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Page 1

New York, 26 September 2018

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© Urs Fischer. Courtesy of the artist and Sadie Coles HQ, London. Photo: Stefan Altenburger

00. artist

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55. Urs Fischer

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Executives.

Ed Dolman

Cheyenne Westphal

Chief Executive Ofcer +1 212 940 1241 edolman@phillips.com

Chairman +44 20 7318 4044 cwestphal@phillips.com

Š Brigitte Lacombe

20th Century & Contemporary Art.

Jean-Paul Engelen

Robert Manley

Worldwide Co-Head of 20th Century & Contemporary Art, Deputy Chairman +1 212 940 1390 jpengelen@phillips.com

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Senior Advisors.

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Arnold Lehman

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Senior International Specialist +1 212 940 1257 kyeh@phillips.com

Deputy Chairmen.

Svetlana Marich

Jonathan Crockett

Peter Sumner

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New York.

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Hong Kong.

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International Specialists & Regional Directors. Americas.

Cândida SodrÊ

Carol Ehlers

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Melyora de Koning

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Regional Director, Los Angeles +1 323 383 3266 bkoh@phillips.com

Kaeli Deane

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Laurence Calmels

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Regional Director, France +33 686 408 515 lcalmels@phillips.com

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Europe.

Asia.

Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

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Meiling Lee

Iori Endo

Regional Director, Japan +81 90 2245 6678 khattori@phillips.com

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Business Development. Americas.

Europe.

Asia.

Vivian Pfeifer

Guy Vesey

Lilly Chan

Deputy Chairman, Americas and Head of Business Development, Americas +1 212 940 1392 vpfeifer@phillips.com

Head of Business Development & Marketing, Europe +44 20 7901 7934 gvesey@phillips.com

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Client Advisory. New York.

London.

Philae Knight

Yassaman Ali

Vera Antoshenkova

Giulia Campaner Mendes

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Client Advisory Manager +44 20 7901 7992 vantoshenkova@phillips.com

Associate Client Advisory Manager +44 20 7318 4058 gcampaner@phillips.com

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43.00. Lisa Yuskavage artist

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New Now New York, 26 September 2018 Auction & Viewing Location 450 Park Avenue New York 10022 Auction Wednesday, 26 September 2018, 11am Viewing 17 – 25 September 21 September by Appointment Monday – Friday 10am – 6pm Saturday 12pm – 6pm Sunday 10am – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010618 or New Now. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

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20th Century & Contemporary Art Department Head of Sale Sam Mansour +1 212 940 1219 smansour@phillips.com

Cataloguer Avery Semjen +1 212 940 1207 asemjen@phillips.com

Administrator Flavia Grilli +1 212 940 1227 fgrilli@phillips.com

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1. Borna Sammak

b. 1986

Hope for Men looping video, two televisions, drywall mounts and extension cords video: 25 seconds, 1920 x 1080, 30 frames per second Executed in 2013. Estimate $8,000-12,000 Provenance Vito Schnabel Projects, New York Private Collection, New York Acquired from the above by the present owner Exhibited New York, Moynihan Station, DSM-V, May 8 - June 4, 2013

Alternate view

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2. Emily Mae Smith

b. 1979

Hand to Mouth signed and dated “Emily Mae Smith 2017� on the reverse oil on linen 38 x 30 in. (96.5 x 76.2 cm.) Painted in 2017. Estimate $10,000-15,000 Provenance Galerie Rodolphe Janssen, Brussels Acquired from the above by the present owner

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3. Derrick Adams

b. 1970

Double Consciousness in the Air signed and dated “Derrick Adams 2014” on the reverse acrylic and fabric on paper 48 x 22 1/2 in. (121.9 x 57.2 cm.) Executed in 2014. Estimate $10,000-15,000 Provenance Courtesy of the Artist ICI Annual Beneft & Auction, November 17, 2014, lot 1 Acquired at the above sale by the present owner

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4. Celeste Dupuy-Spencer b. 1979

The Cofee Line signed and dated “Celeste DupuySpencer 2016” on the reverse watercolor on paper 7 1/8 x 10 1/4 in. (18.1 x 26 cm.) Executed in 2016. Estimate $5,000-7,000 Provenance Courtesy of the Artist California United for a Responsible Budget Beneft, September 21, 2016, lot 43 Acquired at the above sale by the present owner

5. Ella Kruglyanskaya

b. 1978

Untitled signed and dated “Ella Kruglyanskaya 2010” on the reverse acrylic on wood panel 12 x 15 7/8 in. (30.5 x 40.3 cm.) Painted in 2010. Estimate $6,000-8,000 Provenance James Fuentes Gallery, New York Acquired from the above by the present owner in 2011

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6. Shara Hughes

b. 1981

Water Tower signed, inscribed and dated “Shara Hughes 2007 Vermont� on the reverse oil on canvas 48 x 50 in. (121.9 x 127 cm.) Painted in 2007. Estimate $15,000-20,000

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Provenance Rivington Arms, New York Private Collection, Los Angeles Acquired from the above by the present owner Exhibited New York, Rivington Arms, Everything, Always, May 17 - June 16, 2007

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7. Henry Taylor

b. 1958

Another Profle acrylic and collage on canvas 26 x 30 in. (66 x 76.2 cm.) Executed in 2004.

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

Estimate $20,000-30,000

Exhibited Los Angeles, Sister Gallery, Losing My Head, May 15 - June 12, 2004

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8. Glenn Ligon

b. 1960

Sun (version 1) #2 signed, titled and dated “2001 Glenn Ligon Sun (Version 1) #2 2001” on the reverse silkscreen and oil crayon on primed canvas 48 x 36 in. (121.9 x 91.4 cm.) Executed in 2001. Estimate $30,000-40,000

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Provenance D’Amelio Gallery, New York Acquired from the above by the present owner Exhibited New York, D’Amelio Gallery, Glenn Ligon: Colored, May 5 - June 9, 2001

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9. Gary Simmons

b. 1964

Whirl-a-Girl signed and dated “Gary Simmons 2002” on the reverse oil on canvas 84 x 84 in. (213.4 x 213.4 cm.) Painted in 2002. Estimate $20,000-30,000 Provenance Margo Leavin Gallery, Los Angeles CAIS Gallery, Seoul Private Collection Acquired from the above by the present owner

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10. Carrie Mae Weems

b. 1953

Red Bone Boy 3 toned gelatin silver prints with Prestype in artist’s frame overall 17 x 49 in. (43.2 x 124.5 cm.) Executed in 1990, this work is number 1 from an edition of 3. Another example from this edition is housed in the permanent collection of the Akron Art Museum. Estimate $35,000-45,000 Provenance P.P.O.W., New York Acquired from the above by the present owner Exhibited Washington, D.C., The National Museum of Women in the Arts; St. Louis, The Forum; San Francisco Museum of Modern Art; Miami, Center for the Fine Arts; Los Angeles, California Afro-American Museum; Portland Art Museum; Minneapolis, Walker Art Center; Philadelphia, Institute of Contemporary

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Art; Cincinnati, the Contemporary Arts Center, Carrie Mae Weems, January 7, 1993 - April 2, 1995 (another example exhibited) Hartford, Wadsworth Atheneum, Carrie Mae Weems/Matrix 115, April 21 July 7, 1991 (another example exhibited) New York, The Museum of Modern Art, Color Chart: Reinventing Color, 1950 to Today, March 2 - May 12, 2008, no. 71, p. 186 (another example exhibited and illustrated) New York, P.P.O.W., David Wojnarowicz History Keeps Me Awake at Night a Genealogy of David Wojnarowicz, July 10 - August 22, 2008 (another example exhibited) Nashville, Frist Center for the Visual Arts; Portland Art Museum; The Cleveland Museum of Art; The Iris and B. Gerald Cantor Center for Visual Arts at Stanford University; New York, Solomon R. Guggenheim Museum, Carrie Mae Weems: Three Decades of Photography and Video, September 21, 2012 - April 23, 2014, no. 4.6, p. 73 (another example exhibited and illustrated)

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11. Yoan Capote

b. 1977

Palangre (muro de mar II) fsh hooks, nails, oil and linen on wood panel 40 x 60 x 3 1/2 in. (101.6 x 152.4 x 8.9 cm.) Executed in 2016. Estimate $30,000-40,000 Provenance Galeria Mรกrio Sequeira, Braga Acquired from the above by the present owner Exhibited Braga, Galeria Mรกrio Sequeira, KALEI2COPIO HAVANA, February 11 - March 27, 2017

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12. Lesley Vance

b. 1977

Untitled (6) signed and dated “Lesley Vance 2009� on the reverse oil on linen 17 x 15 in. (43.2 x 38.1 cm.) Painted in 2009. Estimate $40,000-60,000 Provenance Artist Pension Trust, New York Acquired from the above by the present owner

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13. Byron Kim

b. 1961

Irwin’s Disc (Studio) signed, titled and dated “Byron Kim 2008 Irwin’s Disc (Studio)” on the reverse acrylic on canvas 72 1/8 x 86 1/8 in. (183.2 x 218.8 cm.) Painted in 2008.

Provenance Private Collection, New York

Estimate $6,000-8,000

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14. Blair Thurman

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b. 1961

That Old Can-Am Glam acrylic on canvas on wood 72 x 48 1/8 in. (182.9 x 122.2 cm.) Executed in 2013.

Provenance Karma, New York Acquired from the above by the present owner

Estimate $18,000-22,000

Exhibited New York, Karma, Blair Thurman, July 27 - August 7, 2013, p. 56 (illustrated)

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15. Alex Hubbard

b. 1975

People in Dallas Got Hair signed and dated “A HUBBARD 2013” on the overlap acrylic, oil paint, epoxy resin, polyurethane and fberglass on canvas 90 x 78 in. (228.6 x 198.1 cm.) Executed in 2013.

Provenance STANDARD (OSLO) Acquired from the above by the present owner Exhibited STANDARD (OSLO), Alex Hubbard: Dirty Harry 1 2 3, October 4 - November 2, 2013

Estimate $30,000-40,000

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16. Aaron Garber-Maikovska

b. 1978

Untitled ink and pastel on archival Stinger board 95 x 47 in. (241.3 x 119.4 cm.) Executed in 2014.

Provenance Greene Exhibitions, Los Angeles Acquired from the above by the present owner

Estimate $35,000-45,000

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17. Aaron Garber-Maikovska

b. 1978

Untitled ink and pastel on paper 40 x 26 in. (101.6 x 66 cm.) Executed in 2014. Estimate $10,000-15,000 Provenance Greene Exhibitions, Los Angeles Acquired from the above by the present owner

18. Kon Trubkovich

b. 1979

Wall Fragment 7 signed and dated “Trubkovich 2013” on the reverse acrylic on canvas 20 x 16 in. (50.8 x 40.6 cm.) Painted in 2013. Estimate $8,000-12,000 Provenance Higher Pictures, New York Private Collection, New York Acquired from the above by the present owner

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19. Lucy Dodd

b. 1981

the humble deep extreme the souls of the shoes of Nanette Lapore, Margiela, Clergerie, a half calf cowboy boot, a no name mule, a foot with foss mud and Bub’s urine on canvas 143 x 145 in. (363.2 x 368.3 cm.) Executed in 2012. Estimate $18,000-22,000

Provenance David Lewis Gallery, New York Private Collection, New York Acquired from the above by the present owner Exhibited New York, No5A, The Studio Before 54, February 26 - March 9, 2013 Literature Roberta Smith, “Lucy Dodd: ‘The Studio Before 54’”, The New York Times, March 1, 2013, p. C27

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20. Christian Rosa

b. 1982

Untitled signed and dated “Christian Rosa 2014” on the overlap oil, oilstick, charcoal and graphite on canvas 78 1/2 x 94 1/2 in. (199.4 x 240 cm.) Executed in 2014. Estimate $20,000-30,000 Provenance Private Collection

21. Jean-Baptiste Bernadet b. 1978

Untitled (Fugue V) signed “JEAN-BAPTISTE BERNADET” on the overlap; further signed, titled and dated “JB BERNADET 2013 UNTITLED (FUGUE V)” on the reverse oil on canvas 78 3/4 x 71 in. (200 x 180.3 cm.) Painted in 2013. Estimate $15,000-20,000 Provenance Private Collection

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22. David Ostrowski

b. 1981

F (A thing is a thing in a whole which it’s not) signed and dated “David Ostrowski 13” on the overlap acrylic, lacquer and paper on canvas 94 3/8 x 75 in. (239.7 x 190.5 cm.) Executed in 2013. Estimate $18,000-22,000

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Provenance Peres Projects, Cologne Acquired from the above by the present owner Exhibited Cologne, Peres Projects, Relax/Outline Paintings, June 1, 2013

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23. Cory Arcangel

b. 1978

Timeless Standards printed with the artist’s name and date “© Cory Arcangel 2011” lower right inkjet print on canvas 56 x 40 in. (142.2 x 101.6 cm.) Executed in 2011. Estimate $12,000-18,000

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Provenance Lisson Gallery, London Acquired from the above by the present owner Exhibited London, Lisson Gallery, Cory Arcangel: Speakers Going Hammer, October 12 - November 12, 2011

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24. André Butzer

b. 1973

Untitled signed “A. Butzer” lower center; further signed and dated “A. Butzer ’08” on the reverse oil on canvas 23 3/4 x 27 1/2 in. (60.3 x 69.9 cm.) Painted in 2008. Estimate $12,000-18,000

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Provenance Galeria Mário Sequeira, Braga Acquired at the above by the present owner Exhibited Braga, Galeria Mário Sequeira, André Butzer: Paintings and works on paper, April 1 - May 28, 2017, n.p. (illustrated)

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25. KAWS

b. 1974

Untitled (Perso) acrylic on found advertising poster 74 1/2 x 53 7/8 in. (189.2 x 136.8 cm.) Executed in 1999.

Provenance Omar Padial, New York (acquired directly from the artist) Acquired from the above by the present owner

Estimate $40,000-60,000

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26. KAWS

b. 1974

27. KAWS

b. 1974

Four Foot Companion (Grey) stamped with the artist’s name and date “© KAWS..07” on the underside of the right foot; further stamped with the date and fabricator “Medicom Toy 2007” on the underside of the lef foot painted cast vinyl 50 x 22 x 14 in. (127 x 55.9 x 35.6 cm.) Executed in 2007, this work is from an unnumbered edition of 100.

Four Foot Companion (Black) stamped with the artist’s name and date “© KAWS..07” on the underside of the right foot; further stamped with the date and fabricator “Medicom Toy 2007” on the underside of the lef foot painted cast vinyl 50 x 22 x 14 in. (127 x 55.9 x 35.6 cm.) Executed in 2007, this work is from an unnumbered edition of 100.

Estimate $25,000-35,000

Estimate $25,000-35,000

Provenance Medicom Toy, Original Fake Acquired from the above by the present owner in 2008

Provenance Medicom Toy, Original Fake Private Collection, Asia Acquired from the above by the present owner

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28. KAWS

b. 1974

29. KAWS

b. 1974

Four Foot Companion (Brown) stamped with the artist’s name and date “© KAWS..07” on the underside of the right foot; further stamped with the date and fabricator “Medicom Toy 2007” on the underside of the lef foot painted cast vinyl 50 x 22 x 14 in. (127 x 55.9 x 35.6 cm.) Executed in 2007, this work is from an unnumbered edition of 100.

Four Foot Dissected Companion (Grey) stamped with the artist’s name and date “© KAWS..09” on the underside of the right foot; further stamped with the date and fabricator “Medicom Toy 2009” on the underside of the lef foot painted cast vinyl 50 x 22 x 14 in. (127 x 55.9 x 35.6 cm.) Executed in 2009, this work is from an unnumbered edition of 100.

Estimate $25,000-35,000

Estimate $25,000-35,000

Provenance Medicom Toy, Original Fake Private Collection, Asia Acquired from the above by the present owner

Provenance Medicom Toy, Original Fake Private Collection, Asia Acquired from the above by the present owner

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30. KAWS

b. 1974

31. KAWS

b. 1974

Four Foot Dissected Companion (Black) stamped with the artist’s name and date “© KAWS..09” on the underside of the right foot; further stamped with the date and fabricator “Medicom Toy 2009” on the underside of the lef foot painted cast vinyl 50 x 22 x 14 in. (127 x 55.9 x 35.6 cm.) Executed in 2009, this work is from an unnumbered edition of 100.

Four Foot Dissected Companion (Brown) stamped with the artist’s name and date “© KAWS..09” on the underside of the right foot; further stamped with the date and fabricator “Medicom Toy 2009” on the underside of the lef foot painted cast vinyl 50 x 22 x 14 in. (127 x 55.9 x 35.6 cm.) Executed in 2009, this work is from an unnumbered edition of 100.

Estimate $25,000-35,000

Estimate $25,000-35,000

Provenance Medicom Toy, Original Fake Private Collection, Asia Acquired from the above by the present owner

Provenance Medicom Toy, Original Fake Private Collection, Asia Acquired from the above by the present owner

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32. KAWS

b. 1974

Untitled signed and dated “KAWS .. 14” on the reverse acrylic on canvas 74 x 60 in. (188 x 152.4 cm.) Painted in 2014. Estimate $100,000-150,000 Provenance Honor Fraser Gallery, Los Angeles Acquired from the above by the present owner

Working as a background painter for the

“I’m into Schulz as an artist, a company, and

animated series Doug and collaborating with

an icon; I got into his stuf just because I liked

downtown New York as a street artist, KAWS

the looseness of the line work, and I thought

has created a whole world of characters and

that it was just sort of a nice thing to bring

imagery. In the early 1990s, KAWS started

into my paintings, even if it’s abstract and

tagging billboards and bus shelters, injecting

unidentifable.” (KAWS in Stef Yotka, “Inside

his own cast of animated caricatures onto

KAWS’s Studio With the Artist—And His

already existing advertisements, for example,

Snoopy for Uniqlo Toys,” Vogue, April 27, 2017)

by adding pufy skulls with X-ed out eyes to the likes of Kate Moss in a Supreme advertisement

Untitled, showing just the top of the dog’s

and Christy Turlington in a Calvin Klein ad.

head with KAWS’ signature X-ed out eyes,

He slowly began shifing away from tagging

comes from a 2014 series of works entitled

photographic, public Ads and initiated the

“Man’s Best Friend.” By extracting minimalist,

formation of his own characters “Accomplice”,

detailed crops of Charlie Brown, Lucy, Pig-

“Chum” and “Companion” in addition to his

Pen and Snoopy, KAWS has lef just a hint of

own take on classic characters like SpongeBob

the persona being portrayed, yet even with

SquarePants, Snoopy, Michelin Man, Mickey

just a dissociated portion the viewer is able

Mouse and his own version of The Simpsons,

to immediately recognize these childhood

titled The Kimpsons.

friends. As the artist comments, “[I] found it weird how infused a cartoon could become

The present lot presents Snoopy, an American

in people’s lives; the impact it could have,

Beagle and companion to Charlie Brown in

compared to regular politics.” (KAWS in Healy

the comic strip Peanuts created by Charles

& Murray, “Grafti Artist Turned Gallery Artist

Schulz. However, KAWS’ Snoopy has been

Turned Art Toy Maker, KAWS,” Pop, February

playfully renamed by the artist, now known

2007, pp. 260-265). KAWS’ simplistic yet

as “Joe KAWS.” From 1950 until his death in

bold paintings and sculptures playfully and

2005, Schulz’s beloved characters appeared in

inventively rework quintessential cartoon

international and national newspapers every

imagery while touching on the viewer’s

day, deeply rooting themselves in generations

childhood relationship to this ensemble of

of globally diverse viewers. KAWS explains,

friendly faces.

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33. Oscar Murillo

b. 1986

Untitled Drawing Of the Wall is exemplary of Oscar Murillo’s exploratory and grounded work hedging

Untitled oil, dirt and spray paint on canvas 66 x 76 in. (167.6 x 193 cm.) Executed in 2011.

into the 2010’s. Channeling the likes of Cy Twombly

Estimate $100,000-150,000

his studio. The raw energy and vigor of the young

and Jean-Michel Basquait, Colombian-born, London raised artist, Murillo produces beautifully expressive paintings using oil sticks, spray paint and dust from artist’s mark making, clearly visible in this piece, is what quickly established his as a practice destined

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

for critical renown. Untitled Drawing Of the Wall perfectly embodies Murillo’s ability to blend the performative and the functional. The oil and dirt in this piece are just two of the many types of discarded materials from Murillo’s studio that he has ofen used on his canvases. In an interview in 2012, he describes the dust, dirt, tape, and other bits of ephemeral fabric that “pollute” a space as the “DNA” of said space. Untitled Drawing Of the Wall, having such a sample of his studio’s DNA, is therefore truly a piece of the studio and Murillo himself. Exploring various concepts in his practice, Murillo’s canvases are manifestations of a body in transit, an artist’s inquisition into the geographies of space, within the studio and out into the world beyond. He has likened this use of lefover substances from around his studio as refective of his upbringing as a child in a village in Colombia – “you had to be resourceful.” A striking blend of painting, drawing, action and autobiography, Untitled Drawing Of the Wall presents Oscar Murillo’s characteristically captivating and infectious dynamism. Erratic and expressive, the present work is exemplary of the Colombian émigré’s exciting artistic output.

