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20th Century & Contemporary Art Day Sale London, 9 March 2018

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00. Lynette Yiadom-Boakye

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148. Lynette Yiadom-Boakye

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141. Laura Owens

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166. Damien Hirst

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147. Wolfgang Tillmans

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150. Jonas Wood

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174. Sigmar Polke

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157. KAWS

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Executives.

Ed Dolman

Cheyenne Westphal

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

Chairman +44 20 7318 4044 cwestphal@phillips.com

20th Century & Contemporary Art.

Jean-Paul Engelen

Robert Manley

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

Worldwide Co-Head of 20th Century & Contemporary Art, and Deputy Chairman +1 212 940 1358 rmanley@phillips.com

Senior Advisors.

Hugues Jofre

Francesco Bonami

Arnold Lehman

Ken Yeh

Senior Advisor to the CEO +44 207 901 7923 hjofre@phillips.com

Senior Advisor to the CEO fonami@phillips.com

Senior Advisor to the CEO +1 212 940 1385 alehman@phillips.com

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

Deputy Chairmen.

Svetlana Marich

Alexander Payne

Peter Sumner

Miety Heiden

Worldwide Deputy Chairman +44 20 7318 4010 smarich@phillips.com

Deputy Chairman, Europe, and Worldwide Head of Design +44 20 7318 4052 apayne@phillips.com

Deputy Chairman, Europe +44 20 7318 4063 psumner@phillips.com

Deputy Chairman, Head of Private Sales +44 20 7901 7943 mheiden@phillips.com

Marianne Hoet

Vanessa Hallett

Vivian Pfeifer

Jonathan Crockett

Deputy Chairman, Europe Senior Specialist of 20th Century & Contemporary Art +32 3257 3026 mhoet@phillips.com

Deputy Chairman, Americas, and Worldwide Head of Photographs +1 212 940 1243 vhallett@phillips.com

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

Deputy Chairman, Asia, and Head of 20th Century & Contemporary Art, Asia +852 2318 2023 jcrockett@phillips.com

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London.

Dina Amin

Nathalie Zaquin-Boulakia

Jonathan Horwich

Matt Langton

Rosanna WidĂŠn

Henry Highley

Tamila Kerimova

Head of Department +44 20 7318 4025 damin@phillips.com

Senior Specialist +44 20 7901 7931 nzaquin-boulakia@phillips.com

Senior Specialist +44 20 7901 7935 jhorwich@phillips.com

Senior Specialist +44 20 7318 4074 mlangton@phillips.com

Senior Specialist +44 20 7318 4060 rwiden@phillips.com

Head of Evening Sale +44 20 7318 4061 hhighley@phillips.com

Head of Day Sale +44 20 7318 4065 tkerimova@phillips.com

Simon Tovey

Kate Bryan

Oksana Katchaluba

Alex Dolman

Lisa Stevenson

Charlotte Gibbs

Head of New Now Sale +44 20 7318 4084 stovey@phillips.com

Specialist +44 20 7318 4050 kbryan@phillips.com

Specialist +44 20 7318 7933 okatchaluba@phillips.com

Associate Specialist +44 20 7318 7911 adolman@phillips.com

Cataloguer +44 20 7318 4093 lstevenson@phillips.com

Cataloguer +44 20 7901 7993 cgibbs@phillips.com

Scott Nussbaum

Rachel Adler Rosan

Kevie Yang

Amanda Lo Iacono

John McCord

Rebekah Bowling

Head of Department +1 212 940 1354 snussbaum@phillips.com

Senior Specialist +1 212 940 1333 radlerrosan@phillips.com

Specialist +1 212 940 1254 kyang@phillips.com

Head of Evening Sale +1 212 940 1278 aloiacono@phillips.com

Head of Day Sale, Morning +1 212 940 1261 jmccord@phillips.com

Head of Day Sale, Afernoon +1 212 940 1250 rbowling@phillips.com

Sam Mansour

Katherine Lukacher

Carolina Scarborough

Annie Dolan

Olivia Kasmin

Patrizia Koenig

Head of New Now Sale +1 212 940 1219 smansour@phillips.com

Associate Specialist +1 212 940 1215 klukacher@phillips.com

Associate Specialist, Cataloguer +1 212 940 1391 cscarborough@phillips.com

Cataloguer +1 212 940 1260 adolan@phillips.com

Cataloguer +1 212 940 1312 okasmin@phillips.com

Researcher/Writer +1 212 940 1279 pkoenig@phillips.com

Sandy Ma

Charlotte Raybaud

Danielle So

Head of Evening Sale +852 2318 2025 sma@phillips.com

Specialist +852 2318 2026 craybaud@phillips.com

Cataloguer +852 2318 2027 dso@phillips.com

New York.

Hong Kong.

Business Development. Americas. London.

Asia.

Client Advisory. New York. London.

Vivian Pfeifer

Guy Vesey

Lilly Chan

Philae Knight

Yassaman Ali

Giulia Campaner Mendes

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

Head of Business Development, EMERI +44 20 7901 7934 gvesey@phillips.com

Managing Director, Asia & Head of Business Developmenting, Asia +852 2318 2022 lillychan@phillips.com

Client Advisory Director +1 212 940 1313 pknight@phillips.com

Client Advisory Manager +44 20 7318 4056 yali@phillips.com

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

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International Specialists & Regional Directors. Americas.

Cândida SodrÊ

Carol Ehlers

Lauren Peterson

Melyora de Koning

Blake Koh

Regional Director, Consultant, Brazil +55 21 999 817 442 csodre@phillips.com

Regional Director, Specialist, Photographs, Chicago cehlers@phillips.com +1 773 230 9192

Regional Representative, Chicago lauren.peterson@phillips. com

Senior Specialist, 20th Century & Contemporary Art, Denver +1 917 657 7193 mdekoning@phillips.com

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

Kaeli Deane

Valentina Garcia

Cecilia Lafan

Maura Smith

Silvia Coxe Waltner

Head of Latin American Art, Los Angeles +1 212 940 1352 kdeane@phillips.com

Specialist, Miami +1 917 583 4983 vgarcia@phillips.com

Regional Director, Consultant, Mexico +52 1 55 5413 9468 crayclafan@phillips.com

Regional Director, Palm Beach maurasmith@phillips.com

Regional Director, Seattle +1 206 604 6695 scwaltner@phillips.com

Maria Cifuentes Caruncho

Dr. Nathalie Monbaron

Dr. Alice Trier

Clarice Pecori Giraldi

Regional Director, Geneva +41 22 317 81 83 nmonbaron@phillips.com

Specialist, 20th Century & Contemporary Art, Germany +49 173 25 111 69 atrier@phillips.com

Regional Director,Italy +39 02 86 42 453 cpecorigiraldi@phillips.com

Europe.

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

Specialist, 20th Century & Contemporary Art, France +33 142 78 67 77 mcifuentes@phillips.com

Carolina Lanfranchi

Maura Marvao

Kalista Fenina

Julia Heinen

Deniz Atac

Senior International Specialist, 20th Century & Contemporary Art, Italy +39 338 924 1720 clanfranchi@phillips.com

International Specialist, Consultant, 20th Century & Contemporary Art, Portugal +351 917 564 427 mmarvao@phillips.com

Specialist, 20th Century & Contemporary Art, Moscow +7 905 741 15 15 kfenina@phillips.com

Specialist, 20th Century & Contemporary Art, Regional Director, Switzerland +44 77 88 552 2421 jheinen@phillips.com

Specialist, 20th Century & Contemporary Art, Turkey +9 053 337 41198 dztac@phillips.com

Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

Cindy Yen

Meiling Lee

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

International Specialist, 20th Century & Contemporary Art, Regional Director, Korea + 82 10 7389 7714 jyy@phillips.com

Associate Regional Representative, Korea +82 10 7305 0797 sshin@phillips.com

Regional Director, Shanghai wenjiazhang@phillips.com

Senior Specialist, Watches & Jewellery, Taiwan +886 2 2758 5505 cyen@phillips.com

International Specialist, Taiwan +886 908 876 669 mlee@phillips.com

Asia.

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154. Yue Minjun

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127. Michelangelo Pistoletto

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20th Century & Contemporary Art Day Sale London, 9 March 2018, 2pm

Auction and Viewing Location 30 Berkeley Square, London W1J 6EX Auction 9 March 2018, 2pm Viewing 24 February – 9 March 2018 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010218 or 20th Century & Contemporary Art Day Sale Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

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Sale Contacts Head of Sale Tamila Kerimova +44 20 7318 4065 tkerimova@phillips.com

Cataloguers Lisa Stevenson +44 20 7318 4093 lstevenson@phillips.com

Charlotte Gibbs +44 20 7901 7993 cgibbs@phillips.com

Administrator Chiara Panarello +44 20 7318 4073 cpanarello@phillips.com

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

The Modern from Form Property the Collection of Betty and Stanley Sheinbaum

Betty and Stanley in their Los Angeles home circa 2000

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The collection of Betty and Stanley Sheinbaum illustrates an exceptional vision that was ahead of its time. With an array of works ranging from sculptures by Henry , masterpieces by Robert Motherwell and Richard Diebenkorn, ceramics by Pablo Picasso and the sculptural icon Rondena by Peter Voulkos, among many others works on paper by modern masters, a visit to the couple’s Los Angeles residence provided visitors with an eclectic feast for the senses. Initially formed by Betty with her frst husband, Hollywood producer Milton Sperling, and later in partnership with political activist Stanley Sheinbaum upon their marriage in 1964, this remarkable collection is unique for its commitment to both contemporary art and mid-century American craf. Largely assembled within a period of just four years between 1958 and 1962, the works that comprise this collection were very much contemporaneous to the epoch—ofering a fascinating snapshot of the vanguard of collecting at this crucial moment in time. Born in 1920s New York, to the future television and film mogul Harry Warner (of Warner Bros), Betty grew up during the Golden Age of Hollywood, which coincided with the rapid growth and success of her father’s movie empire. In the sprawling, afuent suburbs of Los Angeles Betty met her frst husband – the prodigious screenwriter Milton Sperling, with whom she frst began collecting art. Having acquired a large portion of her recently retired father’s studio account in 1957, Betty worked with some of the most important dealers of the age, including Paul Kantor and Eric Estorick, to create a collection which encapsulated the radical artistic trends and social ideals of this unique moment in time in America, both in the art world and beyond. At the heart of her collecting lay a cultured eye and a remarkable vision for spotting unrecognized talent, such as the English sculptor Henry w. Betty was one of the frst American collectors to acquire a sensational group of maquettes which encapsulated the genius of his iconic practice. An artist herself – painting and welding sculptures from found materials in her garage-studio – Betty was also a fervent supporter of cutting-edge American art, adding to her collection works from the prestigious New York School, produced by fgures such as Willem de Kooning and Robert Motherwell, as well as works from artists who had not yet fully established themselves, like the California-based Richard Diebenkorn. Now considered one of the most important fgures in abstract American painting, the purchase of Diebenkorn’s work was exemplary of Betty’s artistic confdence, foresight and autonomous approach to collecting. Deeply engaged with an acute art historical sensibility, Betty also added works by Pablo Picasso, Henri Matisse, Alberto Giacometti and Marc Chagall – thus creating seminal discourse between contemporary and modern art.

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Betty Sheinbaum was inspiring not only for her commitment to contemporary art, but also for her passion for human rights, anti-war eforts and advocacy for peace in the Middle East – living her life at the ofen cataclysmic crossroads of art and politics. Betty remarried in 1964 to Stanley Sheinbaum, an alumni of Stanford University, and, at the time, a senior fellow at one of the world’s frst think tanks, the Center for the Study of Democratic Institutions. Despite Betty’s longstanding interest and engagement with politics, it was with Stanley whom she embarked on a path of concerted political activism – travelling to Cambodia in search of the Ho Chi Minh trail, and helping free future Greek Prime Minister Andreas Papandreou during a military coup. Although unsuccessful in two runs for the Santa Barbara congressional seat, Stanley progressed to the position of Chairman of the American Civil Liberties Union with Betty by his side, and later the President of the Los Angeles Board of Police Commissioners afer the brutal beating of Rodney King in 1991. The Sheinbaums selfess commitment to political activism was matched perhaps only in their patronage of the budding crafs scene in California. Emerging in the 1960s, the couple turned their attention to this dynamic movement after feeling that ‘painting and sculpture, particularly painting, had come to a dead end, and that a new vital spirit was in the crafts.’ (Betty Sheinbaum, quoted in “Living With the Arts”, American Craf, January 1981, p. 25) The Sheinbaums became close to a number of artists working outside the fine art world, in particular Peter Voulkos, a number of whose works the couple included in their collection, such as his 1958 masterpiece, Rodena. The Sheinbaums further supported the movement’s development through generous loans and donations to museums, even founding their own galleries devoted to contemporary crafts, namely Galeria del Sol in Santa Barbara and Fairtree Gallery in New York. These independent spaces aimed to reach the widest possible audiences, and were deeply rooted at the epicentre of the emerging contemporary craft scene. Exemplifying a deeply personal, all-inclusive and democratic vision, the Betty and Stanley Sheinbaum Collection demonstrates the same unwavering commitment that defned their legacy of shared political activism. The Sheinbaums stand as examples of true connoisseurs and patrons who immersed themselves in their own time and place, while still also understanding the trajectory of the art historical canon. As such, the Betty and Stanley Sheinbaum Collection is a testament to the passion, unwavering dedication and incredible foresight of two of the late 20th century’s most important collectors and patrons of contemporary art.

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

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‘The whole of nature is an endless demonstration of shape and form. It always surprises me when artists try to escape this.’ Henry Moore

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

The Universal Moore and Form Henry Alberto Giacometti in America

Henry Moore’s impact on the post-war American art scene was unprecedented for a British sculptor. The artist’s notoriety in the United States can be traced back to his inclusion in the landmark 1936 exhibition Cubism and Abstract Art, organised by Alfred Barr at the Museum of Modern Art, New York, and his frst US show in 1943 at the Buchholz Gallery, New York, whereby Moore’s stateside dealer, Curt Valentin, showed a selection of graphic works by the British artist. The relationship between Valentin and Moore blossomed and the dealer soon became the sculptor’s trusted friend and ally in America. A number of Moore’s most celebrated and monumental sculptures spent time in America before the Second World War, exemplifed by his masterpiece, the Hornton stone Recumbent Figure, now housed in the Tate collection, which travelled to the New York World Fair in 1939, not leaving the Museum of Modern Art garden in New York until afer the end of the war in 1948. In the same way, Moore’s elm wood Reclining Figure has been held in the collection of the Albright-Knox Art Gallery, Bufalo, since 1939. Despite having a number of his major works in American public and private collections, it was not until Moore’s 1946-1947 retrospective at the Museum of Modern Art, New York, organised by James Johnson Sweeney, where his reputation found a national foothold in America. Appealing to a new humanitarian hopefulness in the wake of the Second World War, Moore’s sculpture encapsulated a sense of progressive and collective humanism; his work promoted man’s relationship to nature through his organic shapes, whilst his celebrated Shelter Drawings encapsulated the tender resolve of the family unit which clung together through the darkness of wartime, to emerge into the light of a world lef shattered by the devastating efects of confict. Moore’s personality and charm combined with his evocation of both classical and primitive art, led to his popularity with actors, critics, curators and collectors alike. In post-war America, newly built and refurbished cities were designed to be functional and utilitarian, and Moore’s outdoor sculptures became increasingly desirable, as did his smaller maquettes and studies. In the same way, Alberto Giacometti’s widespread fame as a leading force of modern sculpture had reached New York by 1948 with his exhibition at

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Pierre Matisse’s gallery, the catalogue of which included Jean-Paul Satre’s existentialist essay, ‘The Search for the Absolute’. Purchased between 1959 and 1966, a period of turbulence and civil rights protest in the US, the present works not only demonstrate the exquisite crafsmanship of Moore and Giacometti as modern masters, but also provide enlightened and enriching context as works borne out of a world in international turmoil. As key collectors of progressive and thought-provoking works, Betty and Stanley Sheinbaum’s collection of Moores and Giacometti works is a testament to their devotion to progressive modes of modern representation. Executed in 1945, Moore’s Three standing fgures has come to encapsulate one of Moore’s earliest sculptural triumphs, demonstrating his unrivalled mastery of tension, contemplation and profoundness, captured exquisitely in the medium of bronze. Moore formulated his composition for the sculpture through his Shelter Drawings series which depicted anxious Londoners, draped in blankets and sheets, hiding in London’s subterranean underground system, safe from the threat of bombs and fre above. Kenneth Clark stipulated that Moore’s drawings executed between 1942 and 1946, particularly his drawing Group of Draped Standing Figures, 1942, currently housed in The Art Institute of Chicago, was the ‘crucial drawing’ in Moore’s realisation of the sculpture. (Kenneth Clark, Henry Moore: Drawings, London, 1974, p. 119) Initially cast in plaster and subsequently in bronze, the sculpture provided the basis for Moore’s larger Darley Dale sandstone carving initially created with the Museum of Modern Art in mind. (Jennifer Powell, ‘Henry Moore and ‘Sculpture in the Open Air’: Exhibitions in London’s Parks’, in Henry Moore: Sculptural Process and Public Identity, Tate Research Publication, 2015, online). Exhibited in 1948 at the Art’s Council of Great Britain’s Open Air Exhibition of Sculpture in Battersea Park, the larger carving has remained in situ afer being purchased by the Contemporary Art Society, becoming an iconic and visionary celebration of the tenacious spirit of Londoners during wartime. A selection of Moore’s Shelter Drawings featured in the artist’s 1946 Museum of Modern Art retrospective and an image of the clay model

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

version of the sculpture, owned by the artist, was illustrated in the exhibition catalogue. Simultaneously naturalistic, mysterious and ethereal, Moore’s timeless fgures transcend their surroundings, looking out towards the unknown. As Moore stated, ‘They are the expression in sculpture of the group feeling that I was concerned with in the shelter drawings… the bringing together of these three fgures involved the creation of a unifed human mood. The pervading theme of the shelter drawings was the group sense of communion in the three figures ... I wanted to overlay it with the sense of release, and create figures conscious of being in the open air, they have a lifed gaze, for scanning distances’ (Henry Moore, quoted in Robert Melville, ed., Sculpture in the Open Air: A Talk by Henry Moore on his Sculpture and its Placing in Open-Air Sites, British Council 1955, Tate, online). In the same way that Betty Sheinbaum utilised found objects in her own sculpture, so Henry Moore collected organic matter and material to help illustrate his formal ideas and concepts for his sculptural practice. In the present work, Helmet Head No. 4: Interior-Exterior, executed in 1963 and purchased at Leicester Galleries in London, Moore explores the efect of layering varied textures to create a hardened outer shell with a dazzling yet obscured inner element. Modelling the inner form on an animal bone, Moore’s domed outer layer may refer to the armoured helmets worn by soldiers in confict, while at the same time may relate to the protection aforded a child carried by its mother. As Moore stated ‘the idea of one form inside

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another form may owe some of its incipient beginnings to my interest at one stage when I discovered armour. I spent many hours in the Wallace Collection, in London, looking at armour’ (Moore, in conversation with David Mitchinson, 1980, transcript reproduced in Alan Wilkinson, ed., Henry Moore: Writings and Conversations, Aldershot, 2002, p. 213). Ambiguous in nature, the present work’s protective outer element may also allude to an insect’s outer shell or even a human skeleton, covering its vital organs. Diverse in meaning, Helmet Head No. 4: Interior-Exterior was exhibited at the landmark exhibition at the Los Angeles County Museum of Art, Henry Moore in Southern California, in 1973. After the 1946 retrospective of Moore’s work travelled to San Francisco, Californian art enthusiasts and particularly Hollywood collectors became engaged with Moore’s practice. As Seldis wrote in accompaniment to the exhibition, ‘To judge by the number of collectors connected with the movie industry who have helped make Southern California an exceptional reservoir of Moore’s work, Hollywood’s appreciation of the artist matches the enthusiasm Moore has for many of its movies… One of the largest collections of Moores in America is owned by Mrs Stanley Sheinbaum, Jack Warner’s daughter’ (Henry J. Seldis, Henry Moore in America, Los Angeles, 1973, pp. 201-202). Moore’s 1952 work Leaf Figure No. 3. was exhibited at the Art Center in La Jolla in San Diego, the Santa Barbara Museum of Art and the Los Angeles Municipal Art Galleries,

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Poster advertising the 1948 Sculpture in the Open Air exhibition, featuring Moore’s Three Standing Figures, 1947 London Metropolitan Archives © The Henry Moore Foundation. All Rights Reserved

Installation shot of Henry Moore’s retrospective Henry Moore at The Museum of Modern Art, New York, 17 December 1946–16 March 1947. © The Henry Moore Foundation. All Rights Reserved. Image: Museum of Modern Art, New York

Barnsdall Park, a decade prior to being exhibited at the Los Angeles County Museum of Art exhibition. Purchased from the esteemed dealer, Eric Estorick in 1959, the present work depicts an organic fgure, whose limbs appear to resemble rounded leaf-like forms. Spritely and charismatic, the fgure’s body is lengthened, and like Giacometti’s Man Pointing (1947), appears totemic with its small head nestled on top of its elongated body. Drawing upon the extended limbs evident in African, Oceanic and Mayan sculpture, Moore references early examples of primitive art, as well as the natural shapes and materials of objects, which he amassed at his studio and home. Rethinking traditional notions of representation, Moore successfully conveys the lightness of a leaf in the present sculpture through the medium of bronze, a testament to the sculptor’s complete mastery of his materials. Moore’s Bird was purchased by Betty Sheinbaum in 1961 from Felix Landau Fine Art, a Los Angeles based dealer of Moore’s smaller works in California, acquired at a time when the majority of owned works by Moore in California were primarily bought in New York and London. A nuanced rendering of an avian form, Moore’s shaped bronze conveys a vital sense of movement through the long sweep of the creature’s beak, through to its rounded breast and feathered plumage. Conveying Moore’s ability to capture a creature’s animalistic essence in a static and rigid medium, Bird is exemplary of the artist’s interest in depicting the organic. A year before the execution of the present work, Moore build a terracotta bird table at his home where he would watch a particular crow feed, stating, ‘It had something wrong with

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its beak and it stood almost horizontally. That bird is why I did this sculpture’ (John Hedgecoe, ed., Henry Moore, London, 1968, p. 405). With other casts of the present work housed in the Tate, London, and the Norton Simon Foundation, Pasadena, Bird perfectly demonstrates Moore’s ability to convey tension through the delicately balanced form, which suggests a moment of stillness before the bird breaks into flight. Untitled, by Alberto Giacometti reveals the initial workings of the esteemed artist’s celebrated work, a key stage in Giacometti’s formulation of his ideas in preparation for sculptural realisation. The fgure’s face appears heavily worked in the manner of the artist’s paintings, creating depth and a sense of three dimensionality on a twodimensional plane. Almost anatomical in execution, Giacometti explores the characteristics of the figure’s countenance, exaggerating elements of the features to convey drama and intensity. Suggesting a sense of movement through energetic lines, the present work provides an insight into Giacometti’s working process to characterize his fgures and realize his sculptural successes. With their diverse selection of works by prolifc 20th century artists, Betty and Stanley Sheinbaum’s relentless passion for collecting works from the European modern avant-garde is exemplifed in the present grouping. Celebrating both nature and humanity, Moore and Giacometti created works which unifed the continents post-World War Two, ofering both a critique and sense of optimism to the subsequent generations.

