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148. Harold Ancart


151. KAWS


174. Andreas Gursky


102. Peter Doig


156. Damien Hirst


113. Allen Jones


20th Century & Contemporary Art Day Sale London, 8 March 2019

20th Century & Contemporary Art Department Contacts

Head of Sale Tamila Kerimova +44 20 7318 4065 tkerimova@phillips.com Cataloguer Charlotte Gibbs +44 20 7901 7993 cgibbs@phillips.com Administrator Constance Perret +44 20 7318 4073 cperret@phillips.com

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

Auction 8 March 2019, 2pm

Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010219 or 20th Century & Contemporary Art Day Sale

Viewing

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23 February – 8 March Monday to Saturday, 10am–6pm Sunday, 12pm–6pm

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Our Team. Executives. Ed Dolman

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Š Brigitte Lacombe

20th Century & Contemporary Art. Jean-Paul Engelen

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175. Anish Kapoor


150. George Condo


Phillips Division of

20th Century & Contemporary Art London.

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Jeannette van Campenhout

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Hong Kong.

International Specialists & Regional Directors. Europe. Laurence Calmels

Maria Cifuentes

Laurence Barret-Cavy

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Specialist, 20th Century & Contemporary Art, Germany

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Americas. Cândida SodrÊ

Carol Ehlers

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Asia. Kyoko Hattori

Jane Yoon

Sujeong Shin

Wenjia Zhang

Alicia Zhang

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Meiling Lee

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Business Development. Europe.

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101. Frank Bowling, R.A.

b. 1934

Pondlife signed, titled and dated ‘FRANK BOWLING “PONDLIFE” 2010’ on the stretcher acrylic on canvas 145 x 129.5 cm (57 1/8 x 50 7/8 in.) Executed in 2010. Estimate £50,000-70,000 $65,500-91,600 €57,100-80,000 ‡ ♠ Provenance Spanierman Modern, New York Acquired from the above by the present owner Exhibited New York, Spanierman Modern, Frank Bowling O.B.E., RA: Paintings 1974-2010, 14 September - 16 October 2010, no. 2 (illustrated) Literature Mel Gooding, Frank Bowling, London, 2015, p. 144 (illustrated)

Frank Bowling’s Pondlife, executed in 2010, inspires a duality of perception in its viewer, a perception which oscillates between impressions of depicted natural phenomena and an appreciation of Bowling’s powers of abstraction. Pondlife is recycled from fragments of a previously abandoned work of 1972, the same year that Bowling met Clement Greenberg and began to take an interest in the objective, abstract formalism famously expounded by the critic. Beyond mere aesthetics, Bowling’s adoption of Formalism constituted a moral and political act that granted Bowling a previously unknown freedom of expression. By incorporating a fragment of an earlier piece, Bowling seems to pay nostalgic homage to the initial quest for purity of expression encapsulated in his early experimentation with Color Field theory.

‘I look on the work often as my refection in an area of water, say a river. You drop a pebble in and it distorts your refection and then settles back into one’s image of one’s self. This is how the work has been going for many years, always something to do with water because this is the nature of the material.’ Frank Bowling


102. Peter Doig

b. 1959

White Canoe (version) signed, titled and dated ‘PETER DOIG Peter Doig “WHITE CANOE” (version)” ‘93’ on the reverse oil on canvas 20.5 x 25.5 cm (8 1/8 x 10 in.) Painted in 1993. Estimate £150,000-250,000 $196,000-327,000 €171,000-286,000 ‡ ♠ Provenance Private Collection (acquired directly from the artist) Sotheby’s, London, 22 June 2007, lot 303 Acquired at the above sale by the present owner

‘So many paintings are of Canada, but in a way I want it to be more of an imaginary place – a place that’s somehow a wilderness.’ Peter Doig


Peter Doig, White Canoe, 1990-91 oil on canvas, Private Collection © Peter Doig. All Rights Reserved, DACS/Artimage 2019. Image: Artimage

Peter Doig’s White Canoe (version) from 1993 is an enchanting example of a subject which has preoccupied the artist for more than 20 years. A single ghostly vessel seemingly hovers above the glassy surface of a pool of water and serves as a clear form amidst a contrastingly indistinct foreground. The colour palette of sof blue, icy white and organic green conjures the image of a cool wooded landscape, reminiscent of the surroundings of his father’s house in Ontario, Canada, where the artist spent much of his childhood. In its evocation of place, the painting is imbued with a sense of nostalgic reverie and conveys a distinctly romantic sensibility. Much of Doig’s work is typified by its atmosphere, which he cultivates through his distinctive intermingling of painterly textures and bleeding, diffuse colours. Speaking on the apparent intangibility of his work, Doig notes: ‘I am trying to create a numbness…I am trying to create something that is questionable, something that is difcult, if not impossible to put into words’ (the artist, quoted in Peter Doig: Cabins and Canoes, The Unreasonable Silence of the World, exh. cat., Faurschou Foundation, Beijing, 2017, p. 145).

As a post-modern reworking of the traditional landscape painting, White Canoe (version) was not painted en plein air or taken from a study, but was instead loosely composed from a flm still taken from the classic horror flm Friday the 13th. First used by Doig as a reference for painting in 1987, Doig was struck by the poignancy of the penultimate scene in which ‘Jason’ emerges from the water to grasp the only survivor, adrift in a solitary canoe, from behind, consequently dragging them into the depths of the icy lake. Speaking of the formative infuence of the flm on his work, Doig recalls: ‘I saw this scene and went out to the barn and made a painting of it that night…In fact it was the least horrifying moment of the film. It’s more like a romantic dream when you remove it from its context.’ (the artist, quoted in Peter Doig: Cabins and Canoes, The Unreasonable Silence of the World, exh. cat., Faurschou Foundation, Beijing, 2017, p. 20). In the present work, Doig has revisited earlier painterly explorations of the still, as evident in the artist’s masterpiece White Canoe (1990-91), reworking the composition by almost entirely abstracting the lake and surrounding tree-lined perimeter in the present work.


Studio shot © Peter Doig. All Rights Reserved, DACS/Artimage 2019. Image: Peter Doig.

‘In Canada the canoe is an emotive kind of a national symbol…An incredible symbol of freedom and movement and all the sadness that goes with it. The shape of it really fascinates me. It’s almost like the perfect form.’ Peter Doig

The trees and their mirrored refections are rendered in large, thickly applied brushstrokes over fat planes of grey blue; these impressions evoke a dreamlike state. The discordantly bright and clear form of the canoe can be seen as a vessel, slipping seamlessly through states of consciousness. Through his handling of this image, Doig’s White Canoe (version) represents an unsettling binary between serenity and anxiety. In 1989, Doig completed a one year painting MA at Chelsea School of Art. Of this formative period Adrian Searle observed that ‘Doig discovered in this very short period of time…that paint is like mud and can be drawn out in to trails and strokes like dangling vines...It can make a clean white shape, like a canoe, or a broken inchoate mess of spatters…Paint can be like air or light, or solid as a bronze fre hydrant… It can be inchoate and formless, or lain on canvas like a row of bricks.’ (Adrian Searle, ‘A Kind of Blankness’, Peter Doig, London, 2007, p. 73). In White Canoe (version), Doig’s discovery and subsequent exploration of the versatility of oil paint is clearly demonstrated. The small composition is confdently and spontaneously worked, resulting in a multifaceted and recondite depiction of Doig’s atmospheric microcosm.


103. Hans Hartung

1904-1989

T1976 - E3 signed with the artist’s initials and dated ‘HH. 76.’ on the reverse acrylic on canvas 65.1 x 92.1 cm (25 5/8 x 36 1/4 in.) Painted in 1976, this work is registered in the archives of the Fondation Hartung Bergman. Estimate £40,000-60,000 $52,400-78,500 €45,700-68,600 ‡ ♠ Provenance Roswitha Hafmann Modern Art, Zürich Private Collection Grisebach GmbH, Berlin, 30 November 2002, lot 368 Private Collection Gallery Lases, Paris Acquired from the above by the present owner in 2009 Exhibited Zürich, Roswitha Hafmann Modern Art, Hans Hartung zum 85. Geburtstag, 1989 This work will be included in the forthcoming catalogue raisonné currently being prepared by the Fondation Hartung Bergman.

‘They allow me to evoke atmospheric and cosmic tensions, the energies and forces that govern the universe. These are the vital, natural, and physical forces that I have always expressed in the gesture’. Hans Hartung


104. Yayoi Kusama

b. 1929

Earth signed and dated ‘Yayoi Kusama 1980’ lower right; further signed, titled [in Japanese] and dated ‘Yayoi Kusama “Earth” 1980’ on the reverse ink, gouache, pastel and collage on paper 51.3 x 65.8 cm (20 1/4 x 25 7/8 in.) Executed in 1980, this work is accompanied by a registration card issued by the Yayoi Kusama studio. Estimate £40,000-60,000 $52,200-78,300 €45,600-68,500 ‡ Provenance Sotheby’s, Olympia, 18 June 2007, lot 687 Private Collection, Europe Phillips, London, 30 June 2010, lot 271 Acquired at the above sale by the present owner Exhibited Hong Kong, Sotheby’s, Yayoi Kusama. Blooms In My Mind, 19 May - 31 May 2012, no. 6, p. 22 (illustrated)


105. Yayoi Kusama

b. 1929

Birds signed and dated ‘1980 Yayoi Kusama’ lower right; further signed, titled [in Japanese] and dated ‘Yayoi Kusama “Birds” 1980’ on the reverse ink, gouache, pastel and collage on paper 51.2 x 65.7 cm (20 1/8 x 25 7/8 in.) Executed in 1980, this work is accompanied by a registration card issued by the Yayoi Kusama studio. Estimate £40,000-60,000 $52,200-78,300 €45,600-68,500 ‡ Provenance Sotheby’s, Olympia, 18 June 2007, lot 684 Private Collection, Europe Phillips, London, 30 June 2010, lot 271 Acquired at the above sale by the present owner Exhibited Hong Kong, Sotheby’s, Yayoi Kusama. Blooms In My Mind, 19 May - 31 May 2012, no. 4, p. 18 (illustrated)


106. Daniel Buren

b. 1938

Peinture acrylique blanche sur tissu rayé blanc et rouge signed and dated ‘BUREN Décembre 1968’ on a fabric label attached to the reverse white acrylic paint on cotton canvas, woven in alternating white and red stripes without stretcher 163.6 x 142.7 cm (64 3/8 x 56 1/8 in.) on stretcher 149.6 x 132.7 cm (58 7/8 x 52 1/4 in.) Executed in December 1968. Estimate on request ♠ Provenance M° Libert-Castor, Paris, 26 February 1997, no. 26bis Private Collection, Paris Literature Annick Boisnard, Daniel Buren, Daniel Buren, Tome III 1967–1969, no. T III 63 (illustrated, published on www.catalogue.danielburen.com) An Avertissement will be established by Daniel Buren under the name of the purchaser, and will be signed by the latter.

‘I have been using stripes – without knowing I would be using them for so long – as a simple and ultimate pattern. I don’t show stripes, they allow me to show things. What happens around them? How does the work infuence its environment? ... They are meant to challenge the idea of a frozen point of view.’ Daniel Buren

Photo-souvenir: Peinture acrylique blanche sur tissu rayé blanc et rouge 24 décembre 1968, 149.6 x 132.7 cm. Détail © Daniel Buren/ADAGP, Paris. Photo: Phillips.


107. Günther Förg

1952-2013

Untitled upper part signed, numbered and dated ‘22/88 Förg 1988’ on the reverse; lower part signed, numbered and dated ‘22/88 Förg 88’ on the reverse acrylic on lead on wood, in 2 parts each 90.1 x 120 cm (35 1/2 x 47 1/4 in.) overall 180.3 x 120 cm (70 7/8 x 47 1/4 in.) Painted in 1988, this work is recorded in the archive of Günther Förg as No. WVF.88.B.0481. Estimate £120,000-180,000 $157,000-236,000 €137,000-206,000 ‡ ♠ Provenance Luhring Augustine, New York Acquired from the above by the present owner in 1992 We thank Mr. Michael Nef from the Estate of Günther Förg for the information he has kindly provided on this work.

‘I like very much the qualities of lead – the surface, the heaviness.’ Günther Förg


Barnett Newman, Onement IV, 1949 oil and casein on canvas Allen Memorial Art Museum, Oberlin College, Ohio, USA. © The Barnett Newman Foundation New York/DACS, London 2019. Image: Bridgeman Images.

‘I think painting is a resilient practice; if you look through the history of painting it doesn’t change so much and we always see it in the present. It is still now.’ Günther Förg

Lead Paintings installed at Günther Förg - A Fragile Beauty, Stedelijk Museum, Amsterdam, 26 May - 14 October 2018. © Estate Günther Förg, Suisse / VG Bild-Kunst, Bonn 2018. Image: Stedelijk Museum, Amsterdam.


A commanding example of Günther Förg’s multi-disciplinary oeuvre, Untitled belongs to one of the artist’s most iconic series, commenced in the early 1980s and celebrating the versatility of lead. A study in contradictions, Untitled prodigiously showcases Förg’s ability to balance rigorous lines and unrestrained strokes, painterly two-dimensionality and sculptural texture. Rendering homage to a number of eminent fgures of the avant-garde, Untitled is redolent of Blinky Palermo’s ingenious aluminium paintings, Donald Judd’s rigorous geometric constructions and Barnett Newman’s deeply reduced planes, whilst simultaneously exuding a force of abstraction distinctively its own. Masterfully fattening discrete textures and materials, the painting hovers between milky translucence and impenetrable density, conjuring a sense of depth that ostensibly digs into its own surface. Although Untitled’s rich yellow summons the viewer’s eye faster than the coarseness of its chromatic grey, Förg underscored the latter colour as a starting point from which his compositions could expand. A pigment that captivated Förg throughout his career, grey pervaded much of the artist’s practice across the various media he experimented with; his black and white photography, early grey monochromes and later lead paintings all converged in celebrating the polymorphous nature of the colour. Sensuously raw and unpolished, Untitled nonetheless departs from the liminal staticity of the lead’s coloration as the artist introduces a luminous tone, warm like an egg’s yolk, at the bottom half of the painting’s surface. The two constitutive colours’ neat separation summons the rigour and formality of minimalist composition, yet the brightness of the heliacal colour sufuses the lead’s metallic heaviness with hints of gleaming light. These two contradicting yet mutually invigorating energies masterfully showcase the artist’s distinctive command of balance, as well as his desire to explore a ‘clarity of form with an expressionist handling’ (Günther Förg, in conversation with David Ryan, Talking Painting, Karlsruhe, 1997). Whereas the minimalist artists’ work relied on the reduction of form and the avid promotion of clean geometry, Förg indeed placed special emphasis on painterly texture and depth, extending his predecessors’ spatial investigations through uncalculated gestures and incongruous material juxtapositions. Presaging future experimentation with brighter colour palettes, Untitled is a stellar synthesis of the artist’s practice; situated at the core of Förg’s oeuvre, it exists alongside a range of comparable works housed in esteemed public collections, namely the Museum of Modern Art, New York, and the San Francisco Museum of Modern Art.


108. Sean Scully

b. 1945

Dust signed, titled and dated ‘Sean Scully ‘84 “DUST”’ on the reverse oil on canvas 160.2 x 137.8 cm (63 1/8 x 54 1/4 in.) Painted in 1984. Estimate £400,000-600,000 $524,000-785,000 €457,000-686,000 ‡ ♠ Provenance Juda Rowan Gallery, London Private Collection, London (acquired from the above in 1984) Marc and Jacqueline Leland, London Sotheby’s, London, 10 February 2016, lot 56 Private Collection, London Exhibited Aalst, Galerij S65, Sean Scully: schilderijen – tekeningen, 26 October - 2 December 1984 (illustrated on the cover) Literature Marla Price, Sean Scully: Catalogue Raisonné of the Paintings, Volume II, 1980-1989, Berlin, 2018, no. 1984.05, p. 112 (illustrated)


Joseph Mallord William Turner Staffa, Fingal’s Cave, 1832, oil on canvas Yale Center for British Art, Paul Mellon Collection, USA.

Ad Reinhardt, Number 17-1953, 1953 oil and tempera on linen Whitney Museum of American Art, New York, USA.

Image: Bridgeman Images.

© Ad Reinhardt. Image: Scala Images, Florence.

‘I distinguish between two spheres of reality: one is the physical reality of everyday life and the other corresponds to the realm of art. Abstraction is the spiritual art of our time’. Sean Scully

Sean Scully’s sumptuously rendered canvasses celebrate the possibilities of the medium of painting, their rich strata of tonal variation and architectural linearity exemplary of Scully’s celebrated body of work. Comprised of three tessellated canvasses, Dust encapsulates Scully’s profound experimentation with austere geometry and lyrical contemplation, coalescing in an array of sublime striations of thickly applied impasto and translucent gradations of grey blue, ochre and cherry tones. Evoking an emotive visual resonance through the artist’s symbiosis of formal reduction and painterly poesy, the canvas subsumes our gaze through the hypnotic bands of rich colour and rigorous geometric repetition. Executed in 1984, the present work was painted the same year in which Scully was selected for An International Survey of Recent Painting and Sculpture at the Museum of Modern Art, New York, the year preceding Scully’s frst solo institutional exhibition in America at the Museum of Art, Carnegie Institute, Pittsburgh, which later travelled to the Museum of Fine Arts, Boston.

