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DAY SALE

CON TEMPORARY ART 13

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DAY SALE

CON TEMPORARY ART 13

OC TOB ER

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LONDON

LOTS 101 – 3 5 6

Viewing Thursday 6 October, 10am – 6pm Friday 7 October, 10am – 6pm Saturday 8 October, 10am – 6pm Sunday 9 October, 12pm – 6pm Monday 10 October, 10am – 6pm Tuesday 11 October, 10am – 6pm Wednesday 12 October, 10am – 7pm Thursday 13 October, 10am – 2pm

Front cover Seth Price, Gold Key (Blue 1), 2007, Lot 105 (detail) Back cover Wade Guyton, Untitled, 2010, Lot 111 Inside front cover Florian Maier-Aichen, Untitled, 2005, Lot 137 (detail) Opposite Friedrich Kunath, Untitled (All my favorite painters couldn’t paint), 2010, Lot 108

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THE BOTTLETOP FOUNDATION Creativity as well as forward thinking is at the heart of the Bottletop Foundation’s goals to improve the lives of young people around the world. The Bottletop Foundation’s objective is to use creative teaching methods by engaging the community to both educate and empower young people about the dangers and prevention of HIV/AIDS, drug abuse and gender inequality. Activities such as writing, drama, film and youth newspapers are a few of the programmes that the Bottletop Foundation uses to reach children in Brazil, Rwanda, Malawi, Mozambique and the United Kingdom. By involving young people in a number of different creative outlets, the Bottletop Foundation is able to ensure that they reach as many young people as they can. The world is a very diverse place and education must be able to embrace this diversity if it is to succeed. All programmes which the Bottletop Foundation undertakes are done with the aim of them having a lasting affect on the community. Each programme is funded to run for at least three years, ensuring that bonds are forged and that lessons learned along the way are fully assimilated. Most importantly, the time given to each programme ensures that a real difference is made. Phillips de Pury & Company is pleased to offer the following four lots by Ernesto Neto, Maria Nepomuceno, Vik Muniz and Jake & Dinos Chapman for the benefit of the Bottletop Foundation. The works featured here represent some of the most creative, internationally recognized and forward-thinking artists working today. The diverse nature and new spirit of these works embody the ethos of the Bottletop Foundation’s mission and its idea that creativity comes in many forms and reaches everybody differently.

PROCEEDS FROM THE SALE OF THIS LOT WILL BENEFIT THE BOTTLETOP FOUNDATION 101 ERNESTO NETO b. 1964 All My Tenderness to You, 2011 Polyamide tulle and glass beads. 135 × 150 × 150 cm (53 1/8 × 59 × 59 in). This work is from an edition of 3.

Estimate £30,000–50,000 $47,500–79,200 €35,000–58,300 ♠

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PROCEEDS FROM THE SALE OF THIS LOT WILL BENEFIT THE BOTTLETOP FOUNDATION 102 MARIA NEPOMUCENO   b. 1976 Untitled, 2011 Ropes, beads, fibreglass, resin and braided straw. 320 × 220 × 80 cm   (125 7/8 × 86 5/8 × 31 1/2 in).  

Estimate £18,000–25,000 $28,500–39,600 €21,000–29,100

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PROCEEDS FROM THE SALE OF THIS LOT WILL BENEFIT THE BOTTLETOP FOUNDATION 103 VIK MUNIZ b. 1961 Rolleiflex from the series Pictures of Junk, 2010 Digital colour coupler print. 124.5 × 101.6 cm (49 × 40 in). This work is one of 4 artist’s proofs.

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 ♠

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PROCEEDS FROM THE SALE OF THIS LOT WILL BENEFIT THE BOTTLETOP FOUNDATION 104 JAKE and DINOS CHAPMAN b. 1966/1962 Nite At The Studio, 2011 Oil on canvas. 122 × 92 cm (48 × 36 1/4 in). Signed ‘Jake and Dinos Chapman’ on the reverse.

Estimate £40,000–60,000 $63,300–95,000 €46,600–69,900 ♠

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105 SETH PRICE b. 1973 Gold Key (Blue 1), 2007 Inkjet on Dibond. Work: 121.3 × 121.3 cm (47 3/4 × 47 3/4 in); dimensions as installed: 171.5 × 171.5 cm (67 1/2 × 67 1/2 in).

ESTIMATE £15,000–25,000 $23,700–$39,600 €17,500–€29,100 ‡ PROVENANCE Friedrich Petzel Gallery, New York

“In the golden keys as well as other works by Price, three kinds of labour or action are juxtaposed in both the image and the way the object is produced: the work of the hand; factory production that generates objects in series; and the labour that has been described as ‘immaterial’, for which the computer and its software have become the primary medium both of production and of distribution. In the series of golden keys as a whole, six different key motifs have been picked out in negative, and printed in five colours directly on to the brushed metal surface of Dibond, which is composite of polyethylene and aluminium, usually used for mounting photographs. While they look mass-produced, each is in fact unique, thus providing a reflection on the relation of the production of the unique work of art to other kinds of production.”

Michael Newman, ‘Seth Price’s Operations’, in M. Newman and S. Price, Price, Seth, Zurich: JRP|Ringier, 2010, p. 30

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106 THOMAS HOUSEAGO b. 1972 Study for Aluminium Monument, 2009 Graphite on paper. 112 × 76 cm (44 1/8 × 29 7/8 in). This work is accompanied by a certificate of authenticity.

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 ♠ PROVENANCE Zero Gallery, Milan

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107 FRIEDRICH KUNATH b. 1974 Untitled (I’m gonna laugh you right out…), 2010 Oil pastel on carbon paper. 147 × 96 cm (57 7/8 × 37 3/4 in).

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Blum & Poe, Los Angeles

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108 FRIEDRICH KUNATH b. 1974 Untitled (All my favorite painters couldn’t paint), 2010 India ink, acrylic, lacquer and watercolour on canvas. 129.5 × 108 cm (50 7/8 × 42 1/2 in).

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Blum & Poe, Los Angeles

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109 FOLKERT DE JONG b. 1972 The Message (Diogenes), 2007 Styrofoam, polyurethane foam, liquid plastic and various adhesives. 174 × 79 × 96 cm (68 1/2 × 31 1/8 × 37 3/4 in).

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Private Collection, Belgium EXHIBITED Berlin, Peres Projects, Folkert de Jong Der Falsche Prophet,

27 January – 3 March 2007

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110 AARON YOUNG b. 1972 Untitled (Pink, quadriptych), 2008 Burnt rubber and acrylic on aluminium in four parts. Each: 122 × 122 cm (48 × 48 in); overall: 244 × 244 cm (96 × 96 in).

Estimate £30,000–50,000 $47,500–79,200 €35,000–58,300 PROVENANCE Almine Rech Gallery, Paris

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111 WADE GUYTON b. 1972 Untitled, 2010 Epson Ultrachrome inkjet on linen. 60.5 × 60 cm (23 7/8 × 23 5/8 in).

Estimate £50,000–70,000 $79,200–110,800 €58,300–81,600 ‡ PROVENANCE Private Collection, Europe

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112 AARON YOUNG b. 1972 Cruise Control (Top Gun), 2008 Silkscreen on aluminium. 185.4 × 119.4 cm (73 × 47 in).

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ‡ PROVENANCE Bortolami Gallery, New York

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113 RAYMOND PETTIBON b. 1957 Untitled (Pipeline…), 2002 Ink, acrylic and watercolour on paper. 45.5 × 60.7 cm (17 7/8 × 23 7/8 in). Signed and dated ‘Raymond Pettibon 2002’ on the reverse.

Estimate £40,000–60,000 $63,300–95,000 €46,600–69,900 PROVENANCE Private Collection

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114 JENNIFER ALLORA b. 1974 and GUILLERMO CALZADILLA b. 1971 Intermission, 2007 Handmade print from wood template. 57 × 67 cm (22 1/2 × 26 3/8 in). Signed, titled, dated ‘Allora/Calzadilla Intermission 2007’ and numbered of 20 on the reverse. This work is from an edition of 20.

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 PROVENANCE Private Collection, New York

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115 GARDAR EIDE EINARSSON b. 1976 My Future is the Sky in Squares, 2007 Acrylic on canvas. 183 × 213.5 cm (72 × 84 in). Signed, titled and dated ‘MY FUTURE IS THE SKY IN SQUARES Gardar Eide Einarsson 2007’ on the reverse.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Team Gallery, New York

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116 JASON MARTIN b. 1970 Amazon, 2002 Oil on aluminium. 150 × 150 cm (59 × 59 in). Signed, titled and dated ‘Jason Martin 2002 AMAZON’ on the reverse.

Estimate £40,000–60,000 $63,300–95,000 €46,600–69,900 ♠ PROVENANCE Lisson Gallery, London

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117 KLARA LIDÉN b. 1979 Untitled (Poster Painting), 2007 Posters and glue. 167 × 58 × 10 cm (65 3/4 × 22 7/8 × 3 7/8 in).

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ♠ PROVENANCE Reena Spaulings Fine Art, Inc., New York

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118 ANGELA DE LA CRUZ b. 1965 Nothing VI (white), 2004 Oil on canvas. 26 × 95 × 70 cm (10 1/4 × 37 3/8 × 27 1/2 in).

Estimate £7,000–8,000 $11,100–12,700 €8,200–9,300 ♠ PROVENANCE Nicolas Krupp, Basel

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119 ANSELM REYLE b. 1970 Untitled, 2006 Silver PVC foil on canvas in Plexiglas box. 233.7 × 200.7 cm (92 × 79 in).

Estimate £70,000–90,000 $110,800–142,500 €81,600–104,900 ♠ ‡ PROVENANCE Gavin Brown’s enterprise, New York; Private Collection EXHIBITED New York, L & M Arts, Beyond Black, White, and Gray, 12 September –

10 October 2009

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120 TATSUO MIYAJIMA b. 1957 Untitled, 2007 LED, electric wire and stainless steel bar. 7 × 248 × 16 cm (2 3/4 × 97 5/8 × 6 1/4 in).

Estimate £40,000–50,000 $63,300–79,200 €46,600–58,300 PROVENANCE Lisson Gallery, London; Private Collection, Berlin

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121 RASHID RANA b. 1968 Offshore Accounts – 1, 2006 Digital colour coupler print in four parts. Overall: 300 × 600 cm (118 1/8 × 236 1/4 in). This work is from an edition of 5.

Estimate £80,000–120,000 $126,700–190,000 €93,200–139,900 PROVENANCE Chemould Prescott Road, Mumbai EXHIBITED London, Asia House, Beyond the Page, 2 October–11 November 2006

(another example exhibited); New Delhi, Gallery Nature Morte, Rashid Rana: Reflected Looking: installations, photography and video, March 2007 (another example exhibited); Paris, Musée Guimet, Rashid Rana – Perpetual Paradox, 7 July – 15 November 2010

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122 GEORGE CONDO b. 1957 Ballet Gris, 1987 Oil on canvas. 206 × 141.5 cm (81 1/8 × 55 3/4 in). Signed and dated ‘Condo 87’ lower right.

Estimate £80,000–120,000 $126,700–190,000 €93,200–139,900 PROVENANCE Luhring Augustine, New York

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123 DAMIEN HIRST b. 1965 Avidin-Hemocyanin, 1995 Household gloss paint on canvas. 30.5 × 25.4 cm (12 × 10 in). Signed on the reverse.

Estimate £70,000–90,000 $110,800–142,500 €81,600–104,900 ♠ ‡ PROVENANCE Acquired directly from the artist; Private Collection LITERATURE D. Hirst and R. Violette, eds., I want to spend the rest of my life

everywhere, with everyone, one to one, always, forever, now, London: Booth-Clibborn Editions, 1997, p. 239 (illustrated)

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124 BERNARD FRIZE b. 1954 Disloqué, 2006 Acrylic and resin on canvas. 180 × 160 cm (70 7/8 × 62 7/8 in). Signed and titled ‘Bernard FRIZE Disloqué’ on the overlap.

