphite, varnish on gessoed panel 8 x 8 in. (20.3 x 20.3 cm) Signed, titled and dated “‘come out’ 1999 Gary Gissler” on the reverse. Estimate $1,000-1,500 Provenance Thomas McCormick Gallery, Chicago Michael E. Thomas Inc., Dallas

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Property From A Private American Collection O x

45. Adam Helms

b. 1974

Untitled Portrait (Diptych), 2008 ink on Mylar, dipytch each 44 x 33 in. (111.8 x 83.8 cm) overall 44 x 66 in. (111.8 x 167.6 cm) Estimate $5,000-7,000 Provenance Marianne Boesky Gallery, New York

Property From A Private American Collection O x

46. Bill Jensen

b. 1945

Drunken Brush #29, 2002 ink, tempura on handmade British paper 11 x 9 in. (27.9 x 22.9 cm) Signed, titled and dated “Drunken Brush #29 2002 Bill Jensen� on the reverse. Estimate $1,000-1,500 Provenance Danese Gallery, New York

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Property From A Private American Collection O x

47. Aleksandra Mir

b. 1967

Traffic Island, 2006 fiber-tipped pen on paper 94 x 106 in. (238.8 x 269.2 cm) Signed, titled and dated “Aleksandra Mir ‘Traffic Island’ 2006” lower right. Estimate $10,000-15,000

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Provenance greengrassi, London Exhibited Zurich, Kunsthaus Zurich, Aleksandra Mir: Switzerland and Other Islands, August 18 - October 8, 2006 Literature A. Jasper, “Aleksandra Mir. Kunsthaus Zurich, Switzerland,” Frieze Magazine, London, December, 2006 V. Sansone, “Aleksandra Mir,” Flashart, no. 206, Milan, October, 2006 H. Schmidt, “Switzerland and Other Islands,” Vernissage TV, Zurich, August, 2006

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Property From A Private American Collection O x

48. Gretchen Faust

b. 1961

Three works: (i) Untitled (GF-026); (ii) Untitled (GF-027); (iii) Untitled (GF-028), 2007 cut mulberry paper on blue card, in artist’s frame (i) 12 5⁄8 x 9 7⁄8 in. (32 x 25 cm) (ii) 16 7⁄8 x 10 3⁄8 in. (43 x 26.5 cm) (iii) 16 7⁄8 x 10 3⁄8 in. (43 x 26.5 cm) Initialed and dated “gf07” on the reverse of each sheet. Estimate $2,000-3,000 Provenance greengrassi, London Exhibited London, greengrassi, Gretchen Faust, January 18 - March 3, 2007 Literature B. Schwabsky, “Gretchen Faust: Greengrassi,” Artforum, December, 2003, p. 157 S. O’Reilly, “Gretchen Faust: Greengrassi,”Time Out London, September 24 - October 1, 2003, p. 59

Property From A Private American Collection O x

49. John Pomara

b. 1952

Flat File No. 1, 2002 oil, enamel on aluminum panel 72 x 48 in. (182.9 x 121.9 cm) Signed, titled and dated “Flat-file 1 John Pomara 2002” on the reverse. Estimate $4,000-6,000 Provenance Barry Whistler Gallery, Dallas Michael E. Thomas Inc., Dallas

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Property From A Private American Collection O x

50. Tim Gardner

b. 1973

Untitled (Blue Dawn), 2006 pastel on paper 17 x 21 in. (43.2 x 53.3 cm) Signed and dated “Tim Gardner 2006� on the reverse of the mount. Estimate $4,000-6,000 Provenance Modern Art, London Exhibited London, Modern Art, Tim Gardner: You could feel the sky, June 8 - July 9, 2006

51. No Lot

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Property From A Private American Collection O x

52. James Welling

b. 1951

G13QW, 2012 archival inkjet print image 52 x 40 in. (132.1 x 101.6 cm) sheet 60 x 48 in. (152.4 x 121.9 cm) This work is number 1 from an edition of 5. Estimate $10,000-15,000 Provenance David Zwirner Gallery, New York Exhibited New York, David Zwirner Gallery, James Welling: Overflow, September 7 - October 27, 2012

Property From A Private American Collection O x

53. Pamela Pecchio

b. 1974

Habitation (Coffee), 2008 chromogenic print, Diasec mounted 29 x 36 1⁄4 in. (73.7 x 92.3 cm) Signed, titled, numbered and dated “Pamela Pecchio habitation (coffee) 2008 1/7” on a label affixed to the reverse of the sheet. This work is number 1 from an edition of 7. Estimate $2,000-3,000 Provenance Daniel Cooney Fine Art, New York

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Property From A Private American Collection O x

54. Thomas Demand

b. 1964

Heldenorgel, 2009 chromogenic print, Diasec mounted 94 1⁄2 x 149 1⁄2 in. (240 x 379.7 cm) Signed, numbered and dated “Thomas Demand 2009 6/6” on the reverse. This work is number 6 from an edition of 6. Estimate $80,000-120,000 Provenance Matthew Marks Gallery, New York

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Exhibited Berlin, Neue Nationalgalerie, Thomas Demand: Nationalgalerie, September 18, 2009 - January 17, 2010, then traveled to Rotterdam, Museum Boijmans van Beuningen (May 29 - August 22, 2010) (another example exhibited) Seoul, PKM Gallery, Thomas Demand, November 24, 2011 January 10, 2012 (another example exhibited) Literature U. Kittelman, Thomas Demand, Neue Nationalgalerie, Berlin, 2009, pl. 21 (illustrated) L. Davies, “Thomas Demand: One I made Earlier,” The Telegraph, March 15, 2011

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Property From A Private American Collection O x

55. Tokihiro Sato

b. 1957

#149, 1992 black and white transparency over light panel 45 x 54 x 6 in. (114.3 x 137.2 x 15.2 cm) This work is number 1 from an edition of 12. This work is accompanied by a certificate of authenticity signed by the artist. Estimate $1,000-2,000 Provenance Haines Gallery, San Francisco

Property From A Private American Collection O x

56. Pamela Pecchio

b. 1974

Habitation (Trees), 2005 chromogenic print, Diasec mounted 36 1⁄2 x 29 in. (92.7 x 73.7 cm) Signed, titled, numbered and dated “Pamela Pecchio habitation (trees) 2005 2/7” on a label affixed to the reverse. This work is number 2 from an edition of 7. Estimate $2,000-3,000 Provenance Daniel Cooney Fine Art, New York

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Property From A Private American Collection O x

57. John Gerrard

b. 1974

Oil Stick Work (Angelo Martinez, Richfield, Kansas), 2008 realtime 3-D video, plasma screen, artist’s Corian frame on artist’s Corian console table overall 60 x 46 x 21 1⁄8 in. (152.4 x 116.8 x 53.7 cm) Signed, numbered and dated “John Gerrard 2008 5/6” on a label affixed to the inside of monitor box; further signed, titled and dated “John Gerrard Oil Stick Work (Angelo Martinez, Richfield, Kansas) 5/6 + 2 a/p 2008” on gallery card inside artist’s box. This work is number 5 from an edition of 6 plus 2 artist’s proofs. This work is accompanied by a certificate of authenticity and installation instructions. Estimate $8,000-12,000 Provenance Simon Preston Gallery, New York Exhibited New York, Simon Preston Gallery, Oil Stick Work, January 10 March 8, 2009 (another example exhibited) Venice, 53rd International Art Exhibition, La Biennale di Venezia, John Gerrard: Animated Scene, June 7 - September 30, 2009 (another example exhibited) London, Art on the Underground, Canary Wharf Station, May 14, 2010 - May 14, 2011 (another example exhibited) Sydney, Museum of Contemporary Art, Marking Time, March 29 June 3, 2012 (another example exhibited) Raleigh, North Carolina Museum of Art, 0 to 60: The Experience of Time Through Contemporary Art, March 24 - August 11, 2013 (another example exhibited) Literature R. Smith, “Art in Review: John Gerrard,” The New York Times, February 20, 2009 J. Wolin, “John Gerrard, Oil Stick Work - Knoedler Project,” Time Out New York, February, 2009 D. Velasco, “John Gerrard Simon Preston Gallery/Knoedler Project Space,” Artforum, March, 2009

M. Antonini, “John Gerrard, Simon Preston Gallery,” Flash Art, March-April, 2009 T. Coburn, “John Gerrard,” Art Review, April, 2009 A. Landi, “John Gerrad: Simon Preston - Knoedler Project Space,” ARTnews, April, 2009 E. Baker, “John Gerrard: Knoedler Project Space and Simon Preston,” Art in America, May 4, 2009 S. Tonchi, “Venice | Slowly But Surely,” The New York Times T Magazine, June 9, 2009 B. Gopnik, “A Most ‘Animated’ Eco-Critique,” The Washington Post, June 9, 2009 K. Donoghue, “John Gerrard: Animated Scene,” Whitewall, July 2, 2009 B. Appleyard, “A Portrait of Human Folly,” Culture Magazine, March, 2010 B. Street, “Letter from London: Barnstormer,” blog.art21.org, May 17, 2010

Property From A Private American Collection O x

58. Hitoshi Nomura

b. 1945

The Earth Rotation, November 19th, 1979, 14:16 - 14:46, 1979 chromogenic print image 35 1⁄2 x 35 1⁄2 in. (90.2 x 90.2 cm) sheet 43 1⁄2 x 43 1⁄2 in. (110.5 x 110.5 cm) This work is number 3 from an edition of 5. Estimate $3,000-5,000 Provenance McCaffrey Fine Art, New York Exhibited New York, McCaffrey Fine Art, Koji Enokura, Hitoshi Nomura, Jiro Takamatsu: Photographs 1968-1979, August 11 September 26, 2009 (another example exhibited)

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Property From A Private American Collection

O x

59. Eva Rothschild

b. 1972

Meera, 2007 powder coated aluminum 98 3⁄8 x 35 3⁄8 x 35 3⁄8 in. (250 x 90 x 90 cm) This work is number 1 from an edition of 3 plus 1 artist’s proof. Estimate $18,000-22,000 Provenance Modern Art, London

Property From A Private American Collection O x

60. Liz Larner

b. 1960

2001, 2001 fiberglass, paint, stainless steel 144 x 144 x 144 in. (365.8 x 365.8 x 365.8 cm) This work is number 3 from an edition of 3 plus 1 artist’s proof, each unique in color. This work may be installed inside or out of doors. Estimate $80,000-120,000 Provenance Regen Projects, Los Angeles Exhibited Chicago, Museum of Contemporary Art Chicago, Liz Larner, May 1 - September 8, 2002 (another example exhibited) Los Angeles, Museum of Contemporary Art, Liz Larner, December 2, 2001 - April 7, 2002 (another example exhibited) Graz, Austria, Kunsthaus Graz, The Perception in Art, October 25, 2003 - January 18, 2004 (another example exhibited) Buffalo, The Albright-Knox Art Gallery, Extreme Abstraction, July 15 - October 2, 2005 (another example exhibited) New York, Public Art Fund, Doris C. Freedman Plaza in Central Park, Liz Larner, ‘2001,’ November 29, 2006 May 1, 2007 (another example exhibited) San Francisco, University of California San Francisco, Arthur and Toni Rembe Rock Hall, Liz Larner 2001, permanent installation (another example exhibited) Literature J. Dickson, “Liz Larner, BOMB --- Artists in Conversation,” BOMB Magazine, no. 96, Summer, 2006 (illustrated)

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(another variant illustrated)

Liz Larner’s monumental magnum opus, 2001, from 2001 superbly elucidates and illuminates many of the technical and theoretical challenges that she has confronted throughout her sculptural practice. Having worked with the “cubic” form for some time prior to 2001, Larner was well versed in its literal-physical and also poeticinterpretive connotations and readings. The balance, solidity, symmetricality and stability are all elements of the form to which Larner has felt immeasurably drawn. Here, however, she subverts and manipulates these exact components to such a degree that the work is no longer cubic but rather more spherical. Her aim is not to represent the cube but to use the cube as an inflection point from which she can then posit new, shifting realities. Larner

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achieves this with the coupled aids of technology and color. Larner developed the hybrid sphere-cube form with advanced animation technology, blending the two geometries to create a highly original and complex amalgamation of the two. The pearlescent chameleon auto-body paint, which is actually a layering of five different colors and reads differently depending on the view-point of the observer, serves to reinforce her aim of subverting and challenging the preconceived notions of what the cube represents and how it is understood in our current reality. Masterfully destabilizing a foundational form, 2001 is not only a crowning work of the artist’s within her own oeuvre, but certainly also within that of three-dimensional work throughout time.

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Property From A Private American Collection O x

61. Paul Booker

b. 1970

Blue Rectangles: Wave Form, 2004 ink, Mylar, steel pins 27 x 16 x 6 in. (68.6 x 40.6 x 15.2 cm) Estimate $1,000-1,500 Provenance Dunn and Brown Contemporary, Dallas

Property From A Private American Collection O x

62. Matthew Ritchie

b. 1964

You are the Weather (Gravity High) for R.H., 2005 ink on Denril 12 x 9 in. (30.5 x 22.9 cm) Titled “You Are The Weather (Gravity High)” lower left. Estimate $2,000-3,000 Provenance Andrea Rosen Gallery, New York

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Property From A Private American Collection O x

63. Linda Ridgway

b. 1947

Mapping, 1997 bronze 25 1â „2 x 21 in. (64.8 x 53.3 cm) This work is unique. Estimate $3,000-5,000 Provenance Michael E. Thomas Inc., Dallas Exhibited Austin, Women in their Work, Linda Ridgway, Poetry of Line, April 4 - June 9, 1998

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Property From A Private American Collection O x

64. Dave Muller

b. 1964

White Noise (diptych), 2004 acrylic on paper, diptych each 87 x 39 in. (221 x 99.1 cm) This work is accompanied by installation instructions. Estimate $6,000-8,000 Provenance Blum & Poe, Los Angeles Exhibited Los Angeles, Blum & Poe, Dave Muller: I Like Your Music, September 11 - December 4, 2004 Lyon, 8e Biennale d’Art Contemporain de Lyon, The Beginning of the Middle, The Middle of the Middle, and the End of the Middle, September 14 - December 31, 2005 León, Museo de Arte Contemporáneo de Castilla y León, I Like Your Music I Love Your Music, January 26 - May 4, 2008 Literature 8e Biennale d’Art Contemporain de Lyon, exh. cat., Lyon, 2005, p. 206

Property From A Private American Collection O x

65. Ted Kincaid

b. 1966

Untitled, 2001 toned black and white photograph 24 x 20 in. (61 x 50.8 cm) Signed and dated “T. Kincaid 2001” on the reverse of the mount. Estimate $1,000-2,000 Provenance Barry Whistler Gallery, Dallas

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Property From A Private American Collection O x

66. Rachel Whiteread

b. 1963

Untitled, 2005 gouache, pencil, collage on paper 16 1⁄2 x 11 3⁄4 in. (42 x 30 cm) Signed and dated “R. Whiteread 2005” on the reverse. Estimate $10,000-15,000 Provenance Gagosian Gallery, London Exhibited London, Gagosian Gallery, Rachel Whiteread: Sculpture, October 19 - December 3, 2005 Dallas, Nasher Sculpture Center, Rachel Whiteread Drawings, May 22 - August 15, 2010 Literature Rachel Whiteread: Sculpture, exh. cat., Gagosian Gallery, London, 2005, p. 83 (illustrated)

Property From A Private American Collection O x

67. Linda Ridgway

b. 1947

Two works: (i) Three Score and Ten; (ii) Leaf Lets, 2000 graphite, natural juices on paper each 29 1⁄2 x 22 1⁄2 in. (74.9 x 57.2 cm) Signed and dated “Ridgway 00” lower right; each further titled “Three Score and Ten” and “Leaf Lets” respectively on the reverse. Estimate $3,000-4,000 Provenance Dunn and Brown Contemporary, Dallas

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Property From A Private American Collection O x