Primarily drawing upon the tenets of abstraction to transport the viewer into his contemplative painterly sphere, Scully’s repetitive formal pattern, his strips of worked brushstrokes which overlap and intertwine with one another, are hypnotic in their rhythmic vitality. Continuing an aesthetic dialogue with hard abstraction, the squares of Kazimir Malevich and the hard edges of Ad Reinhardt, Scully’s linear bands reverberate through his expressive paint application. Removing the guidelines of tape he used to section his painted stripes in 1981, the artist began to paint freehand, allowing his brushstrokes to bleed, smudge and waver. In the present work and emblematic of his canvasses, Scully creates radiated slithers of colour which border his tonal sections. These contours glimmer through the intensity of his palette, demarcating the wall of sections like tonal channels, furrowing through his composition. Scully’s presence in the creation of the work is felt through the evident stratifying of paint layers; Scully’s abstraction bears the mark of its creator rather than aspiring to a polished, perfected and highly fnished surface as displayed in the


work of the Minimalists. Through his gestural utilisation of oil, Scully’s painterly canvases are imbued with a poetic quality, wistful in their ability to resonate and conjure distinctive memories and personal experiences. Encapsulating a wealth of associative connotations, Scully’s seemingly boundless canvasses provide a synthesis of painterly profundity and suggestive abstraction. Further dismantling fgurative and traditional notions of painting and representation, in the early eighties Scully worked with polyptych canvasses, combining and reusing canvasses to create dynamic compositions comprised of numerous planes, presenting Scully’s trademark stripes either perpendicularly or at a right angle. Using the same tripartite canvas structure as Dust, Scully’s pinnacle work Heart of Darkness, 1982, currently housed in the Art Institute of Chicago, Illinois, also showcases a similar rotation of lines set against each other, creating a similarly satisfying and intriguing visual tension. Painted two years prior to the present work, the canvas showcases the themes explored in Dust, namely Scully’s exquisite marriage of colour, depth and composition. Oscillating between the confnes of clean geometry and a looser, more evocative painterly style, the present work is comprised of two notable colour palettes. In the upper section, steely blues, greys and greens envelop us in a colder world, whilst the burnt oranges, reds and yellows of the lower section breath an intense warmth into Scully’s composition. Creating an innate tension, a juxtaposition of formal and subjective preoccupations, the present work suspends the viewer’s gaze in a unique intermission, striking an emotional chord through its compositional and tonal push and pull. Scully’s masterful ability to both simultaneously marry this duality whilst incorporating myriad diferences, charge the present work with a natural visual dynamism. Drawing upon the world around him, Scully travelled to Morocco in 1969, the light, sounds and sights leaving an unrivalled

impression upon his practice; Scully incorporated the stripes and patterns from local Moroccan textiles into his compositions. Four years before the creation of Dust, Scully travelled to Mexico where, like Josef and Anni Albers, the artist experienced the intense heat, vivid light and scorched, arid colours of the country’s landscape. At odds with the colder climes of the artist’s native Ireland and England, the present work conveys the equatorial divide between the north and south, emphasising the split within his oppositional palette. Leading us on a visual adventure, Scully notes, ‘The need to create comes because you are split and forced to fnd some kind of unity. I believe that duality is a quality evident in all my work’ (the artist, quoted in, Maria Lluïsa Borràs, ‘The Spiritual Art Of Our Time’, in Sean Scully. A Retrospective, London, 2007, p. 30). Encapsulating a multitude of emotions in his expert handling of colour and line, the present work is paradigmatic of Scully’s transfguration of hard geometry into a resounding spiritual experience. Capturing the essence of a feeting or deeply felt emotion, a landscape or a memory, Scully’s paintings strike at the core of human experience, uniting us all through our shared familiarities. Continuing a dialogue with Joseph Mallord William Turner’s tumultuous land and seascapes which begin to explore the possibilities of abstraction, Scully here further reduces the essence of what surrounds us, communicating its organic quintessence through the subtlest expression of form and tone. Like contours of the earth, his stripes act like arteries which underlay the foundations of mankind, the romance of the horizon, land, earth and air, all assimilated within his composition. As the title of the painting suggests, Scully reduces representational elements to explore the very basis of that which comprises the earth we live upon, thus encouraging us to explore our place within the landscape and to refect on all our experiences in relation to it.

Josef Albers, Browns, Ochre, Yellow, 1948 oil on Masonite, The Josef & Anni Albers Foundation. © The Josef & Anni Albers Foundation/ VG Bild-Kunst, Bonn and DACS. Image: Josef & Anni Albers Foundation.


‘My work is based on immersion…I am taking on the history of art, I’m immersed in it and I’m immersed in what I make’. Sean Scully

Sean Scully in his studio © Sean Scully.


Property from a Distinguished Private British Collection

109. Leon Kossof

b. 1926

Head of Chaim oil on board 54.5 x 50.2 cm (21 1/2 x 19 3/4 in.) Painted in 1989. Estimate £70,000-100,000 $91,300-130,000 €79,900-114,000 ♠ Provenance The Collection of the Artist Anthony d’Ofay, London Hirschl & Adler Galleries, New York Acquired from the above by the present owner in November 1990 Exhibited New York, Hirschl & Adler Galleries, The British Imagination: Twentieth-Century Paintings, Sculpture, and Drawings, 10 November 1990 – 12 January 1991, no. 54, pp. 110-111 (illustrated, p. 111) Glasgow, McLellan Galleries, Glasgow’s Great British Art Exhibition, 27 March – 9 May 1990, p. 90 Jerusalem, The Israel Museum, British Figurative Painting of the 20th Century, November 1992 - February 1993, p. 79 (illustrated, p. 79) Paris, Fondation Dina Vierny-Musée Maillol, L’École de Londres de Bacon à Bevan, 10 October 1998 - 20 January 1999, pp. 102-103 (illustrated, p. 103) This work will be included in the forthcoming publication of the catalogue raisonné of the oil paintings of Leon Kossof.

‘In contrast to the congested energy of the early portraits, these images possess a startling clarity, especially the paintings of Chaim. After his father’s death, Kossof began drawing his brother in 1983. Unusually, he found a rapid, almost immediate, sympathy with the subject. The resulting fgure studies are among his most successful, combining an honest warmth of feeling with excitement in the act of creation.’ Paul Moorhouse, Leon Kossof, exh. cat., Tate Gallery, London, 1996, p. 33.


110. Peter Doig

b. 1959

Boat to Carrera signed and dated ‘Peter Doig 2000’ lower right watercolour, pastel and lacquer on paper 39.3 x 26.6 cm (15 1/2 x 10 1/2 in.) Executed in 2000. Estimate £40,000-60,000 $52,400-78,500 €45,700-68,600 ‡ ♠

Provenance Private Collection, London (acquired directly from the artist) Sotheby’s, London, 22 June 2007, lot 320 Private Collection Christie’s, New York, 13 November 2014, lot 592 Acquired at the above sale by the present owner


111. David Hockney

b. 1937

Myself and Abraham Lincoln titled, inscribed and dated ‘Myself and Abraham Lincoln WASHINGTON JULY 29th’ lower right charcoal and chalk on paper 60.5 x 44.5 cm (23 7/8 x 17 1/2 in.) Executed in 1961. Estimate £30,000-50,000 $39,300-65,500 €34,300-57,100 ‡ ♠

Provenance Kasmin Limited, London Maurice Cooke (acquired from the above in July 1963) Thence by descent Sotheby’s, London, 15 December 2010, lot 8 Acquired at the above sale by the present owner


Property from a Distinguished Private British Collection

112. Sir Peter Blake, R.A.

b. 1932

Blanche Neige et Bet Noir titled ‘“BLANCHE NEIGE AND BET NOIR”’ lower centre; further signed, inscribed and dated ‘Peter Blake completed. 1981’ on the reverse oil on panel with wooden collage, in artist’s frame 52.3 x 33.6 cm (20 5/8 x 13 1/4 in.) Executed in 1976-1981. Estimate £30,000-50,000 $39,100-65,200 €34,200-57,100 ♠ Provenance Galerie Meyer-Ellinger, Frankfurt Phillips, London, 21 November 2000, lot 134 Waddington Custot Galleries, London Acquired from the above by the present owner in 2002 Exhibited London, Waddington Galleries Ltd. and Tooth Gallery, Peter Blake: Souvenirs and Samples, 26 April 21 May 1977, no. 58, n.p. (illustrated, in an incomplete state) London, Tate Gallery, Peter Blake, 9 February 30 March 1983, no. 65, p. 23 and p. 94 (illustrated, in both states) Literature Peter Blake: A Retrospective, exh. cat., Tate Liverpool, 2007, p. 174 (illustrated) Marco Livingstone, Peter Blake: One Man Show, Farnham, 2009, no. 100, pp. 102 and 233 (illustrated)


113. Allen Jones

b. 1937

Encore signed and dated ‘Allen Jones 77’ on the overlap oil on canvas 183 x 183 cm (72 x 72 in.) Painted in 1977. Estimate £120,000-180,000 $157,000-236,000 €137,000-206,000 ♠ Provenance Waddington and Tooth Galleries, London Christie’s, London, 11 November 2010, lot 125 Acquired at the above sale by the present owner

‘I liked the idea that the picture contained information that was manifestly untrue: the sphere painted so that it defes the picture surface. The fgure standing on it accentuated the fact that it is existing in an illusionistic space by defnition’. Allen Jones


Allen Jones, Private Collection © John Hedgecoe/TopFoto. © Allen Jones. Image: Bridgeman Images.

‘ Through the 20th century artists have been preoccupied with balancing the illusion inherent in image making with the need to recognise the objective fact of the canvas as being part of the picture. Encore plays with this idea with the sphere bulging into our space. Colour aids the illusion as well as the geometry of the image that balances the sphere on the very threshold of the canvas.’ Allen Jones James Rosenquist Untitled (Blue Sky), 1962, oil on canvas Private Collection, Mayor Gallery, London © James Rosenquist/VAGA at ARS, NY and DACS, London 2019. Image: Bridgeman Images.

Allen Jones enrolled in the Royal College of Art in 1959 at the age of 22, where he studied under Richard Hamilton alongside a group of young, imaginative and inordinately talented contemporaries such as R.B. Kitaj, Peter Phillips and David Hockney. This intellectual and artistic milieu established a generation of artists who would become instrumental in the birth of the nascent British Pop Art movement. Following his expulsion from the Royal College afer only one year, Jones embarked on a formative trip to the US in the 1960s, including a stay in New York during the height of American Pop. Jones’s early work became heavily infuenced by the sleek imagery of contemporary American advertisements and pin-ups. Upon his return to London, Jones explored a variety of media including sculpture and four-dimensional representation. In Encore (1977) Jones’s exploration of the female form, namely the elongated leg, is the central focus, creating implicit tension through the poised, high arch of the dancer’s foot. The abstracted sensuality of Encore invites a comparison with another pioneer of the American pop art movement, James Rosenquist, whose abstracted aesthetic language similarly incorporated fragments of advertising, automobiles, food and cut out fgures to create surreal re-imaginings of postwar America. In both artists’ works, abstraction is not an end in and of itself but is instead refective of the Modernist tradition of using abstraction to convey emotional and thematic concerns. 

Key to Jones’s depictions of legs are the inherent improbability of his compositions, as evidenced in the structural intrique created by the pivotal, precariously balanced foot. Poised en pointe on top of a sphere and teetering on the edge of a fall, the dancer’s legs are enclosed by the sweeping balletic arch of a quarter circle, suggestive of both a delicate transparent skirt or a cartoonish signifer for movement. The scene is rendered in strikingly flat, saturated block colours that create a chromatic intensity reminiscent of the Pop Art movement. The subsequent two-dimensionality of the shapes, their illusionistic shadows and spotlighting and the incompleteness of the heavily-stylised human figure all work counterintuitively against the implicit tension created by the possibility of the performer’s fall. The scene is at once static, precarious and wholly imaginary – a geometric quandary that creates a visual scepticism in the viewer which perfectly accords with the experience of viewing an illusory circus performance. Writing on the recurring motif in his painting of female legs balancing on a sphere, Jones notes ‘I liked the idea that the picture contained information that was manifestly untrue: the sphere painted so that it defies the picture surface. The fgure standing on it accentuated the fact that it is existing in an illusionistic space by definition’ (Allen Jones quoted in  Allen Jones, exh. cat., Walker Art Gallery, Liverpool, 1979, n.p.).


Property from a Distinguished Private British Collection

114. Richard Long

b. 1945

White Marble Circle white marble stone, in 91 parts diameter 426 cm (167 3/4 in.) Executed in 1982, this work is accompanied by a certifcate of authenticity signed and dated by the artist. Estimate £80,000-120,000 $104,000-157,000 €91,300-137,000 ♠ Provenance David Bellman Gallery, Toronto Sperone Westwater, New York Private Collection Blondeau Fine Art Services, Geneva Acquired from the above by the present owner in April 2002 Exhibited Ottawa, National Gallery of Canada, Richard Long. Selected Works, 1979-1982, 21 October 1982 - 9 January 1983 Literature R. H. Fuchs, Richard Long, New York, 1986, p. 174 (illustrated)

Image of the present work installed inside


115. Barry Flanagan, R.A.

1941-2009

Unicorn incised with the number ‘6/7’ on the side of the stone base gilded bronze on a unique Portland stone base unicorn 71 x 64 x 18 cm (27 7/8 x 25 1/4 x 7 1/8 in.) base 14.7 x 74.5 x 25.3 cm (5 3/4 x 29 3/8 x 9 7/8 in.) overall 84.7 x 74.5 x 25.3 cm (33 3/8 x 29 3/8 x 9 7/8 in.) Conceived in 1982, this work is number 6 from an edition of 7 plus 1 artist’s cast. Estimate £80,000-120,000 $105,000-157,000 €91,400-137,000 ‡ ♠ Provenance Fuji Television Gallery, Tokyo Private Collection, Tokyo

Literature Catherine Francblin, ‘Barry Flanagan Always the Unexpected’, Art Press, no. 186, December 1993, pp. 31-35, E16-E19 (another cast mentioned) ‘Provocative Sculpture’, Today in English, February 1994 (another cast mentioned) Didier Ottinger, ‘Les chimères de Barry Flanagan’, Beaux-Arts Magazine, January 1994, p. 47 (another cast illustrated) Hans Pietsch, ‘Alles Ernste liegt dem Hasen fern’, Das Kunstmagazin, April 1995, p. 21 (another cast illustrated) Enrique Juncosa, ed., Barry Flanagan: Sculpture 1965–2005, exh. cat., Irish Museum of Modern Art and City Gallery, The Hugh Lane, Dublin, 2006 (another cast illustrated, p. 80)

Exhibited London, Whitechapel Art Gallery, Barry Flanagan: Sculpture, 7 January - 20 February 1983 (another cast exhibited) Paris, Centre Georges Pompidou, British Council. Barry Flanagan: Sculptures, 16 March - 9 May 1983, p. 25 (another cast exhibited and illustrated, pp. 71 and 89) New York, Pace Gallery, Barry Flanagan: Recent Sculpture, 28 October - 26 November 1983 (another cast exhibited and illustrated, on the front cover and pp. 1, 34-35) London, Waddington Galleries, Groups VII, 5 - 28 January 1984, no. 37 (another cast exhibited and illustrated, p. 34) Tokyo, Fuji Television Gallery, Barry Flanagan, 8 October - 2 November 1985, no. 7, n.p (illustrated) Florence, Ospedale degli Innocenti, Europalia 1986: 11 European Sculptors, 16 November 1986 - 11 January 1987, no. 27, pp. 97-98, 103-104 (another cast exhibited and illustrated, p. 93) Montreal, Landau Fine Art, Barry Flanagan, 15 October - 19 December 1992, pp. 6-7 (another cast exhibited and illustrated, p. 7) Madrid, Fundación “la Caixa”; Nantes, Musée des Beaux-Arts, British Council, Barry Flanagan, 24 September 1993 - 13 February 1994, p. 87 (another cast exhibited and illustrated, p. 87) Dublin, Royal Hibernian Academy, Gallagher Gallery, Barry Flanagan, February - March 1995 (another cast exhibited)


116. Sir Anthony Caro, O.M, R.A.

1924-2013

Table Piece Z-10 rusted and varnished steel 91.4 x 78.7 x 87.6 cm (35 7/8 x 30 7/8 x 34 1/2 in.) Executed in 1978-79. Estimate £40,000-60,000 $52,400-78,500 €45,700-68,600 ‡ ♠ Provenance Roger and Myra Davidson (acquired directly from the artist) David Mirvish Gallery, Toronto Sotheby’s, New York, 15 November 2001, lot 145 Jose Tasende, La Jolla, CA Private Collection Exhibited Toronto, Art Gallery of Ontario, Selections from the Roger and Myra Davidson Collection, January - March 1987, p. 22 (illustrated) Literature Dieter Blume, Anthony Caro. Catalogue Raisonné, Cologne, 1981, vol. II, no. 495, p. 123 (illustrated)


117. Lee Ufan

b. 1936

Relatum - Gravitation iron panel and stone iron panel 299.5 x 150 x 1.5 cm (117 7/8 x 59 x 0 5/8 in.) stone 74 x 76 x 62 cm (29 1/8 x 29 7/8 x 24 3/8 in.) overall installation dimensions variable Executed in 2007-08. Estimate £100,000-150,000 $131,000-196,000 €114,000-171,000 † Provenance Lisson Gallery, London Acquired from the above by the present owner in 2008 Exhibited London, Lisson Gallery, Lee Ufan: New Work, 2 April - 10 May 2008

‘I am interested in the world of phenomenological perception that arises from a relationship of encounter rather than the existence of images or objects.’ Lee Ufan

Lee Ufan explores the visual and physical encounters created and experienced within nature and the everyday, ofering minimal artistic manipulation or intervention. These oppositions of natural and industrial, form and non-form, space and non-space, and inanimate and animate are common pairings in Mono-ha philosophies that become both dynamic and harmonious concepts, used to create a serene environment. In the present work, the viewer takes on an active role as the body encounters the installation, thus defning the space in-between. For Ufan, ‘the body is crucial, our body does not belong just to us. It creates a relationship with the world. And this relationship is the most interesting thing of all.’ (Lee Ufan, quoted in Martin Gayford, ‘Solitary Soul: Interview with Lee Ufan, Apollo, 16 November 2015, online).


