New York, 20 September 2016
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© Katherine Bernhardt NY_NEWNOW_SEPT6_IFC+IBC_BL.indd 2
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7. Katherine Bernhardt
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20th Century & Contemporary Art.
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6. Margo Wolowiec
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Experience. Explore. Engage.
00. artist
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26. Tim Hawkinson
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New Now New York, 20 September 2016
Auction & Viewing Location 450 Park Avenue New York 10022 Auction 20 September 2016 at 11am Viewing 12 – 19 September Monday – Saturday 10am - 6pm Sunday 12pm - 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010616 or New Now.
20th Century & Contemporary Art Department Head of Sale Rebekah Bowling +1 212 940 1250 rbowling@phillips.com Associate Specialists 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
Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com
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1. Josh Kline
b. 1979
it’s clean, it’s natural, we promise. 24 Duane Reade bottles boiled in their own water, plastic infused spring water and commercial metal shelving each bottle dimensions variable 6 x 5 x 9 in. (15.24 x 12.7 x 22.86 cm.) overall 72 x 24 x 15 1/2 in. (182.9 x 61 x 39.4 cm.) Executed in 2011. Estimate $12,000-18,000 Provenance 47 Canal, New York Acquired from the above by the present owner Exhibited New York, 47 Canal, Josh Kline, Dignity and Self-Respect, November 4 - December 18, 2011
“A few years ago my collaborators Jon Santos and Anicka Yi were both obsessed with this idea of water bottles leaching plastic while sitting in hot trucks in the sun. They thought we all needed to get glass or metal water bottles and start drinking tap water because bottled water was full of toxic plastic molecules. So I thought, why not just put the plastic in the water at the get-go? I boil the water bottles in their own water and then refll them with the plastic-infused water. The frst boiled water bottles I made were Poland Spring bottles. Afer that I got really obsessed with these
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Duane Reade branded three-liter bottles—that were unfortunately discontinued—that look like computer architecture. It’s like drinking out of the Frank Gehry building in Chelsea. Their branding was pretty intense—a barcode Statue of Liberty on the label and the copy on the front which became the work’s title: “It’s clean, it’s natural, we promise.” On the back: “ . . . bottled in New York State for New Yorkers.” Josh Kline (“Josh Kline: New York, Dignity, and Self Respect by Jenny Borland,” BOMB — Artists in Conversation, June 20, 2012)
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2. Ella Kruglyanskaya
b. 1978
Apples and Oranges in Blue signed and dated “Ella Kruglyanskya 2013� on the reverse fashe and ink on paper 22 x 14 3/8 in. (55.9 x 36.5 cm.) Executed in 2013. Estimate $3,000-5,000 Provenance Private Collection
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3. Charlie Billingham
b. 1984
Tum 9 signed, titled and dated “Charlie Billingham Tum 9 2014” along the overlap oil on linen 29 1⁄2 x 23 5⁄8 in. (75 x 60 cm.) Painted in 2014. Estimate $8,000-12,000 Provenance Private Collection
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4. Laeh Glenn
b. 1979
Introduction oil on panel, in artist’s frame 16 3/4 x 12 3/4 in. (42.5 x 32.4 cm.) Painted in 2013. Estimate $3,000-5,000 Provenance Altman Siegel Gallery, San Francisco Acquired from the above by the present owner
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5. Math Bass
b. 1981
Newz! signed with the artist’s initials “MB” along the overlap gouache on canvas 28 x 26 1/8 in. (71.1 x 66.4 cm.) Painted in 2014. Estimate $20,000-30,000 Provenance Overduin & Co., Los Angeles Private Collection
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6. Margo Wolowiec
b. 1985
Crumpled in the Backseat signed “Margo Wolowiec” along the stretcher dye-sublimation ink and fabric dye on handwoven polyester, cotton and linen 81 x 57 in. (205.7 x 144.8 cm.) Executed in 2014, this work is accompanied by a certifcate of authenticity signed by the artist.
Provenance Anat Ebgi, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Anat Ebgi, Margo Wolowiec, April 19 – May 31, 2014
Estimate $6,000-8,000
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7. Katherine Bernhardt
b. 1975
Hamburgers French Fries + Cigarettes signed, titled and dated “Katherine Bernhardt 2014 Hamburgers French Fries + Cigarettes� on the reverse acrylic and spraypaint on canvas 72 x 60 in. (182.9 x 152.4 cm.) Executed in 2014, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $20,000-30,000 Provenance China Art Objects Galleries, Los Angeles Private Collection
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8. Jon Rafman
b. 1981
New Age Demanded, Wavy Marble archival pigment print mounted on dibond 60 x 40 in. (152.4 x 101.6 cm.) Executed in 2013, this work is unique. Estimate $8,000-12,000 Provenance Galerie Balice Hertling, Paris Acquired from the above by the present owner
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9. Jordan Wolfson
b. 1980
Untitled inkjet print on archival acid free velum paper 53 3/4 x 42 in. (136.5 x 106.7 cm.) Executed in 2010. Estimate $18,000-22,000 Provenance Sadie Coles, London Private Collection Acquired from the above by the present owner
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10. Kasper Sonne
b. 1974
TXC53 signed, titled and dated “KASPER SONNE TXC53 2014” along the overlap; further signed, titled and dated “KASPER SONNE TXC53 2014” on the stretcher industrial paint and chemicals on canvas in artist’s frame 60 x 48 in. (152.4 x 121.9 cm.) Executed in 2014. Estimate $12,000-18,000 Provenance Private Collection
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11. Korakrit Arunanondchai
b. 1986
Untitled signed with artist’s initials and dated “K.A. 2013” on the reverse inkjet print, burnt denim and synthetic gold leaf on canvas 86 x 64 1/8 in. (218.4 x 162.9 cm.) Executed in 2013, this work is accompanied by 104 DVDs, titled Untitled (Muen Kuey).
Provenance C-L-E-A-R-I-N-G, New York Acquired from the above by the present owner
Estimate $40,000-60,000
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12. Lucie Stahl
b. 1977
Albuquerque signed and dated “Stahl ‘14” on the reverse inkjet print mounted on plywood, polyurethane and aluminum 43 1/2 x 59 1/2 x 9 1/2 in. (110.5 x 151.1 x 24.1 cm.) Executed in 2014, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $6,000-8,000 Provenance Freedman Fitzpatrick, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Freedman Fitzpatrick, Lucie Stahl, Ren, January 26 - March 8, 2014
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13. John Knuth
b. 1978
Stellar Dispersion signed, titled, consecutively numbered and dated “John Knuth Stellar Dispersions 2015 1 of 4” on the reverse of each panel acrylic/fyspeck on canvas over panel, in 4 parts each 84 x 36 in. (213.4 x 91.4 cm.) Executed in 2015. Estimate $15,000-20,000
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Provenance Acquired directly from the artist by the present owner Exhibited University at Bufalo Art Galleries, Splitting Light, September 24, 2015 - January 9, 2016 Literature Colin Dabkowski, “In living color: UB exhibition explores boundaries of perception”, The Bufalo News, October 19, 2015 (illustrated online)
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14. John Gerrard
b. 1974
Smoke Tree IV signed, titled, numbered and dated “John Gerrard Smoke Tree IV 6/6 2006” on artist’s card simulation with artist’s Corian frame and Corian console table dimensions variable as installed 29 x 38 3/8 x 21 in. (73.7 x 97.5 x 53.3 cm.) Executed in 2006, this work is number 6 from an edition of 6 plus 2 artist’s proofs. Estimate $18,000-22,000 Provenance Galerie Ernst Hilger, Vienna Acquired from the above by the present owner
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15. Rosy Keyser
b. 1974
La Fonda Midnight signed with the artist’s initials “RK” lower lef; further signed and dated “Rosy Keyser 2008” on the reverse sawdust, obsidian and enamel on canvas 90 x 72 in. (228.6 x 182.9 cm.) Executed in 2008.
Provenance Peter Blum Gallery, New York Acquired from the above by the present owner Exhibited New York, Peter Blum Gallery, Rivers Burn and Run Backwards, February 28 - April 19, 2008
Estimate $25,000-35,000
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16. Dustin Pevey
b. 1980
Silk Road signed, titled, inscribed and dated “DUSTIN PEVEY SILK ROAD 2013 MARFA” on the reverse acrylic on canvas 72 x 60 in. (182.9 x 152.4 cm.) Painted in 2013. Estimate $6,000-8,000 Provenance Acquired directly from the artist by the present owner
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17. Lucy Dodd
b. 1981
Unwound Rope Wall Piece wood, unwound rope 100 x 87 x 1 in. (254 x 221 x 2.5 cm) Executed in 2011, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $10,000-15,000 Provenance Acquired directly from the artist by the present owner
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18. Louise Despont
b. 1983
Sandglass graphite and colored pencil on antique ledger book pages 82 1/2 x 54 in. (209.6 x 137.2 cm) Executed in 2012.
Provenance Nicelle Beauchene Gallery, New York Acquired from the above by the present owner Exhibited New York, Nicelle Beauchene Gallery, LOUISE DESPONT, Tide Fulcrum & The Motion of Fixed Stars, December 13, 2012 - January 20, 2013
Estimate $7,000-10,000
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19. Jana Euler
b. 1982
The working-process out of focus signed, titled and dated “’The working process out of focus’ Jana Euler 2012” along the overlap acrylic on canvas 70 7/8 x 49 1/4 in. (180 x 125 cm.) Painted in 2012.
Provenance dépendance Gallery, Brussels Private Collection Acquired from the above by the present owner Exhibited Berlin, MD72, JANA EULER, MICHAEL CALLIES & SERGEJ JENSEN, July 12 - August 25, 2012
Estimate $7,000-10,000
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20. Alex da Corte
b. 1981
MRSTABU foam, focked plastic sage, plastic sword, Scream Motion Picture Soundtrack CD, gold mirror flm, rubber banana, rubber fner, artifcial chrome plated fngernail, R. L . Stine’s First Date, Luren Jenison’s homemade magic wand, razor blades, Dick Tracy button, spray paint, plastic sheeting, stained cardboard, in artist’s frame 56 1/4 x 56 1/4 in. (142.9 x 142.9 cm.) Executed in 2013. Estimate $18,000-25,000 Provenance Joe Shefel Gallery, New York Private Collection
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21. Richard Aldrich
b. 1975
Untitled signed with the artist’s initials and dated “RA 2011-12” along the overlap painted rubber, wood, cardboard and cloth on linen 84 x 58 in. (213.4 x 147.3 cm.) Executed in 2011-2012. Estimate $30,000-40,000 Provenance Bortolami Gallery, New York Acquired from the above by the present owner
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22. Andrew Masullo
b. 1957
4969 signed, titled and dated “4969. Masullo. 07-09.� along the stretcher oil on canvas 24 x 20 in. (61 x 50.8 cm.) Painted in 2007-2009. Estimate $6,000-8,000 Provenance Daniel Weinberg Gallery, Los Angeles Acquired from the above by the present owner
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23. Chris Martin
b. 1954
Dedicated to Blinky Palermo, 1973-2005 signed with the artist’s initials, titled and dated “DEDICATED TO BLINKY PALERMO 1975-2005 CM” along the lower edge; further signed and dated “C MARTIN 1973-2005 CM” on the reverse oil and collage on canvas 36 x 30 in. (91.4 x 76.2 cm.) Executed in 1973-2005. Estimate $7,000-10,000 Provenance Daniel Weinberg Gallery, Los Angeles Acquired from the above by the present owner
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24. Matt Connors
b. 1973
Untitled signed and dated “Matt Connors 2015” on the reverse acrylic on canvas 58 x 46 in. (147.3 x 116.8 cm.) Painted in 2015. Estimate $30,000-40,000 Provenance Cherry and Martin, Los Angeles Private Collection
“I’ve come to appreciate, more and more, the ephemeral aspects of my work because what I’m doing is a lot of paring down and fguring out what I can do without.” Matt Connors
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Property from the Estate of Pentti Kouri
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Property from the Estate of Pentti Kouri
PHILLIPS is honored to present a signifcant group of works from The Estate of Pentti Kouri, a prestigious Finnish economist, venture capitalist and visionary art collector. Dr. Kouri’s impressive art collection interrogates the limits of modern and contemporary art within the structural forms of minimalism. Dr. Kouri frst began collecting in the 1980’s and from the outset, rigorously pursued the highest quality works by some of the most important artists of his time. His dedication and patronage lay not only in the art he admired but extended to the artists themselves, following their lives and works over many decades. Indeed, Dr. Kouri valued the personal relationships he cultivated with the artists whose works comprised his collection, engaging directly with their inspiring practices. Led by his singular aesthetic vision, Dr. Kouri acquired challenging, large-scale works by artists such as Jannis Kounellis, Giuseppe Penone, Antony Gormley, John Armleder and Michael Heizer, championing their practices well in advance of the market recognition they enjoy today. Dr. Kouri was at the forefront of contemporary tastes, collecting Arte de Povera founding member Giuseppe Penone’s monumental sculpture, Fingernail and Marble (Unghia e marmo), 1988 well in advance of the prominent place the artist and movement would subsequently gain in academic and collecting circles. Along with Penone’s meditative sculpture, Dr. Kouri also expanded into the conceptual wall-based typographic text art of Lawrence Weiner and the glamorous signage of Sylvie Fleury’s brand slogan lights, seen in her piece entitled Be Amazing from 1999.
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With a sustained interest in the way installation can inform and alter the space of the viewer, Dr. Kouri’s collection expands upon this exploration on a personal scale, engaging art that ofers an enveloping site-specifc experience. As a member of the Board of Trustees of Dia Art Foundation, Dr. Kouri was privy to the most cutting-edge and immersive installation art. Dia was created to fund and support artistic endeavors of vast scale and complex installation and Dr. Kouri’s awareness of this artistic medium, one that moved beyond the boundaries of the painted canvas, led him to create a collection of some of the best examples of each artist’s practice. Thanks to Dr. Kouri’s infuential patronage, these artists now stand in the art historical cannon with everlasting poignancy. Dr. Kouri’s unparalleled support of artists led him to become a signifcant member of many public art boards including the International Council Executive Committee of the Tate, London, the DIA Art Foundation board, New York and the President’s Council of the Guggenheim Museum, New York. Dr. Kouri lef a great legacy in his signifcant gif to the Kiasma Museum of Contemporary Art of Helsinki, located in his home country of Finland. The museum’s director Berndt Arell fondly refers to Dr. Kouri’s donated works as “the heart and soul of Kiasma’s art collection.” This group of works clearly conveys Dr. Kouri’s unique vision and personal perspective, and elegantly communicates the joy and fulfllment he found in both sharing and engaging with art. This sentiment is perhaps best expressed by an artist represented in Dr. Kouri’s collection; Giuseppe Penone has noted that art has “the need and the search for balance, which exists in every living being.”
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25. Sylvie Fleury
b. 1961
Be Amazing electric lights, wood, paint and metal frame 30 1/2 x 196 x 2 1/2 in. (77.5 x 497.8 x 6.4 cm.) Executed in 1999. Estimate $20,000-30,000 Provenance Ace Gallery, Los Angeles
Property from the Estate of Pentti Kouri
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26. Tim Hawkinson
b. 1960
Lens signed and dated “Tim Hawkinson 2002� on the reverse aluminum foil on Styrofoam on panel 96 x 144 x 3 in. (243.84 x 365.76 x 7.6 cm.) Executed in 2002. Estimate $40,000-60,000 Provenance The Pace Gallery, New York Ace Gallery, Los Angeles
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27. Michal Rovner
b. 1957
Absolute LCD screen, paper, and video 40 7/8 x 25 1/4 x 3 1/8 in. (103.8 x 64.1 x 7.9 cm.) Executed in 2006, this work is number 2 from an edition of 3. Estimate $15,000-20,000 Provenance PaceWildenstein, New York Exhibited New York, PaceWildenstein, Michal Rovner: Fields of Fire, February 16 - March 18, 2006 (another example exhibited)
28. Jonathan Borofsky
b. 1942
The Sun at 3,214,887 titled “3214887� on the reverse acrylic on canvas mounted on concave welded aluminum theater light diameter 83 7/8 in. (213 cm.) depth 10 1/2 in. (26.7 cm.)
Estimate $10,000-15,000 Provenance Paula Cooper Gallery, New York
Property from the Estate of Pentti Kouri
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29. Richard Deacon
b. 1949
Coat welded plastic 71 x 83 x 48 in. (180.3 x 210.8 x 121.9 cm.) Executed in 1990. Estimate $20,000-30,000 Provenance Marian Goodman Gallery, New York
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Courtesy of the artist and Tracy Williams Ltd.
