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20th Century & Contemporary Art Day Sale London, 5 October 2017

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151. A.R. Penck

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129. Yue Minjun

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119. Grayson Perry

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UK Guide for Prospective Buyers Each Phillips auction is governed by the applicable Conditions of Sale and Authorship Warranty. All prospective bidders should read these sections carefully. They govern the purchasing agreement under which you buy at auction from Phillips. They may be also amended by saleroom addendum or auctioneer’s announcement during the auction. The complete Conditions of Sale and Authorship Warranty applicable to this auction (Version 9/12/17) are found online at phillips.com, along with detailed information on each lot. Estimates The auction estimates indicated for each lot in this catalogue do not include Buyer’s Premium (applicable on each lot), or VAT or Artist’s Resale Right (where such charges apply). Details of these charges are given below. All Lots are Subject to ‘Buyer’s Premium’ In addition to the hammer (final bid) price, a buyer’s premium is due from all successful buyers. The buyer’s premium is a commission based on the hammer price 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. Condition and Condition Reports Phillips does not warrant or guarantee condition on any lot. Solely as a convenience to clients, Phillips may provide condition reports on many lots, which are also available online on the lot detail pages. If there is not a condition report available, that is not a representation that a lot is in perfect condition. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect all lots at our pre-sale exhibitions, and contact our staff with any questions. Bidding at Auction You may bid in the auction in person, online, on the phone, or by placing an absentee bid. The easiest way to arrange or register to bid at auction is to set up a client account online. Go to our homepage, phillips.com and fill out the account form. When you want to register for an auction, click Register on sale pages or lot detail pages, and you’ll confirm your account details, be asked for a credit card number for identification purposes and our Bids Department will process your request. We recommend registering at least 24 hours prior to sale to ensure that you can bid. Good luck! Some lots are sold under special conditions. Phillips uses the following symbols to designate these lots: O ◊ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ◊. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated via a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the

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remuneration may be netted against the purchase price. Where Phillips has guaranteed a minimum price on every lot in the catalogue, Phillips will not designate each lot with the symbol(s) for the guaranteed property but will state our fnancial interest at the front of the catalogue. ∆ Property in Which Phillips Has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. •No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot will not exceed the low pre-sale estimate. ♠ Property Subject to the Artist’s Resale Right Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of the hammer price (in EUR) and payable as part of the purchase price as follows: Royalty Rate: From 0 to 50,000 (4%) From 50,000.01 to 200,000 (3%) From 200,000.01 to 350,000 (1%) From 350,000.01 to 500,000 (0.5%) Exceeding 500,000 (0.25%) The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank. †, §, ‡, or Ω Property Subject to VAT Where there is no VAT symbol, Phillips is able to use the Auctioneer’s Margin Scheme and VAT will not normally be charged on the hammer price. An amount equivalent to VAT at 20% on the buyer’s premium will be included in the buyer’s premium. Property with a † symbol will be sold under normal UK VAT rules, and VAT will normally be charged at 20% on both the hammer price and buyer’s premium. Property with a § symbol and sold to buyers whose registered address is in the EU will be assumed to be remaining in the EU and will be treated as having no symbol (unless informed otherwise by a buyer). Property sold with a ‡ (5%) or Ω (20%) symbol has been imported from outside the EU to be sold at auction under temporary admission, and offered under the Auctioneer’s Margin Scheme at the respective % on the hammer price and an amount in lieu of VAT at 20% on the buyer’s premium. The foregoing is for summary purposes only. Please see the online auction catalogue and Conditions of Sale at phillips.com/ buy and specifically the section ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’ for a more detailed description of the VAT symbols used in this Buyer’s Guide, as well as any VAT refunds that you may be qualified to receive.

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New York. London. Geneva. Hong Kong. Auctions. Fall 2017.

Phillips means Art, Design, Photographs, Editions, Jewellery, Watches and more. Join us for our Fall 2017 auction season, which kicks of in September with our New Now Sale in New York. Find out more about our upcoming auctions at phillips.com

New Now New York, 19 September 2017 Design London, 20 September 2017 Photographs New York, 3 October 2017 20th Century & Contemporary Art Evening & Day London, 5 & 6 October 2017 Editions New York, 17 October 2017 Photographs London, 2 November 2017 Watches Geneva, 11–12 November 2017 20th Century & Contemporary Art Evening & Day New York, 15 & 16 November 2017 Latin America New York, 21 November 2017 20th Century & Contemporary Art Evening & Day Hong Kong, 26 November 2017 Jewellery Hong Kong, 27 November 2017 Watches Hong Kong, 28 November 2017 New Now London, 7 December 2017 Design Masters & Design New York, 11 – 12 December 2017 Editions London, 25 January 2018

phillips.com

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Executives.

Ed Dolman

Cheyenne Westphal

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

Chairman +44 20 7318 4044 cwestphal@phillips.com

Š Brigitte Lacombe

20th Century & Contemporary Art.

Jean-Paul Engelen

Robert Manley

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

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

Senior Advisors.

Hugues Jofre

Francesco Bonami

Arnold Lehman

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Deputy Chairmen.

Svetlana Marich

Alexander Payne

Peter Sumner

Miety Heiden

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

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

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Vanessa Hallett

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Jonathan Crockett

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

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

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New York.

Amanda Lo Iacono

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John McCord

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Head of Day Sale, Morning Head of Day Sale, Afernoon +1 212 940 1261 +1 212 940 1250 jmccord@phillips.com rbowling@phillips.com

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Dina Amin

Nathalie Zaquin-Boulakia Jonathan Horwich

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Senior Specialist Senior Specialist +44 20 7901 7931 +44 20 7901 7935 nzaquin-boulakia@phillips.com jhorwich@phillips.com

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Hong Kong.

Sandy Ma

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Specialist +852 2318 2026 craybaud@phillips.com

Cataloguer +852 2318 2027 dso@phillips.com

Latin America.

Kaeli Deane

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Carolina Scarborough

Head of Department, Americas +1 212 940 1352 kdeane@phillips.com

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

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

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Business Development. Americas. London.

Asia.

Client Advisory. New York. London.

Vivian Pfeifer

Guy Vesey

Lilly Chan

Philae Knight

Yassaman Ali

Giulia Campaner Mendes

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

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

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

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

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

Associate Client Advisory Manage +44 20 7318 4058 campanergiulia@gmail.com

International Specialists & Regional Directors. Americas.

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

Melyora de Koning

Blake Koh

Cecilia Lafan

Silvia Coxe Waltner

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

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

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

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

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

Maria Cifuentes Caruncho

Carol Ehlers

Europe.

Laurence Calmels

Dr. Alice Trier

Clarice Pecori Giraldi

Carolina Lanfranchi

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

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

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

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

Maura Marvao

Kalista Fenina

Julia Heinen

Deniz Atac

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

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

Specialist & Regional Director, Switzerland +44 77 88 552 2421 jheinen@phillips.com

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

Kyoko Hattori

Jane Yoon

Cindy Yen

Meiling Lee

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

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

Senior Specialist, Watches & Jewellery, Taiwan +886 963 135 449 cyen@phillips.com

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

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

Asia.

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153. Georg Baselitz

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130. Juan Muñoz

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20th Century & Contemporary Art Day Sale London, 5 October 2017, 2pm

Auction and Viewing Location 30 Berkeley Square, London W1J 6EX Auction 5 October 2017, 2pm Viewing 29 September – 5 October 2017 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010717 or 20th Century & Contemporary Art Day Sale Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

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

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

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

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

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101. Henry Taylor

b. 1958

Untitled (woman in bath tub, bathing) acrylic on canvas 76 x 100.8 cm (29 7/8 x 39 5/8 in.) Painted in 2015. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 Provenance Feuer Mesler Gallery, New York Marinaro Gallery, New York Acquired from the above by the present owner

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102. Shara Hughes

b. 1981

Untitled signed ‘SHARA HUGHES’ lower right; further signed and dated ‘SHARA HUGHES 2005’ on the overlap oil and acrylic on canvas 122.2 x 108 cm (48 1/8 x 42 1/2 in.) Painted in 2005. Estimate £8,000-12,000 $10,500-15,800 €8,700-13,100 Provenance Parts Gallery, Toronto Acquired from the above by the present owner

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103. George Condo

b. 1957

104. George Condo

b. 1957

Untitled signed and dated ‘Condo 2000’ on the reverse oil on canvas 30 x 30.5 cm (11 3/4 x 12 in.) Painted in 2000.

Untitled (Clown) signed and dated ‘Condo ‘84’ on the reverse oil on canvas 35.1 x 28 cm (13 7/8 x 11 in.) Painted in 1984.

Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600

Estimate £15,000-20,000 $19,800-26,400 €16,400-21,900

Provenance Sprüth Magers, Berlin Private Collection, New York Acquired from the above by the present owner

Provenance Collection Reiner Opoku (acquired directly from the artist) Private Collection, New York Acquired from the above by the present owner

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105. Adrian Ghenie

b. 1977

Burning Books signed and dated ‘Ghenie 2014’ on the reverse oil on canvas 50 x 59.8 cm (19 5/8 x 23 1/2 in.) Painted in 2014. Estimate £250,000-350,000 $329,000-460,000 €272,000-381,000 ‡ ♠ Provenance Galeria Plan B, Berlin Acquired from the above by the present owner

‘I am interested in the presence of evil, or more precisely, how the possibility for evil is found in every endeavour.’ Adrian Ghenie

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Adrian Ghenie’s Burning Books, 2014, expertly traverses the boundaries between abstraction and fguration. An exquisite example of the artist’s exploration of collective memory, the work reconfrms his status as one of the most celebrated contemporary painters practising today. Evoking the sinister history of the National Socialist regime, Burning Books is a psychologically charged depiction of the destruction of cultural worth. The sumptuous palette of scraped and swirled paint suggests the dark sky and levitating smouldering pages which foat towards the heavens in great whirls of smoke. Rendered in perfected impasto, the present work encapsulates Ghenie’s engagement with the horrors of fascism, whilst also serving as a paradigm of contemporary painting. The book burning in front of the Humboldt University on the 10th May 1933 has etched itself in the cultural memory of twentieth century European history. Exuding an atmosphere of decay and destruction, the bright orange fames rage, fuelled by the pyre of stacked books; illuminated against the eerie night sky the fre spits insidiously from the bonfre. Following the wisps of translucent smoke the viewer’s gaze rises to the dreamlike swirls of pink and blues, eventually reaching the scraped furry of sooty paint in the night sky. The monstrosity of the scene is beguiling through the juxtaposition of the harsh obliterating qualities of the fre with the lyrical arrangement of colourful brushstrokes that seem to dance in the smoke above the inferno below. This colourful contrast against the sombre palette enlivens the scene, transporting the viewer from the black and white infamous

image of the book burnings, to a temporal reality where we are physically viewing the act in hyped technicolour. Addressing the traumatic histories of twentieth century Europe, Burning Books draws on the visceral brushwork of Francis Bacon and the textural layering of Anselm Kiefer. Opening a frank dialogue with the past, the work is multilayered in meaning; both refective of historical events, drawing upon iconic characters from history, Ghenie’s constructed worlds span the stratums of the artistic canon. The paint has been dripped, poured and scraped across the canvas, destroying the fatness of the plane to highlight the emotional intensity of the piece. Thick impasto is applied and then furiously removed from the canvas and this violence of method contrasts the gentle dream-like swirling brushstrokes intermingled in the sof mist of smoke. The spectator is confronted with thick slashes of paint, which lends the work an almost three-dimensionality, transporting us to that rainy evening at Bebelplatz, Berlin. A member of the Cluj School in Romania, Ghenie grew up under the repressive Communist regime of Nicolae Ceaușescu and echoes of this restrictive regime can be heard across his oeuvre. The visceral pictorial language of his painting has gained him international acclaim and in 2015, a year afer the present work was executed, Ghenie represented Romania at the Venice Biennale. The artist’s decision to use the medium of painting to address the decimation of culture suggests a small victory, a liberating act of expression which cannot be quashed.

The public book burning on Opernplatz in Berlin by students and SA units, 1933 © SZ Photo. Image: Bridgeman Images.

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106. Sue Williams

b. 1954

Cute Outft signed, titled and dated ‘Sue Williams “Cute Outft” ‘98’ on the reverse oil and acrylic on canvas 122.4 x 147.5 cm (48 1/4 x 58 1/8 in.) Painted in 1998. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 Provenance 303 Gallery, New York Private Collection Phillips de Pury & Luxembourg, New York, 14 November 2003, lot 105 Acquired at the above sale by the present owner

107. Richard Aldrich

b. 1975

2 works: (i) Who Knows Where the Time Goes Performed by Nina Simone; (ii) Untitled (i) signed with the artist’s initials, titled and dated ‘RA “Who knows where the time goes” 2008’ on the overlap (i) enamel silkscreen on linen; (ii) oil, wax and collage on linen each 213.7 x 147.5 cm (84 1/8 x 58 1/8 in.) (i) Executed in 2008, this work is number 3 from an edition of 3; (ii) Executed in 2011. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 Provenance Bortolami Gallery, New York Acquired from the above by the present owner Exhibited (i) Contemporary Art Museum St. Louis, Richard Aldrich and the 19th Century French Painting, 21 January - 1 May 2011 (another example exhibited)

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108. Peter Saul

b. 1934

Frensh Arrt (Jackie Kennedy) signed and dated ‘SAUL 70’ lower right acrylic, ink and coloured crayons on cardboard 108.8 x 82 cm (42 7/8 x 32 1/4 in.) Executed in 1970. Estimate £25,000-35,000 $33,000-46,200 €27,400-38,400 Provenance Madame Darthea Speyer, Paris Collection de Madame Darthea Speyer, Christie’s, Paris, 7 July 2010, lot 365 Acquired at the above sale by the present owner

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109. Peter Saul

b. 1934

Umerican Art (Ronald Reagan) signed and dated ‘SAUL 70’ lower right acrylic and ink on cardboard 110 x 88 cm (43 1/4 x 34 5/8 in.) Executed in 1970. Estimate £25,000-35,000 $33,000-46,200 €27,400-38,400 Provenance Madame Darthea Speyer, Paris Collection de Madame Darthea Speyer, Christie’s, Paris, 7 July 2010, lot 366 Acquired at the above sale by the present owner

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Property from an Important Private European Collection

110. John Currin

b. 1962

Woman with child ink on paper 34.3 x 27.9 cm (13 1/2 x 10 7/8 in.) Executed in 1994.

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

Estimate ÂŁ30,000-50,000 $39,400-65,700 â‚Ź32,600-54,400

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Property from an Important Private European Collection

111. John Currin

b. 1962

Big breasted woman ink on paper 24.1 x 14.9 cm (9 1/2 x 5 7/8 in.) Executed in 1988. Estimate ÂŁ20,000-30,000 $26,300-39,400 â‚Ź21,800-32,600

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Provenance Andrea Rosen Gallery, New York Acquired from the above by the present owner Literature Kara Vander Weg and Rose Dergan, eds., John Currin, New York, 2006, p. 190 (illustrated)

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112. Yoshitomo Nara

b. 1959

Communicating titled (in Japanese) lower centre pen and coloured pencil on paper 23 x 15.3 cm (9 x 6 in.) Executed in 1998. Estimate £15,000-20,000 $19,800-26,400 €16,400-21,900 ‡ Provenance Private Collection, Asia

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113. Os Gêmeos

b. 1974

S/T acrylic on two wooden fxed doors 211.6 x 156 cm (83 1/4 x 61 3/8 in.) Executed circa 2008. Estimate £60,000-80,000 $79,200-106,000 €65,800-87,700 Provenance Parra & Romero, Madrid Acquired from the above by the present owner in 2008

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114. Sanya Kantarovsky

b. 1982

Untitled oil and watercolor on linen 76.2 x 61 cm (30 x 24 in.) Painted in 2012. Estimate £4,000-6,000 $5,300-7,900 €4,400-6,600 ‡ Provenance Private Collection, USA

115. Rob Pruitt

b. 1964

Kill Me signed and dated ‘Rob Pruitt 2012’ on the overlap acrylic, enamel paint and focking on canvas 266.7 x 210.8 cm (105 x 82 7/8 in.) Executed in 2012. Estimate £50,000-70,000 $65,700-92,000 €54,400-76,100 ‡ Provenance Gavin Brown’s Enterprise, New York Acquired from the above by the present owner Exhibited American Academy in Rome, ANAMERICANA, 3 October – 14 November 2013

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lot 116

lot 117

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116. Richard Prince

b. 1949

Untitled (Couple) signed and numbered ‘R. Prince 1/10’ on the reverse Ektacolour photograph image 50.8 x 61 cm (20 x 24 in.) Executed in 1978, this work is number 1 from an edition of 10. Estimate £30,000-40,000 $39,600-52,800 €32,900-43,900 Provenance Barbara Gladstone, New York Acquired from the above by the present owner in 2006

117. Richard Prince

b. 1949

118. Richard Prince

b. 1949

Untitled (Couple) signed and numbered ‘R. Prince 2/10’ on the reverse Ektacolour photograph image 50.8 x 61 cm (20 x 24 in.) Executed in 1978, this work is number 2 from an edition of 10.