118. Juan Muñoz

1953-2001

Albuquerque Balcony iron and painted polyester resin 81 x 101 x 45 cm (31 7/8 x 39 3/4 x 17 3/4 in.) overall installation dimensions variable Executed in 1993. Estimate £120,000-180,000 $157,000-236,000 €137,000-206,000 ♠ Provenance Marian Goodman Gallery, New York Acquired from the above by the present owner in 1995 Exhibited The Albuquerque Museum, The Human Factor: Figurative Sculpture Reconsidered, 14 March - 3 July 1993, p. 54 (another example exhibited)

‘My characters sometimes behave as a mirror that cannot refect. They are there to tell you something about your looking, but they cannot, because they don’t let you see yourself.’ Juan Muñoz


119. Franz West

1947-2012

Passstück polyester, gauze, plaster and dispersion 46 x 73 x 44 cm (18 1/8 x 28 3/4 x 17 3/8 in.) Executed circa 1980, this sculpture was produced by Franz West and painted by Eugenia Rochas. Estimate £40,000-60,000 $52,200-78,300 €45,600-68,500 ‡ ♠ Provenance Gagosian Gallery, New York Acquired from the above by the present owner in 2007 Exhibited New York, Gagosian Gallery, Franz West. Passstücke, 18 March - 26 April 2008, no. 12, n.p. (illustrated)

‘West’s work always requires completion by a receptive opposite; they only fulfl their function when someone actively interacts with them. The possibility of the beholder’s participation is thus always provided for, and the artist considers the manifold, individual reactions to the incentives given by the works as integral components of his art.’ Eva Badura-Triska in, Franz West. Early Work, exh. cat., Zwirner & Wirth, New York, 2004, p. 1).


120. Fernand Léger

1881-1955

Visage en creux (rouge et vert) signed with the artist’s initials and dated ‘F.L. 52’ lower right; further signed, titled, numbered and dated ‘F. LÉGER 52 (No. 12) “visage en creux (rouge et vert)”’ on the reverse painted and glazed ceramic 43.2 x 35.6 cm (17 x 14 in.) Executed in 1952, this work is unique. Estimate £25,000-30,000 $32,700-39,300 €28,600-34,300 ‡ ♠

Provenance The Artist Georges Bauquier, Biot Simone Bauquier, Biot Camard & Associés, Paris, 9 June 2010, lot 102 Private Collection Phillips, New York, 16 May 2018, lot 104 Acquired at the above sale by the present owner Exhibited Paris, Galerie Louis Carré & Cie, Fernand Léger. 24 sculptures polychromes un céramique, 16 January - 28 February 1953, no. 18


121. Dennis Oppenheim

1938-2011

Heavy Dog Kiss incised with the artist’s signature, number and date ‘Dennis Oppenheim 1993 4/8’ lower reverse edge bronze and steel with concrete blocks 183 x 115 x 95 cm (72 x 45 1/4 x 37 3/8 in.) Conceived in 1993 and cast circa 2002, this work is number 4 from an edition of 8 plus 2 artist’s proofs. Estimate £70,000-90,000 $91,600-118,000 €80,000-103,000 Provenance Private Collection, The Netherlands (acquired directly from the artist)


122. Fernand Léger

1881-1955

Les oiseaux sur l’échelle signed with the artist’s initials and dated ‘F.L. ’43’ lower right gouache on paper 28 x 45.6 cm (11 x 17 7/8 in.) Painted in 1943. Estimate £50,000-70,000 $65,200-91,300 €57,100-79,900 ♠ Provenance Galerie Louis Carré, Paris Louis Carré Gallery, New York Saidenberg Gallery, New York (acquired from the above in 1951) Sotheby’s, New York, 12 November 1988, lot 219 Collection of Mr & Mrs J., Paris Artcurial, Paris, 7 June 2004, lot 55 Private Collection, Paris Exhibited New York, Louis Carré Gallery, Modern Paintings to live with, 28 November – 30 December 1950

‘...The abandoned farm discovered at Rouses Point, near the Canadian border, while travelling to the exhibition of his work in Montreal the following year, seemed to manifest this diference. Here discarded farm implements, broken wagon wheels, barbed wire fencing and fallen branches overgrown with vegetation, become the motifs used in a series of canvases which develop the theme of decay and generation...Léger returned to the Rouses Point farm in the summers of 1944 and ‘45, mainly working on small gouache studies.’ (Simon Willmoth, ‘Léger and America’, in Fernand Léger. The Later Years, exh. cat., Whitechapel Art Gallery, London, 1987-88, p. 53). Fernand Léger frst visited America in 1931 and subsequently relocated there for several years during World War II. This transition inspired a refreshed artistic focus on the themes of abundance and possibility that he observed around him. Léger’s artistic productivity found parallels in concurrent industrial changes; he picked out the byproducts of profuse manufactured production as motifs in his work by incorporating discarded farm materials and obsolete mechanical objects within tableaus of vibrant, colourful motion. Léger also incorporated elements of contrast in his work by interspersing depictions of birds and nature alongside the remnants of industry. A forceful energy persists in Léger’s work from this period, explored most recently in Tate Liverpool’s seminal exhibition Fernand Léger: New Times, New Pleasure which focuses on his vibrant depictions of modern life and the everyday.

Fernand Léger, American Landscape, 1943-44 oil on canvas, Private Collection. © ADAGP, Paris and DACS, London 2019. Image: Bridgeman Images.


123. Marc Chagall

1887-1985

Le violoncelliste signed ‘MArC ChAgAll’ lower lef gouache, ink, ink wash and pastel on paper 90 x 62 cm (35 3/8 x 24 3/8 in.) Executed in 1964. Estimate £200,000-300,000 $262,000-393,000 €229,000-343,000 ‡ ♠ Provenance Private Collection, France Thence by descent to the present owner Exhibited Paris, Gallery Maeght, Derrière Le Miroir no. 147, June 1964, no. 20 (illustrated) The authenticity of this work has been confrmed by the Comité Marc Chagall.

‘For me the picture is a surface covered with representations of things (objects, animals, human beings) in certain order in which logic and illustration have no importance. The visual efect of the composition is what is paramount.’ Marc Chagall


‘If I create from the heart, nearly everything works; if from the head, almost nothing.’ Marc Chagall

Bringing together the iconic motifs and colours that populated Marc Chagall’s oeuvre throughout his career, Le violoncelliste, 1964, is a perfect embodiment of the artist’s distinctive style. Belonging to a cycle of works centering on the theme of music, the present gouache showcases Chagall’s close proximity to the subject. ‘I’ll become a violinist. I’ll enter a conservatory’, had mused the artist as a child (Benjamin Harshav, Marc Chagall and His Times: A Documentary Narrative, Stanford, 2004, p. 112). Though he later gave up on the idea, Chagall ceaselessly produced momentous works circling the musical realm, most notably the Opéra Garnier’s luxurious ceiling in Paris in 1964, and two monumental murals, The Triumph of Music and The Sources of Music, commissioned by the Metropolitan Opera of New York in 1966, all produced alongside the present work in the mid-sixties. Resting his head against his instrument whilst looking into the distance, the artist’s Le violoncelliste touches on various themes that were bolstered by Chagall’s boundless imagination. Moving beyond the realm of music, the present work is evocative of childhood memories in the artist’s native Vitebsk, invoking visions of fddlers, birds and cold winterly tones, whilst simultaneously presenting itself as a universally understandable allegory for nostalgia. Buttressed by each symbol’s overarching thematic association, Le violoncelliste brings forth powerful evocations of freedom, passion and the past, dexterously typifying Chagall’s ability to coalesce ‘mysterious delicacy and charm of feeling’ (‘Art Exhibitions: The Leicester Galleries’, The Times, 1 May 1935, p. 14, reproduced online). Emerging from an indiscernible background, the painted violinist’s restful position within an imaginary world further highlights the composition’s elusively poetic aspect. A myriad of free-foating Chagallian signs populate the present work: a wide, round sun, a smaller crescent-shaped moon, a cascade of fowers, a mother holding her child, and an elegant dove entwined within the violinist’s hair. Finally, the leading musician takes centre stage, embodying Chagall’s poetic vision; embracing his instrument as he would a lover, the fddler and his violoncelle fuse into one, alluding to a bodily transformation sparked by the force of an all-consuming passion. Invoking this quasi-incantatory dimension, Chagall further likens the violoncelle to a powerful life force, imparting it with a pigment similar to that attributed to the sun, metaphorically expressing music’s transformative capacity to elicit potent illumination.

View of the brightly coloured auditorium ceiling, 1964, by Marc Chagall, Palais Garnier, Paris, France. The ceiling, commissioned by Culture Minister Andre Malraux (1901-76), represents scenes from ballets and operas which might be performed at the Opera House. Picture by Manuel Cohen © Marc Chagall. Image: Scala Images, Florence.

Chagall and French Minister of Culture Malraux at the unveiling of the artist’s ceiling painting at the Opéra in Paris, 23 September 1964. Image: Bridgeman Images.


124. Sam Francis

1923-1994

Light Blue signed and dated ‘Sam Francis 1953’ on the reverse watercolour on paper 49.8 x 65.2 cm (19 5/8 x 25 5/8 in.) Painted in 1953. Estimate £55,000-75,000 $72,000-98,200 €62,800-85,700 ‡ Provenance Private Collection, Bern Galerie Kornfeld Bern, 24 June 1994, lot 29 Private Collection Galerie Kornfeld, Bern, 19 June 2015, lot 37 Acquired at the above sale by the present owner

Exhibited Houston, Museum of Fine Arts; Berkeley, University of California, University Art Museum, Sam Francis: A Retrospective Exhibition, 12 October 1967 - 18 February 1968, no. 44, p. 26 Karlsruhe, Badischer Kunstverein, Sam Francis, 30 June - 11 August 1968, no. 46 Kunsthalle Basel, Sam Francis, 20 April - 3 June 1968, no. 78, n.p Amsterdam, Stedelijk Museum, Sam Francis, 13 September - 3 November 1968, no. 61 Bern, Galerie Kornfeld, Sam Francis, 40 Years of Friendship Werke 1945-1990, 1991, no. 10 (illustrated) Mendrisio, Museo d’Arte, Sam Francis, 17 May - 27 July 1997, p. 95 This work is identifed with the interim identifcation number of SF53-005 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.


125. Sol LeWitt

1928-2007

Irregular Vertical and Horizontal Bands of Color Superimposed signed and dated ‘Lewitt 93’ lower right gouache on paper 57.1 x 55.8 cm (22 1/2 x 21 7/8 in.) Painted in 1993. Estimate £35,000-55,000 $45,800-72,000 €40,000-62,800 ‡ Provenance André Emmerich, Inc., New York Paul Morris Gallery, New York Christie’s, New York, 16 March 2006, lot 152 Acquired at the above sale by the present owner


Property from a Distinguished European Collection

126. Robert Rauschenberg

1925-2008

127. Tom Wesselmann

1931-2004

Tiller signed and dated ‘Rauschenberg 80’ lower right solvent transfer, acrylic, fabric and paper collage on paper 77.5 x 57.5 cm (30 1/2 x 22 5/8 in.) Executed in 1980.

Study for Great American Nude #54 signed and dated ‘Wesselmann 63’ lower right pencil on brown paper 48.3 x 58.4 cm (19 x 22 7/8 in.) Executed in 1963.

Estimate £60,000-80,000 $78,300-104,000 €68,700-91,600

Estimate £30,000-40,000 $39,100-52,200 €34,200-45,600 ‡

Provenance Leo Castelli Gallery, New York Lennart Preutz, Stockholm The Sable-Castelli Gallery, New York Christie’s, London, 6 February 2003, lot 677 Private Collection Sotheby’s, London, 22 June 2007, lot 344 Acquired at the above sale by the present owner

Provenance Sidney Janis Gallery, New York Private Collection, New York (acquired from the above in 1989) Sotheby’s, New York, 11 May 2006, lot 202 Acquired at the above sale by the present owner


128. Tom Wesselmann

1931-2004

129. Philip Guston

1913-1980

Study for Nude Collage Edition signed, dedicated and dated ‘For Arnie Tom Wesselmann 70’ lower lef edge thinned Liquitex and pencil on ragboard 10.2 x 21.6 cm (4 x 8 1/2 in.) Executed in 1970.

Untitled signed, dedicated and dated ‘To Morty Philip Guston ‘54’ lower edge charcoal on paperboard 55.2 x 38.1 cm (21 3/4 x 15 in.) Executed in 1954.

Estimate £15,000-20,000 $19,600-26,200 €17,100-22,900

Estimate £30,000-40,000 $39,300-52,400 €34,300-45,700

Provenance Gifed by the artist to Arnie Langer, New York Thence by descent Private Collection (acquired from the above in 2016) Sotheby’s, Online, 6 March 2018, lot 431 Acquired at the above sale by the present owner

Provenance Private Collection (acquired directly from the artist) Thence by descent Christie’s, New York, 30 June 2008, lot 259 Private Collection, Paris (acquired at the above sale)


130. Roberto Matta

1911-2002

131. Roberto Matta

1911-2002

Untitled signed and dated ‘Matta ‘43’ lower right coloured pencil and graphite on paper 36.2 x 57.2 cm (14 1/4 x 22 1/2 in.) Executed in 1943, this work is registered in the Matta Archives under number D.43/26.

Mouth to Mouth signed and dated ‘Matta ‘42’ lower right coloured crayon and pencil on paper 73.7 x 58.4 cm (29 x 22 7/8 in.) Executed in 1942, this work is registered in the Matta Archives under number D. 42/31.