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

O

101. Henry Moore

1898-1986

Three standing fgures stamped with the foundry mark ‘C. VALSUANI CIRE PERDUE’ on the base bronze with black-brown patina 22.9 x 16.5 x 10.2 cm (9 x 6 1/2 x 4 in.) Executed in 1945, this work is from an edition of 6 plus 1 artist’s proof. This work is recorded in the archives of the Henry Moore Foundation. Estimate £200,000-300,000 $284,000-426,000 €228,000-342,000 ‡ ♠ Provenance Eric Estorick, London Acquired from the above by the family of the present owner in 1960 Exhibited Orange, Chapman College, Henry Moore, 31 January - 14 February 1964 (present lot exhibited) Los Angeles County Museum of Art, Henry Moore in Southern California, 2 October - 18 November 1973, no. 21, p. 265 (another example exhibited and illustrated, p. 85) Literature David Sylvester, ed., Henry Moore, Complete Sculpture, 1921-1948, London, 1988, vol. 1, no. 258, p. 16 (terracotta version illustrated, p. 164) Henry J. Seldis, Henry Moore in America, Los Angeles, 1973, no. 21, p. 85 (another example illustrated)

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

102. Henry Moore

1898-1986

Helmet Head No. 4: Interior-Exterior incised with the artist’s signature and numbered ‘Moore 3/6’ on the reverse bronze with green patina and copper, on painted wood base sculpture 47 x 22.9 x 35.6 cm (18 1/2 x 9 x 14 in.) base 5.1 x 36.5 x 38.1 cm (2 x 14 3/8 x 15 in.) overall 52.1 x 36.5 x 38.1 cm (20 1/2 x 14 3/8 x 15 in.) Executed in 1963, this work is number 3 from an edition of 6 plus 2 artist’s proofs. This work is recorded in the archives of the Henry Moore Foundation. Estimate £100,000-150,000 $142,000-213,000 €114,000-171,000 ‡ ♠ Provenance Ernest, Brown and Phillips, Leicester Galleries, London Acquired from the above by the family of the present owner in 1965 Exhibited London, Tate Gallery, British Sculpture in the Sixties: An Exhibition Organised by the Contemporary Art Society in Association with the Peter Stuyvesant Foundation, February - April 1965, no. 80 (another example exhibited) Rome, Marlborough Gallery, Henry Moore, 1965, no. 36 (another example exhibited and illustrated) London, Marlborough Fine Art, Henry Moore, 1965, no. 16 (another example exhibited and illustrated) Toronto, Art Gallery of Ontario, Henry Moore, 1967, no. 18 (another example exhibited and illustrated) Otterlo, Rijksmuseum Kröller-Müller; Rotterdam, Museum Boymans-Van Beuningen, Henry Moore, May - November 1968, no. 114 (another example exhibited and illustrated) Santa Barbara Museum of Art, Selections from Santa Barbara Area Collections, 19 May - 30 June 1968 (present lot exhibited) New York, Marlborough Gallery, Henry Moore: Bronzes 1961–70, April - May 1970, no. 13, p. 50 (another example exhibited and illustrated) Paris, Musée Rodin, Henry Moore, 1971, no. 45 (another example exhibited) Harlow, Playhouse Gallery, Henry Moore, March - April 1972, no. 5 (another example exhibited) Leigh, Turnpike Gallery, Henry Moore: Sculpture, Drawings, Graphics, November - December 1971, no. 14 (another example exhibited) Los Angeles County Museum of Art, Henry Moore in Southern California, 2 October - 18 November 1973, no. 92 (present lot exhibited) London, Tate Gallery, The Henry Moore Gif, June - August 1978, p. 50 (another example exhibited) Durham, DLI Museum and Arts Centre, Henry Moore: Head-Helmet, 1982, no. 32, p. 26 (another example exhibited and illustrated)

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Kunsthaus Zurich, Sammlungen Hans und Walter Bechtler, 20 August - 3 October 1982, p. 118 (another example exhibited and illustrated) Mexico City, Museo de Arte Moderno, Henry Moore en México: Escultura, Dibujo, Grafca de 1921 a 1982,1982, no. 78, p. 62 (another example exhibited and illustrated) Caracas, Museum of Contemporary Art, Henry Moore: Esculturas, Dibujos, Grabados - Obras de 1921 a 1982, 1983, no. 33, p. 68 (another example exhibited and illustrated) Vienna, Kunsthistorisches Museum, Henry Moore 1898–1986, March - August 1998, no. 38, p. 185 (another example exhibited and illustrated) New Haven, Yale Center for British Art, Henry Moore and the Heroic A Centenary Tribute, 23 January - 21 March 1999, no. 19, n.p. (another example exhibited and illustrated) Saint-Paul, Fondation Maeght, Henry Moore Rétrospective, 2002, no. 155, p. 181 (another example exhibited and illustrated) Valenciennes, Musée des Beaux-Arts de Valenciennes, Henry Moore, 2002, no. 30, p. 68 (another example exhibited and illustrated) Barcelona, Fundació ‘la Caixa’, Henry Moore, 19 July – 29 October 2006, no. LH 508, p. 212 (another example exhibited and illustrated, p. 159) Literature Alan Bowness, ed., Henry Moore Sculpture and Drawings, 1955-64, vol. 3, London, 1965, pls. 154-155, no. 508, p. 58 (another example illustrated) Herbert Read, Henry Moore: A Study of His Life and Work, London, 1965, pl. 229, pp. 238-40 (another example illustrated) John Russell, Henry Moore, London, 1968, pl. 203, p. 193 (another example illustrated) David Sylvester, Henry Moore, exh. cat., Tate Gallery, London, 1968, n.p. Robert Melville, Henry Moore: Sculpture and Drawings 1921-69, London, 1970, n.p. Henry J. Seldis, Henry Moore in America, Los Angeles, 1973, no. 92, p. 237 (present lot illustrated) John Russell, Henry Moore, London, 1975, pl. 131, pp. 138-142 (another example illustrated) Richard Calvocoressi, ‘T.2291, Helmet Head No.4: Interior-Exterior 1963’, The Tate Gallery 1978–80: Illustrated Catalogue of Acquisitions, London, 1981, p. 133 (another example illustrated, p. 132) Alan Bowness, ed., Henry Moore Sculpture and Drawings 1955–64, vol. 3, London, 1986, pl. 155, no. 508 (another example illustrated) Laura Doan, ‘Wombs of War: Henry Moore’s Repositioning of Gender’, Gender, no. 17, Fall 1993, pp. 41-58 Patrick McCaughey, Henry Moore and the Heroic: A Centenary Tribute, exh. cat., Yale Centre for British Art, New Haven, 1999 (another example illustrated) John Hedgecoe, Henry Moore, A Monumental Vision, London, 2005, no. 475, p. 228 (another example illustrated, p. 229)

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

103. Henry Moore

1898-1986

Leaf Figure No. 3 bronze with light green patina, on wood base sculpture 47.9 x 14 x 9.5 cm (18 7/8 x 5 1/2 x 3 3/4 in.) base 2.2 x 15.9 x 11.4 cm (7/8 x 6 1/4 x 4 1/2 in.) overall 50.2 x 15.9 x 11.4 cm (19 3/4 x 6 1/4 x 4 1/2 in.) Executed in 1952, this work is from an edition of 11 plus 1 artist’s proof. This work is recorded in the archives of the Henry Moore Foundation. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ‡ ♠ Provenance Continental Fine Arts (Eric Estorick), New York Acquired from the above by the family of the present owner in 1959 Exhibited San Diego, Art Center in La Jolla; Santa Barbara Museum of Art; Los Angeles Municipal Art Galleries, Barnsdall Park, Henry Moore, 4 August - 1 December 1963, no. 52, n.p. (present lot exhibited and illustrated, erroneously titled as Leaf Figure No. 2) Los Angeles County Museum of Art, Henry Moore in Southern California, 2 October - 18 November 1973, no. 34 (present lot exhibited) Literature Henry J. Seldis, Henry Moore in America, Los Angeles, 1973, no. 34, p. 95 (present lot illustrated) Alan Bowness, ed., Henry Moore: Complete Sculpture, 1949-54, vol. 2, London, 1986, pl. 92, no. 325, p. 43 (another example illustrated, p. 42) John Hedgecoe, Henry Moore, A Monumental Vision, London, 2005, no. 301, p. 216 (another example illustrated)

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

104. Henry Moore

1898-1986

Bird bronze with green patina, on travertine base sculpture 12.7 x 38.1 x 14 cm (5 x 15 x 5 1/2 in.) base 5.4 x 15.2 x 7.6 cm (2 1/8 x 6 x 3 in.) overall 15.9 x 38.1 x 14 cm (6 1/4 x 15 x 5 1/2 in.) Executed in 1959, this work is from an edition of 12 plus 1 artist’s proof. This work is recorded in the archives of the Henry Moore Foundation. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ‡ ♠ Provenance Felix Landau Fine Art, Los Angeles Acquired from the above by the family of the present owner in 1961 Exhibited London, Whitechapel Gallery, Henry Moore: An Exhibition of Sculpture from 1950–1960, 1960, no. 65 (another example exhibited and illustrated) Rome, Galleria Nazionale de Arte Moderna, Henry Moore, 1961, no. 49 (another example exhibited and illustrated) Paris, Musée Rodin, Henry Moore, 1961 , pl. 35, no. 46, n.p. (another example exhibited and illustrated) Oxford, Ashmolean Museum, Henry Moore. Exhibition of Sculpture and Drawings, 23 October - 7 November 1962, pl. 17, no. 29 (another example exhibited and illustrated) La Jolla, Art Centre, Henry Moore, 1963, no. 59 (another example exhibited and illustrated) Folkestone, New Metropole Arts Centre; Plymouth, City Art Gallery, Henry Moore: Sculpture and Drawings, April - July 1966, no. 38 (another example exhibited) Shefeld, Mappin Art Gallery, Henry Moore, July - September 1967, no. 37 (another example exhibited) Otterlo, Rijksmuseum Kröller-Müller, Henry Moore, 1968, no. 99 (another example exhibited and illustrated) Florence, Forte di Belvedere, Mostra di Henry Moore, May - September 1972, no. 105 (another example exhibited and illustrated) Los Angeles County Museum of Art, Henry Moore in Southern

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California, 2 October - 18 November 1973, no. 74, p. 267 (another example exhibited and illustrated, p. 182) Oslo, Henie-Onstad Kunstsenter; Stockholm, Kulturhuset; Aalborg, Nordjyllands Kunstmuseum, Henry Moore: Fem Decennier, Skulptur, Teckning, Grafk 1923–1975, June - November 1975, no. 57 (another example exhibited) Zurich, Zürcher Forum, The Work of the British Sculptor Henry Moore, June - August 1976, no. 61 (another example exhibited) Bradford, Cartwright Hall, Henry Moore: 80th Birthday Exhibition, April - June 1978, no. 81 (another example exhibited and illustrated) London, Tate Gallery, The Henry Moore Gif, June - August 1978, p. 41 (another example exhibited and illustrated) Mexico City, Museo de Arte Moderno, Henry Moore en México: Escultura, Dibujo, Grafca de 1921 a 1982, November 1982 January 1983, no. 56 (another example exhibited) Caracas, Museum of Contemporary Art, Henry Moore: Esculturas, Dibujos, Grabados - Obras de 1921 a 1982, March 1983, no. 123 (another example exhibited and illustrated) Mexico City, Museo Dolores Olmedo, Henry Moore y México, June October 2005, no. 44 (another example exhibited and illustrated) Tate St Ives, Object, Gesture, Grid: St Ives and the International Avant-garde, May - September 2010 (another example exhibited) Literature Alan Bowness, ed., Henry Moore Sculpture and Drawings 1955–64, vol. 3, London, 1965, pls. 78a-b, no. 445 (another example illustrated) John Hedgecoe, ed., Henry Moore, London, 1968, p. 405 (another example illustrated) Robert Melville, Henry Moore: Sculpture and Drawings 1921-69, London, 1970, no. 575 (another example illustrated) Henry J. Seldis, Henry Moore in America, Los Angeles, 1973, no. 74, p. 267 (another example illustrated, p. 182) Richard Calvocoressi, ‘T.2282 Bird’, The Tate Gallery 1978-80: Illustrated Catalogue of Acquisitions, London, 1981, p. 126 (another example illustrated) W.J. Strachan, Henry Moore: Animals, London, 1983, no. 23 (another example illustrated) Alan Bowness, ed., Henry Moore, Complete Sculpture, 1955-1964, vol. 3, London, 1986, pl. 78, no. 445, p. 39 (another example illustrated) John Hedgecoe, Henry Moore, A Monumental Vision, London, 2005, no. 408, p. 224 (another example illustrated)

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The Modern Form: Property from the Collection of Betty and Stanley Sheinbaum

105. Alberto Giacometti

1901-1966

Tête (Head) ballpoint pen on invitation card 8.9 x 6.4 cm (3 1/2 x 2 1/2 in.) Executed circa 1950-1955, this work is recorded in to the Alberto Giacometti Database under number 3897. The Fondation Alberto et Annette Giacometti has kindly confrmed the authenticity of this work. Estimate £4,000-6,000 $5,700-8,500 €4,600-6,800 ‡ Provenance B.C. Holland Gallery, Chicago Acquired from the above by the family of the present owner in 1966

‘Once the object has been constructed, I have a tendency to discover in it, transformed and displaced, images, impressions, facts which have deeply moved me.’ Alberto Giacometti

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Modern Masters Selected Works from the Triton Collection Foundation

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Property from the Triton Collection Foundation

106. Varvara Stepanova

1894-1958

Collage collage on cardboard 18.8 x 13.2 cm (7 3/8 x 5 1/4 in.) Executed circa 1919. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 Provenance Kurt Benedikt Collection, Berlin (acquired from the artist in Russia in the early 1920s) Private Collection (acquired from the above in 1951) Christie’s, London, 5 February 2004, lot 351 Acquired at the above sale by the present owner

Property from the Triton Collection Foundation

107. Giacomo Balla

1871-1958

Mercurio che passa davanti al sole (Mercury passing in front of the sun) signed ‘BALLA’ lower lef pastel on primed board 24.5 x 18.3 cm (9 5/8 x 7 1/4 in.) Executed in 1914. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 ♠ Provenance Galleria Apollinaire, Milan Guido Le Noci Collection, Milan (acquired in 1951) Studio Casoli, Milan (acquired from the above in 1978) Karl & Faber Kunstauktionen GmbH, Munich, 2 December 1997, lot 378 Private Collection Acquired from the above by the present owner in 2003 Exhibited Rome, Villa Medici, Casa Balla e il futurismo a Roma, 1 October - 30 November 1989, p. 188, no. B/14 (illustrated) Zwolle, Museum de Fundatie; Enschede, Rijksmuseum Twenthe, Gevaar & Schoonheid; Turner en de traditie van het sublieme, 5 September 2015 - 3 January 2016, no. 52, p. 63 (illustrated) Literature Sjraar van Heugten, Avant-gardes, 1870 to the present: the Triton collection, London, 2013, p. 242 (illustrated)

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108. Max Ernst

1891-1976

Portrait de ma mère - souvenir de jeunesse (Portrait of my mother - remembrance of youth) signed ‘max ernst’ lower right paper collage on card 31.1 x 25.6 cm (12 1/4 x 10 1/8 in.) Executed in 1968. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 ♠ Provenance Galerie Alphonse Chave, Vence M. Lachowsky, Brussels Acquired from the above by the present owner Exhibited Vence, Galerie Alphonse Chave, Déchets d’atelier, lueurs de génie Max Ernst, 19 March - 15 May 1968, n. p. (illustrated) Literature Werner Spies, Max Ernst Oeuvre-Katalog Werke 1964 - 1969, Cologne, 2007, no. 4432, p. 296 (illustrated)

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109. Man Ray

1890-1976

Idole du pêcheur (Fisherman’s Idol) incised with the artist’s signature and numbered ‘Man Ray E.A’ lower edge bronze 40.3 x 12.5 x 12 cm (15 7/8 x 4 7/8 x 4 3/4 in.) Executed in 1973, this work is an artist’s proof from an edition of 9 plus 3 artist’s proofs. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 Provenance Keitelman Gallery, Brussels Acquired from the above by the present owner Literature Arturo Schwarz, Man Ray. The rigour of Imagination, London, 1977, no. 260, p. 147 (original variant illustrated) Jean-Hubert Martin, Rosalind Krauss and Brigitte Hermann, Man Ray: Objets de mon afection, Sculptures et Objets, Catalogue raisonné, Paris, 1983, no. 37, p. 143 (original variant illustrated, p. 48) Kishin Shinoyama, 'Man Ray atelier', Art Vivant, no. 15, 1985 (another example exhibited) Gérard Durozoi, History of the Surrealist Movement, Chicago and London, 1997, no. 3, p. 79 (original variant illustrated, p. 78)

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Property from the Triton Collection Foundation

110. Germaine Richier

1902-1959

Untitled lead and coloured glass, mounted on slate 66.9 x 43.4 x 40.4 cm (26 3/8 x 17 1/8 x 15 7/8 in.) Executed in 1959, this work is unique. The lead and glass fgure was cast in 1953 and mounted by the artist on the slate element in 1959. Estimate £18,000-25,000 $25,500-35,500 €20,500-28,500 ♠ Provenance The family of the Artist Acquired from the above by the present owner in 2002 Literature Sjraar van Heugten, Avant-gardes, 1870 to the present: the Triton collection, London, 2013, p. 479 (illustrated)

The present work is exemplary of Richier’s adroit mastery of new materials and her skilled ability to capture vitality and movement of organic forms in the medium of lead. Casting her gestural fgures in her studio by pouring molten lead into hollow molds, the artist would then adorn the clay models with jewel-like fragments of coloured glass. Through the casting process, the glass shards would become submerged in the lead which she would subsequently scrape away, creating surprising and dazzling efects through the contrast of the mediums. The present work was created in 1953 and later mounted by the artist to a slate base in 1959, suggesting Richier’s careful consideration regarding the presentation of her distinctive fgures.

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Property from the Triton Collection Foundation

111. Henri Laurens

1885-1954

Femme à l’eventail (Woman with Fan) incised with the artist’s monogram and numbered ‘HL 2/6’ and stamped by the foundry on the lower right side bronze with brown patina 50.8 x 40.6 x 14.6 cm (20 x 16 x 5 3/4 in.) Cast in 1921, this work is number 2 from an edition of 6. Estimate £60,000-90,000 $85,200-128,000 €68,500-103,000 ‡ ♠ Provenance Galerie Louise Leiris, Paris World House Galleries, New York The Estate of Henri-Georges Doll (acquired from the above in 1965) Christie’s, New York, 13 May 1992, lot 239 Private Collection (acquired at the above sale) Leonard Hutton Galleries, New York Acquired from the above by the present owner in 2008 Exhibited New York, World House Galleries, Sculpture, Daumier to Picasso, February - March 1962, no. 38 London, The Hayward Gallery; Belfast, The Ulster Museum, Sculpture and Drawings by Henri Laurens, 1885-1954, 19 May - 30 August 1971, p. 81 (another example exhibited and illustrated, p. 33) Paris, Grand Palais, Henri Laurens, Exposition de la donation aux musées nationaux, May - August, 1967, no. 4, n.p. (another example exhibited and illustrated)

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Property from the Triton Collection Foundation

112. Ossip Zadkine

1890-1967

Le Retour du Fils Prodigue (The Return of the Prodigal Son) incised with the artist’s initials and dated ‘OZ 54’ on the reverse of the base bronze with brown patina 80.4 x 47.5 x 22 cm (31 5/8 x 18 3/4 x 8 5/8 in.) Conceived in 1950 and cast in 1954 by Susse Fondeur, Paris, this work is number 5 from an edition of 5 plus 3 artist’s proofs. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ♠ Provenance Collection Jean Marc Devolf, Paris Acquired from the above by the present owner Exhibited Ottawa, National Gallery of Canada, Ossip Zadkine, October 1956 - July 1957, no. 31, n.p (another example exhibited and illustrated) Nice, Palais de la méditerranée, Sculptures de Laurens, Lipchitz, Richier, Zadkine, Saison 1957 - 1958, 1957 - 1958, no. 43 (another example exhibited) Pittsburgh, Carnegie Institute, The Pittsburgh Bicentennial International Exhibition of Contemporary Painting and Sculpture, 5 December 1958 - 8 February 1959, no. 490 (another example exhibited) Dortmund, Museum am Ostwall, Französische Plastik des 20. Jahrhunderts, May - June 1959, no. 159 (terracotta example exhibited) Paris, Galerie Schmit, Zadkine 1890-1967, 15 April - 15 May 1970, no. 36, p. 50 (another example exhibited) New York, Hirschl and Adler Galleries Inc., Sculpture by Ossip Zadkine 1890-1967, 7 - 31 December 1971, no. 8, p. 14 (another example illustrated) Le Vesinet, Centre des Arts et Loisirs, Un siècle d’art sacre en France, 1884- 1984, 15 December 1984 – 13 January 1985, no. 174 (another example exhibited, incorrectly titled) West Bretton, Yorkshire Sculpture Park, Ossip Zadkine, 21 July - 31 October 1985, no. 14 (another example exhibited, incorrectly dated) Literature Jean Cassou, ed., Ossip Zadkine, Amriswil, 1962, p. 18 (another example exhibited and illustrated) Sylvain Lecombre, Ossip Zadkine. L’Oeuvre sculpté, Paris, 1992, no. 431b, p. 490 (another example illustrated)

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Property from the Triton Collection Foundation

113. Yayoi Kusama

b. 1929

Spring Mars Studay signed, titled and dated ‘“SPRING MARS STUDAY” KUSAMA 1953’ on the reverse pastel and gouache on paper 34.3 x 29.8 cm (13 1/2 x 11 3/4 in.) Executed in 1953, this work is accompanied by a registration card from the Yayoi Kusama Studio. Estimate £90,000-120,000 $128,000-170,000 €103,000-137,000 ‡ Provenance Peter Blum Gallery, New York Anthony Meier Fine Arts, San Francisco Acquired from the above by the present owner in 2009

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114. Howard Hodgkin

1932-2017

Study for the Birthday Party signed, titled and dated ‘Howard Hodgkin “Study for the Birthday Party” 1977’ on the reverse gouache on paper, in artist’s frame sheet 21 x 29.5 cm (8 1/4 x 11 5/8 in.) frame 28.6 x 36.8 cm (11 1/4 x 14 1/2 in.) Executed in 1977. Estimate £12,000-18,000 $17,000-25,500 €13,700-20,500 ‡ ♠ Provenance Family Collection of Vera List, New York Mr Joshua Mack, New York (acquired from the above thence by descent) Private Collection, New York (acquired in 1987)

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Property from a Prominent American Collection

115. Reg Butler

1913 - 1981

Figure in Space bronze 41.3 x 47.6 x 20.3 cm (16 1/4 x 18 3/4 x 8 in.) Executed in 1955. Estimate £18,000-25,000 $25,500-35,500 €20,500-28,500 ‡ ♠ Provenance Private Collection, Florida

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116. Sir Anthony Caro

1924-2013

Writing Piece “Say” rusted steel 63.5 x 57.8 x 25.4 cm (25 x 22 3/4 x 10 in.) Executed in 1979.