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34. Jacob Kassay

b. 1984

Untitled lef panel signed and dated “Kassay 10” on the overlap acrylic and deposit on canvas, diptych each 48 x 36 in. (121.9 x 91.4 cm.) Executed in 2010. Estimate $50,000-70,000 Provenance Eleven Rivington, New York Acquired from the above by the present owner

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35. Rob Pruitt

b. 1964

Gray Days signed, titled and dated “Rob Pruitt 2016 “Gray Days”” on the overlap acrylic, enamel and glitter on linen 96 x 72 in. (243.8 x 182.9 cm.) Executed in 2016. Estimate $50,000-70,000

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Provenance Massimo De Carlo, Hong Kong Acquired from the above by the present owner Exhibited Hong Kong, Massimo De Carlo, Hong Kong Panda, September 8 October 31, 2016

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36. The Bruce High Quality Foundation since 2001 Olympia signed, inscribed and dated “THE BRUCE HIGH QUALITY FOUNDATION 2015 BHQF - 1081” on the overlap silkscreen and acrylic on canvas, in artist’s neon frame 75 x 111 in. (190.5 x 281.9 cm.) Executed in 2015. Estimate $60,000-80,000 Provenance Leila Heller Gallery, New York Acquired from the above by the present owner

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© Tracey Emin. All rights reserved, DACS 2018. Courtesy White Cube

37. Tracey Emin

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b. 1963

You should have loved ME neon 22 1/2 x 63 1/4 in. (57 x 160.6 cm.) Executed in 2008, this work is number 1 from an edition of 3 plus 2 artist’s proofs and is accompanied by a certifcate of authenticity signed by the artist. Estimate $50,000-70,000

Provenance Lehmann Maupin, New York Acquired from the above by the present owner Exhibited Raleigh, North Carolina Museum of Art, Modern and Contemporary Art, September 13, 2010 - July 7, 2016 (on loan) Miami, Museum of Contemporary Art, Tracey Emin: Angel Without You, December 4, 2013 - March 9, 2014, pp. 106-107 (another example exhibited and illustrated)

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38. Yayoi Kusama

b. 1929

Butterfy signed, titled and dated “Butterfy [in Japanese] 1982 Yayoi Kusama” on the reverse acrylic on canvas 14 7/8 x 17 7/8 in. (38 x 45.5 cm.) Painted in 1982, this work is accompanied by a registration card issued by the Yayoi Kusama studio. Estimate $180,000-250,000

which manifest as hallucinations of infnite repetitions of nets and dots overlaid on her whole universe – her paintings are attempts to make tangible these visions. However, by 1982, Kusama re-emerged into the public eye in a grand way with her exhibitions at Fuji and Noviglia. The signature motif of Butterfy can thus be interpreted as a potent and beautiful symbol for, and of, the artist, heightened here by her own metamorphosis. Kusama’s practice was radically reinvigorated from thence forth.

Provenance Ota Fine Arts, Tokyo Acquired from the above by the present owner

Butterfy vibrantly encases the symbolic dots in a formal attempt to predict and measure the infnity of the unbounded universe. Kusama’s painting here presents an interesting

Yayoi Kusama’s Butterfy represents a

dichotomy between the calming and

historic return for the artist to her mature

whimsical visual qualities of the composition

style. Painted in 1982, the same year she would

and the artist’s inquisitive, and obsessive,

exhibit large new paintings and sculpture at

drive to contain and constrain her neuroses.

Fuji Television Gallery, Tokyo and return to the

Notably, the butterfy – made up of those

European gallery scene with an exhibition at

quintessential dots – is not at all constrained

Naviglio Gallery in Milan, Butterfy manifests

by the seemingly limitless weave of nets that

Kusama’s trademark motifs – the infnity net

emanates out from beneath and behind. “I

and the obliterating dots – in an immediately

am not concerned with Surrealism, Pop Art,

iconic depiction of one of her primary subjects,

Minimal Art, or whatever. I am so absorbed

the butterfy. So successful did she deem this

in living my life,” and to that one might add

painting that she translated it into a screenprint

creating her own idiosyncratic and iconic

just a few years later in order for its broader

brand of art. The infnite repetition of the dots

dissemination (see lot 40.)

and nets represents a confrontation with an obsession with space, time, and the reality of

1982 represents a seminal year for the artist

its eventual termination, and Kusama has, in

following a tumultuous decade in which she

Butterfy, executed a masterful composition

ultimately made the commitment to move

that blends her own autobiographical

permanently into the psychiatric hospital

fgurative and abstract imagery with the same

that remains her home today. The artist has

psychic charge that emanates from her fnest

sufered from psychotic neuroses her entire life

and most successful work.

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39. Yayoi Kusama

b. 1929

Wave signed, titled and dated “Wave [in Japanese] 1980 Yayoi Kusama” on the reverse enamel on paperboard 10 1/2 x 9 1/2 in. (26.7 x 24.1 cm.) Executed in 1980, this work is accompanied by a registration card issued by the Yayoi Kusama studio. Estimate $15,000-20,000 Provenance Private Collection

40. Yayoi Kusama

b. 1929

Butterfy signed, titled, numbered and dated “P.P. Butterfy [in Japanese] 1982 Yayoi Kusama” lower edge screenprint 13 x 15 3/4 in. (33 x 40 cm.) Executed in 1982, this work is a printer’s proof from an edition of 50 plus 5 artist’s proofs and 3 printer’s proofs. This work has been authenticated by the Yayoi Kusama studio. Estimate $7,000-10,000 Provenance Ota Fine Arts, Tokyo Acquired from the above by the present owner Literature Yayoi Kusama, All Prints of Kusama Yayoi 1979-2004, Tokyo, 2005, no. 18, pp. 17, 97 (another example illustrated)

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41. Yayoi Kusama

b. 1929

Village in Rainy Season signed and dated “1978 YAYOI KUSAMA” lower right; further titled “Village in Rainy Season [in Japanese]” on the reverse ink and enamel on paperboard 10 1/2 x 9 1/2 in. (26.7 x 24.1 cm.) Executed in 1978, this work is accompanied by a registration card issued by the Yayoi Kusama studio. Estimate $18,000-25,000 Provenance Greenberg Van Doren Gallery, New York Acquired from the above by the present owner in 2006

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42. Jonas Wood

b. 1977

Computer Drawings signed with the artist’s initials, titled, numbered respectively and dated “COMPUTER PAPER [1-10] JBRW 2008” on the reverse of each sheet graphite on paper, in 10 parts each 11 1/2 x 8 in. (29.2 x 20.3 cm.) Executed in 2008, this work is unique and accompanied by a certifcate of authenticity signed by the artist. Estimate $80,000-120,000 Provenance Shane Campbell Gallery, Chicago Private Collection Acquired from the above by the present owner

so essential to his oeuvre, Wood photographs his subjects from multiple angles, collaging these images together and employing drawing to “work out the kinks and...locate what [feels] right.” (Jonas Wood, quoted in Amanda Law, “Q & A with Artist Jonas Wood”, Hammer Museum, February 16, 2010, online). Computer Drawings strips away the artifce of the computer and the camera and what the viewer is lef with is a seemingly unadulterated understanding of the artist’s intimate surrounds. The pots themselves, as manifestations of his wife, Shio Kusaka, herself an accomplished artist who sculpts them, are imbued with a sensitivity and raw emotion that is heightened by the inclusion of the delicate plants within. One can detect a propensity for beautifying the everyday,

Jonas Wood’s enigmatic “pot” motif has quickly

the allure of still life, dreaminess, whimsicality,

established itself as one of the artist’s defning

and also an undeniable graphic fare. And yet,

subjects. His Computer Drawings from 2008 is

while all such distinct threads of inspiration

a wonderful glimpse into, and embodiment of,

can be identifed, it is evident in the execution

Wood’s particularly alluring and endearing art brut

and abstraction of the pots and plants, and the

style of fguration. These drawings, immediate in

eradication of a background and foreground

their lack of excessive adornment, modeling, or

that Computer Drawings retains the artist’s

even coloration, directly confront the viewer with

own unique aesthetic: led by Wood’s ability to

the simultaneous solidity of their representation

distort and juxtapose even the most ordinary of

but also the fragility of their actual existence as

fgures and spaces.

ceramic objects used to house plants. Wood further confounds the viewer with his title, seemingly alluding to the basic, early computer illustration sofware that rendered objects in a crude, fat manner. To achieve the distortion of space that is

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43. Lisa Yuskavage

b. 1963

Bridesmaid signed and dated “Lisa Yuskavage 2004” on the overlap; further signed with the artist’s initials and dated “Ly 2004” on the reverse oil on linen 30 x 34 in. (76.2 x 86.4 cm.) Painted in 2004.

Lisa Yuskavage paints extraordinarily feminine portraits that bring a fresh, contemporary perspective to fgurative art, pushing the boundaries of objectifcation while also giving a voice to female sexuality. She does so by painting highly sexualized and fantastically positioned and proportioned women in various stages of undress, sexual excitement, and exhibition. Bridesmaid from 2004 excellently manifests

Estimate $80,000-120,000 Provenance Greengrassi, London Acquired from the above by the present owner

these qualities of scandal, femininity and empathy. Her female protagonist lays almost entirely naked, aside from a remaining highheeled shoe and a blue garter around her leg. Yuskavage’s ability to illustrate alternate realities using forms and features which are understandable to the viewer is both mesmerizing

Exhibited London, Greengrassi, Lisa Yuskavage, May 29 - June 26, 2004

and disorienting, a fact made all the more so by the masterful treatment of the paint and canvas itself. The singular form of the protagonist in such an ambiguous scene – the shoe is clearly too large, the garter likewise; the relative carefree demeanor being in opposition to the usual frenetic nature of a wedding – all serve to confound and engage the viewer. Utilizing her signature pastel tones, Yuskavage draws the viewer in for closer physical, and emotional, inspection. Yuskavage’s Bridesmaid embodies so much of what has established her as one of the preeminent fgure painters of the 21st Century. There is a multitude of meaning and emotionality – empathy, misogyny, longing – that are inextricably linked between the imagery itself and the sensuality of the medium. “It is a belief that pictures can be formally coded and tell a story, and that viewers will understand that code even if they are not painters themselves … I like to think they will feel the power of the form, almost unconsciously, whether they want to or not.”

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44. George Condo

b. 1957

Untitled signed and dated “Condo 07” upper lef colored pencil on paper 30 1/4 x 22 1/8 in. (76.8 x 56.2 cm.) Executed in 2007. Estimate $30,000-40,000 Provenance Skarstedt Gallery, New York Acquired from the above by the present owner

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45. George Condo

b. 1957

The Lawyer incised with the artist’s initials, number and date “GC 02 3/4” on the back of the neck patinated bronze 8 x 6 7/8 x 7 3/4 in. (20.3 x 17.5 x 19.7 cm.) Executed in 2002, this work is number 3 from an edition of 4 plus 2 artist’s proofs. Estimate $60,000-80,000 Provenance Galerie Andrea Caratsch, Zurich Acquired from the above by the present owner

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46. George Condo

b. 1957

Surrealist Landscape signed and dated “Condo G. ’83” lower lef; further signed with the artist’s initials “GC.” on the reverse oil on canvas 35 1/2 x 47 1/2 in. (90.2 x 120.7 cm.) Painted in 1983. Estimate $180,000-220,000 Provenance Steven Lieber Gallery, San Francisco Private Collection, Portland Christie’s, New York, February 24, 1993, lot 163 James Corcoran Gallery, Santa Monica Estate of H. Marc Moyens Christie’s, New York, February 28, 2007, lot 326 Acquired at the above sale by the present owner Exhibited Washington D.C., The Katzen Arts Center, American University, Remembering Marc and Komei, January 18 - March 12, 2006

The present lot by George Condo, one of today’s

placed above a landscape with deep, nighttime

most celebrated contemporary painters, is a

shadows, recalling the paradox of day, night

stunning example from the artist’s earliest body of

and dusk explored in works by Magritte. In the

work, illustrating the most important art historical

foreground, the seemingly unrelated subjects

infuences on his prolifc oeuvre. Highlighted in

recall the personifed objects of melting clocks

both the present work’s title and composition,

and humanized tree trunks found in Dalí’s

the efects of Surrealism on the artist’s early

paintings—a marble bust in the center is

1980s paintings are indisputable. This work, titled

fanked by a large carrot-like tree and a red

Surrealist Landscape, 1983 ofers a unique look at

mushroom-like button to its lef, and faming

Condo’s early experimentation with realistically

furnaces to the right, all placed atop a green

painted subjects with no basis in reality, begun in

feld. The whole composition is made even more

his East Village studio, so informed by the earliest

mysterious by the presence of an ominous dark

pioneers of the Surrealist movement including

form in the lower right corner, highlighting the

René Magritte and Salvador Dalí. Indeed, the

uncertainty of the scene. Surrealist Landscape

symbolism in the present lot recalls some of

predates Condo’s move to Paris in 1985 by just

these artists’ most famous masterpieces. An

two years, where he would come face to face

early twilight sky with low, nebulous clouds is

with post-modern movements taking hold in the

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later part of the 20th century, in turn evolving

conservatism. These artifacts are, at times,

the aesthetic explored in the present lot to one

also extremely smart Conceptual objects.”

dominated by abstraction, characterized by

(Roberta Smith, “Review/Art; Condo Creates a

multiple perspectives and biomorphic forms.

Future With Layers of Nostalgia”, The New York Times, March 25, 1988, online) Undeniably, the

Of Condo’s early works, Roberta Smith aptly

present lot is an important example of Condo’s

stated their efect in a review of one of his

emphasis on and respect for the modernist

earliest exhibitions in 1988, before the artist

past, a predecessor to the artist’s later abstract

received the international acclaim he has

portraits for which he would become known. As

achieved today: “In a sense, Mr. Condo makes

such, the work occupies a distinctive moment in

things that look like paintings, that have the

Condo’s practice when he was relying solely on

presence, completeness and frontal tautness

his knowledge of the art historical trajectory as

of paintings, yet in some essential way are not

it was just beginning to shape the post-modern

so much paintings as artifacts, signs of another

sphere, providing an intimate look at the very

time and place, layered thickly with talent and

start of what would be a long and successful

nostalgia and a particularly dandyish form of

career for the artist.

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47. Keith Haring

1958-1990

Untitled (Portrait of Lynka Pregnant) signed, dedicated and dated “FOR LYNKA K. Haring 83” right edge metallic gold paint and black laminate 10 3/8 x 8 3/8 in. (26.4 x 21.3 cm.) Executed in 1983, this work is accompanied by a certifcate of authenticity issued by the Keith Haring Studio, LLC.

Provenance Private Collection (acquired directly from the artist in 1983) Sotheby’s, New York, March 9, 2010, lot 56 Acquired at the above sale by the present owner

Estimate $50,000-70,000

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48. Keith Haring

1958-1990

Untitled (Study for Dusseldorf Sculptures) signed, inscribed, titled and dated “MARCH 20 1987 - KO STUDIO K. Haring DUSSELDORF SCULPTURES” lower edge graphite on paper 22 x 30 in. (55.9 x 76.2 cm.) Executed in 1987. Estimate $25,000-35,000

Provenance Galerie Jérôme de Noirmont, Paris Private Collection (acquired from the above in 1999) Bonhams, New York, November 12, 2013, lot 125 Acquired at the above sale by the present owner Exhibited Paris, Galerie Jérôme de Noirmont, Keith Haring: 12 Sculptures, June 4 July 23, 1999, p. 25 (illustrated) Literature Emily Ligniti, ed., Keith Haring: Sculptures, Paintings and Works on Paper, Milan, 2005, p. 23 (illustrated)

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49. Kenny Scharf

b. 1958

Untitled signed and dated “Kenny Scharf ’87” on the reverse acrylic and spray paint on wood panel 47 x 53 in. (119.4 x 134.6 cm.) Executed in 1987. Estimate $15,000-20,000 Provenance Acquired directly from the artist by the present owner in 1987

Property of an Important East Coast Collector

50. Richard Prince

b. 1949

Untitled (for John) signed, titled, numbered and dated “R Prince 2/2 1987-88 Untitled (for John) R Prince 2/2 1987-88” on the reverse chromogenic print 86 x 47 in. (218.4 x 119.4 cm.) Executed in 1987-1988, this work is number 2 from an edition of 2. Estimate $30,000-50,000 Provenance Barbara Gladstone Gallery, New York Acquired from the above by the present owner

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(i)

(ii)

(iii)

51. Takashi Murakami

b. 1962

Three Works: (i–iii) Champagne Super Nova each titled “CHAMPAGNE SUPER NOVA” on the reverse (i), (ii) inkjet, pen and tape on paper (iii) pencil on paper (i) 16 1/8 x 16 1/8 in. (41 x 41 cm.) (ii) 25 1/4 x 30 1/8 in. (64.1 x 76.5 cm.) (iii) 10 x 9 5/8 in. (25.4 x 24.4 cm.) Executed in 2000, these works are unique. Estimate $30,000-40,000 Provenance Marianne Boesky Gallery, New York Acquired from the above by the present owner

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Property of an Important East Coast Collector

52. Damien Hirst

b. 1965

Bombesin household gloss on canvas 4 1/2 x 3 in. (11.4 x 7.6 cm.) Painted in 1995. Estimate $25,000-35,000 Provenance White Cube, London Acquired from the above by the present owner Literature Gagosian Gallery, Damien Hirst: The Complete Spot Paintings 1986-2011, New York, 2013, p. 103 (illustrated)

Property of an Important East Coast Collector

53. Damien Hirst

b. 1965

beautiful lunatics spinning drawing (with breakaway edge) signed “Damien Hirst” lower lef and dated “93” lower right; inscribed “D.L” upper right; further titled “beautiful lunatics spinning drawing (with breakaway edge)” on the reverse ink on paper 11 5/8 x 8 1/8 in. (29.5 x 20.6 cm.) Executed in 1993. Estimate $5,000-7,000 Provenance Bruno Brunett Fine Arts, Berlin Cohen Gallery, New York Tanya Bonakdar Gallery, New York Acquired from the above by the present owner Exhibited Berlin, Bruno Brunnet Fine Arts, Making Beautiful Drawings, January 15 – February 5, 1994, n.p. (illustrated)

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54. Ugo Rondinone

b. 1964

No. 209 DREISSIGSTERJUNIZWEITAUSENDUNDNULL acrylic on polyester, silkscreen on Plexiglas plaque 59 x 157 1/2 in. (149.9 x 400.1 cm.) Executed in 2000. Estimate $50,000-70,000 Provenance Galerie Hauser & Wirth & Presenhuber, Zurich Galerie Almine Rech, Paris Private Collection Phillips, London, June 27, 2013, lot 4 Acquired at the above sale by the present owner Exhibited Avignon, Collection Lambert, Coollustre, May 24 - September 28, 2003, n.p. (illustrated)

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55. Urs Fischer

b. 1973

Salt/Sandra silkscreen print on mirror-polished stainless steel sheets, polyurethane foam sheets, two-component polyurethane adhesive, stainless steel beams, aluminum L sections, screws, in 4 parts Fox mask, each 57 1/2 x 42 1/2 x 64 1/8 in. (146.1 x 108 x 162.9 cm.) Green chair, each 42 1/8 x 32 1/4 x 35 3/8 in. (107 x 81.9 x 89.9 cm.) Executed in 2010, this work is number 1 from an edition of 2 plus 1 artist’s proof. Estimate $300,000-500,000

Exhibited London, Sadie Coles HQ, Douglas Sirk, October 6 - December 11, 2010 Los Angeles, The Museum of Contemporary Art, Urs Fischer, New York, 2013, p. 146 (another example exhibited and illustrated)

In Salt/Sandra, Urs Fischer has perfected his creation of the dissected, three-dimensional image/sculpture, challenging the viewer’s perception of the traditional scopes of sculpture and photography. A stellar example from one of the artist’s most celebrated series, Salt/Sandra recalls Fischer’s frst mirrored boxes from the

Provenance Private Collection

renowned installation Service à la Française at the New Museum in 2009. The installation

© Urs Fischer. Courtesy of the artist and Sadie Coles HQ, London. Photo: Stefan Altenburger

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consisted of 51 polished stainless steel boxes

between fction and reality. Evident in the

placed seemingly at random on the second foor,

exacting precision with which the silkscreens

printed with vibrant colored images of various

have been applied, the artist’s method of

everyday objects, at once celebrating both Pop

production is central to the work’s efect. As

and Minimalist aesthetics. This exhibition was

the viewer walks through the installation,

the artist’s frst major solo presentation in an

he or she confronts these three-dimensional

American museum, helping to solidify the Swiss

object-images, discovering their un-reality

multi-disciplinary artist’s international status.

and dysfunctionality and simultaneously highly mimetic quality. As such, the present

Executed just one year later in 2010, Salt/

lot transcends the boundaries of the sculptural

Sandra features four large-scale stainless

discipline. On the occasion of the artist’s

steel structures with printed images of a fox

2012 exhibition at the Palazzo Grassi, Patricia

mask and a chair. Placed directly on the foor,

Falguières espoused, “Fischer’s sculpture

the four boxes confront the viewer with the

operates by subtraction. It rarefes: against

objects at approximately eye-level. Fischer has

the fux of images poured out by the Internet

reproduced the chair approximately life-size,

or by the media, sculpture is, inherently,

while paradoxically enlarging the fox mask to an

a strategy of selection and rarefaction of

unrealistic scale, establishing a unique dialogue

images…In every piece by Fischer, sculpture is announced” (Patricia Falguières, “Urs Hero: Portrait de l’artiste en jeune homme”, in Urs Fischer: Madame Fisscher, exh. cat., Palazzo Grassi, Venice, 2012, pp. 38-39). Indeed, Salt/ Sandra is a striking installation that perfectly manifests the hallmarks of Fischer’s practice, highlighting the artist’s prowess as a master of many mediums.