Estimate £9,000-12,000 $11,800-15,700 €10,300-13,700 ‡ ♠

Estimate £15,000-20,000 $19,600-26,100 €17,100-22,800 ‡ ♠

Provenance Galerie de France, Paris Private Collection

Provenance Pierre Matisse Gallery, New York (acquired directly from the artist) Galerie de France, Paris Private Collection

Exhibited Paris, Galerie de France, Matta - dessins 1936-1989, 12 January - 3 March 1990 (illustrated)

Exhibited New York, Acquavella Galleries, Inc., XIX & XX Century Master Drawings & Watercolors, 24 April – 19 May 1984, no. 24, pp. 54-55 (illustrated) Museum Bochum, Matta: Zeichnungen 1937–1988, 11 June – 31 July 1988, no. 24 Paris, Galerie de France, Matta - dessins 1936-1989, 12 January - 3 March 1990 (illustrated)


132. Karel Appel

1921-2006

Laddermannetje signed and dated ‘C.K. Appel ‘48’ upper lef; further dedicated [in Dutch] and dated ‘For Constant his birthday 1948’ on the reverse gouache on paper 56.2 x 12.1 cm (22 1/8 x 4 3/4 in.) Painted in 1948. Estimate £20,000-30,000 $26,200-39,300 €22,900-34,300 ♠ Provenance Constant Nieuwenhuys, Amsterdam Frans Jacobs, Amsterdam Acquired from the above by the present owner in the 1990s Exhibited Eindhoven, Cobra Gallery, Cobra 40 jaar. 1948-1988, 15 October - 26 November 1988, no.3, (illustrated, titled as Personnage)

133. Marino Marini

1901-1980

Rapsodia in blu signed with the artist’s initials ‘MM’ lower right tempera and pencil on paper 31.7 x 23.5 cm (12 1/2 x 9 1/4 in.) This work is accompanied by a certifcate of authenticity issued by the Fondazione Marino Marini and is registered under the archive number 371. Estimate £15,000-20,000 $19,600-26,200 €17,100-22,900 ♠ Provenance Private Collection, Bergamo Acquired from the above by the present owner


134. Alighiero Boetti

1940-1994

Una brillante idea signed, inscribed and dated ‘Alighiero Boetti PESHAWAR 1992’ on the reverse embroidery on canvas mounted on board 17.5 x 18.6 cm (6 7/8 x 7 3/8 in.) Executed in 1992, this work is accompanied by a certifcate of authenticity from the Archivio Alighiero Boetti, Rome, and is registered under no. 9301. Estimate £15,000-20,000 $19,600-26,200 €17,100-22,900 ♠ Provenance Galerie Kaess-Weiss, Stuttgart Leclere - Maison de Ventes, 11 April 2016, lot 37 Acquired at the above sale by the present owner

135. Jannis Kounellis

1936-2017

Senza titolo steel panel, mesh, wax, newspaper, glass bottle and wood 100 x 100 x 19.5 cm (39 3/8 x 39 3/8 x 7 5/8 in.) Executed in 1984. Estimate £80,000-120,000 $105,000-157,000 €91,400-137,000 ♠ Provenance Lucio Amelio, Naples Private Collection, Belgium Galerie Guy Pieters, Knokke-Heist Acquired from the above by the present owner Exhibited Naples, Lucio Amelio, Venti anni a Basilea, 13 June 1989, n.p (illustrated)


136. 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 £60,000-80,000 $78,500-105,000 €68,600-91,400 ♠

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)


137. Alberto Biasi

b. 1937

Dinamica Visiva signed, titled, stamped with the Gruppo N stamp and dated ‘“Dinamica visiva” 1962, prog. Biasi Costa Landi, esec. Biasi Landi Costa, gruppo N’ on the reverse PVC strips on painted wooden board diameter 95.4 cm (37 1/2 in.) Executed in 1962, this work is registered in the Archivio Alberto Biasi curated by Maab Gallery, Milan, under number T328, and is accompanied by a certifcate of authenticity issued by the Archivio Alberto Biasi curated by Maab Gallery, Milan. Estimate £60,000-80,000 $78,500-105,000 €68,600-91,400 ♠

Image of the Gruppo N stamp and the label on the reverse of the work

Provenance Galleria Maab, Padua Collection Anna Candi, Desenzano del Garda Sotheby’s, Milan, 25 May 2016, lot 154 Acquired at the above sale by the present owner


138. Giuseppe Uncini

1929-2008

Cementarmato cement and iron 110 x 110 cm (43 1/4 x 43 1/4 in.) Executed in 1962. Estimate £100,000-150,000 $130,000-196,000 €114,000-171,000 ‡ ♠ Provenance Private Collection, Turin Galleria Tega Arte Moderna e Contemporanea, Milan Acquired from the above by the present owner Exhibited Florence, Palazzo Strozzi, XIV Mostra Nazionale Premio del Fiorino, 15 May - 15 June 1963 (illustrated) Turin, Galleria Christian Stein, Giuseppe Uncini – opere dal 1959 ad oggi, 1 November 1968 Turin, Galleria Martano, Group Exhibition, 26 February - 30 March 1981 Paris, Studio Simonis, Cementarmati Oeuvres des années 60, September - October 1996 Novi Ligure, Museo del Campionissimi, Roma ‘60, 19 March – 4 July 2010 Literature F. Sossi, Dall’occhio al cervello. Gruppo 1 Carrino – Frascà Uncini, Magna Grecia Edition, Naples, 1965, p. 38 (illustrated) F. Sossi, Luce spazio struttura, La Cornice Edition, Taranto, 1967, p. 8 (illustrated) G. M. Accame, Giuseppe Uncini. Le origini del fare, Bergamo, 1990, no. 23, p. 117 (illustrated) M. Meneguzzo, Giuseppe Uncini. Oeuvres 1959-1996, exh. cat., Studio Simonis Galerie Vivas, Paris, 1996, p. 22 (illustrated) B. Corà, Giuseppe Uncini. Catalogue Raisonné, Milan, 2007, no. 62-008, p. 232 (illustrated)


139. Jannis Kounellis

1936-2017

Untitled oil on canvas, metal rail and steel panels 200 x 180.4 x 13.5 cm (78 3/4 x 71 x 5 3/8 in.) Executed in 2013. Estimate £100,000-150,000 $131,000-196,000 €114,000-171,000 ‡ ♠ Provenance Galeri Artist, Istanbul Acquired from the above by the present owner

‘…the past has a reality which conditions us deep down. Then if you bring it slowly to the surface, it’s full of possibilities.’ Jannis Kounellis


140. Günther Uecker

b. 1930

Verletzungen Verbindungen 1 signed on the reverse glue, black acrylic paint, nails, linen canvas on plywood panel 43 x 43 x 7 cm (16 7/8 x 16 7/8 x 2 3/4 in.) Executed in 2007. Estimate £60,000-80,000 $78,300-104,000 €68,700-91,600 ‡ ♠ Provenance Akira Ikeda Gallery, Tokyo (acquired directly from the artist) Private Collection, Japan Exhibited Tokyo, Akira Ikeda Gallery, Günther Uecker: Time Sequences, 18 August - 27 October 2007 Literature Günther Uecker: Works from 1995, exh. cat., Akira Ikeda Gallery, Tokyo, 2010, no. 235, p. 22 (illustrated)

‘I consider mutability to be important; it is able to convey the beauty of movement.’ Günther Uecker


141. Bernard Aubertin

1934-2015

Tableau Clous signed and dated ‘Bernard Aubertin 1968’ on the reverse nails and acrylic on wood 50 x 90 cm (19 5/8 x 35 3/8 in.) Executed in 1968, this work is accompanied by a certifcate of authenticity provided by the Archivio Opere Bernard Aubertin and is registered under the archive number TCLR86-1000205323. Estimate £7,000-9,000 $9,200-11,800 €8,000-10,300 ♠ Provenance Private Collection, Switzerland

142. Francois Morellet

1926 - 2016

Sphère-Trames stainless steel diameter 60 cm (23 5/8 in.) Executed in 1962, this work is from an edition of 50, published by Galerie Denise René, Paris. This work is registered in the Archive Morellet under number 62001e and is accompanied by a certifcate of authenticity. Estimate £30,000-50,000 $39,300-65,500 €34,300-57,100 ‡ ♠ Provenance Galerie Denise René, Paris Private Collection Arte Contacto, Caracas Acquired from the above by the present owner


143. Victor Vasarely

1906-1997

Orion Gris signed ‘Vasarely’ lower centre; further signed, titled and dated ‘VASARELY “ORION GRIS” 1969 Vasarely’ on the reverse acrylic on canvas 199.8 x 199 cm (78 5/8 x 78 3/8 in.) Conceived in 1969 and painted circa 1992. Estimate £120,000-180,000 $157,000-236,000 €137,000-206,000 ‡ ♠ Provenance Private Collection, USA (acquired directly from the artist) Acquired from the above by the present owner The authenticity of the present work has been confrmed by Pierre Vasarely, President of the Fondation Vasarely, universal legatee and the moral right holder of Victor Vasarely. This work will be included in the forthcoming Catalogue Raisonné de l’Oeuvre Peint de Victor Vasarely, which is currently being compiled by the Fondation Vasarely, Aix-en-Provence.


144. Yaacov Agam

b. 1928

Small E/A ND signed ‘Agam’ upper lef of the aluminium element; further signed, titled and inscribed ‘“Small E/A ND” Agam Paris 1989 Agam’ on the reverse of the larger board acrylic on aluminium mounted on wooden board aluminium part 21.7 x 21.9 cm (8 1/2 x 8 5/8 in.) darker board 36.2 x 36.2 cm (14 1/4 x 14 1/4 in.) larger board 39.2 x 39.2 cm (15 3/8 x 15 3/8 in.) framed 45.1 x 45 cm (17 3/4 x 17 3/4 in.) Executed in 1989. Estimate £15,000-20,000 $19,600-26,200 €17,100-22,900 ‡ ♠ Provenance Gallery Art Point, Tokyo Private Collection, Japan (acquired from the above in 1989)


145. Victor Vasarely

1906-1997

KASS-2 signed ‘vasarely’ lower centre; further signed, numbered and dated ‘2633 V Vasarely “KASS-2” 1973’ on the reverse acrylic on panel 69 x 68.9 cm (27 1/8 x 27 1/8 in.) Painted in 1973. Estimate £35,000-55,000 $45,800-72,000 €40,000-62,800 ♠ Provenance Galerie Denise René, Paris Galleria Il Castello, Milan Galleria d’Arte Cristallo, Cortina d’Ampezzo Private Collection (acquired from the above circa 1985) Thence by descent Sotheby’s, Milan, 30 November 2017, lot 106 Private Collection, London

The authenticity of the present work has been confrmed by Pierre Vasarely, President of the Fondation Vasarely, universal legatee and the moral right holder of Victor Vasarely. This work will be included in the forthcoming Catalogue Raisonné de l’Oeuvre Peint de Victor Vasarely, which is currently being compiled by the Fondation Vasarely, Aix-en-Provence.


146. Francois Morellet

1926 - 2016

Carré² signed, titled, inscribed and dated ‘“carré au carré” (carré²) no 1 Morellet 2012’ on the reverse acrylic on canvas mounted on panel 137 x 137 cm (53 ⅞ x 53⅞ in.) Executed in 2012. Estimate £50,000-70,000 $65,200-91,300 €57,100-79,900 ‡ ♠ Provenance Kamel Mennour, Paris Acquired from the above by the present owner in 2012


147. Dimitri Hadzi

1921-2006

Centaur with Shields bronze on stone base base 14.9 x 14.9 x 14.9 cm (5 7/8 x 5 7/8 x 5 7/8 in.) sculpture 49.5 x 30.5 x 14 cm (19 1/2 x 12 x 5 1/2 in.) Estimate £2,000-3,000 $2,600-3,900 €2,300-3,400 ‡ Provenance Danese Corey Gallery, New York Acquired from the above by the present owner


158. Rudolf Stingel


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148. Harold Ancart

b. 1980

Untitled oilstick on paper mounted on panel, in artist’s frame 200.7 x 134 cm (79 x 52 3/4 in.) Executed in 2013. Estimate £100,000-150,000 $131,000-196,000 €114,000-171,000 ♠ Provenance Xavier Hufens, Brussels Acquired from the above by the present owner

‘...we no longer make that silly separation between fgurative and abstraction. Artists from the previous generation prepared the ground for us, and you have the feeling now that everything is possible again.’ Harold Ancart


149. Dana Schutz

b. 1976

Romance signed and dated ‘Dana Schutz 2006’ on the reverse oil on canvas 181.7 x 152.6 cm (71 1/2 x 60 1/8 in.) Painted in 2006. Estimate £150,000-250,000 $196,000-327,000 €171,000-286,000 Provenance Contemporary Fine Arts, Berlin Acquired from the above by the present owner

‘I like that slippage between something being very actual and imaginary.’ Dana Schutz

Brooklyn-based artist Dana Schutz’s work combines innovation and pictorial virtuosity to create dynamic, striking compositions that blur distinctions between past and present. Her subject matter is highly imaginative and often centred on surreal situations that explore the fallibility and nuances of the human condition. Known for her reworking of painterly traditions with her own contemporary, darkly humorous approach, Schutz’s work has continued the dialogue with Expressionism, Dada and the work of artists such as Philip Guston and Maria Lassnig, whom both share Schutz’s interest in psychological exploration. In an interview given in 2004, Schutz elaborates on her unique style: ‘although the paintings themselves are not specifically narrative, I often invent imaginative systems and situations to generate information. These situations usually delineate a site where making is a necessity, audiences potentially don’t exist, objects transcend their function and reality is malleable’ (the artist, quoted in Painting 2004, exh. cat., Victoria Miro Gallery, London, 2004, online). Exemplifying this concept of malleable reality, Romance (2006) juxtaposes a common artistic subject matter, a couple’s embrace, with a surreal and visually arresting foregrounding of a luminous,

outsized brain-like form on a pedestal. The two elements of the scene are interwoven in a seemingly static tableau which is nonetheless granted a liveliness of movement from the amorphous, fluid shapes and gestural lines that characterise Schutz’s work. The viewer’s eye is drawn from the embracing couple to alternate pairings in the work: the two sets of twinned pedestal supports, the misshapen outlines of two lightbulbs, and the potentially teasingly self-refexive inclusion of two works of abstract art that fank the couple in the background. Undulating lines give the indication of a ceiling and delineate a space for the painting’s action but the liveliness of the scene means that it is anything but closed of. Speaking on the structure of her compositions, Schutz states. ‘I’m never interested in the painting being a mirror to culture. I think that’s really boring. What I’m interested in is painting as an afective space. The place where the hierarchies of the world can be rearranged within the space of a painting’ (the artist, quoted on ArtNet, online). Romance is a key example of these inverted hierarchies as the titular promise of romance is humorously usurped and replaced by the centrality of the abstracted brain, creating a compelling and disjointed imaginary world.


150. George Condo

b. 1957

Untitled signed and dated ‘Condo ‘97’ lower lef oil on canvas, in artist’s frame 168.4 x 144.1 cm (66 1/4 x 56 3/4 in.) Painted in 1997. Estimate £150,000-200,000 $196,000-262,000 €171,000-229,000 Provenance The Collection of Yoko Ono (acquired directly from the artist) Private Collection, Europe

‘What’s possible with painting that’s not in real life is you can see two or three sides of a personality at the same time.’ George Condo


151. KAWS

b. 1974

Untitled signed and dated ‘KAWS 12’ on the reverse acrylic on canvas diameter 152.7 cm (60 1/8 in.) Painted in 2012. Estimate £300,000-500,000 $391,000-652,000 €343,000-572,000 Provenance Honor Fraser Gallery, Los Angeles Private Collection Private Collection


152. KAWS

b. 1974

Untitled (MBFG7) acrylic on canvas 147.3 x 121.9 cm (57 7/8 x 47 7/8 in.) Painted in 2014. Estimate £200,000-300,000 $261,000-391,000 €229,000-343,000 ‡ Provenance Private Collection


153. Shara Hughes

b. 1981

Spring signed, titled, inscribed and dated ‘SHARA HUGHES 2008 NEW YORK BROOKLYN “SPRING”’ on the reverse oil and oil pastel on canvas 127 x 134.6 cm (50 x 52 7/8 in.) Executed in 2008. Estimate £8,000-12,000 $10,500-15,700 €9,100-13,700 Provenance Galerie Mikael Andersen, Copenhagen Bruun Rasmussen, Copenhagen, 8 June 2011, lot 1034 Acquired at the above sale by the present owner


154. Peter Halley

b. 1953

Discursion signed twice and dated ‘Peter Halley Peter Halley 2011’ on the reverse acrylic, metallic acrylic, pearlescent acrylic, day-glo acrylic and Roll-a-Tex on canvas 137.9 x 155.4 cm (54 1/4 x 61 1/8 in.) Executed in 2011. Estimate £40,000-60,000 $52,400-78,500 €45,700-68,600 ‡ Provenance F2 Gallery, Beijing Acquired from the above by the present owner


155. Imi Knoebel

b. 1940

Ich Nicht XI signed with the artist’s initials and dated ‘IM 2.6’ on the reverse acrylic on aluminum and acrylic on paper overall 317.5 x 373 x 8.4 cm (125 x 146 7/8 x 3 1/4 in.) Executed in 2006. Estimate £120,000-180,000 $157,000-235,000 €137,000-205,000 ♠ Provenance Galeria Filomena Soares, Lisbon Acquired from the above by the present owner Exhibited Lisbon, Galeria Filomena Soares, Imi Knoebel, 9 November 2006 - 31 December 2006

‘I don’t want to arrive at anything but color ... I bring color into all kinds of contexts. That keeps it open. There is no color I don’t work with. Thus, there is no system behind it.’ Imi Knoebel


156. Damien Hirst

b. 1965

N-Hydroxymaleimide signed, titled and dated ‘Damien Hirst 2010 “N-Hydroxymaleimide”’ on the reverse; further signed ‘Damien Hirst’ on the stretcher; further stamped with the artist’s stamp ‘Damien Hirst’ on the overlap household gloss on canvas 48.3 x 63.5 cm (19 x 25 in.) Painted in 2010. Estimate £140,000-180,000 $183,000-235,000 €160,000-206,000 ‡ ♠ Provenance Science Limited, London Private Collection Literature Damien Hirst and Michael Bracewell, Damien Hirst The Complete Spot Paintings. 1986-2011, London and New York, 2013, p. 688 (illustrated)