Estimate £30,000–40,000 $47,500–63,300 €35,000–46,600 ♠ ‡ PROVENANCE Galerie Micheline Szwajcer, Antwerp; Private Collection, Switzerland

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125 PHILIP TAAFFE b. 1955 Window, 2002 Oil on canvas. 92 × 61 cm (36 1/4 × 24 in). Signed, titled and dated ‘Philip Taaffe 2002 WINDOW’ on the reverse.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ♠ PROVENANCE Studio d’arte Raffaelli, Trento EXHIBITED Trento, Studio d’arte Raffaelli, Philip Taaffe Illuminations,

13 December 2002–28 February 2003 LITERATURE Philip Taaffe Illuminations, exh. cat., Studio d’arte Raffaelli,

Trento, 2002, p. 31 (illustrated)

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Detail

126 GEORG HEROLD b. 1947 Untitled, 1990 Caviar, acrylic and lacquer on canvas. 320 × 180.3 cm (126 × 71 in). Signed and dated ‘Herold 90’ on the reverse and on the stretcher.

Estimate £50,000–70,000 $79,200–110,800 €58,300–81,600 ♠ ‡ PROVENANCE Galerie Max Hetzler, Cologne

“It is said that it takes eight years for a sturgeon to mature, eight minutes to remove caviar from its belly and eight seconds to taste it. Shrinking exponentially, those numbers tell a grotesque tale of economic and environmental decadence. Numbers – random, consecutive, wildly escalating – also run across Georg Herold’s ‘caviar paintings’, yet his work refuses to conform to the reductive post-Marxist equations between art and the market so dear to younger artists. If caviar suggests conspicuous consumption, in Herold’s work it is also the aggregate of a Pop image and the Beuysian aura of pure material. Herold, after all, is in his mid-60s, old enough to belong to the generation that superseded the great German shaman…” (Mark Prince, ‘Georg Herold’, Frieze, issue 140, June–August 2011)

Comparable to the playful, open-ended experimentation of Arte Povera, Herold uses a vast array of materials and concepts which challenge the nature of art and its context effectively while injecting them with a mischievous sense of humour. His work is powerful and confrontational, and like other German artists working at the same time, such as Martin Kippenberger, Werner Buttner and Albert Oehlen, with whom Herold has been closely associated. In their different ways, these artists’ work defied prevailing bourgeois art forms and remained outside the limits of conventional categorizations of contemporary art.

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127 MIRA SCHENDEL 1919–1988 Untitled, 1956 Mixed media on board. 85.5 × 56 cm (33 5/8 × 22 in). Signed and dated ‘Mira MCMLVI’ on the reverse.

Estimate £120,000–180,000 $190,000–285,000 €139,900–209,800 PROVENANCE Private Collection, Santiago; Private Collection, Los Angeles; Private

Collection, Paris

Born in Zurich in 1919, Mira Schendel grew up and was educated in Milan. Her father and maternal grandfather were Jewish, and she left Italy under duress during the Second World War. Schendel lived in Sofia, Sarajevo and Rome before eventually applying for Brazilian citizenship. She settled in Porto Alegre in 1949 and moved to São Paulo in 1953. In the present lot, Untitled, 1956, Schendel paints oil generously onto the board, producing a distinctive thick texture; this is inherent to her still life, landscape and portrait paintings of the 1950s and early 1960s. From 1962 onwards, she began to use tempera, and produced a series of works that occupy the interstices between abstraction and figuration and were often titled simply Paisagem (landscape) or Fachada (façade). The theoretical physicist, collector, curator and critic, Mário Schenberg, was drawn to this reconciliation of abstraction with figuration in Schendel’s work. For Schenberg, the findings of geometric abstraction and concrete art generated “new types of figurative imagery”. The establishing of a productive and mutually transforming dialogue with writers and thinkers was of central importance to the process of Schendel’s work. In addition to Schenberg, other partners in this dialogue included the philosophers Vilém Flusser, Max Bense, Jean Gebser and Hermann Schmitz.

“Mira Schendel’s art is a paradigm of an intellectually refined art which strives to build ties between philosophical concerns and the poetic structure of a work of art ... The conceptual complexity of her work never affected the clarity of the artistic fact. Schendel understood art as a complete experience within the concept of space as established by Western culture.” (P. Herkenhoff, ‘Mira Schendel and the shaping of the inexpressible’ [1994], in Mira Schandel Monotypes, Galleria Millan and Stephen Friedman Gallery, 2009, p. 1)

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128 DAVID NASH b. 1945 Skirted Beech, 1986 Beech wood. 210 × 109 × 46 cm (82 5/8 × 42 7/8 × 18 1/8 in).

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ♠ ‡ PROVENANCE Annely Juda Fine Art, London EXHIBITED London, Juda Rowan Gallery, Tree to Vessel, 17 April–24 May 1986 LITERATURE Tree to Vessel, exh. cat., London, Juda Rowan Gallery, 1986

(illustrated)

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129 DAVID NASH b. 1945 Rip and Cross Cut Column, 2001 Caen-y-Coed beech wood. 74 × 28 × 25 cm (29 1/8 × 11 × 9 7/8 in).

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 ♠ ‡ PROVENANCE Galerie Lelong, Paris

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130 CALLUM INNES b. 1962 Exposed Painting Blue Light, 2002 Oil on canvas. 175 × 167 cm (68 7/8 × 65 3/4 in). Signed and dated ‘CALLUM INNES 2002’ on the stretcher; further signed and dated ‘Callum Innes 02’ on the overlap.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ♠ PROVENANCE Sean Kelly Gallery, New York

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131 JEPPE HEIN b. 1974 Billboard, 2004 Lacquer on aluminium and electric motor. 124 × 178.5 × 10 cm (48 7/8 × 70 1/4 × 3 7/8 in). This work is from an edition of 5.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ♠ PROVENANCE 303 Gallery, New York

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132 ELMGREEN & DRAGSET b. 1961/1969 Depot from the series Powerless Structures, 2001 MDF, wood, galvanized iron staircase, paint, hinges, door handle and profile letters. 100 × 360 × 285 cm (39 3/8 × 141 3/4 × 112 1/4 in). This work is unique and is accompanied by a certificate of authenticity signed by the artists.

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 ♠ PROVENANCE Nicolai Wallner Gallery, Copenhagen EXHIBITED Copenhagen, Statens Museum for Kunst, A Room Defined by Its Accessibility,

23 June – 9 September 2001; Zurich, Kunsthalle Zurich, Taking Place, 10 November 2001 – 20 January 2002 LITERATURE A Room Defined by Its Accessibility, exh. cat., Copenhagen, Statens Museum

for Kunst, 2001, fig. 127 (illustrated); Taking Place, exh. cat., Zurich, Kunsthalle Zurich, 2001

Elmgreen & Dragset’s ongoing installation series Powerless Structures examines the functionality and meaning of space. Depot serves as a playful intervention into the conventions of the ‘white cube’ gallery space. Typically injected with a sharp subversive humour, the structure and the space it inhabits are rendered functionless.

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133 FRANCIS ALŸS b. 1959 Ambulantes, 1992–2001 80 photographic slides and carousel. Dimensions variable. This work is from an edition of 4 plus 1 artist’s proof plus 1 exhibition copy and is accompanied by a certificate of authenticity signed by the artist.

Estimate £40,000–60,000 $63,300–95,000 €46,600–69,900 ♠ PROVENANCE Marco Noire Contemporary Art, Turin EXHIBITED Walking Distance from the Studio, Wolfsburg: Kunstmuseum

Wolfsburg 4 September – 28 November 2004, then travelled to Nantes: Musée des Beaux-Arts (8 January – 28 March 2005), Barcelona, Museo d’Art Contemporani de Barcelona (26 May – 29 August 2005), Mexico City: Antiguo Colegio de San Ildefonso (1 March – 4 June 2006); Francis Alÿs: (to be continued), 1992, Auckland: ARTSPACE 15 October – 19 November 2005; Roaming Memories, Aachen: Ludwig Forum für Internationale Kunst 8 October – 20 November 2005; Realit;-)t 30 Videoarbeiten aus der Sammlung Goetz München Pfäfflikon: Seedamm Kulturzentrum 28 August – 23 October 2005; GOETZ MEETS FALCKENBERG: Works from the Goetz Collection and the Falckenberg Collection, Hamburg, Sammlung Falckenberg, 4 November 2005 – 30 April 2006; RaconteMoi. Tell me: Quebec, Musée national des beaux-arts du Québec, 6 October 2005 – 9 April 2006, then travelled to Luxemburg, Casino Luxembourg – Forum d’art contemporain (10 June – 10 September 2006); Amsterdam, Stedelijk Museum, Mapping the City, 2 February – 20 May 2007; Munich, Sammlung Goetz, Francis Alÿs, 26 May – 11 October 2008 LITERATURE Fast forward. Media Art Sammlung Goetz, exh.cat., ZKM I

Zentrum für Kunst und Medientechnologie Karlsruhe, 2003, pp. 66–67; Arno Orzessek, ‘Sisyphos mit totem Käfer’, in Süddeutsche Zeitung, 4–5 September 2004, p. 17; Heiko Klass, ‘Francis Alÿs’, in Artist Kunstamagazine, no. 4, 2004, pp. 42–54; Francis Alÿs: Walking Distance from the Studio, exh. cat., Kunstmuseum Wolfsburg, Wolfsburg, 2004, n.p; GOETZ MEETS FALCKENBERG: Works from the Goetz Collection and the Falckenberg Collection, exh. cat. Sammlung Falckenberg, Hamburg 2005, pp. 92–93; Raconte-Moi. Tell me, exh. cat., Casino Luxembourg – Forum d’art contemporain, 2005, p. 22; Diez Cuadras Alrededor del Estudio. Walking Distance from the Studio, exh. cat., Antiguo Colegio de San Ildefonso, Mexico City, 2006, pp. 24–25; Francis Alÿs, London: Phaidon Press, 2007, p. 20; Francis Alÿs, exh. cat., Sammlung Goetz, München, 2008, pp. 130–31 and 149

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134 FRANCIS ALŸS b. 1959 Mexico D.F., 2002 Three colour photographs and collage. Each: 10 × 15 cm (3 7/8 × 5 7/8 in). One photograph is signed, titled, dated ‘Mexico D.F. 2002 Francis Alys’ and numbered of 6 on the reverse; 2 further photographs are numbered of 6. This work is from an edition of 6 and accompanied by a certificate of authenticity.

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 ♠ PROVENANCE Yvon Lambert, Paris

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135 FRANCIS ALŸS b. 1959 Untitled (Man with Parrot), 1997 Oil on canvas mounted on wood. 25.4 × 17.9 cm (10 × 7 in). Signed and dated ‘F. Alÿs 1997’ on the reverse.

Estimate £45,000–65,000 $71,200–102,900 €52,500–75,800 ♠  ‡ PROVENANCE Sprüth Magers Lee, London

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Detail

136 RICHARD PRINCE b. 1949 Untitled (Cloud Joke Gang), 1985 Colour coupler print. 61 × 50.8 cm (24 × 20 in).

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 ‡ PROVENANCE Simon Watson Gallery, New York; Jedermann Collection, USA

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137 FLORIAN MAIER-AICHEN b. 1973 Untitled, 2005 Colour coupler print. 177 × 235 cm (69 5/8 × 92 1/2 in). Signed, dated ‘Florian Maier-Aichen 2005’ and numbered of 6 on a gallery label on the reverse. This work is from an edition of 6.

Estimate £50,000–70,000 $79,200–110,800 €58,300–81,600 ♠ ‡ PROVENANCE Blum & Poe Gallery, Los Angeles

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138 JOHN BALDESSARI b. 1931 Space between glad hands, 1986 Black and White photograph. 84.5 × 183.5 cm (33 1/4 × 72 1/4 in). Signed on the reverse. This work is accompanied by a certificate of authenticity.