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Property from a Private Collection, Minnnesota

56. Roy Lichtenstein

1923-1997

Modern Sculpture with Horse Motif incised with the artist’s initials, foundry mark and numbered “rf GH 3 – 5 5/6” on the base aluminum and marble 28 3/4 x 16 1/2 x 5 1/2 in. (73 x 41.9 x 14 cm.) Executed in 1967, this work is number 5 from an edition of 6.

Washington, D.C., The Corcoran Gallery of Art, Roy Lichtenstein Sculpture & Drawings, June - September 1999, no. 18, p. 83 (another example exhibited and illustrated) For additional information, please refer to phillips.com.

This work will be included in the forthcoming catalogue raisonné being prepared by the Roy Lichtenstein Foundation. Estimate $50,000-70,000 Provenance Leo Castelli Gallery, New York J.L. Hudson Gallery, Detroit Paul and Helen Zuckerman Collection Christie’s, New York, November 15, 2012, lot 278 Acquired at the above sale by the present owner Exhibited New York, Solomon R. Guggenheim Museum; Kansas City, Nelson-Atkins Museum of Art; Chicago, Museum of Contemporary Art; Seattle Art Museum and Columbus Gallery of Fine Arts, Roy Lichtenstein, September 1969 - August 1970, no. 63 (illustrated)

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Property from the Locksley Shea Gallery

57. Robert Rauschenberg

1925-2008

Georgia on My Mind signed and dated “RAUSCHENBERG 98” lower lef; further titled “GeoRGIA on my Mind” on the reverse vegetable dye transfer on polylaminate 61 x 42 in. (154.9 x 106.7 cm.) Executed in 1998.

Provenance PaceWildenstein, New York Private Collection Christie’s, New York, November 16, 2006, lot 245 Acquired from the above by the present owner at the above sale

Estimate $60,000-80,000

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Property of an Important East Coast Collector

58. Christo

b. 1935

Wrapped Reichstag signed and dated “Christo 1978” lower lef; further titled “WRAPPED REiCHSTAG” upper lef fabric, twine, pastel, charcoal, pencil and map, in 2 parts, in artist’s Plexiglas box (i) 22 x 14 in. (55.9 x 35.6 cm.) (ii) 22 x 28 in. (55.9 x 71.1 cm.) overall 22 x 42 in. (55.9 x 106.7 cm.) Executed in 1978. Estimate $60,000-80,000 Provenance Acquired directly from the artist by the present owner Exhibited Roslyn Harbor, Nassau County Museum of Art, Long Island Collections, January 18 March 15, 2009

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59. Thomas Struth

b. 1954

Museo del Vaticano 1, Roma signed “Thomas Struth” on a label afxed to the reverse of the backing board; further signed, titled, numbered and dated “Museo del Vaticano 1 Roma 1990 2/10 Thomas Struth” on the reverse chromogenic print, face-mounted to Diasec 48 3/4 x 64 5/8 in. (123.8 x 164 cm.) Executed in 1990, this work is number 2 from an edition of 10 and is accompanied by a certifcate of authenticity signed by the artist. Estimate $60,000-80,000 Provenance Private Collection, Germany Galerie Max Hetzler, Berlin

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Private Collection, Belgium Sotheby’s, New York, November 15, 2007, lot 568 Acquired at the above sale by the present owner Exhibited Hamburger Kunsthalle, Thomas Struth: Museum Photographs, November 11, 1993 January 16, 1994, no. 15, p. 59 (another example exhibited and illustrated) Raleigh, North Carolina Museum of Art, November 7, 2010 - October, 2011 (another example exhibited and illustrated) Literature Thomas Struth, Thomas Struth - My Portrait, Kyoto, 2000, p. 109 (another example illustrated)

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Property of an Important East Coast Collector

60. Cindy Sherman

b. 1954

Untitled #201 chromogenic print, in artist’s frame 59 x 42 in. (149.9 x 106.7 cm.) Executed in 1989, this work is number 4 from an edition of 6.

Untitled #201 from 1989 is a superb example of

Estimate $150,000-200,000

past as it shifs with time, Untitled #201 ofers a

Sherman’s series History Portraits (1988-90), in which she re-imagines the genre of Old Master portraiture within her contemporary, photographic context. Questioning the authenticity of the persuasive and provocative exploration into the construction of identity, representation and the

Provenance Metro Pictures, New York Acquired from the above by the present owner

self. By dressing up as fgures from history and

Exhibited New York, Metro Pictures, Cindy Sherman, January 6 - January 27, 1990 (another example exhibited) New York, Solomon R. Guggenheim Museum, Rose is a Rose is a Rose: Gender Performance in Photography, January 17 - April 27, 1997, p. 84 (another example exhibited and illustrated) New York, Skarstedt Gallery, Cindy Sherman: History Portraits, November 8 - December 20, 2008 (another example exhibited) Roslyn Harbor, Nassau County Museum of Art, Long Island Collections, January 18 - March 15, 2009 (another example exhibited) New York, The Museum of Modern Art, Cindy Sherman, February 26 - June 11, 2012, no. 139, p. 184 (another example exhibited and illustrated) Los Angeles, The Broad, Cindy Sherman: Imitation of Life, June 11 - October 2, 2016, p. 92 (another example exhibited and illustrated)

security of identity. Untitled #201 subsumes the

Literature Arthur C. Danto, Cindy Sherman: History Portraits, Munich, 1991, no. 28 (another example illustrated) Rosalind E. Kauss, Cindy Sherman, 1975 - 1993, New York, 1993, p. 176 (another example illustrated)

staging a portrait, the artist seamlessly fuses replication and originality, while questioning the viewer in a complex and contradictory web of fantasy and reality. Here the disguise allows the photograph to feel simultaneously contemporary and traditional as Sherman assumes the role of both model and artist. By becoming both, Sherman brings a performative element to her photographs. The theatrical overtones of the composition mingle with Sherman’s ability to tell an engaging and humorous story while never fully revealing who she is meant to be impersonating. Included in the initial exhibition of her History Portraits at Metro Pictures in New York City in 1990, Untitled #201, is a seminal example of the series. Sherman does not recreate history with these works per se, but rather represents, through her own inclusion, and the juxtaposition of the contemporary and the historical, the fading memory that is the past. Sherman diminishes the traditional linearity and “factuality” of the photographic medium. Performative and static; historical and contemporary; masculine and feminine; satirical and sincere – Sherman layers dichotomies one upon each other in such as a way as to create a new reality, one squarely contained within the bounds of works such as Untitled #201

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Property of an Important East Coast Collector

61. John Baldessari

b. 1931

Figure (With Money) and Knife Thrower (with Blue Blindfold) vinyl and acrylic on chromogenic print, in 2 parts overall 48 x 121 in. (121.9 x 307.3 cm.) Executed in 1990, this work is unique. Estimate $150,000-200,000

Provenance Sonnabend Gallery, New York Acquired from the above by the present owner Exhibited New York, Sonnabend Gallery, John Baldessari, September 22 - October 13, 1990 Literature Patrick Pardo and Robert Dean, John Baldessari: Catalogue RaisonnÊ Volume 3: 1987 - 1993, New Haven, 2015, p. 241 (illustrated)

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“You just have to give [the viewer] something to hang on to and they can begin to unravel it themselves. It’s kind of like reading a detective story, you get a clue, you follow that.” John Baldessari, 2003

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62. Sol LeWitt

1928-2007

Untitled signed and dated “S. LeWitt ’94” lower right gouache on paper 22 1/4 x 17 1/2 in. (56.5 x 44.5 cm.) Executed in 1994. Estimate $15,000-20,000 Provenance Acquired directly from the artist by the present owner

63. Sol LeWitt

1928-2007

Untitled signed and dated “S. Lewitt ’02” lower right gouache on paper 22 x 29 1/2 in. (55.9 x 74.9 cm.) Executed in 2002. Estimate $20,000-30,000 Provenance Acquired directly from the artist by the present owner

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“Working on paper can even replace working on canvas for me, for periods of time. . . More and more, paper is painting.” Helen Frankenthaler, 1983–84

Property of an Important East Coast Collector

64. Helen Frankenthaler

1928-2011

Untitled signed “Frankenthaler” lower right acrylic on paper 29 3/4 x 42 in. (75.6 x 106.7 cm.) Painted in 1978. Estimate $60,000-80,000

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Provenance André Emmerich Gallery, New York Private Collection, Chicago André Emmerich Gallery, New York Acquired from the above by the present owner Exhibited New York, André Emmerich Gallery, Helen Frankenthaler: New Works on Paper, May 10 - June 15, 1979

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65. Beauford Delaney

1901-1979

Untitled signed, inscribed and dated “Beauford Delaney Paris 1965 midday” on the reverse oil on canvas 25 1/2 x 21 in. (64.8 x 53.3 cm.) Painted in 1965. Estimate $20,000-30,000 Provenance Larry Calcagno, San Francisco Acquired from the above by the present owner

66. Beauford Delaney

1901-1979

Untitled signed, inscribed and dated “Beauford Delaney Mallorca 1961” lower right gouache on paper 25 1/2 x 19 1/2 in. (64.8 x 49.5 cm.) Executed in 1961. Estimate $8,000-12,000 Provenance Larry Calcagno, San Francisco Acquired from the above by the present owner

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67. Sam Gilliam

b. 1933

Untitled acrylic on canvas collage 45 1/4 x 49 1/2 in. (114.9 x 125.7 cm.) Executed in 1998. Estimate $20,000-30,000 Provenance Acquired directly from the artist by the present owner in 1998

68. Sam Gilliam

b. 1933

Pisane Ice signed, titled and dated “Pisane Ice, 1997 Sam Gilliam” on the reverse acrylic on wood construction, rotating element on hinge dimensions variable approximately 17 x 20 x 3 1/4 in. (43.2 x 50.8 x 8.3 cm.) Executed in 1997. Estimate $5,000-7,000 Provenance Acquired directly from the artist by the present owner in 1998

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69. Alexander Calder

1898-1976

Central Frond signed and dated “Calder 70” lower right gouache and ink on paper 29 3/8 x 43 1/8 in. (74.6 x 109.5 cm.) Executed in 1970, this work is registered in the archives of the Calder Foundation, New York, registered under application number A01822.

Provenance Dr. Kaare Kristian Nygaard, New York (gif of the artist in the 1970s) Private Collection, Westport (acquired thence by descent from the above in 1989) Sotheby’s, New York, September 24, 2014, lot 110 Acquired at the above sale by the present owner

Estimate $40,000-60,000

Exhibited New York, Perls Galleries, Alexander Calder: Recent Gouaches-Early Mobiles, October 20 November 28, 1970, no. 27, p. 19 (illustrated)

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70. Sam Francis

1923-1994

Untitled signed and dated “Sam Francis 1980” on the reverse acrylic on paper 11 7/8 x 17 3/4 in. (30.2 x 45.1 cm.) Painted in 1980. This work is identifed with the archival identifcation number SF80-107 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.

Provenance Smith Anderson Gallery, Palo Alto Private Collection, Los Altos Neil Scherer, New York Marianne Elrick Manley Fine Art, New York Steve Schmidt, San Francisco Elins Eagle Smith Gallery, San Francisco Acquired from the above by the present owner Exhibited Palo Alto, Smith Anderson Gallery, May 1 June 13, 1980

Estimate $25,000-35,000

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71. Lee Ufan

b. 1936

Dialogue signed and dated “L. Ufan ’06” lower right watercolor on paper 22 3/4 x 30 1/4 in. (57.8 x 76.8 cm.) Executed in 2006.

Provenance Elizabeth Leach Gallery, Portland Galería Elvira González, Madrid Barbara Mathes Gallery, New York Acquired from the above by the present owner

Estimate $20,000-30,000

Exhibited Madrid, Galería Elvira González, Lee Ufan: Resonance, September 9 - December 13, 2010 New York, Barbara Mathes Gallery, Master Drawings, January 24 - March 9, 2013

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72. Suzan Frecon

b. 1941

Horizontally Extended Orange (patched) signed and titled “horizontally extended orange (patched) Suzan Frecon” on the reverse watercolor on paper 9 1/2 x 28 in. (24.1 x 71.1 cm.) Executed in 2011.

Provenance David Zwirner, New York Acquired from the above by the present owner Exhibited New York, David Zwirner, Suzan Frecon: paper, February 13 - March 23, 2013, no. 27 (illustrated)

Estimate $8,000-12,000

73. Amy Sillman

b. 1966

Untitled signed with the artist’s initials and dated “AS 03” lower right gouache, acrylic and graphite on paper 22 1/2 x 30 in. (57.2 x 76.2 cm.) Executed in 2003. Estimate $6,000-8,000 Provenance Private Collection

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74. Imi Knoebel

b. 1940

Anima Mundi 2-2 Ed. each signed with the artist’s initials, titled, numbered and dated “ik ANIMA MUNDI 2010 3/5” on the reverse acrylic on plastic sheet, in 2 parts each 18 x 14 in. (45.7 x 35.6 cm.) Executed in 2010, this work is number 3 from an edition of 5 plus 2 artist’s proofs. Estimate $7,000-10,000 Provenance Galerie Christian Lethert, Cologne Acquired from the above by the present owner

(i)

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75. Mary Heilmann

b. 1940

Two Works: (i) Rompecabeza Uno 32 (ii) Rompecabeza Dos 24 (i) signed with the artist’s initials and titled “HM Rompecabeza 32 UNO” on the reverse (ii) signed with the artist’s initials and titled “24 Rompecabeza DOS HM” on the reverse acrylic and watercolor on wood panel (i) 6 1/4 x 14 3/8 in. (15.9 x 36.5 cm.) (ii) 6 1/8 x 14 1/2 in. (15.6 x 36.8 cm.) Executed in 2000. Estimate $4,000-6,000 Provenance Courtesy of the Artist ACRIA Beneft Auction, 2000 Acquired at the above sale by the present owner

(ii)

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76. Frederick Hammersley 1919-2009

Rhyming, #12 signed and dated “Frederick Hammersley 1986” upper center oil on linen laid on masonite, in artist’s frame 10 5/8 x 12 3/4 in. (27 x 32.4 cm.) Executed in 1986. Estimate $15,000-20,000 Provenance Frederick Hammersley Foundation L.A. Louver, Los Angeles Acquired from the above by the present owner Exhibited Claremont, Pomona College Museum of Art, Hunches, Geometrics, Organics: Paintings by Frederick Hammersley, January 23 April 8, 2007 Los Angeles, L.A. Louver, Frederick Hammersley, March 22 - May 12, 2012, p. 53 (illustrated)

77. Caio Fonseca

b. 1959

Fifh Street Painting incised with the artist’s signature “CAIO” lower lef; further signed, titled and dated “Fifh Street Painting CAIO FONSECA 2001 Caio Fonseca” on the reverse acrylic on canvas 27 5/8 x 37 1/8 in. (70.2 x 94.3 cm.) Painted in 2001. Estimate $8,000-12,000 Provenance Paul Kasmin Gallery, New York Acquired from the above by the present owner

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78. Karel Appel

1921-2006

Flying Yellow Head signed and dated “appel 1970” lower right acrylic on canvas 40 x 52 in. (101.6 x 132.1 cm.) Painted in 1970, this work is accompanied by a certifcate of authenticity from the Karel Appel Foundation, and is registered under certifcate reference number 1703X70. Estimate $35,000-55,000 Provenance Martha Jackson Gallery, New York Christie’s, New York, November 12, 1982, lot 221 Acquired at the above sale by the present owner

79. Niki de Saint Phalle 1930-2002

L’Arbre et le Dragon signed and numbered “Niki de St. Phalle E.A. 1/4” on the underside; further stamped with the foundry mark and incised with the number “E.A. I/ IV” on the dragon’s tail polyester resin, acrylic, gold paint and mirror 11 x 14 x 11 1/4 in. (27.9 x 35.6 x 28.6 cm.) Executed in 1993, this work is artist’s proof 1 from an edition of 4 plus 4 artist’s proofs. Estimate $20,000-30,000 Provenance Private Collection Francis Briest, Paris, June 23, 2001, lot 109 Acquired at the above sale by the present owner

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80. Alighiero Boetti

1940-1994

Coperte e Scoperte signed “alighiero e boetti” on the overlap embroidery on canvas, mounted on panel 7 x 7 3/4 in. (17.8 x 19.7 cm.) Executed in 1992, this work is unique. This work is accompanied by a photo certifcate of authenticity provided by the Archivio Alighiero Boetti, Rome and is registered under number 92/RL/27. Estimate $20,000-30,000 Provenance Galerie Kaess-Weiss, Stuttgard Acquired from the above by the present owner

81. Pino Manos

b. 1930

Sincronico Armonico Rosso signed, titled, inscribed and dated “ARTE DELLA LUCE PINO MANOS 2015 MANOS SINCRONICO ARMONICO ROSSO MILANO” on the reverse acrylic on canvas 39 1/2 x 39 1/2 in. (100.3 x 100.3 cm.) Executed in 2015. Estimate $15,000-20,000 Provenance Acquired directly from the artist by the present owner

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82. Richard Aldrich

b. 1975

Untitled signed with the artist’s initials and dated “RA 2011-12” on 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 $18,000-22,000 Provenance Bortolami Gallery, New York Acquired from the above by the present owner

83. Anselm Reyle

b. 1970

Untitled signed and dated “Anselm Reyle 2008” on the reverse mixed media on canvas on metal 53 1/8 x 44 7/8 x 7/8 in. (134.9 x 114 x 2.2 cm.) Executed in 2008. Estimate $15,000-20,000 Provenance Acquired directly from the artist by the present owner

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84. Anselm Reyle

b. 1970

Untitled mixed media on canvas and Plexiglas 92 1/4 x 78 1/2 x 10 1/4 in. (234.3 x 199.4 x 26 cm.) Executed in 2006. Estimate $40,000-60,000 Provenance Almine Rech Gallery, Paris Acquired from the above by the present owner

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85. Francesca Pasquali

b. 1980

PLASTIFICAZIONE signed, titled and dated “PLASTIFICAZIONE 2012 Pasquali” on the reverse Styrofoam and plastic on wood panel, in artist’s frame 39 1/2 x 47 1/4 in. (100.3 x 120 cm.) Executed in 2012. Estimate $12,000-18,000 Provenance Tornabuoni Art, Paris Acquired from the above by the present owner

86. Bernard Aubertin

1934 - 2015

Tableau Clous signed and titled “CLOUS Bernard Aubertin” on the reverse nails and acrylic on wood 19 5/8 x 19 5/8 in. (50 x 50 cm.) Executed in 1969, this work is accompanied by a certifcate of authenticity provided by the Archivio Opere Bernard Aubertin and is registered under the archive number TCLR96-1000181223. Estimate $7,000-10,000 Provenance Private Collection, Paris Acquired from the above by the present owner

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87. Carlos Cruz-Diez

b. 1923

Physichromie No. 2540 signed, signed with the artist’s initials, titled, inscribed and dated “PHYSICHROMiE No 2540 CRUZ-DiEZ CARACAS 2008 CD” on the reverse silkscreen and plastic elements mounted on wood, in artist’s frame 24 1/8 x 24 in. (61.3 x 61 cm.) Executed in 2008.