157. Mark Grotjahn

b. 1968

Untitled (Butterfy Five Color Ray) signed and dated ‘M. GROTJAHN 03’ on the reverse coloured pencil on paper 61 x 48.3 cm (24 x 19 in.) Executed in 2003. Estimate £150,000-200,000 $196,000-261,000 €172,000-229,000 ‡ Provenance Gagosian Gallery, New York Private Collection

‘Because I have an active and obsessive eye‚ I’m interested in fnding as much contentment as I possibly can. In my work I create problems and then solve them in order to feel peace.’ Mark Grotjahn


Property from a Distinguished European Collection O♦

158. Rudolf Stingel

b. 1956

Untitled signed and dated ‘Stingel 2009’ on the reverse oil on canvas 76.5 x 61.2 cm (30 1/8 x 24 1/8 in.) Painted in 2009. Estimate £250,000-350,000 $326,000-457,000 €286,000-401,000 ‡ ♠ Provenance Paula Cooper Gallery, New York Acquired from the above by the present owner in 2009

‘Silver makes everything look contemporary. If you paint something silver, it looks, I don’t know, from today.’ Rudolf Stingel


Over the last four decades, Rudolf Stingel’s oeuvre has explored intricate textures and the notion of artistic authorship through his experimentation with textiles, metals, oil paint and stencils. By paying close attention to the symbiotic relationship between viewing and making, the artist has consistently pushed the boundaries of what constitutes a painting and how we perceive and interact with art.Through his use of abstraction and his playful and inventive exploration of artistic process, Stingel has developed a unique visual language by interrogating the perceived authority of painting as a medium. Stingel’s distinct body of work culminates and coalesces in the artist’s celebrated Carpet Paintings. Untitled, executed in 2009, is an exquisite example of Stingel’s fastidious attention to detail and exploration of surface quality. Utilising reproductions of traditional patterns, Stingel’s adaptation of ornamental design creates a nostalgic and time-worn efect. Exploring themes of artistic quotation, the resulting composition echoes nostalgic foral patterns, the opulent grey-silver lustre lending the work a sense of enchantment. Transporting pattern to the forefront of his work, Stingel draws inspiration from the rich history of decorative arts and architecture, celebrating the achievements of artisanal crafsmanship. Seeking to free painting from the confnes of the canvas, in the present work Stingel abstracts and isolates a small section of the pattern, decontextualizing the work through his painterly presentation. As Francesco Bonami notes: ‘a carpet is a painting, and a painting is a carpet. It is only our position in relation to them that changes. Our relation to life, to a painting or to a carpet, is the same relation we have to the earth we stand on: it moves but we don’t feel it.’ (Francesco Bonami, quoted in Rudolf Stingel, Gagosian, New York, 2010, p. 7). Abstract in composition, yet sumptuously painterly on closer look, Untitled draws attention to the hand of the artist through scrupulous details. Throughout his practice Stingel has returned to the notion of questioning authorship, ofen removing the artist from the dynamic act of creation. A recurring motif in his practice is to cover an exhibition space with unlikely materials, such as his current installation Untitled, 1993, currently on view at the Tate Modern. This work features a 1.5 cm thick orange carpet, mounted to the wall for visitors to mould and sculpt the surface, ofen resulting in broad, sweeping lines that paradoxically resemble painterly brushstrokes. Another such example of his malleable and interactive practice is his use of aluminium silver sheets that he invites his viewer to mark and daub. Such interventions create a mediated and immersive space; Stingel’s sitespecifc installations seek to move beyond the ‘fatness’ of the painted surface, a flatness that is explored and deliberately exacerbated in works such as Untitled. Each of these approaches also serve to demonstrate the significance of the passage of time in his work, clearly showcases process as a collaborative and dynamic experience, encapsulated in the exquisite surface of Untitled.

Rudolf Stingel’s installation at the Palazzo Grassi in Venice, 22 March 2013 © Rudolf Stingel 2019. Photo by Hubert Fanthomme/Paris Match via Getty Images.


159. Lesley Vance

b. 1977

Untitled watercolour and gouache on paper 22.8 x 17.4 cm (8 7/8 x 6 7/8 in.) Executed in 2012. Estimate £10,000-15,000 $13,100-19,600 €11,400-17,100 Provenance Darrow Contemporary, New York Acquired from the above by the present owner in 2012 Exhibited Brussels, Xavier Hufens, Lesley Vance: Paintings & Watercolours, 21 June - 21 July 2012, pp. 50-51 (illustrated)

160. Jenny Holzer

b. 1950

TOP SECRET NOFORN 11 U.S. government document signed, signed with the artist’s initials, numbered and dated ‘Jenny Holzer 2011 JH 1695’ on the overlap oil on canvas, in artist’s frame 152.8 x 116.9 cm (60 1/8 x 46 in.) Executed in 2011. Estimate £80,000-120,000 $105,000-157,000 €91,400-137,000 Provenance Sprüth Magers, Berlin Acquired from the above by the present owner


161. Roni Horn

b. 1955

Untitled (Weather) signed ‘R. Horn’ on a label afxed to the reverse of part 1; each further consecutively numbered ‘1-6’ on the reverse inkjet/pigment colour prints on paper, mounted on sintra, in 6 parts each print 31.1 x 26 cm (12 1/4 x 10 1/4 in.) Executed in 2010-11, this work is number 1 from an edition of 4. Estimate £30,000-50,000 $39,300-65,500 €34,300-57,100 ‡ Provenance Hauser and Wirth, London Acquired from the above by the present owner

162. Sherrie Levine

b. 1947

Untitled (hat) incised with the artist’s initials and number ‘LV 2/12’ inside edge bronze 12.7 x 29.2 x 25.4 cm (5 x 11 1/2 x 10 in.) Executed in 2011, this work is number 2 from an edition of 12. Estimate £60,000-80,000 $78,500-105,000 €68,600-91,400 ‡ Provenance Paula Cooper Gallery, New York Acquired from the above by the present owner Exhibited Portland Art Museum, Sherrie Levine, 29 June - 27 October 2013 (another example exhibited)


163. David Salle

b. 1952

White Blouse signed and titled ‘David Salle “White Blouse”’ on the reverse of the right panel oil on canvas, diptych each 188 x 101.6 cm (74 x 40 in) overall 188 x 203.2 cm (74 x 80 in.) Painted in 2005. Estimate £100,000-150,000 $130,000-196,000 €114,000-172,000 ‡ Provenance Acquired directly from the artist by the present owner


164. Robert Longo

b. 1953

Study of Black Falcon signed, titled and dated ‘“STUDY OF BLACK FALCON” Robert Longo 2013’ lower margin ink and charcoal on vellum, in artist’s frame sheet 43.2 x 52.5 cm (17 x 20 5/8 in.) frame 78.1 x 84.9 cm (30 3/4 x 33 3/8 in.) Executed in 2013. Estimate £30,000-50,000 $39,300-65,500 €34,300-57,100 Provenance Galerie Thaddaeus Ropac, Paris Gagosian Gallery, London Private Collection, Belgium (acquired from the above in 2014)

‘From a certain distance, they should put into question, ‘could that be a photograph?’ Then, the closer you get, you become aware of the fact that they are drawings and you’re pulled into an intimacy with them as a consequence.’ Robert Longo


Property from a Distinguished European Collection

165. Tauba Auerbach

b. 1981

B signed ‘TAUBA AUERBACH’ lower lef ink on paper 127 x 96.5 cm (50 x 37 7/8 in.) Executed in 2005.

Provenance New Art Image Gallery, Los Angeles Private Collection, California Phillips, New York, 17 May 2013, lot 118 Acquired at the above sale by the present owner

Estimate £15,000-20,000 $19,600-26,100 €17,200-22,900

Exhibited Los Angeles, New Image Art Gallery, Signs of The Real and Infnite, Tauba Auerbach and Nico Dios, 9 September - 8 October 2005


166. Jonas Wood

b. 1977

167. Jonas Wood

b. 1977

Night Bloom signed, titled and dated ‘JBRW “NIGHT BLOOM” 2012’ on the reverse acrylic and coloured pencil on paper 51.1 x 48.9 cm (20 1/8 x 19 1/4 in.) Executed in 2012.

Manute With Flaming Ball signed, titled and dated ‘JBRW “MANUTE WITH FLAMING BALL” 2010’ on the reverse gouache and coloured pencil on paper 70.2 x 50.8 cm (27 5/8 x 20 in.) Executed in 2010.

Estimate £50,000-70,000 $65,500-91,600 €57,100-80,000 ‡

Estimate £30,000-40,000 $39,300-52,400 €34,300-45,700

Provenance Anton Kern Gallery, New York Acquired from the above by the present owner

Provenance Anton Kern Gallery, New York Acquired at the above by the present owner


168. Christopher Wool

b. 1955

Untitled signed and dated ‘Wool 1990’ on the reverse enamel on rice paper 184.5 x 94.5 cm (72 5/8 x 37 1/4 in.) Executed in 1990. Estimate £100,000-150,000 $131,000-196,000 €114,000-171,000 Provenance Galleria Christian Stein, Turin Acquired from the above by the present owner

‘With Jean-Michel or Picasso, the fact that they could do it so easily is what makes the work, in the end, so great. They had absolute fearlessness. If you’re not fearless about changes, then you won’t progress.’ Christopher Wool


169. Mike Kelley

1954-2012

Ghoul #2 (PIMP) painted resin, painted straw hat and found object 203.2 x 63.5 x 53.3 cm (80 x 25 x 20 7/8 in.) Executed in 2005. Estimate £75,000-95,000 $97,800-124,000 €85,600-108,000 Provenance Gagosian Gallery, New York Private Collection (acquired from the above in May 2007) Exhibited London, Gagosian Gallery, Mike Kelley: Day is Done, 11 November –17 December 2005, p. 203 (illustrated) London, Gagosian Gallery, Mike Kelley: Hermaphrodite Drawings, 6 February - 17 March 2007


170. Glenn Ligon

b. 1960

Funny Motherfucker #1 signed, titled and dated ‘Glenn Ligon 2007 “Funny Motherfucker #1”’ on the overlap oilstick and acrylic on canvas laid on board 81.5 x 81.5 cm (32 1/8 x 32 1/8 in.) Executed in 2007. Estimate £120,000-180,000 $157,000-236,000 €137,000-206,000 ‡ Provenance Regen Projects, Los Angeles Luhring Augustine, New York Acquired from the above by the present owner


171. Oscar Murillo

b. 1986

Untitled (Drawing of the Wall) mixed media on canvas 170.2 x 195.9 cm (67 x 77 1/8 in.) Executed in 2011. Estimate £80,000-120,000 $104,000-157,000 €91,300-137,000 ‡ ♠ Provenance Zach Feuer Gallery, New York Acquired from the above by the present owner


172. Oscar Murillo

b. 1986

Drawings of the Wall (Ill) signed and dated ‘Oscar Murillo Oscar Murillo 2011’ on the reverse oil on canvas 170.2 x 196.9 cm (67 x 77 1/2 in.) Executed in 2011. Estimate £60,000-80,000 $78,300-104,000 €68,700-91,600 ‡ ♠ Provenance Acquired directly from the artist by the present owner


173. Alex Israel

b. 1982

Untitled (fat) signed, stamped with the Warner Bros. Studio, Burbank, CA. stamp and dated ‘Alex Israel 14-15’ on the reverse acrylic on stucco and ceramic tiles 243.8 x 137 x 8.4 cm (95 7/8 x 53 7/8 x 3 1/4 in.) Executed in 2014-15. Estimate £60,000-80,000 $78,400-105,000 €68,500-91,400 Provenance Almine Rech Gallery, Paris Acquired from the above by the present owner


174. Andreas Gursky

b. 1955

Ocean VI signed ‘Andreas Gursky’ on a label afxed to the reverse c-print, in artist’s frame 341.4 x 249.6 cm (134 3/8 x 98 1/4 in.) Conceived in 2010 and printed in 2012, this work is number 1 from an edition 6. Estimate £200,000-300,000 $261,000-392,000 €228,000-343,000 ‡ ♠ Provenance Galeri Artist, Istanbul Acquired from the above by the present owner Exhibited Beverly Hills, Gagosian Gallery, Andreas Gursky, 4 March – 1 May 2010, pp. 47, 49 (another example exhibited and illustrated, p. 49) New York, Gagosian Gallery, Andreas Gursky, 4 November - 17 December 2011 (another example exhibited) Berlin, Sprüth Magers, Andreas Gursky, 1 May - 21 June 2012 (another example exhibited) New York, Parrish Art Museum, Andreas Gursky: Landscapes, 2 August – 18 October 2015, pp. 8, 46-47, 61 (another example exhibited and illustrated, p. 47) Literature Donald Kuspit, ‘Andreas Gursky’s Oceanic Feeling’, artnet Magazine, online (another example illustrated)

‘I am never interested in the individual, but in the human species and its environment.’ Andreas Gursky


Belonging to Andreas Gursky’s six-picture Ocean series, the present work, Ocean VI, showcases the artist’s advancements in the evolution of photography, demonstrating his adept exploration of the medium’s capabilities on a magnifcent scale. Conceived in 2010 and printed in 2012, Gursky embarked on this progressive body of work after boarding a fight from Dubai to Melbourne where, as the plane few over the Indian Ocean, Gursky watched the on board cartographical map slowly alter with the plane’s fight path. Presenting new, everdeveloping perspectives, the screen mapped the coastlines of countries which slowly edged into view, swathes of computerised black sea programmed in between. Using panoramic satellite imagery of coastal landmasses, the artist meticulously stitched together each shot, creating a complex composite of land and fastidiously-crafed sea. The sixth installment of the series, the present work belongs to the artist’s arguably most experimental body of work; in Ocean VI Gursky has pushed the boundaries of photography to its limits to create the ultimate aerial perspective from the highest viewpoint, resulting in an exquisitely rendered compositional balance. Transporting the viewer to an elevated vantage point, a god-like view ordinarily inaccessible to us, the present work presents us with the impossible. In Ocean VI, we are suspended in a heavenly intermission, where we are aforded a rich perspective over the world we inhabit.

The landscape depicted in Ocean VI also defes space and time; in a single glance it would not be feasible to observe the vast expanses of ocean and land that Gursky presents. Instead the artist splices, edits and shifts the composition, emphasising abstract elements and fattening the plane. Celebrated in the Ocean series, and characteristic of his practice, Gursky’s images ofer an absence of hierarchy, where all details are balanced in a carefully crafted equilibrium of space, form, colour and distance, inviting our eye to rove over his expansive microcosms to discover new areas of intrigue. Imbuing felds of negative space and a reduction of compositional elements, André Rottmann has compared Gursky’s Ocean series to the Colour Field canvasses of Morris Louis; this abstraction is evident in both Ocean VI and Louis’ Unfurleds (1960-1961), where pure colour fows across the edges of the raw canvas (Brian Sholis, ‘The Order of Things’ in Andreas Gursky, exh. cat., Hayward Gallery, London, 2018, p. 151). In the present work, land borders the composition with the swell of sea subsuming large areas of the image. The landscape feels boundless as if we are seeing a momentary snapshot of an edited view, only a small fraction of the full reality, which in turn emphasises the enormity of the world beneath us. In the manner of Alexander von Humboldt’s 1802 realisation, whilst sitting atop the Chimborazo mountain in Ecuador, that the world beneath him was composed of both small and fundamental


Morris Louis, Alpha Tau, 1960-61 acrylic on canvas Saint Louis Art Museum, Missouri, USA. © Morris Louis. Image: Bridgeman Image.

connections, an interwoven web of organic actions and consequences, so Gursky’s monumental photograph invites us to meditatively contemplate our existence on earth. Through this direct confrontation of elemental power, the viewer is forced to examine their place within nature, faced with the power of the ocean, swell of the waves, vast archipelagos and wild coastlines. Presenting us with the vitality of the elements, no humans feature in his Ocean composition. As Gursky states, ‘I am never interested in the individual, but in the human species and its environment’, (the artist, quoted in Brian Sholis, ‘The Order of Things’ in Andreas Gursky, exh. cat., Hayward Gallery, London, 2018, p. 149). In the present work, Gursky explores the cartographical confnes of the sea, highlighting the importance of water to our very existence. Shaping our land borders, our topography is defned by the division of the landscape following the rivers and inlets which fow and wind like arteries, creating bountiful hubs and plentiful ports for trade. At the centre and beginning of our very existence, the ocean spans the centre of the composition, it’s sheer depth and resonance transfigured in two dimensions. As Brian Sholis remarks, ‘...the central placement of large, watery expanses serves as a clue. Their dusky surfaces seem placid, but beneath them, of course are teeming depths’. (Brian Sholis, ‘The Order of Things’ in Andreas Gursky, exh. cat., Hayward Gallery, London, 2018, p. 151).