68. Helen Altman

b. 1958

Cardinal, 1998 torch drawing on paper 13 x 10 1⁄4 in. (33 x 26 cm) Signed, titled and dated “CARDINAL H. Altman ‘98” along the lower edge. Estimate $1,000-2,000 Provenance Barry Whistler Gallery, Dallas

Property From A Private American Collection O x

69. Joseph Glasco

1925-1996

Untitled, 1982 ink on paper 18 x 12 in. (45.7 x 30.5 cm) Initialed and dated “J.G. 82” lower left. Estimate $1,000-2,000 Provenance Michael E. Thomas, Inc., Dallas

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Property From A Private American Collection O x

70. Alan Rath

b. 1959

Wall Eye I, 1997 aluminum, electronics, software, computer, CRT monitor 16 1⁄2 x 11 x 14 in. (41.9 x 27.9 x 35.6 cm) Signed, titled, numbered and dated “Wall Eye 5/5 © Raths ‘97” on the reverse. This work is number 5 from an edition of 5 Estimate $6,000-8,000 Provenance Haines Gallery, San Francisco

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Property From A Private American Collection

O x

71. Tim Hawkinson

b. 1960

Study for Veil, 2006 photo collage, urethane foam on wood panel 12 x 18 1⁄2 in. (30.5 x 47 cm) Signed and dated “Tim Hawkinson 2006” on the reverse. Estimate $2,000-3,000 Provenance PaceWildenstein, New York Exhibited New York, PaceWildenstein, Tim Hawkinson: How Man is Knit, May 3 - June 9, 2007

Property From A Private American Collection

O x

72. Joseph Havel

b. 1954

Bedsheet, 2001 sandblasted fabric, epoxy, paint 102 x 16 x 14 in. (259.1 x 40.6 x 35.6 cm) This work is number 4 from an edition of 4. Estimate $6,000-8,000 Provenance Hiram Butler Gallery, Houston

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Property From A Private American Collection O x

73. Katja Strunz

b. 1970

WHITE SPIRITUS (BACKVIEW), 2005 wood, white paint 103 1⁄8 x 63 3⁄4 x 9 1⁄2 in. (261.9 x 161.9 x 24.1 cm) Signed and dated “K. Strunz 2005” on the reverse. Estimate $12,000-18,000 Provenance Gavin Brown’s Enterprise, New York Exhibited Dallas, Dallas Museum of Art, Difference?, October 19, 2012 - March 17, 2013

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Property From A Private American Collection O x

74. Michael Wetzel

b. 1966

Five works: (i) Blown; (ii) Chip; (iii) Jackie’s Bunker; (iv) Chandelier; (v) Bunker Buster, 2005 (i, iii, iv, v) oil, egg tempera on linen (ii) oil, egg tempera on panel (i) 28 x 22 in. (71.1 x 55.9 cm) (ii) 11 x 14 in. (27.9 x 35.6 cm) (iii) 32 1⁄4 x 44 1⁄4 in. (81.9 x 112.4 cm) (iv) 22 x 28 in. (55.9 x 71.1 cm) (v) 18 x 15 1⁄4 in. (45.7 x 38.7 cm) Signed and dated “Michael Wetzel ‘05” on the reverse of each. Estimate $3,000-4,000 Provenance John Connelly Presents, New York

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Property From A Private American Collection O x

75. Magnus Plessen

b. 1965

Untitled, 2010 oil on canvas 82 3⁄8 x 72 1⁄8 in. (209.2 x 183.2 cm) Signed and dated “Plessen 2010” along the overlap. Estimate $25,000-35,000 Provenance Gladstone Gallery, New York Exhibited New York, Gladstone Gallery, Magnus Plessen, February 15 March 15, 2012

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“It doesn’t matter what the art looks like but how it’s used.” Franz West

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76. Franz West

1947-2012

77. Franz West

1947-2012

Divan with Pillows, 1997 steel, foam, linen, wood 40 3⁄4 x 85 3⁄4 x 35 1⁄2 in. (103.5 x 217.8 x 90.2 cm)

Ottoman (Die Otomane), 1997 steel, linen, foam, carpet 18 1⁄4 x 32 1⁄2 x 32 1⁄2 in. (46.4 x 82.6 x 82.6 cm)

Estimate $70,000-100,000

Estimate $20,000-30,000

Provenance ARNDT, Berlin

Provenance ARNDT, Berlin

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78. Franz West

1947-2012

Divan, 1997 steel, linen, foam, fabric cover 36 3⁄4 x 67 3⁄4 x 33 3⁄4 in. (93.3 x 172.1 x 85.7 cm) Estimate $60,000-80,000 Provenance Private Collection

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79. Franz West

1947-2012

Untitled (Lamp), 1989 welded iron, electrical fittings 74 x 14 x 14 in. (188 x 35.6 x 35.6 cm) Published by Meta Memphis, Milan. Estimate $6,000-8,000 Provenance ARNDT, Berlin

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80. Tom Wesselmann

1931-2004

Bedroom Nude (Frontal), 1985 enamel on cut-out aluminum 66 7⁄8 x 96 1⁄8 in. (170 x 244 cm) Inscribed, titled and dated “TOM WESSELMANN 1985 NUDE (FRONTAL)” on the reverse. Estimate $300,000-500,000 Provenance Sidney Janis Gallery, New York Private Collection Galerie Thomas Modern, Munich Private Collection Exhibited New York, Sidney Janis Gallery, Exhibition of New Work by Tom Wesselmann, November 16 - December 14, 1985 Literature Exhibition of New Work by Tom Wesselmann, exh. cat., Sidney Janis Gallery, New York, 1985, n.p.

Tom Wesselmann’s Bedroom Nude (Frontal) from 1985 is a classic Pop twist on the art historical genre of female portraiture and the nude. Recalling his seminal Great American Nude series, Bedroom Nude (Frontal) is a reinvention in cut aluminum coated in lush enamel color. While his style remained distinct and immediately recognizable, Wesselmann mastered many different media and methods of production throughout his career. Works on paper, prints, paintings, and lastly, and maybe most impressively, the works in cut metal are all testament to his skillful artistry. Here, Wesselmann has depicted a seductive, blonde nude, chest bared and lips pouted staring straight out of the composition and into the realm of the viewer. The playfulness of space is heightened by the slight depth of the medium, even while rendered in a mostly two-dimensional fashion. The work itself may be physically flat, but the interaction between its negative space and the fluidity of its line, coupled with the captivating subject matter, lend a fullness to the work that is pervasive throughout Wesselmann’s oeuvre.

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81. Tom Wesselmann

1931-2004

Beautiful Kate (Variable Edition) AP2, 1981 pencil, thinned Liquitex on ragboard 3 3⁄4 x 9 in. (9.5 x 22.9 cm) Titled and dated “Beautiful Kate ap 2 1981” on the reverse; further signed and dated “#51 Wesselmann 81” lower left. This work is artist’s proof 2 from a stencil-drawn, hand-painted edition of 47 unique works, erroneously numbered by the artist to 57 (1-26, 37-57).

Provenance Private Collection Carl Solway Gallery, Cincinnati Exhibited Cincinnati, Carl Solway Gallery, Tom Wesselmann: Steel Drawings & Prints, September 19 - December 20, 2014

Estimate $25,000-35,000

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82. Julian Opie

b. 1958

Female nude kneeling hands in front, 2000 vinyl 51 1⁄2 x 40 3⁄4 in. (130.8 x 103.5 cm) Signed “Julian Opie” along the overlap. Estimate $20,000-25,000 Provenance Barbara Krakow Gallery, Boston

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“My goal is that LOVE should cover the world.” Robert Indiana

83. Robert Indiana

b. 1928

LOVE, 1966-1998 polychrome aluminum 18 x 18 x 9 in. (45.7 x 45.7 x 22.9 cm) Stamped with the artist’s signature, numbered and dated “© 1966-1998 R INDIANA AP 2/4” on the lower interior edge of the V. This work is artist’s proof 2 from an edition of 8 plus 4 artist’s proofs. Estimate $250,000-350,000 Provenance Paul Kasmin Gallery, New York Private Collection, Connecticut

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This Lot Is Sold With No Reserve

84. Anselm Reyle

b. 1970

Untitled, 2005 neon tubes, power cable, metal chains, transformer 39 3/8 x 78 3/4 x 19 5/8 in. (100 x 200 x 50 cm) Estimate $20,000-30,000

Provenance Galerie Almine Rech, Paris Literature U. Grosenick, The Art of Anselm Reyle, Cologne: DuMont, 2009, pp. 125-126 (illustrated) B. Ruf, Anselm Reyle – ARS NOVA., exh. cat., Kunsthalle Zürich, 2006, pp. 70-71 (illustrated)

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85. Jenny Holzer

b. 1950

Blue Infammatory Essays, 2008 curved electronic LED sign with blue Osram diodes, A/C adaptor 21 x 2 x 4 3/4 in. (53.3 x 5.1 x 12.1 cm) Signed “Jenny Holzer” on a label afxed to the reverse. This work is artist’s proof 2 from an edition of 20 plus 5 artist’s proofs. Estimate $20,000-30,000 Provenance Private Collection

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86. Claire Fontaine

est. 2004

Capitalism Kills, 2008 neon, transformer 5 3⁄4 x 59 1⁄2 x 4 in. (14.6 x 151.1 x 10.2 cm) Estimate $15,000-20,000 Provenance Regina Gallery, Moscow Exhibited Moscow, Regina Gallery, Claire Fontaine: Destroy and Rejuvenate, January 30 - March 21, 2009

87. Gary Simmons

b. 1964

Double Cylinder, 2007 pigment, oil paint, cold wax on canvas 102 1⁄2 x 84 1⁄4 in. (260.4 x 214 cm) Estimate $15,000-20,000 Provenance SAKS Gallery, Geneva Private Collection

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88. Glenn Ligon

b. 1960

Negro Sunshine #74, 2011 oil stick, coal dust, gesso on paper 12 x 9 in. (30.5 x 22.9 cm) Signed, titled and dated “Glenn Ligon Negro Sunshine #74 2011� on the reverse. Estimate $20,000-30,000 Provenance Regen Projects, Los Angeles

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“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, 1982

89. Louise Nevelson

1899-1988

Untitled, 1976-78 painted wood 82 1⁄4 x 45 1⁄2 x 6 in. (208.9 x 115.6 x 15.2 cm) Estimate $120,000-180,000 Provenance Pace Gallery, New York

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90. Y. Z. Kami

b. 1966

Self-Portrait as a Child, 1989 oil, graphite on panel, in 4 parts each 80 x 30 in. (203.2 x 76.2 cm) overall 80 x 120 in. (203.2 x 304.8 cm) Signed and dated “KAMI 1989” on the reverse of the second panel. Estimate $100,000-150,000 Provenance Leila-Taghinia-Milani, Inc., New York Private Collection Christie’s, New York, First Open, September 21, 2011, lot 322 Acquired at the above sale by the present owner

Deeply contemplative while disquietingly poignant, the present lot embodies the spiritual immediacy and private truths unearthed in Y.Z. Kami’s revered portraiture. Born in 1956 to a Shia family in Iran, the artist’s thematic underpinnings of spirituality and religion are made accessible in the repurposed personal photographs from his childhood in Tehran. In Self-Portrait as a Child, Kami’s younger self shares a piercing gaze with us, as he is flanked by a window into a highly impersonal genre scene which tempers any familial warmth. The profound dichotomy of these two elements, depicted across four panels, indicate Kami’s acute understanding of the shortcomings inherent to portraiture—yet its towering scale unequivocally implores us to reflect upon the unseen dimensions of our lives.

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91. Anish Kapoor

b. 1954

Untitled, 2008 acrylic, gouache on paper 26 3⁄8 x 39 3⁄4 in. (67 x 101 cm) Signed and dated “A Kapoor 2008” on the reverse. Estimate $40,000-60,000 Provenance Regen Projects, Los Angeles

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“I see paintings everywhere. I look at stuff and it looks like painting to me. Making a painting is like playing the saxophone. You hit the note and it comes out.” Julian Schnabel, 2013

92. Julian Schnabel

b. 1951

Licaboles, 2000-01 oil, resin on canvas, in artist’s frame 81 x 68 1⁄2 x 5 in. (205.7 x 174 x 12.7 cm) Estimate $80,000-120,000 Provenance Private Collection

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93. Wangechi Mutu

b. 1972

The Dreamer, 2003 acrylic, gouache, watercolor, glitter, collage on paper 30 1⁄2 x 23 in. (77.5 x 58.4 cm) Estimate $30,000-50,000 Provenance Harris Lieberman Gallery, New York

94. Carroll Dunham

b. 1949

Untitled (12/6/08), 2008 watercolor, colored pencil, graphite on paper 11 1⁄4 x 15 in. (28.6 x 38.1 cm) Initialed and dated “12/6/08 C.D.” upper left, further inscribed “Rome” on the reverse. Estimate $8,000-12,000 Provenance Gladstone Gallery, New York

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95. Mark Grotjahn

b. 1968

Untitled, 1996-98 marker on paper 11 x 8 1⁄2 in. (27.9 x 21.6 cm) This work is accompanied by a certificate of authenticity signed by the artist. Estimate $40,000-60,000 Provenance Acquired directly from the artist by the present owner

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The present lot, Untitled, 1996-98 by Mark Grotjahn is a stunning, early example of a color and perspective study executed in teal marker on paper. Grotjahn moved to Los Angeles in 1996, the year in which the drawing was begun, by the time of the drawing’s completion in 1998 Grotjahn had his first show at Blum & Poe Gallery in Los Angeles. Untitled, serves as a starting point for Grotjahn’s continued examination of perspectival coloration through heavily worked pencil drawings and later oil paint. The present lot is comprised of a monochromatic teal colored marker on paper. Originating at a single focal point at the center of the composition the teal bands of color radiate outward, the carefully worked sections of hand coloring overlap creating darker sections of the composition that waver throughout the paper at systematic yet variable intervals. Untitled, 1996-98 is an early composition which encompasses all aspects of Grotjahn’s investigative practice into color, perspective and line, which would later become his artistic signifiers within the contemporary art world.