Exhibited London, Annely Juda Fine Art, Anthony Caro: Sculpture Through Five Decades, 1955-1994, 8 March - 7 May 1994, no. 25, n. p. (illustrated)

Estimate £35,000-55,000 $49,700-78,100 €39,900-62,800 ‡ ♠

Literature Dieter Blume, ed., Anthony Caro: Catalogue Raisonné, vol. II, Cologne, 1982, no. 548, p. 131 (illustrated)

Provenance Annely Juda Fine Art, London Private Collection, London (acquired in 1994) Annely Juda Fine Art, London (acquired in 2007) Private Collection, New York (acquired in 2007)

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117. Bridget Riley

b. 1931

Red, Green, Blue and Yellow, Five Whites signed, titled and dated ‘Bridget Riley “Red, Green, Blue and Yellow, Five Whites” ‘83’ lower edge gouache on paper 69 x 59 cm (27 1/8 x 23 1/4 in.) Executed in 1983. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ♠ Provenance James Hyman Fine Art, London Private Collection Private Collection (acquired from the above by the present owner)

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118. Bridget Riley

b. 1931

First Study for Fleeting Moment titled ‘“First Study for Fleeting Moment”’ lower lef; further signed and dated ‘Bridget Riley ‘86’ lower right gouache on paper 66.8 x 64.4 cm (26 1/4 x 25 3/8 in.) Executed in 1986. Estimate £50,000-80,000 $71,000-114,000 €57,100-91,300 ♠ † Provenance Mayor Rowan Gallery, London Acquired from the above by the present owner

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119. Victor Vasarely

1906-1997

TSENGUE signed ‘VASARELY’ lower edge; further signed, titled and dated ‘VASARELY “TSENGUE” CONÇUE EN 1960 ACHEVÉE EN 1987’ on the reverse acrylic on board 50.8 x 32.8 cm (20 x 12 7/8 in.) Conceived in 1960 and executed in 1987, this work is accompanied by a certifcate of authenticity from Pierre Vasarely. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ♠ Provenance Private Collection, Bergamo Private Collection, Milan

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120. Victor Vasarely

1906-1997

BISTALT signed ‘Vasarely’ lower right; further signed, titled, inscribed and dated ‘VASARELY - No 999B “BISTALT” 1969 Vasarely’ on the reverse acrylic on canvas 199.4 x 119.4 cm (78 1/ 2 x 47 in.) Painted in 1969, this work is accompanied by a certifcate of authenticity signed and dated by the artist. Estimate £80,000-120,000 $114,000-170,000 €91,300-137,000 ‡ ♠ Provenance Private Collection, United States (acquired directly from the artist) Acquired from the above by the present owner

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121. Yves Klein

1928-1962

La Victoire de Samothrace (S 9) incised with the artist’s initials and dated ‘YK 62’ on the right wing; further numbered ‘115/175’ on reverse of the fgure; further numbered ‘115/175’ on the underside of the base dry pigment and synthetic resin on plaster, metallic rod and stone base 49 x 24.5 x 31.5 cm (19 1/4 x 9 5/ 8 x 12 3/ 8 in.) Conceived in 1962 and posthumously cast in 1973, this work is number 115 from an edition of 175 plus 25 hors commerce, 25 épreuves d’artiste and 3 copies with specifc identifcations. Estimate £100,000-150,000 $142,000-213,000 €114,000-171,000 ‡ ♠ Provenance Galerie Micheline Szwajcer, Antwerp Private Collection, Belgium Gifed by the above to the present owner in the 1980s Exhibited Kaarst, Gallery 44, Yves Klein und seine Freunde, October 1986 - January 1987 (another example exhibited) Parma, Galleria d’Arte Niccoli, Une probabile umore dell’idea, April - May 1989, p. 33 (another example exhibited and illustrated) London, Galerie Gimpel, Yves Klein, June - September 1994 (another example exhibited) Cologne, Museum Ludwig; London, Hayward Gallery; Madrid, Museo Nacional Centro de Arte Reina Sofía, Yves Klein, 8 November 1994 - 29 August 1995, no. 112, p. 247 (another example exhibited and illustrated) Rome, Palazzo delle Esposizioni, Citta natura, Mostra internazionale di arte contemporanea, April 1997 (another example exhibited) Vienna, Kunsthalle, Engel, Legenden der Gegenwart, June - September 1997, p. 221 (another example exhibited and illustrated) Le Bourget, Musée de l’air et de l’espace, L’art, l’air et l’espace, October 1999 (another example exhibited) Hong Kong Museum of Art, Nice Movements Contemporary French Art, April - June 2000, p. 64 (another example exhibited and illustrated) Musée d’art moderne et d’art contemporain de Nice; Prato, Centro per l’arte contemporanea Luigi Pecci, Yves Klein. La Vie, la vie elle-même qui est l’art absolu, April 2000 January 2001, p. 182 (another example exhibited and illustrated) Museu de arte de Macau, Du Nouveau Réalisme à Supports Surfaces, July - August 2000, p. 89 (another example exhibited and illustrated) Pietrasanta, Flora Bigai, Nel blu dipinto di blu Yves Klein, July - September 2004, n.p. (another example exhibited and illustrated) Angers, Musée des Beaux Arts; Roanne, Musée Joseph Dechelette; Carcassonne, Musée des Beaux-Arts; Coblence, Museum Ludwig; LAAC Dunkerque, Marie Raymond - Yves Klein, November 2004 - June 2007, p. 175 (another example exhibited and illustrated) Bilbao, Guggenheim Museum, Yves Klein, January - May 2005 (another example exhibited)

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Paris, Galerie Rive Gauche, Yves Klein et Niki de Saint Phalle, February - March 2005 (another example exhibited) Paris, Galeries Nationales du Grand Palais; Hannover, Sprengel Museum, Nouveau Réalisme: Revolution des Alltäglichen, March 2007 - January 2008 (another example exhibited) Lugano, Museo d’Arte & Sculture in Città, Yves Klein & Rotraut, May - September 2009, pp. 178-179 (another example exhibited and illustrated) Madrid, Circulo de Bellas Arte, Marie Raymond - Yves Klein Herencias, October 2009 - January 2010, p. 160 (another example exhibited and illustrated) Venice, Ca’ Corner della Regina, The Small Utopia, Ars Multiplicata, Summer 2012 (another example exhibited) Isle-sur-la-Sorgue, Villa Datris, Sculpture du Sud, May - November 2014 (another example exhibited) Zurich, Hotel Baur au Lac, Art in the Park, June - July 2014 (another example exhibited) Literature Yves Klein, exh. cat., Jewish Museum, New York, 1967, p. 51 (another example illustrated) Paul Wember, Yves Klein, Cologne, 1969, no. S9, p. 97 (another example illustrated) Premier volet des collections, exh. cat., Musée d’Art Moderne et Contemporain, Nice, 1990, p. 11 (another example illustrated) Claude Fournet, Musées de Nice - Musée d’Art Moderne et Contemporain, Paris, 1990, p. 31 (another example illustrated) Marco Livingstone, Pop Art, A Continuing History, Paris, 1990, no. 67, p. 54 (another example illustrated) Claude Fournet and Jacqueline Péglion, eds., Chroniques niçoises - Genèse d’un Musée, Nice, 1991, n.p. Sidra Stich, Yves Klein, Ostfldern-Ruit, 1994, p. 247 (another example illustrated) Gilles-François Picard, Yves Klein ou la Révolution bleue, Paris, 1997, p. 104 (another example illustrated) Jean-Paul Ledeur, Yves Klein: Catalogue raisonné des éditions, et sculptures éditées, Knokke-Le-Zoute, 2000, no. S9 Nicholas Charlet, Yves Klein, Paris, 2000, p. 231 (another example illustrated) Hannah Weitermeier, Yves Klein, 1928-1962: International Klein Blue, London, 2001, p. 2 (another example illustrated) Janny Lumeau, Des mots bleus por “Klein le monochrome”, France, 2003 (another example illustrated, cover) Véronique Prat, La Collection de Georges et Claude Pompidou, Paris, 2004, p. 81 (another example illustrated) Léo Pajon, La Victoire de Samothrace, Paris, 2005, p. 118 (another example illustrated) Sandrine Andrews, Yves Klein à la conquète de l’espace, Paris, 2006, p. 26 (another example illustrated) Le Nouveau Réalisme, exh. cat., Musée National d’Art Moderne and Centre Georges Pompidou, Paris, 2007, p. 199 (another example illustrated) Kunst der Gegenwart/1960 bis 2007, exh. cat., Städtisches Museum Abteiberg Mönchengladbach, 2007, p. 207 (another example illustrated) Yves Klein - The Venus Project, exh. cat., Zurich, Galerie Gmurzynska, 2014, p. 34 (another example illustrated) Giovanni Lista, ‘Les sculptures d’Yves Klein et le spatialisme de Lucio Fontana’, Ligeia dossiers sur l’art, Paris, vol. XXVII, no. 129-132, January - July 2014, p. 25 (another example illustrated)

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122. Jef Verheyen

1932-1984

De eeuwige beweging (The eternal movement) signed and dated ‘Jef Verheyen ‘80’ on the reverse oil on canvas, in artist’s frame 81.2 x 81.2 cm (31 7/8 x 31 7/8 in.) Painted in 1980. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ♠ Provenance Guillaume Campo, Antwerp Acquired from the above by the present owner

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123. Heinz Mack

b. 1931

Licht-Regen-Relief (Light rain relief) incised with the artist’s signature and dated ‘Mack ‘58’ lower centre aluminium on painted wood 44 x 54 cm (17 3/8 x 21 1/4 in.) Executed in 1958. Estimate £60,000-80,000 $85,200-114,000 €68,500-91,300 ♠ Provenance Clemens Collection, Ratingen Kunsthaus Lempertz, Cologne, 2 June 2010, lot 815 Acquired at the above sale by the present owner Literature Dieter Honisch, Mack. Skulpturen. 1953-1986, Düsseldorf, 1986, no. 474 (illustrated)

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124. Agostino Bonalumi

1935-2013

Bianco signed and dated ‘Bonalumi 79’ on the reverse shaped canvas and vinyl tempera 90.7 x 90.7 cm (35 3/4 x 35 3/4 in.) Executed in 1979, this work is accompanied by a certifcate of authenticity and is recorded in the Archivio Bonalumi under the archive number 79-050. Estimate £80,000-100,000 $114,000-142,000 €91,300-114,000 ♠ Provenance Private Collection, Europe Dorotheum, Vienna, 25 November 2009, lot 15 Acquired at the above sale by the present owner Literature Fabrizio Bonalumi and Marco Meneguzzo, eds., Agostino Bonalumi: Catalogo ragionato, vol. II, Milan, 2015, no. 847, p. 520 (illustrated)

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125. Piero Manzoni

1933-1963

Linea (frammento) enamel on paper circa 20 x 55 cm (7 7/8 x 21 5/8 in.) Executed circa 1959. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 ♠ Provenance Sergio Dangelo, Milan Dorotheum, Vienna, 24 November 2011, lot 1407 Acquired at the above sale by the present owner Literature Germano Celant and Piero Manzoni, Catalogo Generale, Milan, 1975, no. 9 ct, p. 168 (illustrated) Freddy Battino, Luca Palazzoli and Piero Manzoni, Catalogue Raisonné, Milan, 1991, no. 236 BM, p. 244 (illustrated) Germano Celant, Piero Manzoni, Catalogo Generale, vol. II, Milan, 2004, no. 578, p. 478 (illustrated)

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126. Piero Dorazio

1927-2005

Reticolo signed and dated ‘DORAZIO ‘64’ lower right; further signed, titled and dated ‘P. DORAZIO “RETICOLO” 1964’ on the reverse tempera on paper laid on burlap 59.3 x 80.2 cm (23 3/8 x 31 5/8 in.) Executed in 1964. Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100 ♠ Provenance Private Collection, Milan Private Collection, Milan (acquired from the above) Exhibited Parma, Galleria D’arte Niccoli, Dorazio 100 lavori su carta 1946-1989, 14 October - 30 November 1989, no. 39, p. 128 (illustrated, p. 54)

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127. Michelangelo Pistoletto

b. 1933

Gabriella signed, titled, inscribed and dated ‘Michelangelo Pistoletto 1987 >Gabriella< Non esiste luce se non c’é un posto su cui essa si posa’ on the reverse silkscreen on polished stainless steel mirror 120 x 100 cm (47 1/4 x 39 3/8 in.) Executed in 1987. Estimate £200,000-300,000 $284,000-426,000 €228,000-342,000 ‡ ♠ Provenance Gabriella Papini (gifed by the artist in 1987) Private Collection, Milan (acquired in 2013) Barbara Mathes Gallery, New York Acquired from the above by the present owner

‘The true protagonist was the relationship of instantaneousness that was created between the spectator, his own reflection, and the painted figure, in an ever-present movement that concentrated the past and the figure in itself to such an extent as to cause one to call their very existence into doubt: it was the dimension of time itself.’ Michelangelo Pistoletto

Exhibited New York, Barbara Mathes Gallery, Refections, 8 September - 22 October 2016

Gabriella, a refective stainless steel surface with the photosilkscreened image of a woman in a black suit, is a seminal example of Michelangelo Pistoletto’s most celebrated series, the Quadri Specchianti or Mirror Paintings. Frustrated with the traditional imitative relationship between painting and reality, from a very young age the artist sought a diferent medium to express his vision and found it in the unbounded and infnite nature of the mirror. The present work was a personal gif from the artist to his subject and friend, Gabriella Papini, in 1987.

At the heart of the artist’s Quadri Specchianti lie the friends, acquaintances, fellow artists and studio visitors who became the subjects of his work. The artist rarely identifed his subjects by name, even when featuring easily recognisable characters such as the dealer Gian Enzo Sperone or fellow artist Alighiero Boetti. Unlike Bacon, who expressed the anguish and pain of the human condition in his portraits, Pistoletto sought to make his subjects expressionless and impersonal and, thus, universal.

In 1956 the artist began experimenting with a number of different surfaces for his autoritratti, a series which was infuenced by the Francis Bacon exhibition Pistoletto had seen at Galatea Galleria d’Arte Contemporanea in Turin. He had perfected his technique by 1962 when he substituted glossy backgrounds with highly polished and mirror-like stainless steel surfaces upon which he pasted photo-like images. Initially hand painted and traced onto thin tissue paper, then reversed and pasted onto a steel plate, the images later became more mechanically formulated. Afer 1971, the artist began to silkscreen four-colour printed images, creating an oeuvre that continues to pose both artistic and intellectual challenges today.

In the present work, a beautiful woman wearing a black suit and a white shirt confronts us. Holding a large bag, her body and gaze are directed away from the viewer. Her face is enigmatic, half smiling as though inviting the viewer to join her somewhere, and half sad, as if she was about to depart the scene. Floating in space and time, Gabriella is waiting for the onlooker’s refection to interact with her. A phenomenological device that ofers a transitory experience, the mirror draws the spectator in, inviting them to become an active participant in dialogue with the work. Gabriella, an archetypal and exemplary composition, masterfully distorts the boundaries between past and present, illusion and reality, art and life.

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SILO TO CANVAS ADD DROP SHADOW

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128. Mimmo Rotella

1918-2006

Lichtenstein signed and dated ‘Rotella ‘68’ lower right; further titled ‘“Lichtenstein”’ on the reverse Artypo on canvas 63 x 48.2 cm (24 3/4 x 18 7/8 in.) Executed in 1968. Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100 ♠ Provenance Galleria del Naviglio, Milan Private Collection, New York Private Collection, Italy Dorotheum, Vienna, 29 November 2012, lot 1557 Acquired at the above sale by the present owner

129. Giuseppe Penone

b. 1947

26 Unghiate signed and dated ‘Giuseppe Penone 1989’ on the reverse plaster and card laid on canvas 101.6 x 142.3 cm (40 x 56 in.) Executed in 1989. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ♠ Provenance Liliane et Michel Durant Dessert Gallery, Paris Acquired from the above by the present owner

Literature Tommaso Trini, Rotella, Milan, 1974, n. p. (illustrated, incorrect dimensions cited)

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130. Tano Festa

1938-1987

Finestra (Window) signed and dated ‘Festa ‘85’ on the reverse oil on wood with metal hinges closed 100 x 80 x 11.2 cm (39 3/8 x 31 1/2 x 4 3/8 in.) open 100 x 155 x 11.2 cm (39 3/8 x 61 x 4 3/8 in.) Executed in 1985, this work is registered in the Studio Soligo-Archivio Storico Tano Festa. Estimate £8,000-12,000 $11,400-17,000 €9,100-13,700 ♠ Provenance Private Collection, Italy Private Collection, Austria Dorotheum, Vienna, 30 May 2006, lot 81 Acquired at the above sale by the present owner Alternate view

131. Mario Schifano

1934-1998

Untitled signed ‘Schifano’ lower right enamel and acrylic on canvas 203.8 x 107 cm (80 1/4 x 42 1/8 in.) Executed in 1974-1978, this work is accompanied by a certifcate of authenticity and is registered in the Archivio Mario Schifano under number 03478170624. Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 ♠ Provenance Private Collection, Rome

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132. Domenico Bianchi

b. 1955

Untitled signed with the artist’s initials and dated ‘D.B. 96’ on the reverse wax on canvas laid on board, in artist’s frame 80.8 x 61.1 cm (31 3/4 x 24 in.) Executed in 1996. Estimate £5,000-7,000 $7,100-9,900 €5,700-8,000 ♠ Provenance Private Collection, Italy (acquired directly from the artist)

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133. Ettore Spalletti

b. 1940

Sorriso, Colore signed, titled and dated ‘Sorriso, Colore 1995 Ettore Spalletti’ on the reverse pigment and oil on alabaster 35 x 35 cm (13 3/4 x 13 3/4 in.) Executed in 1995. Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 ♠ Provenance Private Collection Patrick De Brock, Knokke-Heist Acquired from the above by the present owner

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134. Jannis Kounellis

1936-2017

Untitled steel, metal, painted wood and wax 98.8 x 155.3 x 15 cm (38 7/8 x 61 1/8 x 5 7/8 in.) Executed in 1984. Estimate £100,000-150,000 $142,000-213,000 €114,000-171,000 ♠ † Provenance Daniel Weinberg Gallery, San Francisco Sonnabend Gallery, New York Gallery Xippas, Paris Private Collection, Athens

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135. Alighiero Boetti

1940-1994

Senza titolo (Alighiero e Boetti) signed ‘Alighiero Boetti’ lower edge coloured pencil, gouache, pencil and paper on paper 70.2 x 50.1 cm (27 5/8 x 19 3/4 in.) Executed circa 1986, this work is accompanied by a certifcate of authenticity provided by the Archivio Alighiero Boetti, Rome, and is registered under number 240. Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100 ♠ Provenance Galerie Eric Franck, Geneva Dorotheum, Vienna, 19 June 2012, lot 185 Acquired at the above sale by the present owner

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136. Bernard Aubertin

1934-2015

Tableau Clous signed and dated ‘Bernard Aubertin 1969’ on the reverse nails and acrylic on wood 49.5 x 49.5 cm (19 1/2 x 19 1/2 in.) 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 TCLR96-100075423. Estimate £7,000-9,000 $9,900-12,800 €8,000-10,300 ♠ Provenance Private Collection, Italy

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Property from the Triton Collection Foundation

137. Alexander Calder

1898-1976

Le Lézard et le Tétard (The Lizard and the Tadpole) woven with the artist’s signature ‘Calder’ lower lef; further woven with the Ateliers Pinton Manufactures monogram ‘FP’ lower right; further woven with the number ‘5/6’ on the reverse handwoven tapestry 163.4 x 270.2 cm (64 3/8 x 106 3/8 in.) Executed circa 1970, this work is number 5 from an edition of 6 plus 2 artist’s proofs. Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100 Provenance Private Collection Dumousset, Deburaux, Lenormand, Dayen, 28 June 2001, lot 36 Acquired at the above sale by the present owner Exhibited The Arts Club of Chicago, Aubusson Tapestries by Alexander Calder, 15 November - 30 December 1972, no. 18 (another example exhibited)

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138. Bruce Nauman

b. 1941

139. Sol LeWitt

1928-2007

Untitled signed and dated ‘Nauman 1987’ lower right photo collage on card 21.3 x 29.8 cm (8 3/8 x 11 3/4 in.) Executed in 1987.

Untitled signed and dated ‘S LeWitt ‘92’ lower right gouache on card 35.2 x 28.2 cm (13 7/8 x 11 1/8 in.) Executed in 1992.

Estimate £18,000-22,000 $25,500-31,200 €20,500-25,100

Estimate £3,000-5,000 $4,300-7,100 €3,400-5,700

Provenance Schönewald Fine Arts, Dusseldorf Private Collection, Switzerland

Provenance Private Collection Dorotheum, Vienna, 28 November 2006, lot 297 Acquired at the above sale by the present owner

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140. James Lee Byars

1932-1997

TSOL gold pen on coloured paper 104.4 x 29 cm (41 1/8 x 11 3/8 in.) Executed circa 1986. Estimate ÂŁ8,000-12,000 $11,400-17,000 â&#x201A;Ź9,100-13,700 Provenance Galerie Michael Werner, Cologne Acquired from the above by the present owner

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Contemporary

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141. Laura Owens

b. 1970

Untitled signed, titled and dated ‘“Untitled” 2004 L Owens’ on the turnover edge oil and acrylic on linen 59.9 x 46.8 cm (23 5/8 x 18 3/8 in.) Painted in 2004. Estimate £50,000-70,000 $71,000-99,300 €57,100-79,900 Provenance Atle Gerhardsen Gallery, Berlin Private Collection Phillips de Pury & Company, London, 13 February 2009, lot 104 Acquired at the above sale by the present owner Exhibited Berlin, Atle Gerhardsen Gallery, Never Never Landscape, 10 September - 23 October 2004 Literature Beatrix Ruf, Rod Mengham and Gloria Sutton, Laura Owens, Zurich, 2006, no. 152, p. 214-215 (illustrated)

‘I feel like there’s a space of personal freedom for me where my art-making happens. When I go to that space, I’m completely in this world of possibility.’ Laura Owens

Painted in 2004, Laura Owens’ earthy composition, Untitled is a prominent example of the artist’s pioneering and innovative approach to painting. One of the most infuential artists of her generation, Owens has most recently been celebrated in her mid-career survey at the Whitney Museum of American Art that opened in November 2017, cementing her reputation on an international platform. Exemplary of the artist’s keen interest in the function of painting, Owens employs illusionistic techniques, drawing on an encyclopedic range of sources from folk art, needlework and wallpaper to high art, to form her seemingly naïve depictions. Guided by her personal life and interests, Owens creates canvases imbued with a sense of delight and discovery. Recognized for her pursuit of unfamiliar forms and paintings that address the physical and associative qualities of geographical locations, Owens’ work resonates with a varied range of almost poetical sources. The present work, a furry of decorative, horticultural forms, appears familiar in ornament, recalling patterned floral wallpaper, whilst simultaneously being removed from a landscape or definable context.