175. Anish Kapoor

b. 1954

Momo synthetic wood, Japanese lacquer 150 x 150 x 20 cm (59 x 59 x 7 7/8 in.) Executed in 2006. Estimate £250,000-350,000 $326,000-457,000 €285,000-399,000 ♠ Provenance Lisson Gallery, London Acquired from the above by the present owner

‘I stumbled upon the idea that one could make an object that was concave. Suddenly this was not just a camoufaged object…That felt like a real discovery. What happened was that it wasn’t just a mirror on a positive form – we have had that experience from Brâncuși onwards. This seemed to be a diferent thing, a diferent order or object from a mirrored exterior.’ Anish Kapoor


Constructed in Anish Kapoor’s signifcantly favoured colour, the red pristine surface of Momo contradicts its arduous construction, its lustre achieved through the meticulous layering of lacquer from the traditional Japanese technique on synthetic wood, skilfully deployed by Kapoor from 2000. Eschewing the evidence of the artist’s hand through the polished fnish, geometric form and minimised compositional decisions, the contradiction and tension between process and fnish, of what is seen and what remains imperceptible, is an essential and intriguing factor in Kapoor’s practice and is directly explored in the combination of spherical form and rich colour in Momo. Through his choice of sweeping line and evocation of light, Kapoor activates and enlivens the piece; the position of the viewer physically alters the light cast upon the work, giving the uniformly coloured sphere movement and chiaroscuro. Its expansive façade simultaneously absorbs and distorts, refecting and projecting the light and space of its surroundings as it concurrently emanates an intense luminosity. ‘The interesting thing about a polished surface to me is that when it is really perfect enough something happens – it literally ceases to be physical; it levitates; it does something else, especially on concave surfaces… They cease to be physical and it is that ceasing to be physical that I’m afer.’ (‘Anish Kapoor in Conversation with Nicholas Baume’ in, Anish Kapoor Past Present Future, exh. cat., Institute of Contemporary Art Boston, 2008, p. 53). The present work is imbued with a sense of infnite and morphological dynamism, transforming refections from one thing into another, consumed by a compressed energy which infltrates how we as a viewer perceive and relate to the work.

With its rich duality of both mystery and symbolism, the colour red is a powerful constant in Kapoor’s output. From his scarlet pigment foor sculptures, to his larger installation works such as his Marsyas, his sculpture for the third installment of the Unilever Series in the Tate’s Turbine Hall in 2002, red is awash with symbolism of both physical and philosophical qualities for the artist: ‘I use red a lot… It’s true that in Indian culture red is a powerful thing; it is the colour a bride wears; it is associated with the matriarchal, which is central to Indian psychology. So I can see what leads me there culturally, but there’s a lot more to it… My tendency is to go from colour to darkness. Red has a very powerful blackness.’ (‘Anish Kapoor in conversation with Nicholas Baume’, in, Anish Kapoor Past Present Future, exh. cat., Institute of Contemporary Art, Boston, September, 2008, p. 31). As well as drawing upon the signifcance of red in Indian culture, Kapoor’s intoxication with the colour and concave forms allow him to realise a new concept of depth. Kapoor comments, ‘Over the last so many years almost everything I have made is red. Red is a colour of the earth, it’s not a colour of deep space; it’s obviously the colour of blood and body. I have a feeling that the darkness that it reveals is a much deeper and darker darkness than that of blue or black. Turner’s idea about colour was that colour was to be viewed in its relation to white, light always towards light. Everything I ever made I think, goes the other way. From red to black. It’s the way that red recedes into darkness… That is mysterious. I’m not interested in composition. I want to fnd absolute conditions. if I make something red it’s not red in relation to something else.’ (‘Anish Kapoor in conversation with Marcello Dantas’, http://anishkapoor.com, 2006, online).

‘My art is upside down and inside out. I would say that to make new art, you need to make new space.’ Anish Kapoor

Anish Kapoor, As if to Celebrate, I Discovered a Mountain Blooming with Red Flowers, 1981 pigments, wood and plaster, Tate, London © Anish Kapoor. All Right Reserved, DACS 2019. © Tate, London 2019.


176. Daniel Buren

b. 1938

Cut-out: Situated work in fve parts, trafc red MDF, Alupanel, vinyl and white paint, in 5 parts 396.2 x 199.9 x 25.4 cm (156 x 78.7 x 10 in.) Executed in 2009. Estimate on request ‡ ♠ Provenance Bortolami, New York Acquired from the above by the present owner Exhibited New York, Bortolami, Daniel Buren. To Cut Out: Situated Works 1969-2009, 30 October - 22 December 2009 An Avertissement will be established by Daniel Buren under the name of the purchaser, and will be signed by the latter.

Photo-souvenir: Cut-out: Situated work in five parts, traffic red, 2009 396.2 x 199.9 x 25.4 cm, Détail. © Daniel Buren/ADAGP, Paris. Photo: Alan Shaffer for Phillips.


177. Haim Steinbach

b. 1944

crate & barrel 2 plastic laminated wood shelf, 6 rubber dog chews, 2 ‘Crate & Barrel’ cardboard boxes and stainless steel vase by Ron Arad 149.9 x 297.8 x 66 cm (59 x 117 1/4 x 25 7/8 in.) Executed in 2008. Estimate £45,000-65,000 $58,800-85,000 €51,400-74,300 Provenance Waddington Custot, London Private Collection, Belgium Exhibited Miami, The Station, Group Show, 3 December - 7 December 2008


178. Manolo Valdés

b. 1942

Reina Mariana incised with the artist’s initials, foundry mark and number ‘AG MV 6/8’ lower reverse edge bronze with gold patina 50 x 34 x 23 cm (19 5/8 x 13 3/8 x 9 in.) Executed in 2017, this work is number 6 from an edition of 8. Estimate £70,000-90,000 $91,500-118,000 €80,000-103,000 ‡ ♠ Provenance Acquired directly from the artist by the present owner Exhibited Miami, Opera Gallery, Manolo Valdés in Miami, 1 - 20 December 2018, pp. 50-51 (another example exhibited and illustrated)


179. Tony Crag

b. 1949

Afer We Have Gone wood on metal base 210 x 107 x 104 cm (82 5/8 x 42 1/8 x 40 7/8 in.) Executed in 2014. Estimate £200,000-300,000 $261,000-392,000 €228,000-343,000 ‡ ♠ Provenance Galeri Artist, Istanbul Acquired from the above by the present owner

‘Each kind of material is its own world, its own microcosm … Materials, in this case, are the evidence of an artist’s experience as he wanders through the world; they are his weapon and his defence against the world, his language and his tool, his goal and his object of desire.’ Tony Cragg


180. Rebecca Warren

b. 1965

181. Sarah Morris

b. 1967

Untitled hand-painted clay on painted MDF plinth plinth 13 x 42.1 x 34.2 cm (5 1/8 x 16 5/8 x 13 1/2 in.) sculpture 25 x 40 x 20 cm (9 7/8 x 15 3/4 x 7 7/8 in.) overall 38 x 42.1 x 34.2 cm (14 7/8 x 16 5/8 x 13 1/2 in.) Executed circa 2004.

Mina Zayed (Abu Dhabi) signed, titled and dated ‘”MINA ZAYED [ABU DHABI]” S Morris 2015’ on the overlap household gloss paint on canvas 153 x 153 cm (60 1/4 x 60 1/4 in.) Executed in 2015.

Estimate £15,000-20,000 $19,600-26,100 €17,100-22,800 ♠

Estimate £30,000-50,000 $39,200-65,400 €34,300-57,100 ‡ ♠

Provenance Gifed by the artist to the present owner

Provenance Beyaz Müzayede, Istanbul, 3 June 2018, lot 172 Acquired at the above sale by the present owner


182. Damien Hirst

b. 1965

Second Series Biopsy: M132/655-Leukaemia_blood_cells, _scanning_electron_micrograph-SPL.jpg signed, titled and dated ‘Damien Hirst “M132/655” 2008’ on the reverse; further signed and stamped with the artist’s stamp ‘Damien Hirst’ on the stretcher inkjet print and household gloss on canvas with glass, blades and religious artefacts 182.9 x 121.9 cm (72 x 47 7/8 in.) Executed in 2008. Estimate £40,000-60,000 $52,300-78,400 €45,700-68,500 ♠ ‡ Provenance Damien Hirst - Beautiful Inside My Head Forever, Sotheby’s, London, 15 September 2008, lot 23 Acquired at the above sale by the present owner


183. Chris Ofli

b. 1968

184. Grayson Perry

b. 1960

Study for Ovid-Jupiter signed and dated ‘Chris Ofli 2010-12’ on the reverse watercolour, pencil and charcoal on paper 59.2 x 42 cm (23 1/4 x 16 1/2 in.) Executed in 2010-12.

Four works: (i-iv) Untitled each signed ‘Grayson Perry’ lower right each pen on paper (ii-iv) 20.9 x 29.6 cm (81/4 x 115/8 in.) (i) 29.6 x 20.9 cm (115/8 x 81/4 in.)

Estimate £8,000-12,000 $10,400-15,700 €9,100-13,700 ‡ ♠

Estimate £4,000-6,000 $5,200-7,800 €4,600-6,900 ♠

Provenance Victoria Miro Gallery, London Acquired from the above by the present owner

Provenance Action for Children Charity Auction, London, March 2017 (gifed by the artist) Private Collection, London


(i)

(ii)

(iii)

(iv)


185. Sarah Lucas

b. 1962

Sex Baby c-print 94.3 x 61.3 cm (37 1/8 x 24 1/8 in.) Executed in 2000, this work is number 7 from an edition of 10 plus 1 artist’s proof.

Exhibited Kunsthaus Zürich; Hamburger Kunsthalle, HYPERMENTAL. Rampant Reality 1950-2000, From Salvador Dalí to Jef Koons, 17 November 2000 6 May 2001, pp. 74 and 162 (illustrated, p. 74)

Estimate £4,000-6,000 $5,200-7,800 €4,600-6,900 † ♠

Literature Yilmaz Dziewior and Beatrix Ruf, eds., Sarah Lucas: Exhibitions and Catalogue Raisonné. 1999-2005, Zurich, 2005 (another example illustrated, p. 163)

Provenance Sadie Coles HQ, London Zellweger Luwa AG Collection, Uster (acquired from the above in 2000) Christie’s, London, 1 July 2015, lot 262 Acquired at the above sale by the present owner


Property from a Distinguished Private British Collection

186. Paul McCarthy

b. 1945

Black and White Heidi colour photograph mounted on synthetic coated board 178 x 120 cm (70 1/8 x 47 1/4 in.) Executed in 2000, this work is number 2 from an edition of 2 plus 1 artist’s proof. Estimate £10,000-15,000 $13,000-19,600 €11,400-17,100 Provenance Galerie Hauser & Wirth, Zurich Private Collection Phillips de Pury & Company, London, 13 October 2007, lot 220 Acquired at the above sale by the present owner


Property from a Distinguished Private British Collection

187. Rodney Graham

b. 1949

Cedars, Stanley Park (8) black and white silver print mounted on acrylic board 127 x 101.6 cm (50 x 40 in.) Executed between 1991-2000, this work is number 3 from an edition of 3 plus 1 artist’s proof. Estimate £15,000-20,000 $19,600-26,100 €17,100-22,800 Provenance Angles Gallery, Santa Monica Acquired from the above by the present owner in 2001


Property from a Distinguished Private British Collection

188. Jef Wall

b. 1946

Cuttings transparency in lightbox 131.5 x 159.4 x 25.1 cm (51 3/4 x 62 3/4 x 9 7/8 in.) Executed in 2001, this work is from an edition of 8 plus 2 artist’s proofs. Estimate £100,000-150,000 $130,000-196,000 €114,000-171,000 Provenance Galerie Johnen & Schöttle, Berlin Acquired from the above by the present owner in 2005 Exhibited Cologne, Galerie Johnen & Schöttle, Jef Wall, 20 September 26 October 2002 (another example exhibited) New York and Paris, Marian Goodman Gallery, Jef Wall, 20 September 2002 - 4 January 2003 (another example exhibited) Museum Kurhaus Kleve, Jetzt und Hier: Die Sammlung zeitgenössischer Kunst, 19 January - 30 March 2003 (another example exhibited) Museum moderner Kunst Stifung Ludwig Vienna, Jef Wall, Photographs, 22 March - 25 May 2003, no. 19, p. 88 (another example exhibited) Galleria Lorcan O’Neill Roma, Jef Wall, 29 March - 24 May 2003 (another example exhibited) Museum Kurhaus Kleve, Sammlung Plum, 23 May 5 September 2004, pp. 146-147 (another example exhibited and illustrated, p. 147) Basel, Schaulager, Jef Wall - Photographs 1978-2004, 30 April - 25 September 2005 (another example exhibited) Literature Charles-Arthur Boyer, “Les temps modernes de Jef Wall”, Beaux-arts Magazine, December 2002, no. 223, pp. 48-49 Daniel Kunitz, “Art Gallery Chronicle”, The New Criterion, December 2002, vol. 21., no. 4, pp. 61-62 Charissa N. Terranova, “On the Hairy Idea of Beauty: Seven Works by Jef Wall- Marian Goodman Gallery, Paris”, Stretcher, 20 March 2005, online Theodora Vischer and Heidi Naef, Jef Wall: Catalogue Raisonné 1979 - 2004, Basel, 2005, no. 104, p. 413 (another example illustrated) Thierry de Duve, Jef Wall. The Complete Edition, London, 2009, p. 257 (another example illustrated)


189. Elger Esser

b. 1967

Beauduc signed ‘Elger Esser’ on a label afxed to the reverse c-print Diasec mounted, in artist’s frame 180 x 222.6 cm (70 7/8 x 87 5/8 in.) Executed in 2000, this work is number 1 from an edition of 7. Estimate £20,000-30,000 $26,100-39,200 €22,800-34,300 ♠ Provenance Sonnabend Gallery, New York Acquired from the above by the present owner Exhibited New York, Sonnabend Gallery, Elger Esser, November - December 2001 (another example exhibited) Staatliche Kunsthalle Karlsruhe, Elger Esser - Zeitigen, 20 February - 10 July 2016 (another example exhibited) Landesgalerie Linz, Elger Esser - Aetas, 28 January - 23 April 2017 (another example exhibited)

190. Thomas Ruf

b. 1958

ri 03 signed, titled, numbered and dated ‘“ri 03” T L Ruf 1/3 2007’ on the reverse c-print face-mounted to Plexiglas, in artist’s frame sheet 248.6 x 180.2 cm (977/8 x 707/8 in.) framed 253 x 185 cm (995/8 x 727/8 in.) Executed in 2007, this work is number 1 from an edition of 3. Estimate £30,000-50,000 $39,200-65,400 €34,300-57,100 ♠ Provenance Galerie Nelson, Paris Private Collection


191. Andreas Gursky

b. 1955

Zürich Bankproject No. 5 signed, titled, numbered and dated ‘Andreas Gursky. “Zürich Bankprojekt No. 5” ‘97 3/5’ on the reverse of each element c-print face-mounted to Plexiglas, in artist’s frame, in 2 parts each image 91.8 x 116.5 cm (36 1/8 x 45 7/8 in.) each sheet 125.1 x 149.9 cm (49 1/4 x 59 in.) each framed 130.8 x 154.9 cm (51 1/2 x 61 in.) Executed in 1997, this work is number 3 from an edition of 5. Estimate £40,000-60,000 $52,300-78,400 €45,700-68,500 ‡ ♠

Provenance Mai 36 Galerie, Zürich Goetz Collection, London (acquired from the above in 1998) Christie’s, London, 14 February 2013, lot 160 Private Collection (acquired at the above sale by the present owner) Literature Zürich-ein Fotoportrait, exh. cat., Kunsthaus Zürich, 1997, n.p. (another example illustrated)


192. Wolfgang Tillmans

b. 1968

Super Collider - A signed, titled, numbered and dated ‘“Super Collider - A” 2001 Wolfgang Tillmans 2/8 + 2’ on the reverse c-print mounted on Plexiglas 61 x 50.8 cm (24 x 20 in.) Executed in 2001, this work is number 2 from an edition of 8 plus 2 artist’s proofs. Estimate £8,000-12,000 $10,500-15,700 €9,100-13,700 ‡ ♠

193. Maurizio Cattelan

b. 1960

Don’t forget to call your mother Cibachrome print face-mounted to Plexiglas mounted on aluminium 66 x 101.6 cm (25 7/8 x 40 in.) Executed in 2000, this work is number 9 from an edition of 10. Estimate £20,000-30,000 $26,100-39,200 €22,800-34,300 ‡ ♠

Provenance Andrea Rosen Gallery, New York Acquired from the above by the present owner

Provenance Marian Goodman Gallery, New York Galerie Perrotin, Paris Acquired from the above by the present owner

Exhibited Deichtorhallen Hamburg; Turin, Castello di Rivoli - Museo d’Arte Contemporanea, Rivoli; Paris, Palais de Tokyo; Humlebaek, Louisiana Museum of Modern Art, Wolfgang Tillmans - View from above, 28 September 2001 - 19 January 2003, pp. 53, 198 (another example exhibited and illustrated, p. 53)

Exhibited New York, The Metropolitan Museum of Art, Modern Photographs from the Collection III (Places in the Mind), 15 May 2001 - 4 November 2001 (another variant exhibited) New York, Solomon R. Guggenheim Museum, Maurizio Cattelan: All, 4 November 2011 - 22 January 2012, no. 74, pp. 222, 248 (another variant exhibited and illustrated)

Literature Wolfgang Tillmans and Karl Kolbitz, eds., Wolfgang Tillmans, Abstract Pictures, Ostfldern, 2015, pl. 100, n.p. (another example illustrated)


194. Gerhard Richter

b. 1932

Strip signed and numbered ‘Richter Nr. 3648’ on the reverse digital fne art print on paper mounted on Alu-Dibond, in artist’s frame sheet 32 x 91 cm (12 5/8 x 35 7/8 in.) overall 53 x 105 cm (20 7/8 x 41 3/8 in.) Executed in 2011, this work is from a series of 72 variants. Estimate £40,000-60,000 $52,200-78,300 €45,600-68,500 ♠ Provenance Heni Productions, London Acquired from the above by the present owner in 2012 Literature Hubertus Butin, Stefan Gronert and Thomas Olbricht, Gerhard Richter. Editions 1965-2013, Ostfldern, 2014, no. 148, pp. 58, 320 (other variants illustrated)

195. Gerhard Richter

b. 1932

Babette signed, numbered and dated ‘Richter 26/32 2013’ lower margin fne art inkjet print on Arches Velin paper 50 x 40 cm (19 5/8 x 15 3/4 in.) Executed in 2013, this work is number 26 from an edition of 32 plus 8 artist’s proofs. Estimate £20,000-30,000 $26,100-39,100 €22,800-34,200 ♠ Provenance Heni Productions, London Acquired from the above by the present owner in 2013 Literature Hubertus Butin, Stefan Gronert and Thomas Olbricht, Gerhard Richter. Editions 1965-2013, Ostfldern, 2014, no. 158, p. 330 (another example illustrated)


196. Gerhard Richter

b. 1932

197. Gerhard Richter

b. 1932

Mustangs signed and numbered ‘35/48 Richter’ on the reverse Laserchrome paper (Diasec) behind Antelio glass 88 x 150 cm (34 5/8 x 59 in.) Executed in 2005, this work is number 35 from an edition of 48 plus 1 artist’s proof.