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96. Peter Coffin

b. 1972

Untitled (Unfinished Hand), 2006 wood, wire mesh, fittings 106 1⁄4 x 78 3⁄4 x 39 3⁄8 in. (270 x 200 x 100 cm)

Exhibited London, Saatchi Gallery, Abstract America: New Painting and Sculpture, May 29, 2009 - January 17, 2010

Estimate $25,000-35,000

Literature J. Cape, Abstract America: New Paintings and Sculpture, exh. cat., Saatchi Gallery, London, 2008, n.p. (illustrated) J. Cape, Shape of Things to Come: New Sculpture, exh. cat., Saatchi Gallery, London, 2009, pp. 254-255 (illustrated)

Provenance Herald St, London Acquired from the above by the present owner, 2007

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97. Julie Mehretu

b. 1970

Drawing for Andy #4, 2007 ink, watercolor on watercolor paper 10 x 15 in. (25.4 x 38.1 cm) Signed, titled and dated “drawing for Andy #4 Julie Mehretu 2007” on the reverse; further inscribed “ANDY” center right. Estimate $20,000-30,000 Provenance Donated by the artist to the Andrew Golkin Memorial Scholarship Fund Auction, December 2007 Acquired from the above by the present owner

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“the whole sports theme is just a vehicle for practicing portraiture.” Jonas Wood

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20/08/15 17:05


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98. Jonas Wood

b. 1977

Backward Bol (Color), 2008 gouache, colored pencil, collage on paper 60 x 28 3⁄4 in. (152.4 x 73 cm) Initialed, titled and dated “BACKWARD BOL (COLOR) JBRW 2008” on the reverse. Estimate $60,000-80,000 Provenance Anton Kern Gallery, New York

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99. Nina Beier

b. 1975

Fatigues, 2012 furniture fabric, dye, ink, stain, pigment, bleach, in artist’s frame 52 1⁄2 x 40 1⁄2 in. (133.4 x 102.9 cm) Estimate $10,000-15,000 Provenance Laura Bartlett Gallery, London

100. Mike Goldby

b. 1991

Stretch (Big Red), 2014 activewear jerseys, acrylic, wood 48 x 36 in. (121.9 x 91.4 cm) Initialed and dated “MG 2014” along the stretcher. Estimate $5,000-7,000 Provenance Tomorrow Gallery, New York

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101. Jonas Wood

b. 1977

Crossword Master, 2007 colored pencil, gouache on paper 15 1⁄4 x 12 1⁄2 in. (38.7 x 31.8 cm) Signed, initialed, titled and dated “JONAS WOOD CROSSWORD MASTER JBRW 2007” on the reverse. Estimate $30,000-40,000 Provenance Anton Kern Gallery, New York

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102. Sergej Jensen

b. 1973

Werewolf, 2003 oil paint, saffron on linen 74 7⁄8 x 471⁄4 in. (190.2 x 299.1 cm) Estimate $40,000-60,000 Provenance Galerie Neu, Berlin Private Collection, Boston Phillips de Pury & Company, New York, Under the Influence, March 31, 2008, lot 16 Private Collection, New York Private Collection, Miami

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103. Mark Flood

b. 1957

Libretto, 2002 acrylic on canvas 61 1⁄2 x 108 in. (156.2 x 274.3 cm) Signed, titled and dated “Mark Flood 8 or 9/2002 ‘Libretto’” along the overlap. Estimate $40,000-60,000 Provenance Gift from the artist to the present owner

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104. Alex Olson

b. 1978

Untitled, 2013 oil on gessoed paper 17 x 14 in. (43.2 x 35.6 cm) Signed and dated “Alex Olson 2013” on the reverse. Estimate $4,000-6,000 Provenance Laura Bartlett Gallery, London Private Collection

105. Sam Falls

b. 1984

Untitled, 2012 pastel on paper 25 x 19 in. (63.5 x 48.3 cm) Signed and dated “Sam Falls 2012” on the reverse. Estimate $4,000-6,000 Provenance Private Collection, New York

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106. Ida Ekblad

b. 1980

Untitled, 2011 oil on canvas 15 3⁄4 x 11 3⁄4 in. (40 x 29.8 cm) Initialed “I.E” lower right. Estimate $4,000-6,000 Provenance Karma International, Zurich

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107. Christian Rosa

b. 1982

Untitled, 2014 oil stick, oil paint, pencil, charcoal, oil on canvas 79 x 110 in. (200.7 x 279.4 cm) Estimate $40,000-60,000 Provenance Acquired directly from the artist by the present owner

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108. Mark Flood

b. 1957

Mudhole, 2014 acrylic on canvas 72 x 48 in. (182.9 x 121.9 cm) Signed, titled and dated “Mark Flood 1-1-2014 ‘MUDHOLE’” along the overlap. Estimate $40,000-60,000 Provenance Peres Project, Berlin

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109. Travess Smalley

b. 1986

Composition in Clay #27, 2013 chromogenic print 46 x 33 in. (116.8 x 83.8 cm) Signed and dated “Travess Smalley 2012” on the reverse. This work is unique. Estimate $7,000-9,000 Provenance Higher Pictures, New York

110. Mark Hagen

b. 1972

To Be Titled, 2013 acrylic, iron oxide on burlap, laid on board, in artist’s metal frame 17 3⁄4 x 13 3⁄4 in. (45.1 x 34.9 cm) Signed and dated “Mark Hagen 2013” on the reverse of the board. Estimate $8,000-12,000 Provenance China Art Objects Galleries, Los Angeles

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111. Trudy Benson

b. 1985

Scratchpad, 2014 oil, acrylic, enamel, spray paint on canvas 76 x 54 in. (193 x 137.2 cm) Signed, titled and dated “Trudy Benson 2014 ‘Scratchpad’” on the reverse. Estimate $12,000-18,000 Provenance Horton Gallery, New York Private Collection, New York

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112. Tobias Madison Hospitality, 2012 plywood, silkscreen on neoprene and seatbelt webbing 120 1⁄4 x 24 1⁄4 x 20 1⁄4 in. (305.5 x 61.5 x 51.5 cm) This work is accompanied by a certificate of authenticity signed by the artist. Estimate $10,000-15,000 Provenance Karma International, Zurich Exhibited Berlin, Sammlung Haubrok, Fatuma Osman & Tobias Madison, January 14 – March 17, 2012

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113. Cory Arcangel

b. 1978

Untitled Translation Exercise, 2006 single channel video video length 1:41:53 dimensions variable, based on location of installation This work is number 5 from an edition of 5 and is accompanied by a certificate of authenticity signed by the artist. This work was made in collaboration with Ben Jones. Estimate $10,000-15,000 Provenance Team Gallery, New York

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Exhibited New York, Team Gallery, subtractions, modifications, addenda, and other recent contributions to participatory culture, September 26 - November 4, 2006 (another example exhibited) Amsterdam, Netherlands Media Art Institute, Depreciated, August 29 - November 14, 2009 (another example exhibited) London, Lisson Gallery, Lisson Presents 7, Curated by Cory Arcangel, November 25, 2009 – January 16, 2010 (another example exhibited) North Miami, The Museum of Contemporary Art, The Sharper Image, March 11 - May 9, 2010 (another example exhibited) Pittsburgh, Carnegie Museum of Art, Masters, November 3, 2012 - January 27, 2013 (another example exhibited) Montreal, DHC/ART Foundation, Power Points, June 21 - November 24, 2013 (another example exhibite

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114. Nick Farhi

b. 1987

TBD, 2014 oil, charcoal on canvas diameter 36 in. (91.4 cm) Initialed and dated “NF 2014” on the reverse. Estimate $5,000-7,000 Provenance Acquired directly from the artist by the present owner

115. Michelle Grabner

b. 1962

Untitled, 2008 silver, gesso on paper 27 5⁄8 x 27 5⁄8 in. (70.2 x 70.2 cm) Initialed and dated “MG 2008” on the reverse. Estimate $6,000-8,000 Provenance Private Collection

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116. Ryan Estep

b. 1980

Stretcher Series #1, 2013 acrylic, lidocaine gel on canvas 55 x 40 in. (139.7 x 101.6 cm) Signed and dated “R Estep 2013” on the reverse. Estimate $10,000-15,000 Provenance Private Collection, Los Angeles

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117. Sebastian Black

b.1985

Untitled, 2011 oil on canvas 12 x 9 in. (30.5 x 22.9 cm) Signed, titled and dated “UNTITLED SEBASTIAN BLACK 2011” on the reverse. Estimate $6,000-8,000 Provenance Seth Carmichael, New York

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118. Brent Wadden

b.1979

Untitled, 2011 oil on canvas, in artist’s frame 25 x 19 in. (63.5 x 48.3 cm) Signed and dated “Brent Wadden 2011” along the overlap. Estimate $18,000-22,000 Provenance Private Collection

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119. Nina Beier

b. 1975

Portrait Mode, 2011 found garments, in artist’s frame 49 1⁄2 x 58 1⁄2 in. (125.7 x 148.6 cm) Estimate $8,000-12,000 Provenance Laura Bartlett Gallery, London

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120. Fredrik Værslev

b. 1979

Landscape: Gold #2, 2013 spray paint on frosted acrylic glass, wooden support, light bulb, steel 26 1⁄4 x 37 1⁄2 x 6 1⁄2 in. (66.7 x 95.3 x 16.5 cm) Estimate $20,000-30,000 Provenance Johan Berggren Gallery, Malmö

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121. Brendan Lynch

b. 1985

Girl Piss, 2013 posters, aluminum leaf, paint on wood panel 60 x 48 in. (152.4 x 121.9 cm) Signed, titled and dated “Brendan Lynch ’13 ‘Girl Piss’” on the reverse. Estimate $8,000-12,000 Provenance Private Collection

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122. Mark Flood

b. 1957

GLIMPSE, 2013 acrylic, spray paint on digitally printed canvas 108 x 108 in. (274.3 x 274.3 cm) Signed and dated “Mark Flood 11-2013” along the overlap. Estimate $40,000-60,000 Provenance Peres Projects, Berlin

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123. Dan Colen and Harmony Korine

b. 1979 / 1973

Untitled (from “Train Yourself to Lose”), 2013 flowers on paper, ink 11 x 8 3⁄8 in. (27.9 x 21.3 cm) Signed “Harmony Korine” on the reverse of the sheet. Estimate $10,000-15,000 Provenance Karma, New York LEADAPRON, Los Angeles Literature I SEE POETRY IN EVERYTHING, EVEN YOU, DAN COLEN & HARMONY KORINE, TRAIN YOURSELF TO LOSE, Karma, New York, 2013, n.p. (illustrated)

124. Nick Darmstaedter

b. 1988

Izzy, 2013 oxidized copper on canvas 24 x 18 in. (61 x 45.7 cm) Signed, titled and dated “Nick 2013 ‘IZZY’” along the overlap. Estimate $3,000-5,000 Provenance The Still House Group, New York

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125. Dan Rees

b. 1982

Untitled, 2011 plasticine on wood, in artist’s frame 56 x 83 5⁄8 in. (142.2 x 212.4 cm) Signed and dated “Dan Rees 2011” on the reverse. Estimate $30,000-40,000 Provenance Tanya Leighton Gallery, Berlin

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126. Michael Manning

b. 1985

Sheryl Crow Pandora Painting, 2014 acrylic over digital painting on canvas 71 7⁄8 x 48 1⁄8 in. (182.6 x 122.2 cm) Signed and dated “Michael Manning 2014” along the overlap. Estimate $12,000-18,000 Provenance Private Collection

127. Alex Hubbard

b. 1975

Untitled, 2010 oil, acrylic, resin, fiberglass on canvas, in 2 parts 23 x 15 1⁄2 in. (58.4 x 39.4 cm) Signed, titled and dated “HUBBARD 2010 ‘UNTITLED’” along the overlap. Estimate $15,000-20,000 Provenance Shane Campbell Gallery, Chicago

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128. Jean-Baptiste Bernadet

b. 1978

Untitled (Screensaver), 2013 acrylic on canvas 81 x 114 1⁄4 in. (205.7 x 290.2 cm) Signed, titled and dated “Jean-Baptiste Bernadet 2013 UNTITLED (SCREENSAVOUR)” along the overlap. Estimate $40,000-60,000 Provenance Ricou Gallery, Brussels Exhibited Brussels, Ricou Gallery, Jean Degottex & Jean-Baptiste Bernadet, Travess Smalley, Keith J. Varadi, September 7 October 26, 2013

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129. Neil Raitt

b. 1986

Fade (Alpine), 2014 oil on canvas 20 x 16 in. (50.8 x 40.6 cm) Signed and dated “Neil Raitt ’14” along the overlap. Estimate $5,000-7,000 Provenance Anat Ebgi, Los Angeles

130. Andy Boot

b. 1987

Plum, 2014 sticker, acrylic paint on canvas 63 x 51 1⁄4 in. (160 x 130.2 cm) Initialed, titled and dated “AB Plum, 2014” along the overlap. Estimate $5,000-7,000 Provenance Galerie Emanuel Layr, Vienna

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131. Jean-Baptiste Bernadet

b. 1978

Grotto, 2011 oil on canvas 39 3⁄8 x 33 1⁄2 in. (100 x 85.1 cm) Signed, titled and dated “GROTTO NY Jean-Baptiste BERNADET 2011 NY” on the reverse. Estimate $10,000-15,000 Provenance SAKS Gallery, Geneva

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132. Grear Patterson

b. 1988

Sammy Sacer Sosa, 2014 acrylic on canvas 54 x 72 in. (137.2 x 182.9 cm) Initialed, titled and dated “Sammy Sacer Sosa GP 2014” on the stretcher. Estimate $8,000-12,000 Provenance Private Collection

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133. Nicholas Pilato

b. 1986

Untitled, 2014 oil, concrete on canvas 68 x 58 in. (172.7 x 147.3 cm) Signed and dated “N. PILATO 2014� along the overlap. Estimate $10,000-15,000 Provenance Private Collection, California Private Collection

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134. Emanuel Röhss

b. 1985

Mother Sweden, 2014 acrylic, alkyd enamel on canvas 102 1⁄2 x 70 3⁄4 in. (260.4 x 179.7 cm) Signed, titled and dated “Emanuel Röhss 2014 ‘Mother Sweden’” on the reverse Estimate $5,000-7,000 Provenance Private Collection

135. Lucas Ajemian

b. 1975

Laundered Painting (20 x 16) III, 2014 painting on linen 20 x 16 in. (50.8 x 40.6 cm) Signed and dated “Lucas Ajemian 2014” on the reverse. Estimate $5,000-7,000 Provenance ltd los angeles, Los Angeles

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136. Grear Patterson

b. 1988

An Unexpected Stair, 2014 dirt on canvas and tarpaulin, laid on board, in 3 parts overall 54 x 54 in. (137.2 x 137.2 cm) Initialed “GP” on the reverse of each element; further titled “AN UNEXPECTED STAIR” on the reverse of the striped element. Estimate $10,000-15,000 Provenance Private Collection, Los Angeles

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137. Amie Dicke

b. 1978

Leg, 2013 sandpaper abrasion, chromogenic print 22 x 16 1⁄2 in. (55.9 x 41.9 cm) Estimate $5,000-7,000 Provenance Anat Ebgi, Los Angeles

138. Andy Coolquitt

b. 1964

American Growth, 2008 wood, carpet, light bulbs, wire, standard two-prong plug, standard light sockets, splitters 120 x 14 1⁄2 x 2 1⁄2 in. (304.8 x 36.8 x 6.4 cm) Initialed and dated “AC 08” at bottom. Estimate $7,000-9,000 Provenance Lisa Cooley, New York

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139. Lucien Smith

b. 1989

She sells seashells by the seashore. The shells she sells are surely seashells/So if she sells shells on the seashore, I’m sure she sells seashore shells., 2013 newspaper, papier-mâché, polymer varnish on canvas 108 x 84 in. (274.3 x 213.4 cm) Estimate $20,000-30,000 Provenance OHWOW, Los Angeles

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140. Lucien Smith

b. 1989

Untitled, 2012 acrylic on unprimed canvas 24 x 20 in. (61 x 50.8 cm) Signed “Lucien Smith” along the overlap. Estimate $12,000-18,000 Provenance Private Collection

141. No Lot

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142. Parker Ito

b. 1986

Inkjet Painting #21, 2013 inkjet on silk 64 x 44 in. (162.56 x 111.76 cm) Estimate $12,000-18,000 Provenance Private Collection, New York

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143. Joe Bradley

b. 1975

Study for running twins, 2005 acrylic on paper 10 1⁄2 x 7 1⁄2 in. (26.7 x 19.1 cm) Signed, titled and dated “Joe Bradley 2005 Study for running twins” on the reverse. Estimate $5,000-7,000 Provenance CANADA, New York

144. Leon Polk Smith

1906-1996

Untitled, 1955 oil on paper 13 1⁄2 x 10 1⁄2 in. (34.3 x 26.7 cm) Signed and dated “Leon Polk Smith ’55” lower right. Estimate $3,000-5,000 Provenance Jason McCoy Inc., New York

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145. Paul McCarthy

b. 1945

Soup Bowl, 1990 felt-tip pen on paper 18 7⁄8 x 23 7⁄8 in. (47.9 x 60.6 cm) Signed and dated “Paul McCarthy 1990” on the reverse. Estimate $7,000-10,000 Provenance Studio Guenzani, Milan

146. George Condo

b. 1957

Untitled, 1988 pastel on paper 13 1⁄4 x 9 1⁄4 in. (33.7 x 23.5 cm) Signed and dated “Condo 88” upper left; further initialed “GC” lower right. Estimate $3,000-5,000 Provenance Acquired directly from the artist by the present owner

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147. Gedi Sibony

b. 1973

A Sense of The, 2006 sticks, plywood, wood glue, wood filler 72 x 45 x 27 in. (182.9 x 114.3 x 68.6 cm) Estimate $10,000-15,000 Provenance 303 Gallery, New York Acquired from the above by the present owner Exhibited New York, 303 Gallery, A Broken Arm, July 20 August 18, 2006