Property from the Estate of Pentti Kouri
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Courtesy of the artist and Tracy Williams Ltd.
30. Lawrence Weiner
b. 1942
HARD AS A ROCK OR (ASSUMING THE POSITION) SOFT AS SILK PUT TOGETHER OR (ASSUMING THE POSITION) SPREAD APART PLACED ON TOP OR (ASSUMING THE POSITION) PLACED BELOW TOSSED ASIDE OR (ASSUMING THE POSITION) CARRIED ALONG LANGUAGE + THE MATERIALS REFERRED TO any size as suits the needs & desires of the receiver Conceived in 1989, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $70,000-100,000
Provenance Stuart Regen Gallery, Los Angeles Exhibited Los Angeles, Stuart Regen Gallery, Assuming the Position, December 8, 1989 - January 20, 1990 New York, Whitney Museum of American Art; Los Angeles, Museum of Contemporary Art; Dusseldorf, K21 Kunstsammlung, As Far As The Eye Can See, 2007-09, p. 400 (illustrated) New York, Tracy Williams Ltd., Works from the Pentti Kouri Collection, February 5 - March 5, 2011 Literature Lawrence Weiner: Specifc & General Works, exh. cat., Le Nouveau Musée / Institut d’Art Contemporain, Villeurbanne, 1993, cat. no. 634
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31. Fred Wilson
b. 1954
Portrait of S.A.M. each signed, numbered and dated “Fred Wilson 1993 4/5� and respectively titled on the reverse chromogenic print, in 11 parts each 16 x 16 in. (40.64 x 40.64 cm.) Executed in 1993, this work is number 4 from an edition of 5. Estimate $10,000-15,000 Provenance Metro Pictures, New York
Exhibited Seattle Art Museum, Fred Wilson: The Museum: Mixed Metaphors, January 28 - June 13, 1993, pp. 2829 (another example exhibited and illustrated) Baltimore, University of Maryland, Center for Art and Visual Culture; Saratoga Springs, Skidmore College, Tang Teaching Museum and Art Gallery; University of California Berkeley Art Museum and Pacifc Film Archive; University of Houston, Blafer Gallery; Andover, Phillips Academy, Addison Gallery of American Art; Santa Monica Museum; New York, Studio Museum in Harlem; Chicago Cultural Center, Fred Wilson: Objects and Installations 1979-2000, October 11, 2001 - September 19, 2004, pp. 94-95, 157 (another example exhibited and illustrated with alternative title The Museum: Mixed Metaphors)
Property from the Estate of Pentti Kouri
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32. Joseph Beuys
1921-1986
Die Wahreit als Winderkerze für Klaus Hennig signed, title, inscribed and dated “Joseph Beuys 1973 die wahrheit als wunderkerze für Klaus Hennig” upper right graphite, 4 gelatin silver prints on cardboard box 47 1/2 x 39 1/2 x 2 3/4 in. (120.7 x 100.3 x 7 cm.) Executed in 1973. Estimate $20,000-30,000 Provenance David Zwirner Gallery, New York Galerie Heinz Holtmann, Cologne
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33. Francis Cape
b. 1952
Forest Park III wood and paint 41 x 69 1/2 x 45 1/2 in. (104.1 x 176.5 x 115.6 cm.) Executed in circa 1999-2003. Estimate $5,000-7,000 Provenance Murray Guy, New York
34. Sarah Charlesworth
1947-2013
Altar from the “0 + 1” series stamp embossed with the artist’s signature and inscribed “Sarah Charlesworth New York” lower right laminated Fujifex color photograph in lacqured wood frame sheet 40 x 30 in. (101.6 x 76.2 cm.) frame 44 x 34 in. (111.8 x 86.4 cm.) Executed in 1999, this work is number 3 from an edition of 8. Estimate $4,000-6,000 Provenance Gorney Bravin and Lee, New York
Property from the Estate of Pentti Kouri
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35. Robert Therrien
b. 1947
No Title (Brown Dutch Doors) foam plastic, fberglass, lacquer and epoxy paint 158 x 52 3/4 x 66 1/4 in. (401.32 x 134 x 168.3 cm.) Executed in 1999. Estimate $50,000-70,000 Provenance Kayne Grifn Corcoran, Los Angeles
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36. Mary Corse
b. 1945
Untitled (Beveled Edge Series) signed and dated “Mary Corse 2004� on the reverse glass microspheres in acrylic on canvas 84 x 84 in. (213.4 x 213.4 cm.) Executed in 2004. Estimate $20,000-30,000 Provenance Ace Gallery, Los Angeles
Property from the Estate of Pentti Kouri
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37. Michael Heizer
b. 1944
Perforated Object 11 concrete, steel and pins 43 x 132 x 4 1/2 in. (109.2 x 335.3 x 11.4 cm.) Executed in 1990-1993. Estimate $50,000-70,000 Provenance Ace Gallery, Los Angeles
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© Archivo Penone
Property from the Estate of Pentti Kouri
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38. Giuseppe Penone
b. 1947
Fingernail and Marble (Unghia e marmo) glass and 2 marble slabs 55 1/8 x 47 1/4 x 157 1/2 in. (140 x 120 x 400 cm.) Executed in 1988. Estimate $150,000-250,000 Provenance SteinGladstone, New York Exhibited Paris, Musée Rodin, Giuseppe Penone, June 29 September 12, 1988, n.p. (illustrated) Florence, Pitti Uomo, Fortezza da Basso, Giuseppe Penone, January 12 - 15, 1989 Literature Germano Celant, Giuseppe Penone, Milan, 1989, p. 197 (illustrated) Giuseppe Penone, exh. cat., Galleria d’Arte Moderna Villa delle Rose, Bologna, 1990, p. 54 (illustrated) Giuseppe Penone, exh. cat., Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, 1991, pp. 124-125 (illustrated) Giuseppe Penone, The veins of the stone, exh. cat., Kunstmuseum, Bonn, 1997, p. 213 (illustrated) Giuseppe Penone 1968-1998, exh. cat., CGAC Centro Galego de Arte Contemporánea, Santiago de Compostela, 1999, p. 201 (illustrated) Penone, Rétrospective, exh. cat., Centre Pompidou, Musée national d’art moderne, Paris, 2004, p. 202 (illustrated) Giuseppe Penone, Retrospectiva, exh. cat., CaixaForum, Barcelona, 2005, p. 106 (illustrated) Umberto Allemandi, Il giardino delle sculture fuide di Giuseppe Penone, a cura di Ida Gianelli, Turin 2007, p. 153 (illustrated)
Giuseppe Penone’s Fingernail and Marble (Unghia e marmo), 1988 stands as a powerful example of the renowned artist’s sculptural practice. Penone’s artistic career, spanning many decades, is united by his ever-evolving interest in the physical tactility of nature. Within the feld of art history, Penone’s artwork absorbs elements from Minimalism, Arte de Povera and Land Art. His fascination with nature as a means of slow and gradual artistic construction lends his work a calming and meditative quality. As Penone explains, his creations convey “a refection on the traces we leave on things, random marks or involuntary images like the imprint lef on a piece of glass or a vase.”(Giuseppe Penone in Celant Germano, “Intertwining Metamorphoses,” Giuseppe Penone, Milan, 1989, p. 20)
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Nature forever remains the ever-changing background of human existence, Penone channels this powerful and unrelenting strength in order to toy and interact with its elements. The present lot is comprised of two marble slabs, which act as the base for a glass fngernail to sit. The artist explains that within the Fingernail and Marble (Unghia e marmo),“I began with the idea of the fngernail as a tool for making sculpture, as a utensil of the body…I thought of making the fngernails of glass because glass is used to clean wood, it’s sharp. At the same time it’s transparent, so the glass and fngernail would have the same identity and fragility.” (Giuseppe Penone in Celant Germano, “Intertwining Metamorphoses,” Giuseppe Penone, Milan, 1989, p. 27)
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39. Otto Zitko
b. 1959
Untitled dated “2000” on the reverse oilstick on aluminum panel 117 3/4 x 85 3/4 in. (299.1 x 217.8 cm.) Executed in 2000. Estimate $10,000-15,000 Provenance Cheim & Read, New York Exhibited New York, Cheim & Read, Otto Zitko, March 10 - April 22, 2000, n.p. (illustrated)
40. José Maria Sicilia
b. 1954
Untitled dated “89” on the reverse acrylic on canvas 20 x 79 in. (50.8 x 200.66 cm.) Painted in 1989. Estimate $5,000-7,000 Provenance Blum Helman Gallery, New York
Property from the Estate of Pentti Kouri
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41. Jean-Marc Bustamante
b. 1952
Panorama (Valentine) silkscreen on Plexiglas with metal brackets, in 3 parts each 72 x 37 x 1 in. (182.9 x 94 x 2.5 cm.) installation overall 72 x 114 x 1 in. (183 x 290 x 2.5 cm.) Executed in 1999. Estimate $15,000-20,000 Provenance Matthew Marks Gallery, New York Exhibited New York, Matthew Marks Gallery, Jean-Marc Bustamante, A Wall with a View, February 6 - March 20, 1999
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42. Rashid Johnson
b. 1977
Community Bandstand welded brass, wood, DAK CB radio, shea butter 90 x 48 x 14 in. (228.6 x 121.9 x 35.6 cm) Executed in 2009. Estimate $30,000-40,000 Provenance David Kordansky Gallery, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, David Kordansky Gallery, Rashid Johnson, Other Aspects, October 30 - January 16, 2010
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43. Sterling Ruby
b. 1972
Headless Dick/Deth Till Formica, wood and spray paint 180 x 47 7/8 x 150 in. (457.2 x 121.9 x 381 cm.) Executed in 2008. Estimate $40,000-60,000 Provenance Foxy Production, New York Acquired from the above by the present owner Exhibited Los Angeles, Museum of Contemporary Art, SUPERMAX 2008, June 19 - September 19, 2008, p. 87 (illustrated) London, Saatchi Gallery, The Shape of Things to Come: New Sculpture, May 27 - October 16, 2011, p. 85 (illustrated) Literature Mark Holborn, ed., The Shape of Things to Come: New Sculpture, New York: Rizzoli, 2009, pp. 336-339 (illustrated) Sterling Ruby: Grid Ripper, exh. cat., Galleria d’Arte Moderna e Contemporanea di Bergamo, Italy, 2009, pp. 1-3 (illustrated)
“I am not anti-Minimal, but rather I would prefer to alter my Minimalism so that it does not adhere primarily to the ideas of ‘objecthood.’” Sterling Ruby
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44. Jessica Jackson Hutchins
b. 1971
Loveseat and Bowls loveseat, plaster, fabric, and ceramics 61 1/2 x 41 3/8 x 52 1/2 in. (156.2 x 105 x 133.4 cm.) Executed in 2008. Estimate $18,000-22,000 Provenance Derek Eller Gallery, New York Acquired from the above by the present owner Exhibited New York, Derek Eller Gallery, The Exponent of Earth (You Make Me...), May 15 - July 3, 2008 London, Marcelle Joseph Projects, Material Girls and Their Muses, October 31 - November 22, 2014 (detail of present lot)
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45. Liza Lou
b. 1969
Barricade 24 karat gold-plated beads on aluminum 84 x 108 x 2 in. (213.4 x 274.3 x 5.1 cm.) Executed in 2007-2008, this work is number 1 from an edition of 2. Estimate $60,000-80,000 Provenance Acquired directly from the artist by the present owner
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Exhibited New York, L&M Arts, Liza Lou, September 24 December 13, 2008, pp. 40-44 (another example exhibited and illustrated) Savannah, SCAD Museum of Art, Liza Lou: Let the Light In, October 29, 2011 - January 22, 2012 Literature Peter Schjeldahl, et. al., Liza Lou, New York, 2011, pp. 176-179 (illustrated)
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46. Jorge Pardo
b. 1963
Penelope (Set of 12 Subscription Lamps) Plexiglas, PVC, wood, metal, rocks, light bulbs and wiring dimensions variable This work is from an edition of 60. Estimate $10,000-15,000 Provenance Anna Lena Levy Productions, Paris Acquired from the above by the present owner
47. Yves Klein
1928-1962
Table Bleue IKB pigment in glass, Plexiglas, wood and chrome-plated metal table 14 7/8 x 49 1/4 x 39 3/8 in. (37.8 x 125.1 x 100 cm.) This work is part of an edition started in 1963 under the supervision of Rotraut Klein-Moquay afer a model by Yves Klein and is accompanied by a label signed “R.Klein-Moquay” and numbered “10 DE-UST” on a label afxed to the underside. Estimate $15,000-20,000 Provenance Artware Editions, New York Acquired from the above by the present owner
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48. Anish Kapoor
b. 1954
Untitled IX gourd and pigment, in 2 parts 8 1/4 x 8 7/8 x 27 1/4 in. (21 x 22.5 x 69.2 cm.) Executed in 1995. Estimate $18,000-22,000 Provenance Lisson Gallery, London Acquired from the above by the present owner
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49. Daniel Spoerri
b. 1930
Tableau Piège signed, titled, inscribed and dated “No. 55 Aktion Rest Spoerri Jahrg Aug 72 - 9 Aout Tableau Piège Daniel Spoerri” on the reverse assemblage of tableware, dried fowers, cigarettes and adhesive on painted wood 27 3/4 x 27 3/4 x 9 in. (70.5 x 70.5 x 22.9 cm.) Executed in 1972.