Provenance Private Collection (acquired directly from the artist) Sotheby’s, New York, May 26, 2017, lot 207 Acquired at the above sale by the present owner

Estimate $50,000-70,000

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88. Carlos Mérida

1895-1984

Los cuatro hitos signed and dated “CARLOS MERIDA 1968” lower lef mixed media on masonite 44 1/2 x 34 in. (113 x 86.4 cm.) Executed in 1968. Estimate $20,000-30,000 Provenance Galería de Arte Mexicano, Mexico City Gloria Parkes, Beverly Hills (acquired from the above) Estate of Gloria Parkes Mary-Anne Martin Fine Art, New York Acquired from the above by the present owner Literature Luis Cardoza y Aragon, Gerzo, Mérida, Tamayo, Mexico City, 1978, p. 88 (illustrated)

89. Edgar Negret

1920-2012

Estrella Amarilla signed, titled and dated ““ESTRELLA” NEGRET 1994” on the underside painted aluminum 45 1/4 x 43 1/4 x 29 1/2 in. (114.9 x 109.9 x 74.9 cm.) Executed in 1994, this work is accompanied by a certifcate of authenticity issued by the Estate of Edgar Negret. Estimate $25,000-35,000 Provenance Galería Espacio Continuo, Bogata (acquired directly from the artist) Acquired from the above by the present owner

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90. Edgar Negret

1920-2012

Escalera signed, titled and dated ““ESCALERA” NEGRET 1974” on the underside painted aluminum 47 x 31 1/2 x 33 1/2 in. (119.4 x 80 x 85.1 cm.) Executed in 1974, this work is accompanied by a certifcate of authenticity issued by the Estate of Edgar Negret. Estimate $25,000-35,000 Provenance Galería Espacio Continuo, Bogata (acquired from Lisa Sutton) Acquired from the above by the present owner

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91. León Ferrari

1920-2013

Jaula cage with plastic helicopter and feathers 20 x 20 x 13 in. (50.8 x 50.8 x 33 cm.) Executed in 2004, this work is unique. Estimate $10,000-15,000 Provenance Acquired directly from the artist by the present owner Exhibited Miami, Pan American Art Projects, León Ferrari: Declared Value, April 29 - June 23, 2018

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92. Jac Leirner

b. 1961

Double Blue Chain signed and dated “Jac Leirner 1991” on a bank note sewn bank notes on buckram 456 x 5 1/2 in. (1158.2 x 14 cm.) Executed in 1991. Estimate $25,000-35,000 Provenance Galerie Lelong, New York Acquired from the above by the present owner Exhibited Milwaukee Art Museum; Phoenix Art Museum, Latin American Women Artists, 1915-1995, March 3, 1995 April 29, 1996, no. 186, p. 24 (illustrated)

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93. Jac Leirner

b. 1961

Untitled (Corpus Delicti) felt, airline glasses and polyurethane cord 108 x 3 x 3 in. (274.3 x 7.6 x 7.6 cm.) Executed in 1993. Estimate $20,000-30,000 Provenance Galerie Lelong, New York Acquired from the above by the present owner Exhibited Geneva, Centre d’Art Contemporain, Jac Leirner: Corpus Delicti, October 10 December 19, 1993 New York, Galerie Lelong, Jac Leirner: Corpus Delicti, January 18 - February 19, 1994 Milwaukee Art Museum; Phoenix Art Museum; The Denver Art Museum; Denver, Museo de las Americas; Washington, D.C., National Museum of Women in the Arts, Latin American Women Artists: 1915 - 1995, March 3, 1995 - April 26, 1996, p. 163 (illustrated)

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94. León Ferrari

1920-2013

Untitled stainless steel 79 x 12 x 12 in. (200.7 x 30.5 x 30.5 cm.) Executed in 2004, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $45,000-65,000 Provenance Acquired directly from the artist by the present owner Exhibited Miami, Pan American Art Projects, León Ferrari: Declared Value, April 29 June 23, 2018

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Contemporary Cuba: Works from a Private Collection

Contemporary Cuba: Works from a Private Collection Drawn from an important private collection,

artists continue to explore their country’s

these artworks showcase the tantalizing

complicated past and present in myriad ways.

visions of 11 artists from diferent generations

These include Carlos Garaicoa—in whose

of post-Revolutionary Cuba. An iconic work

photographs a violinist performs an ode to a

from 1962-63 by Sandú Darié epitomizes the

decaying grandfather clock—and Kcho—whose

utopian nature of Concrete Art, while a bold

large-scale drawing presents as a blueprint for

work by Raúl Martínez from 1970 eschews

a chimerical machine, relating to both Tatlin’s

abstraction for Pop Art in a graphic style

tower and Leonardo da Vinci’s fying machines.

that nods to propaganda posters. Younger

95. Carlos Garaicoa

b. 1967

Acerca de la caja del reloj y del tiempo que se ha ido (About the Grandfather Clock and How Long It’s Been Gone) (i, iii, iv, v) signed, numbered and dated “2/5 C. Garaicoa 95-00” on the reverse (ii) signed, numbered and dated “3/5 C. Garaicoa 95-00” on the reverse chromogenic print, in 5 parts each image 18 7/8 x 18 7/8 in. (47.9 x 47.9 cm.) each sheet 24 x 20 in. (61 x 50.8 cm.) (i, iii, iv, v) Executed in 1995-2000, each work is number 2 from an edition of 5 (ii) Executed in 1995-2000, this work is number 3 from an edition of 5.

(i)

Estimate $12,000-18,000 Provenance Alonso Art, Miami Private Collection, Miami Phillips, New York, November 21, 2013, lot 51 Private Collection (acquired at the above sale) Acquired from the above by the present owner (ii)

(iv)

Exhibited Siena, Palazzo delle Papesse, carlos garaicoa: la misura di quasi tutte le cose, January 31 - May 2, 2004, n.p., pp. 64-65 (another example exhibited and illustrated) Literature Deborah Aaronson, Photography Transformed: the Metropolitan Bank & Trust collection, Cleveland, 2002, no. 74 (another example illustrated) (iii)

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(v)

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96. Yoan Capote

b. 1977

In love II signed and dated “Capote 03” lower lef; further titled ““in love” II” upper center watercolor on paper 22 1/2 x 30 in. (57.2 x 76.2 cm.) Executed in 2003. Estimate $3,000-5,000 Provenance Paul Sharpe Contemporary Art, New York Acquired from the above by the present owner Exhibited New York, Paul Sharpe Contemporary Art, Between the Lines, June 9 - July 10, 2004

97. Sandra Ceballos

b. 1961

Salto al vacío con polivit from the series El Habana Times titled and dated “el habana times octubre 2009” center right; further signed, titled and dated ““El Habana Times” “Salto al vacío con polivit” 2009 Sandra Ceballos y gents de la calle” on the reverse graphite and photo collage on paper 29 7/8 x 43 7/8 in. (75.9 x 111.4 cm.) Executed in 2009. Estimate $3,000-5,000

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Provenance Private Collection, Havana Acquired from the above by the present owner Exhibited Havana, Centro de Arte Contemporaneo Wifredo Lam; Havana, Galería de la Biblioteca Rubén Martinez Villena, Ya Se Leer: Imagen y Texto en el Arte Latinoamericano, April - May 2011, p. 32 (illustrated)

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Contemporary Cuba: Works from a Private Collection

98. Belkis Ayón

b. 1967-1999

Untitled (Sikan with white Tips) numbered “5/VI” lower lef; further signed “Belkis Ayón Manso” lower right collography 36 7/8 x 24 7/8 in. (93.7 x 63.2 cm.) Executed in 1993, this work is number 5 from an edition of 6. Estimate $3,000-5,000 Provenance Bourbon Lally Gallery, Haiti Acquired from the above by the present owner Exhibited Breining, Pfarrkirche St. Barbara, Belkis Ayón: Unterstutze Mich, Halte mich hoch, im Schmerz, November 7, 1995 Boston, Massachusetts College of Art, Belkis Ayón: Early Works, April 8, 2003, p. 7 (illustrated) Gainesville, Samuel P. Harn Museum of Art, Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection, May 29 September 9, 2007, pp. 20, 37 (illustrated)

99. Esterio Segura

b. 1970

Colibrí libando la memoria (Hummingbird Sucking Memory) titled ““Colibrí libando la memoria”” lower lef; further signed and dated “ESTERIO 1996” lower right ink and watercolor on paper 27 1/2 x 39 3/8 in. (69.9 x 100 cm.) Executed in 1996. Estimate $3,000-5,000 Provenance Acquired directly from the artist by the present owner

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100. Raúl Martínez

1927-1995

El abanderado (The Standard-Bearer) signed and dated “R. MARTINEZ - 70” lower center acrylic on paper 28 1/8 x 22 3/8 in. (71.4 x 56.8 cm.) Painted in 1970. Estimate $3,000-5,000 Provenance Abelardo Estorino Collection Magnan Metz Gallery, New York Acquired from the above by the present owner in 2010 Exhibited New York, Magnan Metz Gallery, Raúl Martínez: Eagerly Awaiting, July 22 August 20, 2010, no. 18 (illustrated) Literature Corina Matamoros, Raúl Martínez: la gran familia, Cuba, 2012, no. 71 (illustrated)

101. José Toirac

b. 1966

SIN TÍTULO No. 15 signed, titled and dated “Toirac SIN TÍTULO No. 15 2000” on the reverse oil on canvas 39 1/8 x 39 1/8 in. (99.4 x 99.4 cm.) Painted in 2000. Estimate $6,000-8,000 Provenance Private Collection, California (acquired directly from the artist) Acquired from the above by the present owner

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Contemporary Cuba: Works from a Private Collection

102. Sandú Darié

1908-1991

Untitled signed “DARIE DARIE” upper lef and lower right corners; further signed, inscribed and dated “DARIE HABANA 1962-63 -INIT-” on the reverse collage, pencil, watercolor and ink on paper 15 3/4 x 11 3/8 in. (40 x 28.9 cm.) Executed in 1962-1963, this work is accompanied by a certifcate of authenticity issued by Pedro de Oraá. Estimate $7,000-9,000 Provenance Private Collection, New York Acquired from the above by the present owner

103. Kcho

b. 1970

La conquista del espacio a los ojos de la historia (The Conquest of Space in the Eyes of History) signed, titled and dated “la conquista del espacio a los ojos de la historia Kcho 2001” lower edge charcoal on paper, mounted on canvas 53 x 79 in. (134.6 x 200.7 cm.) Executed in 2001. Estimate $5,000-7,000 Provenance Private Collection Acquired from the above by the present owner Exhibited Havana, Foundation Museo del Ron, En el Mar no hay nada escrito, 2002 São Paulo, Brazilian Sculpture Museum, El Huracán, 2002

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104. José Bedia

b. 1959

105. Los Carpinteros b. 1969, b. 1970, b. 1971

La isla esperando una señal (The Island Waits for a Signal) signed, titled and dated “La isla esperando una señal J Bedia 02” lower edge acrylic on paper 23 3/4 x 69 1/8 in. (60.3 x 175.6 cm.) Painted in 2002. Estimate $10,000-15,000 Provenance Private Collection Acquired from the above by the present owner

Piscina Bloque (Swimming Pool-Block) titled ““Piscina Bloque”” lower center; further signed, inscribed and dated “Los Carpinteros La Hab 2002” lower right watercolor on paper 29 1/2 x 41 1/2 in. (74.9 x 105.4 cm.) Executed in 2002. Estimate $9,000-12,000

Provenance Anthony Grant Gallery, New York Acquired from the above by the present owner Exhibited Gainesville, Samuel P. Harn Museum of Art, Cuba AvantGarde: Contemporary Cuban Art from the Farber Collection, May 29 - September 9, 2007, pp. 25, 76 (illustrated) Literature Gudrun Ankele and Daniela Zyman, eds., Los Carpinteros: Handwork - Constructing the World, Cologne, 2010, p. 308 (illustrated)

Exhibited Gainesville, Samuel P. Harn Museum of Art, Cuba AvantGarde: Contemporary Cuban Art from the Farber Collection, May 29 - September 9, 2007, pp. 52, 53 (illustrated)

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106. Pedro de Oraá

b. 1931

Untitled from the series Abstractivos signed and dated “ORAÁ 16” lower right; further signed and dated “ORAÁ 16” on the reverse acrylic on canvas 37 x 76 3/4 in. (94 x 194.9 cm.) Painted in 2016. Estimate $8,000-12,000 Provenance Acquired directly from the artist by the present owner

Exhibited Havana, National Museum of Fine Arts, Abstractivos: Pedro de Oraá, December 16, 2016 - March 31, 2017

107. Roberto Matta

1911-2002

El Caballazzo pastel on paper 48 x 59 in. (121.9 x 149.9 cm.) Executed in 1974, this work is accompanied by a certifcate of authenticity signed by Germana Ferrari Matta. Estimate $12,000-18,000 Provenance Galería Aele, Madrid Luis Carlos Rodrigo Mazure, Madrid (acquired from the above in 1974) Conde de Peracamps, Sotogrande (acquired from the above circa 1998) Thence by descent to the present owner Exhibited Madrid, Galería Aele, El Gran Burundi ha muerto/Homenaje a Jorge Zalamea, November 1974

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108. Enoc Pérez

b. 1967

Lever House signed, titled and dated “Enoc Pérez Lever House November 2005” on the reverse watercolor on paper 60 x 41 1/8 in. (152.4 x 104.5 cm.) Executed in 2005. Estimate $12,000-18,000 Provenance Mitchell-Innes & Nash, New York Acquired from the above by the present owner

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109. Roberto Fabelo

b. 1950

Pajaro lindo signed and dated “Fabelo 2009” lower right oil on fber relief 71 x 42 in. (180.3 x 106.7 cm.) Executed in 2009, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $35,000-45,000 Provenance Private Collection (acquired directly from the artist) Private Collection, Mexico Sotheby’s, New York, May 24, 2016, lot 107 Acquired at the above sale by the present owner

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110. Barnaby Furnas

b. 1973

Untitled (Consolation) signed, titled, inscribed and dated “UNTITLED (COMPROMISE) BARNABY FURNAS Barnaby Furnas 5/12/04 NYC” on the reverse; further titled “UNTITLED (COMPROMISE)” on the stretcher mixed media on linen 40 x 30 in. (101.6 x 76.2 cm.) Executed in 2004. Estimate $10,000-15,000 Provenance Modern Art, London Acquired from the above by the present owner Exhibited London, Modern Art, Barnaby Furnas, October 14 - November 21, 2004 Gateshead Quays, Baltic Centre for Contemporary Art, Barnaby Furnas: Recent Paintings & Watercolours, April 16 - June 19, 2005 Literature Sarah Douglas, “London Letter,” Artnet Magazine, October 28, 2004 (illustrated, online)

111. Jonathan Meese

b. 1970

Innerer Kreis signed with the artist’s initials “JM” lower right; further titled “INNERER KREIS” upper right oil on canvas 35 1/4 x 23 1/2 in. (89.5 x 59.7 cm.) Painted in 2001. Estimate $8,000-12,000 Provenance Mário Sequeira Gallery, Braga Acquired from the above by the present owner

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112. Jonathan Meese

b. 1970

Mama Johnny (Noel Coward is Back) incised with the artist’s signature, number and date “JONATHAN MEESEE WOLF 2/3 2005” on the base; further incised with the title, “Mama Johnny” on the tail; further stamped with the foundry mark on the base bronze 86 1/2 x 59 x 51 in. (219.7 x 149.9 x 129.5 cm.) Executed in 2005, this work is number 2 from an edition of 3. Estimate $25,000-35,000

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Provenance Modern Art, London Acquired from the above by the present owner Exhibited London, Modern Art, Jonathan Meese: Thanks, Wally Whyton (Revendaddy Phantomilky on Coconut Islandaddy), February 16 – March 26, 2006 (another example exhibited) Cologne, Deichtorhallen Hamburg; Magasin, Centre National d’Art Contemporain de Grenoble, Jonathan Meese: Mama Johnny, April 30, 2006 - January 7, 2007, p. 32 (another example exhibited and illustrated)

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113. Marc Quinn

b. 1964

Landed cast aluminum and steel 90 x 59 x 29 in. (228.6 x 149.9 x 73.7 cm.) Executed in 1999. Estimate $40,000-60,000 Provenance White Cube, London Acquired from the above by the present owner Exhibited Kunstverein Hannover, Marc Quinn, June 27 - August 22, 1999

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114. Philip Taafe

b. 1955

Villa Urbana III signed, titled and dated “VILLA URBANA III 2000-2001 P. Taafe” on the reverse mixed media on canvas 43 x 73 1/8 in. (109.2 x 185.7 cm.) Executed in 2000-2001. Estimate $20,000-30,000 Provenance Gagosian Gallery, New York James Cohan Gallery, New York Acquired from the above by the present owner Exhibited New York, James Cohan Gallery, The Heavenly Tree Grows Downward: Harry Smith, Philip Taafe and Fred Tomaselli, September 10 October 19, 2002, n.p. (illustrated)

115. Donald Baechler

b. 1956

Untitled incised with the artist’s signature, number and date “D. BAECHLER 2004 2/7” on the base bronze and wood stand 22 1/2 x 9 1/4 x 3 5/8 in. (57.2 x 23.5 x 9.2 cm.) Executed in 2004, this work is number 2 from an edition of 7. Estimate $12,000-18,000 Provenance Fred Torres Gallery, New York Acquired from the above by the present owner

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116. Gerhard Richter

b. 1932

Abstraktes Bild (P1) numbered “402/500” on the reverse chromogenic print mounted on aluminum 36 1/4 x 49 5/8 in. (92 x 126 cm.) Executed in 2014, this facsimile object is number 402 from an edition of 500. Estimate $12,000-18,000 Provenance Private Collection, London Phillips, London, June 21, 2016, lot 222 Acquired at the above sale by the present owner

117. Beverly Pepper

b. 1922

Ligne Scolpite stainless steel and Isofan 74 3/4 x 39 3/4 x 22 in. (189.9 x 101 x 55.9 cm.) Executed in 1968. Estimate $25,000-35,000 Provenance Obelisk Gallery, Boston Acquired from the above by the present owner

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Property from the Locksley Shea Gallery

118. Ross Bleckner

b. 1949

Before and Afer Being Young titled and dated ““BEFORE AND AFTER BEING YOUNG” 1987” on the reverse oil on linen 120 x 84 in. (304.8 x 213.4 cm.) Painted in 1987. Estimate $35,000-45,000 Provenance Mary Boone Gallery, New York Acquired from the above by the present owner

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Exhibited Milwaukee Art Museum; Houston, Contemporary Art Museum; Pittsburg, The Carnegie Museum of Art; Toronto, Art Gallery of Ontario, Ross Bleckner, March 7, 1989 - April 1, 1990, p. 27 (illustrated) Museum of Art Fort Lauderdale, With You I Want to Live: The Gordon Locksley and Dr. George T. Shea Collection, March 23, 2009 March 22, 2010, p. 25 (illustrated) Minneapolis Institute of Arts, Until Now: Collecting the New (c.1960-2010), April 16 August 1, 2010 (on extended loan August 2, 2010 - October 28, 2013) Literature Tema Celeste: Rivista D’Arte Contemporanea, no. 14, December 1987 February 1988, cover (illustrated)

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119. Dan Christensen

1942-2007

Mow-Way signed, titled and dated ““MOW-WAY” © D. Christensen 1978” on the overlap acrylic and gesso on canvas 85 x 57 in. (215.9 x 144.8 cm.) Painted in 1978. Estimate $8,000-12,000 Provenance Meredith Long Contemporary, New York Acquired from the above by the present owner Exhibited New York, Meredith Long Contemporary Gallery, through March, 1979 Literature John Ashbery, “Out of Lef Field”, New York Magazine, April 2, 1979, p. 68 (illustrated)

120. Vera Röhm

b. 1943

Quadrat (Square) signed with the artist’s initials “VR” on the bottom wood and Plexiglas 43 3/8 x 43 3/8 in. (110.2 x 110.2 cm.) Executed in 1987. Estimate $8,000-12,000 Provenance Gallery 44, Dusseldorf Acquired from the above by the present owner in 1989 Literature Dr. Dorothea van der Koelen, ed., Vera Röhm: Opus Ergänzungen: Werkverzeichnis 1975-2013, 2017, no. E 8705-3790, p. 221 (illustrated)

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“The violence in my ‘60s paintings was there because the violence existed in the man himself. At that period in my life I was always causing trouble. The gesture was part of that violence. I mean, if you hit a canvas with a big brush with a lot of paint on it, you’re going to create an atmosphere of violence, and that’s what I did then. I do not have that outlook now.” Norman Bluhm, 1996–97

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121. Norman Bluhm

1921–1999

Flamberge signed and dated “Bluhm 63” lower right oil on canvas 72 x 114 in. (182.9 x 289.6 cm.) Painted in 1968. Estimate $40,000-60,000 Provenance Private Collection (acquired directly from the artist) Private Collection (acquired thence by descent from the above) Christie’s, New York, April 1, 2008, lot 224 Acquired at the above sale by the present owner

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122. Shusaku Arakawa

b. 1936

Untitled signed, titled and dated “UNTITLED ARAKAWA 1968” lower right; further signed and dated “ARAKAWA ARAKAWA 1968” on the stretcher acrylic, marker and graphite on canvas 34 1/4 x 39 1/2 in. (87 x 100.3 cm.) Executed in 1968. Estimate $25,000-35,000 Provenance Arthur Feldman Fine Arts, Cleveland Acquired from the above by the present owner

Property from a Distinguished Private Collection

123. Joe Goode

b. 1937

X-Ray Drawing 11 signed and dated “Joe Goode 1976” lower center charcoal on paper 22 x 30 in. (55.9 x 76.2 cm.) Executed in 1976. Estimate $10,000-15,000 Provenance Manny Silverman Gallery, Los Angeles Kohn Gallery, Los Angeles Acquired from the above by the present owner in 2011 Exhibited Los Angeles, Manny Silverman Gallery, Joe Goode: X-Ray Drawings, January 8 February 19, 2005

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124. Ray Johnson

1927-1995

A. Warhol Profle with Not “F” OLD and Lewis Letter signed and dated “Ray Johnson 1979-88-89-92” lower right; further stamped by the Ray Johnson Estate and numbered “10788” on the reverse acrylic and collage on illustration board 12 x 10 3/4 in. (30.5 x 27.3 cm.) Executed in 1979-1992. Estimate $15,000-20,000 Provenance Ray Johnson Estate, New York Acquired from the above by the present owner Exhibited Lewisburg, Samek Art Museum, Bucknell University; Sedalia, Daum Museum of Contemporary Art; Katonah Museum of Art; Knoxville, Ewing Gallery of Art and Architecture, University of Tennessee; Lewiston, Bates College Museum of Art, Remix: Selections from the International Collage Center, October 14, 2011 - March 24, 2014, p. 18 (illustrated) For additional information, please refer to phillips.com.