Estimate £100,000 –150,000 $158,300 –237,500 €116,000 –174,800 PROVENANCE Sonnabend Gallery, New York; No Limits Events Gallery, Milan

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139 ADEL ABDESSEMED b. 1971 Sphere, 2006 Steel ring with barbed wire. 172 × 172 cm (67 3/4 × 67 3/4 in). This work is from an edition of 5.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 ♠ ‡ PROVENANCE Galerie Kamel Mennour, Paris

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140 JAUME PLENSA b. 1955 Self-portrait as O.W., 2005 Cast marble. 83 × 48 × 77 cm (32 5/8 × 18 7/8 × 30 3/8 in). This work is unique.

Estimate £40,000–60,000 $63,300–95,000 €46,600–69,900 ♠ PROVENANCE Albion Gallery, London EXHIBITED London, Albion Gallery, Jaume Plensa: Song of Songs, 14 April –

11 June 2005 LITERATURE Jaume Plensa: Song of Songs, exh. cat., Albion Gallery, London,

2005, p. 3 and pp. 5–7 (illustrated)

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141 ANDY WARHOL 1928–1987 Repent and Sin No More! (Positive), 1985–86 Synthetic polymer and silkscreen ink on canvas. 51 × 40.8 cm (20 × 16 in). Stamped twice with the Estate of Andy Warhol and the Andy Warhol Foundation of Visual Arts stamps on the overlap (PA10.163).

Estimate £50,000–70,000 $79,200–110,800 €58,300–81,600 ‡ PROVENANCE The Estate of Andy Warhol and the Andy Warhol Foundation for the Visual

Arts, New York; Private Collection, Los Angeles

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142 DÉSIRÉE DOLRON b. 1963 Xteriors (Brigitte), 2001 Colour coupler print, Diasec mounted. 165 × 125 cm (64 7/8 × 49 1/4 in). Signed, titled, dated ‘Xteriors Brigitte 2001 Désirée Dolron’ and numbered of 8 on the reverse. This work is from an edition of 8.

Estimate £40,000–60,000 $63,300–95,000 €46,600–69,900 ♠ ‡ PROVENANCE Plan Deux, Tokyo; Private Collection, Japan

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143 DAMIEN HIRST b. 1965 Requiem, 2007 Silver. Approx. 12 × 14 × 20 cm (4 3/4 × 5 1/2 × 7 7/8 in). Incised ‘Requiem Damien Hirst’ and numbered of 12 on the underside.

Estimate £50,000–70,000 $79,200–110,800 €58,300–81,600 ♠ ‡ PROVENANCE White Cube, London

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144 KEITH HARING 1958–1990 Untitled, 1982 Felt-tip pen and spray paint on metal. 26.4 × 55.9 × 5.6 cm (10 3/8 × 22 × 2 1/4 in). Signed and inscribed on the reverse

Estimate £40,000–60,000 $63,300–95,000 €46,600–69,900 ‡ PROVENANCE Private Collection, Italy

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145 KEITH HARING 1958–1990 Untitled, 1981 Colour felt-tip pen on plastic. 51 × 65.7 cm (20 1/8 × 25 7/8 in). Signed and dated ‘K. HARING – 81’ on the reverse; further signed ‘K. Haring’ on the reverse.

Estimate £60,000–80,000 $95,000–126,700 €69,900–93,200 PROVENANCE Tony Shafrazi Gallery, New York

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146 MICKALENE THOMAS b. 1971 Ain’t l a Woman (Fran), 2009 Diptych: DVD, rhinestone, acrylic and enamel on panel. Panel: 91.4 × 71.1 cm (35 7/8 × 27 7/8 in); screen: 42.5 × 60.5 × 13.5 cm (16 3/4 × 23 7/8 × 5 3/8 in). Signed, titled and dated ‘M. Thomas Ain’t l a Woman (Fran) 2009’ on the reverse and numbered of 3. This work is from an edition of 3.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 Ω PROVENANCE Lehmann Maupin, New York

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147 BARNABY FURNAS b. 1973 The Caning of Senator Charles Sumner (1856), 2009 Watercolour on paper. 22.9 × 30.5 cm (9 × 12 in). Signed and dated ‘Barnaby Furnas 10/12/09’ on the reverse.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ‡ PROVENANCE Marianne Boesky Gallery, New York

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148 JAKE and DINOS CHAPMAN b. 1966/1962 I wanted to say “I’ve Missed You”, 2008 Painted bronze. 124 × 70 × 51 cm (48 7/8 × 27 1/2 × 20 1/8 in). This work is unique.

Estimate £40,000–60,000 $63,300–95,000 €46,600–69,900 ♠ ‡ PROVENANCE Acquired directly from the artists EXHIBITED New York, L&M Arts, Jake & Dinos Chapman: Little Death Machines,

9 May – 3 July 2008

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149 PAUL McCARTHY b. 1945 Unresolved images 1968–1971, 1998 Portfolio of 22 gelatin silver prints. Each: 20.3 × 25.4 cm (7 7/8 × 10 in). This work is signed and from an edition of 7.

Estimate £16,000–20,000 $25,300–31,700 €18,600–23,300 ‡ PROVENANCE 20.21 Galerie Edition Kunsthandel, Essen

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150 DASH SNOW 1981–2009 Untitled, 2008 Collage, metal and canvas under glass. 47.4 × 34.3 × 8.9 cm (18 2/3 × 13 1/2 × 3 1/2 in). Signed ‘Dash Snow’ on the reverse.

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 ‡ PROVENANCE Contemporary Fine Arts, Berlin

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151 MARTIN KIPPENBERGER 1953–1997 Japanese Vending Machine, 1995 Graphite on paper, colour photograph and underwear in artist’s frame. 69.5 × 52 cm (27 3/8 × 20 1/2 in). Initialled and dated ‘M.K. 95’ upper left quarter and further signed ‘Kippenberger’ in Japanese lower right.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 PROVENANCE David Nolan, New York EXHIBITED New Haven, Yale University Art Gallery, Then and Now: Art at Yale

since 1945, February–August 1998

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152 JOHN BOCK b. 1965 Der Ultimativ Rendite Rezipenten Aufbau bei Gleichzeitiger Fütterung der modderMachtMasse, 2002 Aluminium bars, new wool, trousers, popcorn machine, cardboard, wood bars, tape, metal chain and nail clipper. Overall dimension: 208.3 × 63.5 × 69.9 cm (82 × 25 × 27 1/2 in).

Estimate £25,000–35,000 $39,600–55,400 €29,100–40,800 ♠ ‡ PROVENANCE Private Collection, USA EXHIBITED New York, Nyehaus, A. B. Normal, 15 September–5 November 2005

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153 OLAFUR ELIASSON b. 1967 Snow crystal roof, 2004 Glass, mirror, lead, stainless steel, and stainless steel wire. 190 × 165 cm (74 3/4 × 65 in). This work is unique and is accompanied by a certificate of authenticity.

Estimate £50,000 –70,000 $79,200 –110,800 €58,300 – 81,600 ♠ PROVENANCE Tanya Bonakdar Gallery, New York EXHIBITED Aspen Art Museum, Colorado, Olafur Eliasson: I only see things when they move,

6 August–3 October 2004

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154 ANSELM REYLE b. 1970 Untitled (Pink), 2007 Aluminium, chrome optics and patina. 66 × 55 cm (25 7/8 × 21 5/8 in). Signed and dated ‘Anselm Reyle 2007’ on the reverse.

Estimate £30,000–40,000 $47,500–63,300 €35,000–46,600 ♠ PROVENANCE COMA Gallery, Berlin; Private Collection, Europe

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155 ANSELM REYLE b. 1970 Untitled (Purple Foil), 2006 PVC foil and acrylic on canvas in Plexiglas box. 142 × 124 × 19 cm (55 7/8 × 48 3/8 × 7 1/2 in).

Estimate £40,000–60,000 $63,300–95,000 €46,600–69,900 ♠ PROVENANCE Galerie Almine Rech, Paris

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156 IVAN NAVARRO b. 1972 Negative Progression, 2008 Neon light, mirrors and electricity, in four parts. Each: 176 × 60 × 61 cm (69 1/4 × 23 5/8 × 24 in). This work is from an edition of 3 plus 1 artist’s proof.

Estimate £50,000–70,000 $79,200–110,800 €58,300–81,600 ♠ ‡ Ω PROVENANCE Galerie Daniel Templon, Paris; Private Collection, Switzerland

157 No Lot

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158 JANNIS KOUNELLIS b. 1936 Untitled, 1961 Ink on paper. 70 × 100 cm (27 1/2 × 39 3/8 in). Signed and dated ‘Kounellis 61’ lower right.

Estimate £35,000–45,000 $55,400–71,200 €40,800–52,500 ♠ PROVENANCE Saman Gallery, Genoa

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159 REBECCA WARREN b. 1965 Agapé, 2002 Self-firing clay. 10.2 × 40 × 51.1 cm (4 × 15 3/4 × 20 1/8 in).

Estimate £20,000–25,000 $31,700–39,600 €23,300–29,100 ♠ ‡ PROVENANCE Maureen Paley, London

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160 LOUISE BOURGEOIS 1911–2010 Self-portrait, 2007 Drypoint on unique cloth. 30.5 × 30.5 cm (12 × 12 in). Embroidered ‘LB’ lower right. This work is unique and from a series of 13, of which 8 are editioned with arabic numerals and 5 with Roman numerals.

Estimate £18,000–22,000 $28,500–34,800 €21,000–25,600 ‡ PROVENANCE Carolina Nitsch, New York

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161 CECILY BROWN b. 1969 Cottage No 3, 1991 Oil on canvas. 91.9 × 79.1 cm (36 1/8 × 31 1/8 in). Signed, titled and dated ‘Cottage No 3 September ‘91 Cecily Brown’ on the reverse.

Estimate £25,000–35,000 $39,600–55,400 €29,100–40,800 ♠ ‡ PROVENANCE Acquired directly from the artist

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162 NOBUYOSHI ARAKI b. 1940 Shiki in Me (H), 2006 Acrylic on gelatin silver prints in nine parts. Overall: 165.1 × 134.6 cm (65 × 52 7/8 in). This work is unique, from a series of 20 unique works and is accompanied by a certificate of authenticity signed and dated by the artist.

Estimate £18,000–25,000 $28,500–39,600 €21,000–29,100 ‡ PROVENANCE Yashii Gallery, New York EXHIBITED Tokyo, Taka Ishii Gallery, Nobuyoshi Araki: Shiki In Me, May 25 – June 17, 2006 LITERATURE S. Sagawa, Nobuyoshi Araki: Shiki In Me, Tokyo, 2006, pp. 48–53 (illustrated)

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163 YOSHITOMO NARA b. 1959 Dogs From Your Childhood, 2000 Fibreglass-reinforced plastic and acrylic on canvas laid down on panel. 106 × 59.6 × 287 cm (41 3/4 × 23 1/2 × 113 1/2 in). Dated ‘Jan 2000’ on the interior of the dog house. This work is from an edition of 6.

Estimate £60,000–80,000 $95,000–126,700 €69,900–93,200 PROVENANCE Tomio Koyama Gallery, Tokyo; Galerie Michael Zink, Munich EXHIBITED Trading Views: Saarbrücken, Stadtgalerie, February – March 2000

(another example exhibited), then travelled to Städtische Galerie, Erlangen, Stedelijk Museum de Lakenhal, Leiden LITERATURE S. Trescher, B. Yoshimoto and Y. Nara, Yoshitomo Nara: Lullaby

Supermarket, Nuremberg, 2002, pp. 161, 198–99

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164 DONALD JUDD 1928–1994 Untitled, 1991 Anodized aluminium. 14.9 × 105 × 14.9 cm (5 7/8 × 41 1/3 × 5 7/8 in). Engraved with signature and date ‘Don Judd 1991’ and numbered of 12 on a plaque affixed to the underside. This work is from an edition of 12.