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142. Lesley Vance

b. 1977

Untitled signed and dated ‘Lesley Vance 2011’ on the reverse oil on canvas 42 x 32 cm (16 1/2 x 12 5/8 in.) Painted in 2011. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 Provenance David Kordansky Gallery, Los Angeles Galleria Il Capricorno, Venice Private Collection, Italy

‘I like the idea that the forms in my paintings might unwind, but you can’t trace the steps back. I want it to be a singular boom. It is an object that exists, and you don’t question it, but the longer you look at it, you fnd yourself trying to. You don’t know what the frst move was; it unravels in a weird way, like a labyrinth. You don’t know what is the beginning or what is the end; it is very circular. One move foats and becomes part of another form. That is true to how I make them. I work intuitively; I’m counting on the paint to tell me what to do. I’m following the lead of the painting, and the process of making the painting helps determine what the painting is going to be.’ Lesley Vance

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143. Josh Smith

b. 1976

Untitled signed and dated ‘JOSH SMITH 2014’ on the reverse oil on panel 75.5 x 60.3 cm (29 3/4 x 23 3/4 in.) Painted in 2014. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 † Provenance Almine Rech Gallery, London Luhring Augustine, New York Acquired from the above by the present owner

144. Stanley Whitney

b. 1946

Slow Walk No. #2 signed, titled and dated ‘2016 “Slow Walk No. #2” Stanley Whitney’ on the reverse oil on linen 121.9 x 121.9 cm (48 x 48 in.) Painted in 2016. Estimate £30,000-50,000 $42,600-71,000 €34,200-57,100 ‡ Provenance Lisson Gallery, London Acquired from the above by the present owner Exhibited London, Lisson Gallery, Stanley Whitney: Radical Times, 20 May - 2 July 2016

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145. Jonas Wood

b. 1977

Studio Still Life gouache and pencil on paper 139.2 x 102 cm (54 3/4 x 40 1/8 in.) Executed in 2012. Estimate £50,000-70,000 $71,000-99,300 €57,100-79,900 Provenance Private Collection, United Kingdom Acquired from the above by the present owner

‘The paintings are based on images that I have had around for a while. Then I decide, “I choose you.” That is based on two things – the shapes and forms, and the loaded choice of imagery that is going to carry everything else. They are images that I realize, after a long time of looking and thinking about them, resonate with me. They might remind me of something, bring me back to some place.’ Jonas Wood

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146. Wolfgang Tillmans

b. 1968

Freischwimmer 63 signed, titled, inscribed and dated ‘Wolfgang Tillmans “Freischwimmer 63” unique 2004’ on the reverse chromogenic print, in artist’s frame sheet 50.5 x 60.9 cm (19 7/8 x 23 7/8 in.) frame 54.4 x 64.4 cm (21 3/8 x 25 3/8 in.) Executed in 2004, this work is unique. Estimate £30,000-50,000 $42,600-71,000 €34,200-57,100 ♠ Provenance Galerie Daniel Buchholz, Cologne Acquired from the above by the present owner

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147. Wolfgang Tillmans

b. 1968

Urgency XXVI signed and numbered ‘Wolfgang Tillmans 1/1+1’ on a label afxed to the reverse chromogenic print mounted on Dibond, in artist’s frame 238 x 180.9 cm (93 3/4 x 71 1/4 in.) Executed in 2006, this work is number 1 from an edition of 1 plus 1 artist’s proof. Estimate £90,000-150,000 $128,000-213,000 €103,000-171,000 ♠ Provenance David Zwirner, New York Private Collection Acquired from the above by the present owner

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148. Lynette Yiadom-Boakye

b. 1977

The Separate signed with the artist’s initials, titled and dated ‘LYB 2011 “The Separate”’ on the reverse oil on canvas 160 x 200 cm (63 x 78 3/4 in.) Painted in 2011. Estimate £100,000-150,000 $142,000-213,000 €114,000-171,000 ‡ ♠ Provenance Jack Shainman Gallery, New York Private Collection, New York (acquired from the above)

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Andrew Wyeth, Christina’s World, 1948, tempera on gessoed panel, Museum of Modern Art, New York © Andrew Wyeth / ARS, NY and DACS, London 2018 Image: Scala, Florence

‘...I think that's why I like the outdoors, because it removes a sense of time and I want the painting to feel timeless, because it increases that sense of omnipotence.’ Lynette Yiadom-Boakye

Painted in 2011, The Separate is a strikingly potent afrmation of Lynette Yiadom-Boakye’s stylistic and technical achievements as a portrait painter. In the present work, the celebrated artist has drawn subject matter from her recollections and memory to masterfully produce a characterful study of a fctional fgure that exists outside of time and space. Throughout her oeuvre, Yiadom-Boakye has developed a series of works with a distinct painterly aesthetic, drawing upon a deep and sumptuous colour palette, as exemplifed in The Separate. The artist’s mastery of various painterly techniques converges with her nuanced re-examination of the tradition of portraiture, forming a new and progressive visual language. In The Separate, the sole figure reclines, smiling upon the grassy banks above the blurred coastal seascape. Having worked from life models whilst studying at Central Saint Martins College of Art and Design in London, Yiadom-Boakye went on to reject this traditional form of study. Departing from established techniques associated with portraiture, the artist began relying on her own imagination to formulate her compositions. Presented here is a fctional female fgure set within an unknown landscape, a carefully ambiguous cipher of her imagination. The title of the work is equally unclear, proving a lyrical accompaniment to the work; ‘the separate’ is applicable to both fgure or setting and with no other clues

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as to the circumstances, the viewer is left to complete the story in his or her own mind. The actions of the protagonists in Yiadom-Boakye paintings regularly undertake quotidian actions. Whether they are walking to work, having a cup of coffee, going for a swim, relaxing, or taking a moment of refection, their stances and everyday activities are more leisurely than bold. The momentary scenarios appear unfxed to any defnitive associations and present themselves to us in a transitory snapshot. The genius behind Yiadom-Boakye’s compositional technique is the spontaneous painterly improvisation which she applies to the entirety of her work. The artist is renowned for completing her canvases within a limited time frame, often in a day, to best capture a single moment or stream of consciousness. She refrains from creating or relying on preliminary sketches, instead proficiently improvising on the canvas. This technique reveals fuid, expressive brushstrokes that defne the fgure and surroundings. Both reflecting on and challenging the preceding art historical canon, the artist seeks to define a new painterly syntax through her own technical experimentations with language and painting as a medium. Yiadom-Boakye’s portraits feature a predominantly black cast of characters. As discussed with Hans Ulrich Obrist,

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the artist explained, ‘Race is something that I can completely manipulate, or reinvent, or use as I want to. Also, they’re all black because...I’m not white.’ (Yiadom-Boakye, quoted in Hans Ulrich Obrist, ‘Lynette Yiadom-Boakye interview by Hans Ulrich Obrist,’ Kaleidoscope, no. 15, 2012, p. 102). The artist’s paintings are not solely concerned with simply inserting the black fgure into an overwhelmingly white canon, but provide a much deeper and intricate survey of the human state. As Yiadom-Boakye maintains: ‘People are tempted to politicize the fact that I paint black figures, and the complexity of this is an essential part of the work. But my starting point is always the language of painting itself and how that relates to the subject matter.’ (Yiadom-Boakye, quoted in Hans Ulrich Obrist, ‘Lynette YiadomBoakye interview by Hans Ulrich Obrist,’ Kaleidoscope, no. 15, 2012, p. 102) The brilliance of Yiadom-Boakye’s work has been widely acknowledged; the artist’s work was presented within the 2013 Venice Biennale, short-listed for the 2013 Turner Prize, and celebrated in solo exhibitions at the Serpentine Gallery, London, the Haus der Kunst, Munich, and the Kunsthalle, Basel and most recently at the New Museum, New York. The present lot demonstrates the capability of the artist’s evocative imagination and fast paced enigmatic working process, invoking drama and vitality into her exquisite canvasses.

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149. George Condo

b. 1957

French Maid Variation signed and dated ‘Condo ‘05’ upper lef; further signed, titled and dated ‘Condo ‘05 “French Maid Variation”’ on the reverse oil on canvas, in artist’s frame 132.2 x 115 cm (52 x 45 1/4 in.) Painted in 2005. Estimate £400,000-600,000 $568,000-852,000 €456,000-685,000 Provenance Xavier Hufens, Brussels Private Collection, Belgium Exhibited Brussels, Xavier Hufens, George Condo: Existential Portraits, 26 January - 4 March 2006, p. 37 (illustrated)

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Clockwise: Pablo Picasso Las Meninas, Maria Augustina Sarmiento, 1957 oil on canvas Museo Picasso, Barcelona, Spain Image: Museo Picasso, Barcelona, Spain/ Bridgeman Images © Succession Picasso/DACS, London 2018

Installation view, Xavier Hufkens, Brussels, George Condo: Existential Portraits, 2006 Photo credit: Allard Bovenberg, Amsterdam Courtesy: the Artist and Xavier Hufkens, Brussels

Frans Hals Portrait of a Woman with a Fan, 1640 oil on canvas National Gallery, London Image: Bridgeman Images. National Gallery, London

Celebrated for his highly stylized and explorative oeuvre, George Condo’s body of work is comprised of an amalgamation of paintings, sculptures and drawings that showcase his ability to create deeply complex artifcial realities. Since the 1980s, Condo has pioneered a distinctly individual approach towards the human fgure by embracing the traditional form of portrait painting, whilst rejecting its most formal and academic principles. The artist skilfully dissects his sitter by transforming the everyday human subject into disparate threatening psychological states, surrendering themselves to the painter’s visual interpretation. The present work emits both shock and delight; Condo’s unique pictorial inventions continue to surprise and, at times, horrify, suspending the viewer in a state of awe. Having frst worked within Andy Warhol’s Factory as a writer and subsequently as a silk screener, Condo befriended prominent artists of the day, namely Jean Michel Basquiat and Keith Haring, though resolutely determined that he would not follow the post-Pop style. The artist’s earliest experimentations bare the hallmarks of the incredible efusion that the artist would develop throughout his

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practise. Most prominent in Condo’s works since 2000 is his increasingly troubling variation on conventional genres such as the portrait. Within his portraits, the artist presents an incredible selection of familiar subjects – from Madonnas and Clowns to cartoons and Playboy bunnies – all of which had previously existed only on the periphery of his consciousness. Reoccurring fgures manifest throughout Condo’s portraiture, such as the artists’ imaginary butler Jean Louis, alongside his accompanying host of relatives and acquaintances. The present work demonstrates the artist’s preoccupation with the female figure. Executed in the early twenty-first century, the portrait exemplifes Condo’s incomparable talent of turning the everyday fgure into a mutation derived from his innermost imagination. Consistently painting whilst travelling throughout Europe, Condo develops his subjects from imaginary fgures that manifested themselves in his mind during his travels. Painted in 2005, French Maid Variation typifes the artist’s portraits of this period. The motif of the French maid appears recurrently within the artist’s figurative work; having portrayed the service woman in several compositions, each

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time Condo varies the contorted pose, metamorphosing new grotesque facial structures. Within the present composition, the maid’s eye bulges out of the socket to directly meet the gaze of the viewer. Her entire body structure is nonsensical, from the snapping disfgured teeth to the contorted arm that emphasises the two-dimensionality of the canvas’ surface. A composite of various psychological states painted in opposing ways, the present portrait refects the madness of everyday life. The artist’s imaginative and varied visual artistic language pays tribute to an amalgamation of canonical infuences– from the eloquence of the Old Masters to the dynamism of Picasso’s Cubism. Throughout his oeuvre, Condo pays homage to Picasso’s work and in the 1980s coined the term ‘psychological cubism’ and ‘artifcial realism’ to eloquently summarise his approach. Drawing upon the language of Modernist abstraction, Condo combines the vocabulary of the past with an innovative painterly edge which oscillates between abstraction and fguration. The mastery of Condo’s painterly technique, his strong characterisation of the fgures set against a timeless backdrop, creates an efect that is both stylistically elegant and disturbing. The artist’s vision, embodied by the present work, uniquely and imaginatively re-contextualizes the canon of art history.

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150. Jonas Wood

b. 1977

Untitled (Grey Dots) signed with the artist’s initials, titled and dated ‘JBRW 2010 “Untitled (Grey Dots)” JBRW 2010’ on the reverse acrylic on canvas 121.8 x 91.6 cm (47 7/8 x 36 1/8 in.) Painted in 2010. Estimate £100,000-150,000 $142,000-213,000 €114,000-171,000 Provenance Acquired directly from the artist by the present owner

Untitled (Grey Dots), Jonas Wood’s simplified still life painting from 2010 depicts and objectifies his favoured subject matter, the plant. Muted tones are paired with dynamic shapes to present an image in fux, caught between the movement of leaves and the weight of the plant pot. Inviting the viewer into his chosen space, Wood instils the work with a mirage of memory. Intensifying, whilst simultaneously reducing, a quotidian scene, the stylised composition presents the onlooker with Wood’s theatrical extremes of scale. Geometrically arranged silhouettes appear to foat in time and space, devoid of context and perspective, the artist consciously bestrides modernist abstraction and fguration. The simplifed composition of compressed forms invokes Alexander Calder’s abstractly geometric and dynamic mobiles. Commenting on the artist’s influence and practice, Wood notes: ‘Calder would cut a shape out of metal, paint it bright yellow, attach it to a long stick, and hang it from the ceiling. These New Plant paintings are exploring shape and repetition

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in that same way – through suspension in space’ (Jonas Wood, quoted in Hammer Projects: Jonas Wood, exh. cat., Hammer Museum, Los Angeles, 2010, p. 7). Referencing the tonality rather than the subject matter through the works given title, Untitled (Grey Dots), the artist emphasises the importance of shape and colour over his preferred horticultural subject matter. Like his artistic forbearers, the likes of David Hockney and Henri Matisse, Wood’s opus is committed to representing his surroundings, in particular familiar domestic spaces. Like Hockney and Matisse before him Wood adopts an overtly fattened perspective. In the present composition his conscious choice of bold shapes emphasises the illusion of distorted space. Presenting an ostensibly flat plane, proportions and perspective become secondary to the illusionary and carefully composed work. Through his abstract interpretation of the familiar subject matter, the artist uncompromisingly permits the composition to evoke nostalgia, transporting the viewer into the tranquil landscape of interior scenery.

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151. Jonas Wood

b. 1977

152. Shara Hughes

b. 1981

Downstairs Bathroom signed with the artist’s initials and dated ‘JBRW 2009’ on the reverse gouache, coloured pencil and paper collage on paper 85.7 x 56.2 cm (33 3/4 x 22 1/8 in.) Executed in 2009.

Vermont signed, titled and dated ‘Shara Hughes 2007 “Vermont”’ on the reverse enamel, acrylic, oil, spray paint and balloons on canvas 117 x 122 cm (46 1/8 x 48 in.) Executed in 2007.

Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ‡

Estimate £8,000-12,000 $11,400-17,000 €9,100-13,700

Provenance Shane Campbell Gallery, Chicago Private Collection (acquired from the above in 2011) Christie’s, London, 7 October 2016, lot 311 Acquired at the above sale by the present owner

Provenance Museum 52, New York Acquired from the above by the present owner

Exhibited Chicago, Shane Campbell Gallery, Roe Ethridge, Margarete Jakschik, Jonas Wood, 16 July - 27 August 2011

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Exhibited Rivoli, Metroquadro, Shara Hughes: I knocked. Then without waiting to be asked I went in, 28 May - 25 June 2009, p. 15 (illustrated)

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153. Ilya Kabakov

b. 1933

In the Park 1972 signed, titled and dated [in Cyrillic] ‘I. Kabakov, 2002 “I. Kabakov In the Park 1972”’ on the reverse oil on canvas, in artist’s frame 236.4 x 190.5 cm (93 1/8 x 75 in.) Painted in 2002. Estimate £150,000-250,000 $213,000-355,000 €171,000-285,000 ‡ Provenance Thaddaeus Ropac Gallery, Paris Acquired from the above by the present owner Exhibited Museum of Contemporary Art Cleveland, Ilya/Emilia Kabakov: An Alternative History of Art Rosenthal Kabakov Spivak, 10 September 2004 - 2 January 2005, no. 223, p. 182 (illustrated) New York, Sean Kelly Gallery, Ilya & Emilia Kabakov, Ilya Kabakov Paintings, 22 April - 27 May 2006 Literature Renate Petzinger and Emilia Kabakov, eds., Ilya Kabakov Paintings / Gemälde 1957 - 2008 Catalogue Raisonné, vol. II, Bielefeld, no. 431, p. 151 (illustrated, incorrectly titled and dated)

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Aleksei Vasilev They are Writing about us in ‘Pravda’, 1951 oil on canvas Springville Museum of Art, Utah © Springville Museum of Art, Utah / Bridgeman Images

‘Fear is the reason for making art. It is a means to freedom.’ Ilya Kabakov

Transporting the onlooker into an alternate reality, In the Park 1972, from 2002, condenses Ilya Kabakov’s continued preoccupation with presenting the deceptive and vulnerable nature of memory. A distinguished canvas, the present work was exhibited at Sean Kelly Gallery in Kabakov’s frst gallery exhibition of paintings in New York in 2008. A testament to his enduring legacy, the artist has recently been celebrated together with his wife - and collaborator - Emilia, at the Hirshhorn Museum in Washington, D. C. and the Tate Modern in London. Central to Kabakov’s oeuvre is the notion of memory and forgetting, commenting and reacting to the dogmatic rewriting of Soviet history that cultivated endless instability within the collective cultural memory. Merging memory with wistfulness, the artist engages with the pictorial and visual culture of the Soviet Union. Having grown up in the Soviet Union, his nostalgic canvasses serve as a portal, a means of escape from the standardised artistic norms of Soviet Realist propaganda and social restrictions imposed on Communist Russian society. With his controversial and thought-provoking artistic output, Kabakov is regarded as one of the leading creative theoreticians of the past three decades and a crucial fgure of Moscow Conceptualism, the prominent Russian art movement of the 1980s. Presenting the viewer with a painterly and wholesome scene, a seemingly Russian landscape, the canvas is evocative of the homegrown Soviet Socialist Realist style. Kabakov takes established Soviet Realism as a starting point from which to depart, recalling the work of Aleksei Vasilev. The landscape is stripped of its traditional structure, deconstructing the pastoral scene as the artist ofers an alternate reading of the history of 20th century Russian art. Overpowering the plane with the

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dark, geometric border, Kabakov juxtaposes the naturalistic with the abstract. Transient memories draw the viewer towards the artist’s contemplative realm whilst the gloom of the painted perimeter forces the viewer to reexamine the meaning of the traditional familial scene. Placing the pastoral scene within a new context, the artist carefully brings the modernist abstract qualities to the fore and elevates the canvas towards abstraction. Challenging the traditional aesthetic, the work psychologically comments on the difculties and restrictions on creativity faced by the artist and his generation in the USSR. In its title, In the Park 1972 directly references the year of Alexei Kosygin’s 1972 Soviet economic reform. Whilst not explicitly citing the economic restructuring, the artist raises the issue of the reform which was never fully implemented. Purposefully presenting us with a seemingly idealistic landscape, Kabakov poignantly questions and decontextualizes the social structure of the Soviet society through his artistic medium and probes the controversial and critiqued nature of proposed and unsuccessful changes. In In the Park 1972, the aesthetic roots of Soviet imagery are no longer grounded. Confronting the viewer with a paradox and building obstacles between the viewer and their perception, the artist underlines the challenging and controversial nature of publicised reality. Exploiting the fragility of memory, Kabakov references the impressionable and unreliable nature of recollection. Deconstructing preconceived artistic norms, the artist invites the viewer to engage in the reciprocal dialogue of his composition. Critiquing and commenting on Soviet society, its values and realities, Kabakov transforms a tranquil and rustic scene into a dimensional canvas of historical and political signifcance. In the Park 1972 is exemplary of Kabakov’s ability to question notions of perception and memory, juxtaposing art historical and familiar scenes with the future of the modernist model of creativity.

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154. Yue Minjun

b. 1962

Backyard Garden signed and dated ‘yue minjun 2005’ lower right, further signed, titled and dated ‘“Back Garden” Yue Minjun 2005 [in Chinese]’ on the reverse oil on canvas 170.2 x 140.1 cm (67 x 55 1/8 in.) Painted in 2005. Estimate £150,000-250,000 $213,000-355,000 €171,000-285,000 ‡ Provenance Private Collection, United States (acquired directly from the artist) Exhibited Shenzhen, He Xiangning Art Museum, Reproduction Icons: Yue Minjun Works: 2004-2006, 3 - 11 June 2006, p. 46 (illustrated)

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‘My work is to do with the fundamental agony of being human and the sense of confusion that comes with living in our society.’ Yue Minjun

Immediately humorous and instantly recognisable, Yue Minjun’s laughing characters have become internationally iconic and celebrated as a pinnacle cornerstone of contemporary Chinese art. Backyard Garden, painted in 2005, is exemplary of Yue’s signature satiric self-portraits, depicted in his seminal realist style and intense colour palette. A leading fgure of the Chinese Cynical Realism movement, the present work depicts a solitary fgure, bent double laughing, both arms and legs supported by the rocky riverbank. Conveying a sense of unbridled emotion, Yue’s protagonists confront the viewer with their intense display of feeling, forcing the onlooker to delve deeper into the moment of hysteria presented before us. In the present work, Yue’s fgure, with his raw pink skin and bared squared teeth, plunges the viewer into an uncanny microcosm whereby we are suspended in a familiar yet unrecognisable overly-hyped reality. Even though we usually associate laugher with mirth, in Backyard Garden the fgure’s laughter has become almost too much to physically bare. Reduced to a primal state, bent over on all fours, the fgure has crumbled, doubled in laughter, his frenzied howling has almost turned to an unbearable state. The relentlessness of the fgure’s laughter has transposed his grin into a grimace, his convulsive joy has lef him crouched in pain. This ambiguity emphasises the farcical nature of the scene; Yue’s character has become ridiculous, his laughter bitter sweet. The dichotomy between laughter and sorrow is bridged in the present work, rendering a deeply psychological and emotive reading of the unrestrained figure’s plight. A defning member of the Cynical Realist movement, Yue’s canvasses convey a critical examination of China’s cultural history through his subtle and nuanced visual signifiers. The rocky surface of the backdrop bears cultural resonance through its comparable aesthetic with the traditional Gongshi (Chinese Scholar’s Rocks), the rocks admired in Chinese literature, traditional art and philosophy which ofen adorn back gardens. Behind these stones a large expanse of water peacefully laps behind the fgure’s episode, conveying the dream-like, transitory nature of the scene. The heady sun overhead beats down on the figure, adding a sense of claustrophobia and intensity to the composition, burning the fgure’s already scorched pink skin. As the title implies, the viewer is aforded an intimate glimpse of a private scene, away from the peering eyes of the public. However, the juxtaposition between the rock surface and the swimming

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pool-like background confuses the viewer, presenting competing locations and jarring the recognisability of the scene. Drawing upon traditional Chinese references, Yue incorporates elements of the vast wealth of Chinese culture, which have been embraced and conversely challenged at varying times during China’s history. The sanitisation of personal identity during The Cultural Revolution in China and the erosion of free speech is addressed in Backyard Garden through the fgure. Baring a resemblance to the artist himself, the fgures in Yue’s paintings have become the artist’s caricature, a painterly alter ego. The repetition of the same fgure throughout his practice alludes to the systematic degradation of individual free speech. The fgure’s iconic laughing face conveys a cynicism of the system which has become ridiculous. Sufering from a sense of apathy, the only reaction Yue’s characters can muster is laughter, trying to make light of the deeply complex history which has had a tremendous efect on Chinese citizens and culture. Despite using himself as his main subject, his aim is not to create a self-portrait. As stated by Yue: ‘A caricature could express so much more humanity, and having decided that this would be my ultimate subject, why not create a caricature of myself to convey the stories I wanted to relate to’ (Yue Minjun, quoted in Karen Smith, ‘Yue Minjun by Himself’, Reproduction Icons: Yue Minjun Works, 2004-2006, exh. cat., He Xiangning Art Museum, Shenzhen, 2006, p. 20). Thrusting the viewer into his jubilant scenes of unrestrained hilarity, Yue’s distinct painterly voice prompts all viewers of his work to question the relationship between laughing and crying. Ofen characterised as polar opposite states of being, Yue seeks to close the gulf between the two, making the onlooker question their own reactive emotions. The compressed face and animalistic stature of the figure indicates that he has been overcome with emotion, however the viewer is lef guessing as to what the source of his amusement is. Yue’s realist paint application, as well as his incorporation of a traditional Chinese backdrop, is an ode to Chinese history, drawing upon political posters and, conversely, traditional watercolours. Seemingly at odds with the cartoon element of his characterisation, Yue incorporates a complex web of connotations in his vibrant paintings, masterfully conveying the vast enormity of his country which is comprised of a rich tapestry of history, culture and individual voices and stories. An internationally celebrated painter and leading artist of his generation, Yue Minjun remains one of China’s most progressive voices, as exemplified by the present lot.