125. Ray Johnson

1927-1995

Untitled (My Nephew) dedicated and dated “FEB. 11, 1990 DEAR PABLO PICASSO” upper lef; further titled “MY NEPHEW” center right; further stamped by the Ray Johnson Estate and numbered “11789” on the reverse acrylic and collage on illustration board 12 1/2 x 11 1/2 in. (31.8 x 29.2 cm.) Executed in 1990. Estimate $12,000-18,000 Provenance Ray Johnson Estate, New York Honor Fraser, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Honor Fraser, Saying Yes to Everything, November 25 - December 20, 2014 We are most grateful to the Ray Johnson Estate for their assistance with the cataloguing of these works.

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Property of an Important East Coast Collector

126. Andy Warhol

1928-1987

Highway Overview signed “Andy Warhol” on the reverse four stitched gelatin silver prints 17 1/2 x 21 3/4 in. (44.5 x 55.2 cm.) Executed in 1976-1986. Estimate $30,000-50,000 Provenance Robert Miller Gallery, New York Acquired from the above by the present owner

Warhol Works on Paper Andy Warhol’s early drawings and works on

drew inspiration from children’s storybooks,

paper were fundamental in the development

historical sources and popular culture. The

of his oeuvre and career. Initially overlooked

popularization of French cuisine in New York in

by the fne art world, he was celebrated for his

the late 1950s inspired Warhol and friend Suzie

commercial illustrations in the 1940’s and 50’s.

Frankfurt to create the book Wild Raspberries,

Warhol’s frst contract was for the September

which parodies chef August Escofer’s esteemed

cover of Glamour magazine in 1948, and was

Le guide culinaire (1907) and Ingmar Berman’s

followed by a major commission for shoe

1957 flm Wild Strawberries.

advertisements with the women’s shoe company I Miller & Sons in 1955, which “made him rich

Warhol moved away from his early drawing

before he launched into pop art.” Warhol’s

and illustration style, consequently declining to

signature style of commercial illustration was

exhibit or talk much about his hand-painted pre-

instantly recognizable, and subsequently

Pop works. Despite Warhol’s reticence and the

Warhol “became New York’s most sought-afer

near-disappearance of these early works from

illustrator of ladies’ accessories.”

the public eye, one cannot deny their importance in the development of Warhol’s mature practice

Warhol also produced eight self-published artist

– pulling infuence and inspiration from popular

books between 1953 and 1960, with which he

culture, these works on paper are as signature

intended to promote his illustration business to

Warhol as anything that would follow.

potential clients. The imagery in these books

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127. Andy Warhol

1928-1987

Unidentifed Woman stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “114.159” on the reverse graphite on HMP paper 31 3/4 x 23 1/2 in. (80.6 x 59.7 cm.) Executed in 1986, this work is accompanied by a certifcate of authenticity issued by the Andy Warhol Foundation for the Visual Arts, Inc.

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Estimate $25,000-35,000 Provenance The Estate of Andy Warhol The Andy Warhol Foundation for the Visual Arts, New York Acquired from the above by the present owner

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128. Andy Warhol

1928-1987

Child in Elf Costume stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered 247.004” on the reverse pen on manila paper 16 3/4 x 14 in. (42.5 x 35.6 cm.) Executed in 1956. Estimate $6,000-8,000 Provenance The Estate of Andy Warhol The Andy Warhol Foundation for the Visual Arts, New York Acquired from the above by the present owner

129. Andy Warhol

1928-1987

Angel stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “272.111” on the reverse ink on paper 8 3/8 x 11 in. (21.3 x 27.9 cm.) Executed circa 1955. Estimate $3,000-5,000 Provenance The Estate of Andy Warhol The Andy Warhol Foundation for the Visual Arts, New York Acquired from the above by the present owner

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130. Andy Warhol

1928-1987

Piglet from the series Wild Raspberries signed “Andy Warhol” right edge ofset lithograph with hand coloring 17 x 21 5/8 in. (43.2 x 54.9 cm.) Executed in 1959. Estimate $18,000-22,000 Provenance Private Collection Sotheby’s, New York, February 26, 2007, lot 6 Acquired at the above sale by the present owner Literature Frayda Feldman and Jörg Schellmann, Andy Warhol Prints: A Catalogue Raisonné 1962-1987, New York, 2003, p. 345 (another example illustrated)

131. Andy Warhol

1928-1987

Cooking Items stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “328.076” on the reverse ink on paper 7 5/8 x 9 5/8 in. (19.4 x 24.4 cm.) Executed circa 1954-1955. Estimate $4,000-6,000 Provenance The Estate of Andy Warhol The Andy Warhol Foundation for the Visual Arts, New York Acquired from the above by the present owner

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132. Andy Warhol

1928-1987

Portrait with Cat ink on paper 15 x 12 3/8 in. (38.1 x 31.4 cm.) Executed in 1956. Estimate $6,000-8,000 Provenance The Estate of Andy Warhol The Andy Warhol Foundation for the Visual Arts, New York Acquired from the above by the present owner

133. Andy Warhol

1928-1987

Pistols for Two numbered “334.009” upper lef; further titled “PISTOLS FOR TWO” on the reverse acrylic on paper 9 1/4 x 12 1/8 in. (23.5 x 30.8 cm.) Executed circa 1955. Estimate $5,000-7,000 Provenance The Estate of Andy Warhol The Andy Warhol Foundation for the Visual Arts, New York Acquired from the above by the present owner verso

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134. Andy Warhol

1928-1987

Shoe (collage) stamped by the Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “343.145” on the reverse ink and leather collage on paper 14 x 11 7/8 in. (35.6 x 30.2 cm.) Executed in 1955. Estimate $8,000-12,000 Provenance The Estate of Andy Warhol The Andy Warhol Foundation for the Visual Arts, New York Acquired from the above by the present owner

135. Andy Warhol

1928-1987

Shoe (foral) stamped by the Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, Inc., New York, initialed “VF” and numbered “343.126” on the reverse ink and collage on paper 9 1/4 x 11 1/4 in. (23.5 x 28.6 cm.) Executed circa 1955. Estimate $8,000-12,000 Provenance The Estate of Andy Warhol The Andy Warhol Foundation for the Visual Arts, New York Acquired from the above by the present owner

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136. Yinka Shonibare MBE

b. 1962

masks from Un Ballo in Maschera fabric masks, velvet on wood and metal mold, velvet head covers, in 5 parts, all in artist’s Plexiglas case overall 27 3/4 x 43 1/2 x 12 1/2 in. (70.5 x 110.5 x 31.8 cm.) Executed in 2004. Estimate $15,000-20,000 Provenance James Cohan Gallery, New York Acquired from the above by the present owner

137. Carrie Mae Weems

b. 1953

Untitled (Woman and phone) from the series The Kitchen Table signed, numbered and dated “Carrie M. Weems 1990 4/5” on the reverse gelatin silver print 27 1/4 x 27 1/4 in. (69.2 x 69.2 cm.) Executed in 1990, this work is number 4 from an edition of 5. Another example from this edition is housed in the permanent collection of the National Gallery of Art, Washington D.C. Estimate $15,000-20,000 Provenance P.P.O.W, New York Acquired from the above by the present owner Exhibited New York, P.P.O.W, Carrie Mae Weems: The Kitchen Table Series, 1990 Nashville, Frist Center for the Visual Arts; Portland Art Museum; The Cleveland Museum of Art; Stanford, The Iris and B. Gerald Cantor Center for Visual Arts at Stanford University; New York, Solomon R. Guggenheim Museum, Carrie Mae Weems: Three Decades of Photography and Video, September 21, 2012 - April 23, 2014, no. 6.10, p. 86 (another example exhibited and illustrated)

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138. Carrie Mae Weems

b. 1953

Color Real and Imagined signed, numbered and dated “Carrie M. Weems 2014 9/12” on the reverse archival inkjet print with screenprinted color blocks 38 7/8 x 54 7/8 in. (98.7 x 139.4 cm.) Executed in 2014, this work is printer’s proof 9 from an edition of 10 plus 2 artist’s proofs and 12 printer’s proofs. Estimate $18,000-22,000 Provenance Jack Shainman Gallery, New York Guild Hall, East Hampton, August 12, 2016 Acquired from the above sale by the present owner Exhibited London, Pippy Houldsworth Gallery, Carrie Mae Weems: Color: Real and Imagined, October 10 – November 15, 2014 (another example exhibited)

139. James Casebere

b. 1953

Flooded Hallway signed “J Casebere” on a label afxed to the reverse chromogenic print mounted to Plexiglas, in 3 parts 92 x 113 in. (233.7 x 287 cm.) Executed in 1998, this work is number 2 from an edition of 3 plus 1 artist’s proof. Another example from this edition is housed in the permanent collection of the Cantor Arts Center, Stanford University.

Provenance Sean Kelly, New York Acquired from the above by the present owner Exhibited New York, Lisson Gallery, James Casebere, February 3 - March 4, 2000 (another example exhibited) For additional information, please refer to phillips.com.

Estimate $12,000-18,000

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Property of an Important East Coast Collector

140. Hiroshi Sugimoto

b. 1948

Sam Eric, Pennsylvania signed “Hiroshi Sugimoto” lower right of the mount; further blindstamped with the title, number, negative number and date “Sam Eric Pennsylvania 1978 20/25 202” lower edge gelatin silver print 20 x 24 in. (50.8 x 61 cm.) Executed in 1978, this work is number 20 from an edition of 25. Another example from this edition is housed in the permanent collection of The Museum of Fine Arts, Houston. Estimate $20,000-30,000 Provenance Sonnabend Gallery, New York Aqcuired from the above by the present owner For additional information, please refer to phillips.com.

141. Hiroshi Sugimoto

b. 1948

Kino Panorama, Paris signed “Hiroshi Sugimoto” lower right of the mount; further blindstamped with the title and date “Kino Panorama Paris 1998” lower edge gelatin silver print 20 x 24 in. (50.8 x 61 cm.) Executed in 1998. Estimate $15,000-20,000 Provenance Sonnabend Gallery, New York Acquired from the above by the present owner For additional information, please refer to phillips.com.

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Property of an Important East Coast Collector

142. Hiroshi Sugimoto

b. 1948

Chrysler Building, William Van Allen signed “Hiroshi Sugimoto” lower right of the mount; further blindstamped with the number and inventory number “7/25 905” lower right gelatin silver print 20 x 24 in. (50.8 x 61 cm.) Executed in 1997, this work is number 7 from an edition of 25. Another example from this edition is housed in the permanent collection of the Whitney Museum of American Art, New York. Estimate $20,000-30,000 Provenance Sonnabend Gallery, New York Acquired from the above by the present owner For additional information, please refer to phillips.com.

143. Hiroshi Sugimoto

b. 1948

Arctic Ocean, Nord Kapp II signed “Hiroshi Sugimoto” lower right on the mount; further blindstamped with the title, date, number and negative number “Arctic Ocean Nord Kapp II 1990 11/25 334” lower edge gelatin silver print 20 x 24 in. (50.8 x 61 cm.) Executed in 1990, this work is number 11 from an edition of 25. Estimate $20,000-30,000 Provenance Sonnabend Gallery, Paris Sotheby’s, New York, November 12, 2014, lot 597 Acquired at the above sale by the present owner For additional information, please refer to phillips.com.

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144. Catherine Opie

b. 1961

145. Catherine Opie

b. 1961

Untitled # 9 (Wall Street) signed, titled, numbered and dated “Catherine Opie Untitled #9, 2000-2001 1/5” on the reverse iris print 22 x 47 in. (55.9 x 119.4 cm.) Executed in 2000-2001, this work is number 1 from an edition of 5 plus 2 artist’s proofs.

Untitled # 14 (Wall Street) signed, titled, numbered and dated “Catherine Opie Untitled #14, 2000-2001 1/5” on the reverse iris print 65 x 128 in. (165.1 x 325.1 cm.) Executed in 2001, this work is number 1 from an edition of 5 plus 2 artist’s proofs.

Another example from this edition is housed in the permanent collection of the Whitney Museum of American Art.

Estimate $6,000-8,000

Estimate $6,000-8,000 Provenance Stephen Friedman Gallery, London Acquired from the above by the present owner For additional information, please refer to phillips.com.

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Provenance Stephen Friedman Gallery, London Acquired from the above by the present owner in 2011 Exhibited New York, Solomon R. Guggenheim Museum, Catherine Opie: American Photographer, September 26, 2008 - January 7, 2009, p. 178 (another example exhibited and illustrated) London, Stephen Friedman Gallery, Catherine Opie, November 30, 2001 - January 19, 2002 (another example exhibited)

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146. Massimo Vitali

b. 1944

Anf Single signed, titled, numbered and dated “ANFI SINGLE #2014 2004 ed 3/6 Vitali” on a label afxed to the reverse chromogenic print face-mounted to Diasec, in artist’s frame 73 1/8 x 91 5/8 in. (185.7 x 232.7 cm.) Executed in 2004, this work is number 3 from an edition of 6. Estimate $10,000-15,000 Provenance Galerie Ernst Hilger, Vienna Acquired from the above by the present owner

Property of an Important East Coast Collector

147. Candida Höfer

b. 1944

El Escorial VI signed “Candida Höfer” on the reverse of backing board chromogenic print 69 x 60 in. (175.3 x 152.4 cm.) Executed in 2000, this work is number 3 from an edition of 6. Estimate $25,000-35,000 Provenance Sonnabend Gallery, New York Acquired from the above by the present owner Exhibited Roslyn Harbor, Nassau County Museum of Art, Long Island Collections, January 18 March 15, 2009 Literature Ralph Müller, Candida Höfer: A Monograph, Cologne, 2003, p. 216 (another example illustrated)

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Property from the Locksley Shea Gallery

148. Andres Serrano

b. 1950

Klansman (Imperial Wizard) signed, titled and numbered “Andres Serrano Klansman (Imperial Wizard) 1/4” on the reverse chromogenic print face-mounted to Plexiglas 60 x 50 in. (152.4 x 127 cm.) Executed in 1990, this work is number 1 from an edition of 4. Estimate $10,000-15,000 Provenance André Simoens Gallery, Knokke (acquired directly from the artist) Private Collection, New York Stux Gallery, New York Henry S. McNeil Collection, Philadelphia Sotheby’s, New York, May 11, 2011, lot 590 Acquired at the above sale by the present owner For additional information, please refer to phillips.com.

149. Andres Serrano

b. 1950

Black Baby Jesus signed with the artist’s initials, titled and numbered ““Black Baby Jesus” 1/10 AL” on the reverse chromogenic print 40 x 27 1/2 in. (101.6 x 69.9 cm.) Executed in 1990, this work is number 1 from an edition of 10. Estimate $12,000-18,000 Provenance Acquired directly from the artist by the present owner For additional information, please refer to phillips.com.

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Property from a Private Collection, Minnnesota

150. Rineke Dijkstra

b. 1959

Amit, Golani Brigade, Elyacim, Israel, May 26, 1999 signed and numbered “Rineke Dijkstra 3/10” on a label afxed to the reverse; further signed and dated “Rineke Dijkstra May 16, 2001” on a certifcate of authenticity afxed to the reverse chromogenic print 70 7/8 x 59 in. (180 x 149.9 cm.) Executed in 2001, this work is number 3 from an edition of 10 and is accompanied by a certifcate of authenticity signed and dated by the artist. Estimate $12,000-18,000 Provenance Sommer Gallery, Tel Aviv Phillips, London, October 17, 2013, lot 165 Acquired at the above sale by the present owner For additional information, please refer to phillips.com.

151. Jenny Saville and Glen Luchford b. 1970 and b. 1968 Closed Contact #15 signed, titled and numbered “Glen Saville Closed Contact #15 ed. 4/6” on the reverse chromogenic print mounted in Plexiglas 72 x 71 1/2 x 6 7/8 in. (182.9 x 181.6 x 17.5 cm.) Executed in 1995-1996, this work is number 4 from an edition of 6. Estimate $12,000-18,000 Provenance Gagosian Gallery, Los Angeles Acquired from the above by the present owner For additional information, please refer to phillips.com.

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152. Douglas Gordon

b. 1966

Self Portrait of You + Me (Jimi Hendrix) burnt photograph and mirrored glass, in artist’s frame 24 7/8 x 20 7/8 in. (63.2 x 53 cm.) Executed in 2007. Estimate $10,000-15,000 Provenance Private Collection

153. Douglas Gordon

b. 1966

Self Portrait of You + Me (Michael Jackson) burnt photograph and mirrored glass, in artist’s frame 24 7/8 x 20 7/8 in. (63.2 x 53 cm.) Executed in 2007. Estimate $10,000-15,000 Provenance Private Collection

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154. David LaChapelle

b. 1963

Leonardo DiCaprio: Coming Of Age signed “David LaChapelle” on a label afxed to the reverse chromogenic print 42 5/8 x 59 1/8 in. (108.3 x 150.2 cm.) Executed in 1995, this work is number 1 from an edition of 3. Estimate $15,000-20,000 Provenance Tony Shafrazi Gallery, New York Acquired from the above by the present owner Exhibited New York, Staley-Wise Gallery, LaChapelle Land, November 8 - 30, 1996, pp. 84-85 (another example illustrated)

155. David LaChapelle

b. 1963

Britney Spears: World She Once Knew, Mississippi signed “David LaChapelle” on a label afxed to the reverse chromogenic print 60 x 43 in. (152.4 x 109.2 cm.) Executed in 1999, this work is number 3 from an edition of 3. Estimate $15,000-20,000 Provenance Tony Shafrazi Gallery, New York Acquired from the above by the present owner Literature Sandy Arrowsmith, ed., Hotel LaChapelle, New York, 1999, p. 142 (another example illustrated) Steven Daly, “Inside the Heart, Mind, & Bedroom of a Teen Dream,” Rolling Stone, April 15, 1999, p. 61 (another example illustrated)

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156. David LaChapelle

b. 1963

Afer Sugar Shack signed “David LaChapelle” on a label afxed to the reverse chromogenic print 62 1/8 x 46 3/8 in. (157.8 x 117.8 cm.) Executed in 2005, this work is number 1 from an edition of 3. Estimate $15,000-20,000 Provenance Jablonka Galerie, Berlin Private Collection, Europe Phillips, London, June 28, 2011, lot 266 Private Collection, New York (acquired at the above sale) Artnet Auctions, August 13, 2015, lot ID 109626 Acquired at the above sale by the present owner Exhibited Berlin, Jablonka Galerie, David LaChapelle: Heaven to Hell, November 30, 2006 February 2, 2007, p. 157 (another example exhibited and illustrated) Literature Hilka Sinning, “Die phantastische Welt des Fotografen David LaChapelle”, Kultur Spiegel, December 2006 (illustrated on the cover)

Property from the Locksley Shea Gallery

157. Wolfgang Tillmans

b. 1968

Stiefelknecht II signed, titled and numbered “Stiefelknecht II 6/10 + 1 Wolfgang Tillmans” on the reverse chromogenic print 16 x 12 in. (40.6 x 30.5 cm.) Executed in 1993, this work is number 6 from an edition of 10 plus 1 artist’s proof. Estimate $4,000-6,000 Provenance Andrea Rosen Gallery, New York Acquired from the above by the present owner

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158. Marilyn Minter

b. 1948

Swarv signed “M. MINTER” on a label afxed to the reverse chromogenic print 50 x 36 in. (127 x 91.4 cm.) Executed in 2005, this work is artist’s proof 2 from an edition of 5 plus 2 artist’s proofs. Estimate $10,000-15,000 Provenance Salon 94, New York Acquired from the above by the present owner in 2006

159. Vik Muniz

b. 1961

L’origine du Monde, afer Courbet from the series Pictures of Soil signed, titled, numbered and dated “L’origine du Monde Vik Muniz 1999 AP 2/5” on the reverse; further signed and dated “Vik Muniz 1999” on a label afxed to the reverse gelatin silver print 20 x 24 in. (50.8 x 61 cm.) Executed in 1999, this work is artist proof 2 from an edition of 10 plus 5 artist’s proofs. Estimate $10,000-15,000 Provenance Sikkema Jenkins & Co., New York Acquired from the above by the present owner Exhibited Santiago de Compostela, Centro Galego de Arte Contemporanea; Dublin, Irish Museum of Modern Art; Madrid, Fundación Telefónica, Vik Muniz, December 18, 2003 - January 9, 2005, p. 129 (another example exhibited and illustrated) For additional information, please refer to phillips.com.