Untitled (Couple) signed and numbered ‘R. Prince 2/10’ on the reverse Ektacolour photograph image 50.8 x 61 cm (20 x 24 in.) Executed in 1978, this work is number 2 from an edition of 10.

Estimate £30,000-40,000 $39,600-52,800 €32,900-43,900

Estimate £30,000-40,000 $39,600-52,800 €32,900-43,900

Provenance Barbara Gladstone, New York Acquired from the above by the present owner in 2006

Provenance Barbara Gladstone, New York Acquired from the above by the present owner in 2006

lot 118

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Property from an Important Private European Collection

119. Grayson Perry

b. 1960

Map of Truth and Beliefs wool and cotton tapestry 289 x 688 cm (113 3/4 x 270 7/8 in.) Executed in 2011, this work is number 6 from an edition of 7. Estimate £80,000-120,000 $106,000-158,000 €87,700-132,000 ♠ Provenance Paragon Press, London Acquired from the above by the present owner

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120. Peter Doig

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120. Peter Doig

b. 1959

Untitled signed and dated ‘P. Doig ‘91’ on the reverse oil on board 34.3 x 20.4 cm (13 1/2 x 8 in.) Painted in 1991. Estimate £150,000-200,000 $197,000-263,000 €163,000-218,000 ♠ Provenance Private Collection (acquired directly from the artist) Sotheby’s, London, 8 February 2002, lot 126 Acquired at the above sale by the present owner

‘There could be a hundred paintings in every one painting, depending on when you stop.’ Peter Doig

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121. Peter Doig

b. 1959

Briey Interior - Unité d’habitation signed, titled and dated ‘Peter Doig “BRIEY BRIEY INTERIOR UNITÉ D’HABITATION” 1996’ on the reverse oil on paper 72.5 x 57.4 cm (28 1/2 x 22 5/8 in.) Painted in 1996. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 ♠ Provenance Victoria Miro Gallery, London Private Collection Thomas Dane Gallery, London Private Collection, UK Acquired from the above by the present owner

122. Cy Twombly

1928-2011

8 Odi di Orazio signed and titled ‘Cy Twombly ‘‘8 Odi di Orazio’’’ pencil on paper 50 x 35 cm (19 5/8 x 13 3/4 in.) Executed in 1968. Estimate £40,000-60,000 $52,600-78,800 €43,500-65,300 Provenance Sergio Tosi, Milan Collection particulière, Milan Collection Jean Albou, Paris Artcurial, 7 December 2010, lot 237 Acquired at the above sale by the present owner The attached piece has been fled in the archive of the artist as a proof for the cover of the folder containing the 16 screenprints, 8 Odi di Orazio, 1968.

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123. Rachel Whiteread

b. 1963

Block plaster, painted steel and laminated wood 141 x 140 x 74.9 cm (55 1/2 x 55 1/8 x 29 1/2 in.) Executed in 2005. Estimate £60,000-80,000 $78,800-105,000 €65,300-87,000 ‡ ♠ Provenance Gagosian Gallery, London Phillips, New York, 14 May 2015, lot 26 Acquired at the above sale by the present owner Exhibited London, Gagosian Gallery, Rachel Whiteread: Sculpture, 19 October - 3 December 2005, pp. 42 - 43 (illustrated) Dallas, Nasher Sculpture Center, Rachel Whiteread, Drawings, 22 May - 15 August 2010

‘Internationally, I was looking more towards America than anywhere else. I related to the minimalists.’ Rachel Whiteread

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Property from an Important Private European Collection

124. Mona Hatoum

b. 1952

Quarters Corten and mild steel, in 4 parts each 275.5 x 80.8 x 183 cm (108 1/2 x 31 3/4 x 72 in.) overall dimensions variable Executed in 1996, this work is number 2 from an edition of 3. Estimate £70,000-90,000 $92,000-118,000 €76,100-97,900 ♠ Provenance White Cube, London Acquired from the above by the present owner Exhibited Milan, Viafarini, Mona Hatoum: Quarters, 16 October - 21 November 1996 (another variant illustrated) Hamburger Kunsthalle; Kunstmuseum Bonn; Stockholm Konsthall, Magasin 3, Mona Hatoum, 26 March - 18 December 2004 (another example illustrated) Helsinki, Museum of Contemporary Art Kiasma; Paris, Centre Pompidou; London, Tate Modern, Mona Hatoum, 24 June 2015 - 26 February 2017, pp. 67 - 69 (another variant illustrated)

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125. Berlinde de Bruyckere

b. 1964

Dekenstoel chair, covers and blankets 90 x 61 x 70 cm (35 3/8 x 24 x 27 1/2 in.) Executed in 1999. Estimate £30,000-50,000 $39,400-65,700 €32,600-54,400 ♠ Provenance Private Collection De Vuyst, Lokeren, 22 October 2011, lot 483 Acquired at the above sale by the present owner

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126. James Turrell

b. 1943

Hologram Series, #03 (Biau) - September 2001 hologram and glass 51 x 38 x 3 cm (20 1/8 x 14 7/8 x 1 1/8 in.) Executed in 2001. Estimate £50,000-70,000 $65,700-92,000 €54,400-76,100 ‡ Provenance Häusler Contemporary, Zürich Private Collection

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127. Anish Kapoor

b. 1954

Untitled (Void Cube) acrylic 78.7 x 86.4 x 76.2 cm (30 7/8 x 34 x 30 in.) Executed in 2005. Estimate £100,000-150,000 $131,000-197,000 €109,000-163,000 ♠ Provenance Gladstone Gallery, New York Phillips, New York, 15 May 2015, lot 138 Acquired at the above sale by the present owner

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128. Abdulnasser Gharem

b. 1973

The Stamp (Inshallah) rubber on wood 95 x 95 x 160 cm (37 3/8 x 37 3/8 x 62 7/8 in.) Executed in 2011, this work is from an edition of 8 plus 4 artist’s proofs. Estimate £35,000-45,000 $46,000-59,100 €38,100-48,900 ‡ Provenance Acquired directly from the artist by the present owner Exhibited Paris, Institut du Monde Arabe, 25 Ans de Créativité Arabe, 16 October 2012 - 3 February 2013 (another example exhibited) London, Ayyam Gallery, Abdulnasser Gharem: Edge of Arabia, 8 October - 8 November 2013 (another example exhibited) Literature Edward Booth-Clibborn, Stephen Stapleton, eds., Abdulnasser Gharem, 2011, p. 174-175 (another example illustrated)

‘The younger generation in the country (Saudi Arabia) are so talented and no one is listening to their voices. I’m learning from them, to be honest.’ Abdulnasser Gharem


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129. Yue Minjun

b. 1962

Hometown signed and dated ‘yue minjun 2005’ lower lef; further signed and titled in Chinese and dated ‘2005’ on the reverse oil on canvas 219.7 x 200 cm (86 1/2 x 78 3/4 in.) Painted in 2005. Estimate £220,000-320,000 $289,000-420,000 €239,000-348,000 ‡ Provenance Private Collection (acquired directly from the artist) Private Collection, Beijing Private Collection, New York Exhibited Shenzhen, He Xiangning Art Museum, Reproduction Icons: Yue Minjun Works: 2004-2006, 3 June – 11 June 2006, p. 71 (illustrated)

‘Some may think these faces are my self-portrait, and many people think that these faces are absolutely absurd.’ Yue Minjun

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‘Some may think these faces are my self-portrait, and many people think that these faces are absolutely absurd. In fact, those who think that these faces are funny are just part of my ordinary audience; those who are more professional and more cultural will fnd that what I paint is not laughing faces, but the extreme end of the spectrum of laughter – that is to say, ultimate sorrow.’ – Yue Minjun Yue Minjun’s fxed grin is an icon of contemporary Chinese painting. His exploration of laughter and humour permeates his oeuvre, lending his work an instantly recognizable quality, elevating the laughing motif to one of the most signifcant symbols in contemporary Chinese art. One of China’s leading Cynical Realist painters, nothing is quite as it seems in the esteemed artist’s large canvasses. A dynamic example of Yue’s psychologically complex paintings, Hometown, painted in 2005, is sleek and highly aesthetic in its execution. With its three cartoon-like protagonists leaping across the picture plane, the hysteria is infectious, drawing us into Yue’s uncanny microcosm. A key canvas from the artist’s Hats series, which he commenced in 2004, the present work references societal tensions within China, as well as raw human emotion, namely joy and sorrow. Yue’s Hometown depicts three laughing, ruddy faces with scrubbed, pink skin and perfectly square teeth, their bodies rendered to the point of absurdity, which draw upon Minjun’s own image in a self-referential remodelling. The quiet scenery in the background is paradoxically peaceful; the river seems calm, the sunset sky is coloured blue and pink and in the

distance there is a boat, bobbing serenely at anchor. The title refers to the famous painting A Memory of Hometown by late artist Chen Yifei, who passed away in 2005, the same year as the present work. Chen’s painting depicts the ancient Double Bridge in Zhouzhuang, one of the earliest river towns in China which gained even more notoriety for its close proximity to the nearby industrial complex of Kunshan City, a centre for science and technology factories. A potential reaction to the death of Chen, Yue’s Hometown depicts the Double Bridge, while fgures wearing Nokia hats levitate above the still water, creating tension in the suspenseful moment. Symbolic of the noisy intrusion of industry on a peaceful, ancient way of life, Yue expertly suspends us in a moment of juxtaposition, our view maintained by the competing energies at play. As well as confronting contemporary societal and industrial concerns in China through his joyous visual parodies, Yue’s Hometown also expertly explores the very extremes of the human condition. The three boyish fgures appear to be engaged in jest, jumping in the water, their laughter infectious. On closer inspection, their interplay reveals much deeper tensions; the cloned fgures are uncomfortably close together and the tangle of their bodies creates an uneasy mass of limbs. Their gleeful irreverence and scrunched faces are almost violent in their excess, their laughter on the verge of tearful sobbing. Laughing until they cry, the soaring fgures embody deep sorrow as well as mirthful abandon. Yue’s fgures fing themselves freely through the air, expertly traversing the old and new in Chinese culture.

Zhouzhuang (Zhou Zhuang) water village or canal town, view of tourist boat, houses, and bridge in the background, Jiangsu Province, China Image: Bridgeman Images.

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Property from an Important Private European Collection

130. Juan Muñoz

1953-2001

Standing Arab with Fez polyester resin and steel 111 x 28 x 34 cm (43 3/4 x 11 x 13 3/8 in.) Executed in 1998, this work is unique. Estimate £100,000-150,000 $131,000-197,000 €109,000-163,000 ♠ Provenance Marian Goodman Gallery, New York. Acquired from the above by the present owner

‘My work is about waiting, waiting for something to happen… It is like keeping a work in that state that we would call desire.’ Juan Muñoz

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Property from the Estate of Julian J. Aberbach and Anne Marie Aberbach

131. José María Cano

b. 1959

Hello, this is Gilda from Sotheby’s parafn wax, pigment and wax encaustic on panel 149.8 x 210 cm (58 7/8 x 82 5/8 in.) Executed in 2005. Estimate £25,000-35,000 $32,900-46,000 €27,200-38,100 ♠ Provenance Acquired directly from the artist by the present owner

132. Manolo Valdés

b. 1942

Perfl con Fondo Azul signed and titled ‘PERFIL CON FONDO AZUL M VALDES’ on the reverse oil on burlap 193 x 163.5 cm (76 x 64 3/8 in.) Executed in 1994. Estimate £80,000-120,000 $106,000-158,000 €87,700-132,000 ‡ ♠ Provenance Marlborough Gallery, New York Acquired from the above by the present owner in 1994 Exhibited New York, Marlborough Gallery, Manolo Valdés: Recent Work, 20 October - 5 November 1994, no. 2, p. 5 (illustrated) Literature Benjamin Villegas, Manolo Valdés: The timelessness of art, Bogota, 1999, p. 278 (illustrated)

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Property from the Estate of Julian J. Aberbach and Anne Marie Aberbach

133. Manolo Valdés

b. 1942

Retrato de una Joven de la Nobleza signed, titled and dated ‘M VALDÉS 1992 “RETRATO DE UNA JOVEN DE LA NOBLEZA”’ on the reverse oil on burlap 188 x 114.6 cm (74 x 45 1/8 in.) Executed in 1992. Estimate £80,000-120,000 $105,000-158,000 €87,000-131,000 ‡ ♠ Literature Benjamin Villegas, Manolo Valdés: The timelessness of art, Bogota, 1999, p. 221 (illustrated) Provenance Galería Marlborough, Madrid Galleria d’Arte il Gabbiano (acquired from the above in 1995) Acquired from the above by the present owner

‘Paintings and art and creation never come from nothing; they come from other artists and bits and pieces of other works. Everything that comes out new is always a reading of something else that’s already been done.’ Manolo Valdés

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Property from an Important European Collector

134. Alighiero Boetti

1940-1994

ll progressivo svanire della consuetudine signed “alighiero boetti” on the overlap embroidery on canvas mounted on panel 33.7 x 31.1 cm (13 1/4 x 12 1/4 in.) Executed in 1990, this work is registered in the Archivio Alighiero Boetti, Rome, under no. 1074. Estimate £35,000-50,000 $46,200-66,000 €38,400-54,800 ‡ ♠ Provenance Galleria Marilena Bonomo, Bari Private Collection, New York

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135. Alighiero Boetti

1940-1994

Senza prima né dopo signed, inscribed and dated ‘Alighiero Boetti 1990’ on the overlap embroidery on canvas mounted on panel 18 x 18 cm (7 1/8 x 7 1/8 in.) Executed in 1990, this work is accompanied by a certifcate of authenticity provided by the Archivio Alighiero Boetti, Rome, and is registered under no. 7291. Estimate £12,000-18,000 $15,800-23,800 €13,200-19,700 ♠ Provenance Massimo de Carlo, Milan Acquired from the above by the present owner

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136. Enrico Castellani

b. 1930

Senza titolo incised ‘Castellani ‘66’ lower right relief on aluminium 23.3 x 24.6 cm (9 1/8 x 9 5/8 in.) Executed in 1966, this work is accompanied by a certifcate of authenticity from Archivio Castellani, Milan, and is registered in the Archivio Castellani, Milan, under no. 66 - 029. Estimate £20,000-30,000 $26,400-39,600 €21,900-32,900 ♠ Provenance Private Collection Ader, Paris, 10 December 2014, lot 309 Acquired at the above sale by the present owner

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137. Alberto Biasi

b. 1937

Scorpione signed, titled and dated ‘Alberto Biasi “SCORPIONE” 1988’ on the reverse painted wood relief 110 x 130 cm (43 1/4 x 51 1/8 in.) Executed in 1988, this work is registered in the Archivio Alberto Biasi, Milan, under no. POL 144. Estimate £20,000-30,000 $26,400-39,600 €21,900-32,900 ♠ Provenance Galleria dell’Ariete Collection, Lecco Private Collection, Rome Christie’s, Milan, 22 November 2004, lot 150 Private Collection Private Collection, Milan Exhibited Padua, Museo Civico agli Eremitani, Antologica Alberto Biasi, 25 June - 30 October 1988, p. 79 (illustrated) Casale Monferrato, Galleria Rino Costa Arte Contemporanea, Alberto Biasi, 23 November 1996 - 8 January 1997, p. 15 (illustrated)

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138. Luca Pignatelli

b. 1962

Tigre signed, titled and dated ‘Luca Pignatelli “Tigre” 2013’ on the reverse acrylic, rope and steel on burlap collage 210 x 211 cm (82 5/8 x 83 1/8 in.) Executed in 2013. Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 ♠ Provenance Acquired directly from the artist by the present owner

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Property from an Important Private European Collection

139. Francesco Clemente

b. 1952

Wait & Give signed, titled, numbered and dated ‘Francesco Clemente “WAIT & give” I & II 2004’ on the reverse of the right part oil on linen, diptych each 102.2 x 76.2 cm (40 1/4 x 30 in.) overall 102.2 x 152.4 cm (40 1/4 x 60 in.) Painted in 2004. Estimate £15,000-20,000 $19,800-26,400 €16,400-21,900 ♠ Provenance Stefan Hildebrandt Contemporary Fine Arts, Zug Acquired from the above by the present owner

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Property from the Estate of Jan Hoet

140. Mario Merz

1925-2003

Property from the Estate of Jan Hoet

141. Marisa Merz

b. 1926

Chambres d’amis signed, titled, inscribed and dated ‘Mario Merz “per ChambreS d’amis” a Gent giugno 86’ lower lef pastel on paper 100 x 65 cm (39 3/8 x 25 5/8 in.) Executed in 1986.