Estimate £25,000–35,000 $39,600–55,400 €29,100–40,800 Ω PROVENANCE Published by Edition Schellman, Munich and New York LITERATURE M.J. Jitta and J. Schellmann, eds., Donald Judd: Prints and Works

in Edition, New York 1996, pp. 136 – 143 (illustrated)

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165 JOSEF ALBERS 1888–1976 Portfolio ‘Homage to the Square’, 1967 The complete portfolio comprising twelve colour screen prints on Schöllers Hammer Board. Each: 62 × 62 cm (24 3/8 × 24 3/8 in). Each signed ‘Albers’ lower right margin and numbered of 14 lower left. This work is from an edition of 125 plus 14 proofs and published by Editions Domberger, Stuttgart, for Galerie der Spiegel, Cologne.

Estimate £50,000–70,000 $79,200–110,800 €58,300–81,600 † PROVENANCE Private Collection, Munich LITERATURE B. Danilowitz, The Prints of Josef Albers. A Catalogue Raisonné 1915–1976, New York:

Hudson Hills Press, 2001, pp. 175.1 – 175.12

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166 AI WEIWEI b. 1957 Beijing’s Presents, 2002 Four bricks of dismantled houses in Hutung and wood of destroyed temples, Qing dynasty. Each: 9.5 × 22.5 × 35.5 cm (3 3/4 × 8 7/8 × 13 7/8 in). This work is from an edition of 3.

Estimate £40,000–50,000 $63,300–79,200 €46,600–58,300 ‡ PROVENANCE Galerie Urs Meile, Beijing; Private Collection, Europe

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167 YANG SHAOBIN b. 1963 Hunting, 2003 Oil on canvas. 70.1 × 89.9 cm (27 5/8 × 35 3/8 in). Signed and dated ‘YANG SHAOBIN 2003-2’ lower left; further signed in Chinese and dated ‘Yang Shaobin 2003-2’ on the reverse.

Estimate £70,000–90,000 $110,800–142,500 €81,600–104,900 ‡ PROVENANCE Kwai Fung Hin Art Gallery, Hong Kong, China; Private Collection,

London

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168 LIU WEI b. 1965 Set of 20 drawings, 2001 Seven works: charcoal on paper; each: 8 × 8 cm (3 1/2 × 3 1/2 in); 13 works: charcoal and colour pencil on paper; each: 10 × 10 cm (4 × 4 in). This work is accompanied by a certificate of authenticity.

Estimate £30,000–40,000 $47,500–63,300 €35,000–46,600 ‡ PROVENANCE Ray Hughes Gallery, Sydney; Private Collection, Europe

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169 YANG SHAOBIN b. 1963 Untitled No. 13, 2000 Oil on canvas; 160 × 140 cm (63 × 55 1/5 in). Signed in Pinyin, titled and dated ‘No – 13 YANG SHAOBIN 2000–7’ lower left.

Estimate £150,000–180,000 $237,500–285,000 €174,800–209,800 ‡ PROVENANCE Private Collection, Europe

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Detail

170 ZHANG HUAN b. 1965 Insect Painting No. 2, 2006 Oil on canvas. 250 × 360 cm (98 3/8 × 141 3/4 in). Signed in Pinyin, titled and dated ‘Zhang Huan 2006, No. 2’ on the reverse.

Estimate £50,000–70,000 $79,200–110,800 €58,300–81,600 † PROVENANCE Haunch of Venison, London EXHIBITED London, The Saatchi Gallery, The Revolution Continues: New Art From

China, 9 October 2008 – 18 January 2009 LITERATURE M. Holborn, ed., The Revolution Continues: New Art From China,

exh. cat., London: Jonathan Cape, 2008, p.160–61 (illustrated); U. Grosenick and C. Schübbe, eds., China Art Book, Cologne: DuMont Buchverlag, 2007, p. 599

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171 LIU XIAOCHENG b. 1963 Breath (22), 2007 Oil on canvas. 168 × 188 cm (66 1/8 × 74 in). Signed in Chinese and dated ‘Liu Xiaocheng 2007’ lower left. This work is accompanied by a certificate of authenticity.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ‡

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172 YIN ZHAOYANG b. 1970 Tianaman Square, 2007 Oil on canvas. 150 × 150 cm (59 × 59 in). Signed in Pinyin and dated ‘Yin Zhaoyang 2007’ on the reverse.

Estimate £60,000–80,000 $95,000–126,700 €69,900–93,200 PROVENANCE Aura Gallery, Shanghai

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173 SHENG QI b. 1965 Mao and his Women, 2006 Acrylic on canvas. 150 × 200 cm (59 × 78 3/4 in). Signed and dated ‘Sheng Qi 2006’ on the reverse. This work is accompanied by a certificate of authenticity signed and dated by the artist.

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 PROVENANCE F2 Gallery, Hong Kong

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174 SHENG QI b. 1965 Mao and Nixon, 2007 Acrylic on canvas. 99 × 119.5 cm (38 7/8 × 47 in). Signed and dated ‘Sheng Qi 2007’ on the reverse. This work is accompanied by a certificate of authenticity signed and dated by the artist.

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 PROVENANCE F2 Gallery, Hong Kong

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175 GUO JIN b. 1964 Dawn No. 14, 2007 Oil on linen. 298 × 218 cm (117 3/8 × 85 7/8 in). Signed in Pinyin and dated ‘Guo Jin 2007’ lower right; further signed in Chinese and Pinyin, titled in Chinese and dated ‘Dawn No. 14 2007 Guo Jin’ on the reverse.

Estimate £35,000–45,000 $55,400–71,200 €40,800–52,500 ‡

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176 ZHENG DELONG b. 1976 Cheng Du in China, 2008 Oil on canvas. 150 × 210 cm (59 × 82 5/8 in). Signed in Chinese and Pinyin, titled and dated ‘<<2008-02>> Cheng Du in China Zheng Delong’ on the reverse.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ‡

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177 HERMANN NITSCH b. 1938 Actionpainting – Fresco, 1981 Triptych: oil and acrylic on panel with ancient Roman head. Left panel: 202 × 112.7 cm (79 1/2 × 44 3/8 in); centre panel: 202 × 114 cm (79 1/2 × 44 7/8 in); right panel: 202 × 112.7 cm (79 1/2 × 44 3/8 in); Roman head: approx. 33 × 22.5 × 19.5 cm (12 7/8 × 8 7/8 × 7 5/8 in).

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 ♠ † PROVENANCE Galerie Julius Hummel, Vienna EXHIBITED Vienna, Museum Moderner Kunst, Der Hang zum Gesamtkunstwerk,

10 September – 13 November 1983; Bologna, Galleria Comunale d’arte moderna, Arte Austriaca 1960–1984, 4 June – 31 August 1984; Rome, Palazzo Braschi, Artisti Austriaci a Roma 1964–1996, 12 April – 23 May 1996; London, The Saatchi Gallery, The Triumph of Painting, 26 January – 30 October 2005 LITERATURE B. Schwabsky, ed., The Triumph of Painting: The Saatchi Gallery,

London: Jonathan Cape, 2005, p. 88–89; P. Weibel and C. Steinle, eds., Identität: Differenz: Tribüne Trigon 1940–1990 – Eine Topografie der Moderne, exh. cat., Graz: Grazer Druckerei, 1992, p. 69; Oscar Sandner, Artisti Austriaci a Roma – Rom suchen, 1964–1996, Folio Verlag, Vienna-Bozen, 1996, p. 112; Peter Weiermair, Arte Austriaca 1960–1984, Galleria Comunale d’arte moderna, Bologna:Grafis Edizioni, p. 65

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178 ANDY HOPE 1930 b. 1963 4419, 2007 Acrylic and varnish on canvas. 231.1 × 311.2 cm (91 × 122 1/2 in). Signed ‘by Andy Hope 1930’ along the lower edge.

Estimate £25,000–35,000 $39,600–55,400 €29,100–40,800 ♠ ‡ PROVENANCE Private Collection, USA

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179 PAULINA OLOWSKA b. 1976 Olivia Newton John, 2005 Oil on canvas. 200.7 × 99.7 cm (79 × 39 1/4 in). Signed, titled and dated ‘Paulina Olowska, 2005, Olivia Newton John’ on the reverse.

Estimate £25,000–35,000 $39,600–55,400 €29,100–40,800 ♠ ‡ PROVENANCE Private Collection, USA

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180 RAYMOND PETTIBON b. 1957 Untitled (Her Image Blurs...), 2001 Ink and watercolour on paper. 45.5 × 31 cm (17 7/8 × 12 1/4 in). Signed and dated ‘Raymond Pettibon 2001’ on the reverse.

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 PROVENANCE Private Collection

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181 RAYMOND PETTIBON b. 1957 Untitled (Here is no ruin, no discontinuity, no spent ball …), 1999 Ink and watercolour on paper. 61 × 45.5 cm (24 × 17 7/8 in). Signed and dated ‘Raymond Pettibon 99’ on the reverse.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 PROVENANCE Private Collection

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182 GARDAR EIDE EINARSSON b. 1976 Burnt Black Flag (Danish), 2006 Burnt cotton and grommets. 134.6 × 193 cm (53 × 76 in).

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 ♠ ‡ PROVENANCE Nils Stærk, Copenhagen; Private Collection, USA

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183 GEORGE CONDO b. 1957 Five works: Untitled, 1985 Three works: watercolour on paper, each: 34 × 26 cm (13 3/8 × 10 1/4 in); 1 work: colour pencil on paper, 24.5 × 31.3 cm (9 5/8 × 12 3/8 in), 1 work: ink on paper, 45 × 37.7 cm (17 3/4 × 14 7/8 in). Each signed and dated ‘Condo 85’ upper and lower edges.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ‡ PROVENANCE Galerie Bruno Bischofberger, Zurich

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184 GEORGE CONDO b. 1957 The Night Watch, 1995 Oil on canvas. 61 × 46 cm (24 × 18 in). Signed and dated ‘Condo 95’ upper left.

Estimate £25,000 –35,000 $39,600 –55,400 €29,100 – 40,800 ‡ PROVENANCE Luhring Augustine, New York

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185 JOHN KÖRNER b. 1967 Lolland, 2004 Acrylic on canvas. 180 × 240 cm (70 7/8 × 94 1/2 in).

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 ♠ † PROVENANCE Victoria Miro, London EXHIBITED London, Victoria Miro, Painting 2004, 30 March – 24 April 2004 LITERATURE B. Schwabsky, ed., The Triumph of Painting : The Saatchi Gallery,

London: Jonathan Cape, 2005, p. 304

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186 TALA MADANI b. 1981 Sunny Side Up (Dazzled), 2008 Oil on canvas. 195 × 220 cm (76 3/4 × 86 5/8 in).

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 PROVENANCE Lombard-Freid Projects , New York

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187 FRIEDRICH KUNATH b. 1974 Untitled, 2006 Mixed media on canvas. 65 × 85.1 cm (25 5/8 × 33 1/2 in).

Estimate £6,000 – 8,000 $9,500 –12,700 €7,000 –9,300 ♠  ‡ PROVENANCE Blum & Poe, Los Angeles

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188 TOM SACHS b. 1966 Tiffany & Co Crispy Chicken Deluxe Meal, 1998 Ink on printed paper and glue, cardboard and fabric construction. 32.1 × 32.5 × 32.5 cm (12 5/8 × 12 3/4 × 12 3/4 in). Signed and dated ‘Tom Sachs 1998’ on the lid’s underside.

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 PROVENANCE Vanmoerkerke Collection, Ostende

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189 PAUL McCARTHY b. 1945 Untitled, 1991 Permanent marker on paper. 76 × 56 cm (29 7/8 × 22 in). Signed and dated ‘1991 Paul McCarthy’ on the reverse. This work is accompanied by a certificate of authenticity signed by the artist.