Provenance Bo Franzén, New York (acquired in 1990) Bukowskis, Stockholm, October 21, 2014, lot 256 Acquired at the above sale by the present owner Exhibited Madrid, Odalys Gallery, Tener Visiones: Construyendo el mundo moderno (Escultura internacional del siglo XX), September 22 October 29, 2015
Estimate $12,000-18,000
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50. Franz West
1947-2012
Paßstück (Adaptive) wood, plaster, synthetic resin and gauze 12 1/8 x 29 7/8 x 20 1/2 in. (30.8 x 75.9 x 52.1 cm.) Executed circa 1975, this work is registered in the Franz West Privatstifung Archiv, Vienna. Estimate $50,000-70,000 Provenance Private Collection, United States Dorotheum, Vienna, June 10, 2015, lot 753 Acquired at the above sale by the present owner
“The idea was more to create an environment, and that the Adaptive could be handled and used rather than be looked at. For the romantics like Schlegel and the German philosophers, what makes art and painting special is that neither should be touched. With the Adaptives, the opposite is true.” Franz West
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51. Claire Fontaine
est. 2004
371 Grand, (The keys open the Reena Spaulings gallery) 5 metal keys, wire 3 x 1 1/4 in. (7.6 x 3.2 cm.) Executed in 2006. Estimate $7,000-10,000 Provenance Reena Spaulings Fine Art, New York Acquired from the above by the present owner
52. Claire Fontaine
est. 2004
If you see something, say something leather backpack, 15 kg bag of candy 14 x 13 x 12 in. (35.6 x 33 x 30.5 cm.) Executed in 2005. Estimate $7,000-10,000 Provenance BUIA Gallery, New York Private Collection Christie’s, South Kensington, September 16, 2010, lot 45 Acquired at the above sale by the present owner Exhibited New York, Reena Spauling Fine Art, Claire Fontaine: Foreigners Everywhere, September 17 - October 21, 2005 San Antonio, Artpace, Power Play, May 3 - July 15, 2007
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53. Richard Tuttle
b. 1941
No. 127, 60” center works (4) signed, titled and dated “No. 127 60” center works (4) 1975 Richard Tuttle” on the reverse ink on paper 14 x 11 in. (35.6 x 27.9 cm.) Executed in 1975. Estimate $6,000-8,000 Provenance Zwirner & Wirth, New York Acquired from the above by the present owner
54. Tony Feher
1956-2016
Untitled (Ruby Begonia) pennies, nickels, dimes and iridescent ruby red marbles 1/2 x 23 x 23 in. (1.3 x 58.4 x 58.4 cm.) Executed in 2000. Estimate $7,000-10,000 Provenance Anthony Meier Fine Arts, San Francisco Acquired from the above by the present owner Exhibited San Francisco, Anthony Meier Fine Arts, Tony Feher, September 7 - October 5, 2000 Hartford, The Cartin Collection, ex.05.01.06103, October 15 - December 4, 2005 Des Moines Art Center; Houston, Blafer Art Museum; Lincoln, deCordova Sculpture Park and Museum; Bronx Museum of the Arts; Akron Art Museum, Tony Feher, May 11, 2012 - August 17, 2014, pp. 120-21, 258 (illustrated) Literature Ken Johnson, “Throwaways Put Together Just So”, The New York Times, October 18, 2013, p. C26 Gregory Williams, “Tony Feher,” Artforum, September, 2013, p. 416 (illustrated)
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55. Daniel Richter
b. 1962
Delirium tremens signed with the artist’s initials and dated “DR 96” lower right watercolor and ink on paper 32 7/8 x 23 5/8 in. (83.5 x 60 cm.) Executed in 1996. Estimate $7,000-10,000 Provenance Contemporary Fine Arts, Berlin Acquired from the above by the present owner
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56. Martin Kippenberger
1953-1997
Untitled (Garfeld) signed with the artist’s initials and dated “M.K. 90” lower right 11 1/2 x 8 1/8 in. (29.2 x 20.6 cm.) Executed in 1990. Estimate $15,000-20,000
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Provenance London Projects, London Jose Marin Family Fund at Works on Paper, Los Angeles (acquired by donation) Phillips de Pury, New York, May 14, 2010, lot 318 Acquired at the above sale by the present owner Exhibited Los Angeles, Works on Paper, The Jose Marin Family Fund, December 12 - 24, 2002
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57. R.H. Quaytman
b. 1961
Mother each signed, titled and dated “Rebecca Quaytman Mother 1992” on the reverse oil on wood, triptych each 9 x 9 x 3/4 in. (22.9 x 22.9 x 1.9 cm.) Executed in 1992. Estimate $20,000-30,000 Provenance Acquired directly from the artist by the present owner Exhibited Ferndale, Revolution A Gallery Project, Introducing Peter Dudek, Rebecca Quaytman, April 22 - June 3, 1995
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58. Michel Majerus
1967-2002
MoM block Nr. 82 signed, titled and dated “Majerus 99 MoM Block Nr 82” on the reverse acrylic on canvas 62 3/4 x 55 1/4 in. (159.4 x 140.3 cm.) Painted in 1999. Estimate $30,000-50,000 Provenance neugerriemschneider, Berlin Private Collection, Los Angeles Acquired from the above by the present owner Exhibited Musee d’Art Moderne Grand-Duc Jean Luxembourg, Michel Majerus Retrospective, December 13, 2006 August 16, 2007
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From the Collection of Helen and Paul Anbinder, New York
59. Ellsworth Kelly
1923-2015
Untitled signed, inscribed and dated “for Paul with thanks, Sept. 1987 Ellsworth Kelly” on the reverse graphite and collage on paper, in 2 parts 13 3/4 x 21 3/4 in. (34.9 x 55.2 cm.) Executed in 1987. Estimate $60,000-80,000 Provenance Gifed by the artist to the present owner Exhibited Ithaca, Cornell University Herbert F. Johnson Museum of Art, Contemporary Prints from the Anbinder Collection, April 5 - June 15, 1997
Characterized by an extreme economy of means, the works that comprise Ellsworth Kelly’s highlyregarded practice reveal the artist’s keen interest in formal issues such as ground/foreground, planarity, shape, and line. This particular drawing is uniquely notable both as a brilliant juxtaposition of naturalistic plant drawing and hard edged abstraction, and also as the maquette for the cover of the original catalogue raisonné of Kelly’s prints. Combining hand-drawn reinvestigations of two prints, Cyclamen III and Conques, which are both actually reinterpretations of an earlier drawing and painting respectively, Untitled from 1987 is both a fully realized object in its own right and a fascinating glimpse into the inner workings of one of the most important American artists of the post-war era.
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60. Marilyn Minter
b. 1948
Untitled signed and dated “M. MINTER 1988� on the reverse of the center panel enamel on metal, in 3 parts each 24 x 30 in. (61 x 76.2 cm.) Executed in 1988. Estimate $18,000-22,000 Provenance Bill Bartman, Art Resources Transfer (A.R.T.), New York (acquired directly from the artist) Acquired from the above by the present owner in 2000
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61. James Rosenquist
b. 1933
Below the Equator, Above the Equator signed, titled and dated “Above the Equator James Rosenquist 1975” lower right; further titled “Below the Equator” lower lef acrylic and collage on paper 36 1/8 x 74 1/4 in. (91.8 x 188.6 cm.) Executed in 1975. Estimate $30,000-40,000 Provenance Leo Castelli, New York Private Collection Thence by descent to the present owner
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62. Kenny Scharf
b. 1958
Something Sweet and Mushy signed, titled and dated “Kenny Scharf Something Sweet + Mushy 1992” on the reverse acrylic on canvasboard, in artist’s frame 29 x 25 in. (73.7 x 63.5 cm) Painted in 1992. Estimate $12,000-18,000 Provenance Private Collection, New York Gifed by the above to the present owner in 1995
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63. Tom Wesselmann
1931-2004
Beautiful Kate No. 17 signed, numbered and dated “#17. Wesselmann 81” lower right; further titled and inscribed “Beautiful Kate #17 GIFT JeNNY WESSELMANN1983” on the reverse of the board; further signed, titled and dated “BEAUTIFUL KATE #17 (VARIABLE EDITION) 1981 WESSELMANN” on the reverse of the backing board graphite and Liquitex on rag board 11 x 7 in. (27.9 x 17.8 cm.) Executed in 1981. Estimate $20,000-30,000 Provenance OK Harris Gallery, New York Private Collection Phillips de Pury, New York, November 17, 2006, lot 227 Acquired at the above sale by the present owner
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Δ
64. Yayoi Kusama
b. 1929
Infnity Nets (TWWP) signed, titled and dated “Yayoi Kusama 2006 INFINITY NETS TWWP” on the reverse acrylic on canvas 18 x 21 in. (45.7 x 53.3 cm.) Painted in 2006, this work is accompanied by Yayoi Kusama’s Art Work Registration Card. Estimate $70,000-100,000 Provenance Private Collection The Market Auction, Inc., Toyko, October 25, 2007, lot 21 Private Collection Augur Auction, Tokyo, March 24, 2012, lot 62 Private Collection (acquired at the above sale) Phillips, New York, November 14, 2014, lot 166 Acquired at the above sale by the present owner
“I would cover a canvas with nets, then continue painting them on the table, on the foor, and fnally on my own body. As I repeated this process over and over again, the nets began to expand to infnity.” Yayoi Kusama
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Sold to Beneft Artists Space
65. Chuck Close
b. 1940
Cindy, Ellen, Kiki, Laurie, Lorna each signed, respectively titled and dated “Cindy (Sherman) © 2000 Chuck Close”; “Ellen (Gallagher) © 2000 Chuck Close”; “Kiki (Smith) © 2000 Chuck Close”; “Laurie (Anderson) © 2000 Chuck Close”; “Lorna (Simpson) © 2000 Chuck Close” on the reverse set of 5 unique daguerrotypes in artist’s frames each 12 1/2 x 10 1/2 in. (31.8 x 26.7 cm) Executed in 2000. Estimate $30,000-50,000 Provenance Courtesy of the artist
Cindy
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Ellen
Kiki
Laurie
Lorna
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66. Francesco Clemente
b. 1952
Untitled pastel on paper 26 1/8 x 40 3/8 in. (66.4 x 102.6 cm.) Executed in 1990. Estimate $15,000-20,000 Provenance Gallerie Beyeler, Basel Perry Rubenstein Gallery, New York Acquired from the above by the present owner Exhibited Basel, Gallerie Beyeler, Francesco Clemente, June September, 1991, cat. no. 54
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67. George Condo
b. 1957
Untitled signed and dated “Condo 89” lower right; further signed, inscribed and dated “condo 1989 concord, Mass” on the reverse oil on canvas 38 x 44 1/8 in. (96.5 x 112.1 cm.) Painted in 1989. Estimate $40,000-60,000 Provenance The Pace Gallery, New York Galerie Daniel Templon, Paris Acquired from the above by the present owner
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68. James Siena
b. 1958
Shifed Lattice with alternating cofers gouache on board 11 x 8 3/8 in. (27.9 x 21.3 cm.) Executed in 2006. Estimate $6,000-8,000 Provenance Daniel Weinberg Gallery, Los Angeles Acquired from the above by the present owner
69. Thomas Nozkowski
b. 1944
Untitled (6-126) signed, titled and dated “6-126 Thomas Nozkowski UNTITLED 1991� on the reverse oil on canvasboard 22 x 28 in. (55.9 x 71.1 cm.) Painted in 1991. Estimate $6,000-8,000 Provenance Max Protetch Gallery, New York Acquired from the above by the present owner Exhibited Ferndale, Revolution A Gallery Project, Thomas Nozkowski: Paintings, October 30 - December 11, 1993
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70. Bernard Frize
b. 1954
Isotopie signed, titled and dated “isotopie 2006 bernard fRize� along the overlap acrylic and resin on canvas 67 x 57 in. (170.2 x 144.8 cm.) Executed in 2006. Estimate $15,000-20,000 Provenance Simon Lee Gallery, London Private Collection, London Phillips, London, February 13, 2015, lot 171 Acquired at the above sale by the present owner
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71. Djordje Ozbolt
b. 1967
Spirit of 54 signed and dated “Djordje Osbolt 2007” on the reverse acrylic on canvas 15 7/8 x 12 in. (40.5 x 30.5 cm.) Painted in 2007. Estimate $4,000-6,000 Provenance Herald St., London Acquired from the above by the present owner
72. Tomory Dodge
b. 1974
Lucia signed, titled and dated “TOMORY DODGE LUCIA 2009” on the reverse oil on canvas 14 x 15 1/8 in. (35.6 x 38.4 cm.) Painted in 2009. Estimate $5,000-7,000 Provenance ACME, Los Angeles Acquired from the above by the present owner
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73. Fred Tomaselli
b. 1956
Disappearing Painting (Study) signed, titled and dated “Fred Tomaselli 1993 ‘Dissapearing Painting’ (Study)” on the reverse hemp, acrylic and resin on wood panel 24 x 24 in. (61 x 61 cm) Executed in 1993. Estimate $25,000-35,000 Provenance Jack Tilton Gallery, New York Private Collection Sandroni Rey, Los Angeles Acquired from the above by the present owner
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74. Frank Moore
1953-2002
Study for Beacon I sketch and inscribed “Lethe” on the reverse pen, gouache and watercolor on paper 9 5/8 x 12 1/4 in. (24.4 x 31.1 cm.) Executed in 1998. Estimate $5,000-7,000 Provenance Sperone Westwater Gallery, New York Acquired from the above by the present owner in 2003 Exhibited Orlando, Orlando Museum of Art; Bufalo, Albright-Knox Art Gallery, FRANK MOORE: GREEN THUMB IN A DARK EDEN, June 8, 2002 - April 20, 2003, n.p. (illustrated)
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75. Frank Moore
1953-2002
Green Piece signed with the artist’s initials, titled and dated “Green Piece 2001 fM” on the reverse; further inscribed “now me” along the overlap oil on canvas laid on feather board panel 26 x 26 in. (66 x 66 cm.) Painted in 2001. Estimate $15,000-20,000
Exhibited New York, Sperone Westwater, Frank Moore, September 12 - October 25 Orlando, Orlando Museum of Art; Bufalo, Albright-Knox Art Gallery, FRANK MOORE: GREEN THUMB IN A DARK EDEN, June 8, 2002 - April 20, 2003, n.p. (illustrated) Literature ”Art and Aids, Works by the late Frank Moore at Orlando Museum of Art,” Orlando Review, June 13-19, 2002, p. 18 (illustrated)
Provenance Sperone Westwater Gallery, New York Acquired from the above by the present owner in 2003
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76. Will Cotton
b. 1965
Kiss Tree (study) signed, titled and dated “KISS TREE (STUDY) WILL COTTON 2004” on the reverse oil on canvas 16 1/8 x 16 1/4 in. (41 x 41.3 cm.) Painted in 2004. Estimate $6,000-8,000 Provenance Private Collection, New York Acquired from the above by the present owner
77. Hiroshi Sugito
b. 1970
the purple tree signed, titled and dated “Hiroshi Sugito 2006 the purple tree” twice on the reverse acrylic and glitter on wood, in 2 parts overall 31 1/4 x 17 5/8 x 2 in. (79.4 x 44.8 x 5.1 cm.) Executed in 2006. Estimate $5,000-7,000 Provenance Arndt + Partner, Zurich Private Collection
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78. Emily Eveleth
b. 1960
Sojourn signed, titled and dated “Emily Eveleth Sojourn 2001� on the reverse oil on canvas 74 x 84 in. (188 x 213.4 cm.) Painted in 2001. Estimate $12,000-18,000 Provenance Danese, New York Acquired from the above by the present owner
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79. Silke Otto-Knapp
b. 1970
At the Bride’s: The Braid signed, titled and dated “AT THE BRIDE’S: THE BRAID 2005 Silke Otto-Knapp” on the reverse watercolor on canvas 32 x 26 in. (81.3 x 66 cm.) Executed in 2005. Estimate $6,000-8,000 Provenance greengrassi, London Private Collection
80. Alan Michael
b. 1967
Mood 1 signed, titled and dated “Alan Michael ‘Mood I’ (2010)” along the overlap oil on canvas 90 3/4 x 60 in. (230.5 x 152.4 cm.) Painted in 2010. Estimate $5,000-7,000 Provenance HOTEL, London Acquired from the above by the present owner Exhibited London, HOTEL, Alan Michael: Silhouette Formulas, November 19 - December 18, 2010 Braga, Mario Sequeira Gallery, Collectiva, May 30 August 15, 2015
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81. Norbert Schwontkowski
b. 1949
Süd-China signed and dated “Schwontkowski 2006” on the reverse oil on canvas 15 3/4 x 19 3/4 in. (40 x 50.2 cm.) Painted in 2006. Estimate $5,000-7,000 Provenance Mitchell-Innes & Nash, New York Acquired from the above by the present owner Exhibited New York, Mitchell-Innes & Nash, We Make Any Size of Mirror, September 21 - November 22, 2006 Boston, Ars Libri, The Cartin Collection @ Ars Libri, September 2 - November 4, 2008
82. Ashley Bickerton
b. 1959
A.B. 8 embroidery on fabric, in artist’s inlaid frame 18 5/8 x 26 1/4 in. (47.3 x 66.7 cm.) Executed in 2006. Estimate $5,000-7,000 Provenance Lehmann Maupin, New York Acquired from the above by the present owner
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83. Cornelia Parker Unconscious of a Monument drawings made with earth from Freud’s Garden 28 x 28 in. (71.1 x 71.1 cm.) Executed in 2003. Estimate $3,000-5,000 Provenance D’Amelio Terras, New York Private Collection Phillips de Pury, New York, March 13, 2006, lot 61 Acquired at the above sale by the present owner
84. Joan Nelson
b. 1958
Untitled (#423) signed, titled and dated “#423 Joan M. Nelson 1995” on the reverse acrylic, ink and oil on panel 4 x 8 x 1 1/2 in. (10.2 x 20.3 x 3.8 cm.) Executed in 1995. Estimate $2,000-3,000 Provenance Robert Miller Gallery, New York Private Collection Christie’s, New York, November 13, 1998, lot 258 Acquired at the above sale by the present owner
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85. Alexis Rockman
b. 1962
The Dynamics of Power signed, titled and dated “ALEXIS ROCKMAN ‘The dynamics of Power’ 1989” on the reverse oil on canvas 80 x 68 in. (203.2 x 172.7 cm.) Painted in 1989. Estimate $8,000-12,000 Provenance Leo Koenig Inc., New York Jay Gorney Modern Art, New York Acquired from the above by the present owner
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Exhibited New York, Whitney Museum of American Art, Downtown at Federal Reserve Plaza; Stamford, Whitney Museum at Fairfeld County, The (Un)making of nature, May 16, 1990 - January 5, 1991, pp. 8, 20 (illustrated) Washington, D.C., Smithsonian American Art Museum, Alexis Rockman: A Fable for Tomorrow, November 9, 2010 - May 8, 2011 Literature Alexis Rockman, Second Nature, Normal, Illinois: University Galleries of Illinois State University, 1995, p. 24, plate 11 (illustrated)
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“[My] work...is the result of ffty years of observing the behaviour of paint, the juxtaposition of colours, in close proximity to one another, creating texture and attempting to understand the paradox of form.” Llewellyn Xavier
86. Llewellyn Xavier
b. 1945
87. Llewellyn Xavier
b. 1945
Fish and Pommes Frites signed “Llewellyn Xavier” on the reverse oil on canvas 24 x 18 in. (61 x 45.7 cm.) Painted in 2000-2015.