Untitled signed with the artist’s initial on the underside unbaked clay and copper wire 20 x 20 x 20 cm (77/8 x 77/8 x 77/8 in.) Executed in 1986, this work is registered in the Merz Archive, Turin, under no. 2219/1986/TS

Estimate £10,000-15,000 $13,200-19,800 €11,000-16,400 ♠

Estimate £30,000-50,000 $39,600-66,000 €32,900-54,800 ♠

Provenance Jan Hoet, Ghent (acquired directly from the artist)

Provenance Jan Hoet, Ghent (acquired directly from the artist)

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Property from an Important Private European Collection

142. Katharina Fritsch

b. 1956

Totenkopf painted porcelain 20 x 16 x 25 cm (7 7/8 x 6 1/4 x 9 7/8 in.) Executed in 1997 - 1998, this work is number 16 from an edition of 16 plus 8 artist’s proofs and is accompanied by a certifcate of authenticity signed by the artist. Estimate £12,000-18,000 $15,800-23,700 €13,100-19,600 ♠ Provenance Galerie 20.21, Essen Acquired from the above by the present owner Exhibited London, Tate Modern; Dusseldorf, Ständehaus, Katharina Fritsch, 7 September 2001 – 8 September 2002, p. 68 (another example illustrated)

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143. Franz West

1947-2012

Privat-Lampe des Künstlers II welded iron and electrical fttings 195 x 35 x 35 cm (76 3/4 x 13 3/4 x 13 3/4 in.) Designed in 1989, these works, each unique, are from an open edition published by Metamemphis, Milan, beginning in 1989. Estimate £4,000-6,000 $5,300-7,900 €4,400-6,500 ♠ Provenance Metamemphis, Milan Acquired from the above by the present owner

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Property from an Important European Collector

144. John Armleder

b. 1948

Paina Te Matai signed, titled and dated ‘John Armleder “PAINA TE MATAI” 2006’ on the overlap acrylic on canvas 199.2 x 200.5 cm (78 3/8 x 78 7/8 in.) Painted in 2006. Estimate £25,000-35,000 $32,900-46,000 €27,200-38,100 Provenance Leo Koenig Inc., New York Acquired from the above by the present owner

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145. Imi Knoebel

b. 1940

Anima Mundi 23-4 acrylic on synthetic paper, in 4 parts each 46 x 36 cm (18 1/8 x 14 1/8 in.) Executed in 2010 - 2011, this work is from an edition of 5 hand painted variants. Estimate £15,000-20,000 $19,700-26,300 €16,300-21,800 ♠ † Provenance Private Collection, Germany

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146. Katharina Grosse

b. 1961

KGE12300 acrylic on paper 101.6 x 67 cm (40 x 26 3/8 in.) Painted in 2005. Estimate £6,000-8,000 $7,900-10,500 €6,500-8,700 ♠ †

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Provenance Helga de Alvear Gallery, Madrid Acquired from the above by the present owner Exhibited Museum Wiesbaden, Seven Hours, Eight Voices, Three Trees, 10 July - 11 October 2015, p. 215 (illustrated)

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147. Katharina Grosse

b. 1961

KGE12303 acrylic on paper 101.6 x 67 cm (40 x 26 3/8 in.) Painted in 2005.

Provenance Helga de Alvear Gallery, Madrid Acquired from the above by the present owner

Estimate £6,000-8,000 $7,900-10,500 €6,500-8,700 ♠ †

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148. Daniel Richter

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b. 1962

149. Daniel Richter

b. 1962

Untitled signed with the artist’s initials and dated ‘DR06’ lower right oil on paper 51 x 30.2 cm (20 1/8 x 11 7/8 in.) Painted in 2006.

Untitled signed with the artist’s initials and dated ‘DR06’ lower right oil on paper 38 x 29.5 cm (14 7/8 x 11 5/8 in.) Painted in 2006.

Estimate £5,000-7,000 $6,600-9,200 €5,400-7,600 ♠

Estimate £4,000-6,000 $5,300-7,900 €4,400-6,500 ♠

Provenance Contemporary Fine Arts, Berlin Acquired from the above by the present owner

Provenance Contemporary Fine Arts, Berlin Acquired from the above by the present owner

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Artist Focus / A. R. Penck. Lot 150 – 152

‘This is a big word, violence, but for art (and in particular painting and sculpture) to continue to exist in the brave new world of explosive electronic imagery, such aggression is necessary, in content and manufacture…The behaviour of Penck’s art is certainly brash and boisterous and aggressive. That is why, somehow, he has been one of our great tough and unconventional contemporaries who, just by being there, has paved the way for some of our younger ones such as Damien Hirst and Julian Schnabel’. (Rudi Fuchs in A. R. Penck, Die Achtziger Jahre, exh. cat., Julius Werner, Berlin, 23 February – 27 March 2008, n.p.) A.R. Penck, one of Germany’s most celebrated artists, utilised an iconic primal, semi-abstract style which has made his simple yet confrontational imagery instantly recognizable on an international stage. Within the artists of the Neue Wilden movement, who found motivation in mythology, fguration and bright, brash tones, Penck’s continued use of intense colour and hasty, broad brushstrokes set him apart from dominant avant-garde aesthetics. From the onset Penck set himself apart, pursuing an intense interest in developing a system to unite art and language whilst addressing complex socio-political themes. His childhood preoccupation with science fction encouraged a deeper reading into the workings and implications of information theories and cybernetics. Subsequently, this concern began to be refected in his prolifc output of work and the stick fgure, recognisable in many of his paintings, became a motif of a new system of communication that combined text, symbol and image. The primitive, innovative and cave-like drawings challenged and unsettled notions about the nature of modernist contemporary art. Herewith Penck activated a new and exciting attempt to destabilise the censorship he had faced from the German Democratic Republic. The following selection of works, executed throughout the 1970s and 1980s, ofers an insight into Penck’s unswerving preoccupation with what became known as Standart; a fake alphabet of sorts that the artist himself designed.

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The loose capricious confguration of curving lines and fgures of Belagerung und Einnahme Von Beirut I at frst appear random and confused, yet Penck employed them with such clarity and vigour that they expressively work beyond the specifcs of narrative. The hectic swaying movement of tall, elongated stick fgures is surrounded by various objects and crudely rendered animals, pictograms and calligraphic squiggles, tumbling and plunging across the canvas, many of them inverted. The motion captured within the painting conjures monumental energy; the hidden, arcane references elude the spectator whilst rousing a sense of familiarity. Whilst the execution of the paintings may appear fairly rough, as Penck’s sense of conviction grew so did the boldness of his work. In both Untitled works, the bold brushstrokes and expressive shapes sit afront the dimensionality of the canvas whilst the stick fgures engulf the picture, growing stronger and more powerful. The sense of movement within each painting becomes almost fevered as the fgures wildly jump, dance or fght. Penck delicately dismantles the mysteries of preconceived notions of artistic creation; the washes of vibrant greens, reds, blues and blacks in Untitled are added in violent, almost explosive bursts. Charismatic and dynamic, the present works are highly communicative. In devising suggestive narrative scenes, the present selection spanning a decade of the artist’s oeuvre attempts to fnd a universal language - one that could address the trauma, sadness, and loss that followed the Second World War whilst also afecting viewers beyond Germany. Reviving painting as a crucial practice for communication, Penck has become synonymous with a painting style that is fgurative whilst fuelled with relevant social and political content, a style both gestural and replete with semiotic impact. His fgures, seemingly from a prehistoric space in time, are fused with concerns of contemporary society, creating a selection of works that continue to be as socially relevant as when they were frst made.

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150. A.R. Penck

1939-2017

Untitled signed ‘ar. penck’ lower lef acrylic on canvas 99.4 x 80 cm (39 1/8 x 31 1/2 in.) Painted in 1973. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 ♠ Provenance Galerie Kunstraum Angermund, Dusseldorf Private Collection, Rome

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Artist Focus / A.R. Penck.

151. A.R. Penck

1939-2017

Untitled oil on canvas 180 x 300 cm (70 7/8 x 118 1/8 in.) Painted circa 1982. Estimate £100,000-150,000 $131,000-197,000 €109,000-163,000 ♠ Provenance Jablonka Galerie, Cologne Michael Haas, Berlin Michael Fuchs, Berlin Acquired from the above by the present owner

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Artist Focus / A.R. Penck.

152. A.R. Penck

1939-2017

Belagerung und Einnahme von Beirut I acrylic on canvas 260 x 350 cm (102 3/8 x 137 3/4 in.) Painted in 1982. Estimate £70,000-90,000 $92,000-118,000 €76,100-97,900 ‡ ♠ Provenance Galerie Beaubourg, Paris Sonnabend Gallery, New York Galerie Michael Werner, Cologne Private Collection Sotheby’s, London, 21 October 2003, lot 429 Private Collection Sotheby’s, London, 24 June 2004, lot 295 Acquired at the above sale by the present owner Exhibited Vence, Galerie Beaubourg, Nouvelles Impressions d’Afrique, 1996 Literature Bernard Marcade, A.R. Penck, Paris, 1988, p. 103 (illustrated)

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153. Georg Baselitz

b. 1938

Hundekunst signed, titled, inscribed and dated ‘G. Baselitz “Hundekunst” 20. II. 2 12. XI. 2’ on the reverse oil on canvas 232 x 143 cm (91 3/8 x 56 1/4 in.) Painted in 2000. Estimate £220,000-280,000 $289,000-368,000 €239,000-305,000 ♠ Provenance Acquired directly from the artist by the present owner

‘What counts most is finding new ways to get the world down in paint on my own terms.’ Georg Baselitz

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Through its evocative painterly surface and monumental scale, Hundekunst, painted in 2000, is exemplary of Georg Baselitz’s daring oeuvre. One of the most provocative painters of the twentieth century, the artist’s dramatic canvasses fully envelop the viewer, drawing us into his complex microcosms, constructed through his exquisite marriage of selected colour and expressionistic form. A paradigm of the artist’s iconic inversion technique, the present work conveys Baselitz’s progressive experimentation with altering our perception of images. The upturned works, such as Hundekunst, are a development of the artist’s revered Fracture series, in this case from a body of canvases executed in the winter of 1999 through to the spring of 2000 in which Baselitz explored the recurring motif of the dog. Expertly traversing the lines of fgurative representation and abstraction, Hundekunst diverges from the artist’s earlier Hund paintings through his exploration of the psychoanalytic notions of Sigmund Freud. In the present work, translucent swathes of fuid paint wash over the picture plane, contrasting with the central fgure of the petted dog; Baselitz creates both an aesthetic depth and visual levity, refecting the various conceptual stratums which weave through the extensive canvas. Highly expressive in style and powerful in tonality, Baselitz’s work taps into recognised clichés and impulses, cracking them open to reveal an alternative picture. In Hundekunst, the artist transports the fgure of the dog, man’s sidekick, to the centre of the large portrait, providing an open stage for the normally overlooked underdog. Instead of simply furnishing a classical or pastoral scene, here the dog is the focus of our gaze, commanding the canvas with its animated presence. Originating from a series of dog works, a selection of which were exhibited at Baselitz’s 2015 show, Sigmund’s Cave, at Contemporary Fine Arts, Berlin, the group developed Baselitz’s dog motif, evident in his earlier works. Paintings from the 1999 - 2000 series are also united in their repetition of the word ‘Sigmund’ which is daubed onto the upper centre of the present work, immediately notifying the viewer that in these works, language and form are in fact masks and codes of a Freudian Georg Baselitz photographed by Lothar Wolleh in 1971 © Georg Baselitz 2017

universe. In Hundekunst, Baselitz’s inverted, largely symmetrical painting, with the recurring emblematic motif of the same shaggy dog, explores the unconscious, creating a painterly void where repressed thought is thrust to the fore. Everything that has been suppressed is at once fipped; suddenly Baselitz has turned the world on its head. Physically painting this series of works on the foor, the present lot is exemplary of the artist’s technique of crawling on all fours in his studio to create his canvasses, ofen leaving traceable feet and hand marks, like distant traces of primitive and carnal desire. The image of the dog in Baselitz’s oeuvre can also be traced to his earlier work, where dogs were utilised as heraldic symbols of an allegorical ideal. Afer moving to the Swabian countryside in 1966, Baselitz entered a new chapter in his practice and began working on his Fracture paintings, employing a visual library of traditional German motifs, such as huntsmen, bears, dogs and cows. Removing and redeploying elements of the composition, the artist created a new breed of aesthetic archetypes based on folkloric imagery. Through the fracturing of his idyllic protagonists, Baselitz removed their symbolic potency; surgically distorting the subject matter, the artist deconstructed motifs that had once been so proudly Germanic. Whereas other post war German artists, such as Gerhard Richter, obscured traumatic imagery of the Second World War in his pivotal photo paintings, focusing on the feeting nature of nostalgic, scrapbook-like memories, Baselitz employed a form of expressive distortion to experiment with darker facades of cultural memory and the national psyche. With their muscular bodies and snubbed snouts, the dogs portrayed in the Fracture works are emblematic of the hardy life of the mythical rural ideal. Through Baselitz’s aesthetic dissection, their ferocity is minimalized, the viewer pitying the artist’s brutal act of severing their animalistic bodies. In the late sixties, Baselitz’s technique of rotating his canvasses 180 degrees further liberated his imagery from symbolic power, detracting the objectifying gaze of the viewer in order to free his robust dogs from subjective associations. In Hundekunst, the dog motif has become domesticated; the curled, longhaired coat of the dog is tactile, his innocent gaze loyal and trusting. Baselitz’s farm dogs are suddenly transfgured, now cherished, trained and petted by an anonymous hand. Yet despite its rendering as a well-loved pet, Baselitz’s dog is presented in an almost quasi-religious manner. As we gaze up at the central fgure, the frenetic black brushstrokes of the artist channel a fervent vitality which flls the canvas. As we ardently gaze upwards, the creature appears like a mythic idol, although upside down. It is this biting wit, combined with the multiple readings of Baselitz’s work, which makes his canvasses so unique and continually intriguing. Self-referential in subject matter, Baselitz’s dogs perfectly convey the artist’s key preoccupation that our perception of events, people, animals, colours and shapes can be completely altered through presentation. Like a kaleidoscope the artist expertly flters subject matter through his variety of compositions and his rich tapestry of freed associations, completely altering the viewer’s opinion on every glance.