Cage Grid (Teil A) signed and numbered ‘A 1/4 Richter’ on the reverse giclée print on paper mounted on aluminium 75 x 75 cm (29 1/2 x 29 1/2 in.) Executed in 2011, this work is number 1 from an edition of 4 plus 2 artist’s proofs.

Estimate £50,000-70,000 $65,200-91,300 €57,100-79,900 ♠

Estimate £25,000-35,000 $32,600-45,700 €28,500-39,900 ♠

Provenance Private Collection, London

Provenance Private Collection, London

Literature Hubertus Butin, Stefan Gronert and Thomas Olbricht, eds., Gerhard Richter. Editions 1965-2013, Ostfldern, 2014, no. 131, p. 302 (another example illustrated)

Literature Hubertus Butin, Stefan Gronert and Thomas Olbricht, eds., Gerhard Richter. Editions 1965-2013, Ostfldern, 2014, no. 152, p. 323 (another example illustrated)


198. Martin Kippenberger

1953-1997

Nun entscheiden Sie sich mal. Sie können nicht vergleichen titled ‘“Nun entscheiden Sie sich mal. Sie können nicht vergleichen”’ on the Plexiglas strips; further signed with the artist’s initial and dated ‘K 85’ in one corner silicone with two Plexiglas strips and fabric collage on fabric 65 x 65 cm (25 5/8 x 25 5/8 in.) Executed in 1985. Estimate £60,000-80,000 $78,400-105,000 €68,500-91,400 ♠ Provenance Galerie Erhard Klein, Bonn Acquired from the above by the present owner Exhibited Bonn, Galerie Erhard Klein, Martin Kippenberger – Was ist Ihre Lieblingsminderheit? Wen beneiden Sie am meisten? Arbeiten mit Papier 1983/85, 13 December 1985 - 17 January 1986

‘Being able to obscure things, trivialising, exagerating, these are all ruses for keeping humanity alive, as an individual and in confrontation with others. Anything you can do with language works just as well with pictures. Concealing, revealing, glossing over, leading people astray. You have to fnd a way through the game.’ Martin Kippenberger

Alternate view of the present work.


199. Markus Lüpertz

b. 1941

Untitled signed with the artist’s monogram ‘ML’ upper right acrylic on canvas, in artist’s frame 116 x 97 cm (45 5/8 x 38 1/4 in.) Painted circa 2011-12. Estimate £15,000-20,000 $19,600-26,100 €17,200-22,900 ‡ ♠ Provenance Galeri Artist, Istanbul Acquired from the above by the present owner

‘Painting is culture, and who says culture says substance of the world. Painting provides the vocabulary to make the world visible.’ Markus Lüpertz


‘I don’t believe in fgurative. As soon as it starts to imitate, to depict something, then a painting is dead. This is the moment when you kill painting.’ Adrian Ghenie

200. Hernan Bas

b. 1978

Decorative panel for the foyer of a homosexual’s home signed with the artist’s initials and dated ‘HB 10’ lower right; further signed with the artist’s initials, titled and dated ‘“Decorative panel for the foyer at a homosexual’s home” HB 2010’ on the reverse acrylic, airbrush, household gloss and block print on linen laid on panel 127 x 88.9 cm (50 x 35 in.) Executed in 2010. Estimate £30,000-50,000 $39,200-65,400 €34,300-57,100 Provenance Lehmann Maupin, New York Victoria Miro, London Private Collection, Milan Acquired from the above by the present owner Exhibited London, Victoria Miro, Hernan Bas: The Hallucination of Poets, 7 October - 13 November 2010 Venice, Galleria Il Capricorno, Delicate Creatures from America, 17 September 2011

201. Adrian Ghenie

b. 1977

Casemate II signed and dated ‘Ghenie 2007’ on the reverse oil on canvas 24.6 x 65.3 cm (9 5/8 x 25 3/4 in.) Painted in 2007. Estimate £35,000-55,000 $45,800-71,900 €40,000-62,800 ♠ Provenance Chungking Project, Los Angeles Private Collection (acquired from the above) Christie’s, London, 12 February 2016, lot 295 Acquired at the above sale by the present owner


202. Yan Pei-Ming

b. 1960

203. Miquel Barceló

b. 1957

Dreamspace signed [in Pinyin and Chinese], titled and dated ‘“Dreamspace” 2013 Yan Pei-Ming’ on the reverse oil on canvas 150 x 300.7 cm (59 x 118 3/8 in.) Painted in 2013.

La Mer avec Nuages signed, titled and dated ‘Barceló, VIII.02 “LA MER avec NUAGES”’ on the reverse oil on canvas, in artist’s frame 61.1 x 70.2 cm (24 x 275/8 in.) Painted in 2002.

Estimate £35,000-55,000 $45,800-71,900 €40,000-62,800 ‡ ♠

Estimate £20,000-30,000 $26,100-39,100 €22,900-34,300 ♠

Provenance Galerie Thaddaeus Ropac, Paris Acquired from the above by the present owner

Provenance Galerie Bruno Bischoferger, Zurich Private Collection Exhibited Avignon, Collection Lambert, Hôtel de Caumont, Miquel Barceló – Terramare - Mare, 27 June – 7 November 2010, p. 367 (illustrated, titled Marina le matin)


204. Tal R

b. 1967

Last drawing before mars signed, stencilled, titled and dated ‘“Last drawing Before Mars” Tal R 03/04’ upper right; further signed, titled and dated ‘“LAST DRAWING BEFORE MARS” TAL R 03/04’ on the reverse printed paper collage, paper collage, acrylic, aluminium foil, wax crayon, biro, colouring pencil, fabric and glitter on paper mounted on board 280.9 x 280 cm (110 5/8 x 110 1/4 in.) Executed in 2003-04. Estimate £30,000-50,000 $39,200-65,400 €34,300-57,100 ♠ Provenance Contemporary Fine Arts, Berlin Victoria Miro, London Private Collection Christie’s, London, 30 June 2010, lot 5 Acquired at the above sale by the present owner Exhibited London, Saatchi Gallery, The Triumph of Painting II, 5 July - 30 October 2005, p. 171 (illustrated) Leeds City Art Gallery, The Triumph of Painting, 26 January - 12 March 2006

‘A work of art can reveal certain aspects of human nature that other felds can’t. Art is so important for a society, because it is the ghost in the machine.’ Tal R


205. Mel Bochner

b. 1940

Obscene signed and dated ‘Bochner 2012’ upper lef monoprint with collage, engraving and embossment on hand-dyed Twinrocker paper 74.9 x 56.5 cm (29 1/2 x 22 1/4 in.) Executed in 2012. Estimate £12,000-18,000 $15,700-23,500 €13,700-20,600 Provenance Two Palms, New York Acquired from the above by the present owner

206. Allora & Calzadilla

b. 1974 & b. 1971

Shape Shifer sandpaper on canvas mounted to aluminium 254 x 187 cm (100 x 73 5/8 in.) Executed in 2012, this work is unique. Estimate £20,000-30,000 $26,100-39,200 €22,800-34,300 ‡ Provenance Lisson Gallery, London Acquired from the above by the present owner Exhibited Bathurst Regional Art Gallery; Grafon Regional Art Gallery; Sydney, Manly Art Gallery and Museum; Cowra Regional Art Gallery; Taree, Manning Regional Art Gallery; Dubbo, Western Plains Cultural Centre; Wagga Wagga Art Gallery; Morwell, Latrobe Regional Art Gallery; Ipswich Art Gallery, Stars + Stripes: American Art of the 21st Century from the Goldberg Collection, 3 October 2014 – 27 November 2016


207. Sergej Jensen

b. 1973

Untitled fabric and thread, in artist’s frame 263.5 x 223.5 cm (103 3/4 x 87 7/8 in.) Executed in 2007. Estimate £30,000-40,000 $39,200-52,300 €34,300-45,700 ♠ Provenance Galerie Neu, Berlin Private Collection, London


208. Heimo Zobernig

b. 1958

209. Jef Elrod

b. 1966

Ohne Titel signed, numbered and dated ‘Heimo Zobernig 2005 HZ2005-08’ on the overlap acrylic on linen 282.5 x 282.7 cm (111 1/4 x 111 1/4 in.) Executed in 2005.

Untitled signed and dated ‘Jef Elrod JEFF ELROD 2015’ on the overlap acrylic on canvas diameter 121.9 cm (47 7/8 in.) Painted in 2015.

Estimate £25,000-35,000 $32,700-45,800 €28,600-40,000 ♠

Estimate £40,000-60,000 $52,300-78,400 €45,700-68,500 ‡

Provenance Galerie Micheline Szwajcer, Antwerp Acquired from the above by the present owner in 2008

Provenance Simon Lee Gallery, London Acquired from the above by the present owner

Exhibited Antwerp, Galerie Micheline Szwajcer, Heimo Zobernig, 24 January - 8 March 2008

Exhibited Hong Kong, Simon Lee Gallery, Jef Elrod, 6 February - 7 March 2015, no. 2 (illustrated)


‘...For me, as a material, clay has always been about malleability as opposed to vulnerability... I like the opportunity for chance, the reclamation and recycling through materials. It becomes an autobiographical excavation, my own archaeology.’ Sterling Ruby

210. Sterling Ruby

b. 1972

The Tripper glazed ceramic 13.8 x 68.9 x 50.8 cm (5 3/8 x 27 1/8 x 20 in.) Executed in 2009. Estimate £20,000-30,000 $26,100-39,200 €22,800-34,300 Provenance Xavier Hufens, Brussels Acquired from the above by the present owner Exhibited Brussels, Xavier Hufens, Sterling Ruby/Robert Mapplethorpe, 10 December 2009 - 14 January 2010, pp. 20-21, 24 and 25 (illustrated, pp. 20-21, 24) Literature Kate Fowle, Franklin Sirmans and Jessica Morgan, Sterling Ruby, New York, 2016, p. 87 (illustrated)

Sterling Ruby’s ceramics studio © Sterling Ruby. © Photo by Jason Schmidt.


211. Jon Rafman ‘I really want to create something that can both act on the future and the past; an art that is new and yet fnds continuity with art history. I think that a new art re-works and transforms, retrospectively, the history of art.’ Jon Rafman

b. 1981

New Age Demanded (Pushed and Pulled Gold) photopolymer resin and powdered pigments, on artist’s base head 49.5 x 35.6 x 26.7 cm (19 1/2 x 14 x 10 1/2 in.) overall 58.4 x 35.6 x 26.7 cm (22 7/8 x 14 x 10 1/2 in.) Executed in 2013, this work is accompanied by a certifcate of authenticity stamped, signed and dated by the artist. Estimate £12,000-18,000 $15,700-23,500 €13,700-20,600 ‡ Provenance Zach Feuer, New York Acquired from the above by the present owner


212. Huma Bhabha

b. 1962

Lecturer incised with the artist’s initials and numbered ‘H.B 2/3’ lower edge of the bronze element bronze with concrete and wood base base 53.1 x 50 x 43.1 cm (20 7/8 x 19 5/8 x 16 7/8 in.) fgure 138.7 x 30.3 x 30.3 cm (54 5/8 x 11 7/8 x 11 7/8 in.) overall 191.8 x 50 x 43.1 cm (75 1/2 x 19 5/8 x 16 7/8 in.) Executed in 2010, this work is number 2 from an edition of 3. Estimate £25,000-35,000 $32,700-45,800 €28,600-40,000 Provenance PAOLO CURTI / ANNAMARIA GAMBUZZI & CO., Milan Private Collection, Milan Acquired from the above by the present owner Exhibited Place Pio della Pietà, Istituto Bartolomeo Colleoni, Huma Bhabha, Francesco Carone, 27 May - 22 July 2012 (another example exhibited) Literature Matthew Day Jackson, ‘Huma Bhabha: Mystic truths’, Flash Art, no. 288, November 2010, online (another example illustrated) Alessandro Marzocchi, ‘Il luogo della contemporaneità’, Artribune, May 2012 (another example illustrated)

Installation shot from Place Pio della Pietà, Istituto Bartolomeo Colleoni, Huma Bhabha, Francesco Carone, 27 May - 22 July 2012 showing another example of Lecturer, 2010, bronze © Huma Bhabha. Courtesy Salon 94, New York. Photo © Maria Zanchi.


213. Juan Muñoz

1953-2001

Untitled (Amsterdam Series) paint and papier-mâché on wood 45 x 151 x 45 cm (17 3/4 x 59 1/2 x 17 3/4 in.) overall installation dimensions variable Executed in 1988. Estimate £25,000-35,000 $32,700-45,800 €28,600-40,000 ♠ Provenance Lisson Gallery, London Private Collection, Belgium


214. Tomás Saraceno

b. 1973

GQ Lup b/M+W beech, plywood and glue, in 2 parts small part 13 x 26 x 18 cm (5 1/8 x 10 1/4 x 7 1/8 in.) large part 23 x 55 x 20 cm (9 x 21 5/8 x 7 7/8 in.) overall installation dimensions variable Executed in 2014. Estimate £20,000-30,000 $26,100-39,200 €22,800-34,300 ‡ ♠ Provenance Dirimart Gallery, Istanbul Acquired from the above by the present owner

215. Michel François

b. 1956

Soufes dans le verre - Noir blown black glass balloons and nylons threads, in 220 parts overall dimensions approx. 360 x 140 x 140 cm (141 3/4 x 55 1/8 x 55 1/8 in.) Executed in 2002, this work is an artist’s proof from an edition of 3 plus 2 artist’s proofs. Estimate £20,000-30,000 $26,100-39,200 €22,800-34,300 ♠ Provenance carlier | gebauer, Berlin Acquired from the above by the present owner in December 2008 Exhibited Ghent, Stedelijk Museum voor Actuele Kunst; Villeurbanne, Institut d’art contemporain, Michel Francois : plans d’evasion, 12 March - 9 May 2010, pp. 6, 220-221 (another example exhibited and illustrated, p. 220-221)


216. Wim Delvoye

b. 1965

Sabine signed ‘Wim Delvoye’ on the reverse tattooed pig skin, in artist’s frame skin 113 x 84 cm (44 1/2 x 33 1/8 in.) frame 139 x 99.2 cm (54 3/4 x 39 in.) Executed in 2003. Estimate £30,000-50,000 $39,200-65,400 €34,300-57,100 ♠

Provenance Guy Pieters Gallery, Knokke-Heist Acquired from the above by the present owner Exhibited Biennale de Lyon, Wim Delvoye. Expérience de la durée, 14 September - 31 December 2005 Milan, Galerie Corsoveneziaotto, Wim Delvoye voila Les cochons, 5 April - 29 June 2006