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148. Ugo Rondinone

b. 1964

Wednesday, October 7, 2009, 2009 gesso, collage, graphite on linen 9 1⁄2 x 12 3⁄8 in. (24.1 x 31.4 cm) Signed “Ugo Rondinone” on the reverse. Estimate $10,000-15,000 Provenance Sadie Coles HQ, London

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149. Joanne Greenbaum

b. 1953

Workbook, 2006 oil on canvas 77 7⁄8 x 77 7⁄8 in. (198.1 x 198.1 cm)

Exhibited New York, D’Amelio Terras, JOANNE GREENBAUM: 1612, October 15 - November 12, 2011

Estimate $8,000-12,000

Literature J. Cape, Abstract America: New Paintings from the U.S., exh. cat., Saatchi Gallery, London, 2008, pp. 102-103 (illustrated)

Provenance D’Amelio Terras, New York Acquired from the above by the present owner, 2006

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150. Mary Heilmann

b. 1940

Verde 2, 1992 oil on canvas 19 x 12 in. (48.3 x 30.5 cm) Signed, dated and dedicated “for SUZANNE and Brian Love Mary Heilmann 1992” on the reverse; further titled “‘VERDE 2’” along the stretcher. Estimate $12,000-18,000 Provenance Private Collection, acquired directly from the artist Private Collection, New York

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151. Karin Davie

b. 1965

Untitled (Curves) #7, 2000 oil on linen 34 x 54 in. (86.4 x 137.2 cm) Signed, titled and dated “UNTITLED (CURVES) #7 Karin Davie 2000” on the reverse. Estimate $15,000-20,000 Provenance Wetterling Gallery, Stockholm

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152. Ross Bleckner

b. 1949

Sky Flowers, 2004 oil on canvas 30 x 30 in. (76.2 x 76.2 cm) Signed, titled and dated “Ross Bleckner Sky Flowers 2004” on the reverse. Estimate $15,000-20,000 Provenance Scott White Contemporary Art, San Diego

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153. Adam Fuss

b. 1961

Untitled (After Anna Atkins), 1988 Cibachrome photogram, mounted on Plexiglas sheet 10 x 8 in. (25.4 x 20.3 cm) mount 14 3⁄4 x 12 3⁄4 in. (37.5 x 32.4 cm) Signed, titled and dated “AFuss June 1988 AFTER ANNA ATKINS” on the reverse. Estimate $6,000-8,000 Provenance Private Collection, New York Phillips de Pury & Company, New York, Photographs, April 23/24, 2004, lot 223 Acquired at the above sale by the present owner

154. Allison Schulnik

b. 1978

Small Clown Head, 2010 oil on canvas, laid on wood panel 16 1⁄4 x 12 1⁄4 x 3 in. (41.3 x 31.1 x 7.6 cm) Signed, titled and dated “SMALL CLOWN HEAD AL SCHULNIK 10” along the overlap. Estimate $4,000-6,000 Provenance Mark Moore Gallery, Culver City

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155. Julie Heffernan

b. 1956

Self-Portrait as Decoy, 2006-10 oil on canvas 67 x 52 in. (170.2 x 132.1 cm) Signed, titled and dated “J. Heffernan © 2006-10 Self-Portrait as Decoy” on the reverse. Estimate $30,000-40,000 Provenance Catharine Clark Gallery, San Francisco P·P·O·W Gallery, New York Mark Moore Gallery, Culver City

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156. Michael Williams

b. 1978

Untitled, 2010 ink, colored pencil on paper collage on paper 12 x 9 in. (30.5 x 22.9 cm) Signed and dated “Michael Williams 2010” on the reverse. Estimate $4,000-6,000 Provenance Private Collection

157. Michael Williams

b. 1978

Untitled, 2010 graphite, ink, oil stick on paper 8 1⁄2 x 5 1⁄2 in. (21.6 x 14 cm) Signed and dated “Michael Williams 2010” on the reverse. Estimate $2,000-3,000 Provenance Private Collection

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158. André Butzer

b. 1973

Ohne Titel, 2009 oil on canvas 67 x 94 3⁄4 in. (170.2 x 240.7 cm) Signed “A. Butzer” lower right; further signed and dated “A. Butzer ’09” on the reverse. Estimate $25,000-35,000 Provenance Galerie Guido W. Baudbach, Berlin

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159. Michael Bauer

b. 1973

Pott, 2006 oil on canvas 23 1⁄2 x 19 3⁄4 in. (59.7 x 50.2 cm) Signed, titled and dated “M. Bauer Pott 2006” on the reverse. Estimate $4,000-6,000 Provenance HOTEL Gallery, London

160. Scott Reeder

b. 1970

Three works: (i) Cute Communists - Castro, (ii) Cute Communists - Stalin, (iii) Cute Communists - Mao, 2007 oil on canvas each 20 x 15 7⁄8 in. (50.8 x 40.6 cm) Estimate $4,000-6,000 Provenance Daniel Reich Gallery, New York Acquired from the above by the present owner, 2007 Literature J. Cape, Abstract America: New Paintings from the U.S., exh. cat., Saatchi Gallery, London, 2008, pp. 296-297 (illustrated)

i)

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ii)

iii)

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161. Håvard Homstved

b. 1976

Tattered Edgings, 2008 oil pastel, charcoal, acrylic with collage on Arches Cover Black paper 44 x 30 in. (111.8 x 76.2 cm) Signed and dated “Håvard H 08” on the reverse. Estimate $5,000-7,000 Provenance Marc Jancou Contemporary, New York

162. Jon Pestoni

b. 1969

Untitled, 2010 gouache on paper 15 x 11 1⁄4 in. (38.1 x 28.6 cm) Signed and dated “Jon Pestoni 2010” on the reverse. Estimate $3,000-4,000 Provenance Private Collection, New York

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163. Tala Madani

b. 1981

Fork in a Tattoo, 2006 oil on canvas 12 1⁄4 x 9 in. (31 x 23 cm) Estimate $7,000-9,000 Provenance Lombard Freid Projects, New York Acquired from the above by the present owner, 2007 Exhibited New York, Lombard Freid Projects, Smoke and Mirrors, February 23 - April 7, 2007 London, Saatchi Gallery, Unveiled: New Art from the Middle East, January 30 - May 9, 2009 Literature Unveiled: New Art from the Middle East, exh. cat., Saatchi Gallery, London, 2009, p. 87 (illustrated) E. Booth-Clibborn, The History of the Saatchi Gallery, London: Booth-Clibborn Editions, 2011, p. 751 (illustrated)

164. John Bock

b. 1965

Untitled, 2009 collage on cardboard 25 1⁄2 x 20 1⁄2 in. (64.8 x 52.1 cm) Initialed and dated “J-B 071109” center right. Estimate $2,000-3,000 Provenance Eleni Koroneou Gallery, Athens

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165. Baker Overstreet

b. 1981

Dirty Piller’s Beauty Bumps, 2006-2007 acrylic on canvas 77 1⁄4 x 66 1⁄4 in. (196.2 x 168.3 cm) Estimate $8,000-12,000 Provenance Fredericks & Freiser, New York Acquired from the above by the present owner, 2007 Exhibited London, Saatchi Gallery, Abstract America: New Painting and Sculpture, May 29, 2009 - January 17, 2010 New York, Fredericks & Freiser, Baker Overstreet: New Paintings, February 15 - March 17, 2007 Literature J. Cape, Abstract America: New Painting and Sculpture, exh. cat., Saatchi Gallery, London, 2008, pp. 282-283 (illustrated)

166. Cullen Washington Jr.

b. 1972

Untitled #4, 2013 canvas, paper, tape, found materials 90 1⁄8 x 83 7⁄8 in. (229 x 213 cm)

Estimate $8,000-12,000 Provenance Jack Bell Gallery, London Acquired from the above by the present owner, 2014 Exhibited London, Jack Bell Gallery, Cullen Washington Jr.: Black Moon Rising, January 24 - February 21, 2014 London, Saatchi Gallery, Abstract America Today, May 28 - September 9, 2014 Literature Abstract America Today, exh. cat., Saatchi Gallery, London, 2014, n.p. (illustrated)

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167. Tim Gardner

b. 1973

Untitled (Clouds III), 2006 watercolor on paper 5 1⁄4 x 9 in. (13.3 x 22.9 cm) Estimate $5,000-7,000 Provenance Modern Art, London

168. Brad Kahlhamer

b. 1956

Frank #5, 1998 graphite, ink, watercolor on paper 7 1⁄2 x 5 3⁄4 in. (19.1 x 14.6 cm) Signed “Kahlhamer” upper left, further titled “Frank #5” lower left. Estimate $3,000-4,000 Provenance Produced for the Guggenheim Artist’s Ball Auction, 2007 Acquired from the above by the present owner

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169. Kehinde Wiley

b. 1977

St. John the Baptist (after Francesco del Cossa’s San Petronio Altarpiece), 2005 graphite, gouache on paper 62 3⁄4 x 48 5⁄8 in. (159.4 x 123.5 cm) Signed and dated “Kehinde Wiley 05” lower right. Estimate $15,000-20,000

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Provenance Conner Contemporary Art, Washington D.C. Private Collection Christie’s, New York, First Open Post-War and Contemporary Art, March 11, 2010, lot 77 Acquired at the above sale by the present owner Exhibited Washington D.C., Conner Contemporary Art, White, May 7 - June 11, 2005

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170. Jacob Kassay

b. 1984

Untitled, 2010 pencil, silver tape on paper, in 2 parts each 11 x 14 in. (27.9 x 35.6 cm) Signed, inscribed and dated “1.43 Kassay 10” and “1.44 Kassay 10” on the reverse of each element respectively. Estimate $5,000-7,000 Provenance Eleven Rivington, New York

Sold To Benefit Artadia: The Fund For Art & Dialogue

171. Kerstin Brätsch

b. 1969

She’s Back, 2010 spray paint on newsprint, in artist’s Plexiglas frame with metal industrial clamps 25 x 16 1⁄2 x 2 1⁄2 in. (63.5 x 41.9 x 6.4 cm) Estimate $3,000-4,000 Provenance Andrew Kreps Gallery, New York

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172. Aaron Young

b. 1972

SS-5, 2010 burnt rubber on brass panel, diptych each 96 1⁄4 x 39 1⁄2 in. (244.5 x 100.3 cm) Titled “SS-5” on the reverse. Estimate $30,000-40,000 Provenance Private Collection

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173. Paul Kopkau Untitled, n.d. watercolor, ink, paper collage on paper 30 x 22 1⁄4 in. (76.2 x 56.5 cm) Signed “Paul Kopkau” on the reverse. Estimate $3,000-5,000 Provenance Private Collection

174. Danica Phelps

b. 1971

December 2003, 2003 watercolor on recycled currency 11 3⁄4 x 11 in. (29.8 x 27.9 cm.) Inscribed and dated “December 2003 +$7,340.00 / -$4,304.00” along the lower margin. Estimate $3,000-5,000 Provenance Zach Feuer Gallery, New York Acquired from the above by the present owner

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175. Cyprien Gaillard

b. 1980

Field of Rest, 2011 Polaroid, silkscreen in artist’s aluminum frame each 28 3⁄8 x 40 1⁄8 in. (72.1 x 101.9 cm) Each work is unique. Estimate $10,000-15,000 Provenance Galerie Bugada & Cargnel, Paris

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176. Marcel Dzama

b. 1974

Two works: Untitled, 2006 ink, watercolor on paper 14 x 11 in. (35.6 x 27.9 cm) (i) Signed “Marcel Dzama” lower right; further dated “2006 Aug” on the reverse. (ii) Initialed and dated “2006 MD” on the reverse. Estimate $3,000-5,000 Provenance David Zwirner, New York

i)

ii)

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177. Hiroshi Sugito

b. 1970

Untitled, 1997 acrylic and graphite on canvas 8 x 10 in. (20.3 x 25.4 cm) Signed and dated “HIROSHI SUGITO 1997” on the reverse. Estimate $5,000-7,000 Provenance Arndt & Partners, Berlin

178. Avner Ben-Gal

b. 1966

Orthodox tune, 2006 acrylic, marker on paper 27 1⁄2 x 39 1⁄4 in. (69.9 x 99.7 cm) Signed and dated “Avner Ben-Gal 2006” on the reverse. Estimate $3,000-4,000 Provenance Bortolami Dayan, New York

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179. Nedko Solakov

b. 1957

Two works: (i) Insignificant Stories #12; (ii) Insignificant Stories #16, 2002 ink, gouache on paper (i) 7 1⁄2 x 11 1⁄2 in. (19.1 x 29.2 cm) (ii) 7 1⁄2 x 11 1⁄2 in. (19.1 x 29.2 cm) (i) Signed in Cyrillic and dated “СОЛАКОВ 2001” lower right; further titled “From ‘Insignificant Stories 12’” upper right. (ii) Signed in Cyrillic and dated “СОЛАКОВ 2001” lower right, further titled “From ‘Insignificant Stories 16’” upper right. Estimate $4,000-6,000 Provenance Arndt & Partners, Berlin

i)

ii)

180. Ilya Kabakov

i)

ii)

b. 1933

Four works: Untitled, 1994 -1995 ink, colored pencill on paper, in 4 parts (i) sheet 8 1⁄4 x 11 3⁄4 in. (21 x 29.8 cm) frame 10 7⁄8 x 14 1⁄2 in. (27.6 x 36.8 cm) (ii) sheet 8 1⁄4 x 11 1⁄8 in. (21 x 28.3 cm) frame 10 7⁄8 x 13 7⁄8 in. (27.6 x 35.2 cm) (iii) sheet 7 1⁄8 x 10 3⁄8 in. (18.1 x 26.4 cm) frame 9 7⁄8 x 13 1⁄8 in. (25.1 x 33.3 cm) (iv) sheet 7 1⁄8 x 10 3⁄8 in. (18.1 x 26.4 cm) frame 9 7⁄8 x 13 1⁄8 in. (25.1 x 33.3 cm) (i),(ii) Signed and dated “I. Kabakov 95” lower right. (iii) Signed, titled and dated “[illegible text/ title] I. Kabakov 94” lower surface edge. (iv) Signed and dated “I. Kabakov 94” lower right. Estimate $6,000-8,000 Provenance Private Collection

iii)

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iv)

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i)

ii)

181. Karl Haendel

b. 1976

The Plebian Group: (i) Headlines #7; (ii) Abstract (fuzzy diagonal #3) [Negative]; (iii) Trapeze #2, 2007, in 3 parts (i) graphite on paper (ii) unique chromogenic print (iii) graphite on paper (i) 45 x 67 1⁄2 in. (114.3 x 171.5 cm) (ii) 36 3⁄4 x 44 3⁄4 in. (93.3 x 113.7 cm) (iii) 30 1⁄4 x 22 3⁄4 in. (76.8 x 57.8 cm) (i) Signed, titled and dated “Headlines #7, 07 Haendel 2007” on the reverse. (ii) Signed, titled and dated “Abstract (fuzzy diagonal #3) [Negative], 07 Haendel 2007” on the reverse. (iii) Signed, titled and dated “Haendel 2007 Trapeze #2” on the reverse.

iii)

Estimate $6,000-8,000 Provenance Anna Helwing Gallery, Los Angeles Acquired from the above by the present owner

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182. Pae White

b. 1963

Web #11, 2005 spiderweb, silkscreen ink on paper 17 1⁄2 x 16 1⁄8 in. (44.5 x 41 cm) Estimate $5,000-7,000 Provenance greengrassi, London

183. Guillem Nadal Untitled, 1993 oil, metal and paper on canvas 13 x 16 1⁄4 in. (33 x 41.3 cm) Signed, titled, numbered and dated “GUILLEM NADAL ‘S.T.’ 1993 No 3” on the reverse. Estimate $5,000-7,000 Provenance Gallery Reckermann, Berlin

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184. G.B. Trudeau

b. 1948

Doonesbury, 1994 pencil, India ink, color correcting fluid on Arches paper 16 x 23 in. (40.6 x 58.4 cm) Signed “GB Trudeau” on a collaged element lower center. This work is unique. Estimate $20,000-25,000 Provenance Spike Gallery, New York Private Collection, New York