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155. KAWS

b. 1974

Accomplice fbreglass resin and rubberised paint 305 x 121 x 63 cm (120 1/8 x 47 5/8 x 24 3/4 in.) Executed in 2010, this work is number 3 from an edition of 3 plus 1 artist’s proof. Estimate £300,000-500,000 $426,000-710,000 €342,000-571,000 ‡ Provenance Honor Fraser, Los Angeles Private Collection, Europe Phillips, London, 15 October 2014, lot 47 Private Collection, Hong Kong (acquired at the above sale) Private Collection, New York Exhibited Paris, Galerie Emmanuel Perrotin, KAWS: Pay the Debt to Nature, 6 November - 23 December 2010 (another example exhibited) Philadelphia, Pennsylvania Academy of Fine Arts, KAWS @ PAFA, 12 October 2013 - 5 January 2014 (another example exhibited)

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KAWS, FINAL DAYS (2013), Galerie Perrotin, Frieze Sculpture 2017 Photo by Stephen White Courtesy of Stephen White/Frieze

‘I started working with the skull and crossbones around the time I moved to Manhattan. The X was the simplest form of that. If I had to pare it down to the most recognizable point, it would be X - and I haven't gotten bored of it. KAWS

Brooklyn-based artist KAWS re-appropriates bits of popular culture and transforms them into eye catching iconic sculptures and paintings. His cartoon characters, recognizable to the media savvy public, undergo a sardonic set of alterations. Beginning his career in New York, he initiated his ‘forced collaborations’ by marking up fashion advertisements found in New York City phone booths, adding his own signature motifs to already existing photographic imagery and eventually expanding his practice to paintings and sculptures of varying sizes. The present lot, Accomplice from 2010 stands at a towering height in a childlike pink hue and is skilfully accented with KAWS’ iconic white gloves and signature ‘X’ eyes. Drawing reference to a pink Bugs Bunny, he also adorned the fgure with a white bib, bow and cotton ball tail. Though visually

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charming and simplistic, the process behind fabricating Accomplice is in fact quite complex, as he must translate his vision in the round, working in 3D modelling software. Beginning as table top toys, KAWS explains that to him, toys were a way to enter into sculpture practice and, as he comments, ‘the only way I could see my work threedimensionally.’ (KAWS, quoted in Kathryn Branch, ‘The KAWS Efect,’ T Magazine, 7 June 2011) Blown up to life-size scale, the present lot playfully draws upon a connection to the art historical tradition of figurative sculpture, beginning with Egyptian sarcophagi. The resulting sculpture is an adultsized toy, injecting humour into more mature notions of life and death as signifed by the ancient symbols it recalls. The sculptural characters KAWS creates fuse childhood whimsy with a melancholic twist, as in the present lot, a beloved childhood cartoon suspiciously titled Accomplice.

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156. KAWS

b. 1974

Untitled (Color) signed and dated ‘KAWS ‘15’ on the reverse acrylic on canvas 147.3 x 121.9 cm (58 x 48 in.) Painted in 2015. Estimate £100,000-150,000 $142,000-213,000 €114,000-171,000 ‡ Provenance Tissoni Collection Private Collection

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157. KAWS

b. 1974

Keep Moving signed, numbered and dated ‘KAWS ‘12’ 1 OF TWO PARTS’ on the reverse of lef part; further numbered ‘2 OF TWO PARTS’ on the reverse of right part acrylic on canvas, in 2 parts lef part 198 x 78.2 cm (77 7/8 x 30 3/4 in.) right part 189 x 79 cm (74 3/8 x 31 1/8 in.) overall dimensions variable Executed in 2012. Estimate £150,000-250,000 $213,000-355,000 €171,000-285,000 Provenance Perrotin, Hong Kong Acquired from the above by the present owner Exhibited Hong Kong, Galerie Perrotin, Kaws: The Nature of Need, 16 May 2012 - 30 June 2012 Museum of Modern Art Fort Worth; Shanghai, Yuz Museum, Where the End Starts KAWS, 20 October - 28 July 2017, fg. 8, pp. 69, 73, 88 (illustrated)

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158. Zeng Fanzhi

b. 1964

Mao signed with the artist’s initials ‘zFz’ lower right oil on canvas 59.7 x 59.7 cm (23 1/2 x 23 1/2 in.) Painted circa 2002. Estimate £70,000-90,000 $99,300-128,000 €79,900-103,000 ‡ Provenance Private Collection

159. Yayoi Kusama

b. 1929

Fallen Blossoms signed, titled and dated ‘Yayoi Kusama “Fallen Blossoms” [in Japanese] 1990’ on the reverse acrylic on canvas 41 x 31.6 cm (16 1/8 x 12 1/2 in.) Painted in 1990, this work is registered with the Yayoi Kusama Studio under no. 0171. Estimate £80,000-120,000 $114,000-170,000 €91,300-137,000 Provenance Private Collection Sotheby’s, Olympia, 18 June 2007, lot 694 Acquired at the above sale by the present owner

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160. Kim Tschang-Yeul

b. 1929

Waterdrops SH 83003 signed, titled and dated ‘SH 83003-1983 T. Kim’ [in English and in Han-ja]’ on the right turnover edge oil on hemp cloth 120.9 x 194.8 cm (47 5/8 x 76 3/4 in.) Painted in 1983. Estimate £120,000-180,000 $170,000-255,000 €137,000-205,000 ‡ Provenance Private Collection, Korea Gallery Juyoung, Seoul Private Collection, Asia

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161. Arakawa

1936-2010

Four Combs signed and dated ‘S. ARAKAWA 63’ upper lef oil, Biro and coloured pencil on canvas 105.3 x 81.5 cm (41 1/2 x 32 1/8 in.) Executed in 1963. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 Provenance Private Collection (acquired directly from the artist in 1963) Private Collection, Rhineland Acquired from the above by the present owner

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162. Jef Elrod

b. 1966

Fantasy Island UV ink on canvas 228.3 x 163.2 cm (89 7/8 x 64 1/4 in.) Executed in 2013. Estimate £100,000-150,000 $142,000-213,000 €114,000-171,000 Provenance Texas Gallery, Houston Private Collection, London Exhibited Houston, Texas Gallery, Jef Elrod and Jeremy DePrez: Fantasy Island, 30 May - 6 July 2013

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163. Dan Colen

b. 1979

Spill the Blood fowers on bleached Belgian linen 162.1 x 172.7 cm (63 7/8 x 67 7/8 in.) Executed in 2013. Estimate £90,000-150,000 $128,000-213,000 €103,000-171,000 Provenance Gagosian Gallery, London Private Collection, London Exhibited Edinburgh, Inverleith House, Dan Colen: The Illusion of Life, 12 October - 24 November 2013

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164. Damien Hirst

b. 1965

Underworld signed, titled and dated ‘2008 “Underworld” Damien Hirst’ lower edge butterfies and household gloss on paper 139.2 x 138 cm (54 3/4 x 54 3/8 in.) Executed in 2008. Estimate £100,000-150,000 $142,000-213,000 €114,000-171,000 ‡ ♠ Provenance Damien Hirst - Beautiful Inside My Head Forever, Sotheby’s, London, 16 September 2008, lot 230 Acquired at the above sale by the present owner

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165. Antony Gormley

b. 1950

Sprawl Model cast iron 5.5 x 16.6 x 21.5 cm (2 1/8 x 6 1/2 x 8 1/2 in.) Executed in 2012. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ‡ ♠ Provenance White Cube, London Private Collection (acquired from the above)

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166. Damien Hirst

b. 1965

Beautiful Ataguju Abreaction Painting for Mark (with Diamonds) signed, titled, dedicated and dated ‘2011 Thank you man!!! For Mark [heart] Damien Hirst “Beautiful Ataguji Abreaction Painting for Mark (with Diamonds)”’ on the reverse; further signed ‘D Hirst’ on the stretcher Cubic zirconia and household gloss on canvas diameter 121.9 cm (48 in.) Executed in 2011. Estimate £120,000-180,000 $170,000-255,000 €137,000-205,000 ♠ Provenance Private Collection, London (gifed by the artist)

‘I love colour. I feel it inside me. It gives me a buzz.’ Damien Hirst

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167. Barbara Kruger

b. 1945

Shame It Blame It mixed media on vinyl 316 x 365 cm (124 3/8 x 143 3/4 in.) Executed in 2010. Estimate £150,000-200,000 $213,000-284,000 €171,000-228,000 ‡ ♠ Provenance Sprüth Magers Gallery, Berlin Gary Tatintsian Gallery, Moscow Private Collection Exhibited Moscow, National Centre for Contemporary Arts, Mystifers, 12 February - 20 March 2016, p. 14 (illustrated)

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168. Sherrie Levine

b. 1947

L’Enfant Juif dated ‘06’ on the inside lower edge of the head element bronze, in 2 parts head 22 x 16 x 16 cm (8 5/8 x 6 1/4 x 6 1/4 in.) hand 9.5 x 19 x 12 cm (3 3/4 x 7 1/2 x 4 3/4 in.) overall dimensions variable Executed in 2006, this work is number 2 from an edition of 12. Estimate £60,000-80,000 $85,200-114,000 €68,500-91,300 Provenance Jablonka Galerie, Berlin Acquired from the above by the present owner Exhibited Berlin, Jablonka Galerie, Sherrie Levine, New Work, 2 June - 18 August 2007 (another example exhibited and illustrated) Krefeld, Museum Haus Lang, Sherrie Levine - Paris and Posses, 10 October 2010 - 6 February 2011, no. 12, p. 68 (another example exhibited and illustrated, p. 69)

‘I try to make art which celebrates doubt and uncertainty. Which provokes answers but doesn’t give them.’ Sherrie Levine

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Property from a Belgian Collector

169. Louise Lawler

b. 1947

Claudio’s signed, numbered and dated ‘Louise A. Lawler 1994/2003 2/5’ on the reverse digital Cibachrome mounted on aluminium 48.3 x 48.3 cm (19 x 19 in.) Executed in 1994/2003, this work is number 2 from an edition of 5. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 Provenance Kunstnernes Hus, Oslo S.L. Simpson Gallery, Toronto Private Collection, New York Acquired from the above by the present owner

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Property from a Belgian Collector

170. Louise Lawler

b. 1947

Three gelatin silver print and embossed mat 72.7 x 82.6 cm (28 5/8 x 32 1/ 2 in.) Executed in 1984, this work is number 1 from an edition of 5. Estimate ÂŁ10,000-15,000 $14,200-21,300 â&#x201A;Ź11,400-17,100 Provenance Metro Pictures, New York Acquired from the above by the present owner in 2005

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171. Francis Alÿs

b. 1959

24 works: i) Sunpath, Mexico City 06.11.98 11.05am; ii) Sunpath, Mexico City 06.11.98 11.15am; iii) Sunpath, Mexico City 14.12.98 11.05am; iv) Sunpath, Mexico City 14.12.98 12.15pm; v) Sunpath, Mexico City 24.03.99 4.00pm; vi) Sunpath, Mexico City 24.03.99 4.20pm; vii) Sunpath, Mexico City 24.03.99 17.00pm; viii) Sunpath, Mexico City 21.04.99 11.45am; ix) Sunpath, Mexico City 21.04.99 12.00pm; x) Sunpath, Mexico City 21.04.99 2.45pm; xi) Sunpath, Mexico City 27.04.99 6.13pm; xii) Sunpath, Mexico City 27.04.99 6.15pm; xiii) Sunpath, Mexico City 20.05.99 2.15pm; xiv) Sunpath, Mexico City 20.05.99 2.30pm; xv) Sunpath, Mexico City 20.05.99 3.05pm; xvi) Sunpath, Mexico City 20.05.99 15.30pm; xvii) Sunpath, Mexico City 20.05.99 4.15pm; xviii) Sunpath, Mexico City 20.05.99 4.30pm; xix) Sunpath, Mexico City 20.05.99 4.45 pm; xx) Sunpath, Mexico City 20.05.99 4.45 pm; xxi) Sunpath, Mexico City 20.05.99 5.45pm; xxii) Sunpath, Mexico City 20.05.99 18.30pm; xxiii) Sunpath, Mexico City 21.05.99 1.15pm; xxiv) Sunpath, Mexico City 21.05.99 1.15pm

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each stamped '©1999 Zócalo, México D.F./ Francis Alÿs' lower lef; each further stamped '©1999 Zócalo, México D.F./ Francis Alÿs' on the reverse archival pigment print laid down on sunpath chart, in artist’s wood frame each 29.8 x 61 cm (11 3/4 x 24 in.) Executed in 1999, each work is number 4 from an edition of 4. Estimate £70,000-100,000 $99,300-142,000 €79,900-114,000 ‡ ♠ Provenance Lisson Gallery, London Acquired from the above by the present owne. Exhibited London, Lisson Gallery, Francis Alÿs, 14 December 1999 - 29 January 2000 (other examples exhibited)

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Confronted by the cultural and physical landscape of Mexico City, Francis Alÿs literally began walking it, and these contemplative walks and poetic wanderings are his strategy to explore these complexities. An iconic motif for the artist, the Zócalo, Mexico City’s historic main square, was built over what was once the heart of the Aztec capital by the Spanish Conquistador Hernán Cortés to symbolize his triumph over the indigenous people. The Zócalo has since become a stage for demonstrations of power and public expression. Given the historical importance of this shared space, it is no surprise that the artist used this site as a backdrop for many of his most celebrated early works, such as Cuentos Patrióticos (Patriotic Tales) (1997), Zócalo (1999), and Sunpath, Mexico City (1999). Alÿs realized that his work is a product of the interaction between reality and its record. This interaction is exemplifed in the present lot, Sunpath, Mexico City (1999), an exceptional installation and the only intact edition of the complete 24 photographs composing the project, juxtaposed with sunpath

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diagrams. In each photograph, a shadow is cast from the towering central fagpole that displays the Mexican national fag, with people gathering in the shadow. Recalling a sundial, Sunpath, Mexico City meticulously documents the hustle and bustle of any normal day, between eleven o’clock in the morning and six o’clock in the afernoon, when the square is at its busiest. Yet bystanders are not simply taking refuge from the sun, but also ‘provoking a sculptural situation, through social encounter’ (Francis Alÿs and Cuauhtémoc Medina, eds. Francis Alÿs: a story of deception, exh. cat., Museum of Modern Art, New York, 2010, p. 100), indirectly informing us about the diferent times of day. Likewise, and ‘within this constant phenomenon of movement you also have moments of complete freeze’ (Matthew Crookes, ed., Artspace, New Zealand, 2008, p. 11) much like movies in the 1940s and 1950s. Ultimately, Sunpath, Mexico City, attests to the conceptual complexity that Francis Alÿs produces, evincing dialogues centered on acute observation, urban explorations and engagement with quotidian life.

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172. Rudolf Stingel

b. 1956

Untitled 100% polyamide carpet 1.4 x 450 x 381 cm (0 1/2 x 177 1/8 x 150 in.) Executed in 2012. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ‡ ♠ Provenance Sadie Coles, London Private Collection Acquired from the above by the present owner Exhibited Venice, Palazzo Grassi, Rudolf Stingel, 7 April - 31 December 2013

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173. Manolo Valdés

b. 1942

Abanico Azul signed, titled and dated ‘MValdes “Abanico azul” 2004’ on the reverse oil on burlap 148.5 x 196 cm (58 1/2 x 77 1/8 in.) Executed in 2004. Estimate £100,000-150,000 $142,000-213,000 €114,000-171,000 ♠ Provenance Marlborough Gallery, Monaco Acquired from the above by the present owner Exhibited Reggio Emilia, Palazzo Magnani, Manolo Valdés: Il perenne retaggio dell’ arte, 2 April - 22 May 2005, p. 89 (illustrated) St. Petersburg, State Russian Museum, Manolo Valdés, 17 July - 28 September 2008

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174. Sigmar Polke

1941-2010

Untitled signed and dated ‘Sigmar Polke 2004’ lower lef gouache on paper 198.1 x 149.2 cm (78 x 58 3/4 in.) Executed in 2004. Estimate £250,000-350,000 $355,000-497,000 €285,000-399,000 ‡ ♠ Provenance Galleri Bo Bjerggaard, Copenhagen Acquired from the above by the present owner We are most grateful to Mr. Michael Trier, Artistic Director from the Estate of Sigmar Polke, for his assistance with the cataloguing of this work.

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Albert Oehlen, Assistance in Drawing, 1995 gouache, graphite, ballpoint pen and ink on paper Saint Louis Art Museum, Missouri © 2018 Albert Oehlen Image: Bridgeman Images

The present work, a painterly synthesis on paper, is emblematic of Sigmar Polke’s experimental and multifarious oeuvre. Celebrated alchemist and master of materials, Polke has an investigative approach to creation which radiates from the surface of the sheet. Through the present multi-faceted and gestural composition, the artist engages with varying modes of creation. Stacking gestural strokes across the plane, the artist dissects the traditional relationship between fore- and background. The metallic, painterly ground bleeds through from beneath the artist’s gestural intervention; through his alchemic experiments, Polke creates a mesmerisingly hallucinatory effect and challenges the truth of imagery. An absolute master of mediums, ‘Polke allowed materials to determine the process rather than the other way around, a strategy that can be seen as a means of removing subjectivity or the authorial power of the artist from the act of painting’ (Mark Godfrey, Alibis: Sigmar Polke 1963-2010, exh. cat., Museum of Modern Art, New York, 2014, p. 134). Consistently unsettling and questioning preconceived notions of creation, the artist pushes the work towards the extremes of artistic production.

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Alternating between the darker and worked painterly areas at the lower edge of the plane and the radiating, violet hues of the material ground, Polke instills the work with dynamism. Emphasising the visual oscillation between the metallic ground and the artist’s meandering forms is the concentration and juxtaposition of the thick black and fner black shapes to the lower edge of the composition. Whilst abstract in form, the gestural lines and visual uncertainty of the plane provide the work with a symbolic quality. The hybrid and abstract nature of the composition and predominance of the linear forms evoke the arabesque-like whirls of Albert Oehlen, who studied painting under the tutelage of Polke at the Academy of Fine Arts, Hamburg, in the late 1970s. Each artist pioneered new methods of creation, experimenting with materials and engaging unusual forms of presentation. Both artists seek to explore the gestural and abstract nature of their composition whilst rebelling against the principal aesthetic of their respective times. The present composition brings together varied chemicals from decades of unbounded experimentation with materials and media. Constantly re-evaluating pictorial possibilities, Polke’s diverse oeuvre – the product of his alchemic experimentation and international travels - has cemented the artist as a seminal fgure in the canon of post-war art.

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175. Thomas Schütte

b. 1954

United Enemies (A Play in Ten Scenes) each signed, numbered and dated ‘Thomas Schütte 1994 35/35’ lower right margin portfolio of 10 ofset lithographs each 66.5 x 96 cm (26 1/8 x 37 3/4 in.) Executed in 1994, this work is number 35 from an edition of 35. Estimate £100,000-150,000 $142,000-213,000 €114,000-171,000 ‡ ♠ Provenance Wako Works of Art, Tokyo Private Collection (acquired from the above) Acquired from the above by the present owner Exhibited Stuttgart, Württembergischer Kunstverein; Hamburger Kunsthalle, THOMAS SCHÜTTE: Figur, 6 May - 16 October 1994, p. 71 (another example exhibited and illustrated, p. 73) Tokyo, Wako Works of Art, Thomas Schütte, 1995, pp. 3-15 (another example exhibited and illustrated) Leeds, Bowes Museum, Private View: Contemporary Art, 4 May- 28 July 1996, pp. 41, 92 (another example exhibited and illustrated) Seattle, Henry Art Gallery, Surrogate: The Figure in Contemporary Sculpture and Photography, 1998-1999 (another example exhibited) Krefeld, Kaiser Wilhem Museum; Kunsthalle Nurnberg, Artist’s Proof Graphical/Photographical Works from the 60s to the 90s, 6 September 1998 – 7 March 1999, p. 46, 155-159 (another example exhibited and illustrated) Kunstmuseum Winterthur; Musée de Grenoble; Dusseldorf, Kunstsammlung Nordrhein-Westfalen, Thomas Schütte, Kreuzzug, 2 June 2003 – 7 August 2004, p. 61 (illustrated) London, Faggionato Fine Arts, Thomas Schütte: United Enemies, 2009 (another example exhibited) Los Angeles, Maloney Fine Art, Thomas Schütte. United Enemies: A Play in Ten Scenes, 2010 (another example exhibited) Madrid, Museo Nacional Centro de Arte Reina Sofía, Thomas Schütte: Hindsight, 2010, pp. 154-155, 198 (another example illustrated and exhibited, p. 151) New York, Skarstedt Gallery, Thomas Schütte. Selected Works, 30 September - 30 October 2010 (another example exhibited) Literature Kunstforum Bd., no. 128, October - December 1994, p. 260 (another example illustrated) Das Kunst-Bulletin, no. 10, October 1994, p. 16 (another example illustrated) Art in America, no. 5, May 1995, p. 107 (another example illustrated) Julian Heynen, James Lingwood and Angela Vettese, Thomas Schütte, London, 1998, pp. 26-27 (another example illustrated) Thomas Schütte, exh. cat., Whitechapel Art Gallery, London, 1998, pp. 26-28 and 95 (another example illustrated on the cover) Parkett, no. 47, Zurich, 1996, p. 98 (another example illustrated) Wolfsburg, Collected Works 1: Contemporary Art since 1968, exh. cat., Kunstmuseum, Wolfsburg, 1999, pp. 390-391 (another example illustrated) Thomas Schütte, exh. cat., Sammlung Goetz, Munich, 2001, pp. 53-55 (another example illustrated) Ulrich Loock, Thomas Schütte; Herausgegeben von der Friedrich Christian Flick Collection, Cologne, 2004, no. 23, pp. 123- 125 (another example illustrated)

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Unnerving and intriguing, Thomas Schütte’s United Enemies (A play in Ten Scenes) is exemplary of the artist’s experiments with the expressive potential of the human form. From his series of sculptures and photographs concerned with mortality and the curiosity of humanity, the ghoul-like fgures dramatically present the distorted extremes of humanity. With exaggerated features and extravagant facial gestures, the fgures comment on the paradoxical nature of the human condition, channelling the 17th and 18th century fascination with the excesses of emotion and facial expression. The prints, based upon the sculptures, are exemplary of the interwoven nature of the artist’s multi-disciplinary and varied oeuvre. Formed in malleable Fimo polymer modelling clay, the artist dressed the modest figures in cloth before binding them together with cord. Placing each pair against a lit background, Schütte photographed the spirits before enlarging the image and creating his series of prints. The artist subsequently added a feck of white pigment to the iris of each eye, emphasising the intriguing hollowness of each haunting figure. In United Enemies: A Play in Ten Scenes, the artist builds cinematographic settings, choreographing a production of sorts with his puppet theatre arranged with lights and a stage. Describing the forms as a ‘defnitive model for a permanent situation’ (Thomas Schütte, quoted in Hans Ulrich Obrist, ‘Reality Production: Thomas Schütte’, Mousse Magazine, no. 28, April–May 2011, online), the artist considered his United Enemies (A Play in Ten Scenes) an investigation into the novelty of relation and the interaction between friends and enemies. From another realm, yet formed to question the marvel of human existence, the inhuman fgures from Schütte’s whimsical oeuvre exude unnerving yet exuberant agony. Having studied under Gerhard Richter and Fritz Schwegler at the Kunstakademie Düsseldorf, Schütte became entwined in fundamental debates surrounding sculpture in the 1970s. Following this, concerned with the legacies of conceptualism and minimalism, the artist studied classical sculpture in Rome, ascribing some of his inspiration to busts of Roman portraits in the Capitoline Museum. The ashen, hairless fgures presented in Schütte’s prints juxtapose the familiar and individual with the immense. Exuding mortality and packed with human expression, the present work explores symbolic artistic customs whilst interrogating the emotion of human relation.