Chrysalis signed “Llewellyn Xavier” on the reverse oil on canvas 60 x 36 in. (152.4 x 91.4 cm.) Painted in 2000-2015.
Estimate $10,000-15,000
Estimate $40,000-60,000
Provenance Acquired directly from the artist by the present owner
Provenance Acquired directly from the artist by the present owner
Exhibited New York, Phillips, Blue Ocean Sanctuary, January 14 February 14, 2016, no. 5 (illustrated)
Exhibited New York, Phillips, Blue Ocean Sanctuary, January 14 February 14, 2016, no. 20 (illustrated)
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88. Alexey Firsov
b. 1966
30 feld Lupino signed and dated “Alexey Firsov 2014” on the reverse oil and alkyd on canvas 58 1/2 x 79 in. (148.6 x 200.7 cm) Painted in 2014. Estimate $20,000-30,000 Provenance Private Collection, Europe (acquired directly from the artist) Exhibited London, Rifemaker Gallery, Alexey Firsov, November 28 – December 12, 2014
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89. Stanley Casselman
b. 1963
IR-44-1 signed, titled and dated “Stanley Casselman ‘IR-44-1’ 2014” on the reverse acrylic on canvas 65 x 65 in. (165.1 x 165.1 cm.) Painted in 2014. Estimate $25,000-35,000
Exhibited London, Gazelli Art House, STANLEY CASSELMAN & HYO MYOUNG KIM, RED TAPE, March 14 - April 26, 2014 Literature Benjamin Park,”Red Tape at Gazelli Art House,” MODERN PAINTERS DAILY, ARTINFO, April 1, 2014 (illustrated online)
Provenance Gazelli Art House, London Acquired from the above by the present owner
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90. Marilyn Minter
b. 1948
Crisco signed, titled, numbered and dated “21/25 M. Minter ‘Crisco’ 2002” on the reverse color coupler print 16 x 20 in. (40.6 x 50.8 cm.) Executed in 2002, this work is number 21 from an edition of 25. Estimate $7,000-10,000 Provenance amfAR Foundation, 2012 Private Collection Exhibited San Francisco, Rena Bransten Gallery, amfAR: Photography Portfolio, December 2, 2004 – January 8, 2005 (another example exhibited)
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91. Alex Prager
b. 1979
La Petite Mort signed, titled, numbered and dated “Film Still #7; #12; #11; #9; #10; #8 8/15 Alex Prager 2012” on six artist’s labels accompanying the work; embossed “8/15” on the interior of the cloth clamshell portfolio 6 chromogenic prints and digital video, plate list and flm poster colophon contained in a portfolio each 17 x 22 in. (43.2 x 55.9 cm.) poster 20 x 16 in. (50.8 x 40.6 cm.) portfolio 25 x 19 1/2 x 1 1/2 in. (63.5 x 49.5 x 3.8 cm.) Executed in 2012, this work is number 8 from an edition of 15 and is accompanied by a letter of thanks dated November 29, 2012 signed by the artist. Estimate $20,000-30,000
Literature Stella Bugbee, “Tastemaker: Alex Prager Loves a Redhead, Sent Lara Stone Up a Tornado,” The Cut, February 7, 2012 Bryony Quinn, “Alex Prager stages a cinematic tale of death and compulsion in heavy noir style…,” It’s Nice That, April 20, 2012 (illustrated) Carl Swanson, “Can’t Look Away: Photographer Alex Prager’s high-intensity L.A. melodrama,” New York Magazine, April 2012 Matt Swain, “Pulp Fiction: Alex Prager: Compulsion at M+B, Los Angeles,” Aesthetica, May 9, 2012 “LUMEN Festival Transforms 150,000 Tons Of Salt Into Surreal Playground,” Hufngtonpost, June 25, 2012 Rob Wilkes, “Crowd Control: Alex Prager marshals the action in an ambitious new series...,” We Heart, November 19, 2013
Provenance M+B, Los Angeles Acquired from the above by the present owner
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92. Leslie Hewitt
b. 1977
Untitled (Solid) digital chromogenic print 30 x 40 in. (76.2 x 101.6 cm.) Executed in 2010, this work is number 5 from an edition of 5 plus 1 artist’s proof. Estimate $3,000-5,000 Provenance D’Amelio Gallery, New York Acquired from the above by the present owner in 2012 Exhibited Madrid, MAISTERRAVALBUENA, Leslie Hewitt, Midday Studies, September 16 - November 13, 2010 (another example exhibited) New York, D’Amelio Gallery, Leslie Hewitt Blue Skies, Warm Sunlight, October 29 - December 23, 2011 (another example exhibited)
93. Daniel Gordon
b. 1980
Salmon Skin and Shadow chromogenic print 24 x 20 1/8 in. (61 x 51 cm.) Executed in 2010, this work is from an edition of 3. Estimate $3,000-5,000 Provenance Wallspace Gallery, New York Acquired from the above by the present owner Exhibited Paris, Onestar Press, Daniel Gordon: Flowers & Shadows, October 5 November 15, 2011 (another example exhibited) London, Saatchi Gallery, Out of Focus: Photography April 25 - July 22, 2012
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94. Elad Lassry
b. 1977
Beets chromogenic print, in artist’s frame 11 1/2 x 14 1/2 in. (29.2 x 36.8 cm.) Executed in 2010, this work is number 2 from an edition of 5 plus 2 artist’s proofs.
Another work from this edition is in the permanent collection of the Museum of Modern Art, New York. Estimate $8,000-12,000 Provenance Massimo de Carlo, Milan Acquired from the above by the present owner Exhibited New York, Museum of Modern Art, New Photography 2010, September 29, 2010 - January 10, 2011 (another example exhibited) Miami, de la Cruz Collection, Permanent Collection Exhibition, November, 2010 - November, 2011 (another example exhibited) Literature Loredana Mascheroni, ed., “Interview with Elad Lassry”, domus, May 22, 2010 (illustrated) Ramón Fano, Javier Abio, Rubén Manrique, Tere Vaquerizo, “EXPLOSIÓN”, Neo2, no. 105 (JulyAugust 2011), p. 126 (illustrated)
95. Elad Lassry
b. 1977
Women (055, 065) signed “Elad Lassry” on a label afxed to the backing board chromogenic print, in artist’s frame 14 1/2 x 11 1/2 in. (36.8 x 29.2 cm.) Executed in 2012, this work is number 1 from an edition of 5 plus 2 artist’s proofs. Estimate $4,000-6,000 Provenance David Kordansky Gallery, Los Angeles Acquired directly from the above by the present owner Exhibited New York, The Kitchen, Elad Lassry: Untitled (Presence), September 7 - October 20, 2012 (another example exhibited) Bathurst Regional Art Gallery; Grafon Regional Art Gallery; Sydney, Manly Art Gallery and Museum; Cowra Regional Art Gallery; Taree, Manning Regional Art Gallery; Dubbo, Western Plains Cultural Centre; Wagga Wagga Art Gallery; Morwell, Latrobe Regional Art Gallery; Ipswich Art Gallery, Stars + Stripes: American Art of the 21st Century from the Goldberg Collection, October 3, 2014 - November 27, 2016, pp. 20, 30 (another example exhibited and illustrated)
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96. Gary Hume
b. 1962
Untitled signed and dated “Hume 05.” lower right Polaroid 106 1/2 x 42 1/2 in. (270.5 x 108 cm.) Executed in 2005. Estimate $5,000-7,000 Provenance Private Collection Free Arts, New York, June 8, 2005, lot 12 Private Collection, New York Phillips de Pury & Company, New York, May 14, 2010, lot 532 Acquired at the above sale by the present owner
97. Uta Barth
b. 1958
Field #5 signed, numbered and dated “8/8 Uta Barth 1995” on the reverse chromogenic print mounted on panel 23 x 28 1/2 in. (58.4 x 72.4 cm.) Executed in 1995, this work is number 8 from an edition of 8. Estimate $4,000-6,000 Provenance Tanya Bonakdar Gallery, New York Private Collection, New York Phillips de Pury & Company, New York, December 13, 2004, lot 620 Acquired at the above sale by the present owner Exhibited New York, Tanya Bonakdar Gallery, Uta Barth, March 20 - April 20, 1996 (another example exhibited)
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98. Mariah Robertson
b. 1975
117 unique chemical treatment on RA-4 paper sheet 105 x 71 in. (266.7 x 180.3 cm) frame 111 x 74 in. (281.9 x 188 cm) Executed in 2012. Estimate $12,000-18,000
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Provenance American Contemporary, New York Private Collection, New York Exhibited Houston, Contemporary Arts Museum Houston, Outside the Lines: Rites of Spring, January 11 – March 23, 2014
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99. Hans-Peter Feldmann
b. 1941
Pictures of car radios taken while good music was playing 4 gelatin silver prints, 2 chromogenic prints dimensions variable frame 21 x 27 in. (53.3 x 68.6 cm.) Executed in 2004. Estimate $3,000-5,000 Provenance 303 Gallery, New York Acquired from the above by the present owner Exhibited New York, 303 Gallery, Hans-Peter Feldmann, November 13, 2004 – January 8, 2005
100. Luisa Lambri
b. 1969
Three works: (i) Untitled (Barragan House #30); (ii) Untitled (Barragan House #32); (iii) Untitled (Barragan House #34) laserchrome print 33 7/8 x 37 3/4 in. (86 x 95.9 cm.) (i) Executed in 2005, this work is number 4 from an edition of 5 plus 1 artist’s proof. (ii) Executed in 2005, this work is the artist’s proof from an edition of 5 plus 1 artist’s proof . (iii) Executed in 2005, this work is the artist’s proof from an edition of 5 plus 1 artist’s proof. Estimate $6,000-8,000 Provenance Galeria Luisa Strina, São Paulo Acquired from the above by the present owner
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101. Wolfgang Tillmans
b. 1968
Three works: (i)Trinitatis, (ii) Venus Transit, edge, (iii) Mauricio, profle (i) signed, titled, numbered and dated “Trinitatis 2002 1/10 +1 Wolfgang Tillmans” on the reverse (ii) signed, titled, numbered and dated “Venus transit, edge 2004 6/10 +1 Wolfgang Tillmans” on the reverse (iii) signed, titled, numbered and dated “Mauricio, profle 2000 8/10 +1 Wolfgang Tillmans” on the reverse chromogenic print 16 x 12 in. (40.6 x 30.5 cm.) (i) Executed in 2002, this work is number 1 from an edition of 10 plus 1 artist’s proof. Another example of this work is in the permanent collection of the Museum of Contemporary Art, Chicago. (ii) Executed in 2004, this work is number 6 from an edition of 10 plus 1 artist’s proof. Another example of this work is in the permanent collection of the Walker Art Center, Minneapolis. (iii) Executed in 2000, this work is number 8 from an edition of 10 plus 1 artist’s proof. Another example of this work is in the permanent collection of the Tate, London. Estimate $12,000-18,000 Provenance Andrea Rosen Gallery, New York Acquired from the above by the present owner
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Exhibited (i) Chicago, Museum of Contemporary Art; Los Angeles, Hammer Museum; Washington, D.C., Hirshhorn Museum and Sculpture Garden; Mexico City, Museo Rufno Tamayo, Wolfgang Tillmans, May 20, 2006 - May 25, 2008, cover and p. 152 (another example exhibited and illustrated) (ii) New York, P.S.1 Contemporary Art Center, Wolfgang Tillmans: Freedom From The Known, February 26 - May 29, 2006 (another example exhibited) Chicago, Museum of Contemporary Art; Los Angeles, Hammer Museum; Washington, D.C., Hirshhorn Museum and Sculpture Garden; Mexico City, Museo Rufno Tamayo, Wolfgang Tillmans, May 20, 2006 - May 25, 2008 (another example exhibited) Hanover, Kestnergesellschaf, Wolfgang Tillmans; Bali, February 16 - May 6, 2007 (another example exhibited) London, Serpentine Gallery, Wolfgang Tillmans, June 26 September 19, 2010, pp. 97, 119 (another example exhibited and illustrated) Literature (ii) Wolfgang Tillmans, Wolfgang Tillmans: Wako Book 3, Tokyo, 2004, p. 55 (illustrated) Wolfgang Tillmans, Wolfgang Tillmans: truth study center, Cologne: Taschen, 2005, n.p. Lighter, exh. cat., Hamburger Bahnhof, Museum für Gegenwart, Berlin, 2008, p. 229 (illustrated) Wolfgang Tillmans, Dominic Eichler, Wolfgang Tillmans: Abstract Pictures, Ostfldern: Hatje Cantz, 2015, pl. 207 (illustrated) (iii) Gil Blank, “Gil Blank and Wolfgang Tillmans in Conversation,” Infuence, issue 2, 2004, p. 111 (illustrated)
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102. Melvin Sokolsky
b. 1933
Le Dragon, Harper’s Bazaar, Paris signed, titled, inscribed, numbered and dated “Paris 1963 Le Dragon Harper’s Bazaar 17/30 Melvin Sokolsky” on the reverse gelatin silver print 19 7/8 x 16 in. (50.5 x 40.6 cm.) Executed in 1963, this work is number 17 from an edition of 30. Estimate $3,000-5,000 Provenance Private Collection, New York Acquired from the above by the present owner Exhibited New York, Staley-Wise Gallery, Melvin Sokolsky: The Paris Pictures 1963 and 1965, February 19 - April 16, 2016 (another example exhibited) Literature Harper’s Bazaar, March 1963 (illustrated) Peter Kolonia, “Melvin Sokolsky’s Iconic Fashion Bubbles,” American Photo, February 29, 2016, n.p. (illustrated) Caroline Hirsch, “Fantastical, Impossible (and Entirely Photoshop-Free) Vintage Fashion Photos,” New York Times Style Magazine, March 3, 2016, n.p. (illustrated) Jefrey Podolsky, “Inside the Bubble of Melvin Sokolsky,” Introspective Magazine, March 28, 2016, n.p. (illustrated) Loring Knoblauch, “Melvin Sokolsky: The Paris Pictures, 1963 and 1965 @Staley-Wise,” Collector Daily, April 1, 2016, n.p. (illustrated)
103. Robert Silvers
b. 1968
AIDS Quilt Cibachrome mounted on aluminum 32 1/2 x 42 1/4 in. (82.6 x 107.3 cm) Executed circa 2006, this work is from an edition of 6. Estimate $3,000-5,000 Provenance Scott Richards Contemporary Art, San Francisco Private Collection
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104. David LaChapelle
b. 1963
Two works: (i) Pierrot Story, Paris; (ii) Rachel and Sumo Wrestlers, Tokyo (i) signed, titled, numbered and dated “The Pierrot Story, Paris, 1995 David LaChapelle 9/30” the reverse (ii) signed, titled, numbered and dated “Rachel and Sumo Wrestlers, 1994, David LaChapelle 9/30” on the reverse color photograph sheet 20 x 24 in. (50.8 x 61 cm.) image 17 x 23 in. (43.2 x 58.4 cm.) (i) Executed in 1995, this work is number 9 from an edition of 30. (ii) Executed 1994, this work is number 9 from an edition of 30. Estimate $3,000-5,000 Provenance Acquired directly from the artist by the present owner
105. Jill Greenberg
b. 1967
Untitled chromogenic print mounted to Dibond 50 x 42 in. (127 x 106.7 cm.) Executed in 2007, this work is from an edition of 7. Estimate $3,000-5,000 Provenance Acquired directly from the artist by the present owner
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106. Paul McCarthy
b. 1945
White Snow, Balloon Dog sealed PVC polyvinyl chloride plastic and infation pump 62 x 33 x 82 in. (157.5 x 83.8 x 208.3 cm.) Executed in 2013, this work is from an edition of 40 unique variants and is accompanied by a certifcate of authenticity signed by the artist. Estimate $5,000-7,000 Provenance Hauser & Wirth, New York Acquired from the above by the present owner
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107. Rob Wynne
b. 1950