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Property from a Distinguished Private Collection

160. Dr. Lakra

(i) (iii)

b. 1972

Three works: (i) Untitled (lagrima II); (ii) Untitled (penetro); (iii) Untitled (sombrero rosa) (i) signed “DR LAKRA” lef center; further signed DR LACrA” lower right (ii) signed “LACrA DR.” lower right (iii) signed “DR. Lacra” lef center ink on vintage magazine (i) 9 5/8 x 8 1/4 in. (24.4 x 21 cm.) (ii) 12 x 10 1/8 in. (30.5 x 25.7 cm.) (iii) 19 3/4 x 15 3/4 in. (50.2 x 40 cm.) Executed in 2005. Estimate $12,000-18,000 Provenance Kurimanzutto, New York Acquired from the above by the present owner

(ii)

161. Matthew Barney

b. 1967

Cremaster 5: The Tears of Erich Weiss magazine supplement to The Independent, acrylic, graphite and petroleum in artist’s acrylic and prosthetic frame 12 1/2 x 11 x 2 in. (31.8 x 27.9 x 5.1 cm.) Executed in 1998, this work is number 3 from an edition of 5 plus 1 artist’s proof. Estimate $2,000-3,000 Provenance Barbara Gladstone Gallery, New York Acquired from the above by the present owner Exhibited Los Angeles, Regen Projects, Matthew Barney: Cremaster 5, March 7 - April 11, 1998 (another example exhibited) Cologne, Museum Ludwig; Musée d’Art Moderne de la Ville de Paris; New York, Solomon R. Guggenheim Museum, Matthew Barney: The CREMASTER Cycle, June 6, 2002 - June 4, 2003, p. 425 (another example exhibited and illustrated)

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Property from a Distinguished Private Collection

162. Mike Kelley

1954-2012

Extracurricular Activity Projective Reconstruction #19 (Shy Satanist) signed “M. Kelley” on a label afxed to the reverse Piezo print and chromogenic print, in 2 parts each 33 7/8 x 22 1/2 in. (86 x 57.2 cm.) overall 67 3/8 x 22 1/2 in. (171.1 x 57.2 cm.) Executed in 2004-2005, this work is number 5 from an edition of 5. Estimate $12,000-18,000 Provenance Gagosian Gallery, New York Acquired from the above by the present owner in 2006 Exhibited New York, Gagosian Gallery, Mike Kelley: Day Is Done, November 11 - December 17, 2005, pp. 208209 (another example exhibited and illustrated) Brussels, Wiels Contemporary Art Centre; Bolzano, Museion Museum of Modern and Contemporary Art, Mike Kelley: Educational Complex Onwards 1995 - 2008, April 12, 2008 April 19, 2009, no. 11.46, pp. 191, 195 (another example exhibited and illustrated)

163. Darren Almond

b. 1971

Untitled chromogenic print, mounted on board 41 x 40 in. (104.1 x 101.6 cm.) Executed in 1999, this work is number 1 from an edition of 5. Estimate $5,000-7,000 Provenance Matthew Marks Gallery, New York Acquired from the above by the present owner Literature Darren Almond, exh. cat., Kunsthalle Zürich, 2001, no. 1 (another example illustrated)

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164. Ryan McGinley

b. 1977

Untitled (Shower) signed “Ryan McGinley” on a label afxed to the reverse chromogenic print 39 7/8 x 27 in. (101.3 x 68.6 cm.) Executed in 2005, this work is number 3 from an edition of 3 plus 1 artist’s proof. Estimate $5,000-7,000 Provenance Ratio 3, San Francisco Acquired from the above by the present owner

165. Ryan McGinley

b. 1977

Back Against Wall signed “Ryan McGinley” on a label afxed to the reverse chromogenic print 30 x 40 in. (76.2 x 101.6 cm.) Executed in 2004, this work is number 3 from an edition of 3 plus 1 artist’s proof. Estimate $5,000-7,000 Provenance Ratio 3, San Francisco Acquired from the above by the present owner

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166. Dash Snow

1981-2009

Untitled signed “Dash Snow” on a label accompanying the work collage, ink and graphite on paper 22 x 10 5/8 in. (55.9 x 27 cm.) Executed in 2005-2006. Estimate $10,000-15,000 Provenance Rivington Arms, New York Private Collection, New York Phillips, New York, March 8, 2011, lot 10 Acquired at the above sale by the present owner

167. Dash Snow

1981-2009

America Is Falling signed “DASh SNOW.” lower right inkjet print on paper 50 1/2 x 31 1/4 in. (128.3 x 79.4 cm.) Executed 2005-2006. Estimate $8,000-12,000 Provenance Acquired directly from the artist by the present owner

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168. Roni Horn

b. 1955

Piece (4) signed, titled, numbered and dated “PIECE (4) 1998 #5/5 Roni Horn” on the reverse of print 1; further numbered sequentially 1 through 5 on the reverse of each print iris print, in 5 parts Stufed Arctic Fox 22 x 22 in. (55.9 x 55.9 cm.) Nest 22 x 22 in. (55.9 x 55.9 cm.) Melrakkasletta 22 x 29 1/8 in. (56 x 74 cm.) Guiding Light: Cassie 22 x 29 1/8 in. (56 x 74 cm.) Dead Birds 22 x 29 1/8 in. (56 x 74 cm.) Executed in 1998, this work is number 5 from an edition of 5 and is accompanied by a certifcate of authenticity from Gallery Rafaella Cortese. Estimate $15,000-20,000

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Provenance Gallery Rafaella Cortese, Milan Acquired from the above by the present owner Exhibited ARC Musée d’Art Moderne de la Ville de Paris, Roni Horn: Events of Relation, November 17, 1999 - January 23, 2000, n.p. (another example exhibited and illustrated) Literature Louise Neri, Lynne Cooke and Thierry de Duve, Roni Horn, London, 2000, p. 11 (another example illustrated) Urs Stahel ed., If on a Winter’s Night ... Roni Horn..., Gottingen, 2001, pp. 73-80 (another example illustrated) Deborah Aaronson, ed., Photography Transformed: The Metropolitan Bank and Trust Collection, New York, 2002, p. 237 (another example illustrated)

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Property from a Distinguished Private Collection

169. Roni Horn

b. 1955

Untitled chromogenic print 33 x 33 1/2 in. (83.8 x 85.1 cm.) Executed in 2003, this work is from an edition of 13 plus 2 artist’s proofs and 1 printer’s proof. Estimate $5,000-7,000 Provenance Courtesy of the Artist Art for Arts Sake, New York Acquired from the above by the present owner

Property from a Distinguished Private Collection

170. Alex Prager

b. 1979

Anne signed, titled, numbered and dated ““Anne” 5/5 A Prager 2009” on a label afxed to the reverse chromogenic print 36 x 36 in. (91.4 x 91.4 cm.) Executed in 2009, this work is number 5 from an edition of 5. Estimate $8,000-12,000 Provenance M+B Gallery, Los Angeles Acquired from the above by the present owner in 2011 Exhibited Los Angeles, M+B Gallery, Weekend, January 30 - March 6, 2010, p. 24 (another example exhibited and illustrated)

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Property from a Distinguished Private Collection

171. Catherine Opie

b. 1961

Emily, Sts, & Becky, Durham, North Carolina from the series Domestic signed “Catherine Opie” on a label afxed to the reverse chromogenic print 40 x 50 in. (101.6 x 127 cm.) Executed in 1998, this work is number 2 from an edition of 5 plus 2 artist’s proofs. Estimate $7,000-10,000

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Provenance Gorney Bravin + Lee, New York Acquired from the above by the present owner Exhibited Los Angeles, Regen Projects, Catherine Opie: Domestic, April 17 - May 22, 1999 (another example exhibited) London, The Photographers’ Gallery; Chicago, Museum of Contemporary Art, Catherine Opie, August 9, 2000 February 4, 2001, p. 37 (another example exhibited and illustrated)

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This lot is sold with No Reserve

172. Robert Melee

b. 1966

I’m Stuck from the series Photo Composition signed, titled and dated “Robert Melee Photo Comp. I’m Stuck 2003” on the reverse plastic slip cover, framed photographs and enamel paint on wood 48 x 48 x 3 in. (121.9 x 121.9 x 7.6 cm.) Executed in 2003. Estimate $2,000-3,000 • Provenance Andrew Kreps Gallery, New York Acquired from the above by the present owner

Property from a Distinguished Private Collection

173. Damián Ortega

b. 1967

Conducción de energia (Azucar) signed “DAMIÁN ORTEGA” on a label afxed to the backing board of one print chromogenic print, in 5 parts each 16 x 20 in. (40.6 x 50.8 cm.) Executed in 2005, this work is number 2 from an edition of 5 plus 2 artist’s proofs.

Provenance Kurimanzutto, Mexico Acquired from the above by the present owner in 2005

Estimate $6,000-8,000

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174. Gabriel Orozco

b. 1962

Columpio signed, titled, numbered and dated “1/5 COLUMPIO GABRIEL OROZCO 1999” on the reverse chromogenic print 16 x 20 in. (40.6 x 50.8 cm.) Executed in 1999, this work is number 1 from an edition of 5. Estimate $8,000-10,000 Provenance Galerie Chantal Crousel, Paris Sotheby’s, New York, November 10, 2005, lot 384 Acquired at the above sale by the present owner Exhibited Los Angeles, The Museum of Contemporary Art; Mexico City, Museo Internacional Rufno Tamayo; Museo de Arte Contemporáneo de Monterrey, Gabriel Orozco, June 4, 2000 May 27, 2001, p. 19 (another example exhibited and illustrated)

175. Uta Barth

b. 1958

Ground #12 signed and dated “Uta Barth 1992-93” on the reverse chromogenic print, mounted on panel 29 1/2 x 27 1/2 in. (74.9 x 69.9 cm.) Executed in 1992-1993, this work is number 2 from an edition of 5. Estimate $3,000-5,000 Provenance ACME, Los Angeles Acquired from the above by the present owner

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(i)

(ii)

(iii)

(iv)

(v)

(vi)

176. Larry Sultan

(vii)

1946-2009

Seven works: (i) #3 (Mom in the lounge chair); (ii) #25 (Olive on plate); (iii) #27 (Dad hugging kids); (iv) (Larry’s brother with a bandage on his head); (v) Dad in the baby pool; (vi) #20 (back to back teenagers); (vii) (two men in a waterfall) from the series Pictures From Home chromogenic print each 16 1/4 x 21 1/4 in. (41.3 x 54 cm.) Executed in 1989. Estimate $6,000-8,000 Provenance Janet Borden Inc., New York Acquired from the above by the present owner Exhibited San Jose Museum of Art, Larry Sultan: Pictures from Home, October 25, 1992 - January 31, 1993, n.p. (other examples exhibited and illustrated)

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177. Elad Lassry

b. 1977

Strawberries chromogenic print, in artist’s frame 14 1/2 x 11 3/8 in. (36.8 x 28.9 cm.) Executed in 2010, this work is number 4 from an edition of 5 plus 2 artist’s proofs. Another example from this edition is housed in the permanent collection of the Fotomuseum, Winterthur. Estimate $4,000-6,000 Provenance Galerie Francesca Pia, Zurich Acquired from the above by the present owner

178. Elad Lassry

b. 1977

Figure 32 chromogenic print, in artist’s frame 14 1/2 x 11 3/8 in. (36.8 x 28.9 cm.) Executed in 2010, this work is number 4 from an edition of 5 plus 2 artist’s proofs. Another example from this edition is housed in the permanent collection of the Fotomuseum, Winterthur. Estimate $4,000-6,000 Provenance Galerie Francesca Pia, Zurich Acquired from the above by the present owner

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179. John Gerrard

b. 1974

Smoke Tree IV signed, titled, numbered and dated “John Gerrard Smoke Tree IV 6/6 2006” on artist’s card accompanying the work simulation with artist’s Corian frame and Corian console table dimensions variable 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 $10,000-15,000 Provenance Galerie Ernst Hilger, Vienna Acquired from the above by the present owner

180. Jennifer Steinkamp

b. 1958

Dance Hall Girl 3 (daisies) signed and numbered “Jennifer Steinkamp /6” on 1 of 2 viewing master DVDs video installation install dimensions variable approximately 15 x 15 in. (38.1 x 38.1 cm.) Executed in 2004, this work is number 3 from an edition of 6 plus 1 artist’s proof and is accompanied by a certifcate of authenticity signed and dated by the artist.

Exhibited Columbus Museum, Magnetic Landscape, March 14 - June 7, 2009 (another example exhibited) Miami, Jewish Museum of Florida, The Chosen, November 4, 2014 - March 8, 2015 (another example exhibited) Fort Lauderdale, NSU Art Museum, Belief + Doubt: Selections from the Francie Bishop Good and David Horvitz Collection, August 26, 2016 January 22, 2017 (another example exhibited)

Estimate $8,000-12,000 Provenance Lehmann Maupin, New York Acquired from the above by the present owner

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Property from a Distinguished Private Collection

181. Christian Marclay

b. 1955

Untitled signed and dated “Christian Marclay 2001” on the reverse unique photogram 12 x 11 7/8 in. (30.5 x 30.2 cm.) Executed in 2001. Estimate $10,000-15,000 Provenance Paula Cooper Gallery, New York Acquired from the above by the present owner in 2008

182. Sam Moyer

b. 1983

Close Screen signed and dated “Sam Moyer 2011” on the reverse India ink on paper 22 x 30 in. (55.9 x 76.2 cm.) Executed in 2011. Estimate $2,500-3,500 Provenance Rachel Ufner Gallery, New York Acquired from the above by the present owner

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183. Iván Navarro

b. 1972

Decay (Lake Point Tower) neon, wood, paint, light, Plexiglas, mirror and a one-way mirror 48 x 53 1/2 x 6 1/2 in. (121.9 x 135.9 x 16.5 cm.) Executed in 2011, this work is number 1 from an edition of 3 plus 1 artist’s proof and is accompanied by a certifcate of authenticity signed by the artist. Estimate $25,000-35,000 Provenance Paul Kasmin Gallery, New York Acquired from the above by the present owner Exhibited New York, Paul Kasmin Gallery, Iván Navarro: Heaven or Las Vegas, March 3 - April 2, 2011 (another example exhibited)

184. Callum Innes

b. 1962

Untitled No. 45 signed and dated “Callum Innes 10 Callum Innes.” on the overlap oil on canvas 24 3/8 x 23 1/2 in. (61.9 x 59.7 cm.) Painted in 2010. Estimate $10,000-15,000 Provenance Sean Kelly, New York Acquired from the above by the present owner

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185. Nick Mauss

b. 1980

Untitled signed and dated “nick mauss 2013” on the reverse glazed ceramic 23 5/8 x 15 5/8 in. (60 x 39.7 cm.) Executed in 2013. Estimate $8,000-12,000 Provenance 303 Gallery, New York Acquired from the above by the present owner

186. Nick Mauss

b. 1980

Untitled signed and dated “nick mauss 2013” on the reverse glazed ceramic 16 1/8 x 23 7/8 in. (41 x 60.6 cm.) Executed in 2013. Estimate $8,000-12,000 Provenance 303 Gallery, New York Acquired from the above by the present owner

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187. Rebecca Warren

b. 1965

Redondo Beach self-fring painted clay, on artist’s plinth overall 45 x 16 x 15 1/2 in. (114.3 x 40.6 x 39.4 cm.) Executed in 2003. Estimate $15,000-20,000 Provenance Maureen Paley Interim Art, London Acquired from the above by the present owner

188. Mark Hagen

b. 1972

Jack’s Dog Jack (Additive Painting #112) signed and dated “2013 MARK HAGEN 2013 MARK HAGEN” on the overlap acrylic on burlap over panel 68 x 52 in. (172.7 x 132.1 cm.) Executed in 2013. Estimate $6,000-8,000 Provenance Private Collection

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189. Daniel Turner

b. 1983

Untitled 5150 (7/30/12) signed “DANIEL TURNER” on the reverse; further signed, titled and dated “TURNER DANIEL TURNER 5150 7-3012” on the stretcher bitumen emulsion, vinyl and wood 16 1/2 x 14 1/2 x 3 1/4 in. (41.9 x 36.8 x 8.3 cm.) Executed in 2012. Estimate $6,000-8,000 Provenance The Journal Gallery, New York Acquired from the above by the present owner

190. Adam Pendleton

b. 1984

Two Rows Split Together signed and dated “Adam Pendleton 06 Adam Pendleton ’06” on the overlap silkscreen print on canvas 72 1/2 x 48 in. (184.2 x 121.9 cm.) Executed in 2006. Estimate $10,000-15,000 Provenance Acquired directly from the artist by the present owner Exhibited New York, Rubenstein Gallery, Adam Pendleton: Bam Split Lab and the Afro Futuristic Underground, November 2 December 22, 2006 New York, Tillou Fine Art, Post Confict, November 23, 2014 - February 7, 2015 Literature Tom McDonough, “The Parallax View: Tom McDonough on the art of Adam Pendleton”, Artforum, November, 2011, p. 234 (illustrated)

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191. Adam McEwen

b. 1965

Bomber Harris signed and dated “A. McEwen 2010” on the reverse acrylic and chewing gum on canvas 24 x 18 in. (61 x 45.7 cm.) Executed in 2010. Estimate $10,000-15,000 Provenance Private Collection, Europe Sotheby’s, London, February 13, 2014, lot 311 Acquired at the above sale by the present owner

Property from a Distinguished Private Collection

192. Sterling Ruby

b. 1972

Artaud signed, numbered and dated “Sterling Ruby 2007 ed. 1/3” on a label afxed to the reverse Lambda print mounted on Plexiglas 63 5/8 x 47 1/2 in. (161.6 x 120.7 cm.) Executed in 2007, this work is number 1 from an edition of 3. Estimate $10,000-15,000 Provenance Metro Pictures, New York Acquired from the above by the present owner Exhibited New York, Metro Pictures, Sterling Ruby: Killing the Recondite, April 28 - June 9, 2007 Los Angeles, The Museum of Contemporary Art, Sterling Ruby: SUPERMAX, June 19 September 19, 2008, p. 31 (another example exhibited and illustrated) Bergamo, Galleria d’arte Moderna e Contemporanea, Sterling Ruby: GRID RIPPER, September 30, 2008 - February 8, 2009, p. 141 (another example exhibited and illustrated) For additional information, please refer to phillips.com.