185. Huang Yong Ping

b. 1954

Best Before 1 July 1997 (Mini Caramel Eggs), 1997 gelatin silver print, string, wax 30 x 33 1⁄2 in. (76.2 x 85.1 cm) Signed in Chinese characters and dated “1997” upper right. Estimate $6,000-8,000 Provenance Art & Public, Geneva Private Collection Phillips de Pury & Company, New York, Contemporary Art Part II, November 17, 2006, lot 295 Acquired at the above sale by the present owner

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186. Piotr Uklański

b. 1968

Untitled (Starlit Water), 1997 chromogenic print 35 x 27 1⁄8 in. (88.9 x 68.9 cm) Signed, inscribed, numbered and dated “Uklański, ’97 2/5 ‘UNTITLED’ STARLIT SKY.” on the reverse. This work is artist’s proof 1 from an edition of 5 plus 1 printer’s proof. Estimate $20,000-30,000 Provenance Gavin Brown’s Enterprise, New York Galerie Voges + Deisen, Frankfurt Phillips, New York, Contemporary Art Day, November 12, 2013, lot 136 Acquired at the above sale by the present owner

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Exhibited Frankfurt, Galerie Voges + Deisen, Joy of Photography, October 23, 1997 - January 29, 1998 Basel, Kunsthalle Basel, Piotr Uklański, June 17 - August 22, 2004 (another example exhibited) Venice, Venice Biennale, Dreams and Conflicts, the Dictatorship of the Viewer: 50th International Art Exhibition, June 15 - November 2, 2003 (another example exhibited Literature P. Uklański and R. Biuro, eds., Piotr Uklański: Earth, Wind and Fire, Ostfildern: Hatje Cantz Verlag, 2004, p. 203 (illustrated)

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187. Marilyn Minter

b. 1948

Deluge, 2011 chromogenic print, face mounted to Plexiglas, mounted on metal, in artist’s wood frame 86 x 60 in. (218.4 x 152.4 cm) Signed “M. Minter” on a label affixed to the reverse of the mount. This work is number 2 from an edition of 3 plus 2 artist’s proofs. Estimate $20,000-30,000 Provenance Salon 94, New York

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188. Vik Muniz

b. 1961

The Origin of the World, after Courbet (from Pictures of Soil), 1999 gelatin silver print, in artist’s frame image 46 x 57 1⁄2 in. (116.8 x 146.1 cm) frame 56 1⁄2 x 68 1⁄4 in. (143.5 x 173.4 cm) This work is from an edition of 10.

Exhibited Santiago de Composetela, Centro Galego de Arte Contemporánea, Vik Muniz, December 18, 2003 - March 7, 2004, then traveled to Dublin, Irish Museum of Modern Art (March 31 - June 13, 2004), Madrid, Fundación Telefónica (November 17, 2004 - January 9, 2005) (another example exhibited)

Estimate $20,000-30,000

Literature Vik Muniz, exh. cat., Centro Galego de Arte Contemporánea, 2003, p. 129 (illustrated) P. Corrêa do Lago, Vik Muniz, Obra Completa, 1987 - 2009, 2009, p. 284 (illustrated)

Provenance Private Collection

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189. Vik Muniz

b. 1961

The Kiss (from Pictures of Junk), 2010 chromogenic print, in artist’s frame 43 1⁄2 x 54 in. (110.5 x 137.2 cm) Signed and dated “Vik Muniz 2010” on a label affixed to the reverse of the mount. This work is artist’s proof 2 from an edition of 6 plus 4 artist’s proofs. Estimate $30,000-40,000 Provenance Sikkema Jenkins & Co., New York

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190. Sharon Lockhart

b. 1964

Mike Dicky, Tinsmith, 2008 chromogenic prints, in 2 parts sheet 24 x 36 in. (61 x 91.4 cm) frame 24 3⁄4 x 36 3⁄4 in. (62.9 x 93.3 cm) Signed, titled and dated “Sharon Lockhart 2/6 2008” on a label affixed to the reverse of the first element. This work is number 2 from an edition of 6 plus 2 artist’s proofs. Estimate $10,000-15,000 Provenance Gladstone Gallery, New York Exhibited Los Angeles, Blum & Poe, Sharon Lockhart: Lunch Break, November 21, 2009 - January 9, 2010 (another example exhibited) New York, Gladstone Gallery, Sharon Lockhart, December 11, 2009 - January 30, 2010 (another example exhibited) St. Louis, Mildred Lane Kemper Art Museum at the Sam Fox School of Design & Visual Arts at Washington University, Sharon Lockhart: Lunch Break, February 5 - April 19, 2010, then travelled to Waterville, Colby College Museum of Art (July 10 - October 17, 2010), San Francisco, San Francisco Museum of Modern Art (May 21 -September 6, 2011) (another example exhibited) Milan, GioMarconi, Lunch Break, February 3 - March 26, 2011 (another example exhibited) Literature J.E. Neidhardt (ed.), Sharon Lockhart - Lunch Break, exh. cat., Mildred Lane Kemper Art Museum, St. Louis, 2010, pp. 66-67 (illustrated)

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i)

191. Purple Portfolio: Richard Prince, Jack Pierson, Richard Kern, Terry Richardson and Juergen Teller

ii)

b. 1964, b. 1954, b. 1960, b. 1965 and b. 1949 Five works: i) Hannah C; ii) Portrait of Brad Pitt; iii) Lara’s Panties; iv) Service Please; v) Pasolini’s Dog, all , 2008 chromogenic prints, in a stamped cloth-covered portfolio (i, ii, iii) 20 x 16 in. (50.8 x 40.6 cm) (iv, v) 16 x 20 in. (40.6 x 50.8 cm) i) Signed, numbered and dated “Prince 2008 1/10” on the reverse. ii) Signed, titled, numbered and dated “1/10 BRAD PITT, 1999 JACK PIERSON - 2008” on the reverse. iii) Signed, titled, numbered and dated “LARA’S PANTIES Richard Kern 1/10 1997” on the reverse. iv) Signed and numbered “Terry Richardson 1/10” on the reverse. v) Signed and numbered “Juergen Teller 1/10” on the reverse. This portfolio is number 1 from an edition of 10 plus 5 artist’s proofs. Estimate $12,000-18,000 iii)

Provenance John McWhinnie @ Glenn Horowitz Bookseller, New York

iv)

v)

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192. Vanessa Beecroft

b. 1969

vb35.377 Performance, Solomon R. Guggenheim Museum, NY - USA, 1998 chromogenic print image 16 3⁄4 x 22 7⁄8 in. (42.5 x 58.1 cm) sheet 20 x 24 in. (50.8 x 61 cm) Initialed “VB” on a label affixed to the reverse of the frame; further signed and numbered “Mario Sorrenti 7/10” by the photographer. This work is number 7 from an edition of 10. Estimate $6,000-8,000 Provenance Yvonne Force Inc., New York Turner & Runyon, Dallas

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193. Robin Rhode

b. 1976

Bench Press, 2001 chromogenic prints face-mounted to Plexiglas on aluminum, in 9 parts each 8 x 10 1⠄2 in. (20.3 x 26.7 cm) This work is numbered 3 from an edition of 3 plus 2 artist’s proofs. Estimate $25,000-35,000 Provenance Carlier Gebauer, Berlin Perry Rubenstein Gallery, Los Angeles

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194. Jeff Wall

b. 1946

Passenger, 2008 inkjet print image 10 1⁄2 x 7 3⁄4 in. (26.7 x 19.7 cm) sheet 19 x 13 in. (48.3 x 33 cm) Signed, numbered and dated “Jeff Wall 08 13/50” on the reverse. This work is number 13 from an edition of 50 plus 12 artist’s proofs. Estimate $4,000-6,000 Provenance Ink Tree Editions, Uster

195. Katy Grannan

b. 1969

Michael and Evan, Redhook NY, 2003 silver gelatin print image 20 1⁄4 x 16 in. (51.4 x 40.6 cm) sheet 20 3⁄4 x 16 1⁄2 in. (52.7 x 41.9 cm) Signed and dated “Katy Grannan 2003” on a label affixed to the reverse. This work is number 1 from an edition of 6. Estimate $3,000-5,000 Provenance Artemis Greenberg Van Doren Gallery, New York

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196. Dan Graham

b. 1942

Two works: (i) ‘Neo-Colonial’ Style Warehouse, Westfield, N.J., 1979; (ii) World War II Housing Project, Vancouver, Canada, 1979 2 chromogenic prints, mounted on board (i) 8 7⁄ 7 x 13 7⁄8 in. (22.9 x 35.2 cm) (ii) 10 5⁄8 x 14 3⁄4 in. (27 x 37.5 cm) overall 20 1⁄4 x 14 3⁄4 in. (51.4 x 37.5 cm) Signed, titled and dated “Top: ‘Neo-Colonial’ Style Warehouse, Westfield, N.J. 1979 Bottom: World War II Housing Project, Vancouver, Canada 1979 Dan Graham” along the lower edge. Estimate $8,000-12,000 Provenance Galerie Pierre Huber, Geneva

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197. Andy Warhol

1928-1987

Torso, 1977 polaroid 4 1⁄4 x 3 3⁄8 in. (10.8 x 8.6 cm) Stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc. and numbered “FA 16.01713” on the reverse. Estimate $5,000-7,000 Provenance Salon 94, New York

198. Vik Muniz

b. 1961

Study for Mao, 1999 gelatin silver print, in artist’s frame sheet 20 x 16 in. (50.8 x 40.6 cm) frame 29 1⁄4 x 25 in. (74.3 x 63.5 cm) Signed, titled, numbered and dated “‘Study for MAO’ After Andy Warhol Vik Muniz 1999 3/10” on the reverse of the sheet. This work is number 3 from an edition of 10 plus 5 artist’s proofs. Estimate $8,000-12,000 Provenance Brent Sikkema, New York Literature V. Muniz and P. Corrêa do Lago, Vik Muniz: Complete Works, 1987-2009: Catalogue Raisonné, Rio de Janeiro, 2009, p. 473 (illustrated)

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199. Arnold Odermatt

b. 1925

Three works: (i) Heigisweil, 1972; (ii) Heigisweil, 1964; (iii) Oberdorf, 1964 (i), (ii) black and white photograph (iii) chromogenic print (i) 11 5⁄8 x 11 5⁄8 in. (29.5 x 29.5 cm) (ii) 11 5⁄8 x 14 5⁄8 in. (29.5 x 37.1 cm) (iii) 19 5⁄8 x 19 5⁄8 in. (49.8 x 49.8 cm) (i) Signed, titled, numbered and dated “Arnold Odermatt Heigisweil, 1972 3/8” on the reverse. This work is number 3 from an edition of 8. (ii) Signed, titled, numbered and dated “Arnold Odermatt Heigisweil 1964 8/8” on the reverse. This work is number 8 from an edition of 8. (iii) This work is number 12 from an edition of 15. Estimate $8,000-12,000 Provenance Paul Morris Gallery, New York

200. Valérie Belin

b. 1964

Série Mannequins (Sans Titre 03 01 04 05), 2003 gelatin silver print, in artist’s frame sheet 61 x 49 1⁄4 in. (154.9 x 125.1 cm) frame 63 1⁄4 x 50 5⁄8 in. (160.7 x 128.6 cm) Signed and dated “Valérie Belin 01/01/2003” on a label affixed to the reverse of the mount. This work is artist’s proof 2 from an edition of 3 plus 2 artist’s proofs. Estimate $8,000-12,000 Provenance Galerie Xippas, Paris Exhibited Salem, Peabody Essex Museum, Valérie Belin: Made Up, October 17, 2009 - April 4, 2010 (another example exhibited) Paris, Maison Européenne de La Photographie, Valérie Belin: Photographies, 1996 - 2006, April 9 - June 8, 2008 (another example exhibited) Salamanca, Domus Artium 2002, Valérie Belin: Fotografías 1997 - 2004, August 11 - October 3, 2004 (another example exhibited) Donostia-San Sebastian, Koldo Mitxelena Kulturunea, Valérie Belin, October 28, 2003, - January 17, 2004 (another example exhibited)

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201. Gavin Bond

b. 1970

Backstage: Volume I (Pom Poms), 2007 chromogenic print, Diasec mounted 60 x 40 in. (152.4 x 101.6 cm) This work is artist’s proof 1 from an edition of 1 plus 1 artist’s proof. Estimate $7,000-9,000 Provenance Guy Hepner, Los Angeles

202. Tracy Rose

b. 1974

Maqe II, 2001 Lambda print 47 3⁄4 x 47 3⁄4 in. (121.3 x 121.3 cm) This work is number 4 from an edition of 6. Estimate $2,000-3,000 Provenance The Project, New York Yoshii Gallery, New York Phillips de Pury & Company, New York, Under The Influence, March 14, 2006, lot 238 Turner & Runyon, Dallas

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203. David LaChapelle

b. 1963

Leonardo DiCaprio: Coming of Age, 1995 chromogenic print, mounted on Plexiglas, in artist’s frame image 17 1⁄4 x 23 1⁄4 in. (43.8 x 59.1 cm) frame 20 x 25 3⁄4 in. (50.8 x 65.4 cm) Signed “David LaChapelle” on a label affixed to the reverse. This work is number 1 from an edition of 10. Estimate $6,000-8,000 Provenance Tony Shafrazi Gallery, New York

204. David LaChapelle

b. 1963

Drew Barrymore: A Waitress, 1995 chromogenic print, mounted on Plexiglas, in artist’s frame image 23 1⁄4 x 17 1⁄8 in. (59.1 x 43.5 cm) frame 25 3⁄4 x 19 3⁄4 in. (65.4 x 50.2 cm) Signed “David LaChapelle” on a label affixed to the reverse of the mount. This work is number 4 from an edition of 25. Estimate $6,000-8,000 Provenance Tony Shafrazi Gallery, New York

205. David LaChapelle

b. 1963

Maidenform, 2006 chromogenic print, mounted to Plexiglas, in artist’s frame image 17 3⁄8 x 23 1⁄4 in. (44.1 x 59.1 cm) frame 20 x 25 3⁄4 in. (50.8 x 65.4 cm) Signed “David LaChapelle” on a label affixed to the reverse of the mount. This work is number 5 from an edition of 10. Estimate $6,000-8,000 Provenance Tony Shafrazi Gallery, New York

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206. Stuart Hawkins

b. 1969

Untitled (from Deluxe series), 2008 chromogenic print 45 3⁄4 x 55 3⁄8 in. (116.2 x 140.7 cm) Signed “Stuart Hawkins” on a label affixed to the reverse. This work is number 2 from an edition of 3. Estimate $2,000-3,000 Provenance Zach Feuer Gallery, New York Exhibited New York, Zach Feuer Gallery, Stuart Hawkins: Deluxe, May 8 - June 7, 2008

207. Stuart Hawkins

b. 1969

Untitled (from Deluxe series), 2008 chromogenic print 60 x 30 in. (152.4 x 76.2 cm) Signed “Stuart Hawkins” on a label affixed to the reverse. This work is number 1 from an edition of 3. Estimate $2,000-3,000 Provenance Zach Feuer Gallery, New York Exhibited New York, Zach Feuer Gallery, Stuart Hawkins: Deluxe, May 8 - June 7, 2008 (another example exhibited)

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208. Shinique Smith

b. 1972

Untitled (Rodeo Beach Bundle), 2007 chromogenic print 40 x 30 in. (101.6 x 76.2 cm) This work is from an edition of 5. Estimate $2,000-3,000 Provenance Private Collection Exhibited North Miami, Museum of Contemporary Art, Shinique Smith: Menagerie, September 16 - November 19, 2010, then traveled to Madison, Madison Museum of Contemporary Art (January 22 - May 8, 2011) (another example exhibited)