Ampersand poured and mirrored glass 13 1/2 x 10 5/8 in. (34.3 x 27 cm.) Executed circa 2005. Estimate $3,000-5,000 Provenance Private Collection
108. Larry Johnson
b. 1959
Untitled (Land Without Bread) chromogenic prints, in 4 parts each 41 1/2 x 41 1/2 in. (105.4 x 105.4 cm.) Executed in 2000, this work is artist’s proof 1 from an edition of 3 plus 2 artist’s proofs. Estimate $15,000-20,000 Provenance Patrick Painter, Inc., Santa Monica Private Collection, Beverly Hills Phillips, New York, March 7, 2014, lot 218 Acquired at the above sale by the present owner Exhibited Santa Monica, Patrick Painter, Inc., The Thinking Man’s Judy Garland and Other Works, January 29 February 26, 2000
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109. Roxy Paine
b. 1966
Scumak (S2-P2=R46) incised with title “S2-P2=R46� on the underside LLD Polythylene 19 3/4 x 26 3/8 x 22 in. (50.2 x 67 x 55.9 cm.) Executed in 2001. Estimate $3,000-5,000 Provenance Pierogi 2000, New York Acquired from the above by the present owner
Property From A Rocky Mountain Collection
110. Beverly Pepper
b. 1922
Open Trapezium Altar II Cor-ten steel 28 1/4 x 12 3/4 x 8 in. (71.8 x 32.4 x 20.3 cm.) Executed in 1987. Estimate $4,000-6,000
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111. Egor Zigura
b. 1984
Colossus that Rebelled, Colossus Insurgent incised with date “10/25 2015” on the base bronze 31 1/2 x 7 7/8 x 8 5/8 in. (80 x 20 x 21.9 cm.) Executed in 2015, this work is number 10 from an edition of 25. Estimate $3,000-5,000 Provenance BuyArt.Gallery, Ukraine Acquired from the above by the present owner Exhibited Kiev, Mystetskyi Arsenal, VII Great Sculpture Exhibition, March 5 - March 15, 2015 (another example exhibited) London, Meliá White House, ARTROOMS 2016, January, 2016 (another example exhibited)
112. Xavier Veilhan
b. 1963
Air polyurethane resin fgures 25 1/4 x 18 x 6 3/4 in. (64.1 x 45.7 x 17.1 cm.) base 1 1/4 x 20 1/2 x 10 1/2 in. (3.2 x 52.1 x 26.7 cm.) Executed in 2007, this work is number 1 from an edition of 5 plus 2 artist’s proofs. Estimate $6,000-8,000 Provenance Galerie Perrotin, Paris
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113. Gert and Uwe Tobias b. 1973/1973 Untitled (Group of Six Drawings) each signed, titled and dated “Gert and Uwe Tobias Untitled 2005” on the reverse gouache, graphite, ink, watercolor and colored pencil on paper, in 6 parts each 11 5/8 x 8 1/8 in. (29.5 x 20.6 cm.) Executed in 2005. Estimate $6,000-8,000 Provenance Galerie Michael Janssen, Berlin Acquired from the above by the present owner in 2006
114. Tracey Emin
b. 1963
Memory + Nightmare I signed, titled and dated “Memory + Nightmare I TRACey Emin 2000” along the lower margin pencil on paper 11 5/8 x 8 1/4 in. (29.5 x 21 cm.) Executed in 2000. Estimate $3,000-5,000 Provenance Galerie Gebauer, Berlin Private Collection
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115. Pietro Roccasalva
b. 1970
Study for Il Traviatore charcoal and acrylic on paper, in artist’s frame image 6 1/2 x 4 7/8 in. (16.5 x 12.6 cm.) frame 17 1/2 x 16 in. (44.5 x 40.6 cm.) Executed in 2011. Estimate $7,000-10,000 Provenance David Kordansky Gallery, Los Angeles Acquired from the above by the present owner
116. Adrian Paci
b. 1969
Facades watercolor on paper 17 3/4 x 22 5/8 in. (45.1 x 57.5 cm.) Executed in 2006. Estimate $6,000-8,000 Provenance Peter Blum Gallery, New York Acquired from the above by the present owner
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117. Tracey Emin
b. 1963
I Resent My Own Happyness signed, titled and dated “I Resent my own happyness TRACey Emin 1998� along the lower margin monoprint on paper 11 3/4 x 16 1/2 in. (30 x 42 cm.) Executed in 1998. Estimate $2,000-3,000 Provenance Galerie Gebauer, Berlin Private Collection
118. Christian Holstad
b. 1972
Here Kitty Kitty #15 collage on handmade paper 24 1/2 x 19 in. (62.2 x 48.3 cm.) Executed in 2005. Estimate $2,000-3,000 Provenance Daniel Reich Gallery, New York Private Collection
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119. Walead Beshty
b. 1976
Two works: (i) “Every Now and Then...”Bonnie Tyler; (ii) “We Both Want Sweetness in Life...”Chairman of the Board) from the series Do You Feel Me each glitter, archival glue and Plexiglas, in artist’s frame each 13 1/2 x 18 in. (34.3 x 45.7 cm.) Executed in 2004. Estimate $6,000-8,000 Provenance Wallspace, New York Acquired from the above by the present owner
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120. Till Freiwald
b. 1963
Untitled watercolor on paper 30 x 21 in. (76.2 x 53.3 cm.) Executed in 1998. Estimate $3,000-5,000 Provenance Jack Shainman Gallery, New York Acquired from the above by the present owner Exhibited Ferndale, Revolution A Gallery Project, Till Freiwald: A Portrait of our Time II, January 23 - February 27, 1999
121. Nicole Eisenman
b. 1965
Untitled signed and dated “Nicole Eisenman 2008” on the reverse; artist’s sketch on the reverse ink, marker and watercolor on paper 12 1/4 x 9 1/4 in. (31.1 x 23.5 cm.) Executed in 2008. Estimate $3,000-5,000 Provenance Leo Koenig Inc., New York Acquired from the above by the present owner
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122. Kehinde Wiley
b. 1977
Passing/Posing Untitled 4 graphite on paper, in artist’s frame sheet 27 1/2 x 19 1/2 in. (69.9 x 49.5 cm.) overall 37 3/4 x 32 in. (95.9 x 81.3 cm.) Executed in 2005. Estimate $8,000-12,000 Provenance Deitch Projects, New York Private Collection, New York
123. Raymond Pettibon
b. 1957
Untitled (The Best Moment...) signed and dated “Raymond Pettibon 95” on the reverse pen, ink and graphite on paper 25 1/8 x 19 1/2 in. (63.8 x 49.5 cm.) Executed in 1995. Estimate $10,000-15,000 Provenance Sadie Coles HQ, London Private Collection Phillips de Pury & Company, New York, November 8, 2011, lot 342 Acquired at the above sale by the present owner Exhibited London, Sadie Coles HQ, Raymond Pettibon, 2000
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124. Douglas Gordon
b. 1966
Self portrait of you + me, (Humphrey Bogart) signed “DGordon” on a label afxed to the reverse of the backing board burnt gelatin silver print ash on mirror, in artist’s frame image 18 1/4 x 15 1/4 in. (46.4 x 38.7 cm.) overall 35 5/8 x 32 5/8 in. (90.5 x 82.9 cm.) Executed in 2006. Estimate $8,000-12,000 Provenance Yvon Lambert, New York
125. Brad Kahlhamer
b. 1956
Desert Forest City signed and dated “Brad Kahlhamer 9 2004” lower right watercolor and ink on paper 62 x 82 in. (157.5 x 208.3 cm.) Executed in 2004. Estimate $5,000-7,000 Provenance Deitch Projects, New York Acquired from the above by the present owner
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126. Donald Baechler
b. 1956
Skull signed with the artist’s initials and dated “DB 2008” lower lef gesso, fashe and paper collage on paper 39 x 39 in. (99.1 x 99.1 cm.) Executed in 2008. Estimate $15,000-20,000 Provenance Private Collection
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127. An-My LĂŞ
b. 1960
29 Palms, Security and Stability Operations (Good Saddam) gelatin silver print 26 1/2 x 38 in. (67.3 x 96.5 cm.) Executed in 2003-2004, this work is number 1 from an edition of 5. Estimate $4,000-6,000 Provenance Murray Guy, New York Acquired from the above by the present owner
128. New Catalogue
since 2003
Big 10 Co-Ed with Ski Mask No. 1 digital chromogenic print 40 x 30 in. (101.6 x 76.2 cm.) Executed in 2002, this work is number 1 from an edition of 5. Estimate $2,000-3,000 Provenance Bodybuilder & Sportsman Gallery, Chicago Acquired from the above by the present owner
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129. Christoph Büchel
b. 1966
America We Stand As One DVD 00:03:51 (loop) Executed in 2005, this work is number 2 from an edition of 5 plus 2 artist’s proofs and is accompanied by a certifcate of authenticity signed by the artist. Estimate $6,000-8,000 Provenance Hauser & Wirth, Zurich Acquired from the above by the present owner Exhibited Salt Lake City, Utah Museum of Contemporary Art, Idealogue, February 5 - July 23, 2016 (another example exhibited)
130. Doug Aitken
b. 1968
Girl in Mask signed and numbered “1/6 Doug Aitken” on the reverse chromogenic print mounted to Plexiglas, in artist’s frame 63 5/8 x 48 3/8 in. (161.6 x 122.9 cm.) Executed in 2002, this work is number 1 from an edition of 6. Estimate $3,000-5,000 Provenance 303 Gallery, New York Private Collection Christie’s, New York, September 23, 2009, lot 93 Acquired at the above sale by the present owner Exhibited Berlin, Kunst-Werke Institute for Contemporary Art; Graz, Neue Galerie at Landesmuseum Joanneum, Regarding Terror: The RAF Exhibition, January 1 - May 16, 2005 (another example exhibited)
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131. Mark Flood
b. 1957
Lover’s Leap signed, titled and dated “Mark Flood - 07 ‘LOVERS LEAP’” along the overlap acrylic on canvas, laid on board 48 x 36 in. (121.9 x 91.4 cm.) Painted in 2007. Estimate $12,000-18,000 Provenance Marty Walker Gallery, Dallas Acquired from the above by the present owner
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132. Josh Smith
b. 1976
Untitled signed and dated “JOSHSMITH 2006 JOSHSMITH 2006 JOSH SMITH 2006” on the reverse oil and collage on wood panel 60 x 48 in. (152.4 x 121.9 cm.) Executed in 2006. Estimate $10,000-15,000 Provenance Catherine Bastide, Brussels Private Collection
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Side A
Side B
133. Dashiell Manley
b. 1983
Yet Untitled double-sided: gouache, watercolor, ink, canvas and acrylic sheet, in artist’s frame, with shelf 49 x 36 3/4 in. (124.5 x 93.3 cm.) Executed in 2013. Estimate $8,000-12,000 Provenance Redling Fine Arts, San Francisco Acquired from the above by the present owner
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134. Hugh Scott-Douglas
b. 1988
Untitled signed and dated “Hugh Scott-Douglas 2012” along the stretcher; further signed “Hugh Scott-Douglas” on a label afxed to the stretcher cyanotype on linen 93 x 74 in. (236.2 x 188 cm.) Executed in 2012.
Provenance Blum & Poe, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Blum & Poe, The Cabinet of Dr. Caligari, January 12 — February 16, 2013
Estimate $18,000-22,000
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135. Lucien Smith
b. 1989
Untitled (Scrap Metal 4298) numbered and inscribed “4298 scrap” on the underside scrap metal 16 x 11 x 10 in. (40.6 x 27.9 x 25.4 cm.) Executed in 2013. Estimate $7,000-10,000 Provenance OHWOW, Los Angeles Acquired from the above by the present owner Exhibited Kansas City, Bill Brady Gallery, Lucien Smith: Scrap Metal, June 28 - August 20, 2013
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136. Lucien Smith
b. 1989
Bewitched, Bothered, and Bewildered 3 signed “Lucien Smith� along the overlap acrylic on canvas 36 x 30 in. (91.4 x 76.2 cm.) Painted in 2012. Estimate $12,000-18,000 Provenance OHWOW, Los Angeles Acquired from the above by the present owner
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137. Scott Reeder
b. 1970
Untitled (Pasta Painting) signed, titled and dated “‘UNTITLED’ PASTA PAINTING Scott Reeder 2013” along the overlap oil on canvas 48 x 36 1/8 in. (121.9 x 91.8 cm.) Painted in 2013. Estimate $6,000-8,000 Provenance Lisa Cooley, New York Acquired from the above by the present owner
138. Travess Smalley
b. 1986
Vector Weave, scan 15_v2 signed and dated “Travess Smalley 2014” on the reverse UV print on stretched vinyl 96 x 70 1/8 in. (243.8 x 178.1 cm.) Executed in 2014. Estimate $4,000-6,000 Provenance Higher Pictures, New York Acquired from the above by the present owner
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139. Garth Weiser
b. 1979
Cardio signed and dated “Garth 2009” on the reverse acrylic and gouache on canvas 92 7/8 x 83 in. (235.9 x 210.8 cm.) Executed in 2009. Estimate $15,000-20,000
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Provenance Casey Kaplan Gallery, New York Acquired from the above by the present owner Exhibited New York, Casey Kaplan Gallery, Garth Weiser, February 12 March 21, 2009
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140. Sterling Ruby
b. 1972
Death Cult Los Angeles - Cry Me a River Lambda print 59 x 47 1/2 in. (149.9 x 120.7 cm.) Executed in 2007, this work is number 1 from an edition of 3. Estimate $8,000-12,000 Provenance Metro Pictures, New York Acquired from the above by the present owner Exhibited Los Angeles, Museum of Contemporary Art, Sterling Ruby Supermax 2008, June September 2008, p. 55 (another example exhibited and illustrated)
141. Aleksandra Domanović
b. 1981
Portrait (bump-map) inkjet print, in artist’s frame 28 3/8 x 20 1/2 in. (72 x 52 cm.) Executed in 2011, this work is number 2 from an edition of 5 plus 2 artist’s proofs. Estimate $2,000-3,000 Provenance Tanya Leighton Gallery, New York Paddle8, New York, Rhizome’s Beneft Auction 2013, February 26, 2013, lot 2 Acquired at the above sale by the present owner Exhibited Berlin, Tanya Leighton, GROUPED SHOW, Selected by Robert O. Fitzpatrick, July 16 August 20, 2011 (another example exhibited) Literature Michael Sanchez, “2011: Michael Sanchez on Art and Transmission,” Artforum, vol. 51, Summer 2013, p. 296 (illustrated)
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142. Kon Trubkovich
b. 1979
The Future Is Almost Like The Past oil on canvas 44 1/2 x 60 in. (113 x 152.4 cm) Painted in 2007. Estimate $10,000-15,000 Provenance Museum 52, New York Acquired from the above by the present owner
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143. Lucy Dodd
b. 1981
Pink Blissard signed and dated “Lucy Dodd ’13” on the reverse gouache, tempera, chalk and pastel on fabric mounted on canvas 19 3/8 x 28 in. (49.2 x 71.1 cm.) Executed in 2013. Estimate $5,000-7,000 Provenance The Artist and David Lewis Gallery The Kitchen Beneft Art Auction, New York, November 19, 2013 Acquired at the above sale by the present owner
144. Brian Kokoska
b. 1988
Ruby Demise (13 Lives) signed with artist’s initials and dated “BK 2014” on the reverse of the sheet; further signed with the artist’s initials and dated “BK 2014” on the reverse of the backing board acrylic on paper, painted fgurine, gimp, in artist’s frame 20 1/2 x 16 1/2 x 5 1/8 in. (52.1 x 41.9 x 13 cm.) Executed in 2014. Estimate $3,000-5,000 Provenance Private Collection
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145. Jackie Saccoccio
b. 1963
Portrait (Sweep) signed, titled and dated “P3 : Portrait: Sweep 2013 Jackie Saccoccio” on the reverse oil and mica on linen 57 1/2 x 44 7/8 in. (146.1 x 114 cm.) Painted in 2013.