217. Hans-Peter Feldmann

b. 1941

Flower Pot synthetic fowers and soil in plastic pots, in 15 parts smallest fower pots 20.3 x 19.1 x 15.6 cm (8 x 7 1/2 x 6 1/8 in.) largest fower pots 43.2 x 24.1 x 25.4 cm (17 x 9 1/2 x 10 in.) overall installation dimensions variable Executed in 2009. Estimate £8,000-12,000 $10,500-15,700 €9,100-13,700 ‡ ♠ Provenance 303 Gallery, New York Acquired from the above by the present owner Exhibited Malmö Konsthall, Hans-Peter Feldmann, 20 February – 2 May 2010 (another variant exhibited) Madrid, Museo Nacional Centro de Arte Reina Sofía, Hans-Peter Feldmann. An Exhibition of Art, 22 September 2010 – 28 February 2011 (another variant exhibited) Brazil, 30th Bienal of São Paulo, Hans-Peter Feldmann, 7 September - 7 December 2012 (another variant exhibited) London, Serpentine Gallery; Vienna, BAWAG PSK Contemporary; Hamburg, Deichtorhallen Internationale Kunst und Fotografe, Hans-Peter Feldmann, 11 April 2012 – 2 June 2013 (another variant exhibited) Paris, Galerie Lafayette, Hans-Peter Feldmann, 14 October 2016 – 21 January 2017 (another variant exhibited) Literature Helena Tatay, ed., Hans-Peter Feldmann, London, 2010, p. 92 (another variant illustrated) Adrian Hamilton, ‘Hans-Peter Feldmann: Serpentine Gallery meets anarchic conceptual art’, Independent, April 2012 (another variant mentioned)

‘The same goes for other problems one has too: by painting, dancing, singing, telling stories, et cetera, et cetera, you can alleviate the problem, if not completely cure it. This is the basic function of art, nothing else, and it’s present in every individual.’ Hans-Peter Feldmann


218. Jeppe Hein

b. 1974

Modifed Social Bench #8 powder coated metal and springs 63 x 180 x 43 cm (24 3/4 x 70 7/8 x 16 7/8 in.) Executed in 2005, this work is from an edition of 5. Estimate £6,000-8,000 $7,800-10,500 €6,900-9,100 ♠ Provenance Johann König Gallery, Berlin Private Collection Phillips, London, 18 February 2011, lot 292 Acquired at the above sale by the present owner


219. Jeppe Hein

b. 1974

Please Do Not Touch neon tubes and transformer 71.8 x 59.7 x 7.6 cm (28 1/4 x 23 1/2 x 3 in.) Executed in 2009, this work is from an edition of 5 plus 2 artist’s proofs. Estimate £8,000-12,000 $10,500-15,700 €9,100-13,700 ‡ ♠ Provenance 303 Gallery, New York Acquired from the above by the present owner

Exhibited Vancouver, Contemporary Art Gallery, Please, Please Please…, 29 January – 29 March 2009 (another example exhibited) Perth Institute of Contemporary Arts, Jeppe Hein, 12 February - 5 April 2010 (another example exhibited) Stockholm, Bonniers Konsthall; Knislinge, Wanås Konst, Jeppe Hein. A SMILE FOR YOU, 23 April - 27 October 2013, p. 194 (another example exhibited and illustrated)


220. Paolo Serra

1946

Untitled signed and dated ‘P. SERRA 2011’ on the reverse; further stamped ‘PAOLO SERRA 2011-0 010284’ on the reverse lacquer and gold leaf on panel 98.2 x 98.2 cm (38 5/8 x 38 5/8 in.) Executed in 2011.

Estimate £6,000-8,000 $7,800-10,400 €6,900-9,200 ♠ Provenance Ronchini Gallery, London Private Collection, Italy


221. Marcello Lo Giudice

b. 1957

Rouge/Red signed, titled and dated ‘Lo Giudice 2012 “ROUGE RED”’ on the reverse oil pigment on canvas 100 x 100 cm (39 3/8 x 39 3/8 in.) Executed in 2012. Estimate £15,000-20,000 $19,600-26,100 €17,100-22,800 ‡ ♠

Provenance Private Collection (acquired directly from the artist) Phillips, London, 15 February 2013, lot 261 Acquired at the above sale by the present owner


222. Yves Zurstrassen

1956

Summertime titled and dated ‘17 09 07 “SUMMERTIME”’ on the overlap; further signed, titled and dated ‘17 09 07 YVES ZURSTRASSEN 2017 “SUMMERTIME”’ on the reverse oil on canvas 150.3 x 150.4 cm (59 1/8 x 59 1/4 in.) Painted in 2017. Estimate £10,000-15,000 $13,100-19,600 €11,400-17,100 ♠ Provenance Acquired directly from the artist by the present owner

223. Julian Opie

b. 1958

Hannah, Lottie and Esther blinking (vertical) signed ‘Julian Opie’ on the reverse continuous computer animation on 46” LCD screen 113.3 x 66.6 x 8.9 cm (44 5/8 x 26 1/4 x 3 1/2 in.) Executed in 2006, this work is number 3 from an edition of 4 plus 1 artist’s proof. Estimate £20,000-30,000 $26,100-39,100 €22,900-34,300 ♠ Provenance Galerie Bob van Orsouw, Zurich Acquired from the above by the present owner Exhibited Tokyo, Art Tower Mito, Julian Opie, 19 July - 5 October 2008, no. 16, pp. 15-17, 43 (another example exhibited and illustrated, p. 15, p. 17)


224. Samuel Havadtoy

b. 1952

Shibui signed, signed with the artist’s initials, titled and dated ‘Samuel Havadtoy S.H. “SHIBUI” c. 2006’ on the reverse acrylic and lace on aluminium board, in artist’s frame 58 x 58 cm (22 7/8 x 22 7/8 in.) Executed circa 2006. Estimate £6,000-8,000 $7,800-10,500 €6,900-9,100 ♠ Provenance Acquired directly from the artist by the present owner

225. Julian Opie

b. 1958

Fiona, artist. 4. signed ‘Julian Opie’ on the overlap c-type print on wooden mount 88.7 x 70.3 cm (34 7/8 x 27 5/8 in.) Executed in 2001, this work is unique. Estimate £15,000-25,000 $19,600-32,700 €17,100-28,600 ♠ Provenance Galerie Bob van Orsouw, Zürich Private Collection Sotheby’s, Olympia, 21 October 2004, lot 1 Acquired at the above sale by the present owner Literature Daniel Kurjaakovic, Julian Opie: Portraits. 97-2002, Ostfldern, 2003, n.p. (illustrated)


226. David Kim Whittaker

b. 1964

Memory for the Yeoman (Willy Lot) signed, titled and dated ‘“MEMORY FOR THE YEOMAN (WILLY LOT)” David Kim Whittaker 2011-2013’ on the reverse oil on canvas, in artist’s frame 100 x 100 cm (39 3/8 x 39 3/8 in.) Executed in 2011-13. Estimate £20,000-30,000 $26,100-39,200 €22,800-34,300 ♠ Provenance Eddie Lock, Lenham Acquired from the above by the present owner

227. Lita Cabellut

b. 1961

Leda signed and dated ‘Lita Cabellut 2018’ on the reverse mixed media on canvas, in artist’s frame 154.7 x 104.7 cm (60 7/8 x 41 1/4 in.) Executed in 2018. Estimate £20,000-30,000 $26,100-39,200 €22,800-34,300 ♠ Provenance Acquired directly from the artist by the present owner Exhibited New York, Opera Gallery, Lita Cabellut : A Chronicle of the Infnite, 12 - 26 December 2018, p. 44 (illustrated)


Property from a Distinguished European Collection

228. Nate Lowman

b. 1979

229. Florian Süssmayr

b. 1963

Dirty Dancing signed and dated ‘Nate Lowman 2011’ on the overlap oil, dirt, dental foss on canvas 167.6 x 271.8 cm (65 7/8 x 107 in.) Executed in 2011.

Untitled signed and dated ‘Süssmayr 2007’ on the overlap oil on linen 243.5 x 203.6 cm (95 7/8 x 80 1/8 in.) Painted in 2007.

Estimate £20,000-30,000 $26,100-39,200 €22,800-34,300 ‡

Estimate £2,000-3,000 $2,600-3,900 €2,300-3,400 ‡ ♠

Provenance Massimo De Carlo, Milan Acquired from the above by the present owner in 2011

Provenance Nicholas Robinson Gallery, New York Acquired from the above by the present owner

Exhibited Milan, Massimo De Carlo, Three Amigoes: Gif Ghost Gap - Nate Lowman, 20 September - 11 October 2011


230. Katrin Fridriks

b. 1974

Mothernature Awakening Force signed, titled and dated ‘“Mothernature Awakening Force” Fridriks 2017’ on the reverse acrylic on canvas laid on panel 179.8 x 130 cm (70 3/4 x 51 1/8 in.) Executed in 2017. Estimate £3,000-5,000 $3,900-6,500 €3,400-5,700 ♠ Provenance Acquired directly from the artist by the present owner

231. Gerhard Richter

b. 1932

Flow (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 $7,800-10,400 €6,800-9,100 ♠ Provenance Private Collection, London


232. Gerhard Richter

b. 1932

Flow (P15) 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 $7,800-10,400 €6,800-9,100 ♠ Provenance Private Collection, London

233. Wang Yigang

b. 1961

Abstract N3 signed [in Chinese] and dated ‘Wang Yigang 2014’ lower right oil on canvas 150.6 x 121 cm (59 1/4 x 47 5/8 in.) Painted in 2014. Estimate £10,000-15,000 $13,100-19,600 €11,400-17,100 Provenance Martinelli Gallery, Lodi Acquired from the above by the present owner Exhibited Lugano, Absolute Art, Wang Yigang, Through Colour II Edition, September 2018, pp. 62, 140 (illustrated, p. 62)


234. Erró

b. 1932

Guy Party signed and dated ‘Erró ERRÓ 2006 2006’ on the reverse acrylic on canvas 131 x 130.8 cm (51 5/8 x 51 1/2 in.) Painted in 2006. Estimate £15,000-20,000 $19,600-26,100 €17,100-22,800 ‡ ♠ Provenance Beyaz Müzayede, Istanbul, 10 November 2013, lot 78 Private Collection Beyaz Müzayede, Istanbul, 17 January 2016, lot 74 Acquired at the above sale by the present owner Literature erró 2007 - 2012, Catalogue général, Paris, 2012, no. 364, p. 161 (illustrated, incorrectly titled and measured)

235. KAWS

b. 1974

Three works: (i) Small Lie (Brown); (ii) Small Lie (Black); (iii) Small Lie (Grey) (i-iii) printed with the artist’s name, date, fabricator and title ‘KAWS..17 SMALL LIE MEDICOM TOY CHINA’ on the underside painted vinyl (i-iii) 12.9 x 12.2 x 27.5 cm (5 1/8 x 4 3/4 x 10 7/8 in.) (i-iii) Executed in 2017, this work is from a limited edition fabricated by Medicom Toy, Japan. Estimate £1,000-1,500 $1,300-2,000 €1,100-1,700 Provenance Yorkshire Sculpture Park, Wakefeld Private Collection, London


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 8 March 2019, 2pm Viewing 23 February - 8 March Monday to Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010219 or 20th Century & Contemporary Art Day Sale Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

Cataloguer Charlotte Gibbs +44 20 7901 7993 cgibbs@phillips.com Administrator Constance Perret +44 20 7318 4073 cperret@phillips.com Senior Property Manager Ross Martin +44 20 7318 4788 rmartin@phillips.com Photographers Jean Bourbon Alex Braun Matt Kroenig Kent Pell Charlie Sheldon Auctioneers Henry Highley, Principal Auctioneer Susanna Brockman Adam Clay Hugues Joffre Rebecca Tooby-Desmond

Front cover Lot 108, Sean Scully Dust, 1984 © Sean Scully

Back cover Lot 158, Rudolf Stingel Untitled, 2009 © Rudolf Stingel 2019

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 Kyle Buchanan +44 20 7318 4081 Rita Matos +44 20 7901 7906 Lucia Nuñez +44 20 7901 7920 Creative Services Ben Marcus, Creative Services Manager Grace Neighbour, Graphic Designer Moira Gil, Graphic Designer


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Royalty Rate 4% 3% 1% 0.5% 0.25%

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New Now London, 11 April 2019

Ugo Rondinone b. 1964 achtundzwanzigsterjulizweitausendundelf signed, titled and dated 'Ugo Rondinone 2011 "achtundzwanzigsterjulizweitausendundelf"' on the reverse acrylic and glitter on polyester, silkscreen on plexiglass plaque 200 x 500 x 4 cm (78 3/4 x 196 7/8 x 1 5/8 in.) Executed in 2011. Š Ugo Rondinone. Photo: Stefan Altenburger Photography, Zurich.

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Public Viewing 4–10 April 2019 30 Berkeley Square, London W1J 6EX Enquiries contemporaryartlondon@phillips.com +44 20 7318 4082


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 to bid 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):

In-person Absentee Bidding Telephone Bidding

Paddle Number

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

Sale Title

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

Address

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• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £180,000, 20% of the portion of the hammer price above £180,000 up to and including £3,000,000 and 12.5% of the portion of the hammer price above £3,000,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

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

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

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confrmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

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

2.

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

• Company Purchases: We require a copy of government-issued identifcation (such as the certifcate of incorporation) to verify the status of the company. This should be accompanied by an ofcial document confrming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale available online at phillips.com,. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

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

Title

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

Brief description

In Consecutive Order

Maximum pound sterling price* Absentee Bids Only

• Please submit your bids to the Bid Department by email to bidslondon@phillips.com or by fax at +44 20 7318 4035 at least 24 hours before the sale. You will receive confrmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045. • If you have not bid and bought with us before, please provide a bank reference • Payment for lots can be made by wire transfer, credit card (up to £30,000) using Visa, American Express, Mastercard or Union Pay (for in person transactions only), UK debit cards, or cash (up to £5,000). • Lots cannot be collected until payment has cleared and all charges have been paid. • You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com. • Phillip’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g. telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium and VAT

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By ticking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

Please tick this box to receive emails about upcoming sales, exhibitions, and special events ofered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.


101. Frank Bowling, R.A.


Index Agam, Y. 144

Hadzi, D. 147

Ofli, C. 183

Allora & Calzadilla 206

Halley, P. 154

Opie, J. 223, 225

Ancart, H. 148

Hartung, H. 103

Oppenheim, D. 121

Appel, K. 132

Havadtoy, S. 224

Aubertin, B. 141

Hein, J. 218, 219

Pei-Ming, Y. 202

Auerbach, T. 165

Hirst, D. 156, 182

Perry, G. 184

Hockney, D. 111 Barceló, M. 203

Holzer, J. 160

Rafman, J. 211

Bas, H. 200

Horn, R. 161

Rauschenberg, R. 126

Bhabha, H. 212

Hughes, S. 153

Richter, G. 194, 195,

Biasi, A. 137 Blake, P. 112

196, 197, 231, 232 Israel, A. 173

Bochner, M. 205

Ruf, T. 190

Boetti, A. 134

Jensen, S. 207

Bonalumi, A. 136

Jones, A. 113

Bowling, F. 101 Buren, D. 106, 176

Ruby, S. 210

Salle, D. 163 Saraceno, T. 214

Kapoor, A. 175

Schutz, D. 149

KAWS 151, 152, 235

Scully, S. 108

Cabellut, L. 227

Kelley, M. 169

Serra, P. 220

Caro, A. 116

Kippenberger, M. 198

Steinbach, H. 177

Cattelan, M. 193

Knoebel, I. 155

Stingel, R. 158

Chagall, M. 123

Kossof, L. 109

Süssmayr, F. 229

Condo, G. 150

Kounellis, J. 135, 139

Cragg, T. 179

Kusama, Y. 104, 105

Delvoye, W. 216

Léger, F. 120, 122

Doig, P. 102, 110

Levine, S. 162

Uecker, G. 140

LeWitt, S. 125

Ufan, L. 117

Elrod, J. 209

Ligon, G. 170

Uncini, G. 138

Erró 234

Lo Giudice, M. 221

Esser, E. 189

Long, R. 114

Valdés, M. 178

Longo, R. 164

Vance, L. 159

Feldmann, H-P. 217

Lowman, N. 228

Vasarely, V. 143, 145

Flanagan, B. 115

Lucas, S. 185

Förg, G. 107

Lüpertz, M. 199

Tal R 204 Tillmans, W. 192

Francis, S. 124

Wall, J. 188 Warren, R. 180

François, M. 215

Marini, M. 133

Wesselmann, T. 127, 128

Fridriks, K. 230

Matta, R. 130, 131

West, F. 119

McCarthy, P. 186

Whittaker, D. K. 226

Ghenie, A. 201

Morellet, F. 142, 146

Wood, J. 166, 167

Graham, R. 187

Morris, S. 181

Wool, C. 168

Grotjahn, M. 157

Muñoz, J. 118, 213

Gursky, A. 174, 191

Murillo, O. 171, 172

Yigang, W. 233

Guston, P. 129 Zobernig, H. 208 Zurstrassen, Y. 222


149. Dana Schutz


123. Marc Chagall


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