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193. Sebastian Black

b.1985

Puppy Painting signed and dated “SEBASTIAN BLACK 2010” on the reverse acrylic on canvas 10 1/8 x 8 in. (25.7 x 20.3 cm.) Painted in 2010. Estimate $6,000-8,000 Provenance Acquired directly from the artist by the present owner

194. Steve Claydon

b. 1969

The Graven in Tandem thermalite, formica, polyurethane foam, ceramic, parcel tape 51 1/4 x 23 5/8 x 23 5/8 in. (130.2 x 60 x 60 cm.) Executed in 2012. Estimate $15,000-20,000 Provenance Sadie Coles HQ, London Acquired from the above by the present owner

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195. Matthew Day Jackson

b. 1974

Family Portrait on the Moon signed, titled, inscribed and dated “MATTHEW DAY JACKSON “FAMILY PORTRAIT” (...Considering the August 6th series, the surface of the moon was also victim to the same fre...) 2012” on the reverse burnt wood and Formica on panel, in artist’s frame 95 5/8 x 95 5/8 in. (242.9 x 242.9 cm.) Executed in 2012. Estimate $40,000-60,000 Provenance GRIMM, Amsterdam Acquired from the above by the present owner

196. Inka Essenhigh

b. 1969

Spring Bar Scene signed, titled and dated “Inka Essenhigh 2007-8 Spring Bar Scene” on the reverse oil on canvas 78 x 72 in. (198.1 x 182.9 cm.) Painted in 2007-2008. Estimate $12,000-18,000 Provenance Victoria Miro Gallery, London Acquired from the above by the present owner Exhibited London, Victoria Miro Gallery, Inka Essenhigh, April 3 - May 2, 2008 Nashville, The Frist Center for Visual Arts, Inka Essenhigh: Between Worlds, May 27 - October 9, 2016 Literature Megan Kelley, “Universal Tongues: Unfolding Mythos within Inka Essenhigh’s Between Two Worlds”, Nashville Arts Magazine, June 2016 (illustrated) Anne Prentnieks, “Inka Essenhigh Frist Art Museum,” Artforum Magazine, September 12, 2016

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197. Armin Boehm

b. 1972

Raumneurose signed, titled and dated “Armin Boehm 2013 “Raumneurose”” on the reverse oil and fabric on wood 45 1/4 x 47 1/4 in. (114.9 x 120 cm.) Executed in 2013. Estimate $6,000-8,000 Provenance Harris Lieberman Gallery, New York Acquired from the above by the present owner in 2013 Exhibited New York, Harris Lieberman Gallery, Raumneurose, May 10 – June 15, 2013

Property from a Distinguished Private Collection

198. Matt Saunders

b. 1975

Doorway #4 gelatin silver print 39 1/2 x 57 1/2 in. (100.3 x 146.1 cm.) Executed in 2011, this work is unique. Estimate $6,000-8,000 Provenance Harris Lieberman, New York Acquired from the above by the present owner in 2011

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199. Terry Rodgers

b. 1949

The Uncertainty Principle signed and dated “Rogers 03” lower right oil on linen 54 x 75 in. (137.2 x 190.5 cm.) Painted in 2003. Estimate $10,000-15,000 Provenance Fay Gold Gallery, Atlanta Private Collection, Silicon Valley Acquired from the above by the present owner

200. Deborah Kass

b. 1952

Gold Barbra (Jewish Jackie Series) signed, titled and dated “GOLD BARBRA (Jewish Jackie Series) D Kass 1992” on the reverse acrylic and silkscreen ink on canvas 50 x 40 in. (127 x 101.6 cm.) Executed in 1992. Estimate $8,000-12,000 Provenance Jose Freire Fine Art, New York Acquired from the above by the present owner in 1995

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201. Florian Maier-Aichen

b. 1973

Two works: (i) Untitled (Towards Burbank); (ii) Untitled (Towards Los Angeles) gelatin silver print each 11 x 13 7/8 in. (27.9 x 35.2 cm.) Executed in 2004, these works are from an edition of 6 plus 2 artist’s proofs. Estimate $8,000-12,000 Provenance Blum & Poe, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Blum & Poe, Florian Maier-Aichen: The Bridges of Cologne, July 3 - August 14, 2004 (another example exhibited)

Property from a Distinguished Private Collection

202. Kris Martin

b. 1972

Mandi II signed, titled and numbered “Martin Mandi II IV/IIIII” on a label afxed to the underside Solari fap-clock with unlabeled faps 13 x 9 1/2 x 5 1/8 in. (33 x 24.1 x 13 cm.) Executed in 2002, this work is number 4 from an edition of 5 plus 2 artist’s proofs. Estimate $5,000-7,000 Provenance Sies + Höke, Dusseldorf Acquired from the above by the present owner

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203. Will Ryman

b. 1969

Janitor, Henry steel, epoxy resin, expansion foam and copper 72 x 32 3/4 x 21 1/2 in. (182.9 x 83.2 x 54.6 cm.) Executed in 2005. Estimate $15,000-20,000 Provenance Private Collection (acquired directly from the artist) Private Collection

204. Will Benedict Municipal Waste signed 5-times, titled 5-times, variously inscribed, and dated 8-times “MUNICIPAL WASTE 2013 WILL BENEDICT” on the reverse gouache on foamcore and canvas, archival inkjet print, in artist’s Plexiglas frame 42 1/2 x 61 in. (108 x 154.9 cm.) Executed in 2013. Estimate $6,000-8,000 Provenance Overduin & Co., Los Angeles Acquired from the above by the present owner

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205. Paul Noble

b. 1963

Troubadour with Mountain Horn graphite on paper 11 3/4 x 8 3/8 in. (29.8 x 21.3 cm.) Executed in 2011. Estimate $4,000-6,000 Provenance Gagosian Gallery, London Acquired from the above by the present owner in 2011

206. Carole A. Feuerman

b. 1945

Untitled signed, numbered and dated “C. J. FEUERMAN 1984 © 2/8” on the base oil, resin and wig 88 x 9 x 30 3/4 in. (223.5 x 22.9 x 78.1 cm.) Executed in 1984, this work is number 2 from an edition of 8. Estimate $12,000-18,000 Provenance Robert Frankel Collection Acquired from the above by the present owner

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207. Alex Katz

b. 1927

Anne signed “Alex Katz” lower lef charcoal on paper, laid on foam-core 48 x 58 in. (121.9 x 147.3 cm.) Executed in 1972. Estimate $10,000-15,000 Provenance Baldwin Gallery, Aspen Private Collection Acquired from the above by the present owner

208. Luc Tuymans

b. 1958

drawing for “Ballroom Dancing” signed and dated “Luc Tuymans 2005” lower right graphite and ink on paper 8 x 10 5/8 in. (20.3 x 27 cm.) Executed in 2005. Estimate $5,000-7,000 Provenance David Zwirner, New York Acquired from the above by the present owner

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209. Ida Ekblad

b. 1980

Belly of the blazing mountain signed with the artist’s initials “I.E” lower right of lef sheet; further signed with the artist’s initials “I.E” lower right of right sheet gouache and watercolor on paper, diptych each 29 5/8 x 22 in. (75.2 x 55.9 cm.) Executed in 2012/2013. Estimate $3,000-4,000 Provenance Karma International, Zurich Acquired from the above by the present owner

210. Diana Al-Hadid

b. 1981

Untitled signed and dated “D Al-Hadid 2010” on the reverse xerox transfer and conté on mylar 39 3/4 x 26 in. (101 x 66 cm.) Executed in 2010. Estimate $5,000-7,000 Provenance Marianne Boesky Gallery, New York Acquired from the above by the present owner

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211. Al Taylor

1948-1999

Remember Your Level pencil, gouache and colored pencil with collage on paper 20 1/2 x 15 1/8 in. (52.1 x 38.4 cm.) Executed in 1992-1993. Estimate $5,000-7,000 Provenance David Zwirner, New York Acquired from the above by the present owner Exhibited New York, David Zwirner, Pass the Peas, September 7 - October 27, 2012, p. 49 (illustrated)

212. Ted Gahl

b. 1983

Ship signed, titled and dated ““© SHIP” 2013 ted Gahl” on the reverse acrylic on linen 40 x 30 in. (101.6 x 76.2 cm.) Painted in 2013. Estimate $3,000-5,000 Provenance Dodge Gallery, New York Acquired from the above by the present owner

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213. Fredrik Værslev

b. 1979

214. Nikolas Gambarof

b. 1979

Untitled signed and dated “Fredrik Vaersley 2014” on the reverse terrace oil and house paint on wood mounted to steel 55 x 30 1/4 x 11 3/4 in. (139.7 x 76.8 x 29.8 cm.) Executed in 2014.

Untitled signed and dated “Nikolas Gambarof 2012” on the reverse 3 La Cupola espresso cofee makers, newsprint and acrylic on linen on panel 85 x 57 x 6 1/8 in. (215.9 x 144.8 x 15.6 cm.) Executed in 2012.

Estimate $6,000-8,000

Estimate $5,000-7,000

Provenance Overduin & Co., Los Angeles Acquired from the above by the present owner

Provenance David Zwirner, New York Acquired from the above by the present owner Exhibited New York, David Zwirner, Folk Devil, July 11 - August 7, 2013

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215. Leo Gabin

b. 1980

Stack of Shame signed, titled and dated “Leo Gabin Leo Gabin STACK OF SHAME 2013” on the reverse lacquer, spray paint, acrylic and silkscreen on canvas 106 1/4 x 78 in. (269.9 x 198.1 cm.) Executed in 2013. Estimate $6,000-8,000 Provenance Peres Projects, Berlin Acquired from the above by the present owner Exhibited Berlin, Peres Projects, Leo Gabin: Tallahassee, November 23 – January 4, 2014

216. Eddie Peake

b. 1981

Pit Fit Tik signed and dated “Eddie Peake 2013” on the reverse spray paint on polished stainless steel 39 x 27 1/2 x 2 in. (99.1 x 69.9 x 5.1 cm.) Executed in 2013. Estimate $7,000-10,000 Provenance Galleria Lorcan O’Neill, Rome Acquired from the above by the present owner

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217. Matias Faldbakken

b. 1973

Flat Box 7 cardboard box with print, tape, marker and ink, in artist’s frame 28 3/4 x 37 1/4 in. (73 x 94.6 cm.) Executed in 2011, this work is unique. Estimate $6,000-8,000 Provenance STANDARD (OSLO) Acquired from the above by the present owner Exhibited Dallas, The Power Station, Matias Faldbakken: Oslo, Texas, October 21 December 19, 2011, pp. 45–46 (illustrated)

This lot is sold with No Reserve

218. Davina Semo

b. 1981

Untitled wire-glass, spray paint and reinforced concrete 18 x 18 x 3 in. (45.7 x 45.7 x 7.6 cm.) Executed circa 2011. Estimate $2,000-3,000 • Provenance The Journal Gallery, New York Acquired from the above by the present owner

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219. Dan Colen

b. 1979

CURVE acrylic on hollow plastic 21 1/2 x 42 1/4 x 1/2 in. (54.6 x 107.3 x 1.3 cm.) Executed in 2011, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $8,000-12,000 Provenance Karma, New York Acquired from the above by the present owner

220. Neil Beloufa

b. 1985

Hangers from the series Vintage steel frame, compressed wood and electric plugs 54 x 17 7/8 x 3 in. (137.2 x 45.4 x 7.6 cm.) Executed in 2013, this work is unique. Estimate $7,000-10,000 Provenance Zero snc di Zani Paolo e Ciaccio Claudia, Milan Acquired from the above by the present owner

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221. Chris Succo

b. 1979

Instant Crush signed and dated “Chris Succo 2014” on the reverse oil and lacquer on linen, in artist’s frame 91 1/2 x 68 1/2 in. (232.4 x 174 cm.) Executed in 2014. Estimate $10,000-15,000 Provenance The Journal Gallery, New York Acquired from the above by the present owner

222. Justin Adian

b. 1976

Fun House signed, titled and dated “JustiN ADIAN “FUN HOUSE 2015” on the reverse oil, enamel and spray paint on canvas over Ester foam 10 x 8 1/4 x 1 3/4 in. (25.4 x 21 x 4.4 cm.) Executed in 2015. Estimate $3,000-5,000 Provenance Half Gallery, New York Acquired from the above by the present owner

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223. Lucien Smith

b. 1989

STP signed “L. Smith” and stamped with date “MAY 13 2014” on an artist’s studio authenticity label afxed to the reverse enamel on canvas, laid on panel 45 x 56 in. (114.3 x 142.2 cm.) Executed in 2014. Estimate $6,000-8,000 Provenance Morán Morán Gallery, Los Angeles Acquired from the above by the present owner

224. John Armleder

b. 1948

Moonlight Sonata incised with the artist’s signature and number “John Armleder 2/9” on a circular plaque afxed to the inside of the box wood, acrylic and 16 eighteen-note Reuge music box mechanisms 39 x 39 x 4 5/8 in. (99.1 x 99.1 x 11.7 cm.) Executed in 1994, this work is number 2 from an edition of 9. Estimate $12,000-18,000 Provenance Acquired directly from the artist by the present owner Exhibited New York, The Equitable Gallery; Long Beach Museum of Art; Tokyo, Japanese Tour; Columbus Museum of Art; Miami, Center for the Fine Arts; European Tour, November 10, 1994 1998 (another example exhibited and illustrated)

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225. Israel Lund

b. 1980

Untitled (Rob e rt s&T ilt on 6) signed and dated “ISRAEL LUND Israel Lund 2013” on the overlap acrylic on canvas 44 x 34 in. (111.8 x 86.4 cm.) Painted in 2013. Estimate $6,000-8,000 Provenance Roberts & Tilton, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Roberts & Tilton, Israel Lund: Rob e rt s&t ilt on, April 13 - May 24, 2013

226. Kaari Upson

b. 1972

Charcoal Tablet 13 (Elbows and Knees) charcoal and Aqua-Resin 42 1/2 x 29 1/2 x 1 3/4 in. (108 x 74.9 x 4.4 cm.) Executed in 2011, this work is unique and is accompanied by a certifcate of authenticity signed and dated by the artist. Estimate $6,000-8,000 Provenance Overduin and Kite, Los Angeles Private Collection, New York Acquired from the above by the present owner

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227. Gregor Hildebrandt

b. 1974

Zimmer 130 cassette tape on inkjet print 65 1/4 x 43 1/4 in. (165.7 x 109.9 cm.) Executed in 2008. Estimate $6,000-8,000 Provenance Almine Rech Gallery, Paris Acquired from the above by the present owner

228. Nikolas Gambarof

b. 1979

Untitled newspaper collage on canvas, fabric on canvas and tape, mounted with metal brackets to found shelf 56 x 24 1/8 x 12 1/8 in. (142.2 x 61.3 x 30.8 cm.) Executed in 2011. Estimate $2,000-3,000 Provenance Balice Hertling, Paris Acquired from the above by the present owner Exhibited Paris, Balice Hertling, Nikolas Gambarof: Der Herrische Säugling, May 21 July 30, 2011

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229. Sarah Braman

b. 1970

Windsof cardboard, car part, anodized aluminum, Plexiglas and paint 44 x 31 x 40 in. (111.8 x 78.7 x 101.6 cm.) Executed in 2010. Estimate $3,000-5,000 Provenance Franklin Parrasch Gallery, New York Acquired from the above by the present owner in 2010 Exhibited New York, Franklin Parrasch Gallery, Peter Alexander + Sarah Braman, November 4 - December 18, 2010

230. Scott Reeder

b. 1970

Bread & Butter (Disco) signed, titled and dated ““BREAD & BUTTER (DISCO) Scott Reeder 2009” on the overlap oil on canvas 18 1/8 x 24 in. (46 x 61 cm.) Painted in 2009. Estimate $2,000-3,000 Provenance Daniel Reich Gallery, New York Acquired from the above by the present owner

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231. Sayre Gomez

b. 1982

Untitled signed with the artist’s initials and dated “Sg 2013” on the reverse acrylic on canvas mounted on panel 72 x 60 in. (182.9 x 152.4 cm.) Painted in 2013. Estimate $3,000-4,000 Provenance Ghebaly Gallery, Los Angeles Acquired from the above by the present owner

232. Josh Reames

b. 1985

Hers signed, titled and dated “JOSH REAMES 2015 “HERS”” on the reverse acrylic on canvas 71 x 43 in. (180.3 x 109.2 cm.) Painted in 2015. Estimate $3,000-5,000 Provenance Luis De Jesus, Los Angeles Acquired from the above by the present owner

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233. Joe Reihsen

b. 1979

Mirror IMG_2045 signed and dated “Joe Reihsen 2013” on the stretcher acrylic on panel, in artist’s frame 60 1/2 x 47 3/8 in. (153.7 x 120.3 cm.) Painted in 2013. Estimate $4,000-6,000 Provenance Anat Ebgi, Los Angeles Private Collection, New York Acquired from the above by the present owner

234. Scott Olson

b. 1976

Untitled signed and dated “Scott Olson 2013” on the reverse oil, wax and marble dust ground on panel, in artist’s frame 24 1/4 x 23 1/2 in. (61.6 x 59.7 cm.) Executed in 2013. Estimate $4,000-6,000 Provenance Overduin & Co., Los Angeles Acquired from the above by the present owner

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235. Tim Hawkinson

b. 1960

Vertabrae signed, titled and dated ““Vertabrae” Tim Hawkinson 1989 Tim Hawkinson” on the stretcher varnish, household gloss paint and nails on canvas 52 x 13 5/8 in. (132.1 x 34.6 cm.) Executed in 1989.

Exhibited Lund, Anders Tornberg Gallery, Tim Hawkinson, October 26-November 20, 1991 Literature Hannah Barton, Tim Hawkinson Catalogue Raisonné, New York: Artifex Press, 2013 - ongoing, no. 1989.05, online (illustrated)

Estimate $8,000-12,000 Provenance Anders Tornberg Gallery, Lund Private Collection, Europe Phillips de Pury, New York, March 31, 2008, lot 141 Acquired at the above sale by the present owner

236. Jacob Kassay

b. 1984

Untitled burlap, wood and polished steel 48 x 24 x 12 in. (121.9 x 61 x 30.5 cm.) Executed in 2010. Estimate $5,000-7,000 Provenance Eleven Rivington, New York Acquired from the above by the present owner

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237. Florian Schmidt

b. 1980

Untitled signed and dated “forian schmidt 2011” on the stretcher lacquer, vinyl, acrylic cardboard, canvas and wood, in artist’s frame 60 5/8 x 56 3/4 in. (154 x 144.1 cm.) Executed in 2011. Estimate $5,000-7,000 Provenance Jessica Silverman Gallery, San Francisco Acquired from the above by the present owner

238. Margo Wolowiec

b. 1985

Untitled (Hands) signed and dated “Margo Wolowiec 2015” on the overlap fabric dye on hand woven polyester, cotton and linen 38 x 28 1/8 in. (96.5 x 71.4 cm.) Executed in 2015. Estimate $5,000-7,000 Provenance Anat Ebgi, Los Angeles Acquired from the above by the present owner

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Property from a Distinguished Private Collection

239. Paulina Olowska

b. 1976

Bella signed, titled and dated ““Bella” 2006 Paulina Olowska” on the reverse acrylic and collage on canvas 98 x 55 in. (248.9 x 139.7 cm.) Executed in 2006. Estimate $7,000-10,000 Provenance Metro Pictures, New York Acquired from the above by the present owner in 2011 Exhibited New York, Metro Pictures, Paulina Olowska: NOWA SCENA, January 6 – February 10, 2007

Property from a Distinguished Private Collection

240. Banks Violette

b. 1973

Not Yet Titled (dwg09_05) signed and dated “2008 Banks Violette” on the reverse graphite on paper 20 x 20 in. (50.8 x 50.8 cm.) Executed in 2008. Estimate $5,000-7,000 Provenance Galerie Rodolphe Janssen, Brussels Acquired from the above by the present owner in 2010 Exhibited New York, Team Gallery, Banks Violette: Not Yet Titled, May 7 – June 20, 2009

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Property from a Distinguished Private Collection

241. Sara Greenberger Raferty

b. 1978

Property from a Distinguished Private Collection

242. Sara Greenberger Raferty

b. 1978

Fig (Move) direct substrate print on plastic 48 x 60 in. (121.9 x 152.4 cm.) Executed in 2011, this work is number 3 from an edition of 3.

Candy chromogenic print mounted to Plexiglas 30 x 50 in. (76.2 x 127 cm.) Executed in 2010, this work is number 4 from an edition of 5 plus 2 artist’s proofs.

Estimate $5,000-7,000

Estimate $3,000-4,000

Provenance Rachel Ufner Gallery, New York Acquired from the above by the present owner in 2011

Provenance Rachel Ufner Gallery, New York Acquired from the above by the present owner in 2011

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243. Jake and Dinos Chapman b. 1966 and b. 1962

Four works: (i) Dagger Legs I; (ii) Mosquito in a bath tub I; (iii) Milking boobs I; (iv) Urinating I each signed “Jake and Dinos Chapman” on the reverse etching and watercolor on paper each 18 1/2 x 15 in. (47 x 38.1 cm.) Executed in 2000. Estimate $12,000-18,000 (i)

(ii)

(iii)

(iv)

Provenance White Cube, London Acquired from the above by the present owner

244. Brad Kahlhamer

b. 1956

Two works: (i) Urban Prairie Girls; (ii) Urban Prairie Girls (i) signed and dated “Brad Kahlhamer 2003” lower right (ii) signed and dated “Brad Kahlhamer 2005” lower right ink and watercolor on paper each 29 5/8 x 22 1/8 in. (75.2 x 56.2 cm.) (i) Executed in 2003. (ii) Executed in 2005. Estimate $5,000-7,000 Provenance Deitch Projects, New York Acquired from the above by the present owner

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245. Doug & Mike Starn

b. 1961 and b. 1961

Triple Tuileries Detail signed “Mike Starn Doug Starn” on the reverse of the frame sepia print and tape, in artist’s frame 31 1/2 x 43 1/2 in. (80 x 110.5 cm.) Executed in 1985. Estimate $4,000-6,000 Provenance Stux Gallery, New York Acquired from the above by the present owner

246. Thiago Rocha Pitta

b. 1980

Untitled chromogenic print 30 5/8 x 46 1/2 in. (77.8 x 118.1 cm.) Executed circa 2004. Estimate $5,000-7,000 Provenance Daniel Reich Gallery, New York Acquired from the above by the present owner Exhibited Sao Paulo, Galeria Millan, Thiago Rocha Pitta: Recent Works, March 23 - April 15, 2005

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247. Johannes Kahrs

b. 1965

Toter (oben) signed, titled and dated “J. Kahrs 2004 Toter (oben)” on the reverse pastel on paper 29 1/8 x 42 1/8 in. (74 x 107 cm.) Executed in 2004. Estimate $10,000-15,000 Provenance Almine Rech Gallery, Paris Acquired from the above by the present owner

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This lot is sold with No Reserve

248. Philippe Pasqua

b. 1965

Lucille signed, titled and dated “Pasqua Philippe 2003 “Lucille”” on the reverse oil on canvas 118 x 197 1/4 in. (299.7 x 501 cm.) Painted in 2003.