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176. Norbert Schwontkowski

b. 1949

Wenn ich schon lange tot bin signed and dated 'Schwontkowski 2005' on the reverse 180.7 x 200.7 cm (71 1/8 x 79 in.) Painted in 2005. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ‡ ♠ Provenance Contemporary Fine Arts, Berlin Gary Tatintsian Gallery, Moscow Private Collection Exhibited Berlin, Contemporary Fine Arts, Norbert Schwontkowski: Vertigo, 24 November - 27 January 2006

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177. Daniel Richter

b. 1962

The Decorative Immigrant signed, titled and dated ‘D. Richter “tHE Decorative IMMiGRANT” 2015’ on the reverse oil on canvas 140.8 x 200.7 cm (55 3/8 x 79 in.) Painted in 2015. Estimate £80,000-120,000 $114,000-170,000 €91,300-137,000 ‡ ♠ Provenance Galleri Bo Bjerggaard, Copenhagen Acquired from the above by the present owner Exhibited Copenhagen, Galleri Bo Bjerggaard, Daniel Richter: New Works, 19 August - 24 October 2015, n.p. (illustrated)

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178. Jonathan Meese

b. 1970

Revolte, 1000 x Keuschheit goldene Diamantin die Totalvölkische signed, titled and dated ‘“Revolte, 1000 x Keuschheit goldene Diamantin die Totalvölkische” J Meese ‘07 J Meese ‘07’ on the reverse oil on canvas 210 x 140.4 cm (82 5/8 x 55 1/4 in.) Executed in 2007. Estimate £12,000-18,000 $17,000-25,500 €13,700-20,500 ♠ Provenance Contemporary Fine Arts, Berlin Skarstedt Gallery, London Acquired from the above by the present owner

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179. A.R. Penck

1939-2017

Horse Racing acrylic on canvas 250.2 x 301 cm (98 1/2 x 118 1/2 in.) Painted in 1983. Estimate £90,000-150,000 $128,000-213,000 €103,000-171,000 ‡ ♠

Provenance Galerie Michael Werner, Cologne Studio Cannaviello, Milan Galerie Thomas, Munich Christie’s, London, 29 June 1999, lot 62 Private Collection Christie’s, London, 24 June 2005, lot 189 Private Collection Exhibited Munich, A11 Art Forum; Darmstadt, Mathildenhöhe; Ljubljana, Moderne Galerie; Neue Galerie der Stadt Linz, Kunst der 80er Jahre, Sammlung Thomas. Kunst aus den achtiziger Jahre, May 1987 - June 1988, p. 17 (illustrated)

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180. Gerhard Richter

b. 1932

Rot - Blau - Gelb [338-35] signed, numbered and dated ‘35 Richter ‘73’ on the reverse oil on canvas 26.4 x 53.4 cm (10 3/8 x 21 in.) Painted in 1973. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ♠ Provenance Acquired directly from the artist by the present owner's father

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Literature Dietmar Elger, Gerhard Richter Catalogue Raisonné 1968 - 1976, vol. II, Dresden, 1993, no. 338 1-100, pp. 508, 509 (illustrated) Suzanne Pagé, Jacob Wenzel, Björn Springfield, Kasper König and Benjamin Buchloh, eds., Gerhard Richter, Catalogue Raisonné 1962-1993, Ostfildern, 1993, no. 338/1-100, p. 164 (illustrated, p. 165) Hubertus Butin, Gerhard Richter Editionen 1965 - 2004, Catalogue Raisonne, Ostfildern, 2004, no. 50, pp. 34 and 190 Hubertus Butin, Stefan Gronert and Thomas Olbricht, eds., Gerhard Richter Editions 1965 - 2013, Ostfldern, 2014, pp. 42-43, 214 Gerhard Richter. Die Editionen, exh. cat., Museum Folkwang, Essen, 7 April - 30 July 2017, pp. 40-41

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181. Gerhard Richter

b. 1932

Rot - Blau - Gelb [338-100] signed, numbered and dated ‘100 Richter ‘73’ on the reverse oil on canvas 26.4 x 53.4 cm (10 3/8 x 21 in.) Painted in 1973. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ♠ Provenance Acquired directly from the artist by the present owner's father

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Literature Dietmar Elger, Gerhard Richter: Catalogue Raisonné 1968 - 1976, vol. II, Dresden, 1993, no. 338 1-100, pp. 508 - 509 (illustrated) Suzanne Pagé, Wenzel Jacob, Björn Springfield, Kasper König and Benjamin Buchloh, eds., Gerhard Richter: Catalogue Raisonné 1962 - 1993, Ostfildern 1993, no. 338/1-100, p. 164 (illustrated, p. 165) Hubertus Butin, Gerhard Richter Editionen 1965 - 2004, Catalogue Raisonne, Ostfildern, 2004, no. 50, pp. 34 and 190 Hubertus Butin, Stefan Gronert and Thomas Olbricht, eds., Gerhard Richter Editions 1965 - 2013, Ostfldern, 2014, pp. 42-43, 214 Gerhard Richter. Die Editionen, exh. cat., Museum Folkwang, Essen, 7 April - 30 July 2017, pp. 40-41

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182. Günther Förg

1952-2013

183. Imi Knoebel

b. 1940

Anders, Lund each signed, titled, inscribed, consecutively numbered and dated ‘“Anders” [1-3] Förg ‘88 Lund’ on the reverse acrylic on wood, in 3 parts, each in artist’s frame each 69.8 x 55 cm (27 1/ 2 x 21 5/ 8 in.) Executed in 1988, this work is recorded in the archive of Günther Förg as No. WVF.88.B.0342.

Schief und Schräg signed with the artist’s initials, titled, numbered and dated ‘I.K. ‘16 “Schief und Schräg” 5/5 2010’ on the reverse acrylic on synthetic paper 38.6 x 57.8 cm (15 1/4 x 22 3/4 in.) Executed in 2010 - 2016, this work is number 5 from an edition of 5.

Estimate £30,000-50,000 $42,600-71,000 €34,200-57,100 ♠

Estimate £12,000-18,000 $17,000-25,500 €13,700-20,500 ♠ †

Provenance Anders Tornberg Gallery, Lund Stockholms Auktionsverk, Stockholm, 11 May 2015, lot 1061 Acquired from the above by the present owner

Provenance Acquired directly from the artist by the present owner's father

Exhibited Lund, Anders Tornberg Gallery, Günther Förg, October - November 1989 We thank Mr Michael Nef from the Estate of Günther Förg for the information he has kindly provided on this work.

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184. Gert and Uwe Tobias

b. 1973/1973

Untitled woodcut on paper 205.5 x 173.8 cm (80 7/8 x 68 3/8 in.) Executed in 2009. Estimate £8,000-12,000 $11,400-17,000 €9,100-13,700 ♠ Provenance The Breeder, Athens Private Collection, Athens (acquired from the above) Exhibited Athens, The Breeder, Gert & Uwe Tobias, 19 November - 24 December 2009

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185. Georg Baselitz

b. 1938

Untitled (Lovers) signed and dated ‘Baselitz ‘14.IV.01’ lower edge; further signed with the artist's initials ‘GBZ’ on the reverse watercolour on paper 100.2 x 70.2 cm (39 1/2 x 27 5/8 in.) Executed in 2001. Estimate £18,000-25,000 $25,500-35,500 €20,500-28,500 ‡ ♠ Provenance Galerie Catherine Putman, Paris Private Collection Veritas Art Auctioneers, Lisbon, 10 November 2016, lot 9 Acquired at the above sale by the present owner

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186. Rémy Zaug

1943-2005

Schau Ich Bin, Blind, Schau. enamel car paint on aluminium 220 x 220 cm (86 5/8 x 86 5/8 in.) Executed in 2002. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 Provenance Galerie Nordenhake, Berlin Gary Tatintsian Gallery, Moscow Private Collection Exhibited Moscow, Gary Tatintsian Gallery, Inc., Create Your Museum, 24 January - 1 March 2007

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187. John Armleder

b. 1948

Untitled U 19 signed and dated ‘John Armleder 1990’ on the overlap household paint, lacquer and varnish on canvas 300.7 x 150.5 cm (118 3/8 x 59 1/4 in.) Executed in 1990. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 † Provenance Galeria Vera Munro, Hamburg Acquired from the above by the present owner Exhibited Centraal Museum Utrecht, John M Armleder pour paintings 1982-1992, 1 February - 23 March 1992, pp. 24-25 (illustrated) Staatliche Kunsthalle Baden-Baden; Aargau, “Holderbank”, John M Armleder: at any speed, 22 November 1998 - 25 July 1999, p. 77 (illustrated)

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Property from an Important Private European Collection

188. Ross Bleckner

b. 1949

Untitled (Chandelier painting) signed ‘Ross Bleckner’ on the reverse oil on canvas 91.5 x 50.8 cm (36 x 20 in.) Painted in 1984. Estimate £12,000-18,000 $17,000-25,500 €13,700-20,500 Provenance Private Collection (acquired directly from the artist) Phillips de Pury & Company, New York, 6 June 2005, lot 733 Acquired at the above sale by the present owner

189. George Shaw

b. 1966

The Bank Holiday signed, titled and dated ‘George Shaw “The Bank Holiday” 2005’ on the reverse Humbrol enamel on board 91 x 121 cm (35 7/8 x 47 5/8 in.) Executed in 2005. Estimate £25,000-35,000 $35,500-49,700 €28,500-39,900 ♠ Provenance Wilkinson Gallery, London Acquired from the above by the present owner Exhibited Geneva, Centre d’Art Contemporain Genève, George Shaw, 2 November 2006 - 14 January 2007

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190. Peter Halley

b. 1953

Untitled signed and dated ‘Peter Halley 2011’ on the reverse acrylic, pearlescent acrylic and Roll-a-Tex on canvas 183.5 x 194.5 cm (72 1/4 x 76 5/8 in.) Executed in 2011. Estimate £50,000-70,000 $71,000-99,300 €57,100-79,900 Provenance Galerie Thomas Modern, Munich Acquired from the above by the present owner Exhibited Munich, Galerie Thomas Modern, Peter Halley, 9 September - 19 November 2011

191. Peter Halley

b. 1953

Red Cell Over Two Horizontal Prisons signed and dated ‘Peter Halley Peter Halley 2007’ on the reverse acrylic, Day-Glo, metallic acrylic and Roll-a-Tex on canvas 183.5 x 123.2 x 10 cm (72 1/4 x 48 1/2 x 3 7/8 in.) Executed in 2007. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 Provenance Collection of the Artist McClain Gallery, Houston Private Collection, America

Literature James Kalm, Peter Halley Studio Visit. Preview of New Paintings, 14 July 2011, video (1.49 min) Jack Johnson, ‘Peter Halley Studio Visit’, Cool Hunting, 27 July 2011, online (illustrated)

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192. Sam Gilliam

b. 1933

193. Theaster Gates

b. 1973

All Colors Stacks signed, titled and dated ‘“All Colors Stacks” Sam Gilliam, ‘96’ on the reverse polypropylene and acrylic on wood with aluminium fasteners 144.4 x 80.5 x 15 cm (56 7/8 x 31 3/4 x 5 7/8 in.) Executed in 1996.

Black Box II wood, laminate, plastic and glass 117.5 x 81 x 50.3 cm (46 1/4 x 31 7/8 x 19 3/4 in.) Executed in 2011.

Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 ‡

Provenance Kavi Gupta Gallery, Chicago Private Collection Sotheby’s, London, 18 October 2013, lot 113 Acquired at the above sale by the present owner

Provenance Private Collection, Asia Baumgartner Galleries Inc., Washington, D.C. Acquired from the above by the present owner

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Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200

Exhibited Chicago, Kavi Gupta Gallery; Los Angeles, The Museum of Contemporary Art, An Epitaph for Civil Rights and Other Domesticated Structures, 30 April 2011 - 13 February 2012

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194. Mike Kelley

1954-2012

Circular Progression mixed media on paper 65.5 x 50 cm (25 3/4 x 19 5/8 in.) Executed in 1996. Estimate £8,000-12,000 $11,400-17,000 €9,100-13,700 Provenance Patrick Painter Gallery, Santa Monica Acquired from the above by the present owner

195. Jim Hodges

b. 1957

A Diary of Flowers – Just Black signed, titled and dated ‘“a diary of Flowers Just Black” Jim Hodges 1993’ on the reverse of napkin 26; each napkin consecutively numbered ‘[1-26]’ on the reverse; further signed, titled and dated ‘“A DIARY OF FLOWERS JUST BLACK” 1993 Jim Hodges’ on the plastic template ink on 26 napkins and pins installation dimensions variable overall approximately 100.2 x 90.3 cm (39 1/2 x 35 1/2 in.) Executed in 1993. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 Provenance CRG Gallery, New York Acquired from the above by the present owner

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196. Lorna Simpson

b. 1960

Ultra Blue signed 'L.Simpson' upper lef collage and ink on paper 74.9 x 54.9 cm (291/2 x 215/8 in.) Executed in 2013. Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100 Provenance Galerie Nathalie Obadia, Paris Acquired from the above by the present owner in 2014

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197. Robert Longo

b. 1953

Study for Dragon signed, titled and dated ‘“Study For Dragon” Robert Longo 2016’ lower margin ink and charcoal on velum, in artist’s frame sheet 37.2 x 55 cm (14 5/8 x 21 5/8 in.) frame 72 x 87.2 cm (28 3/8 x 34 3/8 in.) Executed in 2016. Estimate £25,000-35,000 $35,500-49,700 €28,500-39,900 Provenance Galerie Thaddaeus Ropac, Paris Acquired from the above by the present owner

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198. Andy Warhol

1928-1987

Jackie silkscreen ink on paper 46.4 x 37.6 cm (18 1/4 x 14 3/4 in.) Executed in 1963-1964, this work is unique. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 Provenance Acquired directly from the artist by the present owner in 1967

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With the opening of his landmark exhibition, Raymond: Pettibon: A Pen of All Work, in February 2017 at the New Museum, New York, Raymond Pettibon’s celebrated graphic works have been the focus of recent critical acclaim on an international platform. Cementing his profound exploration into the dynamics of text and image, Pettibon’s nuanced understanding of connotative linguistic devices and evocative imagery has resulted in his distinct aesthetic and iconic visual syntax, evident throughout his prolifc oeuvre. Commencing his graphic work in the sixties, Pettibon’s aesthetic encapsulated the confrontational and disafected spirit of youth culture, specifically that of the Californian Punk scene. Working on zines, adverts and designing infamous album covers and posters for the band Black Flag, Pettibon’s witty, satirical and brash style courses with vital energy, incorporating a myriad cultural references. The present works are exemplary of Pettibon’s complex collaging of cultural narratives and associations, ofering a biting critical reading of American history and culture.

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199. Raymond Pettibon

b. 1957

No Title (Any Key will Fit Priscilla’s Lock) signed and dated ‘Raymond Pettibon ‘86’ on the reverse ink on paper 35.4 x 28 cm (13 7/8 x 11 in.) Executed in 1986. Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100 Provenance Galleria Massimo de Carlo, Milan Private Collection Phillips de Pury & Company, New York, 12 May 2006, lot 254 Acquired at the above sale by the present owner

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200. Raymond Pettibon

b. 1957

201. Raymond Pettibon

b. 1957

No Title (It Would Appear Inevitable to ask Whether such a Mistake on such a Scale can Prove Efectively Reparable Whether Ground so Lost can be Efectively Recovered) signed and dated ‘Raymond Pettibon ‘99’ on the reverse ink and graphite on paper 25.4 x 44.3 cm (10 x 17 1/2 in.) Executed in 1999.

No Title (Above all, for the sense of exteriority and control that lie latent there; and for the feeling of freedom that comes from paying the rent) signed and dated ‘Raymond Pettibon 2003’ on the reverse ink on paper 23.6 x 56.2 cm (9 1/4 x 22 1/8 in.) Executed in 2003.

Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100

Estimate £8,000-12,000 $11,400-17,000 €9,100-13,700

Provenance David Zwirner Gallery, New York Private Collection Christie’s, New York, 15 March 2005, lot 4 Acquired at the above sale by the present owner

Provenance Private Collection, Los Angeles (gifed by the artist) Phillips de Pury & Company, New York, 17 December 2005, lot 158 Acquired at the above sale by the present owner

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202. Raymond Pettibon

b. 1957

No Title (It Took Him a Minute to Recover from the Sense of Being Pierced) signed and dated ‘Raymond Pettibon ‘87’ on the reverse ink on paper 35.6 x 27.6 cm (14 x 10 7/8 in.) Executed in 1987. Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100 Provenance Sean Kelly Gallery, New York Regen Projects, Los Angeles Phillips de Pury & Company, New York, 12 November 2004, lot 139 Acquired at the above sale by the present owner

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203. Herbert Zangs

1924-2003

Verweißung signed and dated ‘ZANGS ‘76’ lower lef acrylic on brown wrapping paper 99.1 x 212.4 cm (39 x 83 5/8 in.) Executed in 1976, this work is registered in the Archiv Herbert Zangs, Paris, under the number 2144. Estimate £30,000-50,000 $42,600-71,000 €34,200-57,100 ‡ ♠ Provenance Galerie Zeitkunst, Kitzbühel Dorotheum, Vienna, 22 November 2016, lot 702 Acquired at the above sale by the present owner

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Property from the Triton Collection Foundation

204. Ophélie Asch

b. 1973

Bataille aux cratères signed with the artist’s initials ‘OA’ lower right; further signed, titled and dated ‘“Bataille aux cratères” 2012 Ophélie Asch’ on the reverse acrylic on paper 167.8 x 90.8 cm (66 1/8 x 35 3/4 in.) Executed in 2012. Estimate £4,000-6,000 $5,700-8,500 €4,600-6,800 ♠ Provenance Galerie Hopkins, Paris Acquired from the above by the present owner

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205. Bernar Venet

b. 1941

Lignes droites / Obliques signed, titled and dated ‘“Lignes droites / Obliques” B. Venet ‘96’ lower lef oilstick on paper 119.4 x 89.4 cm (47 x 35 1/4 in.) Executed in 1996. Estimate £8,000-12,000 $11,400-17,000 €9,100-13,700 ♠ Provenance Private Collection artnet Auctions, online, 28 February 2013, lot 79354 Acquired at the above sale by the present owner

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206. William Kentridge

b. 1955

Drawing for Other Faces signed 'KENTRIDGE' lower right charcoal and coloured pencil on paper 28.5 x 152 cm (11 1/4 x 59 7/8 in.) Executed in 2011. Estimate £30,000-50,000 $42,600-71,000 €34,200-57,100 ‡ Provenance Marian Goodman Gallery, New York Private Collection, Tokyo Acquired from the above by the present owner

207. Kara Walker

b. 1969

Forging Freedoms charcoal on cut paper 142.2 x 121.9 cm (55 7/8 x 47 7/8 in.) Executed in 1996. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 ‡ Provenance Wooster Gardens, New York Acquired from the above by the present owner in 1996

Exhibited New York, Marian Goodman Gallery, William Kentridge / Other Faces, 10 November - 23 December 2011

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208. Koen Vanmechelen

b. 1965

Untitled Indian powders, chalk, pencil, grains, feathers, lamp, chicken wire, wood and canvas 254.4 x 168.5 x 42.3 cm (100 1/8 x 66 3/8 x 16 5/8 in.) Executed in 2007. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ♠ Provenance Acquired directly from the artist by the present owner

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Property from an Important Private European Collection

209. Berlinde de Bruyckere

b. 1964

Detail Quan wax, epoxy, glass, wood and cloth 148 x 66.5 x 49.5 cm (58 1/4 x 26 1/8 x 19 1/2 in.) Executed in 2010. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ♠ Provenance Hauser & Wirth, Zurich Acquired from the above by the present owner

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210. Tal R

b. 1967

Apple and Apple bronze 170 x 96 x 50 cm (66 7/8 x 37 3/4 x 19 5/8 in.) Executed in 2006. Estimate £12,000-18,000 $17,000-25,500 €13,700-20,500 ♠ Provenance Contemporary Fine Arts, Berlin Gary Tatintsian Gallery, Moscow Private Collection Exhibited Moscow, Gary Tatintsian Gallery, Inc., Create Your Own Museum, 24 January - 1 March 2007, p. 68 (illustrated, p. 69)

211. Richard Deacon and Thomas Schütte b. 1949 and b. 1954 Them and Us (X) plastic, polycarbonate, felt and animal hair, in 10 parts plastic structure 79.8 x 149.6 x 85.4 cm (31 3/8 x 58 7/8 x 33 5/8 in.) overall dimensions variable Executed in 1995. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ♠ Provenance Lisson Gallery, London Christie’s, London, 8 December 1999, lot 34 Private Collection Sotheby’s, London, 13 February 2013, lot 343 Acquired at the above sale by the present owner Exhibited London, Lisson Gallery, Thomas Schütte and Richard Deacon. Them and Us, May - July 1995 Literature Martin Kreyssig, Them and Us: Richard Deacon, Thomas Schütte, 1995, video (3.58 - 4.35 mins)

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The present work, a collaborative scene from Richard Deacon and Thomas Schütte’s Them and Us exhibition at Lisson Gallery in 1995, transports the viewer into the fantastical and dramatic realm of Deacon and Schütte’s artistic selfrefection. Whilst planning the show, the duo became engaged in extensive discourse concerning ‘scale, monuments, man and animal, man and man, man and light, space and colour and so on…’ (Thomas Schütte, quoted in Matthias Winzen, ed., Siemens Kulturprogramm, Ostfildern, 1997, p. 111). Twelve mythical scenes emerged from the artists’ imagination with Schütte’s rudimentary and mysterious spirits interacting with Deacon’s animal hair sculptures. Investigating the connection between man and his surroundings, each of Schütte’s

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seemingly emotionless yet active fgurines is lef deliberately paired with Deacon’s tactile sculptures. Both fgures, each with undeveloped physiognomy and spherical form, reveal themselves as the intricate workings of the artist’s hand. Explicitly forging boundaries through the divisive title Them and Us, the artists bring the perception of the relationship to the fore with the figures always relating ‘to their surroundings, to the space, to the viewer, to each other’ (Thomas Schütte, quoted in Matthias Winzen, ed., Siemens Kulturprogramm, Ostfldern, 1997, p. 111). Them and Us (X) studies the relationship between individuals and objects whilst simultaneously revealing the workings of Deacon and Schütte’s artistic introspection.