This Lot Is Sold With No Reserve

209. Noriko Furunishi

b. 1966

Untitled (Crater), 2005 chromogenic print 82 1⁄2 x 48 in. (209.6 x 121.9 cm) Signed “Noriko Furunishi” on a label affixed to the reverse. This work is number 4 from an edition of 5. Another example from this edition is in the permanent collection of the San Francisco Museum of Modern Art, San Francisco, and in the permanent collection of the Palm Springs Art Museum, Palm Springs. Estimate $3,000-5,000

Provenance Murray Guy Gallery, New York Exhibited New York, Murray Guy Gallery, Landscapes, September 16 - October 15, 2005 Ketchum, Idaho, Sun Valley Center for the Arts, Whose Nature? What’s Nature?, October 27, 2006 - January 5, 2007 (another example exhibited) Palm Springs, Palm Springs Art Museum, Distinct Impressions: Photographs from the Permanent Collection, February 6 - December 12, 2007 (another example exhibited) San Francisco, San Francisco Museum of Modern Art, Picturing Modernity: The Photography Collection, May 12 - December 31, 2007 (another example exhibited) Minneapolis, Institute of the Arts, New Pictures: Noriko Furunishi, September 18, 2009 - January 30, 2010 (another example exhibited) Boca Raton, Florida Atlantic University, Schmidt Center Gallery, Altarations: Built, Blended, Processed, November 21, 2014 - February 28, 2015, then traveled to Boca Raton, Florida Atlantic University, Ritter Art Gallery, January 15 - February 28, 2015 (another example exhibited)

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210. James Welling

b. 1951

0467, 2008 chromogenic print image 9 x 13 1⁄2 in. (22.9 x 34.3 cm) sheet 11 x 17 in. (27.9 x 43.2 cm) Signed, numbered and dated “James Welling 2009 25/25” on the reverse. This work is number 25 from an edition of 25. Estimate $5,000-7,000 Provenance Glass House Editions, New Canaan Exhibited New York, David Zwirner, James Welling: Glass House, March 24 - April 24, 2010 (another example exhibited) Literature A. Ou, “James Welling: 500 Words”, Artforum, January 26, 2010 (illustrated)

211. James Welling

b. 1951

0469, 2009 chromogenic print image 9 x 13 1⁄2 in. (22.9 x 34.3 cm) sheet 11 x 17 in. (27.9 x 43.2 cm) Signed, numbered and dated “James Welling 2009, 20/25” on the reverse. This work is number 20 from an edition of 25. Estimate $5,000-7,000 Provenance Glass House Editions, New Canaan Exhibited Los Angeles, Regen Projects, James Welling: Glass House, January 25 - March 5, 2010 (another example exhibited) New York, David Zwirner, James Welling: Glass House, March 24 - April 24, 2010 (another example exhibited) Cincinnati, Cincinnati Art Museum, James Welling: Monograph, February 2 - May 5, 2013, then traveled to Los Angeles, Hammer Museum (September 29, 2013 - January 12, 2014) (another example exhibited)

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212. Stephen G. Rhodes

b. 1977

Excerpt (Castle Drapery), 2006 chromogenic print, spray paint, in artist’s frame 24 x 30 in. (61 x 76.2 cm) Signed “Stephen Rhodes” on a label affixed to the reverse of the frame. This work is number 4 from an edition of 5 plus 2 artist’s proofs. Estimate $4,000-6,000 Provenance Guild & Greyshkul, New York

213. Marnie Weber

b. 1959

External Friends, 2005 chromogenic print with collage 40 x 50 in. (101.6 x 127 cm) Signed, titled and dated “Marnie Weber ‘External Friends’ 2005” on the reverse. Estimate $5,000-7,000 Provenance Rosamund Felsen Gallery, Santa Monica

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214. Anthony Pearson

b. 1969

Untitled (Tablet), 2012 bronze with silver nitrate patina 12 1⁄4 x 6 1⁄8 x 2 1⁄8 in. (31.1 x 15.6 x 5.4 cm) Estimate $5,000-7,000 Provenance Marianne Boesky Gallery, New York

215. James Welling

b. 1951

Dickinson, 2006 chromogenic print image 31 1⁄2 x 25 in. (80 x 63.5 cm) frame 40 1⁄4 x 33 1⁄2 in. (102.2 x 85.1 cm) This work is number 1 from an edition of 5. Estimate $2,000-3,000 Provenance David Zwirner, New York Exhibited New York, David Zwirner, James Welling, March 21 - May 5, 2007 London, Maureen Paley, James Welling, April 19 - May 20, 2007 (another example exhibited) Los Angeles, Regen Projects, James Welling, February 29 - April 4, 2008 (another example exhibited)

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216. Hannah Collins Open and Revolving, 1987 black and white photo mounted on canvas 63 x 120 in. (160 x 304.8 cm) Estimate $5,000-7,000 Provenance Private Collection

217. Tigran Tsitoghdzyan

b. 1976

White Mirror II, 2014 oil on canvas 75 x 50 in. (190.5 x 127 cm) Signed, titled and dated “Tigran Tsitoghdzyan White Mirror II 2014� on the reverse. Estimate $30,000-40,000 Provenance Private Collection

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218. Ryan McGinness

b. 1972

Untitled, 2003 silkscreen on panel 15 x 15 in. (38.1 x 38.1 cm) Signed and dated “Ryan McGinness 2003” on the reverse. Estimate $6,000-8,000 Provenance 222 Gallery, Philadelphia

219. Matthias Meyer

b. 1969

Rig, 2006 oil on canvas 78 3⁄4 x 63 in. (200 x 160 cm) Signed, titled and dated “Matthias Meyer Rig 2006” on the reverse. Estimate $8,000-12,000 Provenance Galerie Andreas Binder, Munich

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220. Moon Beom

b. 1955

Slow, Same #261, 1996 pigment, oil on linen, lead, varnish 27 3⁄4 x 67 x 8 in. (70.5 x 170.2 x 20.3 cm) Signed, titled and dated “MOON BEOM SLOW, SAME. #261 1996” on the reverse; further signed and dated “MOON BEOM 1996” on the reverse lower panel. Estimate $20,000-30,000 Provenance Generous Miracles Gallery, NY

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221. Stanley Casselman

b. 1963

IR-31-2, 2013 acrylic on canvas 79 x 63 in. (200.7 x 160 cm) Signed, titled and dated “Stanley Casselman ‘IR-31-2’ 2013” on the reverse. Estimate $25,000-35,000 Provenance Scott White Contemporary Art, San Diego Private Collection

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222. Jason Martin

b. 1970

Tzion, 2011 pure pigment on panel 26 x 22 x 5 in. (66 x 55.9 x 12.7 cm) Estimate $20,000-25,000 Provenance L.A. Louver, Venice Gallery Art, Aventura Exhibited Venice, L.A. Louver, Jason Martin: Near by Far, July 21 August 27, 2011

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223. Koen van den Broek

b. 1973

Garage, 2002 oil on canvas 68 1⁄2 x 66 3⁄4 in. (174 x 169.5 cm) Signed, titled and dated “‘Garage’ Koen van den Broek 2002” on the reverse.

Provenance White Cube, London Exhibited London, White Cube, Koen van den Broek, Threshold, December 11, 2003 – January 17, 20

Estimate $15,000-20,000

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224. Marius Bercea

b. 1979

Perfume, Pollen and Hysteria, 2010 oil on canvas 39 1⁄2 x 57 1⁄2 in. (100.3 x 146.1 cm) Signed, titled and dated “‘Perfume, pollen, hysteria’ M Bercea 2010” on the reverse.

Provenance François Ghebaly Gallery, Los Angeles Exhibited Los Angeles, François Ghebaly Gallery, Qui Vivra Verra, September 18 - October 30, 201

Estimate $18,000-22,000

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This Lot Is Sold With No Reserve

225. Sophie von Hellermann

b. 1975

Wittgenstein, 2007 acrylic on canvas 50 x 35 1⁄2 in. (127 x 90.2 cm) Signed and dated “Sophie von Hellerman 2007” on the reverse. Estimate $2,000-4,000

Provenance Vilma Gold, London

226. Varda Caivano

b. 1971

Two works: (i) Untitled, 2005 (ii) Untitled, 2007 (i) acrylic on canvas, (ii) oil, mixed media on unprimed canvas (i) 11 3⁄4 x 15 3⁄4 in. (29.8 x 40 cm) (ii) 14 x 18 in. (35.6 x 45.7 cm) (i) Signed and dated “VARDA 2005” on the reverse. Estimate $4,000-6,000 Provenance (i) Victoria Miro Gallery, London (ii) Thomas Dane Gallery, London Exhibited (ii) London, Thomas Dane Gallery, Very Abstract and Hyper Figurative, March 15 - April 14, 2000

i)

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ii)

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227. Lester Johnson

b. 1919

Silver Beach 2, 1972 oil on canvas 68 x 68 in. (172.7 x 172.7 cm) Signed and dated “Lester Johnson 72” lower right. Estimate $10,000-15,000 Provenance Martha Jackson Gallery, New York

228. Sandra Scolnik

b. 1968

Untitled, 2000 oil on panel 5 3⁄4 x 9 1⁄4 in. (14.6 x 23.5 cm) Signed and dated “Sandra Scolnik 2000” on the reverse. Estimate $3,000-5,000 Provenance CRG Gallery, New York

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This Lot Is Sold With No Reserve

229. Kiki Lamers

b. 1964

Happy Girl, 2001 oil on canvas 47 1⁄4 x 39 1⁄4 in. (120 x 99.7 cm) Signed and dated “Kiki Lamers 2001” on the reverse. Estimate $5,000-7,000

Provenance Annet Gelink Gallery, Amsterdam Literature D. Cameron and A. Tilroe, Kiki Lamers: Tender Age, Artimo Foundation, Amsterdam, 2002, n.p. (illustrated)

230. Jeff Sonhouse

b. 1968

Infinite, 2013 acrylic, spray paint, paper collage on paper 17 1⁄2 x 12 in. (44.5 x 30.5 cm) Signed, titled and dated “‘Infinite’ Jeff Sonhouse 2013” on the reverse. Estimate $4,000-6,000 Provenance Jack Tilton Gallery, New York

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231. Natalie Frank

b. 1980

Study for One Train May Hide Another, 2006 gouache, pastel on paper 22 1⁄2 x 14 1⁄2 in. (57.2 x 36.8 cm) Signed, titled and dated “Natalie Frank Study for One Train May Hide Another” on the reverse. Estimate $6,000-8,000 Provenance Mitchell-Innes & Nash, New York

232. Alison Elizabeth Taylor

b. 1973

5:17, 2007 marquetry, shellac 36 x 28 in. (91.4 x 71.1 cm) Estimate $2,000-3,000 Provenance James Cohan Gallery, New York

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233. Ester Partegàs

b. 1972

Barricades (Tourists of our own Existence), 2006 enamel, acrylic on Mylar and vinyl, paper 95 x 52 in. (241.3 x 132.1 cm) Estimate $4,000-6,000 Provenance Foxy Production, New York

234. Gavin Turk

b. 1967

Divine Insulation, 2003 painted bronze, ink 3 3⁄8 x 2 7⁄8 x 2 7⁄8 in. (8.6 x 7.3 x 7.3 cm) Signed, titled and dated “‘Divine Insulation’ Gavin Turk 2003” on the underside. Estimate $7,000-9,000 Provenance Sean Kelly Gallery, New York

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235. Jessica Stockholder

b. 1959

Multiple Products, 1995 galvanized metal, plastic, yarn and paper mâché 44 3⁄4 x 25 1⁄2 x 24 in. (113.7 x 64.8 x 61 cm) This work is from an edition of 15. Estimate $5,000-7,000 Provenance Private Collection, New York

236. Shinique Smith

b. 1972

Enchanted Place, 2007 fabric, string, pillows, foam, rug, lace, plaster swan 50 x 34 x 24 in. (127 x 86.4 x 61 cm) Estimate $5,000-7,000 Provenance Private Collection

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237. Elmgreen & Dragset

b. 1961 / 1969

Tanya! Tanya! Tanya!, 2004 wood, paint, wax, human hair, clothing, shoes, Styrofoam packing peanuts 52 1⁄2 x 24 3⁄4 x 40 1⁄2 in. (133.4 x 62.9 x 102.9 cm) This work is number 2 from an edition of 3. Estimate $20,000-30,000 Provenance Tanya Bonakdar Gallery, New York

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238. Bertrand Lavier

b. 1949

Indesit, 1986 oil, acrylic on refrigerator 49 x 22 x 25 in. (124.5 x 55.9 x 63.5 cm) Estimate $15,000-20,000 Provenance Private Collection

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239. Saint Clair Cemin

b. 1951

Guarded Closet, 1987 oak, aluminum, pine 45 1â „2 x 25 x 25 in. (115.6 x 63.5 x 63.5 cm) This work is unique. Estimate $10,000-15,000 Provenance Private Collection

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240. Bill Woodrow Round the Kitchen Table, 1987 wooden table, 3 metal lockers, enamel 107 x 69 x 69 in. (271.8 x 175.3 x 175.3 cm) Estimate $20,000-30,000 Provenance Lisson Gallery, London Exhibited London, Lisson Gallery, Bill Woodrow, May 27 June 20, 1987

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241. Ryan McGinness

b. 1972

Button Dress, 2007 various buttons printed with archival ink on paper pinned to a silk Chloé dres 35 x 22 in. (88.9 x 55.9 cm) Signed and dated “Ryan McGinness 2007” on the reverse. This work is unique. Estimate $6,000-8,000 Provenance Produced for the Guggenheim Artist’s Ball Auction, 2007 Acquired from the above by the present owner

242. Alan Rath

b. 1959

Little Running Man, 2001 glass, aluminum, PVC, rubber, custom electronics, software and LCD monitor 11 1⁄2 x 6 x 6 in. (29.2 x 15.2 x 15.2 cm) Signed, titled, numbered and dated “Little Running Man 4/5 © Rath 2001” on the underside. This work is numbered 4 from an edition of 5. Estimate $5,000-7,000 Provenance David Breskin, San Francisco

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243. Jeff Koons

b. 1955

Balloon Dog (Red), 1995 porcelain with metallic glaze 10 1⁄4 x 10 1⁄4 in. (26 x 26 cm) Numbered “1535/2300” on the underside, published by the Museum of Contemporary Art, Los Angeles. This work is number 1535 from an edition of 2300 and is accompanied by the original plastic stand. Estimate $8,000-12,000 Provenance Published by the Museum of Contemporary Art, Los Angeles

244. James Hopkins Melting Mickey, 2006 colored acrylic 18 1⁄4 x 29 3⁄4 x 29 3⁄4 in. (46.4 x 75.6 x 75.6 cm) Estimate $3,000-5,000 Provenance Max Wigram Gallery, London

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245. Kristin Baker

b. 1975

Dirty Orange Cone #11, 2005 acrylic, mixed media on mylar 66 1⁄2 x 54 in. (168.9 x 137.2 cm) Signed “K BAKER 05” lower right. Estimate $10,000-15,000 Provenance ACME., Los Angeles Private Collection, New York Exhibited Los Angeles, ACME., Fall Out, March 19 - April 23, 2005

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246. David Reed

b. 1946

#371, 1997 oil, alkyd on panel 32 x 48 in. (81.3 x 121.9 cm) Signed, titled and dated “#371 1997 David Reed” on the reverse. Estimate $15,000-20,000 Provenance Galerie Rolf Ricke, Cologne

247. Jorge Pardo

b. 1963

Untitled Canvas #20, 2006 alkyd paint on canvas 8 1⁄4 x 10 1⁄2 in. (21 x 26.7 cm) Signed, titled and dated “Pardo 2006 20” on the reverse. Estimate $5,000-7,000 Provenance Galerie Neu, Berlin

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248. Julian Opie

b. 1958

U, 1988 glass, aluminum, stainless steel, foam, PVC, wood 34 1⁄4 x 44 3⁄4 x 9 1⁄2 in. (87 x 113.7 x 24.1 cm Estimate $10,000-15,000 Provenance Lisson Gallery, London