Estimate £3,000–4,000 $4,700–6,300 €3,500–4,700 PROVENANCE Studio Guenzani, Milan; Private Collection, Europe EXHIBITED Milan, Studio Guenzani, Paul McCarthy, Lari Pittman, Jeffrey Vallance,

31 March–8 May 1992

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190 ROBERT CRUMB b. 1943 Untitled (Sketch), 1968 Ink on paper. 24.6 × 19.2 cm (9 5/8 × 7 1/2 in).

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 PROVENANCE Acquired directly from the artist LITERATURE Robert Crumb Sketchbook, Zweitausendeins, 1986, p. 68

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191 ROBERT CRUMB b. 1943 Yeti, 1977 Ink on paper. 29.2 × 22.5 cm (11 1/2 × 8 7/8 in). Signed and dated ‘R. CRUMB ’77’ lower right.

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 PROVENANCE Acquired directly from the artist

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192

193

192 MARCEL DZAMA b. 1974 Humbled by Traitors, 2007 Watercolour on paper in 2 parts. 34.9 × 54 cm (13 3/4 × 21 1/4 in). Signed ‘Marcel Dzama’ lower right and on the reverse.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 PROVENANCE Galleri Magnus Karlsson, Stockholm EXHIBITED Stockholm, Galleri Magnus Karlsson, Marcel Dzama: Celluloid

Ceremony, May–July 2007

193 MARCEL DZAMA b. 1974 Photo Hunt, 2006 Acrylic, oil and paper on panel. 30.5 × 23 cm (12 × 9 in). Signed ‘Marcel Dzama’ lower right; signed titled and dated ‘MARCEL DZAMA 2006 PHOTO HUNT’ on the reverse.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 PROVENANCE Timothy Taylor Gallery, London

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194 MARCEL DZAMA b. 1974 The Bear Suit Lady, 2004 Bear: fake fur, felt, chicken wire, foam and rubber; drawing: framed watercolour on paper. Bear: approx. 180 × 170 × 40 cm (70 7/8 × 66 7/8 × 15 3/4 in); drawing: 35.5 × 28 cm (13 7/8 × 11 in). Signed ‘Marcel Dzama’ on the drawing lower right.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 † PROVENANCE Private Collection, London EXHIBITED Birmingham, Ikon Gallery, Tree with Roots, 24 May–16 July 2006, then

travelled to Glasgow, Centre for Contemporary Art (5 August–16 September 2006)

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195 JON PYLYPCHUK b. 1972 Mountain Painting, 2004 Mixed media on wood. 152 × 183 cm (59 7/8 × 72 in).

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 PROVENANCE China Art Objects, Los Angeles

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196 JON PYLYPCHUK b. 1972 So then we will burn you when you are dead, 2006 Wood, wood glue, fake fur, hot glue, watercolour, polyurethane and cotton. 244 × 203 × 203 cm (96 1/8 × 79 7/8 × 79 7/8 in).

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 † PROVENANCE Alison Jacques Gallery, London EXHIBITED London, Alison Jacques Gallery, Jon Pylypchuk: You are all too close to

dropping off now, 17 March – 22 April 2006 LITERATURE USA Today: New American Art from The Saatchi Gallery, exh. cat.,

London: Royal Academy Publications, 2006, p. 132–41; Shape of Things to Come: The Saatchi Gallery, exh. cat., London: Jonathan Cape, 2011, p. 205

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197 ANTON HENNING b. 1964 Blumenstilleben no. 289, 2005 Oil on canvas, in artist’s frame. 80.2 × 80.4 cm (31 5/8 × 31 5/8 in). Initialled and dated ‘AH 05’ lower left; further initialled, titled and dated ‘AH 2005 – Blumenstilleben no. 289’ on the reverse.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ♠ ‡ PROVENANCE Arndt & Partner, Berlin EXHIBITED Berlin, Arndt & Partner, 2005; Krefeld, Museum Haus Esters,

Anton Henning: 31 Apotheotische Antiphrasen für Haus Esters, 30 October 2005– 29 January 2006 LITERATURE Anton Henning: 31 Apotheotische Antiphrasen für Haus Esters,

exh. cat., Museum Haus Esters, Krefeld, 2005

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THIS LOT IS SOLD WITH NO RESERVE

198 JONATHAN MEESE b. 1970 Dr. Skelett + The Exekutor, 2004 Oil, paper, hair and glue on canvas in 2 parts. Each: 30 × 24 cm (11 3/4 × 9 1/2 in). Signed, titled and dated ‘DR. SKELETT J Meese 2004’ and ‘Der Exekutor J Meese 2004’ respectively on the reverse.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ♠ †

PROVENANCE Sies + Höke Galerie, Düsseldorf; Private Collection, London;

Private Collection, Europe

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199 JONATHAN MEESE b. 1970 Das schwarze quadratische Loch aus Porzellan, 2005 Oil and photograph collage on canvas. 160 × 360.5 cm (62 7/8 × 141 7/8 in). Initialled and dated ‘JM 2005’ lower left.

Estimate £25,000–35,000 $39,600–55,400 €29,100–40,800 ♠ ‡ PROVENANCE Private Collection, Germany

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200 JEPPE HEIN b. 1974 Modified Social Bench, 2005 Powder coated steel. 75 × 180 × 49 cm (29 1/2 × 70 7/8 × 19 1/4 in).

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ♠ PROVENANCE Galerie Johann König, Berlin

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201 ELMGREEN and DRAGSET b. 1961/1969 Top and Bottom, 2007 Stainless steel, water taps and rubber pipe. 90 × 100 × 85 cm (35 3/8 × 39 3/8 × 33 1/2 in). This work is from an edition of 10 plus 2 artist’s proofs and is accompanied by a certificate of authenticity.

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 ♠ ‡ PROVENANCE Der Kunstverein, Hamburg

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(i)

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202 ERWIN WURM b. 1954 Fat House Moller / Adolf Loos, 2003-05 (i) Painted wood and plastic; (ii) acrylic resin and metallic paint. (i) 35.5 × 46 × 49.1 cm (13 7/8 × 18 1/8 × 19 3/8 in); (ii) 34.5 × 47.5 × 47.5 cm (13 5/8 × 18 3/4 × 18 3/4 in). This work is an artist’s proof from an edition of 25, plus 4 artist’s proofs and is accompanied by a certificate of authenticity.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ ‡ PROVENANCE Galerie Nicola von Senger, Zurich LITERATURE E. Wurm, I Love My Time, I Don’t Like My Time, Vienna, 2004, p. 177

(another from the edition illustrated); T. Davila, Erwin Wurm: The Artist Who Swallowed The World, Vienna, 2007, p. 179 (another from the edition illustrated)

(ii)

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203 TOM FRIEDMAN b. 1965 Small Plaster Orb, 2007 Plaster. 18.5 × 21 × 21.7 cm (7 1/4 × 8 1/4 × 8 1/2 in). Signed ‘Friedman’ on the reverse.

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 ‡ PROVENANCE Feature Inc., New York

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204 TOM FRIEDMAN b. 1965 Untitled, 1999 Painted Styrofoam pellets. Installation dimensions variable. This work is unique and is accompanied by a certificate of authenticity.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 PROVENANCE Massimo de Carlo, Milan EXHIBITED Warsaw, Foskal Gallery, Tom Friedman, 6 April – 15 May 1999 LITERATURE Tom Friedman, Warsaw, exh. cat., Foskal Gallery, 1999, p. 53

(illustrated)

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205 ALBERT OEHLEN b. 1954 Untitled, 1988/1995 Mixed media on paper laid on canvas. 213 × 125.1 cm (83 7/8 × 49 1/4 in).

Estimate £30,000–40,000 $47,500–63,300 €35,000–46,600 ♠ ‡ PROVENANCE Galerie Max Hetzler, Berlin; Patrick Painter Inc., Santa Monica

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206 LOTHAR HEMPEL b. 1966 Katzenjammer, 2001 Paper and fabric collage, string on painted wood and magazine collage on acrylic. Installation: 180 × 204 × 135 cm (70 7/8 × 80 3/8 × 53 1/8 in).

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Art: Concept, Paris

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207 GÜNTHER UECKER b. 1930 Horse-Children in Crisis, 1994 Mixed media. 122 × 112 × 60 cm (48 × 44 1/8 × 23 5/8 in). Signed and dated ‘Günther Uecker 1994’ on the underside.

Estimate £30,000–40,000 $47,500–63,300 €35,000–46,600 ♠ ‡ PROVENANCE Private Collection, Switzerland

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208 KOEN VAN DEN BROEK b. 1973 Eighth Avenue, 1999 Oil on canvas. 80 × 120 cm (31 1/2 × 47 1/4 in). Signed, titled and dated ‘Koen van den Broek “Eighth Avenue” 1999’ on the reverse.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ♠ PROVENANCE Acquired directly from the artist; Private Collection, London;

Private Collection, Europe

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209 KOEN VAN DEN BROEK b. 1973 DV Border & 2 Shadows, Yellow, 2004 Oil on canvas. 180 × 129.5 cm (70 7/8 × 50 7/8 in). Signed, titled and dated ‘“DV Border & 2 Shadows, Yellow” 2004 Koen van den Broek’ on the reverse.

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 ♠ ‡ PROVENANCE White Cube, London

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210 MICHAEL VAN OFEN b. 1956 Untitled (Landschaft), 2003 Oil on canvas. 80 × 100 cm (31 1/2 × 39 3/8 in). Signed and dated ‘M. van Ofen 2003’ on the reverse.

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 ♠ † PROVENANCE Sies + Höke, Düsseldorf; Private Collection, London; Private

Collection, Europe

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211 PHILIPPE DECRAUZAT b. 1974 Atopia, 2007 Acrylic on shaped canvas. 253 × 277 cm (99 5/8 × 109 in). Signed, titled and dated ‘Philippe Decrauzat Atopia 2007’ on the stretcher bar.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 ‡ PROVENANCE Praz-Delavallade, Paris

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212 ALEJANDRA ICAZA b. 1966 Portraits and Deers, 2003 Oil and wax on canvas. 130 × 235 cm (51 1/8 × 92 1/2 in). Titled and dated ‘Portraits and Deers 2003’ on the reverse. This work is accompanied by a certificate of authenticity.

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 ♠ ‡ PROVENANCE Galeria Fortes Vilaça, São Paulo

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213 JASON RHOADES 1965–2006 Cooter; Spock, Socket; Center, 2003 Neon lights mounted on dark green translucent Plexiglas with wire, string or lace, and transformer. 43.8 × 119.4 cm (17 1/4 × 47 in). This work is accompanied by a certificate of authenticity.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 PROVENANCE David Zwirner, New York

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214 RAYMOND PETTIBON b. 1957 Untitled (The meaninglessness of life…), 1989 Pen and ink on paper. 43.2 × 35.6 cm (17 × 14 in). Signed and dated ‘Raymond Pettibon 89’ on the reverse.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ‡ PROVENANCE Sadie Coles HQ, London

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215 216

215 RAYMOND PETTIBON b. 1957 Untitled (There were things in his mind…), 1988 Pen, ink and watercolour on paper. 38.1 × 28 cm (15 × 11 in). Signed and dated ‘Raymond Pettibon 88’ on the reverse.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 ‡ PROVENANCE Sadie Coles HQ, London

216 RAYMOND PETTIBON b. 1957 Untitled (A study was not complete…), 1996 Pen, ink and watercolour on paper. 53.3 × 42.5 cm (21 × 16 3/4 in). Signed and dated ‘Raymond Pettibon 96’ on the reverse.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 ‡ PROVENANCE Sadie Coles HQ, London

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217

218

217 ELIZABETH PEYTON b. 1965 Piotr Reading, 1997 Graphite and watercolour on paper. 18 × 15 cm (7 1/8 × 5 7/8 in).

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 PROVENANCE Neugerriemschneider, Berlin; David Zwirner, New York;

Private Collection, Switzerland

218 ELIZABETH PEYTON b. 1965 Tallulah (Trinidad), 2006 Polaroid. 81.2 × 56 cm (31 7/8 × 22 in). This work is unique.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 PROVENANCE Private Collection, Europe

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219 PIPILOTTO RIST b. 1962 Heilung (healing), 2004 Video installation with LCD monitor and Pioneer PDV-20 portable DVD player built in first-aid cabinet with homeopathic medicine, bandaging and first-aid material. Cabinet: 36 × 30 × 14.5 cm (14 1/8 × 11 3/4 × 5 3/4 in); duration: 9' 30", looped, silent. This work is from an edition of 10 plus 2 artist’s proofs.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 PROVENANCE Hauser & Wirth, Zurich

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220 SYLVIE FLEURY b. 1961 Envy 3, 1997 Acrylic on canvas. 100 × 100 cm (39 3/8 × 39 3/8 in). Signed, titled and dated ‘Sylvie Fleury 97 ENVY 3’ on the reverse.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 PROVENANCE Rebecca Camhi Gallery, Athens

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221 JULIAN OPIE b. 1958 Monique Walking, 2004 Continuous computer animation on LCD screen. 95 × 61 × 20 cm (37 3/8 × 24 × 7 7/8 in). This work is from an edition of 4 plus 1 artist’s proof.