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212. Igor Mitoraj

b. 1944

Untitled incised with the artist’s signature and numbered ‘MITORAJ 2/6’ and stamped by the foundry on the reverse lower edge bronze 105 x 70 x 40 cm (41 3/8 x 27 1/2 x 15 3/4 in.) This work is number 2 from an edition of 6. Estimate £30,000-50,000 $42,600-71,000 €34,200-57,100 ‡ ♠ Provenance Private Collection, Italy Mr Kazu Wakita, Tokyo Acquired from the above by the present owner

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213. Ron Mueck

b. 1958

Untitled signed and numbered ‘Ron Mueck 8/12’ on the underside dental plaster 17.6 x 13.6 x 9.9 cm (6 7/8 x 5 3/8 x 3 7/8 in.) Executed in 2001, this work is number 8 from an edition of 12. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ‡ Provenance James Cohan Gallery, New York Acquired from the above by the present owner Literature Ron Mueck, exh. cat., Fondation Cartier pour l'art contemporain, Paris, 2013, p. 230

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Property from the Triton Collection Foundation

214. Jedd Novatt

b. 1958

CXXII stamped with the artist’s name, title and date ‘NOVATT CXXII 2000’ on the back of the lower right element bronze 130.8 x 132.1 x 88.9 cm (51 1/2 x 52 x 35 in.) Executed in 2000. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 Provenance Galerie Hopkins, Paris Acquired from the above by the present owner in 2003

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Property from an Important Private European Collection

215. Elmgreen & Dragset

b. 1961 and b. 1969

The Private Museum steel, aluminium, Perspex, brass profle lettering and fuorescent light 119.4 x 79.8 x 79.8 cm (47 x 31 3/8 x 31 3/8 in.) Executed in 2003, this work is number 1 from an edition of 3. Estimate £25,000-35,000 $35,500-49,700 €28,500-39,900 ♠ Provenance Galleria Massimo de Carlo, Milan Acquired from the above by the present owner

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216. Iván Navarro

b. 1972

Lamp Table (Blue-Red-White) fuorescent light, plastic sleeves, glass, metal fxtures and electric energy 60 x 110 x 60 cm (23 5/8 x 43 1/4 x 23 5/8 in.) Executed in 2003, this work is an artist's proof from an edition of 3 plus 1 artist's proof and is accompanied by a certifcate of authenticity. Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 Provenance Roebling Hall, New York Acquired from the above by the present owner

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217. Iván Navarro

b. 1972

Wall Hole fuorescent tubes, painted metal boxes and plastic tubes 71.7 x 71.7 x 12.7 cm (28 1/4 x 28 1/4 x 5 in.) Executed in 2004, this work is number 1 from an edition of 3 plus 1 artist’s proof and is accompanied by a certifcate of authenticity signed and dated by the artist. Estimate £15,000-25,000 $21,300-35,500 €17,100-28,500 ‡ Provenance Roebling Hall, New York Acquired from the above by the present owner

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218. Elad Lassry

b. 1977

Untitled (SP Yellow Cabinet) MDF, tempered glass and paint 43.2 x 178.2 x 40 cm (17 x 70 1/8 x 15 3/4 in.) Executed in 2012. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 Provenance White Cube, Hong Kong Acquired from the above by the present owner in 2015 Exhibited Hong Kong, White Cube, Elad Lassry, 23 November 2012 – 9 February 2013, pp. 26-27 (illustrated)

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219. Tomás Saraceno

b. 1973

M102/W+W wood, polyester rope, fshing line and steel thread 50 x 94 x 60 cm (19 5/8 x 37 x 23 5/8 in.) overall dimensions variable Executed in 2014. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 Provenance Esther Schipper, Berlin Acquired from the above by the present owner in 2014 Exhibited Monaco, 11 Columbia, A Transparent Leaf..., 9 July – 7 September 2014

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220. Sylvie Fleury

b. 1961

Color Lab - Free study with white peacock taxidermy peacock, black tyre and white pedestal 195 x 160 x 100 cm (76 3/4 x 62 7/8 x 39 3/8 in.) Executed in 2012. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 ‡ Provenance Mehdi Chouakri Gallery, Berlin Acquired from the above by the present owner in 2013 Exhibited Berlin, Mehdi Chouakri Gallery, Sylvie Fleury, Do Not Think of the Colour Blue for Thirty Seconds, 11 September - 6 October 2012 Munich, Museum Villa Stuck, Sylvie Fleury. My Life on the Road, 30 June - 3 October 2016

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221. Cyprien Gaillard

b. 1980

Untitled (Tooth) iron with glass vitrine and pedestal tooth 37.5 x 18.4 x 14.4 cm (14 3/4 x 7 1/4 x 5 5/8 in.) glass vitrine 65 x 33 x 33 cm (25 5/8 x 12 7/8 x 12 7/8 in.) pedestal 137.3 x 33.1 x 33.1 cm (54 x 13 x 13 in.) overall 202.3 x 33.1 x 33.1 cm (79 5/8 x 13 x 13 in.) Executed in 2012. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 ♠ † Provenance Sprueth Magers, London Acquired from the above by the present owner Exhibited Berlin, Schinkel Pavillon, Cyprien Gaillard: What It Does To Your City, 13 September - 25 November 2012 New York, MoMA PS1, Cyprien Gaillard: The Crystal World, 20 January - 18 March 2013 Chicago, Museum of Contemporary Art, The Way of The Shovel: Art as Archaeology, 9 November 2013 - 9 March 2014

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222. Sterling Ruby

b. 1972

Ceramic/Brass Facial with Red Bowl incised with the artist’s initials and dated ‘SR 06’ on the underside ceramic 55.9 x 50.8 x 50.8 cm (22 x 20 x 20 in.) Executed in 2006. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 ‡ Provenance Galerie Christian Nagel, Cologne Private Collection (acquired from the above in October 2006) Sotheby’s, New York, 12 November 2014, lot 520 Acquired at the above sale by the present owner

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223. Pamela Rosenkranz

b. 1979

Bow Human aluminium, rescue blanket, AcrylCast, vaseline and iron 56 x 127 x 94 cm (22 x 50 x 37 in.) Executed in 2010, this work is unique. Estimate ÂŁ12,000-18,000 $17,000-25,500 â&#x201A;Ź13,700-20,500 Provenance Karma International, Zurich Private Collection, North Rhine-Westphalia Acquired from the above by the present owner

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224. Petra Cortright

b. 1986

225. Matt Connors

b. 1973

MSExcel Password msexchange msgre32.dll msgsrv32 devcon32 mshearts.exe msi reports ms.jennifer brooks digital painting on aluminium 162.5 x 122 cm (63 7/8 x 48 in.) Executed in 2014.

Blue Bleed signed and dated ‘Matt Connors 2011’ on the reverse oil and acrylic on canvas 182.2 x 153.1 cm (71 3/4 x 60 1/4 in.) Painted in 2011.

Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ‡

Estimate £30,000-50,000 $42,600-71,000 €34,200-57,100 ‡

Provenance Carl Kostyál, Stockholm Acquired from the above by the present owner

Provenance Lüttgen Meijer, Berlin Acquired from the above by the present owner Exhibited Antwerp, Ofce Baroque Gallery, Histoires de votre vie, 2 October - 12 November 2011

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226. Mark Flood

b. 1957

Diamond Mirror signed and titled ‘“Diamond Mirror” Mark Flood’ on the overlap; further signed, titled and dated ‘“Diamond Mirror” Mark Flood 12-21-13’ on the overlap acrylic on canvas 182.9 x 121.9 cm (72 x 47 7/8 in.) Painted in 2013. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 Provenance Peres Projects, New York Phillips, London, 10 December 2014, lot 2 Acquired at the above sale by the present owner

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227. Michael Williams

b. 1978

Koyaanissmudgey signed, titled and dated ‘Michael Williams “KOYAANISSMUDGEY” 2011’ on the reverse oil and resin on canvas 184.1 x 143.4 cm (72 1/2 x 56 1/2 in.) Executed in 2011. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 Provenance The Journal Gallery, Brooklyn Private Collection, Europe

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228. Wyatt Kahn

b. 1983

Hermano signed and dated ‘Wyatt Kahn 2013’ on the reverse of the backing board 193.7 x 170.8 cm (76 1/4 x 67 1/4 in.) Executed in 2013. Estimate £30,000-50,000 $42,600-71,000 €34,200-57,100 ‡ ♠ Provenance Private Collection, London Acquired from the above by the present owner in 2014

229. Camille Henrot

b. 1978

Study for Bad Dad watercolour on paper laid on board, diptych each 177.5 x 87 cm (69 7/8 x 34 1/4 in.) Executed in 2015. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 ♠ Provenance Metro Pictures, New York Private Collection, United Kingdom Acquired from the above by the present owner Exhibited New York, Metro Pictures, Camille Henrot. Solo Exhibition, 5 November - 23 December 2015

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230. Camille Henrot

b. 1978

Leaking Trash Bag from the series Minor Concerns signed with the artist’s initials ‘CH’ lower right watercolour on paper mounted on Dibond 150.2 x 200.3 cm (59 1/8 x 78 7/8 in.) Executed in 2015. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ♠ Provenance Kamel Mennour, Paris Acquired from the above by the present owner

231. Richard Aldrich

b. 1975

One Page, Two Pages, Two Paintings oil, wax and pencil on linen 213.4 x 147.3 cm (84 x 58 in.) Executed in 2009. Estimate £25,000-35,000 $35,500-49,700 €28,500-39,900 Provenance Bortolami Gallery, New York Acquired from the above by the present owner

Literature Farah Nayerijuly, ‘An Artist Brings Alive the Worlds Dancing in Her Head’, The New York Times, 20 July 2016, online

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232. Walead Beshty

b. 1976

Black Curl (CMY/Five Magnet: Irvine, California, January 2nd, 2010, Fujicolor Crystal Archive Super Type C, Em. No. 165-021, 09710) colour photographic paper 127 x 251.5 cm (50 x 99 in.) Executed in 2010. Estimate £30,000-50,000 $42,600-71,000 €34,200-57,100 ♠ Provenance Regen Projects, Los Angeles Private Collection, United Kingdom Acquired from the above by the present owner

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233. Kaari Upson

b. 1972

Charcoal Panel 7 (Position 1) charcoal and Aqua-Resin 199.5 x 121.3 x 17.3 cm (78 1/2 x 47 3/4 x 6 3/4 in.) Executed in 2012. Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 Provenance Overduin and Kite, Los Angeles Private Collection Acquired from the above by the present owner

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234. Jason Martin

b. 1970

Zero acrylic on aluminium 91 x 91 cm (35 7/8 x 35 7/8 in.) Painted in 1999. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ♠ Provenance Galerie Thaddaeus Ropac, Paris Acquired from the above by the present owner

235. Angel Otero

b. 1981

Untitled signed, titled and dated ‘“Untitled” Angel Otero 2012’ on the reverse oil paint and oil paint skins on canvas 122.3 x 183 cm (48 1/8 x 72 in.) Executed in 2012. Estimate £7,000-9,000 $9,900-12,800 €8,000-10,300 Provenance Brand New Gallery, Milan Acquired from the above by the present owner Exhibited Milan, Brand New Gallery, Angel Otero, The old lansquenet is laughing at us, 22 October - 22 December 2012

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236. Bosco Sodi

b. 1970

Untitled - 0087 signed and dated ‘Bosco 2011’ on the reverse pure pigment, sawdust, wood pulp, natural fbres, water and glue on canvas 200 x 280 cm (78 3/4 x 110 1/4 in.) Executed in 2011.

Provenance Project B, Milan Galleria Cardi, Milan Private Collection, Switzerland Phillips, London, 11 February 2014, lot 248 Acquired at the above sale by the present owner

Estimate £35,000-45,000 $49,700-63,900 €39,900-51,300

Exhibited Milan, Project B, A momentary lapse of reason, 9 May - 29 June 2012

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237. Gelitin

est. 1978

Untitled each part signed and dated ‘GELATIN 2008’ on the reverse plasticine on wood, in 2 parts overall 207.2 x 250.4 cm (81 5/8 x 98 5/8 in.) Executed in 2008. Estimate £12,000-18,000 $17,000-25,500 €13,700-20,500 ♠ Provenance Massimo de Carlo, Milan Acquired from the above by the present owner in June 2014

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238. Neil Beloufa

b. 1985

Untitled from Secure Wall Series foam, pigment and iron, in artist’s frame 70 x 45.2 cm (27 1/2 x 17 3/4 in.) Executed in 2014. Estimate £5,000-7,000 $7,100-9,900 €5,700-8,000 ‡ ♠ Provenance Balice Hertling, Paris Acquired from the above by the present owner in 2015

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239. Ugo Rondinone

b. 1964

Small Orange Yellow Mountain signed with the artist’s initials, titled and dated ‘“small orange yellow mountain” u. r. 2014’ on the underside painted stone on concrete base overall 23 x 18.5 x 18.5 cm (9 x 7 1/4 x 7 1/4 in.) Executed in 2014. Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 Provenance Private Collection, London

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240. Hugh Scott-Douglas

b. 1988

Untitled signed and dated ‘Hugh Scott-Douglas 2011’ on the stretcher cyanotype on linen, in artist’s frame 155.2 x 104.2 cm (61 1/8 x 41 in.) Executed in 2011. Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100 Provenance Luce Gallery, Turin Acquired from the above by the present owner

241. Lucien Smith

b. 1989

What’s Mines is Yours is Ours signed ‘Lucien Smith’ on the overlap acrylic on canvas 274.3 x 213.4 cm (107 7/8 x 84 in.) Executed in 2012. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 Provenance OHWOW, Los Angeles Acquired from the above by the present owner

Exhibited Turin, Luce Gallery, Liminal Boundaries, N.Dash, Scott Reeder, Hugh Scott-Douglas, Dan Shaw-Town, 24 January - 17 March 2012

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242. David Ostrowski

b. 1981

F (Jet Grill) signed ‘David Ostrowski’ on the overlap acrylic, lacquer and paper on canvas, in artist’s frame 276.4 x 221 cm (108 7/8 x 87 in.) Executed in 2015. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ‡ ♠

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Provenance Gagosian Gallery, London Acquired from the above by the present owner Exhibited London, Gagosian Gallery, SPRAYED, 11 June - 1 August 2015

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243. Stefan Brügemann

b. 1975

Headlines and Last Lines in the Movies (Fluorescent) part one signed, inscribed and dated ‘There, There 2014 Brüggemann’ on the reverse; part two signed, inscribed and dated ‘As good as it gets 2014 Brüggemann’ on the reverse; part three signed, inscribed and dated ‘Thank you 2014 Brüggemann’ on the reverse; part four signed, inscribed and dated ‘Just get him the hell out of here 2014 Brüggemann’ on the reverse spray paint on canvas, in 4 parts each 162.5 x 130 cm (63 7/8 x 51 1/8 in.) overall 325 x 260 cm (127 7/8 x 102 3/8 in.) Executed in 2014.

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Estimate £30,000-40,000 $42,600-56,800 €34,200-45,600 Provenance Galería Parra & Romero, Madrid Private Collection, Pariwn the Movies (Fluorescent), 6 - 15 November 2014

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244. Sterling Ruby

b. 1972

DRFTRS (4283) ink, paint and collaged paper on paper, in artist’s frame image 29.3 x 42 cm (11 1/2 x 16 1/2 in.) overall 82.7 x 95 cm (32 1/2 x 37 3/8 in.) Executed in 2013. Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100 Provenance Xavier Hufens, Brussels Acquired from the above by the present owner

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245. Nate Lowman

b. 1979

Untitled (Red Bullet Holes) signed and dated ‘Nate Lowman 2008’ on the overlap acrylic, silkscreen and stickers on canvas 76.2 x 76.2 cm (30 x 30 in.) Executed in 2008. Estimate £25,000-35,000 $35,500-49,700 €28,500-39,900 † Provenance Hydra School Projects, Hydra Private Collection, Athens Exhibited Hydra, Hydra School Projects, POST(ER), June - September 2016, p. 154 (illustrated)

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246. Barbara Kruger

b. 1945

Untitled (How Can I be a Better Person) archival pigment print, in artist’s frame 84 x 130 cm (33 1/8 x 51 1/8 in.) Executed in 2011, this work is number 5 from an edition of 10. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ♠ Provenance Sprüth Magers, Berlin Acquired from the above by the present owner

247. Cory Arcangel

b. 1978

Timeless Standards inkjet print on canvas 180 x 126.8 cm (70 7/8 x 49 7/8 in.) Executed in 2013. Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 Provenance Lisson Gallery, London McCabe Fine Art, Stockholm Dr. Frederic S. Brandt, Miami The Estate of Dr. Frederic S. Brandt, Miami (acquired thence by descent from the above) Phillips, London, 9 December 2015, lot 105 Acquired at the above sale by the present owner Exhibited London, Lisson Gallery, Speakers Going Hammer, 12 October - 12 November 2011

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248. Bernd and Hilla Becher 1931-2007 and 1934-2015 Fachwerkhäuser des Siegener Industriegebiets each signed ‘Bernd Becher Hilla Becher’ on the reverse gelatin silver print, in 2 parts each 40.5 x 31 cm (15 7/8 x 12 1/4 in.) Executed in 1972. Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ♠ Provenance Private Collection Ketterer Kunst GmbH & Co. KG, Munich, 4 December 2010, lot 144 Acquired at the above sale by the present owner

249. Gerhard Richter

b. 1932

Woman with Child (Frau mit Kind) signed, numbered and dated ‘11/32 Richter 2005’ lower edge ofset print image 130.2 x 109.9 cm (51 1/4 x 43 1/4 in.) sheet 155.3 x 130.2 cm (61 1/8 x 51 1/4 in.) Executed in 2005, this work is number 11 from an edition of 32. Estimate £50,000-70,000 $71,000-99,300 €57,100-79,900 ‡ ♠ Provenance Marian Goodman Gallery, New York Acquired from the above by the present owner Exhibited Berlin, me Collectors Room, Gerhard Richter. Editionen 1965 -2011, 12 February - 13 May 2012 (another example exhibited) Dusseldorf, Kunstsammlung Nordrhein-Westfalen, Gerhard Richter - Die Kunst im Plural, 15 February - 9 March 2014 (another example exhibited) Literature Hubertus Butin, Stefan Gronert and Thomas Olbricht, eds., Gerhard Richter Editions 1965 - 2013, Ostfldern, 2014, no. 130, p. 301 (another example illustrated)

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250. Wolfgang Tillmans

b. 1968

State signed 'Wolfgang Tillmans' on a label accompanying the work 210.9 x 145 cm (83 x 57 1/8 in.) Executed in 2005, this work is number 1 from an edition of 1 plus 1 artist’s proof. Estimate £50,000-80,000 $71,000-114,000 €57,100-91,300 ♠ Provenance Maureen Paley, London Acquired from the above by the present owner

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251. Thomas Ruf

b. 1958

252. Thomas Ruf

b. 1958

Cassini 33 signed, titled, numbered and dated ‘“cas 33” Thomas Ruf 1/6 2009’ on the reverse chromogenic print, in artist’s frame 97.2 x 108.3 cm (38 1/4 x 42 5/8 in.) Executed in 2009, this work is number 1 from an edition of 6.

ma.r.s. 05_1 signed, titled, numbered and dated ‘“ma.r.s. 05 I” Thomas Ruf 1/3 2012’ on the reverse of the backing board chromogenic print, in artist’s frame 255 x 185 cm (100 3/8 x 72 7/8 in.) Executed in 2012, this work is number 1 from an edition of 3.

Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 ‡ ♠

Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ‡ ♠

Provenance David Zwirner, New York Acquired from the above by the present owner

Provenance Gagosian Gallery, London Acquired from the above by the present owner Exhibited London, Gagosian Gallery, Thomas Ruf: ma.r.s, 8 March 21 April 2012, n.p. (another example exhibited and illustrated)

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Property from an Important Private European Collection

253. Jef Wall

b. 1946

Night gelatin silver print 238.8 x 301.6 cm (94 x 118 3/4 in.) Executed in 2001, this work is number 2 from an edition of 2. Estimate £80,000-120,000 $114,000-170,000 €91,300-137,000 Provenance Johnen + Schöttle, Cologne Acquired from the above by the present owner Exhibited Vienna, Museum Moderner Kunst, Jef Wall. Photographs, 22 March - 25 May 2003, pp. 23 - 24 (another example exhibited and illustrated) London, Tate Modern, Jef Wall. Photographs 1978-2004, 21 October 2005 - 8 January 2006, p. 21 (another example exhibited and illustrated) London, White Cube, Jef Wall. Black and White Photographs, 27 November - 19 January 2008, n. p. (another example exhibited and illustrated) Berlin, Deutsche Guggenheim, Jef Wall: Exposure, 3 November 2007 - 20 January 2008 (another example exhibited)

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254. Hiroshi Sugimoto

b. 1948

English Channel, Weston Clif signed ‘Hiroshi Sugimoto’ lower right of mount gelatin silver print image 41.9 x 54.3 cm (16 1/2 x 21 3/8 in.) sheet 47 x 60.3 cm (18 1/2 x 23 3/4 in.) Executed in 1994, this work is number 14 from an edition of 25. Estimate £12,000-18,000 $17,000-25,500 €13,700-20,500 ‡ Provenance Pace Gallery, New York Acquired from the above by the present owner

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Exhibited New York, The Metropolitan Museum of Art; Houston, Contemporary Arts Museum; Gunma, Hara Museum ARC; Akron Art Museum, Sugimoto, 1995-1996, 21 November 1995 - 31 May 1998, p. 81 (another example exhibited and illustrated, p. 31) Madrid, Sala de Exposiciones de la Fundación “La Caixa”; Lisbon, Centro Cultural de Belém, Sugimoto, 29 May 1998 - 24 January 1999, p. 140, no. SUG-418 (another example exhibited and illustrated, p. 141) Tokyo, Mori Art Museum; Washington, D.C., Hirshhorn Museum and Sculpture Garden, Hiroshi Sugimoto, 17 September 2005 - 14 May 2006, p. 135 (another example exhibited and illustrated) Kunstmuseum St. Gallen; Kunstmuseum Bonn, Through the Looking Brain: A Swiss Collection of Conceptual Photography, 14 January 2011 - 29 January 2012, p. 230 (another example exhibited and illustrated)

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Property from the Triton Collection Foundation

255. Yang Fudong

b. 1971

No Snow on the Broken Bridge signed ‘Yang Fudong’ [in Chinese] and incorrectly dated ‘2007. 7. 4’ on a label afxed to the reverse chromogenic print 121.8 x 182.8 cm (47 7/8 x 71 7/8 in.) Executed in 2006, this work is number 5 from an edition of 10. Estimate £22,000-28,000 $31,200-39,700 €25,100-31,900 Provenance Shanghart Gallery, Shanghai Serieuze Zaken Studios, Amsterdam Acquired from the above by the present owner Exhibited Shanghai, ShanghART Gallery, No Snow on the Broken Bridge, 24 March - 30 April 2007 (another example exhibited)

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256. Douglas Gordon

b. 1966

257. Paul McCarthy

b. 1945

Monster Reborn transmounted colour photograph, in artist’s frame 89 x 129.3 cm (35 x 50 7/8 in.) Executed in 1996/1997 - 2002, this work is number 9 from an edition of 11 plus 4 artist’s proofs.