249. Matthew Day Jackson

b. 1974

From The Dymaxion Series: Bucky (ROY GBIV), 2007 intaglio, screenprint 23 1⁄2 x 17 1⁄2 in. (59.7 x 44.5 cm) Signed, titled, numbered and dated “21/35 BUCKY (ROY GBIV) MATTHEW DAY JACKSON 2009” on the reverse of the sheet, further numbered “Ed # 21/35” on the reverse of the mount. This work is number 21 from an edition of 35. Estimate $3,000-5,000 Provenance Peter Blum Gallery, New York

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250. Lisa Ruyter

b. 1968

International House, 2004 acrylic on canvas 48 x 48 in. (121.9 x 121.9 cm) Signed and dated “Lisa Ruyter 2004” on the reverse. Estimate $12,000-15,000 Provenance Galerie Thaddaeus Ropac, Paris

251. Peter Stauss

b. 1966

Performance, 1999 oil on canvas 98 1⁄2 x 78 3⁄4 in. (250.2 x 200 cm) Signed, titled and dated “Stauss 99 ‘Performance’” on the reverse. Estimate $8,000-12,000 Provenance Galerie Aurel Scheibler, Cologne

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252. Phil Frost

b. 1973

Folor Cuda Malsorals, 2006 mixed media on barn door 78 3⁄4 x 24 3⁄4 x 14 1⁄8 in. (200 x 62.9 x 35.9 cm) Signed, titled and dated “© FROST 2006 FOLOR CUDA MALSORALS” on the reverse Estimate $10,000-15,000 Provenance Elm Lester Gallery, London

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253. Domingo Zapata

b. 1974

Make Love Not War, 2011 acrylic, collage on canvas 72 x 48 in. (182.9 x 121.9 cm) Signed “D. Zapata� lower left. Estimate $8,000-12,000 Provenance Acquired directly from the artist by the present owner

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254. Retna

b. 1979

Untitled (La Virgen), 2000 mixed media on canvas 36 x 24 in. (91.4 x 61 cm) Estimate $10,000-15,000 Provenance Acquired directly from the artist Private Collection

255. Invader

b. 1969

Alias MIA_47, 2012 ceramic tiles on panel 12 1⁄4 x 16 3⁄4 in. (31.1 x 42.5 cm) Etch-tagged, titled and dated “MIA_47 2012” on the reverse of the mount. This work is accompanied by a photo-certificate of authenticity tagged and dated by the artist. Estimate $8,000-12,000 Provenance Jonathan LeVine Gallery, New York

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256. KAWS

b. 1974

Untitled (Jalouse), 1999 acrylic on existing advertising poster 68 x 48 in. (172.7 x 121.9 cm) Signed and dated “KAWS ‘99” lower right. Estimate $30,000-40,000

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Provenance Acquired directly from the artist by the present owner Literature I. Luna, KAWS, New York: Skira Rizzoli; Aldrich Contemporary Art Museum, 2010, pp. 9, 79 (illustrated)

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20.

Margo Wolowiec

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INDEX

Ajemian, L. 135

Gaillard, C. 175

Madani, T. 163

Sato, T. 55

Altman, H. 68

Gardner, T. 50, 167

Madison, T. 112

Schnabel, J. 92

Arcangel, C. 113

Gerrard, J. 57

Mahama, I. 8

Schulnik, A. 154

Arunanondchai, K. 9

Gissler, G. 44

Manning, M. 126

Scolnik, S. 228

Glasco, J. 69

Martin, J. 222

Scott-Douglas, H. 11, 17

Baker, K. 245

Goldby, M. 100

McCarthy, P. 145

Shapiro, J. 38

Bass, M. 1

Grabner, M. 115

McGinness, R. 218, 241

Sibony, G. 147

Bauer, M. 159

Graham, D. 196

Mehretu, J. 30, 97

Simmons, G. 87

Beasley, K. 18

Grannan, K. 195

Meyer, M. 219

Smalley, T. 109

Beck, R. 31, 32, 33

Greenbaum, J. 149

Minter, M. 187

Smith, L. 139, 140

Beecroft, V. 192

Grotjahn, M. 95

Mir, A. 47

Smith, S. 208, 236

Muller, D. 64

Solakov, N. 179

Beier, N. 99, 119 Belin, V. 200

Haendel, K. 181

Muniz, V. 188, 189, 198

Sonhouse, J. 230

Ben-Gal, A. 178

Hagen, M. 110

Mutu, W. 93

Staniak, M. 2

Benson, T. 111

Havel, J. 43, 72

Beom, M. 220

Hawkins, S. 206, 207

Nadal, G. 183

Stockholder, J. 235

Bercea, M. 224

Hawkinson, T. 71

Nevelson, L. 89

Strunz, K. 73

Bernadet, J.-B. 128, 131

Heffernan, J. 155

Nomura, H. 58

Succo, C. 4

Black, S. 117

Heilmann, M. 150

Bleckner, R. 34, 152

von Hellerman, S. 225

Odermatt, A. 199

Bock, J. 164

Helms, A. 45

Olson, A. 104

Taaffe, P. 36, 39, 40

Bond, G. 201

Holzer, J. 85

Opie, J. 82, 248

Taylor, A.E. 232

Booker, P. 61

Homstvedt, H. 161

Orr, T. 41

Thurman, B. 14

Boot, A. 130

Hopkins, J. 244

Overstreet, B. 165

Trudeau, G.B. 184

Bradley, J. 24, 143

Huang Yong Ping 185

Brätsch, K. 171

Hubbard, A. 12, 127

Stauss, P. 251

Sugito, H. 177

Tsitoghdzyan, T. 217 Pardo, J. 247

Turk, G. 234

Partegàs, E. 233

van den Broek, K. 223

Uklański, P. 186

Brüggemann, S. 22

Indiana, R. 83

Patterson, G. 132, 136

Butzer, A. 158

Invader 255

Pearson, A. 214

Ito, P. 142

Pecchio, P. 53, 56

Værslev, F. 120

Pestoni, J. 162

Vierkant, A. 6

Caivano, V. 226 Casselman, S. 221

Jackson, M.D. 249

Phelps, D. 174

Cemin, S. C. 239

Jensen, B. 46

Pilato, N. 133

Wadden, B. 118

Ceulers, M. 15

Jensen, S. 102

Plessen, M. 75

Wall, J. 194

Coffin, P. 96

Johnson, L. 227

Polk Smith, L. 144

Warhol, A. 197

Colen, D. & Korine, H. 123

Johnson, R. 23

Pomara, J. 49

Washington Jr., C. 166

Prince, R., Pierson, J., Kern, R.,

Weber, M. 213

Collins, H. 216 Condo, G. 146

Kabakov, I. 180

Richardson, T. & Teller, J. 191

Welling, J. 52, 210, 211, 215

Coolquitt, A. 138

Kahlhamer, B. 168

Purdum, R. 42

Wesselmann, T. 80, 81

Cortright, P. 7

Kami, Y.Z. 90

West, F. 76, 77, 78, 79

Kapoor, A. 91

Raitt, N. 129

Wetzel, M. 74

Darmstaedter, N. 124

Kassay, J. 170

Rath, A. 70, 242

White, P. 182

Davie, K. 151

KAWS 256

Reed, D. 246

Whiteread, R. 66

Demand, T. 54

Kincaid, T. 65

Reeder, S. 160

Wiley, K. 169

Dicke, A. 137

Koons, J. 243

Rees, D. 5, 125

Williams, M. 156, 157

Dunham, C. 94

Kopkau, P. 173

Reihsen, J. 3

Winters, T. 37

Retna 254

Wolowiec, M. 20

LaChapelle, D. 203, 204, 205

Reyle, A. 84

Wood, J. 98, 101

Ekblad, I. 106

Lamers, K. 229

Rhode, R. 193

Woodrow, B. 240

Eliasson, O. 28, 29

Larner, L. 60

Rhodes, S.G. 212

Elmgreen & Dragset 237

Lavier, B. 238

Ridgway, L. 63, 67

Estep, R. 116

Leo Gabin 13

Ritchey, L. 21

Dzama, M. 176

Ligon, G. 88

Ritchie, M. 62

Falls, S. 105

Lockhart, S. 190

Röhss, E. 134

Farah, A. 19

Lund, J. 16

Rondinone, U. 148

Farhi, N. 114

Lynch, B. 121

Rosa, C. 10, 107

Faust, G. 48

Rose, T. 202

Flood, M. 103, 108, 122

Rothschild, E. 59

Fontaine, C. 86

Rückriem, U. 25

Francis, M. 35

Ruscha, E. 26, 27

Frank, N. 231

Ruyter, L. 250

Young, A. 172 Zapata, D. 253

Frost, P. 252 Furunishi, N. 209 Fuss, A. 153

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

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

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 $100,000, 20% of the portion of the hammer price above $100,000 up to and including $2,000,000 and 12% of the portion of the hammer price above $2,000,000. 1 Prior to Auction Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +1 212 940 1240 or +44 20 7318 4010. Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request� appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only. Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate. Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

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Symbol Key The following key explains the symbols you may see inside this catalogue. O x Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price financed 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 x. When a third party has financed all or part of our financial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated accordingly. The compensation will be a fixed 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 final purchase price. If the lot is not sold, the third party may incur a loss. 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 financial 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 ɘ8QOHVVLQGLFDWHGE\DɘDOOORWVLQWKLVFDWDORJXHDUHRŐ¤  HUHGVXEMHFWWRDUHVHUYH 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 is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate. ∑ Endangered Species Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale.

2 Bidding in the Sale Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1,000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone.

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Sterling Ruby Double Vampire V, 2011 Estimate £40,000-60,000

Collectable Contemporary Art London Auction, 9 December 2015 Newcomers welcome New Now showcases the best of what’s happening right now in contemporary art —all in one place. These diverse lots are equally seductive to savvy collectors and auction-curious newcomers. If you think our New Now sale might be the right ft for a work in your collection, get in touch. We’ll have an expert on hand to help you get your work to the right auction in the right place at the right time. Enquiries and valuations Tamila Kerimova +44 20 7318 4065 tkerimova@phillips.com

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Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at www.phillips.com. The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe FlashPlayer. Follow the links to ‘Auctions’ and ‘Live Auctions’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders. Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. Employee Bidding Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 $5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $50s by $100s by $200s by $200s, 500, 800 (i.e., $4,200, 4,500, 4,800) by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion. 3 The Auction Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. 4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips in writing in advance of the sale. Payment must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000. Credit Cards As a courtesy to clients, Phillips will accept American Express, Visa and Mastercard to pay for invoices of $100,000 or less. A processing fee will apply. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 Park Avenue, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots. Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction. Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot.

of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government

Consecutive and Responsive Bidding; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low presale estimate. In the absence of a bid at that level, the auctioneer will proceed

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regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

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William Eggleston Memphis, 1969–1970 (detail) Estimate $250,000-350,000

“I am at war with the obvious.” William Eggleston Innovators of Photography: A Private East Coast Collection & Photographs Auctions 10am & 2pm, 8 October 2015, New York Visit our public viewing from 26 September7 October at 450 Park Avenue or at phillips.com Enquiries photographs@phillips.com

©Eggleston Artistic Trust. Courtesy Cheim Read, New York

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Conditions of Sale The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. 1 Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer. 2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. 3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be

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revised from time to time by Phillips in our absolute discretion. Neither Phillips nor any of our affiliated companies shall be liable for any difference between the presale estimates for any lot and the actual price achieved at auction or upon resale. 4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the Absentee Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in

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undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (h) Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 Conduct of the Auction D 8QOHVVRWKHUZLVHLQGLFDWHGE\WKHV\PEROɘHDFKORWLVRŐ¤HUHGVXEMHFWWRDUHVHUYH which is the confidential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in US dollars and payment is due in US dollars. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been “passed,â€? “withdrawn,â€? “returned to ownerâ€? or “bought-in.â€? (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Priceâ€?). The buyer’s premium is 25% of the hammer price up to and including $100,000, 20% of the portion of the hammer price above $100,000 up to and including $2,000,000 and 12% of the portion of the hammer price above $2,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips will only accept valid resale certificates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters.

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(c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 Park Avenue during regular weekday business hours. (ii) Personal checks and banker’s draft s are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identification. Checks and banker’s draft s should be made payable to “Phillips.� If payment is sent by mail, please send the check or banker’s draft to the attention of the Client Accounting Department at 450 Park Avenue, New York, NY 10022 and make sure that the sale and lot number is written on the check. Checks or banker’s draft s drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips. Bank transfer details: Citibank 322 West 23rd Street, New York, NY 10011 SWIFT Code: CITIUS33 ABA Routing: 021 000 089 For the account of Phillips Account no.: 58347736 Please reference the relevant sale and lot number. (d) As a courtesy to clients, Phillips will accept American Express, Visa and Mastercard to pay for invoices of $100,000 or less. A processing fee of 3.5% will apply. (e) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price. 7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips will upon request transfer on a biweekly basis purchased lots suitable for hand-carry back to our premises at 450 Park Avenue, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) seven days after the auction. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand-carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup.

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(d) Phillips will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $10 per day for each uncollected lot. Additional charges may apply to oversized lots. We will not release purchased lots to the buyer until all such charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction. 9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs or (x) take such other action as we deem necessary or appropriate. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips and our affiliated companies, Phillips retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in, or coming into, our possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our affiliated companies, the buyer also irrevocably authorizes Phillips to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. 10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips’s election to rescind the sale, the

NY_NEW-NOW_SEPT15_200-223.indd 216

buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale. 11 Export, Import and Endangered Species Licenses and Permits Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the US or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species. 12 Data Protection (a) In connection with the supply of auction and related services, or as required by law, Phillips may ask clients to provide personal data. Phillips may take and retain a copy of government-issued identification such as a passport or driver’s license. We will use your personal data (i) to provide auction and related services; (ii) to enforce these Conditions of Sale; (iii) to carry out identity and credit checks; (iv) to implement and improve the management and operations of our business and (v) for other purposes set out in our Privacy Policy published on the Phillips website at www.phillips.com (the ‘Privacy Policy’) and available on request by emailing dataprotection@phillips.com. By agreeing to these Conditions of Sale, you consent to our use of your personal data, including sensitive personal data, in accordance with the Privacy Policy. The personal data we may collect and process is listed, and sensitive personal data is defined, in our Privacy Policy. Phillips may also, from time to time, send you promotional and marketing materials about us and our services. If you would prefer not to receive such information, please email us at dataprotection@phillips.com. Please also email us at this address to receive information about your personal data or to advise us if the personal data we hold about you is inaccurate or out of date. (b) In order to provide our services, we may disclose your personal data to third parties, including professional advisors, shippers and credit agencies. We will disclose, share with and transfer your personal data to Phillips’s affiliated persons (natural or legal) for administration, sale and auction related purposes. You expressly consent to such transfer of your personal data. We will not sell, rent or otherwise transfer any of your personal data to third parties except as otherwise expressly provided in this Paragraph 12. (c) 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. 13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are

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Authorship Warranty specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. 16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules.

Phillips warrants the authorship of property in this auction catalogue described in headings in bold or CAPITALIZED type for a period of five years from date of sale by Phillips, subject to the exclusions and limitations set forth below. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the saleroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

(b) Phillips, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips.