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 ♠ PROVENANCE Galerie Bob van Orsouw, Zurich

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222 RAFAL BUJNOWSKI b. 1974 Satellite Series, 2005 Diptych: oil on canvas. Each: 30.2 × 40.2 cm (11 7/8 × 15 7/8 in). Each signed ‘Bujnowski 05’ on the reverse.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 ♠ ‡ PROVENANCE Raster Gallery, Warsaw

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223 CHRISTOPHER ORR b. 1967 Untitled (Dead Horse), 2004 Oil on linen. 23 × 30 cm (9 × 11 3/4 in). Signed and dated ‘Chris Orr 2004’ on the overlap.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ♠ PROVENANCE Ibid Projects, London

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224 MARCIN MACIEJOWSKI b. 1974 Kochalismy si na trawie, 2002 Oil on canvas. 45.3 × 50.2 cm (17 4/5 × 19 3/4 in).

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ♠ PROVENANCE Galerie Meyer Kainer, Vienna

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225 THOMAS SCHÜTTE b. 1954 12 Portraits, 2009 Portfolio in 12 parts: drypoint and etching on coloured ground. The portfolio is accompanied by a box. Each: 90 × 69 cm (35 3/8 × 27 1/8 in), box: 92 × 75.5 cm (36 1/4 × 29 3/4 in). Each signed and dated ‘Th Schutte 2009’ and numbered of 35 lower margin. This work is from an edition of 35 plus 5 artist’s proofs.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ♠ ‡ PROVENANCE Carlier Gebauer, Berlin

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226 ROSEMARIE TROCKEL b. 1952 Untitled, 1984 4 works: gouache on paper. Three monkey portraits: each 29.6 × 21 cm (11 5/8 × 8 1/4 in), each signed and dated ‘Trockel 84’ on the reverse; head: 20.7 × 14.1 cm (8 1/8 × 5 1/2 in).

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 ♠ PROVENANCE Galerie Jandrig, Krefeld; Private Collection, Germany

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227 GERHARD RICHTER b. 1932 Kleine Badende, 1996 Dye destruction print. 52.5 × 37 cm (20 5/8 × 14 5/8 in). Signed, dated ‘Richter 1996’ and numbered of 45 lower margin.

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 ♠ PROVENANCE Zwirner & Wirth, New York; Marian Goodman, New York

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228 DAVID HOCKNEY b. 1937 Lithograph for ‘Water’ made of thick and thin lines and two light blue washes, 1978-80 Colour lithograph on TGL handmade paper. 62.8 × 84.5 cm (24 3/4 × 33 1/4 in). Signed and dated ‘David Hockney 1978–80’ lower right and numbered as an artist’s proof lower left. This work is from an edition of 85 plus 18 artist’s proofs published by Tyler Graphics, Mount Kisco, New York.

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 ♠ † PROVENANCE Private Collection, California LITERATURE K. E. Tyler, Tyler Graphics: Catalogue Raisonné, 1974–1985, Minneapolis, 1987,

No. 250

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229 LUCIAN FREUD 1922–2011 Untitled, c. 1985 Charcoal on paper. 21 × 19 cm (8 1/4 × 7 1/2 in).

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠  ‡ PROVENANCE Gift from the artist; Baron H. H. Thyssen-Bornemisza; Private

Collection

When Baron H. H. Thyssen-Bornemisza posed for Man in a Chair in 1985, he asked the artist for the telephone number of one of his daughters. Lucian Freud wrote it down on a drawing sheet, tore it off and gave it to him. When the sitter turned it over, he discovered the drawing.

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230 DAVID HOCKNEY b. 1937 Ashtray Sunday Morning, Tokyo, February, 1983 Colour photographic collage. 141 × 134 cm (55 1/2 × 52 3/4 in). Signed, titled, dated ‘Ashtray. Sunday Morning Tokyo Feb 1983 David Hockney’ and numbered along the lower edge This work is from an edition of 15.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ♠ ‡ PROVENANCE Galerie Zur Stockeregg, Zurich

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231 JULIAN OPIE b. 1958 Modern Tower 8, 2001 Vinyl on paint on wood. 240 × 53.5 × 53.5 cm (94 1/2 × 21 1/8 × 21 1/8 in). Signed and titled ‘Julian Opie MODERN TOWER 8’ on the underside.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 ♠ PROVENANCE Rebecca Camhi Gallery, Athens

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232 CY TWOMBLY 1928–2011 Reflection, c.1965 Graphite and crayon on paper. 86.4 × 67.3 cm (34 × 26 1/2 in). Signed ‘Cy Twombly’ lower right.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ‡ PROVENANCE Galerie Sho, Tokyo; Van de Wegh Fine Art, New York

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233 BERNARD FRIZE b. 1954 Specimen B, 1998 Acrylic and resin on canvas. 130 × 97 cm (51 1/8 × 38 1/4 in). Titled and dated ‘SPECIMEN B 1998’ on the overlap.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 ♠ PROVENANCE Galerie Micheline Szwajcer, Antwerp

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234 DARREN ALMOND b. 1971 Stop, 2007 Found bus sign: concrete, brick, steel and plastic. 281 × 65 × 65 cm (110 5/8 × 25 5/8 × 25 5/8 in). This work is unique.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ ‡ PROVENANCE Galerie Max Hetzler, Berlin

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235 ANDREAS SLOMINSKI b. 1959 Mausefalle, 2002 Painted wood, string and mousetrap. 53 × 40 × 44 cm (20 7/8 × 15 3/4 × 17 3/8 in).

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 ♠ PROVENANCE Galerie Neu, Berlin

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236 FIONA RAE b. 1963 Why do people love the sky? It’s because countless great dreams are floating there..., 2006 Oil and acrylic on canvas. 152.4 × 127 cm (60 × 50 in). Signed, titled and dated ‘Fiona Rae – Why do people love the sky? It’s because countless great dreams are floating there..., 2006’ on the overlap.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ ‡ PROVENANCE Pace Wildenstein, New York

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237 SUSANNE KÜHN b. 1969 Kinderzimmer, 2006 Pigment, dispersion, acrylic on canvas in two parts. Overall: 210 × 340 cm (82 5/8 × 133 7/8 in). Signed, titled and dated ‘Susanne Kühn, 2006, “Kinderzimmer”’ on the reverse of each panel. Initialled and dated ‘SK 06’ lower right of right-hand panel.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ♠  ‡ PROVENANCE Fred (London) Ltd, London

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238 CHRISTOPH RUCKHÄBERLE b. 1972 Lake and Sunset, 2004 Oil on canvas. 279 × 381 cm (109 7/8 × 150 in). Signed and dated on the overlap.

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 ♠ † PROVENANCE Zach Feuer Gallery, New York LITERATURE B. Schwabsky, ed., The Triumph of Painting: The Saatchi Gallery,

London: Jonathan Cape, 2005, p. 259

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239

240

239 MARK LOMBARDI 1951–2000 Untitled (all parties – BCCI, Nugan Hand, et al.), 1967 Graphite on paper. 27.6 × 35.6 cm (10 7/8 × 14 in).

Estimate £3,500–4,500 $5,500–7,100 €4,100–5,200 ‡ PROVENANCE Pierogi Gallery, New York

240 KAREN KILIMNIK b. 1955 On your mark, Get Set, Go!, 1998 Graphite, acrylic and wax crayon on paper. 101 × 76.5 cm (39 3/4 × 30 1/8 in). Dated ‘September 1998’ lower right.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ‡ PROVENANCE 303 Gallery, New York

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241 ANDY WARHOL 1928–1987 Mother and Child, 1986 Graphite on paper. 80 × 60 cm (31 1/2 × 23 5/8 in).

Estimate £18,000–25,000 $28,500–39,600 €21,000–29,100 † PROVENANCE Private Collection, London EXHIBITED Edinburgh, Royal Scottish Academy, Andy Warhol. A celebration of Life

and Death, 4 August – 7 September 2007

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242 ANDY WARHOL 1928–1987 Feet, 1960 Ballpoint pen on paper. 43.2 × 35.2 cm (17 × 13 7/8 in). Stamped with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts stamps and numbered TOP 212.008.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 † PROVENANCE Private Collection, London EXHIBITED Berlin, Neue Nationalgalerie, Andy Warhol Retrospective, October

2001 – January 2002; London, Tate Modern, Warhol at Tate Modern, February – April 2002 LITERATURE H. Bastian, Andy Warhol Retrospective, London, 2002, p. 76; A.

Cumming, Andy Warhol: Men, San Francisco, 2004, p. 108

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243 ANDY WARHOL 1928–1987 Feet, 1955-57 Ballpoint ink on manila paper. 35 × 42.7 cm (13 3/4 × 16 3/4 in). Stamped with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts stamps and numbered TOP 212.074.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 † PROVENANCE Private Collection, London EXHIBITED Berlin, Neue Nationalgalerie, Andy Warhol Retrospective, October

2001 – January 2002; London, Tate Modern, Warhol at Tate Modern, February – April 2002; Los Angeles, MOCA (Museum of Contemporary Art), 25 May–18 August 2002

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244 NIKI DE SAINT PHALLE 1930–2002 Trilogie des Obelisques, 1987 Painted polyester resin on wooden base. 164 × 70 cm (64 5/8 × 27 1/2 in). Stamped with the signature and numbered of 8 on a plaque attached to the underside.

Estimate £60,000–80,000 $95,000–126,700 €69,900–93,200 ♠ ‡ PROVENANCE Acquired directly from the artist by the previous owner EXHIBITED London, Gimpel Fils, Niki de Saint Phalle: The Wounded Animals,

7 June – 10 September 1988; Canterbury, The Blackfriars presented by The Canterbury Theatre and Festival Trust, sculptures by Niki de Saint Phalle, 2 – 22 October 1988 LITERATURE Niki de Saint Phalle: The Wounded Animals, New York: Gimpel

Weitzenhoffer, 1998, illustration number 83 (illustrated)

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245 LUCIO FONTANA 1899 –1968 Teatrino Nero, 1968 Cardboard relief with silkscreen. 70 × 70 cm (27 1/2 × 27 1/2 in). This work is from an edition of 75.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ‡ PROVENANCE Marlborough Galleria, Rome; Private Collection, Japan

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246 DAMIEN HIRST b. 1965 Oleoylsarcosine, 2008 Two-inch spot etching with 48 different coloured spots on 350 gsm Hahnemühle paper. 84.5 × 62 cm (33 1/4 × 24 3/8 in). Signed ‘Damien Hirst’ lower right margin. This work is unique and registered in the Damien Hirst Archive under number DHP 11113.