Provenance Patrick Painter Inc., Los Angeles Acquired from the above by the present owner Exhibited Paris, Galerie RX, Lucille, 2003

Estimate $30,000-40,000 •

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249. Tom Sachs

b. 1966

Asshole signed, titled and dated “Asshole Tom Sachs 1993” on the reverse drywall, metal, acrylic, 4 fuorescent light fxtures, bulbs and surge protector 30 1/2 x 36 1/2 x 3 in. (77.5 x 92.7 x 7.6 cm.) Executed in 1993. Estimate $8,000-12,000 Provenance Acquired directly from the artist by the present owner

250. Aaron Young

b. 1972

Forever laminated glass with shredded tire rubber and epoxy resin 84 1/4 x 60 1/8 in. (214 x 152.7 cm.) Executed in 2009. Estimate $8,000-12,000 Provenance Bortolami Gallery, New York Acquired from the above by the present owner

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251. Mark Flood

b. 1957

CROSS THE LIINE signed, titled and dated ““CROSS THE LIINE” Mark Flood 6 - 2013 Mark Flood 6 - 2013” on the overlap acrylic on canvas 104 x 75 3/4 in. (264.2 x 192.4 cm.) Painted in 2013. Estimate $12,000-18,000 Provenance Peres Projects, Berlin Acquired from the above by the present owner in 2013 Exhibited Berlin, Peres Projects, Ask Ofcer Pepperspray, September 20 – November 9, 2013

252. Aaron Young

b. 1972

The New Look of Leadership silkscreen on linen 34 x 34 x 5 1/2 in. (86.4 x 86.4 x 14 cm.) Executed in 2011. Estimate $8,000-12,000 Provenance Bortolami Gallery, New York Acquired from the above by the present owner Exhibited New York, Bortolami Gallery, Aaron Young: Built Tough, May 6 - June 4, 2011

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253. Daniel Turner

b. 1983

Untitled Emporia signed, titled and dated “DANIEL TURNER “UNTITLED EMPORIA” 2011. 9-6-11 DANIEL TURNER 2011.” on the stretcher bitumen emulsion, vinyl and wood 58 1/4 x 46 in. (148 x 116.8 cm.) Executed in 2011. Estimate $4,000-6,000 Provenance Maccarone, New York Acquired from the above by the present owner

254. Graham Collins

b. 1980

Park Slope Food Coop XV signed and dated “G Collins 13” on the stretcher spray enamel on canvas, reclaimed wood, glass and window tint 42 1/4 x 32 in. (107.3 x 81.3 cm.) Executed in 2013. Estimate $3,000-5,000 Provenance The Journal Gallery, New York Acquired from the above by the present owner Exhibited New York, The Journal Gallery, Graham Collins: Civic, September 16 October 27, 2013

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255. Mircea Cantor

b. 1977

In front of my eyes chromogenic print mounted on aluminum 39 1/2 x 59 1/8 in. (100.3 x 150.2 cm.) Executed in 2003, this work is number 1 from an edition of 3. Estimate $3,000-5,000 Provenance Galerie Yvon Lambert, Paris Acquired from the above by the present owner

256. Dean Levin

b. 1988

Untitled signed and dated “Dean Levin 2014” on the reverse; further signed and dated “Dean Levin 2014” on the stretcher oil and pigment on canvas 40 x 30 in. (101.6 x 76.2 cm.) Executed in 2014. Estimate $5,000-7,000 Provenance Private Collection

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257. Tony Oursler

b. 1957

Mimetic 1 signed and dated “Tony Oursler 1999” on the reverse acrylic on paper 30 1/8 x 22 1/8 in. (76.5 x 56.2 cm.) Painted in 1999. Estimate $2,000-3,000 Provenance Lehmann Maupin, New York Acquired from the above by the present owner

258. Tony Oursler

b. 1957

Mimetic 2 signed and dated “Tony Oursler 1999” on the reverse acrylic on paper 30 x 22 in. (76.2 x 55.9 cm.) Painted in 1999. Estimate $2,000-3,000 Provenance Lehmann Maupin, New York Acquired from the above by the present owner

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259. Natan Pernick

b. 1980

Napkin signed and dated “Natan Pernick 2018” on the reverse oil on canvas 35 1/2 x 35 1/2 in. (90.2 x 90.2 cm.) Painted in 2018.

Provenance Acquired directly from the artist by the present owner

Estimate $4,000-6,000

Property from a Distinguished Private Collection

260. Christopher Knowles

b. 1959

Names Designs and Words signed, titled, and dated “NAMES DESIGNS AND WORDS Christopher Knowles Oct. 1980” on the reverse typing on paper 46 1/2 x 9 5/8 in. (118.1 x 24.4 cm.) Executed in 1980. Estimate $7,000-10,000

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Provenance Gladstone Gallery, New York Acquired from the above by the present owner in 2006 Exhibited New York, Gladstone Gallery, DERECONSTRUCTION, June 30 August 18, 2006

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261. Petra Cortright

b. 1986

trafkkulykker+statistikker frenchXpert digital print on polyester 23 x 36 in. (58.4 x 91.4 cm.) Executed in 2013. Estimate $2,000-3,000 Provenance Steve Turner Gallery, Los Angeles Acquired from the above by the present owner

262. Christina Burch

b. 1972

Sea of Marrow signed and dated “Christina Burch c. 2008” on the stretcher acrylic on canvas 26 1/8 x 26 1/8 in. (66.4 x 66.4 cm.) Painted in 2008. Estimate $2,000-3,000 Provenance Voltz Clarke, New York Acquired from the above by the present owner

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263. Brendan Lynch

b. 1985

Eddie But Not signed, titled and dated “BRENDAN LYnCH ’13 “EDDiE BUT NOT”” on the reverse posters, aluminum leaf and acrylic on panel 60 x 48 in. (152.4 x 121.9 cm.) Executed in 2013. Estimate $3,000-5,000 Provenance Acquired directly from the artist by the present owner

264. Erick Swenson

b. 1972

Untitled (Ice Head) signed with the artist’s initials and numbered “ELS 4/4” on the interior of the base urethane resin and acrylic on MDF 21 1/4 x 17 1/2 x 16 in. (54 x 44.5 x 40.6 cm.) Executed in 2004, this work is number 4 from an edition of 4. Estimate $5,000-7,000 Provenance James Cohan Gallery, New York Acquired from the above by the present owner

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265. Stephen Felton

b. 1975

Raindance signed, titled and dated “Stephen Felton Stephen Felton 2014 “RAINDANCE”” on the reverse; further signed with the artist’s initials, titled and dated “SF 2014 “RAINDANCE”” on the stretcher acrylic on canvas 50 x 50 in. (127 x 127 cm.) Painted in 2014. Estimate $5,000-7,000 Provenance Courtesy of the Artist and Robert Blumenthal Gallery Paddle8, November 21, 2014, lot 17 Acquired at the above sale by the present owner

266. Katy Moran

b. 1975

Moonlight on Doublebass signed and dated “Katy M 07” on the overlap acrylic on canvas 18 1/8 x 15 in. (46 x 38.1 cm.) Painted in 2007. Estimate $4,000-6,000 Provenance Modern Art, London Acquired from the above by the present owner

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267. Chris Hood

b. 1984

Take Me Home signed and dated “Chris Hood 16” on the overlap oil on canvas 70 x 51 in. (177.8 x 129.5 cm.) Painted in 2016. Estimate $2,500-3,500 Provenance Nino Mier Gallery, Los Angeles Acquired from the above by the present owner Exhibited Los Angeles, Nino Mier Gallery, Chris Hood: Octopi Blush, May 22 July 2, 2016

This lot is sold with No Reserve

268. Dan Attoe

b. 1975

Accretion # 28 (This is all there is) signed, titled and dated “Accretion #28 (This is all there is) Dan Attoe 2004” on the reverse oil on canvas mounted on board 36 x 48 in. (91.4 x 121.9 cm.) Painted in 2004. Estimate $5,000-7,000 • Provenance Peres Projects, Los Angeles Acquired from the above by the present owner

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269. Christian Holstad

b. 1972

Allow the Sun to Shine Through titled “allow the sun to shine through” upper edge painted ceramic urinal 27 7/8 x 18 1/4 x 14 in. (70.8 x 46.4 x 35.6 cm.) Executed in 2007. Estimate $2,000-3,000 Provenance Daniel Reich Gallery, New York Acquired from the above by the present owner

This lot is sold with No Reserve

270. Christian Holstad

b. 1972

Hulk signed and numbered “Christian Holstad 1/1” on 1 of 2 DVDs paper on mirror, DVD mirror 68 1/2 x 27 1/2 in. (174 x 69.9 cm.) Executed in 2004, this work is number 1 from an edition of 1 plus 2 artist’s proofs. Estimate $2,000-3,000 • Provenance Daniel Reich Gallery, New York Acquired from the above by the present owner in 2004 Exhibited New York, Daniel Reich Gallery, Moving Toward the Light, 2004

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This lot is sold with No Reserve

271. Christian Holstad

b. 1972

Gone are the Good Old Days Again signed, titled, inscribed and dated ““gone ARe the good old days Again.” Christian Holstad 2005 APR” on the reverse collage on paper 23 x 16 3/4 in. (58.4 x 42.5 cm.) Executed in 2005. Estimate $2,000-3,000 • Provenance Daniel Reich Gallery, New York Acquired from the above by the present owner

This lot is sold with No Reserve

272. Gail Stoichef

b. 1976

Geo Halo signed and dated “Gail Stoichef 2010” on the overlap acrylic on canvas 24 x 20 in. (61 x 50.8 cm.) Painted in 2010. Estimate $1,500-2,000 • Provenance Catinca Tabacaru, New York Acquired from the above by the present owner

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This lot is sold with No Reserve

273. Greg Haberny Recycled Nation signed, titled and dated “© 2010 Greg Haberny HABERNY 2010 Recycled NAtion” on the reverse found newspaper, recycled plastic, glitter, glue, metal brackets, screws and gold letters on wood, in artist’s frame 12 1/2 x 13 7/8 x 4 1/2 in. (31.8 x 35.2 x 11.4 cm.) Executed in 2010. Estimate $1,000-2,000 • Provenance Catinca Tabacaru, New York Acquired from the above by the present owner in 2010

This lot is sold with No Reserve

274. Greg Haberny Booby Trap signed, titled, inscribed and dated “MiAMi Greg Haberny BOOBY TRAP HABERNY GREG © 2010” on the reverse mixed media 14 x 9 x 4 in. (35.6 x 22.9 x 10.2 cm.) Executed in 2010. Estimate $1,000-2,000 • Provenance Catinca Tabacaru, New York Acquired from the above by the present owner in 2010

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275. Sofa Echa

b. 1992

Fluidity #6 signed, titled and dated “SOFIA ECHA FLUIDITY #6 2015” on the reverse of the lef panel; further signed, titled and dated “FLUIDITY #6 SOFIA ECHA, 2015” on the reverse of the right panel acrylic on metal, diptych overall 36 x 97 in. (91.4 x 246.4 cm.) Executed in 2015. Estimate $5,000-7,000 Provenance Acquired directly from the artist by the present owner

276. Viktor Ivanovich Korneev b. 1958

Looking Forward cast bronze and stone 32 1/8 x 14 x 13 1/8 in. (81.6 x 35.6 x 33.3 cm.) Estimate $20,000-30,000 Provenance Acquired directly from the artist by the present owner

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NY Guide for Prospective Buyers Each Phillips auction is governed by the applicable Conditions of Sale and Authorship Warranty. All prospective bidders should read these sections carefully. They govern the purchasing agreement under which you buy at auction from Phillips. They may be also amended by saleroom addendum or auctioneer’s announcement during the auction. The Complete Conditions of Sale and Authorship Warranty applicable to this auction (Version 9-12-17) are found online at phillips.com along with detailed information on each lot. Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes. All Lots are Subject to ‘Buyer’s Premium’ Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $300,000, 20% of the portion of the hammer price above $300,000 up to and including $4,000,000 and 12.5% of the portion of the hammer price above $4,000,000. Condition and Condition Reports Phillips does not warrant or guarantee condition on any lot. Solely as a convenience to clients, Phillips may provide condition reports on many lots, which are also available online on the lot detail pages. If there is not a condition report available, that is not a representation that a lot is in perfect condition. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect all lots at our pre-sale exhibitions, and contact our staff with any questions. Bidding at Auction You may bid in the auction in person, online, on the phone, or by placing an absentee bid. The easiest way to arrange or register to bid at auction is to set up a client account online. Go to our homepage, phillips.com and fill out the account form. When you want to register for an auction, click Register on sale pages or lot detail pages, and you’ll confirm your account details, be asked for a credit card number for identification purposes and our Bids Department will process your request. We recommend registering at least 24 hours prior to sale to ensure that you can bid. Good luck!

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

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Sale Information Auction & Viewing Location 450 Park Avenue New York 10022

Auction License 2013224

20th Century & Contemporary Art Department

Auction Wednesday, 26 September 2018, 11am

Auctioneers Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Samuel Mansour - 2059023 Kaeli Deane - 2058810 Adam Clay - 2039323 Rebecca Tooby-Desmond - 2058901

Head of Sale Sam Mansour +1 212 940 1219 smansour@phillips.com

Viewing 17 – 25 September 21 September by Appointment Monday – Friday 10am – 6pm Saturday 12pm – 6pm Sunday 10am – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010618 or New Now. Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com

Catalogues Danielle Polovets +1 212 940 1240 catalogues@phillips.com $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253

Cataloguer Avery Semjen +1 212 940 1207 asemjen@phillips.com Administrator Flavia Grilli +1 212 940 1227 fgrilli@phillips.com Property Manager Mark Staford +1 212 940 1357 mstaford@phillips.com

Client Services 450 Park Avenue +1 212 940 1200 Shipping Steven Orridge + 1 212 940 1370 Oscar Samingoen +1 212 940 1373 Photographers Kent Pell Matthew Kroening Jean Bourbon Marta Zagozdzon

Front cover Yayoi Kusama, Butterfy, 1982, lot 38 © YAYOI KUSAMA Back cover Jonas Wood, Computer Drawings, 2008, lot 42 (detail) Courtesy of the artist and Shane Campbell Gallery, Chicago. ©Jonas Wood

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67.

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Sam Gilliam

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Sadie Laska Untitled, 2015 © Sadie Laska

unbound Online Auction 18-30 October Bidding will close at 2pm edt Enquiries klukacher@phillips.com +1 212 940 1215

phillips.com/unbound

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A Constant Pursuit Photographs from the Collection of Ed Cohen & Victoria Shaw New York, 4 October 2018 Public viewing 28 September-3 October at 450 Park Avenue or at phillips.com Enquiries +1 212 940 1245 photographs@phillips.com Richard Learoyd Long Black, 2010

Visit us at phillips.com

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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

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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.

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

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• 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 $300,000, 20% of the portion of the hammer price above $300,000 up to and including $4,000,000 and 12.5% of the portion of the hammer price above $4,000,000 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.

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

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

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30.

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KAWS

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Index Adams, D. 3

Darie, S. 102

Haberny, G. 273, 274

Adian, J. 222

de Oraรก, P. 106

Hagen, M. 188

Aldrich, R. 82

Delaney, B. 65, 66

Hammersley, F. 76

Al-Hadid, D. 210

Dijkstra, R. 150

Haring, K. 47, 48

Almond, D. 163

Dodd, L. 19

Hawkinson, T. 235

Appel, K. 78

Dr. Lakra 160

Heilman, M. 75

Arakawa, S. 122

Dupuy-Spencer, C. 4

Hildebrandt, G. 227 Hirst, D. 52, 53

Arcangel, C. 23 Armleder, J. 224

Echa, S. 275

Hofer, C. 147

Attoe, D. 268

Ekblad, I. 209

Holstad, C. 269, 270, 271

Aubertin, B. 86

Emin, T. 37

Hood, C. 267

Ayรณn, B. 98

Essenhigh, I. 196

Horn, R. 168, 169

Baechler, D. 115

Fabelo, R. 109

Baldessari, J. 61

Faldbakken, M. 217

Barney, M. 161

Felton, S. 265

Barth, U. 175

Ferrari, L. 91, 94

Bedia, J. 104

Feuerman, C. 206

Jackson, M. 195

Beloufa, N. 220

Fischer, U. 55

Johnson, R. 124, 125

Benedict, W. 204

Flood, M. 251

Bernadet, J. 21

Fonseca, C. 77

Kahlhamer, B. 244

Black, S. 193

Francis, S. 70

Kahrs, J. 247

Bleckner, R. 118

Frankenthaler, H. 64

Kass, D. 200

Bluhm, N. 121

Frecon, S. 72

Kassay, J. 34, 236

Boehm, A. 197

Furnas, B. 110

Katz, A. 207

Hubbard, A. 15 Hughes, S. 6 Innes, C. 184

KAWS 25-32

Boetti, A. 80 Braman, S. 229

Gabin, L. 215

Kcho 103

Bruce High Quality

Gahl, T. 212

Kelley, M. 162

Foundation 36

Gambarof, N. 214, 228

Kim, B. 13

Burch, C. 262

Garaicoa, C. 95

Knoebel, I. 74

Butzer, A. 24

Garber-Maikovska, A. 16, 17

Knowles, C. 260

Gerrard, J. 179

Korneev, V. 276

Calder, A. 69

Gilliam, S. 67, 68

Kruglyanskaya, E. 5

Cantor, M. 255

Gomez, S. 231

Kusama, Y. 38-41

Capote, Y. 11, 96

Goode, J. 123

Casebere, J. 139

Gordon, D. 152, 153

LaChapelle, D. 154-156

Ceballos, S. 97

Greenberger Raferty, S.

Lassry, E. 177, 178

Chapman, J. & D. 243

241, 242

Leirner, J. 92, 93

Christensen, D. 119

Levin, D. 256

Christo 58

LeWitt, S. 62, 63

Claydon, S. 194

Lichtenstein, R. 56

Colen, D. 219

Ligon, G. 8

Collins, G. 254

Los Carpinteros 105

Condo, G. 44, 45, 46

Lund, I. 225

Cortright, P. 261

Lynch, B. 263

Cruz-Diez, C. 87

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Mae Weems, C. 10, 137, 138

Quinn, M. 113

Taafe, P. 114 Taylor, A. 211

Maier Aichen, F. 201 Manos, P. 81

Rauschenberg, R. 57

Taylor, H. 7

Marclay, C. 181

Reames, J. 232

Thurman, B. 14

Martin, K. 202

Reeder, S. 230

Tillmans, W. 157

Martinez, R. 100

Reihsen, J. 233

Toirac, J. 101

Matta 107

Reyle, A. 83, 84

Trubkovich, K. 18

Mauss, N. 185, 186

Richter, G. 116

Turner, D. 189, 253

McEwen, A. 191

Rocha Pitta, T. 246

Tuymans, L. 208

McGinely, R. 164, 165

Rodgers, T. 199

Meese, J. 111, 112

Rohm, V. 120

Ufan, L. 71

Melee, R. 172

Rondinone, U. 54

Upson, K. 226

Mérida, C. 88

Rosa, C. 20

Minter, M. 158

Ruby, S. 192

Vaerslev, F. 213

Moran, K. 266

Ryman, W. 203

Vance, L. 12 Violette, B. 240

Moyer, S. 182

Vitali, M. 108

Muniz, V. 159

Sachs, T. 249

Murakami, T. 51

Saint Phalle, N. 79

Murillo, O. 33

Sammack, B. 1

Warhol, A. 126-135

Saunders, M. 198

Warren, R. 187

Navarro, I. 183

Saville, J. & Luchford, G. 151

Wolowiec, M. 238

Negret, E. 89, 90

Scharf, K. 49

Wood, J. 42

Noble, P. 205

Schmidt, F. 237 Segura, E. 99

Young, A. 252

Olowska, P. 239

Semo, D. 218

Young, A. 250, 252

Olson, S. 234

Serrano, A. 148, 149

Yuskavage, L. 43

Opie, C. 144, 145, 171

Sherman, C. 60

Orozco, G. 174

Shonibare, Y. 136

Ortega, D. 173

Sillman, A. 73

Ostrowksi, D. 22

Simmons, G. 9

Oursler, T. 257, 258

Smith, E. 2 Smith, L. 223

Pasqua, P. 248

Snow, D. 166, 167

Pasquali, F. 85

Starn, M. 245

Peake, E. 216

Steinkamp, J. 180

Pendleton, A. 190

Stoichef, G. 272

Pepper, B. 117

Struth, T. 59

Pérez, E. 146

Succo, C. 221

Pernick, N. 259

Sugimoto, H. 140-143

Prager, A. 170

Sultan, L. 176

Prince, R. 50

Swenson, E. 264

Pruitt, R. 35

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00. artist

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61. John Baldessari

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phillips.com

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Profile for PHILLIPS

NEW NOW [Catalogue]  

Phillips presents New Now on 26 September 2018 in New York.

NEW NOW [Catalogue]  

Phillips presents New Now on 26 September 2018 in New York.