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154. Sigmar Polke

1941-2010

Untitled signed and dated ‘Sigmar Polke ‘99’ lower right interference colour on paper 100 x 70 cm (39 3/8 x 27 1/2 in.) Executed in 1999. Estimate £100,000-150,000 $131,000-197,000 €109,000-163,000 ♠ Provenance Private Collection, Germany Exhibited Mönchehaus Museum Goslar, Kunstpreis Kaiserring, 2000

‘There has to be an element of risk-taking for me in my work.’ Sigmar Polke

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155. Albert Oehlen

b. 1954

Untitled signed and dated ‘A. Oehlen ’90’ lower right blue ink on paper 127 x 97 cm (50 x 38 1/4 in.) Painted in 1990. Estimate £30,000-50,000 $39,400-65,700 €32,600-54,400 ♠ Provenance Galerie Gisela Capitain, Cologne Acquired from the above by the present owner

A reoccurring motif throughout Albert Oehlen’s extensive and divergent oeuvre, the tree motif acts as a conceptual foundation upon which the artist developed a profound refection of representation and abstraction. Simplifed in their composition, the present works contain bold signifers, such as a thick trunk and tangled branches, which mirror the twisting roots below. The absence of background liberates the trees from their natural setting in a traditional landscape painting. Instead the forms foat within the expanse of the picture plane. Oehlen’s characteristic shif from fguration is further emphasised by the monochrome colour palette, the trees are demarcated using thick expressive brushstrokes demonstrative of the artist’s preference to portray the process by which artworks are made. The limited palette prevents any tonal distraction and encourages the spectator to enter into a state of sublimity, triggered by the organic tree forms. Concerned with the subjectivity of aesthetics, the artist notes, ‘what I see are unbearably ugly tatters, which are then transformed at the last moment, as if by magic, into something beautiful’ (Albert Oehlen quoted in ‘Albert Oehlen im Gespräch mit Wilfried Dickhof und Martin Prinzhorn’, Wilfried Dickhof, ed., Kunst Heute 7, Cologne, 1991, p. 78). In the present lots, the tree is presented as an experimental subject, which Oehlen explored as a parameter to test

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the boundaries between abstraction and figuration. Oehlen’s tree paintings track his artistic investigations exploring differing notions of perception, a journey the artist first embarked upon in 1988 together with friend and fellow artist Martin Kippenberger. Devoutly focused upon following abstraction, the artist asserted ‘I thought that art history went from figurative to abstract. And I should do the same. I should have the same development in my life as art history’, (Albert Oehlen quoted in Glenn O’Brien, ‘Albert Oehlen’, Interview, May 2009, p. 106). Precursors to the signifcant and esteemed Elevator Paintings, the link between these bodies of work was aptly highlighted in the Gagosian show, Elevator Paintings: Trees (28 February – 15 April 2017). The Elevator Paintings presented the artist’s absolute transition into the realm of abstract art through his tree paintings. The present works, therefore, mark an important stage in Oehlen’s artistic culmination. Just as the raw sheets of both works bare the soul of their creative process, alongside their visible brushstrokes, so Oehlen encourages viewers to join him along every stage of his creative journey, in following the development of the tree motif in the build-up of the Elevator Paintings.

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156. Albert Oehlen

b. 1954

157. Matthias Weischer

b. 1973

Untitled signed ‘A Oehlen ’90’ lower right blue ink on paper 127 x 97 cm (50 x 38 1/4 in.) Painted in 1990.

Schreibtisch signed and dated ‘M. Weischer ‘04’ on the reverse oil on canvas 81.1 x 102.8 cm (31 7/8 x 40 1/2 in.) Painted in 2002.

Estimate £30,000-50,000 $39,400-65,700 €32,600-54,400 ♠

Estimate £15,000-20,000 $19,700-26,300 €16,300-21,800 ♠

Provenance Galerie Gisela Capitain, Cologne Acquired from the above by the present owner

Provenance Galerie Eigen & Art, Berlin Acquired from the above by the present owner

Literature Burkhard Riemschneider, ed., Albert Oehlen, Cologne, 1995, p. 31 (illustrated)

Exhibited Schafhausen, Museum zu Allerheiligen; Kunsthalle Mannheim; Gemeentemuseum Den Haag, Matthias Weischer, 13 May 2007 - 13 April 2008, p. 141 (illustrated)

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158. Thomas Ruf

b. 1958

Zycles 3041 signed, numbered and dated ‘Thomas Ruf 3 2008’ on the reverse inkjet print on canvas 236.2 x 405.8 cm (92 7/8 x 159 3/4 in.) Executed 2008, this work is from an edition of 3. Estimate £40,000-60,000 $52,600-78,800 €43,500-65,300 ‡ ♠ Provenance Mai 36 Galerie, Zurich Private Collection, Belgium Phillips de Pury & Company, New York, 4 March 2011, lot 11 Acquired at the above sale by the present owner

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159. Gerhard Richter

b. 1932

Annunciation Afer Titian Diasec-mounted giclée print on aluminium composite panel 125 x 200 cm (49 1/4 x 78 3/4 in.) Executed in 2015, this facsimile object is number 41 from an edition of 50 plus 3 artist’s proofs. Estimate £30,000-50,000 $39,400-65,700 €32,600-54,400 ♠ Provenance Heni Productions, London Acquired from the above by the present owner

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160. Anselm Kiefer

b. 1945

Sternenfall titled ‘Sternenfall’ in the centre gouache and glass on collaged photograph 118.1 x 96.5 cm (46 1/2 x 37 7/8 in.) Executed in 2007. Estimate £80,000-120,000 $105,000-158,000 €87,000-131,000 ‡ ♠ Provenance Private Collection, New York Phillips de Pury & Company, London, 12 October 2011, lot 18 Acquired at the above sale by the present owner

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161. Martin Kippenberger

1953-1997

Ulrike (Ulrike Schmela) signed with the artist’s initial and dated ‘84’ lower right oil on canvas 90 x 75.2 cm (35 3/8 x 29 5/8 in.) Painted in 1984. Estimate £70,000-90,000 $92,000-118,000 €76,100-97,900 ♠ Provenance Galerie Six Friedrich, Munich Benedikt Taschen & Kinder, Cologne Phillips de Pury & Company, New York, 10 November 2005, lot 30 Private Collection Sotheby’s, London, 20 October 2008, lot 226 Acquired at the above sale by the present owner Exhibited Munich, Galerie Six Friedrich, Deutsch-Sprechende Galeristinnen, 1984 Madrid, Museo Nacional Centro de Arte Reina Sofa, Martin Kippenberger, 20 October 2004 - 10 January 2005, pp. 108 - 109 (illustrated)

Painted in 1984, Ulrike is an exquisite rendering of the female visage belonging to a series of four works by Martin Kippenberger. Exhibited at Galerie Six Friedrich, Munich, in 1984, the year of its creation, Ulrike was created for the group exhibition Deutsch-Sprechende Galeristinnen (Germanspeaking Female Gallerists). Five artists, Werner Büttner, Georg Herold, Albert Oehlen, Markus Oehlen and Martin Kippenberger depicted four female gallerists for the exhibition. In the present work, Kippenberger depicts Ulrike Schmela, daughter of the esteemed gallerist Alfred Schmela, whose infuential gallery in Dusseldorf pioneered some of the most prolifc artists of the twentieth century in post-war Germany. Cast in an illuminating swathe of light, Ulrike is presented to us by Kippenberger, strong and confident in her pose. The smooth and soft brushstrokes define Ulrike’s facial features and her knowing smile looks directly at the viewer, suggesting an amicable familiarity. The chiaroscuro evident in Kippenberger’s handling of light and shade provides the work with tonal warmth, suggesting admiration, perhaps even adoration. A delicately rendered portrait, Kippenberger does not use the quasi-decorative framework that appears in each of the three other portraits in the series, which create a poster-like effect. Instead, in this particular portrait, Ulrike sits alone. The lack of a multifarious background allows her presence to hold our gaze, suggesting that Kippenberger wished to focus entirely on the sitter. The present work defies any taboo subject matter, instead conveying dynamism through the tension created between artist and sitter. Suspended in an earnest moment of friendship and esteem, the present work gives us an intimate insight

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into the life of a woman at the forefront of contemporary twentieth century art. As Kippenberger continued to explore diferent styles he began to initiate the use of portraiture as another venue for the elaboration of his artistic output and very soon it became one of the many central components of his oeuvre. Removed from a more traditional portrait aesthetic, there is a casual air to the present work; the sitter props her arm on the chair, her stance appears calm, comfortable and at ease. Ulrike Schmela inherited her father’s ground-breaking gallery when he passed away in 1980, assuming his reputation for showing the most cutting edge artists of the time. Exhibiting Yves Klein’s monochrome paintings in Germany for the frst time, showing works from the ZERO group when the movement was in its infancy and working with Joseph Beuys to hold his frst exhibition in a commercial gallery, Alfred Schmela’s impact in the German art world was meteoric. The present work, conveying Ulrike’s warmth and approachability, is unequivocal in its personal insight of the Schmela family. Kippenberger’s signature aesthetic is borne out of his diversity of style and exploration of materials. Drawing on the subcultures of Punk and New-Wave as well as techniques of Neo-Expressionism and appropriation, Kippenberger’s artistic exploration of communication and representation is manifested in his prodigious output of paintings, objects, installations and multiples to books, posters and cards. His paintings ofer an exceptional insight into his explosive charisma, characterised by his playful attitude towards the medium of painting and indeed his subjects.

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Property from an Important Private European Collection

162. André Butzer

b. 1973

Ohne Titel (Monochromes Bild) signed ‘A. Butzer’ lower right; further signed and dated ‘A. Butzer ‘07’ on the reverse oil on canvas 210 x 280.3 cm (82 5/8 x 110 3/8 in.) Painted in 2007. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 ♠ Provenance Galerie Bernd Kugler, Innsbruck Acquired from the above by the present owner

163. Jonathan Meese

b. 1970

Konteradmiral “Penny Dirn” um Geheimbunker “Zirr” signed with the artist’s initials and dated ‘JM ‘07’ lower right; further signed, titled and dated ‘J Meese “Konteradmiral “Penny Dirn” um Geheimbunker “ZIRR” ‘07’ on the reverse oil, paper with felt-tipped pen, gold-coloured foil, wood, plastic and adhesive on canvas 170.5 x 130.2 cm (67 1/8 x 51 1/4 in.) Executed in 2007. Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 ‡ ♠ Provenance Contemporary Fine Arts, Berlin Phillips de Pury & Company, London, 30 June 2008, lot 390 Acquired at the above sale by the present owner

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164. Vladimir Dubossarsky and Alexandre Vinogradov b. 1964 and b. 1963 Summer signed and dated ‘Dubossarsky Vinogradov 2002’ lower right; further signed, titled and dated ‘Dubossarsky Vinogradov “Summer” 2002’ on the reverse oil on canvas, diptych 200 x 300 cm (78 3/4 x 118 1/8 in.) Painted in 2003. Estimate £10,000-15,000 $13,200-19,800 €11,000-16,400 Provenance Galerie Krinzinger, Vienna Acquired from the above by the present owner Exhibited Istituzione del Comune di Bologna, IDEALE E REALTÁ: A history of the nude from Neoclassicism to the present day, 22 January - 9 May 2004

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165. Vladimir Dubossarsky and Alexandre Vinogradov b. 1964 and b. 1963 James Bond signed and dated ‘Dubossarsky Vinogradov 2003’ lower right oil on canvas 195 x 195 cm (76 3/4 x 76 3/4 in.) Painted in 2003. Estimate £15,000-20,000 $19,700-26,300 €16,300-21,800 Provenance Galerie Krinzinger, Vienna Acquired from the above by the present owner

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166. Pavel Pepperstein

b. 1966

The Dying Gangster titled “The dying Gangster” upper edge; further signed with the artist’s initials (in Cyrillic) and dated ‘2010’ lower right acrylic on canvas 149.9 x 200.2 cm (59 x 78 7/8 in.) Painted in 2010. Estimate £15,000-20,000 $19,700-26,300 €16,300-21,800 Provenance Regina Gallery, Moscow Acquired from the above by the present owner Exhibited London, Regina Gallery, From Mordor With Love, new works by Pavel Pepperstein, 30 June - 2 September 2010 Moscow, Regina Gallery, Pavel Pepperstein, Inspection Medical Hermeneutics, 13 September - 31 October 2012

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167. Pavel Pepperstein

b. 1966

Untitled (Vesjolye Kartinki) signed (in Cyrillic) and dated ‘1991’ lower right oil on canvas 70 x 70 cm (27 1/2 x 27 1/2 in.) Painted in 1991. Estimate £8,000-12,000 $10,500-15,800 €8,700-13,100 ‡ Provenance Private Collection, Switzerland Germann Auktionshaus AG, Zurich, 11 June 2012, lot 142 Acquired at the above sale by the present owner

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168. Sergey Zarva

b. 1973

Two works: (i) FROM THE SERIES “OGONYOK”; (ii) FROM THE SERIES “OGONYOK” collage on painted magazine cover each 33 x 25 cm (12 7/8 x 9 7/8 in.) (i) Executed in 2003. (ii) Executed in 2006. Estimate £3,000-5,000 $4,000-6,600 €3,300-5,500 Provenance Regina Gallery, Moscow Acquired from the above by the present owner

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169. Gosha Ostretsov

b. 1967

ELVISES signed and dated ‘GOSHA 2011’ lower right acrylic and enamel on canvas 160 x 150 cm (62 7/8 x 59 in.) Executed in 2011. Estimate £4,000-6,000 $5,300-7,900 €4,400-6,500 Provenance Acquired directly from the artist by the present owner Exhibited Moscow, Komnata Gallery, Malevic’s Spiral, 25 March 2011

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170. Ivan Chuikov

b. 1935

#20 from the series ‘POSTCARD FRAGMENTS’ signed (in Cyrillic) and dated ‘‘06’ upper right paper collage and alkyd enamel on masonite 149.8 x 100 cm (58 7/8 x 39 3/8 in.) Executed in 2006. Estimate £15,000-20,000 $19,700-26,300 €16,300-21,800

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Provenance Regina Gallery, Moscow Acquired from the above by the present owner Exhibited Moscow Museum of Modern Art, Ivan Chuikov: Labyrinths, 3 November - 5 December 2010

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171. Ivan Chuikov

b. 1935

#19 from the series ‘POSTCARD FRAGMENTS’ signed and titled (in Cyrillic), numbered and dated ‘N 19 2004’ on the reverse paper collage and alkyd enamel on masonite 149.8 x 100 cm (58 7/8 x 39 3/8 in.) Executed in 2004. Estimate £15,000-20,000 $19,700-26,300 €16,300-21,800

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Provenance Regina Gallery, Moscow Acquired from the above by the present owner Exhibited Moscow, Regina Gallery, Ivan Chuikov: New Works, 7 December 2004 - 20 January 2005 Moscow Museum of Modern Art, Ivan Chuikov: Labyrinths, 3 November - 5 December 2010

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172. Sergey Bratkov

b. 1960

The Best titled and dated ‘THE BEST 2010’ on the reverse spray paint and colour print on board 64.4 x 60 cm (25 3/8 x 23 5/8 in.) Executed in 2010. Estimate £4,000-6,000 $5,300-7,900 €4,400-6,500 Provenance Regina Gallery, Moscow Acquired from the above by the present owner

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173. Olga Chernysheva

b. 1962

March video, 7:03 mins dimensions variable Executed in 2005, this work is number 3 from an edition of 5 plus 2 artist’s proofs. Estimate £8,000-12,000 $10,500-15,800 €8,700-13,100 Ω ♠ Provenance Volker Diehl Gallery, Berlin Acquired from the above by the present owner Exhibited Berlin, Akademie der Künste, 1989 - 2009: Bewegte Welt – Erzählte Zeit, 11 July - 13 September 2009 (another example exhibited) Chicago, Smart Museum of Art, Revolution Every Day, 14 September 2017 - 14 January 2018 (another example exhibited)

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Property from an Important Private European Collection