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 ♠ PROVENANCE Private Collection, Germany

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61301

247 DAMIEN HIRST b. 1965 Global-a-go-go-for-Joe, 2002 Pastel, crayon and watercolour over etched ground. 91 × 71 cm (35 7/8 × 27 7/8 in). Signed ‘Damien Hirst’ lower right margin. This work is unique and registered in the Damien Hirst Archive under number DHS 6918.

Estimate £18,000–22,000 $28,500–34,800 €21,000–25,600 ♠ † PROVENANCE Private Collection, London

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248 DAMIEN HIRST b. 1965 Gold Thioglucose, 2008 Colour screenprint on pure gold leaf on Somerset tub paper. 75 × 95 cm (29 1/8 × 37 in). Signed ‘Damien Hirst’ and numbered of 45 in the lower margin. This work is from an edition of 45.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ † PROVENANCE Private Collection, Zurich

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249 DAMIEN HIRST b. 1965 Psalm Print: Exaudi, Domine (with diamond dust), 2009 Colour silkscreen print with glaze and diamond dust. 109 × 107.5 cm (42 7/8 × 42 3/8 in). Signed ‘Damien Hirst’ and numbered of 50 lower margin. This work is from an edition of 50.

Estimate £9,000–15,000 $14,200–23,700 €10,500–17,500 ♠  † PROVENANCE Private Collection, London

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250 DAMIEN HIRST b. 1965 Portfolio ‘Sanctum’, 2009 The complete set of 6 colour photogravure etchings on Velin Arches paper. Each sheet: 119 × 115.5 cm (46 7/8 × 45 1/2 in). Each sheet signed ‘Damien Hirst’ lower margin. This work is from an edition of 59.

Estimate £40,000–60,000 $63,300–95,000 €46,600–69,900 ♠ † PROVENANCE Private Collection, New York

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251 DAMIEN HIRST b. 1965 Pharmaceuticals, 2005 Colour inkjet print on wove paper. 127 × 102 cm (50 3/8 × 40 1/2 in). Signed, dated and titled ‘2005 PHARMACEUTICALS Damien Hirst’ in the lower margin and numbered of 75. This work is from an edition of 75.

Estimate £16,000–22,000 $25,300–34,800 €18,600–25,600 ♠ † PROVENANCE Private Collection New York

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252 DAMIEN HIRST b. 1965 Red Butterfly, 2008 Colour photogravure etching on Velin Arches paper. 120 × 108 cm (47 1/8 × 42 5/8 in). Signed ‘Damien Hirst’ lower margin. This work is from an edition of 72.

Estimate £9,000–12,000 $14,200–19,000 €10,500–14,000 ♠ † PROVENANCE Private Collection, Munich

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253 GARY HUME b. 1962 The Sister Troop, 2009 The complete portfolio of 10 collaged colour screenprints on brushed aluminium card, printed on Somerset Satin paper and presented in a wooden solander buckram-covered box. Prints vary in size from 81.3 × 54 cm (32 × 21 1/4 in) to 81.3 × 65.5 cm (32 × 25 3/4 in). Box 87.5 × 72.4 × 5 cm (34 1/2 × 28 1/2 × 1 7/8 in). Each print is signed and dated ‘Hume 09’ in the lower margin and numbered of 60 on the reverse. This work is from an edition of 60 plus 6 artist’s proofs.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ♠ † PROVENANCE Private Collection, London

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254 After JEAN-MICHEL BASQUIAT 1960–1988 Jean-Michel Basquiat Editions, 1982–84/2005 Four colour screenprints on 410 Hot Press watercolour paper. Smallest: 113 × 101 cm (44 1/2 × 39 3/4 in); largest: 155 × 122 cm (61 × 48 in). Each numbered of 85 in pencil lower left and signed and dated by Gerard Basquiat, the administrator of The Estate of Jean-Michel Basquiat, on the reverse with the estate stamp.

Estimate £25,000–35,000 $39,600–55,400 €29,100–40,800 PROVENANCE Private Collection, UK

Titles include: Charles the First, Cabezza, Rome Pays off and Jawbone of an Ass. Published by David DeSanctis Contemporary Art, 2005. These works are from an edition of 85 plus 15 artist’s proofs.

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255 MARC QUINN b. 1964 At the far edges of the universe, 2010 The complete portfolio of 8 pigment prints on Somerset photo paper. Each: 70 × 104 cm (27 9/16 × 40 5/16 in). Each signed ‘Marc Quinn’ lower right and numbered of 59 on the reverse. This portfolio is from an edition of 59.

Estimate £9,000–12,000 $14,200–19,000 €10,500–14,000 ♠ † PROVENANCE Private Collection, Düsseldorf

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256 TOM WESSELMANN 1931–2004 Beautiful Bedroom Kate, 1998 Colour screenprint on museum board. 88.5 × 136 cm (34 7/8 × 53 1/2 in). Signed ‘Wesselmann’ and numbered of 90 in the lower margin. This work is from an edition of 90.

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 † PROVENANCE The Estate of Tom Wesselmann

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257 ANISH KAPOOR b. 1954 Shadow III portfolio, 2009 The complete portfolio of 9 colour etchings on Somerset Textured Soft White paper. Each print: 72.5 × 96.5 cm (28 1/2 × 37 7/8 in). Each signed ‘Anish Kapoor’ and numbered of 39 on the reverse. This work is from an edition of 39 plus 6 artist’s proofs and 1 printer’s proofs.

Estimate £25,000–35,000 $39,600–55,400 €29,100–40,800 ♠ † PROVENANCE Private Collection, New York

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258

259

258 ROBERT INDIANA b. 1928 Love Frieze, 1967 Colour screenprint on artist’s board in 4 parts. 64.2 × 199 cm (25 1/4 × 78 3/8 in). Signed ‘R. Indiana ‘67’ lower right margin and numbered of 70. This work is from an edition of 70.

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 † PROVENANCE Private Collection, Frankfurt

259 BEN NICHOLSON 1894–1982 White III, c. 1980 Hand woven tapestry. 175 × 184 cm (69 1/2 × 73 in). This work is from an edition of 20, published by Modern Master Tapestries, New York.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ♠ † PROVENANCE Private Collection, London

LITERATURE S. Sheehan, Robert Indiana Prints: A Catalogue Raisonné 1951–1991,

New York: Susan Sheehan Gallery, 1992, no 40

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261

260

THIS LOT IS SOLD WITH NO RESERVE

THIS LOT IS SOLD WITH NO RESERVE

261 MAURIZIO CATTELAN b. 1960

260 ANDY WARHOL 1928–1987 Cow, 1966

Il Bel Paese, 1994

Colour screenprint on paper. 116 × 76.5 cm (45 5/8 × 30 1/8 in). This work is

Embroidery on silk and wool carpet. 20 × 20 cm (7 7/8 × 7 7/8 in). Signed

from an unlimited edition and published by the artist, New York.

‘Cattelan’ and numbered of 100 on a label attached to the box. This work is

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800

from an edition of 100.

Estimate £1,500–2,500 $2,400–4,000 €1,700–2,900 ♠  

PROVENANCE Private Collection, Paris LITERATURE Feldman & Schellmann, II.11

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PROVENANCE Private Collection, London

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262

263

262 RICHARD PETTIBONE b. 1938 Andy Warhol, ‘Orange Electric Chair’, 1963, 1996 Acrylic and silkscreen on canvas. 12.7 × 15.2 cm (5 × 5 7/8 in). Signed, titled and dated ‘Andy Warhol, Orange Electric Chair, 1963 Richard Pettibone 1996’ on the stretcher.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 PROVENANCE Leo Castelli Gallery, New York

263 MIKE BIDLO b. 1953 Not Warhol, one silver Marilyn, 1962, 1984 Acrylic and silkscreen ink on canvas. 48 × 45.5 cm (18 7/8 × 17 7/8 in). Signed and dated on the reverse.

Estimate £12,000–16,000 $19,000–25,300 €14,000–18,600 ‡ PROVENANCE Galerie Bruno Bischofberger, Zurich

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264 RUSSELL YOUNG b. 1960 Marilyn Goddess, 2009 Atomic gold and black acrylic paint, enamel and diamond dust on linen. 158 × 122 cm (62 1/4 × 48 in). Signed, dated and titled ‘Russell Young 2009 Marilyn Goddess’ on the reverse; further initialled and titled ‘RY atomic gold + black’ on the reverse. This work is unique.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 PROVENANCE Acquired directly from the artist; Private Collection, London

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265 BANKSY b. 1975 Formica Flag – Gold, 2007 Silkscreen print on gold foiled paper. 50 × 70 cm (19 5/8 × 27 1/2 in). Incised ‘BANKSY’ lower right. This work is from an edition of 23 and accompanied by a certificate of authenticity provided by Lazarides Gallery.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Lazarides, London

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266 BANKSY b. 1975 Lenin On Roller Skates (white), 2003 Spray paint on canvas. 40.5 × 30.5 cm (15 7/8 × 12 in). Signed, dated ‘Banksy 2003’ and numbered of 25 on the wooden stretcher; further tagged ‘BANKSY’ on the overlap. This work is from an overall edition of 25 and is accompanied by a certificate of authenticity provided by Pest Control.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ♠ ‡ PROVENANCE Private Collection, USA

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267 FAILE active since 1999 Bunny Boy Monoprint, 2002 Acrylic and silkscreen on paper. 126.5 × 96.7 cm (49 3/4 × 38 1/8 in).

Estimate £3,000–4,000 $4,700–6,300 €3,500–4,700 PROVENANCE Acquired directly from the artist LITERATURE Faile: Prints & Originals 1999–2009, Die Gestalten Verlag, Berlin, 2010, p. 60

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268 SHEPARD FAIREY b. 1970 Japanese Fabric Monogram Inverse, 2009 Hand-painted multiple silkscreen and collage. 45.5 × 46 cm (17 7/8 × 18 1/8 in). Signed and dated ‘Shepard Fairey 2009’ lower right and numbered of 7 lower left. This work is unique from a series of 7.

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 ‡ PROVENANCE Private Collection, California

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269 (i)

269 (ii)

270

269 BARRY McGEE b. 1966

270 CLARE ROJAS b. 1976

Two works: (i) Untitled; (ii) Untitled

Untitled, 2004

Acrylic on paper. (i) 22 × 14.5 cm (7 7/8 × 5 3/4 in); (ii) 14 × 12 cm

Oil on wooden panel. 46.5 × 61 cm (18 1/4 × 24 in).

(5 1/2 × 4 3/4 in).

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 ‡ Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 ‡ PROVENANCE New Image Art, Los Angeles; Private Collection, London PROVENANCE Private Collection, California

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271 JAMES BROWN b. 1951 Cosmas, 1982 Acrylic and oil on canvas. 301 × 121 cm (118 1/2 × 47 5/8 in). Signed, titled and dated ‘COSMAS James Brown September 1982’ on the reverse.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 PROVENANCE Galleria In Arco, Turin

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272 JAMES BROWN b. 1951 Untitled (Blue and Brown Head), 1982 Tempera on cardboard and wood in two parts. Each: 165 × 155.2 cm (64 7/8 × 61 1/8 in). Each signed and dated ‘James Brown New York 1982’ on the reverse.

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 PROVENANCE Private Collection, UK

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273 JENNIFER ALLORA b. 1974 and GUILLERMO CALZADILLA b. 1971 Under Discussion, 2004–05 Colour coupler print. 48 × 34 cm (18 7/8 × 13 3/8 in). This work is from an edition of 25.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 PROVENANCE Private Collection, London

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274 HIROSHI SUGIMOTO b. 1948 Sea of Japan, Rebun Island, 1996 Gelatin silver print. 42 × 54 cm (16 1/2 × 21 1/4 in). Signed ‘Hiroshi Sugimoto’ on the reverse. Blindstamped with title, date and number ‘SEA OF JAPAN REBUN ISLAND 1996 458’ in the margin; further numbered of 25. This work is from an edition of 25.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 PROVENANCE Galerie Rodolphe Janssen, Brussels

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275 DARREN ALMOND b. 1971 Night + Fog (Monchegorsk) (17), 2007 Bromide print. 149 × 119.3 cm (58 5/8 × 46 7/8 in). This work is an artist’s proof from an edition of 5 plus 2 artist’s proofs and is accompanied by a certificate of authenticity signed by the artist.