Untitled (from Propo-Series) (Ken Doll No Head) Cibachrome print 188 x 127 cm (74 x 50 in.) Executed in 1992 - 1993, this work is from an edition of 3.

Estimate £15,000-20,000 $21,300-28,400 €17,100-22,800 ‡ ♠

Estimate £18,000-25,000 $25,500-35,500 €20,500-28,500

Provenance Patrick Painter Editions, Santa Monica Private Collection, Switzerland (acquired from the above in 2003) Christie’s, London, 14 February 2014, lot 164 Acquired at the above sale by the present owner

Provenance Air de Paris, Paris Acquired from the above by the present owner

Exhibited Copenhagen, National Gallery of Denmark, Reality Check, 12 January 2008 - 1 January 2009, p. 93 (another example exhibited and illustrated)

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Property from an Important European Collection

258. Sam Taylor-Johnson

b. 1967

(Untitled) Kate chromogenic print image 69.9 x 69.9 cm (27 1/2 x 27 1/2 in.) sheet 77.1 x 75.5 cm (30 3/8 x 29 3/4 in.) Executed in 2004. Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 ‡ ♠ Provenance Private Collection, Europe

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259. David LaChapelle

b. 1963

Amanda as Liz (Orange) digital chromogenic print 152.4 x 127 cm (60 x 50 in.) Executed in 2007, this work is number 2 from an edition of 3. Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 ‡ Provenance Jablonka Galerie, Cologne Gary Tatintsian Gallery, Moscow Private Collection

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Exhibited Berlin, Galerie Michael Schultz, David LaChapelle: Cathedral, 27 April - 24 May 2011 (another example exhibited) Moscow, National Centre for Contemporary Arts, Folklore and Naive Traditions in Contemporary Art, 8 August - 2 September, 2012, p. 59 (another example exhibited and illustrated) Literature David LaChapelle, LaChapelle Heaven to Hell, Cologne, 2006 p. 64 (another example illustrated)

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260. David LaChapelle

b. 1963

261. David LaChapelle

b. 1963

Amanda as Marilyn (Red) digital chromogenic print 152.4 x 127 cm (60 x 50 in.) Executed in 2007, this work is number 2 from an edition of 3.

Courtney Love, Pietà digital chromogenic print 246.4 x 182.9 x cm (97 x 72 in.) Executed in 2006, this work is number 1 from an edition of 2.

Estimate £12,000-18,000 $17,000-25,500 €13,700-20,500 ‡

Estimate £25,000-35,000 $35,500-49,700 €28,500-39,900

Provenance Jablonka Galerie, Cologne Gary Tatintsian Gallery, Moscow Private Collection

Provenance BND Tomaso Renoldi Bracco Contemporary Art Vision, Milan Acquired from the above by the present owner

Exhibited Moscow, National Centre for Contemporary Arts, Folklore and Naive Traditions in Contemporary Art, 8 August - 2 September 2012, p. 59 (another example exhibited)

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Exhibited Milan, Palazzo Reale, David LaChapelle, 25 September 2007 28 January 2008, no. 21, pp. 142-143, 146 (another example exhibited and illustrated, p. 147) Literature David LaChapelle, LaChapelle Heaven to Hell, Cologne, 2006 (another example illustrated on the cover)

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262. David LaChapelle

b. 1963

Last Supper digital chromogenic print 157.5 x 304.8 cm (62 x 120 in.) Executed in 2008, this work is number 1 from an edition of 5. Estimate £40,000-60,000 $56,800-85,200 €45,600-68,500 ‡ Provenance Acquired directly from the artist by the present owner Exhibited Milan, Palazzo Reale, David LaChapelle, 25 September 2007 - 6 January 2008, no. 24, pp. 57, 148-149, 152 (another example illustrated and exhibited) London, Robilant + Voena, David LaChapelle, Jesus is My Homeboy, 14 October - 7 November 2008, pp. 2-3 (another example illustrated and exhibited) Literature David LaChapelle, LaChapelle Heaven to Hell, Cologne, 2006, pp. 340-341 (another example illustrated)

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Property from the Triton Collection Foundation

263. Massimo Vitali

b. 1944

Spiagge Olandesi “Bloemendaal” chromogenic print on PVC under Plexiglas 149.8 x 181 cm (58 7/8 x 71 1/4 in.) Executed in 2001, this work is number 4 from an edition of 9. Estimate £8,000-12,000 $11,400-17,000 €9,100-13,700 ♠ Provenance Serieuze Zaken Galerie, Amsterdam Acquired from the above by the present owner

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Property from the Triton Collection Foundation

264. Rineke Dijkstra

b. 1959

Peter Svenson signed and dated ‘Rineke Dijkstra 5 Januari 2010’ on a label afxed to the reverse chromogenic print 41.9 x 30.7 cm (16 1/2 x 12 1/8 in.) Executed in 2010, this work is number 1 from an edition of 5. Estimate £4,000-6,000 $5,700-8,500 €4,600-6,800 ♠ Provenance Beneft Auction for AAP-Lab, Huis Marseille, Amsterdam, 12 February 2011, lot 85 Acquired at the above sale by the present owner

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265. James Welling

b. 1951

Two works: (i) Dégradé INDV; (ii) Dégradé ICYV (i) signed ‘James Welling’ on the reverse (ii) signed ‘J Welling’ on the reverse chromogenic print each 61.2 x 51.2 cm (24 1/8 x 20 1/8 in.) Each executed in 2003. Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 Provenance Galerie nächst St. Stephan, Vienna Acquired from the above by the present owner

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266. David Kim Whittaker

b. 1964

Self Portrait Four, Jewel Box (The Broads, Thunder Showers, Late Afernoon, A Young Girl in Refection, Poetics of the Past Never Forgotten) signed, titled and dated ‘Whittaker “JEWEL BOX,” DKW 2011’ on the reverse oil and acrylic on canvas 160.2 x 160.2 cm (63 1/8 x 63 1/8 in.) Painted in 2011. Estimate £30,000-40,000 $42,600-56,800 €34,200-45,600 ♠ † Provenance Opera Gallery, London Acquired from the above by the present owner

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Property from the Triton Collection Foundation

267. Matt MacDowel

b. 1975

Property from the Triton Collection Foundation

268. Jack Lavender

b. 1983

Brown Town signed with the artist’s initials, titled and dated ‘MM “BROWN TOWN” 1998-1999’ on the stretcher varnish on silkscreen 179.5 x 134 cm (70 5/8 x 52 3/4 in.) Executed in 1998-1999.

Now and Then It Comes Back 9 glass, paint, aluminium, tape, sand, glue, paper, stickers, metal, toner and mixed media 180.4 x 90.3 cm (71 x 35 1/2 in.) Executed in 2014, this work is accompanied by a certifcate of authenticity signed and dated by the artist.

Estimate £4,000-6,000 $5,700-8,500 €4,600-6,800 ♠

Estimate £4,000-6,000 $5,700-8,500 €4,600-6,800 ♠

Provenance Lefevre Contemporary, London Acquired from the above by the present owner in 2000

Provenance The Approach, London Acquired from the above by the present owner

Exhibited London, Lefevre Contemporary, Matt MacDowel, November 2000

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269. Kristin Baker

b. 1975

Cheras to Dunc Gray signed and dated ‘Kristin Baker 2011-2014’ on the reverse acrylic, acrylic powder, steel and rubber on aluminium 111.8 x 165.1 x 28.6 cm (44 x 65 x 11 1/4 in.) Executed in 2011 - 2014. Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 ‡ Provenance The Suzanne Geiss Company, New York (acquired directly from the artist’s studio) Acquired from the above by the present owner

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270. Kristin Baker

b. 1975

Two Hides signed, titled and dated ‘KRISTIN BAKER “Two Hides” 2013’ on the reverse acrylic on PVC 203 x 152 cm (79 7/8 x 59 7/8 in.) Executed in 2013. Estimate £25,000-35,000 $35,500-49,700 €28,500-39,900 ‡ Provenance The Suzanne Geiss Company, New York (acquired directly from the artist’s studio) Acquired from the above by the present owner

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271. Gerhard Richter

b. 1932

P16 Diasec-mounted chromogenic print on aluminium 100 x 200 cm (39 3/8 x 78 3/4 in.) Executed in 2016, this facsimile object is from an edition of 500 plus 2 artist’s proofs. Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100 ♠ Provenance Heni Productions, London Acquired from the above by the present owner

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272. Gerhard Richter

b. 1932

Four works: (i) Aladin (P10); (ii) Bagdad (P9); (iii) Bagdad (P10); (iv) IFRIT (P8) (i) numbered ‘341/500’ on the reverse; (ii) numbered ‘349/500’ on the reverse; (iii) numbered ‘349/500’ on the reverse; (iv) numbered ‘349/500’ on the reverse Diasec-mounted chromogenic print on aluminium (i) 37 x 50 cm (14 5/8 x 19 5/8 in.) (ii) 50 x 40 cm (19 5/8 x 15 3/4 in.) (iii) 50 x 40 cm (19 5/8 x 15 3/4 in.) (iv) 33 x 44 cm (12 7/8 x 17 3/8 in.) Each executed in 2010, each facsimile object is from an edition of 500. Estimate £5,000-7,000 $7,100-9,900 €5,700-8,000 ♠

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Provenance Heni Productions, London Private Collection, London Exhibited London, Marian Goodman, Gerhard Richter, 14 October - 20 December 2014, pp. 44 - 45 (another example of Baghdad (9), Baghdad (P10) and IFRIT (P8) exhibited and illustrated, pp. 44 - 45) Bremen Museum für Moderne Kunst, Farbe im Fluss. 20 Jahre Weserburg, 10 September 2011 - 29 January 2012, p. 60 (another example of Baghdad (P10) exhibited and illustrated) Staatliche Kunstsammlungen Dresden; Kunstmuseum Winterhur, Gerhard Richter: Streifen and Glas, 8 January until 21 April 2014, nos. 58 - 59 (another example of Baghdad (9) and Baghdad (P10) exhibited and illustrated)

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Property from an Important Private European Collection

273. Tom Wesselmann

1931-2004

274. Dan Attoe

b. 1975

Monica Sitting with Legs Spread acrylic on shaped steel 37.6 x 37.2 cm (14 3/4 x 14 5/8 in.) Executed in 1986 - 1997, this work is number 8 from an edition of 25 plus 6 artist’s proofs.

Men are women neon, wire, transformers and animators 175 x 205 cm (68 7/8 x 80 3/4 in.) Executed in 2008, this work is number 1 from an edition of 2 plus 1 artist’s proof.

Estimate £12,000-18,000 $17,000-25,500 €13,700-20,500

Estimate £6,000-8,000 $8,500-11,400 €6,800-9,100

Provenance Private Collection Andy Warhol & The Pop Generation, Sotheby’s, London, 15 March 2005, lot 260 Private Collection Sotheby’s, Milan, 20 November 2017, lot 2 Acquired at the above sale by the present owner

Provenance Peres Projects, Berlin Acquired from the above by the present owner Exhibited Peres Projects, Berlin, Simple Thoughts and Complicated Animals, 2 May - 21 June 2008 (another example exhibited) Literature Dan Attoe, I Made Most of This Shit Up, Berlin, 2010, n.p. (another example exhibited)

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275. Jake and Dinos Chapman

b. 1966 and b. 1962

Four works: (i) Fop haired monopod I; (ii) Monster T-shirt I; (iii) Young girl with the spinal column I; (iv) Fuck face I each signed "Jake and Dinos Chapman" on the reverse etching and watercolour on paper each image 22.2 x 17.8 cm (8 3/4 x 7 in.) each sheet 47 x 38.1 cm (18½ x 15 in.) Executed in 2000, each work is from the Exquisite Corpse series of 20.

276. Chris Ofli

b. 1968

Nude Study in Blue oil on canvas 50.5 x 40.5 cm (19 7/8 x 15 7/8 in.) Painted in 2006. Estimate £30,000-50,000 $42,600-71,000 €34,200-57,100 ‡ ♠

Estimate £10,000-15,000 $14,200-21,300 €11,400-17,100 ‡ ♠

Provenance Contemporary Fine Arts, Berlin Gary Tatintsian Gallery, Moscow Private Collection

Provenance White Cube, London Private Collection

Exhibited Moscow, Gary Tatintsian Gallery, Hunky Dory, 2 March - 20 April 2007

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277. Gilbert & George

b. 1943 and b. 1942

Dragon part three signed, titled and dated ‘“Dragon” Gilbert & George 1980’ lower right photogram, in 3 parts, each in artist’s frame each 60.5 x 50.2 cm (23 7/8 x 19 3/4 in.) overall 60.5 x 150.6 cm (23 7/8 x 59 1/4 in.) Executed in 1980. Estimate £25,000-35,000 $35,500-49,700 €28,500-39,900 ‡ ♠ Provenance Anthony d’Ofay, London Private Collection, Tokyo

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Exhibited CAPC Musée d’Art Contemporain de Bordeaux; Basel, Kunsthalle; Brussels, Palais des Beaux Arts; Madrid, Palacio de Velazquez, Parque del Retiro; Munich, Städtische Galerie im Lenbachhaus; London, Hayward Gallery, Gilbert & George The Complete Pictures 1971-1985, 9 May 1986 - 26 September 1987, p. 169 (illustrated)

Literature Rudi Fuchs, ed., Gilbert and George: The Complete Pictures 1971-2005, vol. I, London, 2007, p. 370 (illustrated) Inigo Philbrick and Hans Ulrich Obrist, eds., Gilbert & George Art Titles 1969-2010, Cologne, 2011, p. 23

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278. Julian Opie

b. 1958

279. Julian Opie

b. 1958

This is Shahnoza horizontal. 06. signed ‘Julian Opie’ on the reverse silkscreen on painted wooden board 48.4 x 118.8 cm (19 x 46 3/4 in.) Painted in 2007.

This is Shahnoza. 29. signed ‘Julian Opie’ on the reverse vinyl on wooden stretcher 203.9 x 109.8 x 4 cm (80 1/4 x 43 1/4 x 1 5/8 in.) Executed in 2006.

Estimate £20,000-30,000 $28,400-42,600 €22,800-34,200 ♠

Estimate £25,000-35,000 $35,500-49,700 €28,500-39,900 ♠

Provenance Galerie Krobath Wimmer, Vienna Acquired from the above by the present owner

Provenance Private Collection (acquired directly from the artist) Patrick De Brock Gallery, Knokke-Heist Acquired from the above by the present owner

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Property from the Triton Collection Foundation

280. Stuart Semple

b. 1980

281. The Connor Brothers

b. 1975 and b. 1978

Jump for my Love titled ‘“JUMP FOR MY LOVE”’; further signed and dated ‘Stuart Semple ‘06’ on the reverse acrylic, charcoal, spray paint, marker and glitter on canvas 120 x 120 cm (47 1/4 x 47 1/4 in.) Executed in 2006.

I Drink to Make Other People More Interesting signed and dated ‘Connor Brothers ‘17’ lower right giclée, screenprint, acrylic and oil on paper, in artist’s frame 184.4 x 114.4 cm (72 5/8 x 45 in.) Executed in 2017.

Estimate £4,000-6,000 $5,700-8,500 €4,600-6,800 ‡ ♠

Estimate £5,000-7,000 $7,100-9,900 €5,700-8,000 ♠

Provenance Martin Summers Fine Art, London Acquired from the above by the present owner in 2007

Provenance Acquired directly from the artist by the present owner

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30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com

Please return this form by email to bidslondon@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):

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Photographs New York, Auction 9 April 2018 Public viewing 31 March-8 April at 450 Park Avenue, New York Enquiries +1 212 940 1245 photographs@phillips.com

Andreas Gursky EM Arena I, Amsterdam, 2000 Estimate $350,000-450,000

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Sale Information 20th Century & Contemporary Art Day Sale

20th Century & Contemporary Art Department

Auction and Viewing Location 30 Berkeley Square, London W1J 6EX

Head of Day Sale Tamila Kerimova +44 20 7318 4065 tkerimova@phillips.com

Auction 9 March 2018, 2pm Viewing 24 February – 9 March 2018 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010218 or 20th Century & Contemporary Art Day Sale Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 Susanna Brockman +44 20 7318 4041 Rebecca Gathercole +44 20 7901 7927 bidslondon@phillips.com

Cataloguers Lisa Stevenson +44 20 7318 4093 lstevenson@phillips.com Charlotte Gibbs +44 20 7901 7993 cgibbs@phillips.com Administrator Chiara Panarello +44 20 7318 4073 cpanarello@phillips.com Property Manager Ross Martin +44 20 7318 4788 rmartin@phillips.com Auctioneers Henry Highley Catalogues London +44 20 7901 7927 New York +1 212 940 1240 catalogues@phillips.com £22/€25/$35 at the gallery

Client Accounting Richard Addington, Head of Client Accounting +44 20 7901 7914 Jason King, Client Accounting, Director +44 20 7318 4086 Buyer Accounts Carolyn Whitehead +44 20 7318 4020 Seller Accounts Surbjit Kaur +44 20 7318 4072 Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010 Shipping Andrew Kitt + 44 20 7318 4047 Lewis Thomas +44 20 7901 7920 Rita Matos +44 20 7318 4081 Kyle Buchanan +44 20 7318 4081 Photographers Marta Zagozdzon Charlie Sheldon Jean Bourbon Creative Services Eve Campbell, Creative Services Manager Grace Neighbour, Graphic Designer Moira Gil, Graphic Designer Rui Cravo, Graphic Designer

The 20th Century & Contemporary Art department would like to thank Harry Dougall, Emily Power, Christine Senf and Sofya Simakova for their research, writing and assistance in producing this catalogue.

Front cover, Lot 150 George Condo French Maid Variation, 2005 © ARS, NY and DACS, London 2018

Back cover, Lot 101 Henry Moore Three standing figures, 1945 © The Henry Moore Foundation. All Rights Reserved

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Phillips is Design. Important Design London, 26 April 2018 Public viewing 19 – 26 April, 2018 30 Berkeley Square, London W1J 6EX Find out more at Phillips.com

Ettore Sottsass ‘Nefertiti’ cabinet, 1968-1969

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Index 231

Aldrich, R. Alÿs, F.

247

Giacometti, A.

Armleder, J.

187

Gilbert & George

276 278, 279

204

Gilliam, S.

192

Opie, J.

Attoe, D.

274

Gordon, D.

256

Ostrowski, D.

136

165

Gormley, A.

269, 270

Halley, P.

Balla, G.

107

Henrot, C.

185

Baselitz, G.

Hirst, D. 248

Becher, B. and H. 238

Beloufa, N. Beshty, W.

232

Bianchi, D.

132

Brüggemann, S.

KAWS 243

Caro, A.

Ray, M.

116 275

Connor Brothers

109

Warhol, A.

198

Welling, J.

265

121

Wall, J.

271, 272 183

117, 118

Riley, B.

Kruger, B.

167, 246

Rosenkranz, P.

223

Williams, M.

Kusama, Y.

113, 159

Rotella, M.

224

Laurens, H.

259, 260,

Ruff, T.

128

218

Saraceno, T.

111

Schifano, M.

268

219

169, 170

Schwontkowski, N.

Levine, S.

168

Scott-Douglas, H.

LeWitt, S.

139

Semple, S.

Dorazio, P.

126

Longo, R.

197

Shaw, G.

245

Lowman, N. 215

Fleury, S. Flood, M. Förg, G.

130

267

MacDowel, M. 123

Martin, J.

125 234

McCarthy, P.

226

Meese, J.

178

Mitoraj, I.

212

Moore, H.

101, 102, 103, 104

Mueck, R.

213

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255

257

148

154 112

Zadkine, O. 176

Zangs, H.

240

Zaugg, R. Zeng, F.

203 186 158

189 196

Simpson, L.

143 241

Smith, L. Sodi, B.

220 182

280

Smith, J.

Manzoni, P. Festa, T.

Yang, F.

131

Lawler, L.

Mack, H.

145, 150, 151

Yue, M.

175

Schütte, T.

264

108

227

Wood, J.

222, 244 251, 252

Dijkstra, R.

162

144

Yiadom-Boakye, L.

Lavender, J.

Ernst, M.

266

Whitney, S.

Cortright, P.

Elrod, J.

273

Whittaker, D. K.

239

Lassry, E.

Elmgreen & Dragset

Wesselmann, T.

Rondinone, U.

261, 262

211

253

134

225

Deacon and Schütte, R. and T.

207

Walker, K.

110

Ruby, S.

209

263

Vitali, M.

177

Connors, M.

de Bruyckere, B.

174

180, 181, 249,

LaChapelle, D. 281

122

Verheyen, J.

Richter, G.

163 149

205

Venet, B. 127

119, 120

Vasarely, V.

Richter, D.

206

Kounellis, J.

Chapman, J. and D. Condo, G.

201, 202 Pistoletto, M.

208

Vanmechelen, K.

199, 200,

194

Klein, Y.

137

Colen, D.

129

Richier, G.

Knoebel, I. Calder, A.

173 142

Vance, L.

155, 156, 157

Kentridge, W.

140

Byars, J. L.

233

153 228

Kelley, M.

115

Butler, R.

152

Kahn, W. 124

Bonalumi, A.

114

Hughes, S. Kabakov, I.

135

Boetti, A.

Pettibon, R.

Polke, S.

188

Bleckner, R.

Penone, G.

195

Hodgkin, H.

Upson, K. Valdés, M.

179

Penck, A.R.

164, 166

Hodges, J.

160

141

190, 191 229, 230

Kim, T. Y.

242

235

Otero, A. Owens, L.

Baker, K.

184

Tobias, G. and U. Ofili, C.

Asch, O.

Aubertin, B.

258

146, 147, 250

Tillmans, W.

105 277

210

Taylor-Johnson, S.

214

Novatt, J.

Arcangel, C.

Tal R

216, 217

Navarro, I.

237

Gelitin

138

Nauman, B.

193

Gates, T.

161

Arakawa

221

Gaillard, C.

171

236

Spalletti, E. Stepanova, V. Stingel, R. Sugimoto, H.

133 106 172 254

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155. KAWS

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Giulio Turcato Comizio (detail), 1950 Roma, Galleria d’Arte Moderna © Roma Capitale – Sovrintendenza Capitolina ai Beni Culturali. Photo Schiavinotto Roma. Giulio Turcato by SIAE 2018

Informal. Pop. Conceptual. Dawn of a Nation From Guttuso to Fontana and Schifano 16 March – 22 July 2018 Palazzo Strozzi, Florence Phillips is delighted to support Palazzo Strozzi on the occasion of their exhibition Dawn of a Nation: From Guttuso to Fontana and Schifano, opening this March and exploring art, politics and society from the 1950s to the protest years in the late 60s.

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153. Ilya Kabakov

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Profile for PHILLIPS

20TH CENTURY & CONTEMPORARY ART DAY SALE [Catalogue]  

Phillips presents the 20th Century & Contemporary Art Evening Sale on 9 March in London.

20TH CENTURY & CONTEMPORARY ART DAY SALE [Catalogue]  

Phillips presents the 20th Century & Contemporary Art Evening Sale on 9 March in London.