174. Ragnar Kjartansson

b. 1976

Death and the Children video, 4:30 mins dimensions variable Executed in 2002, this work is number 2 from an edition of 10 and is accompanied by a certifcate of authenticity signed and numbered by the artist. Estimate ÂŁ20,000-30,000 $26,300-39,400 â‚Ź21,800-32,600 Provenance Tanya Bonakdar Gallery, New York Acquired from the above by the present owner Exhibited London, Barbican, Ragnar Kjartansson, 14 July - 4 September 2016 (another example exhibited)

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Property from an Important Private European Collection

175. Rodney Graham

b. 1949

A Little Thought music video installation, VHS tape, 8 mm flm 3:54 mins dimensions variable Executed in 2000, this work is number 4 from an edition of 12 plus 2 artist’s proofs and accompanied by a certifcate of authenticity signed and dated by the artist. Estimate £25,000-35,000 $32,900-46,000 €27,200-38,100 Provenance VTO, London Acquired from the above by the present owner Literature Olafur Eliasson, Tom Friedman, Rodney Graham, ‘Rodney Graham’, Parkett, vol. 64, 2002, pp. 94 - 95

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Property from an Important Private European Collection

176. Wilhelm Sasnal

b. 1972

Concorde 2 Kodachrome 8mm flm, 3:35 mins dimensions variable Executed in 2003, this work is number 2 from an edition of 3. Estimate £6,000-8,000 $7,900-10,500 €6,500-8,700 ♠ † Provenance Foksal Gallery Foundation, Warsaw Acquired from the above by the present owner Exhibited Warsaw, Zacheta - Narodowa Galeria Sztuki, Wilhelm Sasnal. Years of Struggle, 27 November 2007 - 2 March 2008

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177. Paul Pfeifer

b. 1966

24 Landscapes chromogenic prints, in 24 parts smallest 20.2 x 20.1 cm (7 7/8 x 7 7/8 in.) largest 20.2 x 33 cm (7 7/8 x 12 7/8 in.) overall 182.5 x 268.5 cm (71 7/8 x 105 3/4 in.) Executed in 2000, this work is number 1 from an edition of 3 plus 2 artist’s proofs. Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 Provenance Luis Campana, Cologne Acquired from the above by the present owner

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Property from an Important European Collector

178. Louise Lawler

b. 1947

Untitled signed, numbered and dated ‘Louise Lawler 1/5 1992/96’ on the reverse dye destruction print on museum box 73.6 x 73.6 cm (28 7/8 x 28 7/8 in) Executed in 1992 - 1996, this work is number 1 from an edition of 5.

Provenance Metro Pictures, New York Private Collection Wright, Chicago, 20 May 2008, lot 555 Private Collection Phillips de Pury & Company, London, 11 October 2012, lot 170 Acquired at the above sale by the present owner

Estimate £7,000-9,000 $9,200-11,800 €7,600-9,800

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Property from an Important Private European Collection

179. Thomas Demand

b. 1964

Fenster c-print on Diasec 182.8 x 286 cm (71 7/8 x 112 5/8 in.) Executed in 1998, this work is number 3 from an edition of 6. Estimate £50,000-70,000 $65,700-92,000 €54,400-76,100 ♠ Provenance 303 Gallery, New York Private Collection Sotheby’s, London, 25 June 2003, lot 1 Acquired at the above sale by the present owner

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Exhibited Paris, Fondation Cartier pour l’Art Contemporain, Thomas Demand, 24 November 2000 - 4 February 2001, pp. 78 - 79 (another example illustrated) London, Serpentine Gallery, Thomas Demand, 6 June - 20 August 2006, p. 106 (another example illustrated) Duisburg, Museum Küppersmühle, Inside // Outside, 31 October 2008 - 18 January 2009 (another example illustrated) San Antonio, ArtPace; Aspen Art Museum; Amsterdam, De Appel, Thomas Demand, 6 September 2001 - 11 November 2002, no. 3 (another example illustrated) Literature Great Illusions: Demand, Gursky, Ruscha, exh. cat., Kunstmuseum Bonn; North Miami, Museum of Contemporary Art, 1999, p. 80 (another example illustrated)

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180. Doug Aitken

b. 1968

Connecting signed ‘Doug Aitken’ on a label afxed to the reverse c-print mounted on aluminium 121.9 x 152.4 cm (47 7/8 x 60 in.) Executed in 2006. Estimate £6,000-8,000 $7,900-10,500 €6,500-8,700 ‡ Provenance 303 Gallery, New York Phillips, New York, 15 May 2015, lot 156 Acquired at the above sale by the present owner

181. Gabriel Orozco

b. 1962

Follaje (Foliage) iris print 57 x 87 cm (22 1/2 x 34 1/4 in.) Executed in 1997, this work is from an edition of 5. Estimate £8,000-12,000 $10,500-15,800 €8,700-13,100 Provenance Galerie Chantal Crousel, Paris Acquired from the above by the present owner

Exhibited Zurich, Galerie Eva Presenhuber, 99¢ dreams, 2 June - 2 August 2008, p. 13 (another example illustrated)

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182. Andres Serrano

b. 1950

The Church (St. Eustache V) signed, titled and numbered ‘Andres Serrano “The Church (St. Eustache V)” 1/4’ on the reverse of the sheet c-print, in artist’s frame 164.9 x 139.4 cm (64 7/8 x 54 7/8 in.) Executed in 1991, this work is number 1 from an edition of 4. Estimate £5,000-7,000 $6,600-9,200 €5,400-7,600 † Provenance Paula Cooper Gallery, New York Acquired from the above by the present owner Exhibited Malmö Kunsthall, Andres Serrano, Fotografska Arbeten / Works 1983-1993, 30 March - 19 May 1996, p. 117 (another example illustrated)

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Property from an Important Private European Collection

183. Andres Serrano

b. 1950

Cabeza de Vaca signed, titled and numbered ‘Andreas Serrano “Cabeza de Vaca” AP’ on the reverse c-print, in artist’s frame 114.8 x 165.1 cm (45 1/4 x 65 in.) Executed in 1984, this work is an artist’s proof from an edition of 4 plus artist’s proofs. Estimate £5,000-7,000 $6,600-9,200 €5,400-7,600 Provenance Stux Gallery, New York Private Collection Christie’s, New York, 20 May 1999, lot 258 Acquired at the above sale by the present owner Exhibited Groningen, Groninger Museum, A History of Andres Serrano / A History of Sex, 23 February - 19 May 1997, no. 1, pp. 11 - 12 (another example exhibited) Philadelphia, Institute of Contemporary Art; New York, The New Museum of Contemporary Art; Miami, Center for Fine Arts; Houston, Contemporary Art Museum; Chicago, Museum of Contemporary Art, Andres Serrano: Works 1983 - 1993, 12 November 1994 - 4 February 1996, p. 12, pp. 23 - 24 and p. 46 (another example illustrated)

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184. Cindy Sherman

b. 1954

Untitled signed, numbered and dated ‘Cindy Sherman 1/6 1992’ on the reverse c-print, in artist’s frame 175.6 x 117.5 cm (69 1/8 x 46 1/4 in.) Executed in 1992, this work is number 1 from an edition of 6. Estimate £40,000-60,000 $52,600-78,800 €43,500-65,300 † Provenance Metro Pictures, New York Acquired from the above by the present owner Exhibited Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Kunsthaus Zürich, Cindy Sherman: Untitled Horrors, 4 May 2013 - 14 September 2014, p. 151 and p. 226 (another example illustrated)

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Property from an Important Private European Collection

185. Cindy Sherman

b. 1954

186. Sarah Lucas

b. 1962

Untitled (vagina) signed, numbered and dated ‘Cindy Sherman 1/6 1992’ on the reverse c-print, in artist’s frame 175.5 x 117.6 cm (69 1/8 x 46 1/4 in.) Executed in 1992, this work is number 1 from an edition of 6.

Is suicide genetic? signed and dated ‘SARAH LUCAS 1996/9’ lower right c-print 49.8 x 39.8 cm (19 5/8 x 15 5/8 in.) Executed in 1996 - 1999, this work is number 1 from an edition of 17 plus 3 artist’s proofs.

Estimate £40,000-60,000 $52,600-78,800 €43,500-65,300 †

Estimate £7,000-10,000 $9,200-13,100 €7,600-10,900 ♠

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

Provenance Contemporary Fine Arts, Berlin Acquired from the above by the present owner

Exhibited New York, Whitney Museum of American Art, Biennial, 24 February - 20 June 1993 Oslo, Astrup Fearnley Museet; Stockholm, Moderna Museet; Kunsthaus Zürich, Cindy Sherman: Untitled Horrors, 4 May 2013 - 14 September 2014, p. 158 and p. 226 (another example illustrated)

Exhibited Kunsthalle Zürich; Hamburg Kunstverein; Tate Liverpool, Sarah Lucas, 2 April 2005 - 15 January 2006, p. 136 (another example illustrated)

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Property from an Important Private European Collection

187. Christopher Williams

b. 1956

Untitled (Study in Yellow and Red/Berlin) Dirk Sharper Studio, Berlin, June 21st 2007 (No. 2) c-print 50.8 x 40.6 cm (20 x 15 7/8 in.) Executed in 2008, this work is number 8 from an edition of 10 plus 4 artist’s proofs. Estimate £15,000-20,000 $19,700-26,300 €16,300-21,800 Provenance David Zwirner, New York Acquired from the above by the present owner

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Property from an Important Private European Collection

188. Sam Taylor-Johnson

b. 1967

Sleep c-print 70 x 240.8 cm (27 1/2 x 94 3/4 in.) Executed in 2002, this work is number 6 from an edition of 6. Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 ♠ Provenance White Cube, London Collection of Kay Saatchi (acquired from the above circa 2005) Christie’s, London, 29 June 2011, lot 157 Acquired at the above sale by the present owner

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Property from an Important European Collector

189. Christopher Williams

b. 1956

Model #105M - R59C Kestone Shower Door 57,4 x 59 inches Chrome / Raindrop SKU # 109149 # 96235. 970 - 084 - 000 (Meiko) Vancouver, B. C. April 6 2005 signed, titled, numbered and dated ‘c. williams “Model # 105M - R59C....” 7/10 ‘05’ on the reverse gelatin silver print 40.6 x 50.8 cm (15 7/8 x 20 in.) Executed in 2005, this work is number 7 from an edition of 10. Estimate £18,000-20,000 $23,700-26,300 €19,600-21,800 Provenance Galerie Gisela Capitain, Cologne Acquired from the above by the present owner

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Property from an Important Private European Collection

190. Vik Muniz

b. 1961

Still, afer Cindy Sherman signed, titled, numbered and dated ‘Vik Muniz “STILL AFTER CINDY SHERMAN” 5/5 2000’ on a gallery label afxed to the reverse c-print 120.5 x 161 cm (47 1/2 x 63 3/8 in.) Executed in 2000, this work is number 5 from an edition of 5. Estimate £12,000-18,000 $15,800-23,700 €13,100-19,600 Provenance Brent Sikkema Gallery, New York Private Collection, New York Phillips de Pury & Company, New York, 24 April 2004, lot 97 Acquired at the above sale by the present owner

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191. Larry Clark

b. 1943

Tulsa each signed and variously numbered on the reverse, in 17 parts gelatin silver print parts i, v, vii, ix, x, xiii, xiv, xv, xvi, xvii 35.6 x 30.5 cm (14 x 12 in.) parts ii, iii, iv, vi, viii, xi, xii 30.5 x 35.6 cm (12 x 14 in.) Executed in 1980, this work is number 43 from an edition of 100 plus 15 artist’s proofs. Estimate £6,000-8,000 $7,900-10,500 €6,500-8,700 ‡ Provenance Private Collection, New York

192. Thomas Struth

b. 1954

Wangfujing Dong Lu, Shanghai signed ‘Thomas Struth’ on a label afxed to the reverse; further signed, titled, numbered and dated ‘Thomas Struth “Wangfujing Dong Lu, Shanghai” 5/10 1998’ on the reverse c-print image 83.8 x 102.3 cm (32 7/8 x 40 1/4 in.) sheet 118 x 134.5 cm (46 1/2 x 52 7/8 in.) Executed in 1997 - 98, this work is number 5 from an edition of 10. Estimate £15,000-25,000 $19,800-33,000 €16,400-27,400 ♠ †

Exhibited Groningen, Groninger Museum, Larry Clark - Tulsa, 1971, 19 January - 24 April 2005 (another example exhibited)

Provenance Phillips, New York, 14 November 2000, lot 173 Private Collection Private Collection, The Netherlands

Literature Jean-Claude Lemagny and Andre Rouille, eds., A History of Photography: Social and Cultural Perspectives, New York, 1987, p. 216 (all images illustrated) Thomas Weski and Heinz Liesbrock, How You Look at It: Photographs of the 20th Century, 2000, pp. 312-317

Literature Burkhard Riemschneider and Uta Grosenick, eds., Art at the Turn of the Millennium, Cologne, 1999, p. 489 (another example illustrated) Richard Sennett, Thomas Struth, Unconscious Places, Munich, 2012, p. 241

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Property from an Important Private European Collection

193. Broomberg & Chanarin

b. 1970 and b. 1971

8 works: (i-viii) ALIAS: Dora Fobert (1925-1943) Images 4, 5, 31, 34, 35, 36, 37 and 38 from the archive of Adela K. Ca 1942 fbre-based paper negative, red glass, in artist’s frame (i-viii) 26.5 x 21.5 cm (10 3/8 x 8 1/2 in.) Executed in 2011, each work is from an edition of 8. Estimate £8,000-12,000 $10,600-15,800 €8,800-13,200 ♠ † Provenance Paradise Row, London Acquired from the above by the present owner

194. Piotr Uklański

b. 1968

Untitled (Monsieur Francois Pinault, Président du groupe Artemis) c-print 126.5 x 93.5 cm (49 3/4 x 36 3/4 in.) Executed in 2003, this work is number 3 from an edition of 5. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 ♠ Provenance Galerie Emmanuel Perrotin, Paris Acquired from the above by the present owner Exhibited Kunsthalle Basel, Piotr Uklanski, 17 June - 22 August 2004

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195. Wim Delvoye

b. 1965

Lost for life titled and dated ‘‘‘LOST FOR LIFE” ‘88’ on the reverse oil and spray paint on tapestry 62 x 109 cm (24 3/8 x 42 7/8 in.) Executed in 1988. Estimate £12,000-18,000 $15,800-23,700 €13,100-19,600 ‡ ♠ Provenance Galerie Bébert, Rotterdam Private Collection Christie’s, Amsterdam, 5 November 2014, lot 240 Acquired at the above sale by the present owner

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Property from an Important European Collector

196. Robert Longo

b. 1953

The Silence lacquer and Hydrocal on wood panel 63.2 x 89.1 x 13 cm (24 7/8 x 35 1/8 x 5 1/8 in.) Executed in 1979 - 1980. Estimate ÂŁ7,000-9,000 $9,200-11,900 â‚Ź7,700-9,900 Provenance Metro Pictures, New York Acquired from the above by the present owner

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197. Tal R

b. 1967

Park signed, titled and dated ‘Tal R “PARK” 2003’ on the reverse mixed media on canvas 200.5 x 199.8 cm (78 7/8 x 78 5/8 in.) Executed in 2003. Estimate £20,000-30,000 $26,400-39,600 €21,900-32,900 ♠ Provenance Contemporary Fine Arts, Berlin Acquired from the above by the present owner

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198. Peter Halley

b. 1953

Untitled signed and dated ‘Peter Halley 2007’ on the reverse acrylic and DayGlo paint on canvas 190.5 x 201.9 cm (75 x 79 1/2 in.) Painted in 2007. Estimate £45,000-65,000 $59,400-85,800 €49,300-71,300 ‡ Provenance Gary Tatintsian Gallery, Moscow Acquired from the above by the present owner

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Property from an Important European Collector

199. Steven Parrino

1958-2005

200. David Salle

b. 1952

My Relationship signed, titled and dated ‘S PARRINO “MY RELATIONSHIP” 1982’ on the reverse acrylic on canvas 112.1 x 111.7 cm (44 1/8 x 43 7/8 in.) Painted in 1982.