NY_NEW-NOW_SEPT15_200-223.indd 217

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Executive Management Chairman & CEO Edward Dolman President Michael McGinnis

Deputy Chairman

Directors

Chief of Staff

Chief Financial Officer

Svetlana Marich

Henry Allsopp

Lisa King

Annette Schwaer

Chief Operations Officer

Chief Information Officer

Sean Cleary

Ben Carey

Cary Leibowitz

Chief Operations Officer,

Chief People Officer

Zach Miner

UK Europe & Asia

Irina Shifrin

Jean-Michel Placent

Frank Lasry

Alex Heminway Deputy Chairmen, Europe & Asia Matt Carey-Williams Finn Schouenborg Dombernowsky

Nazgol Jahan Martin Klosterfelde

Senior Advisor

Peter Sumner

Arnold Lehman

Kelly Troester

Chief Creative Officer Chief Operations Officer,

Damien Whitmore

Asia Chief Counsel

International Business

Richard Aydon

Director

Juliana Cheung

Bart Van Son Senior Directors David Georgiades

Managing Director,

Vanessa Hallett

Geneva

Alexander Payne

Myriam Christinaz

August O. Uribe Olivier Vrankrenne

International Specialists

Worldwide Offices

Berlin Martin Klosterfelde

London 30 Berkeley Square London W1J 6EX, United Kingdom tel +44 20 7318 4010 fax +44 20 7318 4011

New York 450 Park Avenue New York, NY 10022, USA tel +1 212 940 1200 fax +1 212 940 1378

Denver Melyora de Koning

Berlin

Istanbul

Senior Specialist, Contemporary Art +1 917 657 7193

Kurfürstendamm 193

Meclisi Mebusan Caddesi

10707 Berlin, Germany

Deniz Apartmani No. 79/8

tel +49 30 887 297 44

Beyoglu 34427, Istanbul, Turkey

Director and International Specialist, Contemporary Art +49 177 628 4110 Brussels Olivier Vrankenne Co-Head Contemporary Art, Europe +32 486 43 43 44

Geneva Oksana Katchaluba Specialist, Contemporary Art +41 22 906 80 00

tel +90 533 374 1198 Brussels

Hong Kong Adrienne Hines

rue Jean Baptiste Colyns 72

Moscow

Specialist, Watches +852 2318 2030

1050 Brussels, Belgium

Nikolskaya Str 19–21, 5th floor,

tel +32 486 43 43 44

109012 Moscow, Russia

Istanbul Deniz Atac Consultant +90 533 374 1198 London Svetlana Marich

tel +7 495 225 88 22 Geneva

fax +7 495 225 88 87

23 quai des Bergues 1201 Geneva, Switzerland

Paris

tel +41 22 906 80 00

46 rue du Bac,

Paris Maria Cifuentes Caruncho

fax +41 22 906 80 01

75007 Paris, France

Specialist +33 142 78 67 77

15 quai del’ Ile

Co-Head Contemporary Art, Europe +44 20 7318 4010

Portugal Maura Marvão Consultant, Contemporary Art +351 917 564 427 Zurich Niklaus Kuenzler Specialist, Contemporary Art +41 79 533 90 00

1204 Geneva, Switzerland

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

fax +41 22 317 81 80

Zurich

Hong Kong

Restelbergstrasse 89,

Room 1301-13/F, York House, The Landmark Building,

8044 Zurich, Switzerland tel +41 79 533 90 00

15 Queen’s Road Central, Hong Kong tel +852 2318 2000 fax +852 2318 2002

NY_NEW-NOW_SEPT15_200-223.indd 218

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Specialists and Departments Contemporary Art David Georgiades, Worldwide Co-Head Contemporary Art August O. Uribe, Worldwide Co-Head Contemporary Art

+1 212 940 1280 +1 212 940 1208

New York Kate Bryan, Head of Evening Sale John McCord, Head of Day Sale Rebekah Bowling, Head of New Now Sale

+1 212 940 1267 +1 212 940 1261 +1 212 940 1250

Jean-Michel Placent Zach Miner

+1 212 940 1263 +1 212 940 1256

Kyla Sullivan Karen Garka-Prince

+1 212 940 1204 +1 212 940 1219

Katherine Lukacher Samuel Mansour Courtney Raterman Paula Campolieto Annie Dolan

+1 212 940 1215 +1 212 940 1219 +1 212 940 1392 +1 212 940 1255 +1 212 940 1288

London Peter Sumner, Head of Contemporary Art, London Henry Highley, Head of Day Sale Tamila Kerimova, Head of New Now Sale

+44 20 7318 4063 +44 20 7318 4061 +44 20 7318 4065

Matt Langton Iori Endo

+44 20 7318 4074 +44 20 7318 4039

Simon Tovey Hannah Tjaden Alex Dolman Ava Carleton-Williams Chiara Panarello

+44 20 7318 4084 +44 20 7318 4093 +44 20 7901 7911 +44 20 7901 7904 +44 20 7318 4073

Latin American Art Henry Allsopp, Worldwide Head Kaeli Deane, Head of Sale Natalia C. Zuluaga Carolina Scarborough Isabel Suarez

+44 20 7318 4060 +1 212 940 1401 +1 305 776 4439 +1 212 940 1289 +1 212 940 1227

Design Alexander Payne, Senior Director and Worldwide Head, Design New York Alex Heminway, New York Director Meaghan Roddy

+1 212 940 1268 +1 212 940 1266

Cordelia Lembo

+1 212 940 1265

London Domenico Raimondo Marine Hartogs

+44 20 7318 4016 +44 20 7901 7913

Marta De Roia Sofia Sayn-Wittgenstein Madalena Horta e Costa

+44 20 7318 4096 +44 20 7318 4023 +44 20 7318 4019

Photographs Vanessa Hallett, Senior Director and Worldwide Head, Photographs

+1 212 940 1225 +1 212 940 1247 +1 212 940 1246

Kelly Van Ingen

+1 212 940 1245

London Lou Proud, Head of Photographs, London Yuka Yamaji Alexandra Bibby

+44 20 7318 4018 +44 20 7318 4098 +44 20 7318 4087

Sophie Busby

+44 20 7318 4092

Chicago Carol Ehlers

+1 773 230 9192

Jewels Nazgol Jahan, Worldwide Director

+1 212 940 1283

New York Kristen Dowling Christina Alford

+1 212 940 1302 +1 212 940 1365

+1 212 940 1222 +1 212 940 1221

London Lane Clements McLean

New York Jannah Greenblatt Audrey Lindsey Jeffrey Kang

+1 212 940 1332 +1 212 940 1322 +1 212 940 1238

Watches in Association with Bacs & Russo

Exhibitions Brittany Lopez Slater Edwin Pennicott Private Sales Susanna Brockman

NY_NEW-NOW_SEPT15_200-223.indd 219

+44 20 7318 4075 +44 20 7318 4042 +44 20 7318 4077 +44 20 7318 4079

+1 212 940 1299 +44 20 7901 2909

+44 20 7318 4041

+1 212 940 1243

New York Sarah Krueger, Head of Sale Caroline Deck Rachel Peart

Modern and Contemporary Editions Cary Leibowitz, Worldwide Co-Director Kelly Troester, Worldwide Co-Director

London Robert Kennan, Head of Sale Anne Schneider-Wilson Ross Thomas Rebecca Tooby-Desmond

+44 20 7318 4052

+44 20 7318 4010

Geneva Aurel Bacs Livia Russo Dr. Nathalie Monbaron Virginie Liatard Roessli

+41 22 317 81 85 +41 22 317 81 86 +41 22 317 81 83 +41 22 317 81 82

Diana Ortega Justine SĂŠchaud

+41 22 317 8187 +41 22 317 8188

New York Paul Boutros Leigh Zagoory

+1 212 940 1293 +1 212 940 1285

London Paul David Maudsley Kate Lacey

+44 20 7901 7916 +44 20 7901 2907

Hong Kong Jill Chen Iman Cheung

+852 9133 0819 +852 2318 2005

Joey Luk Angel Ho Virginia Ng

+852 2318 2032 +852 2318 2031 +852 2318 2021

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Specialists and Departments 2Õ¥ FHRIWKH&KDLUPDQDQG&KLHI([HFXWLYH2Õ¥ FHU 0DULDQJHOD5HQVKDZ +1 212 940 1455, +44 20 7318 4029 2IILFHRIWKH3UHVLGHQW Elizabeth Anne Wallace 3URMHFWV'LUHFWRU 3DXOGH%RQR $VVRFLDWH*HQHUDO&RXQVHO Jonathan Illari

+1 212 940 1303

+44 20 7318 4070

+1 212 940 1257 +1 212 940 1258

&RPPXQLFDWLRQVDQG0DUNHWLQJ .LPEHUO\)UHQFK:RUOGZLGH+HDGRI&RPPXQLFDWLRQV 35 +1 212 940 1229 Trish Walsh, Marketing Manager +1 212 940 1224 (PPD0LOOHU*HOEHUJ0DUNHWLQJDQG&DWDORJXH&RRUGLQDWRU +1 212 940 1240 $OH[*RGZLQ%URZQ+HDGRI3UHVVDQG(YHQWV(XURSH +44 20 7318 4036 *HRUJLD7URWWHU(YHQWV0DQDJHU +44 20 7318 4085

+1 212 940 1331

3ULYDWH&OLHQW6HUYLFHV New York Philae Knight Sara Tayeb-Khalifa

6SRQVRUVKLSV /DXUHQ6KDGIRUG Cecilia Wolfson

+1 212 940 1313 +1 212 940 1383

London 'DZQ=KX Adam Clay /LO\$WKHUWRQ+DQEXU\ )LRQD00F*RYHUQ

+44 20 7318 4017 +44 20 7318 4048 +44 20 7318 4040 +44 20 7318 4010

&OLHQW'HYHORSPHQW Isadora Tharin /LQGD3\NH Amy Sheldon

+44 20 7318 4024 +44 20 7901 2908 +1 212 940 1264

$UWDQG3URGXFWLRQ $QGUHD.RURQNLHZLF]'LUHFWRURI&UHDWLYH6HUYLFHV 2UODQQ&DSD]RULR'LUHFWRURI3URGXFWLRQ

+1 212 940 1326 +1 212 940 1281

New York Jeff Velazquez, Production Artist &KULVWLQH.QRUU*UDSKLF'HVLJQHU -DPHV5HHGHU*UDSKLF'HVLJQHU

+1 212 940 1211 +1 212 940 1325 +1 212 940 1296

London Eve Campbell, Traffic/Production Manager 0RLUD*LO*UDSKLF'HVLJQHU /DXULH$QQ:DUG*UDSKLF'HVLJQHU

+44 20 7901 7919 +44 20 7901 7917 +44 20 7901 7918

Sale Information 1HZ1RZ $XFWLRQ 9LHZLQJ/RFDWLRQ 3DUN$YHQXH1HZ<RUN $XFWLRQ 17 September 2015 at 2pm 9LHZLQJ 10 â&#x20AC;&#x201C; 17 September Monday â&#x20AC;&#x201C; Saturday 10am â&#x20AC;&#x201C; 6pm Sunday 12pm â&#x20AC;&#x201C; 6pm 6DOH'HVLJQDWLRQ When sending in written bids or making HQTXLULHVSOHDVHUHIHUWRWKLVVDOHDV1< RU1HZ1RZ $EVHQWHHDQG7HOHSKRQH%LGV WHO fax +1 212 924 1749 bidsnewyork@phillips.com

&RQWHPSRUDU\$UW'HSDUWPHQW +HDGRI6DOH 5HEHNDK%RZOLQJ rbowling@phillips.com &DWDORJXHUV .DWKHULQH/XNDFKHU klukacher@phillips.com Samuel Mansour +1 212 940 1219 smansour@phillips.com $GPLQLVWUDWRU $QQLH'RODQ adolan@phillips.com

3URSHUW\0DQDJHU Paul Steffens +1 212 940 1376 psteffens@phillips.com 3KRWRJUDSK\ Kent Pell Matt Kroenig -HDQ%RXUERQ Marta Zagozdzon

$XFWLRQHHUV $XJXVW8ULEH 6DUDK.UXHJHU +HQU\+LJKOH\ &DWDORJXHV (PPD0LOOHU*HOEHUJ catalogues@phillips.com $35/â&#x201A;¬25/£22 at the gallery $EVHQWHH DQG 7HOHSKRQH %LGV 0DLQ      ID[      bidsnewyork@phillips.com &OLHQW$FFRXQWLQJ 6\OYLD/HLWDR Buyer Accounts 5LWX.LVKRUH 'DUUHOO7KRPSVRQ Seller Accounts Carolina Swan +1 212 940 1253 &OLHQW 6HUYLFHV 450 Park Avenue +1 212 940 1200 6KLSSLQJ Carol Mangan +1 212 940 1320 Sarah Polefka +1 212 940 1373

)URQW&RYHU-RH%UDGOH\Nude (Bust)ORWk-RH%UDGOH\ ,QVLGH)URQW&RYHU+XJK6FRWW'RXJODVUntitledORW GHWDLO k+XJK6FRWW'RXJODV 7LWOH3DJH1HLO5DLWWFade (Alpine), 2014, lot 129 (detail) 2SSRVLWHWKH,QGH[ Margo Wolowiec, Not One, Not Two, 2014, lot 20 (detail) 'HWDLO)ROORZLQJWKH%LG)RUP7UXG\%HQVRQScratchpad, 2014, lot 111 (detail) %DFN,QVLGH&RYHU0DWK%DVVNewz!, 2014, lot 1 (detail) %DFN&RYHU Jonas Wood, Backward Bol (Color)ORW GHWDLO k-RQDV:RRG

NY_NEW-NOW_SEPT15_200-223.indd 220

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450 Park Avenue New York 10022 phillips.com +1 212 940 1200 bidsnewyork@phillips.com  OHDVHUHWXUQWKLVIRUPE\ID[WRRUHPDLOLWWRELGVQHZ\RUN#SKLOOLSVFRPDWOHDVW 3 KRXUVEHIRUHWKHVDOH. 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):

  

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É&#x2DC;3ULYDWHSXUFKDVHV Proof of identity in the form of government-issued identification will be required. É&#x2DC;&RPSDQ\SXUFKDVHV 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.

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É&#x2DC;&RQGLWLRQVRI6DOH 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.

 

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É&#x2DC;<RXUELGPXVWEHVXEPLWWHGLQWKHFXUUHQF\RIWKHVDOHDQGZLOO be rounded down to the nearest amount consistent with the DXFWLRQHHUÉ&#x2018;VELGGLQJLQFUHPHQWV É&#x2DC;,IZHUHFHLYHLGHQWLFDOELGVWKHILUVWELGUHFHLYHGZLOOWDNH precedence. É&#x2DC;$UUDQJLQJDEVHQWHHDQGWHOHSKRQHELGVLVDIUHHVHUYLFH 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.

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Please note that you may be contacted to provide additional bank references. I hereby authorize the above references to release information to 3+,//,36. Please bid on my behalf up to the limits shown for the indicated lots without legal obligations to 3+,//,36, its staff or agents; and subject to the Conditions of Sale and Authorship Warranty printed in the catalogue, additional notices or terms printed in the catalogue and supplements to the catalogue posted in the salesroom, and in accordance with the above statements and conditions.

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É&#x2DC;3OHDVHVXEPLW\RXUELGVWRWKH%LG'HSDUWPHQWE\ID[DW +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 %LG'HSDUWPHQWE\SKRQHSOHDVHFDOO É&#x2DC;$EVHQWSULRUSD\PHQWDUUDQJHPHQWVSOHDVHSURYLGHDEDQN reference. Payment can be made by cash (up to $10,000), credit card (up to $100,000), money order, wire transfer, bank check or personal check with identification. Please note that credit cards are subject to a surcharge. É&#x2DC;/RWVFDQQRWEHFROOHFWHGXQWLOSD\PHQWKDVFOHDUHGDQGDOO charges have been paid. É&#x2DC;%\VLJQLQJWKLV%LG)RUP\RXFRQVHQWWRRXUXVHRI\RXU personal data, including sensitive personal data, in accordance ZLWK3KLOOLSVÉ&#x2018;V3ULYDF\3ROLF\SXEOLVKHGRQRXUZHEVLWHDWZZZ 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 find interesting. If you would prefer not to receive such information, please email us at dataprotection@phillips.com. É&#x2DC;3KLOOLSVÉ&#x2018;VSUHPLVHVPD\EHVXEMHFWWRYLGHRVXUYHLOODQFHDQG recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

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111. Trudy Benson

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1. Math Bass

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20/08/15 17:21


phillips.com

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20/08/15 17:20

Profile for PHILLIPS

NEW NOW [Catalogue]  

Phillips presents our inaugural New Now auction of collectible contemporary art on 17 September 2015 in New York.

NEW NOW [Catalogue]  

Phillips presents our inaugural New Now auction of collectible contemporary art on 17 September 2015 in New York.