Provenance Private Collection Exhibited Genova, Museo di Arte Contemporanea, Portrait Gallery / Galleria di Ritratti, Villa Croce, JACKIE SACCOCCIO, January 16 – March 9, 2014
Estimate $10,000-15,000
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146. Sebastian Black
b.1985
Two works: (i) Period Piece (0...); (ii) Period Piece each signed and dated “SEBASTIAN BLACK 2011” on the reverse enamel on engraved dibond each 10 1/8 x 6 in. (25.7 x 15.2 cm.) Executed in 2011. Estimate $6,000-8,000 Provenance Acquired directly from the artist by the present owner
147. Graham Collins
b. 1980
Untitled (Tracy Chapman Cover) signed and dated “G Collins 13” on the reverse spray enamel on canvas, reclaimed wood, glass and window tint 39 3/8 x 28 5/8 in. (100 x 72.7 cm.) Executed in 2013. Estimate $3,000-5,000 Provenance Rachel Ufner Gallery, New York Acquired from the above by the present owner Exhibited New York, Rachel Ufner Gallery, Truck Baby, June 7 July 20, 2013
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148. Adam Pendleton
b. 1984
Dispersal signed and dated “Adam Pendleton 2009-10” along the overlap silkscreen on canvas 60 x 46 in. (152.4 x 116.8 cm.) Executed in 2009-2010. Estimate $8,000-12,000 Provenance Roberts & Tilton, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Roberts & Tilton, EL T D K Los Angeles, April 10 – May 15, 2010
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149. Steve Dibenedetto
b. 1958
Colony signed, titled, inscribed and dated “‘COLONY’ Steve Dibenedetto 1999 Giverny” on the reverse oil on canvas 11 x 14 in. (27.9 x 35.6 cm.) Painted in 1999. Estimate $2,000-3,000 Provenance Baumgartner Gallery, New York Acquired from the above by the present owner
150. Alex Olson
b. 1978
Verse signed and dated “Alex Olson 2010” along the overlap oil on canvas 18 x 14 in. (45.7 x 35.6 cm.) Painted in 2010. Estimate $2,000-3,000 Provenance Lisa Cooley, New York Acquired from the above by the present owner
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151. Gabriel Hartley
b. 1981
Replica signed, titled and dated “’Replica’ 2010 Gabriel Hartley” on the reverse oil on canvas 102 2/8 x 78 7/8 in. (260 x 200 cm.) Painted in 2010. Estimate $6,000-8,000 Provenance Foxy Production, New York Acquired from the above by the present owner
152. Sebastian Black
b.1985
Critical, Sabatical II signed and dated “SEBASTIAN BLACK 2012” on the reverse enamel on aluminum 48 1/8 x 28 3/4 in. (122.2 x 73 cm.) Executed in 2012. Estimate $4,000-6,000 Provenance Acquired directly from the artist by the present owner
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153. David Ostrowski
b. 1981
F (dann lieber nein) signed and dated “David Ostrowski 13” along the overlap oil and lacquer on canvas, in artist’s frame 24 x 20 in. (61 x 50.8 cm.) Executed in 2013. Estimate $8,000-12,000 Provenance Peres Projects, Los Angeles Acquired from the above by the present owner
154. Max Ruf
b. 1982
Untitled oil on linen 62 1/4 x 44 1/8 in. (158.1 x 112.1 cm.) Painted in 2011. Estimate $5,000-7,000 Provenance Private Collection Acquired from the above by the present owner
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155. Jack Lavender
b. 1983
Walking Home 8 glass, Cortrex board, incense stick, paper, sand, dirt, glass marble, shells, stickers, spray paint and lichen 48 1/8 x 43 1/4 x 1 1/8 in. (122.2 x 109.9 x 2.9 cm.) Executed in 2014. Estimate $5,000-7,000 Provenance Mihai Nicodim Gallery, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Mihai Nicodim Gallery, Jack Lavender: Glistening Echoes of a Slow Walk Home, April 19 - May 31, 2014
156. Dan Rees
b. 1982
Vacuum Painting oil on canvas, plastic 55 x 42 1/2 in. (139.7 x 108 cm) Executed in 2013, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $2,000-3,000 Provenance Tanya Leighton Gallery, New York Acquired from the above by the present owner
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157. Gavin Kenyon
b. 1980
Untitled plaster, fur and pigment 53 x 10 x 6 in. (134.6 x 25.4 x 15.2 cm.) Executed in 2013. Estimate $3,000-5,000 Provenance Blum & Poe, Los Angeles Acquired from the above by the present owner
158. Jim Lambie
b. 1964
PSYCHEDELICSOULSTICK NO. 9 bamboo, silk thread, cigarette packet and leather 40 1/4 x 2 in. (102.2 x 5.1 cm.) Executed in 1999. Estimate $3,000-5,000 Provenance Sadie Coles HQ, London Acquired by the Sender Collection, Miami from the above in May 2000 Sotheby’s, New York, April 17, 2016, lot 185 Acquired at the above sale by the present owner Exhibited London, Sadie Coles HQ, Jim Lambie - Weird Glow, December 1999 - January 2000
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159. Jean-Baptiste Bernadet
b. 1978
Untitled (Fugue) signed, titled and dated “Jean-Baptiste Bernadet ‘Untitled (Fugue)’ 2015” along the overlap; further signed “Bernadet” on the reverse oil on canvas 47 x 43 in. (119.4 x 109.2 cm.) Painted in 2015. Estimate $10,000-15,000 Provenance Almine Rech Gallery, Brussels and Valentin, Paris Paddle8, New York, Printed Matter Beneft Auction, November 2015, lot 3 Acquired at the above sale by the present owner
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160. Erik Lindman
b. 1985
Untitled signed and dated “E. Lindman 2013� along the stretcher Masonite, gel medium and acrylic on canvas 95 3/4 x 60 in. (243.2 x 152.4 cm.) Executed in 2013. Estimate $7,000-10,000 Provenance L & M Arts, Los Angeles Acquired from the above by the present owner
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161. Chris Succo
b. 1979
Untitled (WFWC) signed and dated “Chris Succo 2014” on the reverse oil and lacquer on linen, in artist’s frame 36 3/4 x 24 1/2 in. (93.3 x 62.2 cm.) Painted in 2014. Estimate $7,000-10,000 Provenance The Journal Gallery, Brooklyn Acquired from the above by the present owner
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162. Christian Rosa
b. 1982
This is the Next One signed and dated “Christian Rosa 2013� along the overlap pencil, spray paint, oil stick and oil on canvas 78 3/4 x 98 1/2 in. (200 x 250.2 cm.) Executed in 2013. Estimate $10,000-15,000 Provenance Private Collection Acquired from the above by the present owner
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163. Abdullah Qandeel
b. 1988
How I See the World acrylic and matches on canvas 48 x 48 in. (121.9 x 121.9 cm.) Executed in 2014. Estimate $10,000-15,000 Provenance HG Contemporary Gallery, New York Acquired from the above by the present owner
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164. Grear Patterson
b. 1988
Like A Kid At Christmas titled and inscribed “like a kid on christmas blue red green candy” on a label afxed to the reverse of the mouth element; further initialed “GP” on the reverse of the x and o elements. tarpaulin and canvas tarpaulin, laid on board, in 3 parts 81 x 81 in. (205.7 x 205.7 cm) Executed in 2014, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $6,000-8,000 Provenance Ellis King Gallery, Dublin Acquired from the above by the present owner Exhibited Rome, American Academy in Rome, Grear Patterson, Forest Theater, October 8 - November 30, 2014 Literature Ofelia Sisca, “You’re never too young to remember. Grear Patterson at the American Academy in Rome,” artribune magazine, October 30, 2014 (illustrated) Elena Giulia Rossi, “Grear Patterson. Between Language and Matter,” ARSHAKE, November 11, 2014 (illustrated)
165. Mike Bouchet
b. 1970
Uptown Six signed, titled and dated “’Uptown Six 2014 Mike Bouchet” on the reverse oil on canvas 82 5/8 x 59 in. (210 x 150 cm.) Painted in 2014. Estimate $5,000-7,000 Provenance Peres Projects, Berlin Private Collection Acquired from the above by the present owner
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166. Leo Gabin
since 2000
Bandanna Dreams signed, titled and dated “Leo Gabin Bandanna Dreams 2013” on the reverse acrylic, lacquer, spray paint and silkscreen on canvas 79 x 56 in. (200.7 x 142.2 cm.) Executed in 2013. Estimate $8,000-12,000 Provenance Private Collection
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167. Kyle Thurman
b. 1986
Untitled (120 West 28th Street, New York NY 10001) signed and dated “K Thurman 2015� along the overlap fower pigment on canvas 96 x 72 in. (243.8 x 182.9 cm) Executed in 2015. Estimate $8,000-12,000 Provenance Ofce Baroque Gallery, Brussels Private Collection, Italy Acquired from the above by the present owner
168. Shara Hughes
b. 1981
Enter Goldfsh oil, acrylic, enamel, paint pens and plastic paper 54 x 44 in. (137.2 x 111.8 cm.) Executed in 2007. Estimate $3,000-5,000 Provenance Museum 52, London Acquired from the above by the present owner Exhibited London, Museum 52, Thank You for Hosting, 2008
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169. Israel Lund
b. 1980
Untitled signed twice and dated “ISRAEL LUND Israel Lund 2013” along the overlap acrylic on canvas 44 x 34 in. (111.8 x 86.4 cm.) Painted in 2013. Estimate $10,000-15,000 Provenance Roberts & Tilton, Los Angeles Private Collection Acquired from the above by the present owner
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170. Michael Manning
b. 1985
Collide (Acoustic Version) signed and dated “Michael Manning 2014� along the overlap digital print and acrylic on canvas 96 x 72 in. (243.8 x 182.9 cm.) Executed in 2014. Estimate $5,000-7,000 Provenance Bill Brady Gallery, Kansas City Acquired from the above by the present owner
171. Henry Codax
since 2011
Untitled (Hot Pink) acrylic on canvas 84 x 42 in. (213.4 x 106.7 cm.) Painting in 2012. Estimate $5,000-7,000 Provenance Martos Gallery, New York Acquired from the above by the present owner Exhibited New York, Martos Gallery, Henry Codax: Long Sufering, July 10 - August 24, 2012
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172. Jean-Baptiste Bernadet
b. 1978
Study for Sunset 16 (Afer F. Church) signed, titled and dated “JB BERNADET STUDY FOR SUNSET 16 (Afer F. Church) 2014� along the overlap oil on canvas 24 x 29 3/4 in. (61 x 75.6 cm.) Painted in 2014. Estimate $4,000-6,000 Provenance Private Collection
173. Petra Cortright
b. 1986
Force Hint Black Basil Jasmine Lemon digital painting on silk 73 1/2 x 52 in. (186.7 x 132.1 cm.) Executed in 2013. Estimate $2,000-3,000 Provenance Steve Turner Contemporary, Los Angeles Acquired from the above by the present owner
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174. Mark Hagen
b. 1972
To be titled (Additive Painting 4) acrylic on burlap laid on panel, in artist’s frame 61 1/4 x 43 1/4 in. (155.6 x 109.9 cm.) Executed in 2010. Estimate $7,000-10,000 Provenance China Art Object Galleries, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, China Art Objects Galleries, Mark Hagen: Succession & Simultaneity, April 10 - May 15, 2010
175. Ethan Cook
b. 1983
Untitled signed and dated “E. Cook 2013” along the overlap hand woven cotton canvas on canvas, in artist’s frame 30 1/2 x 24 1/2 in. (77.5 x 62.2 cm.) Executed in 2013. Estimate $6,000-8,000 Provenance Acquired directly from the artist by the present owner
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176. Fredrik Værslev
b. 1979
Untitled (Terrazzo Painting) signed and dated “F. Værslev 2010” along the overlap spray paint, house paint, liquid asphalt, corrosion protective spray and white spirit on canvas 17 1/2 x 13 1/2 in. (44.5 x 34.3 cm.) Executed in 2010. Estimate $3,000-5,000 Provenance Johan Berggren Gallery, Mälmo Acquired from the above by the present owner Exhibited Mälmo, Johan Berggren Gallery, Fredrik Værslev: Panels and Patios, November 13 December 19, 2010
177. Nicholas Pilato
b. 1986
Prehistoric Eyes signed, titled and dated “Prehistoric EYES N. PILATO 2014” on the reverse oil and concrete on canvas 68 x 58 in. (172.7 x 147.3 cm.) Executed in 2014. Estimate $5,000-7,000 Provenance Private Collection Exhibited New York, Bryce Wolkowitz Gallery, Dérive(s) Curated by Romain Dauriac, Sylvie Auvray, Sarah Braman, Olivier Kosta-Théfaine, Anita Molinero, Nicholas Pilato, Evan Robarts and John Roebas, January 10 - February 14, 2015
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178. Chris Succo
b. 1979
OPEN THE ZIPPER signed with the artist’s initials, titled and dated “OPEN THE ZIPPER CS 2013” on the reverse oil, laquer, linen, adhesive and estate emulsion on canvas, in artist’s frame 24 5/8 x 18 1/2 in. (62.5 x 47 cm.) Executed in 2013. Estimate $5,000-7,000 Provenance Rod Barton, London Acquired from the above by the present owner Exhibited London, Rod Barton, Total Recall, September 13 - October 20, 2013 Literature “Chris Succo. Total Recall,” The Wall Street Journal, 2013
179. Amir Nikravan
b. 1983
(Painting) L signed, titled and dated “AMIR NIKRAVAN (PAINTING) L, 2014 AN” on the reverse acrylic and fabric on aluminum 48 x 40 in. (121.9 x 101.6 cm.) Executed in 2014. Estimate $4,000-6,000 Provenance Various Small Fires, Los Angeles Acquired from the above by the present owner
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180. Joe Reihsen
b. 1979
About to jump in the shower signed and dated “Joe Reihsen 2013” along the stretcher acrylic on panel, in artist’s frame 60 3/4 x 47 1/4 in. (154.3 x 120 cm.) Painted in 2013. Estimate $5,000-7,000 Provenance Anat Ebgi, Los Angeles Acquired from the above by the present owner
181. JPW3
b. 1981
Stay Calm signed and dated “JPW3 2013” along the overlap; further titled “Stay Calm” along the stretcher wax and dye on canvas 16 1/2 x 11 in. (41.9 x 27.9 cm.) Executed in 2013. Estimate $3,000-5,000 Provenance Private Collection
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182. Ayan Farah
b. 1978
Solluminus (Air) signed, titled and dated “Solluminus (Air) Ayan Farah 2013� on the stretcher bar acrylic, vinegar, alcohol and fabric dye on cotton silk 67 x 51 in. (170.2 x 129.5 cm.) Executed in 2013. Estimate $5,000-7,000 Provenance Vigo Gallery, London Acquired from the above by the present owner
183. Sam Falls
b. 1984
Untitled dyed cotton fabric and bedframe 78 3/4 x 59 1/2 x 5 in. (200 x 151.1 x 12.7 cm.) Executed in 2011. Estimate $4,000-6,000 Provenance M+B, Los Angeles Acquired from the above by the present owner
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184. Matteo Callegari
b. 1979
Blaize Forever signed twice, inscribed and dated “Matteo Callegari 2014 Matteo Callegaro Blaize Forever� on the reverse gesso, oil and graphite on linen 74 x 56 in. (188 x 142 cm.) Executed in 2014. Estimate $5,000-7,000 Provenance Ramiken Crucible, New York Private Collection Acquired from the above by the present owner
185. Sam Falls
b. 1984
Untitled (Black Sun, Topenga, CA) cotton polyester blend and metal grommets 74 x 45 in. (188 x 114.3 cm.) Executed in 2012. Estimate $4,000-6,000 Provenance American Contemporary, New York Acquired from the above by the present owner
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186. Eddie Peake
b. 1981
kool with a ‘k’ signed and dated “Eddie Peake 2012” on the reverse spray paint on polished stainless steel 39 5/8 x 27 5/8 x 2 in. (100.8 x 70.1 x 5.1 cm.) Executed in 2012. Estimate $7,000-10,000 Provenance Acquired directly from the artist by the present owner
187. Ryan Estep
b. 1980
Sterilized Dirt AA21 signed, titled and dated “ESTEP AA21 2014” along the overlap sterilized dirt on canvas 60 x 48 in. (152.4 x 121.9 cm.) Executed in 2014. Estimate $4,000-6,000 Provenance Acquired directly from the artist by the present owner
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188. Brendan Lynch
b. 1985
Young Chop signed, titled and dated “Brendan Lynch ‘13 “Young Chop”” on the reverse posters, aluminum leaf and paint on wood panel 60 x 57 in. (152.4 x 144.8 cm.) Executed in 2013. Estimate $7,000-10,000 Provenance Still House Group, New York Acquired from the above by the present owner
189. Lucien Smith
b. 1989
STP (709c, 170c, 171c) signed “L. Smith” and stamped with date “FEB 12 2014” on an artist’s studio authenticity label afxed to the reverse enamel on canvas laid on panel 45 x 55 5/8 in. (114.3 x 141.3 cm.) Executed in 2014. Estimate $7,000-10,000 Provenance OHWOW, Los Angeles Acquired from the above by the present owner
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190. Dan Colen
b. 1979
To be titled rock and acrylic paint 4 5/8 x 10 x 15 in. (11.7 x 25.4 x 38.1 cm.) Executed in 2012. Estimate $8,000-12,000 Provenance Gagosian Gallery, New York Acquired from the above by the present owner
191. Christian Marclay
b. 1955
Drumsticks incised with the artist’s signature and dated “Christian Marclay 2000” on one element hand-tooled glass, in 2 parts 15 1/8 x 1/8 x 1/8 in. (38.4 x .3 x .3 cm.) Executed in 2000, this work is number 10 from an edition of 15. Another example from this edition is held in the permanent collection of The Museum of Modern Art, New York Estimate $6,000-8,000 Provenance Private Collection Exhibited San Francisco, Fraenkel Gallery, Stereo, May 1 - June 28, 2008, pp. 50-51 (another example exhibited and illustrated)
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192. Kaz Oshiro
b. 1967
Fender Showman Amp with Cabinet #2 (Duct Tape & Cigarette Burn) signed, titled, and dated twice “Kaz Oshiro Fender Showman Amp Head 02� on the reverse acrylic and Bondo on stretched canvas over wood, in 2 parts 48 x 30 x 11 in. (121.9 x 76.2 x 27.9 cm.) Executed in 2002. Estimate $18,000-22,000 Provenance Rosamund Felsen Gallery, Los Angeles Acquired from the above by the present owner
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193. Cullen Washington Jr.