The Precursor’s Sublime signed, titled and dated ‘David Salle “The Precursor’s Sublime” 1981’ on the overlap acrylic on canvas 183 x 122 cm (72 x 48 in.) Executed in 1981.

Estimate £10,000-15,000 $13,200-19,800 €11,000-16,400

Estimate £20,000-30,000 $26,400-39,600 €21,900-32,900 †

Provenance Private Collection (gifed by the artist) Christie’s, New York, 6 March 2014, lot 327 Acquired at the above sale by the present owner

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Provenance Mary Boone Gallery, New York Private Collection, New York Tajan, Paris, 29 April 2014, lot 17 Private Collection, The Netherlands

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201. Theodoros Stamos

1922-1997

Infnity Field Jericho #3 signed, titled, and dated ‘STAMOS “INFINITY FIELD JERICHO #3” 1984’ on the overlap acrylic on canvas 101.6 x 71.1 cm (40 x 27 7/8 in.) Painted in 1984. Estimate £12,000-18,000 $15,800-23,800 €13,200-19,700 ♠ Provenance Dorsky Gallery, New York Kostas Lambrakis, Long Island City, NY Doyle, New York, 17 April 2002, lot 29 Acquired at the above sale by the present owner

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202. William Nelson Copley

1919-1996

Trust Me, When, No mixed media on canvas 62 x 73 cm (24 3/8 x 28 3/4 in.) Executed in 1963. Estimate £20,000-30,000 $26,400-39,600 €21,900-32,900 † Provenance Private Collection, The Netherlands Exhibited Cologne, Galerie Neuendorf; Berlin, Galerie Springer, William Copley, 22 May - 1 October 1970 Amsterdam, SHOWROOM by Paul van Esch & Partners Art Advisory, William N. Copley. Paintings from 1960 - 1994, 10 September - 31 October 2015

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203. Richard Pettibone

b. 1938

Vegetable Soup signed with the artist’s initials, numbered and dated ‘RP 6-25 1987’ on the overlap acrylic and silkscreen ink on canvas 17.4 x 13 cm (6 7/8 x 5 1/8 in.) Painted in 1987, this work is number 6 from an edition of 25 hand painted multiples. Estimate £8,000-10,000 $10,600-13,200 €8,800-11,000 Provenance Private Collection, California artnet Auctions, 25 April 2017, lot 121262 Acquired at the above sale by the present owner Exhibited Laguna Beach, Laguna Art Museum, Richard Pettibone: A Retrospective, 19 November 2005 - 12 February 2006, p. 187 (another example illustrated)

Having visited Warhol’s frst solo pop art exhibition, Andy Warhol: Campbell’s Soup Cans, at the Ferus Gallery in 1962, Richard Pettibone began appropriating and reproducing his own interpretations of the artist’s iconic silkscreens. Infuenced by the work of other artists, Pettibone is celebrated for blurring the boundary between the original and the replica, masterfully re-contextualizing some of the most renowned masterpieces from the major protagonists of twentieth century art.

204. Richard Pettibone

b. 1938

Pink Marilyn signed with the artist’s initials and dated ‘RP ‘73’ on the stretcher synthetic polymer and silkscreen on canvas, in artist’s frame 6 x 5 cm (2 3/8 x 1 7/8 in.) Executed in 1973. Estimate £12,000-18,000 $15,800-23,800 €13,200-19,700 ‡ Provenance OK Harris Gallery, New York Private Collection, New York

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205. Richard Pettibone

b. 1938

Flowers signed and dated ‘R Pettibone ‘72’ on the stretcher synthetic polymer and silkscreen on canvas, in artist’s frame 4.5 x 4.5 cm (1 3/4 x 1 3/4 in.) Executed in 1972. Estimate £12,000-18,000 $15,800-23,800 €13,200-19,700 ‡ Provenance OK Harris Gallery, New York Private Collection, New York

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206. Richard Pettibone

b. 1938

Mao signed and dated ‘R Pettibone 1975’ on the overlap synthetic polymer and silkscreen on canvas 9.3 x 9.4 cm (3 5/8 x 3 3/4 in.) Executed in 1975. Estimate £10,000-15,000 $13,200-19,800 €11,000-16,400 ‡ Provenance OK Harris Gallery, New York Private Collection, New York

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207. Andy Warhol

1928-1987

208. Andy Warhol

1928-1987

John and Lorraine Chamberlain stamped by The Estate of Andy Warhol and The Andy Warhol Foundation and numbered ‘UP 45.12’ on the reverse screenprint on Curtis Rag paper 88.9 x 114.3 cm (35 x 45 in.) Executed in 1978.

Jackie silkscreen ink on paper 47.2 x 37.6 cm (18 5/8 x 14 3/4 in.) Executed in 1963 - 64, this work is unique.

Estimate £20,000-30,000 $26,400-39,600 €21,900-32,900

Provenance Acquired directly from the artist by the present owner in 1967

Estimate £40,000-60,000 $52,800-79,200 €43,900-65,800

Provenance The Estate of Andy Warhol and The Andy Warhol Foundation, New York Literature Frayda Feldman and Claudia Defendi, Andy Warhol Prints: A Catalogue Raisonné 1962 - 1987, New York, 2003, no. IIIC.35, p. 299 (another example illustrated)

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209. Julie Mehretu

b. 1970

210. Matthew Monahan

b. 1972

Untitled (Court) ink and oil on Mylar and vellum 61 x 45.7 cm (24 x 17 7/8 in.) Executed in 1998.

Ad Infnitum charcoal on paper 302.1 x 161 cm (118 7/8 x 63 3/8 in.) Executed in 2001.

Estimate £10,000-15,000 $13,200-19,800 €11,000-16,400 ‡

Estimate £8,000-12,000 $10,600-15,800 €8,800-13,200 †

Provenance Michael E. Thomas, Inc., Dallas Phillips, New York, 15 May 2015, lot 154 Acquired at the above sale by the present owner

Provenance Galerie Fons Welters, Amsterdam Acquired from the above by the present owner in 2002 Exhibited Amsterdam, Galerie Fons Welters, Nameless Man From Not-Even-Anywhere, 6 April - 11 May 2002

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211. Marcel Dzama

b. 1974

212. Chiho Aoshima

b. 1974

Keep with Me signed ‘Marcel Dzama’ lower right watercolour and ink on paper 35.5 x 112 cm (13 7/8 x 44 1/8 in.) Painted in 2004.

Building digital inkjet print on paper 170 x 77.6 cm (66 7/8 x 30 1/2 in.) Executed in 1999, this work is number 3 from an edition of 8 plus 2 artist’s proofs.

Estimate £4,000-6,000 $5,300-7,900 €4,400-6,600

Estimate £4,000-6,000 $5,300-7,900 €4,400-6,600

Provenance Galleri Magnus Karlsson, Stockholm Acquired from the above by the present owner

Provenance Galerie Emmanuel Perrotin, Paris Acquired from the above by the present owner

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213. Karen Kilimnik

b. 1955

Blufers Guide to Occult dated ‘3:40pm June 29 ‘96’ lower right crayon, acrylic and pastel on paper 101.5 x 66 cm (39 7/8 x 25 7/8 in.) Executed in 1996. Estimate £4,000-6,000 $5,300-7,900 €4,400-6,600 Provenance 303 Gallery, New York Christie’s, New York, 20 February 2002, lot 215 Acquired at the above sale by the present owner

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214. Elizabeth Peyton

b. 1965

Craig signed, titled and dated ‘Elizabeth Peyton “Craig” 1996’ on the reverse watercolour on paper 31 x 23 cm (12 1/4 x 9 in.) Painted in 1996. Estimate £20,000-30,000 $26,400-39,600 €21,900-32,900 Provenance Private Collection Phillips, London, 30 June 2015, lot 231 Acquired at the above sale by the present owner

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215. Elizabeth Peyton

b. 1965

Prince Harry signed, titled, inscribed and dated ‘Elizabeth Peyton “Prince Harry” September 1998’ on the reverse watercolour and pencil on paper 25.4 x 17.8 cm (10 x 7 in.) Executed in 1998. Estimate £25,000-35,000 $33,000-46,200 €27,400-38,400 ‡ Provenance Private Collection, London Private Collection, New York

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216. Marlene Dumas

b. 1953

Untitled signed ‘Marlene Dumas 1991’ lower right ink on paper 38.1 x 27.9 cm (15 x 10 7/8 in.) Painted in 1991. Estimate £5,000-7,000 $6,600-9,200 €5,500-7,700 ♠ Provenance Jack Tilton Gallery, New York Faggionato, London Acquired from the above by the present owner

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217. Raqib Shaw

b. 1974

First study for Refections signed and dated ‘Raqib Shaw 2006’ lower right stain glass relief, automobile paint, glitter, rhinestones, crystals and synthetic beads on paper 56.5 x 76.4 cm (22 1/4 x 30 1/8 in.) Executed in 2006. Estimate £20,000-30,000 $26,400-39,600 €21,900-32,900 ♠ Provenance Acquired directly from the artist by the present owner

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218. Chris Ofli

b. 1968

Untitled each signed and dated ‘Chris Ofli 2000’ on the reverse watercolour and graphite on paper, in 2 parts each 24.1 x 15.5 cm (9 1/2 x 6 1/8 in.) Executed in 2000. Estimate £10,000-15,000 $13,200-19,800 €11,000-16,400 ‡ ♠ Provenance Gavin Brown Enterprise, New York Private Collection Christie’s, New York, 15 March 2005, lot 10 Acquired at the above sale by the present owner

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Property from an Important Private European Collection

219. Donald Baechler

b. 1956

Brown Cone signed with the artist’s initials and dated ‘DB2008’ lower right gesso, Flashe and paper collage on paper 132.2 x 100.5 cm (52 x 39 5/8 in.) Executed in 2008. Estimate £10,000-15,000 $13,200-19,800 €11,000-16,400 ‡ Provenance Galerie Thaddaeus Ropac, Salzburg Acquired from the above by the present owner in 2013

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220. Charles Bell

1935-1995

Rolly Polly Clown signed, dedicated and dated ‘Charlie Bell ‘83’ lower margin pastel on paper 195.2 x 131.6 cm (76 7/8 x 51 3/4 in.) Executed in 1983. Estimate £15,000-20,000 $19,800-26,400 €16,400-21,900 Provenance Paul Nash and Copy Berg, New York Private Collection, Paris Sotheby’s, New York, 10 November 2005, lot 243 Acquired at the above sale by the present owner

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221. Andy Warhol

1928-1987

Kiku stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts and numbered ‘VF 37. 005’ on the reverse silkscreen ink and paper collage laid on board 64.7 x 82.8 cm (25 1/2 x 32 5/8 in.) Executed circa 1983. Estimate £25,000-35,000 $33,000-46,200 €27,400-38,400 Provenance Goss Gallery, Dallas Paul Kasmin Gallery, New York Private Collection Christie’s, London, 21 June 2007, lot 414 Acquired at the above sale by the present owner

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222. Andy Warhol

1928-1987

Kiku stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts and numbered ‘VF 37.023’ on the reverse silkscreen ink and paper collage laid on board 60.3 x 82.2 cm (23 3/4 x 32 3/8 in.) Executed circa 1983. Estimate £25,000-35,000 $33,000-46,200 €27,400-38,400 Provenance Paul Kasmin Gallery, New York Private Collection Christie’s, New York, 17 May 2007, lot 186 Acquired at the above sale by the present owner

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223. Andy Warhol

1928-1987

Kiku stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts and numbered ‘VF 37.042’ and on the reverse screenprint on paper collage laid on board 66.5 x 90.5 cm (26 1/8 x 35 5/8 in.) Executed circa 1983. Estimate £25,000-35,000 $33,000-46,200 €27,400-38,400 Provenance DJT Fine Art, New York Paul Kasmin Gallery, New York Private Collection Sotheby’s, London, 15 October 2007, lot 265 Acquired at the above sale by the present owner

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224. Andy Warhol

1928-1987

2 works; (i-ii) Grapes (i) signed and numbered ‘Andy Warhol 17/50’ lower right; further stamped ‘© Andy Warhol 1979’ on the reverse (ii) signed and numbered ‘Andy Warhol 17/50’ lower lef; further stamped ‘© Andy Warhol 1979’ on the reverse screenprint on Strathmore Bristol paper each 101.6 x 76.2 cm (40 x 30 in.) Executed in 1979, each work is number 17 from an edition of 50 plus 10 artist’s proofs. Estimate £20,000-30,000 $26,400-39,600 €21,900-32,900 Provenance (i) Sotheby’s, London, 27 March 2007, lot 276 Acquired at the above sale by the present owner (ii) Sotheby’s, London, 27 March 2007, lot 274 Acquired at the above sale by the present owner Literature (i) Frayda Felman and Claudia Defnedi, Andy Warhol Prints: Catalogue Raisonné 1962-1987, New York, 2003, no. II.192, p. 104 (another example illustrated) (ii) Frayda Felman and Claudia Defnedi, Andy Warhol Prints: Catalogue Raisonné 1962-1987, New York, 2003, no. II.195, p. 104 (another example illustrated)

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225. Damien Hirst

b. 1965

All around the world signed ‘Damien Hirst’ lower right; further titled ‘“All around the world”’ lower lef acrylic, oil pastel and crayon on etched ground 91 x 71 cm (35 7/8 x 27 7/8 in.) Executed in 2002 with additional hand-colouring in 2006, this work is registered in the Damien Hirst Archive. Estimate £15,000-20,000 $19,800-26,400 €16,400-21,900 ♠ Provenance Private Collection, London Phillips de Pury & Company, London, 28 June 2011, lot 230 Acquired at the above sale by the present owner This etching is taken from 1 of 5 unique sets of the portfolio In a spin, the action of the world on things, originally published by Paragon Press in an edition of 68.

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226. Victor Pasmore

1908-1998

Reason and Impulse signed with the artist’s initials and dated ‘VP ‘96’ lower right oil, spray paint and charcoal on board 121.2 x 121.3 cm (47 3/4 x 47 3/4 in.) Executed in 1996. Estimate £25,000-35,000 $33,000-46,200 €27,400-38,400 ♠ Provenance Marlborough Fine Art, London Acquired from the above by the present owner Exhibited London, Marlborough Fine Art, Victor Pasmore Centenary Exhibition. The Late Work: Paintings and Etchings, 2 - 26 April 2008, no. 12 (illustrated)

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227. Cecily Brown

b. 1969

228. Tracey Emin

b. 1963

Untitled signed and dated ‘Cecily Brown ‘05’ on the reverse monotype on paper 120 x 93.3 cm (47 1/4 x 36 3/4 in.) Executed in 2005, this work was published by Two Palms Press, New York.

Thank you for all the loving signed and inscribed ‘Tracey Emin’ lower right; further titled ‘Thank you For all The Loving’ upper edge acrylic and pencil on canvas 25.4 x 35.7 cm (10 x 14 in.) Executed in 2010.

Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 ‡ ♠

Estimate £30,000-50,000 $39,600-66,000 €32,900-54,800 ♠

Provenance Private Collection, USA

Provenance Stars on Canvas Charity Auction, London, 6 December 2010 (gifed by the artist) Acquired at the above sale by the present owner

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Property from an Important Private European Collection

229. Sarah Lucas

b. 1962

New Religion (Red) neon 39 x 55 x 181 cm (15 3/8 x 21 5/8 x 71 1/4 in.) Executed in 1999, this work is number 5 from an edition of 6. Estimate £30,000-50,000 $39,400-65,700 €32,600-54,400 ♠ Provenance Contemporary Fine Arts, Berlin Acquired from the above by the present owner

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Exhibited London, Tate Britain, In-A-Gadda-Da-Vida: Angus Fairhurst, Damien Hirst, Sarah Lucas, 3 - 31 March 2004, p. 75 (another variant exhibited) London, Phillips, A Very Short History of Contemporary Sculpture, 6 - 11 October 2014 (another variant exhibited) Literature Matthew Collings, Sarah Lucas, London, 2002, p. 77 (another variant illustrated) Sarah Lucas: Exhibitions and Catalogue Raisonné, 1989-2005, exh. cat., Kunsthalle Zürich, 2005, pp. 42-43 and p. 151 (another variant illustrated)

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Property from an Important Private European Collection

230. Jake and Dinos Chapman

b. 1966 and b.1962

Bring me the head of… synthetic resin, paint and hair 25.5 x 18.2 x 32 cm (10 x 7 1/8 x 12 5/8 in.) Executed in 1994, this work is from an edition of 15. Estimate £5,000-7,000 $6,600-9,200 €5,400-7,600 ♠ Provenance Francis Briest, Paris Private Collection (acquired from the above) Acquired from the above by the present owner

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Exhibited Tate Liverpool, Bad Art for Bad People, 15 December 2006 - 4 March 2007, p. 98 (another example illustrated) Bonn, Kunst- und Ausstellungshalle der BRD, Neugierig? Kunst des 21. Jahrhunderts aus privaten Sammlungen, 29 January - 2 May 2010, p. 142 (another example illustrated) Literature London, Institute of Contemporary Art; Graz, Grazer Kunstverein; Kunst-werke Berlin, Chapmanworld, 15 November 1996 - 31 March 1997, n.p. (another example illustrated)

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231. Dexter Dalwood

b. 1960

Wittgenstein’s Bathroom signed and dated ‘Dexter Dalwood 2001’ on the reverse oil on canvas 234.9 x 279.4 cm (92 1/2 x 109 7/8 in.) Painted in 2001.

Provenance Gagosian Gallery, New York Private Collection Christie’s, London, 21 October 2008, lot 348 Acquired at the above sale by the present owner

Estimate £40,000-60,000 $52,600-78,800 €43,500-65,300 ‡ ♠

Exhibited Beverley Hills, Gagosian Gallery, Dexter Dalwood, New Paintings, 16 February - 16 March 2002, n. p. (illustrated)

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Property from an Important Private European Collection

232. Ged Quinn

b. 1963

The last game in town oil on linen 183 x 255 cm (72 x 100 3/8 in.) Painted in 2005. Estimate £30,000-50,000 $39,400-65,700 €32,600-54,400 ♠ Provenance Wilkinson Gallery, London Acquired from the above by the present owner

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Property from an Important Private European Collection

233. Tom Sachs

b. 1966

Nazi Bondage Babe synthetic polymer on canvas 152.2 x 183.5 cm (59 7/8 x 72 1/4 in.) Executed in 2002. Estimate £30,000-50,000 $39,400-65,700 €32,600-54,400 Provenance Sperone Westwater Gallery, New York Acquired from the above by the present owner

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234. Howard Tangye

b. 1948

Nobu signed ‘H Tangye’ lower right oil on canvas 120 x 75 cm (47 1/4 x 29 1/2 in.) Painted in 2015. Estimate £8,000-10,000 $10,500-13,100 €8,700-10,900 Provenance Acquired directly from the artist by the present owner

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Property from an Important Private European Collection

235. Richard Phillips

b. 1962

Transfxed oil on linen 228.6 x 137.4 cm (90 x 54 1/8 in.) Painted in 1996. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 ‡ Provenance Friedrich Petzel Gallery, New York Acquired from the above by the present owner

236. Asli Özok

b. 1976

Garden of Armina Rose signed and dated ‘Asli Özok 2017’ on the reverse oil and gold leaf on canvas 170 x 140 cm (66 7/8 x 55 1/8 in.) Executed in 2017. Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 Provenance Acquired directly from the artist by the present owner

Exhibited Hamburg, Kunstverein, Richard Phillips, 21 September 10 November 2002, pp. 80 - 81 (illustrated)

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Property from an Important Private European Collection

237. Julia Jacquette

b. 1964

White on White (Sixteen Wedding Dresses) III signed, titled and dated ‘Julia Jacquette “White on White (Sixteen Wedding Dresses)” 2005’ on the reverse oil on linen 182.9 x 182.9 cm (72 x 72 in.) Painted in 2005. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 Provenance Michael Steinberg Gallery, New York Private Collection (acquired from the above in 2007) Sotheby’s, New York, 10 November 2010, lot 420 Acquired at the above sale by the present owner

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238. Zeng Chuanxing

b. 1974

Blue Paper Bride-Dream signed and dated ‘Zeng Chuanxing 2008’ upper right oil on linen 169.7 x 100 cm (66 3/4 x 39 3/8 in.) Painted in 2008. Estimate £30,000-50,000 $39,400-65,700 €32,600-54,400 Provenance Private Collection, London Phillips de Pury & Company, London, 26 September 2009, lot 184 Acquired at the above sale by the present owner

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239. Yuan Yuan

b. 1973

Broken Mirror signed (in English and Chinese), titled and dated ‘Y Yuan “BROKEN MIRRORS” 2011’ on the reverse oil on canvas 171 x 180 cm (67 3/8 x 70 7/8 in.) Painted in 2011. Estimate £40,000-60,000 $52,600-78,800 €43,500-65,300 Provenance Galerie JGM, Paris Private Collection, Paris

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Property from an Important Private European Collection

240. Inka Essenhigh

b. 1969

Sunshine signed, titled and dated ‘Inka Essenhigh “Sunshine” 2004’ on the reverse oil on canvas 193 x 177.8 cm (76 x 70 in.) Painted in 2004. Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 Provenance Victoria Miro, London Acquired from the above by the present owner

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Property from an Important Private European Collection

241. Dirk Skreber

b. 1961

It rocks us so hard - Ho Ho Ho 8.0 oil on canvas 169.9 x 289.8 cm (66 7/8 x 114 1/8 in.) Painted in 2002. Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 ♠ Provenance Luis Campana, Cologne Acquired from the above by the present owner

Property from an Important Private European Collection

242. Thomas Scheibitz

b. 1968

Untitled (Buchstable) painted wood and pigment marker sculpture 98 x 41 x 163 cm (38 5/8 x 16 1/8 x 64 1/8 in.) overall 128.2 x 126 x 205 cm (50 1/2 x 49 5/8 x 80 3/4 in.) Executed in 2002. Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 ♠ Provenance Produzentengalerie, Hamburg Acquired from the above by the present owner

Literature Dirk Skreber: It rocks us so hard – Ho, Ho, Ho, exh. cat., Aspen Art Museum; Joslyn Art Museum, Omaha, 2004–2005, p. 47 (illustrated)

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Property from an Important Private European Collection

243. Andreas Slominski

b. 1959

Untitled fabric 20 x 20 x 13.8 cm (7 7/8 x 7 7/8 x 5 3/8 in.) Executed in 1988, this work is accompanied by a certifcate of authenticity from the artist. Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 ♠ Provenance Produzentengalerie, Hamburg Acquired from the above by the present owner

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244. Haim Steinbach

b. 1944

pops signed and dated ‘Haim Steinbach 06’ on the reverse plastic laminated wood shelf, 1 plastic toilet brush and 2 “Pops” cereal boxes 74.3 x 111.8 x 34.3 cm (29 1/4 x 44 x 13 1/2 in.) Executed in 2006. Estimate £15,000-20,000 $19,800-26,400 €16,400-21,900 Provenance Sonnabend Gallery, New York Private Collection Phillips, London, 10 March 2017, lot 186 Acquired at the above sale by the present owner

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Property from an Important Private European Collection

245. Tom Friedman

b. 1965

Untitled (T.V. Sprinkles) signed, titled and dated ‘Tom Friedman “Untitled” 2006’ on the artist’s Styrofoam box construction paper, foam board, wood, tin, LCD monitor and computer sofware with sound 100 x 67 x 53 cm (39 3/8 x 26 3/8 x 20 7/8 in.) Executed in 2006, this work is from an edition of 2. Estimate £30,000-50,000 $39,400-65,700 €32,600-54,400 Ω Provenance Gagosian Gallery, New York Private Collection Phillips, London, 12 October 2011, lot 34 Acquired at the above sale by the present owner

246. Jean Michel Alberola

b. 1953

La Joconde horse element marked with the Fondeur Bocquel foundry stamp and numbered ‘1/3’; printed text by Hegel, signed, numbered and dated ‘acteon dixit 4/30 1985’; printed text by Kant, signed, numbered and dated ‘acteon invenit 4/30 1985’ bronze with patina and printed text on paper horse 87 x 48 x 110 cm (34 1/4 x 18 7/8 x 43 1/4 in.) Hegel 65.4 x 47.3 cm (25 3/4 x 18 5/8 in.) Kant 65.4 x 47.3 cm (25 3/4 x 18 5/8 in.) Executed in 1985, this work is number 1 from an edition of 3. Estimate £20,000-30,000 $26,400-39,600 €21,900-32,900 ♠ Provenance Galerie Catherine Issert, Saint-Paul-de-Vence Collection Marcel Brient, Paris (acquired from the above in 1989) Collection Marcel Brient - La Page Française, Sotheby’s, Paris, 24 September 2012, lot 53 Acquired at the above sale by the present owner Exhibited Munich, Villa Stuck; Paris, Fondation Cartier pour l’Art Contemporain; Milan, Rotonda della Besana, Echt Falsch, 9 February - 31 August 1991 Musée d’Art Moderne de la Ville de Paris, Passions privées, Collections d’Art Moderne et Contemporain en France, 16 December 1995 - 24 March 1996, no. 1, p. 659 (illustrated)

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Property from an Important Private European Collection

247. Elmgreen & Dragset

b. 1961 and b. 1969

Code cracking metal, polyester, plastic and paint 60 x 44.5 x 44.5 cm (23 5/8 x 17 1/2 x 17 1/2 in.) Executed in 2003, this work is number 2 from an edition of 3. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 ♠ Provenance Galerie Emmanuel Perrotin, Paris Acquired from the above by the present owner in 2003

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248. Elmgreen & Dragset

b. 1961 and b. 1969

Pharmacy aluminium, steel, Plexiglas, plywood, fabric and fuorescent lights 304.8 x 335.3 x 50.8 cm (120 x 132 x 20 in.) Executed in 2003, this work is accompanied by a certifcate of authenticity signed by the artists. Estimate £30,000-50,000 $39,600-66,000 €32,900-54,800 ♠ Provenance Tanya Bonakdar Gallery, New York Private Collection Phillips, New York, 8 March 2013, lot 189 Acquired at the above sale by the present owner

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Property from an Important Private European Collection

249. Thomas Lerooy

b. 1981

250. Romuald Hazoumé

b. 1962

All is Full of Love bronze, glass and painted metal plinth sculpture 90.2 x 45 x 48.2 cm (35 1/2 x 17 3/4 x 18 7/8 in.) overall 202.5 x 70 x 57 cm (79 3/4 x 27 1/2 x 22 1/2 in.) Executed in 2010, this work is number 5 from an edition of 5.

Untitled signed and impressed ‘HAZOUME’ on a metal disc attached to the underside painted plastic bottle, wooden beads, plastic, straw, shells and metal 43.2 x 31.2 x 14.4 cm (17 x 12 1/4 x 5 5/8 in.)

Estimate £8,000-12,000 $10,500-15,800 €8,700-13,100 ♠

Estimate £5,000-7,000 $6,600-9,200 €5,400-7,600

Provenance Galerie Rodolphe Janssen, Brussels Acquired from the above by the present owner

Provenance Acquired directly from the artist by the present owner

Exhibited Paris, Galerie Nathalie Obadia, Thomas Lerooy: The garden of exile, 29 May - 17 July 2010 (another example exhibited) Brussels, Rodolphe Janssen, Thomas Lerooy: X & Y, 2 April 2011 - 14 May 2011 (another example exhibited)

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Property from an Important Private European Collection

251. John DeAndrea

b. 1941

Sitting Woman oil on polyester resin and synthetic hair 81.3 x 109.9 x 62.2 cm (32 x 43 1/4 x 24 1/2 in.) Executed in 1972. Estimate £50,000-70,000 $65,700-92,000 €54,400-76,100 Provenance Galerie des 4 Mouvements, Paris Vanthournout Collection, Belgium Sotheby’s, New York, 15 November 2006, lot 107 Private Collection Sotheby’s, New York, 11 May 2011, lot 283 Acquired at the above sale by the present owner

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Exhibited Paris, C.N.A.C., Hyperréalistes Américains - Realistes Européans, 1972 Dusseldorf, Galerie des 4 Mouvements, 3 Internationale Markt für Aktuelle Kunst, 1973 Paris, Galerie des 4 Mouvements, Mouvements Grand Maîtres Hyperréalistes Américains, cat. no. 12, p. 133 Rotterdam, Museum Boymans-Van Beuningen, Kijen naar de Werkelijkheid, 1 June - 18 August 1974, p. 17 (illustrated) Hannover Kunstverein, Kunst nach Wirklichkeit, 1974, pp. 19-20 (illustrated)

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Property from an Important Private European Collection

252. Carroll Dunham

b. 1949

Captured shadows: 2-A stainless steel and wood 124 x 152.3 x 101.5 cm (48 7/8 x 59 7/8 x 39 7/8 in.) Executed in 2004. Estimate £12,000-18,000 $15,800-23,700 €13,100-19,600

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Provenance Barbara Gladstone Gallery, New York Acquired from the above by the present owner Exhibited Lidingö, Millesgården, Carroll Dunham, Painting and Sculpture 2004-2008, 6 September - 2 November 2008, no. 13, p. 34 (illustrated)

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253. Josh Smith

b. 1976

254. Aaron Garber-Maikovska

b. 1978

Untitled (JS0794) signed and dated ‘Josh Smith 2007’ on the reverse; further titled “JS0794” on the overlap acrylic on canvas 152.4 x 121.9 cm (60 x 47 7/8 in.) Painted in 2007.

Svetlana and the Kids signed and dated ‘AARON GARBER-MAIKOVSKA 2013’ on the reverse ink and acrylic on archival Gator board 241.1 x 120 cm (94 7/8 x 47 1/4 in.) Executed in 2013.

Estimate £6,000-8,000 $7,900-10,500 €6,500-8,700 ‡

Estimate £12,000-18,000 $15,800-23,700 €13,100-19,600 †

Provenance Luhring Augustine, New York Phillips, New York, 15 May 2015, lot 165 Acquired at the above sale by the present owner

Provenance Private Collection, Europe

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Exhibited Los Angeles, Greene Exhibitions, Aaron Garber-Maikowska: Fast Red Lobster, 23 November - 28 December 2013

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255. Kerstin Brätsch

b. 1969

It went gold oil, metallic paint, spray paint and acrylic on burnt paper 276.5 x 183.5 cm (108 7/8 x 72 1/4 in.) Executed in 2008. Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 ♠ Provenance Balice Hertling, Paris Acquired from the above by the present owner in 2009

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256. Sterling Ruby

b. 1972

Untitled signed and dated ‘Sterling Ruby ‘07’ lower right ink and collage on paper 58 x 87.7 cm (22 7/8 x 34 1/2 in.) Executed in 2007. Estimate £6,000-8,000 $7,900-10,500 €6,500-8,700 Provenance Foxy Production, New York Acquired from the above by the present owner

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257. Angel Otero

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257. Angel Otero

b. 1981

258. Neil Beloufa

b. 1985

SK HX oil paint and oil paint skins on canvas 188 x 249 x 10 cm (74 x 98 x 3 7/8 in.) Executed in 2012.

Secured Wall Series foam, pigment and iron, in artist’s frame 71.1 x 45.1 cm (27 7/8 x 17 3/4 in.) Executed in 2015.