b. 1972
Space Notation 2 signed, titled and dated “SPACE NOTATION #2 2014 Cullen Washington Jr.” on the reverse canvas, tape, acrylic gel, acrylic, string, paper, plastic flter, refective paper and wire 62 1/8 x 103 in. (157.8 x 261.6 cm.) Executed in 2014. Estimate $7,000-10,000 Provenance B2OA Gallery, New York Private Collection, New York Exhibited New York, B2OA Gallery, Space Notations, January 22 February 23, 2015 Literature Juliette Harris, “Cullen Washington On Surpassing Boundaries To Enter a Land Beyond Words,” International Review of African American Art, March 2015 (illustrated)
194. Gregor Hildebrandt
b. 1974
We Are Going Nowhere [Bright Eyes] signed, titled and dated “2008 Gregor Hildebrandt ‘We are going nowhere [Bright Eyes]’” on the reverse cassette tape recorder on canvas 38 1/4 x 29 1/8 in. (97.2 x 74 cm.) Executed in 2008. Estimate $7,000-10,000 Provenance Galerie Jan Wentrup, Berlin Acquired from the above by the present owner
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195. Walead Beshty
b. 1976
Selected Works (2011 - 2012/March 17th 2011 March 15, 2012) color photographic paper, black and white photographic paper and archival inkjet papers, in artist’s frame 30 x 20 1/4 x 3 1/4 in. (76.2 x 51.4 x 8.3 cm.) Executed in 2011-2012. Estimate $15,000-20,000 Provenance Regen Projects, Los Angeles Acquired from the above by the present owner
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196. Ned Vena
b. 1982
Untitled signed and dated “VENA 2011� on the reverse Rustoleum enamel on linen over plywood 12 x 96 in. (30.5 x 243.8 cm.) Executed in 2011. Estimate $15,000-20,000 Provenance Michael Benevento Gallery, Los Angeles Acquired from the above by the present owner
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197. Michiel Ceulers
b. 1986
Comment Tuer l’Amant de Sa Femme Quand on a Été Élevé Comme Moi dans La Tradition? signed, titled and dated “Michiel Ceuler 2012 Comment Tuer l’Amant de Sa Femme Quand on a Été Élevé Comme Moi dans La Tradition” on the reverse oil and spray paint on canvas, in artist’s cardboard frame 78 3/4 x 98 3/8 in. (199.9 x 249.9 cm) Painted in 2012. Estimate $8,000-12,000 Provenance Nicodim Gallery, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Nicodim Gallery, Michiel Ceulers “Comment Tuer l’Amant De Sa Femme Quand On A Été Élevé Comme Moi Dans La Tradition?” (“How to Kill Your Wife’s Lover When You Were Raised with Tradition?”), May 29 – July 10, 2012
198. Sean Townley
b. 1983
Fig. 139 urethane, aluminum and carbon fber 18 1/2 x 54 1/2 in. (47 x 138.4 cm.) Executed in 2014. Estimate $5,000-7,000 Provenance Night Gallery, Los Angeles Acquired from the above by the present owner
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199. Nikolas Gambarof
b. 1979
Untitled signed and dated twice “Gambarof 2012” on the reverse newsprint and acrylic on aluminum composite panel 95 3/4 x 47 7/8 in. (243.2 x 121.6 cm.) Executed in 2012, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $2,000-3,000 Provenance Gió Marconi Gallery, Milan Private Collection Phillips, New York, November 12, 2013, lot 114 Private Collection Acquired from the above by the present owner
200. Gardar Eide Einarsson
b. 1976
Helter Skelter? signed and dated “Gardar Eide Einarsson 2006” on the reverse silkscreen on aluminum 40 x 40 in. (101.6 x 101.6 cm.) Executed in 2006. Estimate $3,000-5,000 Provenance Bortolami Dayan Gallery, New York Acquired from the above by the present owner Exhibited New York, Bortolami Dayan Gallery, War on 45 / My Mirrors Are Painted Black (For You), June 29 September 26, 2006
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This Lot is Sold with No Reserve
201. Christian Vetter
b. 1970
Sentences (Questions and Answers) signed, titled and dated “‘Sentences (Questions and Answers)’ 2010 Christian Vetter” on the reverse oil on canvas 55 x 78 3/4 in. (139.7 x 200 cm.) Painted in 2010. Estimate $3,000-5,000 • Provenance Yvon Lambert, New York Acquired from the above by the present owner Exhibited New York, Yvon Lambert, Christian Vetter: The Presence Of Absence, May 21 - June 26, 2010 Braga, Mario Sequeira Gallery, Collectiva, May 30 - August 15, 2015
This Lot is Sold with No Reserve
202. Christian Vetter
b. 1970
Sentences (Proof) signed, titled and dated “‘Sentences (Proof) 2010 Christian Vetter” on the reverse oil on canvas 55 x 78 1/2 in. (139.7 x 199.4 cm.) Painted in 2010. Estimate $3,000-5,000 • Provenance Yvon Lambert, New York Acquired from the above by the present owner Exhibited New York, Yvon Lambert, Christian Vetter: The Presence Of Absence, May 21 - June 26, 2010 Braga, Mario Sequeira Gallery, Collectiva, May 30 - August 15, 2015
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203. Aaron Young
b. 1972
Greeting Card each signed and dated “AARON YOUNG 2007” on the reverse burnt rubber and acrylic on stained plywood, in 4 parts 96 x 192 in. (243.8 x 487.7 cm.) Executed in 2007. Estimate $15,000-20,000 Provenance Art Production Fund, New York Acquired from the above by the present owner Exhibited New York, Park Avenue Armory, Greeting Card, September 18 - 23, 2007 Braga, Mario Sequeira Gallery, Collectiva, May 30 August 15, 2015
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204. RETNA
b. 1979
Untitled (Rockin it sucker) signed, titled and dated “RETNA ROCKIN IT SUCKER 2010” on the reverse paint on wood door 79 1/2 x 23 1/2 x 1 1/2 in. (201.9 x 59.7 x 3.8 cm.) Executed in 2010. Estimate $15,000-20,000 Provenance New Image Art Gallery, West Hollywood Private Collection, Germany Tajan, Paris, Thursday, October 9, 2014, lot 141 Acquired at the above sale by the present owner
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Guide for Prospective Buyers Buying at Auction The following pages are designed to ofer you information on how to buy at auction at Phillips. Our staf will be happy to assist you.
Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.
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 verifed and approved by a qualifed 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 $200,000, 20% of the portion of the hammer price above $200,000 up to and including $3,000,000 and 12% of the portion of the hammer price above $3,000,000. 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, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. 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 staf 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 signifcant 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 ♦ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ♦. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated accordingly. The compensation will be a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the remuneration may be netted against the fnal 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 fnancial interest at the front of the catalogue. ∆ Property in Which Phillips Has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. No Reserve •Unless indicated by a •, all lots in this catalogue are ofered subject to a reserve. A reserve is the confdential 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 identifed 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 identifcation 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 sufcient 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 staf 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 staf 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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Subversive. Tracey Emin I loved you more than I can love, 2009 Neon 76.2 x 192 cm (30 x 751/ 2 in.) Estimate £50,000–70,000
20th Century & Contemporary Art Evening & Day Auctions London, 5 & 6 October 2016 We are proud to present our upcoming London 20th Century & Contemporary Art auctions, featuring this iconic neon by Tracey Emin. Visit our public viewing from 28 September – 6 October at 30 Berkeley Square W1J 6EX Enquiries Tamila Kerimova tkerimova@phillips.com +44 20 7318 4065
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 ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The frst time you register you will be required to create an account; thereafer 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 frewalls may cause difculties 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 confdential. Bids must be placed in the currency of the sale. Our staf 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 afliated 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.
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 Afer 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 afer 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. Alternatively, we will either provide packing, handling and shipping services or coordinate with shipping agents in order to facilitate such services for property purchased at Phillips. In the event that the property is collected in New York by the buyer or the buyer’s designee (including any private carrier) for subsequent transport out of state, Phillips may be required by law to collect New York sales tax, regardless of the lot’s ultimate destination. Please refer to Paragraph 17 of the Conditions of Sale for more information. 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
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 benefciary 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. 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 ofered 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 backwards at his or her discretion until a bid is recognized and will then advance
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Items 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, may require a license or certifcate prior to exportation and additional licenses or certifcates upon importation to any foreign country. Please note that the ability to obtain an export license or certifcate does not ensure the ability to obtain an import license or certifcate in another country, and vice versa. We suggest that prospective bidders check with their own government 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 certifcates 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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Property of a Corporate Collection, New York Richard Misrach Untitled #114-032, 2003 (detail) Estimate $40,000-60,000
Photographs. New York. Now. Photographs Evening & Day Auctions New York, 5 & 6 October 2016 Public viewing from 26 September-5 October at 450 Park Avenue or phillips.com Enquiries +1 212 940 1245 photographs@phillips.com
phillips.com
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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 ofered 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 afliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an afliated company may have a legal, benefcial or fnancial 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 ofered 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 satisfed 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 identifcation 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 afliated companies shall be liable for any diference 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 staf 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 confrmation of a successful bid from a telephone bidder by fax or otherwise immediately afer 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 fnal 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 ‘foor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘foor’ or ‘phone’ bid are identical, the ‘foor’ 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 identifed 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 afliated 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 (a) Unless otherwise indicated by the symbol •, each lot is ofered subject to a reserve, which is the confdential 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-ofer a lot for sale (including afer 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 afer the sale, our sale record is conclusive. The auctioneer may accept bids made by a company afliated 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 ofered 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 beneft of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will refect 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,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots ofered 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 Price”). The buyer’s premium is 25% of the hammer price up to and including $200,000, 20% of the portion of the hammer price above $200,000 up to and including $3,000,000 and 12% of the portion of the hammer price above $3,000,000. 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 ofered 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 certifcates 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 draf s are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identifcation. Checks and banker’s draf s should be made payable to “Phillips.” If payment is sent by mail, please send the check or banker’s draf 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 draf 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 identifcation has been provided, and any earlier release does not afect 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 afliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfed such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism fnancing checks. As soon as a buyer has satisfed 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 afer 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 afer 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 identifcation 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 afliated 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 notifcation of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our afliated 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 afliated companies afer 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 of the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our afliated 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 afliated 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 afliated 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 afliated 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 afliated companies, the buyer also irrevocably authorizes Phillips to pledge the buyer’s property in our possession by actual or constructive delivery to our afliated 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 afliated 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
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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 identifcation 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 defned, 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 afliated 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 afliated 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 afliated 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 afliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our afliated 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 ftness for purpose, are
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specifcally excluded by Phillips, our afliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips, any of our afliated 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 afliated 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 specifed at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notifed 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 efect. 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 conficts of law rules. (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. 17 Sales Tax (a) Unless the buyer has delivered a valid certifcate evidencing exemption from tax, the buyer shall pay applicable New York, California, Colorado, Florida or Washington sales tax on any lot picked up or delivered anywhere in the states of New York, California, Colorado, Florida or Washington.
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(b) If the point of delivery or transfer of possession for any purchased lot to the buyer or the buyer’s designee (including any private carrier) occurs in New York, then the sale is subject to New York sales tax at the existing rate of 8.875%. (c) If the buyer arranges shipping for any purchased lot in New York by: (i) a common carrier (such as the United States Postal Service, United Parcel Service, or FedEx) that does not operate under a private agreement or contract with negotiated terms to be delivered to an out of state destination; or (ii) a freight forwarder registered with the Transportation Security Administration (“TSA”) to be delivered outside of the United States, then the sale is not subject to New York sales tax.
Authorship Warranty Phillips warrants the authorship of property in this auction catalogue described in headings in bold or CAPITALIZED type for a period of fve 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 gif from the original buyer, heirs, successors, benefciaries and assigns; (ii) property where the description in the catalogue states that there is a confict 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 scientifc 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 notifed 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 afer 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 afliated 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 afliated 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.
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Executive Management Chairman & CEO Edward Dolman Senior Directors Jean-Paul Engelen Henry Allsopp Vanessa Hallett Sam Hines Alexander Payne Peter Sumner Senior Consultants Aurel Bacs Livia Russo Senior Advisors to Chairman & CEO Francesco Bonami Arnold Lehman
Chairman, UK & Europe Hugues Joffre
Chief of Staf Lisa King
Worldwide Deputy Chairman Svetlana Marich
Chief Financial Ofcer Annette Schwaer
Head of Business Development & Deputy Chairman Matt Carey-Williams
Chief Creative & Marketing Ofcer Damien Whitmore Chief Communications & PR Ofcer Michael Sherman
Deputy Chairman, Europe & Asia Finn Schouenborg Dombernowsky
Chief Counsel Richard Aydon
Deputy Chairman, Asia Jonathan Crockett
Chief Operating Ofcer, Americas Sean Cleary
Deputy Chairman, Americas August O. Uribe
Chief Operating Ofcer, UK Europe & Asia Frank Lasry
Directors Alex Heminway Nazgol Jahan Cary Leibowitz Paul Maudsley Zach Miner Kelly Troester
International Business Directors Bart van Son, 20th Century & Contemporary Art Myriam Christinaz, Jewelry, Watches, & Business Development Senior Directors, Human Resources Jennifer Garvin Nicola Mason Strategy Projects Director Caroline Conegliano Associate General Counsel Jonathan Illari
International Specialists
Worldwide Ofces
Chicago Carol Ehlers Specialist, Consultant, Photographs +1 773 230 9192
Japan Kyoki Hattori Regional Representative +81 90 2245 6678
Cologne Dr. Alice Trier Specialist, Contemporary Art +49 173 25 111 69
Los Angeles Blake Koh Regional Representative +1 323 383 3266
Denver Melyora de Koning Senior Specialist, Contemporary Art +1 917 657 7193
Paris Maria Cifuentes Caruncho Specialist +33 142 78 67 77
Geneva Oksana Katchaluba Specialist, Contemporary Art +41 22 906 80 00
Portugal Maura Marvão Specialist, Consultant, Contemporary Art +351 917 564 427
Italy Carolina Lanfranchi Specialist, Consultant +39 33 8924 1720 Istanbul Deniz Atac Specialist, Consultant +90 533 374 1198
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Seattle Silvia Coxe Waltner Regional Representative +1 206 604 6695
Sale Rooms
Regional Ofces
New York 450 Park Avenue New York, NY 10022, USA tel +1 212 940 1200 fax +1 212 940 1378
Istanbul Meclisi Mebusan Caddesi Deniz Apartmani No. 79/8 Istanbul Beyoglu 34427, Turkey tel +90 533 374 1198
London 30 Berkeley Square London W1J 6EX, United Kingdom tel +44 20 7318 4010 fax +44 20 7318 4011
Milan Via Monte di Pietà, 1/A Milan 20121
Geneva 15 quai de l’Ile 1204 Geneva, Switzerland tel +41 22 317 81 81 fax +41 22 317 81 80 Hong Kong Room 1301-13/F, York House, The Landmark Building, 15 Queen’s Road Central, Hong Kong tel +852 2318 2000 fax +852 2318 2002
Moscow Nikolskaya Str 19–21, 5th foor, 109012 Moscow, Russia tel +7 495 225 88 22 fax +7 495 225 88 87 Paris 46 rue du Bac, 75007 Paris, France tel +33 1 42 78 67 77 fax +33 1 42 78 23 07
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Specialists and Departments 20th Century & Contemporary Art Hugues Joffre, Worldwide Head of 20th Century Art Jean-Paul Engelen, Worldwide Head of Contemporary Art Jonathan Crockett, Head of 20th Century & Contemporary Art, Asia August O. Uribe Bart Van Son New York Kate Bryan, Head of Evening Sale John McCord, Head of Day Sale Rebekah Bowling, Head of New Now Sale Zach Miner Rachel Adler Rosan Kevie Yang Karen Garka-Prince Amanda Lo Iacono Katherine Lukacher Samuel Mansour Paula Campolieto Annie Dolan Carolyn Mayer London Peter Sumner, Head of Contemporary Art, London Henry Highley, Head of Evening Sale Tamila Kerimova, Head of New Now & Day Sale Jonathan Horwich Nathalie Zaquin-Boulakia Matt Langton Iori Endo Simon Tovey Hannah Tjaden Alex Dolman Ava Carleton-Williams Chiara Panarello Florencia Moscova Hong Kong Jane Yoon Sandy Ma Charlotte Raybaud Annie Tang Latin American Art Henry Allsopp, Worldwide Head Kaeli Deane, Head of Sale Valentina Garcia Carolina Scarborough Isabel Suarez Modern and Contemporary Editions Cary Leibowitz, Worldwide Co-Head Kelly Troester, Worldwide Co-Head New York Jannah Greenblatt Jason Osborne Kaissa Karhu London Robert Kennan, Head of Editions, Europe Anne Schneider-Wilson Ross Thomas Rebecca Tooby-Desmond Eliza Allan
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+44 20 7318 7923 +1 212 940 1390 +852 2318 2023 +1 212 940 1208 +44 20 7318 7912
+1 212 940 1267 +1 212 940 1261 +1 212 940 1250 +1 212 940 1256 +1 212 940 1333 +1 212 940 1254 +1 212 940 1204 +1 212 940 1278 +1 212 940 1215 +1 212 940 1219 +1 212 940 1255 +1 212 940 1288 +1 212 940 1206
+44 20 7318 4063 +44 20 7318 4061 +44 20 7318 4065 +44 20 7901 7935 +44 20 7901 7931 +44 20 7318 4074 +44 20 7318 4039 +44 20 7318 4084 +44 20 7318 4093 +44 20 7901 7911 +44 20 7901 7904 +44 20 7318 4073 +44 20 7318 4082
+852 2318 2027 +852 2318 2025 +852 2318 2026 +852 2318 2024
+44 20 7318 4060 +1 212 940 1352 +1 917 583 4983 +1 212 940 1391 +1 212 940 1227
+1 212 940 1222 +1 212 940 1221
+1 212 940 1332 +1 212 940 1322 +1 212 940 1238
+44 20 7318 4075 +44 20 7318 4042 +44 20 7318 4077 +44 20 7318 4079 +44 20 7318 4069
Design Alexander Payne, Worldwide Head, Design New York Alex Heminway, New York Director Meaghan Roddy Cordelia Lembo Kimberly Sørensen Jillian Pfferling Marcus Tremonto London Domenico Raimondo Adam Clay Madalena Horta e Costa, Head of Sale Marcus McDonald Sofia Sayn-Wittgenstein Marta De Roia Lisa Stevenson Ben Williams
+44 20 7318 4052
+1 212 940 1268 +1 212 940 1266 +1 212 940 1265 +1 212 940 1259 +1 212 940 1268 +1 212 940 1268
+44 20 7318 4016 +44 20 7318 4048 +44 20 7318 4019 +44 20 7318 4095 +44 20 7318 4023 +44 20 7318 4096 +44 20 7901 7926 +44 7769 94 7177
Photographs Vanessa Hallett, Worldwide Head, Photographs
+1 212 940 1243
New York Sarah Krueger, Head of Sale Caroline Deck Rachel Peart Marijana Rayl Kelly Van Ingen
+1 212 940 1225 +1 212 940 1247 +1 212 940 1246 +1 212 940 1386 +1 212 940 1245
London Genevieve Janvrin, Head of Photographs, Europe Yuka Yamaji Alexandra Bibby Sophie Busby
+44 20 7318 7996 +44 20 7318 4098 +44 20 7318 4087 +44 20 7318 4092
Chicago Carol Ehlers
+1 773 230 9192
Watches Sam Hines, International Head of Watches
+852 2318 2030
Geneva Aurel Bacs, Senior Consultant Bacs & Russo Livia Russo, Senior Consultant Bacs & Russo Justine Séchaud, Bacs & Russo Alexandre Ghotbi Dr. Nathalie Monbaron Virginie Liatard-Roessli Diana Ortega London Paul David Maudsley Kate Lacey
+41 22 317 81 85 +41 22 317 81 86 +41 22 317 8188 +41 22 317 8181 +41 22 317 81 83 +41 22 317 81 82 +41 22 317 8187
+44 20 7901 7916 +44 20 7901 2907
New York Paul Boutros Douglas Escribano Leigh Zagoory
+1 212 940 1293 +1 212 940 1382 +1 212 940 1285
Hong Kong Amy Chow Jill Chen Joey Luk Tiffany To Angel Ho
+852 2318 2035 +852 2318 2000 +852 2318 2032 +852 2318 2036 +852 2318 2031
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Specialists and Departments Jewels Nazgol Jahan, Worldwide Director London Lane Clements McLean Hong Kong Anellie Manolas Exhibitions Edwin Pennicott
Operations +1 212 940 1283
Client Advisory +825 9383 3041
+44 20 7901 2909
+1 212 940 1257 +1 212 940 1258
London Isa Tharin
+44 20 7318 4024
Private Sales Susanna Brockman
+44 20 7318 4041
Proposals Lauren Zanedis
+1 212 940 1271
Ofce of the Chairman and Chief Executive Ofcer and Chief of Staf Lucinda Newman +44 207 318 4099 Executive Assistant to the Senior Executives and Chief Executive Ofcer Elizabeth Anne Wallace +1 212 940 1303
New York Philae Knight Sara Tayeb-Khalifa London Guy Vesey Dawn Zhu Lily Atherton Hanbury Fiona M. McGovern Communications and Marketing Michael Sherman, Chief Communications and Public Relations Ofcer Jaime Israni, PR Specialist Trish Walsh, Director of Marketing & Events Emma Miller Gelberg, Associate Manager, Marketing and Business Development Charlotte Adlard, Marketing Associate Georgia Trotter, Events Manager
+1 212 940 1313 +1 212 940 1383
+44 20 7901 7934 +44 20 7318 4017 +44 20 7318 4071 +44 20 7318 4054
+1 212 940 1384 +1 212 940 1398 +1 212 940 1224 +1 212 940 1291 +44 207 901 7905 +44 20 7318 4085
Creative Services Andrea Koronkiewicz, Director of Creative Services Orlann Capazorio, Director of Production
+1 212 940 1326 +1 212 940 1281
New York Jef Velazquez, Production Artist Christine Knorr, Graphic Designer James Reeder, Graphic Designer
+1 212 940 1211 +1 212 940 1325 +1 212 940 1296
London Eve Campbell, Creative Services Manager Moira Gil, Graphic Designer Laurie-Ann Ward, Graphic Designer
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+852 2318 2020
+44 20 7318 4032
Arts Partnerships New York Lauren Shadford Cecilia Wolfson
Hong Kong Juliana Cheung, Chief Operating Ofcer
+44 20 7901 7919 +44 20 7901 7917 +44 20 7901 7918
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Sale Information New Now Sale
20th Century & Contemporary Art Department
Auction & Viewing Location 450 Park Avenue New York 10022
Head of Sale Rebekah Bowling +1 212 940 1250 rbowling@phillips.com
Auction 20 September 2016 at 11am Viewing 12 – 19 September Monday – Saturday 10am – 6pm Sunday 12pm – 6pm
Associate Specialists Katherine Lukacher +1 212 940 1215 klukacher@phillips.com Samuel Mansour +1 212 940 1219 smansour@phillips.com
Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010616 or New Now.
Administrator Annie Dolan +1 212 940 1288 adolan@phillips.com
Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com
Property Manager Paul Stefens +1 212 940 1376 pstefens@phillips.com Photography Kent Pell Jean Bourbon
Auctioneers August Uribe - 0926461 Sarah Krueger - 1460468 Catalogues catalogues@phillips.com $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Buyer Accounts Michael Carretta +1 212 940 1232 Dawniel Perry +1 212 940 1371 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200 Shipping Steve Orridge +1 212 940 1370 Dakota Peschel +1 212 940 1363 Eli Show +1 212 940 1372
Front and Back cover Lawrence Weiner, HARD AS A ROCK OR (ASSUMING THE POSITION) SOFT AS SILK PUT TOGETHER OR (ASSUMING THE POSITION) SPREAD APART PLACED ON TOP OR (ASSUMING THE POSITION) PLACED BELOW TOSSED ASIDE OR (ASSUMING THE POSITION) CARRIED ALONG, 1989, lot 30 (detail) © 2016 Lawrence Weiner / Artists Rights Society (ARS), New York.
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450 Park Avenue New York 10022 phillips.com +1 212 940 1200 bidsnewyork@phillips.com Please return this form by fax to +1 212 924 1749 or email it to bidsnewyork@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one): Paddle Number
In-person Absentee Bidding Telephone Bidding
• Company purchases: If you are buying under a business entity we require a copy of government-issued identification (such as a resale certificate, corporate bank information or the certificate of incorporation) to verify the status of the company. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.
Please indicate in what capacity you will be bidding (please select one):
As a private individual On behalf of a company
• If you cannot attend the sale, we can execute bids confidentially on your behalf.
Sale Title Title
• Private purchases: Proof of identity in the form of government-issued identification will be required.
Sale Number First Name
Sale Date
Surname Account Number
Company (if applicable) Address
• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $200,000, 20% of the portion of the hammer price above $200,000 up to and including $3,000,000 and 12% of the portion of the hammer price above $3,000,000 on each lot sold.
• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.
City
• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable sales or use tax. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.
State/Country
Zip Code Phone
Mobile
Fax
• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.
Phone (for Phone Bidding only) Phone number to call at the time of sale (for Phone Bidding only) 1.
• If we receive identical bids, the first bid received will take precedence.
2.
Please complete the following section for telephone and absentee bids only Lot Number
Brief Description
In Consecutive Order
US $ Limit* Absentee Bids Only
• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of willful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded. • Please submit your bids to the Bid Department by fax at +1 212 924 1749 or scan and email to bidsnewyork@phillips. com at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +1 212 940 1228. • Absent prior payment arrangements, please provide a bank reference. Payment can be made by cash (up to $10,000), credit card (up to $100,000), money order, wire transfer, bank check or personal check with identification. Please note that credit cards are subject to a surcharge. • Lots cannot be collected until payment has cleared and all charges have been paid. • By signing this Bid Form, you consent to our use of your personal data, including sensitive personal data, in accordance with Phillips’s Privacy Policy published on our website at www. phillips.com or available on request by emailing dataprotection@phillips.com. We may send you materials about us and our services or other information which we think you may fnd interesting. If you would prefer not to receive such information, please email us at dataprotection@phillips.com.
* Excluding Buyer’s Premium and sales or use taxes
Signature
Date
• Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.
By signing this form, you accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.
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Index Aitken, D. 130
Falls, S. 183, 185
Majerus, M. 58
Saccoccio, J. 145
Aldrich, R. 21
Farah, A. 182
Manley, D. 133
Scharf, K. 62
Arunanondchai, K. 11
Feher, T. 54
Manning, M. 170
Schwonkowski, N. 81
Feldmann, H.-P. 99
Marclay, C. 191
Scott-Douglas, H. 134
Baechler, D. 126
Firsov, A. 88
Martin, C. 23
Sicilia, J. M. 40
Barth, U. 97
Fleury, S. 25
Masullo, A. 22
Siena, J. 68
Bass, M. 5
Flood, M. 131
McCarthy, P. 106
Silvers, R. 103
Bernadet, J.-B. 159, 172
Freiwald, T. 120
Michael, A. 80
Smalley, T. 138
Bernhardt, K. 7
Frize, B. 70
Minter, M. 60, 90
Smith, J. 132
Moore, F. 74, 75
Smith, L. 135, 136, 189
Beshty, W. 119, 195 Beuys, J. 32
Gambarof, N. 199
Bickerton, A. 82
Gerrard, J. 14
Nelson, J. 84
Sonne, K. 10
Billingham, C. 3
Glenn, L. 4
New Catalogue 128
Spoerri, D. 49
Black, S. 146, 152
Gordon, Da. 93
Nikravan, A. 179
Stahl, L. 12
Borofsky, J. 28
Gordon, Do. 124
Nozkowski, T. 69
Succo, C. 161, 178
Bouchet, M. 165
Greenberg, J. 105
Büchel, C. 129 Bustamante, J.-M. 41
Sokolsky, M. 102
Sugito, H. 77 Olson, A. 150
Hagen, M. 174
Oshiro, K. 192
Therrien, R. 35
Hartley, G. 151
Ostrowski, D. 153
Thurman, K. 167
Callegari, M. 184
Hawkinson, T. 26
Otto-Knapp, S. 79
Tillmans, W. 101
Cape, F. 33
Heizer, M. 37
Ozbolt, D. 71
Tobias, G. & U. 113
Casselman, S. 89
Henry Codax 171
Ceulers, M. 197
Hewitt, L. 92
Paci, A. 116
Townley, S. 198
Charlesworth, S. 34
Hildebrandt, G. 194
Paine, R. 109
Trubkovich, K. 142
Claire Fontaine 51, 52
Holstad, C. 118
Pardo, J. 46
Tuttle, R. 53
Clemente, F. 66
Hughes, S. 168
Parker, C. 83
Close, C. 65
Hume, G. 96
Patterson, G. 164
Værslev, F. 176
Colen, D. 190
Hutchins, J. J. 44
Peake, E. 186
Veilhan, X. 112
Pendleton, A. 148
Vena, N. 196 Vetter, C. 201, 202
Collins, G. 147
Tomaselli, F. 73
Condo, G. 67
Johnson, L. 108
Penone, G. 38
Connors, M. 24
Johnson, R. 42
Pepper, B. 110
Cook, E. 175
JPW3 181
Pettibon, R. 123
Washington Jr., C. 193
Pevey, D. 16
Weiner, L. 30
Corse, M. 36 Cortright, P. 173
Kahlhamer, B. 125
Pilato, N. 177
Weiser, G. 139
Cotton, W. 76
Kapoor, A. 48
Prager, A. 91
Wesselmann, T. 63
Kelly, E. 59
West, F. 50
Da Corte, A. 20
Kenyon, G. 157
Qandeel, A. 163
Wiley, K. 122
Deacon, R. 29
Keyser, R. 15
Quaytman, R.H. 57
Wilson, F. 31
Despont, L. 18
Kippenberger, M. 56
Dibenedetto, S. 149
Klein, Y. 47
Rafman, J. 8
Wolowiec, M. 6
Dodd, L. 17, 143
Kline, J. 1
Reeder, S. 137
Wynne, R. 107
Dodge, T. 72
Knuth, J. 13
Rees, D. 156
Domanović, A. 141
Kokoska, B. 144
Reihsen, J. 180
Kruglyanskaya, E. 2
RETNA 204
Kusama, Y. 64
Richter, D. 55
Einarsson, G. E. 200 Eisenman, N. 121
Wolfson, J. 9
Xavier, L. 86, 87 Young, A. 203
Robertson, M. 98
Emin, T. 114, 117
LaChapelle, D. 104
Roccasalva, P. 115
Zigura, E. 111
Estep, R. 187
Lambie, J. 158
Rockman, A. 85
Zitko, O. 39
Euler, J. 19
Lambri, L. 100
Rosa, C. 162
Eveleth, E. 78
Lassry, E. 94, 95
Rosenquist, J. 61
Lavender, J. 155
Rovner, M. 27
Lê, A.-M. 127
Ruby, S. 43
Leo Gabin 166
Ruf, M. 154
Lindman, E. 160 Lou, L. 45 Lund, I. 169 Lynch, B. 188
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54. Tony Feher
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3. Charlie Billingham
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