Estimate £12,000-18,000 $15,800-23,700 €13,100-19,600

Estimate £4,000-6,000 $5,300-7,900 €4,400-6,500 ♠

Provenance Brand New Gallery, Milan Acquired from the above by the present owner

Provenance Balice Hartling, Paris Acquired from the above by the present owner

Exhibited Milan, Brand New Gallery, Angel Otero, The old lansquenet is laughing at us, 22 October - 22 December 2012

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259. Sue Williams

b. 1954

Happy 40 oil on canvas 101.5 x 133 cm (39 7/8 x 52 3/8 in.) Painted in 1994. Estimate £8,000-12,000 $10,600-15,800 €8,800-13,200 Provenance Galleria Margiacchi, Arezzo Acquired from the above by the present owner

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260. Rosy Keyser

b. 1974

Moving Version II signed and dated ‘Rosy Keyser 2010’ on the reverse fabric collage, metallic paint and ink on burnt canvas 229.4 x 183.2 cm (90 3/8 x 72 1/8 in.) Executed in 2010. Estimate £10,000-15,000 $13,200-19,800 €11,000-16,400 Provenance Peter Blum Gallery, New York Acquired from the above by the present owner in 2010

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Property from an Important Private European Collection

261. Laura Lancaster

b. 1979

Untitled signed and dated ‘Laura Lancaster 2015’ on the overlap oil on linen 200 x 200 cm (78 3/4 x 78 3/4 in.) Painted in 2015. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 ♠ † Provenance Acquired directly from the artist by the present owner

262. Chantal Jofe

b. 1969

Checkered Skirt oil on board 303.7 x 122.3 cm (119 5/8 x 48 1/8 in.) Painted in 2005. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 ♠ Provenance Victoria Miro Gallery, London Acquired from the above by the present owner in 2005 Exhibited London, Victoria Miro Gallery, New Paintings, 19 November - 17 December 2005, n.p. (illustrated)

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263. Richard Aldrich

b. 1975

Boys with Machines signed and dated ‘Richard Aldrich 2007’ on the overlap; further signed and dated ‘Richard Aldrich ‘07’ on the stretcher oil, wax and wood on linen 213.6 x 147.2 cm (84 1/8 x 57 7/8 in.) Executed in 2007. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 †

264. David Ostrowski

b. 1981

F (A thing is a thing in a whole which it’s not) signed and dated ‘David Ostrowski ‘14’ on the overlap acrylic and lacquer on canvas 240 x 190.2 cm (94 1/2 x 74 7/8 in.) Executed in 2014. Estimate £18,000-25,000 $23,700-32,900 €19,600-27,200 ♠ Provenance Private Collection

Provenance Corvi-Mora, London Acquired from the above by the present owner Exhibited London, Saatchi Gallery, Painters’ Painters, 30 November 2016 - 28 February 2017

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265. Mark Flood

b. 1957

Balmoral Revels signed, titled and dated ‘Mark Flood “Balmoral Revels” 2013’ on the overlap acrylic on canvas 182.9 x 121.9 cm (72 x 47 7/8 in.) Painted in 2013. Estimate £15,000-20,000 $19,700-26,300 €16,300-21,800 Provenance Stuart Shave/Modern Art, London Acquired from the above by the present owner in 2013

266. Grear Patterson

b. 1988

all your GI joes signed with the artist’s initials, titled and numbered ‘GP ”all your GI joes” 1/3’ on the reverse of part one; further signed with the artist’s initials and numbered ‘GP 2/3’ on the reverse of part two; further signed with the artist’s initials and numbered ‘GP 3/3’ on the reverse of part three tarpaulin laid on board, in 3 parts overall 137.2 x 137.2 cm (54 x 54 in.) Executed in 2014. Estimate £4,000-6,000 $5,300-7,900 €4,400-6,500 Provenance Jonathan Ellis King, Dublin Acquired from the above by the present owner

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267. Eddie Peake

b. 1981

Fluid on Face signed and dated ‘Eddie Peake 2013’ on the reverse spray paint on polished stainless steel 100 x 140 x 5 cm (39 3/8 x 55 1/8 x 1 7/8 in.) Executed in 2013. Estimate £8,000-12,000 $10,500-15,800 €8,700-13,100 ♠ Provenance White Cube, London Acquired from the above by the present owner

268. Ugo Rondinone

b. 1964

4 works: (i) Small Yellow Mountain; (ii) Small Pink Mountain; (iii) Small Orange Mountain; (iv) Small Violet Mountain (i) signed with the artist’s initials, titled and dated ‘u.r “Small Yellow Mountain” 2016’ on the underside (ii) signed with the artist’s initials, titled and dated ‘u.r “Small Pink Mountain” 2016’ on the underside (iii) signed with the artist’s initials, titled and dated ‘u.r “Small Orange Mountain” 2016’ on the underside (iv) signed with the artist’s initials, titled and dated ‘u.r “Small Violet Mountain” 2016’ on the underside (i - iv) painted stone on concrete base, each in 2 parts (i) 10.2 x 14.1 x 14.1 cm (4 x 5 1/2 x 5 1/2 in.) (ii) 12.3 x 14.1 x 14.1 cm (4 7/8 x 5 1/2 x 5 1/2 in.) (iii) 11.9 x 14.1 x 14.1 cm (4 5/8 x 5 1/2 x 5 1/2 in.) (iv) 10.3 x 14.1 x 14.1 cm (4 x 5 1/2 x 5 1/2 in.) Executed in 2016. Estimate £15,000-20,000 $19,800-26,400 €16,400-21,900 ‡ Provenance Art Production Fund, New York Acquired from the above by the present owner

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269. Kristin Baker

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b. 1975

270. Kristin Baker

b. 1975

Spiritual Volleyball Player signed, titled and dated ‘KRISTIN BAKER “SPIRITUAL VOLLEYBALL PLAYER” 2011’ on the reverse acrylic on PVC 203 x 152 cm (79 7/8 x 59 7/8 in.) Executed in 2011.

Screw It signed, titled and dated ‘KRISTIN BAKER “SCREW IT” 2011’ on the reverse acrylic on PVC 152 x 112 cm (59 7/8 x 44 1/8 in.) Executed in 2011.

Estimate £25,000-35,000 $32,900-46,000 €27,200-38,100 ‡

Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 ‡

Provenance The Suzanne Geiss Company, New York Acquired from the above by the present owner

Provenance The Suzanne Geiss Company, New York Acquired from the above by the present owner

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271 . Invader

b. 1969

Rubiks AC/DC inscribed with the artist’s monogram, titled and dated ‘invader “RUBIK AC/DC” ‘009’ on the reverse Rubiks cubes on perspex 117.9 x 117.4 cm (46 3/8 x 46 1/4 in.) Executed in 2009. Estimate £40,000-60,000 $52,600-78,800 €43,500-65,300 ♠ Provenance Lazarides Gallery, London Private Collection, United Kingdom Exhibited London, Lazarides Gallery, Grow Up, 15 May - 25 June 2009

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272. Michael Williams

b. 1978

Exist Cop Esquire (21) signed and dated ‘Michael Williams 2014’ on the reverse acrylic on paper 71.1 x 55.9 cm. (28 x 22 in.) Painted in 2014. Estimate £4,000-6,000 $5,300-7,900 €4,400-6,600 ‡ Provenance Michael Werner Gallery, London Private Collection, USA

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273. Leo Gabin

b. 1980

Merrit Island signed, titled and dated ‘LEO GABIN “MERRIT ISLAND” 2013’ on the reverse lacquer, spray paint, acrylic and silkscreen on canvas 210 x 150 cm (82 5/8 x 59 in.) Executed in 2013. Estimate £4,000-6,000 $5,300-7,900 €4,400-6,500 ‡ ♠ Provenance Peres Projects, Berlin Private Collection

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274. Reena Spaulings

est. 2003

Money painting (Dollar) signed ‘Reena Spaulings’ on the stretcher acrylic on canvas 91.3 x 197.7 cm (35 7/8 x 77 7/8 in.) Painted in 2005. Estimate £8,000-12,000 $10,500-15,800 €8,700-13,100 Provenance Chantal Crousel, Paris Acquired from the above by the present owner

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275. Fredrik Værslev

b. 1979

Untitled signed and dated ‘Fredrik Værslev 2011’ on the overlap spray paint, house paint, enamel paint, corrosion protective spray and white spirit on canvas 77 x 57 cm (30 3/8 x 22 1/2 in.) Executed in 2011. Estimate £20,000-30,000 $26,300-39,400 €21,800-32,600 ♠ Provenance Circus, Berlin Acquired from the above by the present owner

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276. Sterling Ruby

b. 1972

EXHM/ADVAIR + LINDT AUTOBIOGRAPHY (3379) collage and paint on cardboard 111.8 x 138.4 cm (44 x 54 1/2 in.) Executed in 2011. Estimate £10,000-15,000 $13,200-19,800 €11,000-16,400 ‡ Provenance Xavier Hufens, Brussels Acquired from the above the present owner

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277. Gerhard Richter

b. 1932

P16 Flow 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 £4,000-6,000 $5,300-7,900 €4,400-6,500 ♠ Provenance Heni Productions, London Acquired from the above by the present owner

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278. Gerhard Richter

b. 1932

P15 Flow 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 £4,000-6,000 $5,300-7,900 €4,400-6,500 ♠ Provenance Heni Productions, London Acquired from the above by the present owner

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279. Bernard Aubertin

1934 - 2015

Tableau Clous signed and dated ‘Bernard Aubertin 1969’ on the reverse acrylic and nails on panel 49.8 x 90.5 cm (19 5/8 x 35 5/8 in.) Executed in 1969, this work is accompanied by a certifcate of authenticity provided by the Archivio Opere Bernard Aubertin and is registered under the archive number TCLR96-100050023. Estimate £10,000-15,000 $13,100-19,700 €10,900-16,300 ♠ Provenance Hampel Fine Art Auctions, Munich, 25 September 2015, lot 932 Acquired at the above sale by the present owner

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280. Bernard Aubertin

1934 - 2015

Tableau Clous signed and dated ‘Bernard Aubertin 1970’ on the reverse nails and acrylic on wood 50 x 50 cm (19 5/8 x 19 5/8 in.) Executed in 1970, this work is accompanied by a certifcate of authenticity provided by the Archivio Opere Bernard Aubertin and is registered under the archive number TCL-10800000072015-RSN. Estimate £7,000-9,000 $9,200-11,900 €7,700-9,900 ♠ Provenance Galleria Centro, Brescia Private Collection, Dusseldorf Acquired from the above by the present owner

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281. Stanley Casselman

b. 1963

282. The Connor Brothers

b. 1968

IR-40-8 signed, titled and dated ‘Stanley Casselman “IR-40-8” 2013’ on the reverse oil on canvas 165.5 x 135 cm (65 1/8 x 53 1/8 in.) Painted in 2013.

Tell Me Beautiful Untrue Things signed and dated ‘Connor Brothers ‘17’ lower right giclée, screenprint acrylic and oil on paper, in artist’s frame 184.1 x 144.1 cm (72 1/2 x 56 3/4 in.) Executed in 2017.

Estimate £18,000-25,000 $23,700-32,900 €19,600-27,200

Estimate £5,000-7,000 $6,600-9,200 €5,400-7,600 †

Provenance Untitled Art Ltd., London Private Collection, London

Provenance Acquired directly from the artist by the present owner

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30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com Please return this form by email to bidslondon@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one):

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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 5 October 2017, 2pm Viewing 29 September – 5 October 2017 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK010717 or 20th Century & Contemporary Art Day Sale Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 Susanna Brockman +44 20 7318 4041 Rebecca Gathercole +44 20 7901 7927 bidslondon@phillips.com

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

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

The 20th Century & Contemporary Art department would like to thank Emily Brown, Mona Haraoui, Ilka Kemp-Hall, Maria Vittoria Raiola and Alina Cherniakova for their research, writing and assistance in producing this catalogue.

Front cover Lot 154, Sigmar Polke, Untitled, 2014 (detail) © The Estate of Sigmar Polke, Cologne, DACS 2017

Back cover Lot 105, Adrian Ghenie, Burning Books, 2014 (detail) © Adrian Ghenie, courtesy Pace Gallery

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Index Nara, Y. 112

Spaulings, R. 274

Aitken, D. 180

Essenhigh, I. 240

Alberola, J. M. 246

Flood, M. 265

Aldrich, R. 107, 263

Friedman, T. 245

Oehlen, A. 155, 156

Steinbach, H. 244

Aoshima, C. 212

Fritsch, K. 142

Ofli, C. 218

Struth, T. 192

Stamos, T. 201

Orozco, G. 181

Armleder, J. 144 Garber-Maikovska, A. 254

Ostretsov, G. 169

Tal R 197

Gêmeos, O. 113

Ostrowski, D. 264

Tangye, H. 234

Baechler, D. 219

Gharem, A. 128

Otero, A. 257

Taylor, H. 101

Baker, K. 269, 270

Ghenie, A. 105

Özok, A. 236

Taylor-Johnson, S. 188

Baselitz, G. 153

Graham, R. 175

Bell, C. 220

Grosse, K. 146, 147

Aubertin, B. 279, 280

Turrell, J. 126 Parrino, S. 199

Twombly, C. 122

Pasmore, V. 226

Beloufa, N. 258 Biasi, A. 137

Halley, P. 198

Patterson, G. 266

Boetti, A. 134, 135

Hatoum, M. 124

Peake, E. 267

Bratkov, S. 172

Hazoumé, R. 250

Penck, A. R. 150, 151, 152

Værslev, F. 275

Brätsch, K. 255

Hirst, D. 225

Pepperstein, P. 166, 167

Valdés, M. 132, 133

Broomberg & Chanarin 193

Hughes, S. 102

Perry, G. 119

Brown, C. 227 Butzer, A. 162

Invader 271

Uklański, P. 194

Pettibone, R. 203, 204,

Warhol, A. 207, 208, 221, 222,

205, 206

223, 224

Peyton, E. 214, 215

Weischer, M. 157

Cano, J. M. 131

Jacquette, J. 237

Pfeifer, P. 177

West, F. 143

Casselman, S. 281

Jofe, C. 262

Phillips, R. 235

Whiteread, R. 123

Pignatelli, L. 138

Williams, C. 187, 189

Castellani, E. 136 Chapman, J. and D. 230

Kantarovsky, S. 114

Polke, S. 154

Williams, M. 272

Chernysheva, O. 173

Kapoor, A. 127

Prince, R. 116, 117, 118

Williams, S. 106, 259

Chuikov, I. 170, 171

Keyser, R. 260

Pruitt, R. 115

Clark, L. 191

Kiefer, A. 160

Clemente, F. 139

Kilimnik, K. 213

Condo, G. 103, 104

Kippenberger, M. 161

Connor Brothers 282 Copley, W. N. 202

Yuan, Y. 239 Quinn, G. 232

Yue, M. 129

Kjartansson, R. 174

Richter, D. 148, 149

Zarva, S. 168

Knoebel, I. 145

Richter, G. 159, 277, 278

Zeng, C. 238

Rondinone, U. 268

Currin, J. 110, 111 Lancaster, L. 261

Ruby, S. 256, 276

Dalwood, D. 231

Lawler, L. 178

Ruf, T. 158

de Bruyckere, B. 125

Leo Gabin 273

DeAndrea, J. 251

Lerooy, T. 249

Sachs, T. 233

Delvoye, W. 195

Longo, R. 196

Salle, D. 200

Demand, T. 179

Lucas, S. 186, 229

Sasnal, W. 176 Saul, P. 108, 109

Doig, P. 120, 121 Dubossarsky and

Meese, J. 163

Scheibitz, T. 242

Vinogradov, V. and A. 164, 165

Mehretu, J. 209

Serrano, A. 182, 183

Dumas, M. 216

Merz, M. 140

Shaw, R. 217

Dunham, C. 252

Merz, M. 141

Sherman, C. 184, 185

Dzama, M. 211

Monahan, M. 210

Skreber, D. 241

Muniz, V. 190

Slominski, A. 243

Muñoz, J. 130

Smith, J. 253

Elmgreen & Dragset 247, 248 Emin, T. 228

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146. 177. Damien Katharina Hirst Grosse

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20TH CENTURY & CONTEMPORARY ART DAY SALE [Catalogue]  

Phillips presents the 20th Century & Contemporary Art Day Sale on 5 October in London.

20TH CENTURY & CONTEMPORARY ART DAY SALE [Catalogue]  

Phillips presents the 20th Century & Contemporary Art Day Sale on 5 October in London.