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 ♠ ‡ PROVENANCE White Cube, London

276 ANRI SALA b. 1974 Untitled, 2005 Black-and-white photograph on Barryt paper. 76 × 107 cm (29 7/8 × 42 1/8 in). Signed, dated ‘Anri Sala 2005’ and numbered of 5 on the reverse. This work is from an edition of 5.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 PROVENANCE Galeria Alfonso Artiaco, Naples

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THIS LOT IS SOLD WITH NO RESERVE

277 AXEL HÜTTE b. 1951 London, Mudchute I, 2001 Duratrans print. 157 × 206.7 cm (61 3/4 × 81 3/8 in). Signed, titled and dated ‘London, Mudchute – 1 2001 Axel Hütte’ on a label adhered to the reverse. This work is from an edition of 4.

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 ♠ ‡ PROVENANCE Galleri K, Oslo; Private Collection, Norway

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279

278

278 KIM JOON b. 1966 Duet-pig, 2007 Digital print. 140 × 100 cm (55 1/8 × 39 3/8 in). This work is from an edition of 5 and accompanied by a certificate of authenticity.

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 ‡ PROVENANCE Box Art, Milan; Private Collection, Switzerland

279 ERWIN WURM b. 1954 Strumpf 1, 1997 Colour coupler print. 70 × 50 cm (27 1/2 × 19 5/8 in). Signed and dated ‘E. Wurm 1997/03’ on the reverse. This work is unique.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 ♠ PROVENANCE Ars Futura, Zurich

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280 MARILYN MINTER b. 1948 I Heart You, 2008 Colour coupler print. 44 × 59 cm (17 3/8 × 23 1/4 in). Signed ‘M. Minter’ on a label attached to the reverse. This work is unique.

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 ‡ PROVENANCE Salon 94, New York EXHIBITED New York, On Stellar Rays, Lover, 20 June – 26 July 2009

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281 MARILYN MINTER b. 1948 Shinola, 2008 Colour coupler print. 100.3 × 66 cm (39 1/2 × 26 in). Signed ‘M. Minter’ on a label affixed to the reverse of the backing board. This work is from an edition of 5 plus 2 artist’s proofs.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 ‡ PROVENANCE Salon 94, New York

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282 MARILYN MINTER b. 1948 Pizzicato, 2008 Colour coupler print. 100.3 × 66 cm (39 1/2 × 26 in). Signed ‘M. Minter’ on a label affixed to the reverse of the backing board. This work is from an edition of 5 plus 2 artist’s proofs.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 ‡ PROVENANCE Salon 94, New York

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283 DAVID LaCHAPELLE b. 1964 Alexander McQueen: Burning Down The House, 1996 Digital colour coupler print, Diasec mounted. 74 × 101 cm (29 1/8 × 39 3/4 in). Signed ‘David LaChapelle’ on a gallery label on the reverse. This work is from an edition of 7.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 PROVENANCE Maruani & Noirhomme Gallery, Belgium; Private Collection, Belgium

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284 DAVID LaCHAPELLE b. 1964 Angelina Jolie: Statuesque Portrait, Los Angeles, 2001 Colour coupler print, Diasec mounted. 151.6 × 126 cm (59 5/8 × 49 5/8 in). Signed ‘David LaChapelle’ on a gallery label on the reverse. This work is from an edition of 3.

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 PROVENANCE Maruani & Noirhomme Gallery, Belgium; Private Collection, Belgium

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(i)

(ii)

(iii)

(iv)

285 VIK MUNIZ b. 1961 Four works: (i) Raul; (ii) Romario; (iii) Boniek; (iv) Ronaldo from Pictures of Chocolate, 2004 Digital colour coupler prints. (i) 147.5 × 129 cm (58 × 50 7/8 in); (ii) 150 × 118 cm (59 × 46 1/2 in); (iii) 156 × 128 cm (60 1/2 × 50 3/8 in); (iv) 150 × 118 cm (59 × 46 1/2 in). Each signed and dated ‘Vik Muniz 2004’ on a label affixed to the reverse. These works are an artist’s proof from an edition of 5.

Estimate £25,000–30,000 $39,600–47,500 €29,100–35,000 ♠ PROVENANCE Private Collection, London

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286 RALF KASPERS b. 1957 Luzhniki Stadium, Moscow, 2008 Lambda print, Diasec mounted. 200 × 267 cm (78 3/4 × 105 1/8 in). Signed ‘Ralf Kaspers’ and numbered of 5 on the reverse. This work is from an edition of 5 plus 2 artist’s proofs.

Estimate £30,000–50,000 $47,500–79,200 €35,000–58,300 PROVENANCE Frolov Gallery, Moscow; Private Collection, Moscow EXHIBITED Moscow, 14th International Art Fair Art Moscow, 22–26 September

2010; Moscow, Moscow Museum of Modern Art, Ralf Kaspers, Photography, 10 November – 12 December 2010; Moscow, The Cosmoscow Art Show, 17-19 December 2010 LITERATURE Ralf Kaspers. Fotografie,Düsseldorf, 2009, p. 63 (illustrated); catalogue

of 14th International Art Fair Art Moscow, 2010, p. 35 (illustrated); exhibition booklet, Moscow Museum of Modern Art, Ralf Kaspers. Photography, Moscow, 2010, pp. 6–7, 10 (illustrated); WinzavodArt Review, Moscow, October–December 2010, p. 1 (illustrated); ArtChronika magazine, Moscow, November 2010, p. 37 (illustrated); ArtGuide magazine, Moscow, November 2010, p. 19 (illustrated); DI magazine, Moscow, November-December 2010, p. 37 (illustrated); Russian ZOOM magazine, Moscow, November–December 2010, p. 5 (illustrated); Foto&Video magazine, Moscow, March 2011, pp. 26–27 (illustrated)

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287 CANDIDA HÖFER b. 1944 Sächsische Landesbibliothek Dresden VIII, 2002 Colour coupler print. 152 × 152 cm (59 7/8 × 59 7/8 in). Signed ‘Candida Höfer’ on a label attached to the reverse. This work is from an edition of 6.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Art & Public, Geneva EXHIBITED Dresden, Staatliche Kunstsammlungen, Dresden, November 2002–

February 2003 LITERATURE Dresden, exh. cat., Staatliche Kunstsammlungen, 2002 (illustrated

on the cover)

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288 LEANDRO ERLICH b. 1973 Nuit blanche 2, 2004 Colour coupler print. 117 × 94.5 cm (46 1/8 × 37 1/4 in). Signed, titled and dated ‘“Nuit Blanche 2” 2004 Leandro Erlich’ and numbered of 3 on the reverse. This work is from an edition of 3.

Estimate £3,500–4,500 $5,500–7,100 €4,100–5,200 ‡ PROVENANCE Galerie Gabrielle Maubrie, Paris

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289 MARIJKE VAN WARMERDAM b. 1959 Don’t Walk, Walk, 1997 Colour coupler print, Diasec mounted, flush-mounted on aluminium. 180 × 270.2 cm (70 7/8 × 106 3/8 in). Signed, titled, dated ‘M. Warmerdam, 1997 Don’t walk, walk’ and numbered of 5 on the reverse. This work is from an edition of 5.

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 ♠ PROVENANCE Galerie Micheline Szwajcer, Antwerp

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290 PHILIP-LORCA diCORCIA b. 1951 Head #24, 2001 Fujicolor Crystal Archive print. 101.6 × 152.4 cm (40 × 60 in). Signed on the reverse. This work is from an edition of 10.

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 ‡ PROVENANCE Pace/MacGill Gallery, New York; D’Amelio Terras, New York, from

whom acquired by the present owner

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(i)

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(ii)

291 RYAN McGINLEY b. 1977 Three works: (i) Dash wearing a ski mask, New York, 2001; (ii) Momus and Shizu, Berlin, 2000; (iii) Self-portrait Root Canal, New York, 1999 Colour coupler prints. Each: 50 × 60 cm (19 5/8 × 23 5/8 in). One work signed ‘RYAN MCGINLEY’ on the reverse. These works are from an edition of 6 and accompanied by certificates of authenticity.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500

(iii)

PROVENANCE Galerie Giti Nourbakhsch, Berlin

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292 YASUMASA MORIMURA b. 1951 An Inner Dialogue with Frida Kahlo (Hand Shaped Earring), 2001 Colour photograph on canvas. 159 × 124.5 cm (62 5/8 × 49 in). Signed ‘Morimura’ and numbered of 5 on a label attached to the reverse. This work is from an edition of 5.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 PROVENANCE Private Collection, Europe EXHIBITED Studio Guenzani, Milano, 2002; PAC, Padiglione d’arte

Contemporanea, Milano, 2010 LITERATURE Morimura Self-Portraits, exh. cat., Hara Museum of Contemporary

Art, Tokyo, 2001, p. 7 (illustrated); D. Kuspit, Daughter of Art History, Aperture Foundation, New York, 2003, p. 93 & front cover (illustrated)

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293

294

294 KRIS MARTIN b. 1972

THIS LOT IS SOLD WITH NO RESERVE

293 HASSAN HAJJAJ b. 1961

Luster, 2009

Dotted Peace, 2000

Colour print. 49.5 × 79.5 cm (19 1/2 × 31 1/4 in). This work is from an edition of 5

Colour coupler print mounted on board in artist’s frame, inset with tins and

plus 2 artist’s proofs.

glass bottles with pigment. 94 × 129 cm (37 × 50 3/4 in). Signed, dated and titled ‘“DOTTED PEACE” HASSAN HAJJAJ 2000’. Further signed in Arabic and numbered of 7 on the reverse. This work is from an edition of 7.

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 ♠ PROVENANCE Sies + Höke, Düsseldorf

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 ♠   PROVENANCE Acquired directly from the artist

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295 ANDRES SERRANO b. 1950 Dread, 1987 Dye destruction print. 101 × 151 cm (39 3/4 × 59 1/2 in). Dated and numbered of 4 on the reverse. This work is from an edition of 4.

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 PROVENANCE Maruani & Noirhomme Gallery, Belgium; Private Collection,

Belgium

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296 RICHARD PRINCE b. 1949 Untitled, 1995 Ektacolour photograph. 51 × 40.5 cm (20 1/8 × 15 7/8 in). Signed, dated ‘Prince 1995’ and numbered of 5 in the margin. This work is from an edition of 5.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 PROVENANCE Barbara Gladstone Gallery, New York LITERATURE Richard Prince, Adult comedy action drama, New York: Scalo, 1995

(illustrated)

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297 ESKO MÄNNIKKÖ b. 1959 Kuhmo, 1994 Colour coupler print. 44.5 × 54.5 cm (17 1/2 × 21 3/8 in). Signed on the reverse. This work is from an edition of 20.

Estimate £3,000–4,000 $4,700–6,300 €3,500–4,700 ♠ ‡ PROVENANCE Galerie Nordenhake, Berlin

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298 XAVIER VEILHAN b. 1963 Untitled (Gilles on a horse with a stick), 1998 Nova jet print, plastified and mounted on PVC. 209 × 124 cm (82 1/4 × 48 7/8 in). Signed and dated ‘Xavier Veilhan 1998’ on the reverse.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Galeria Javier López, Madrid

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299 BORIS MIKHAILOV b. 1938 Untitled from the series Case History, c. 1998 Colour coupler print, flush mounted to aluminium. 138 × 96 cm (54 3/8 × 37 3/4 in). This work is from an edition of 5.

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 PROVENANCE Galerie Serge Le Borgne, Paris

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300 ANATOLIY KRYVOLAP b. 1946 Horse. Night, 2009 Oil on canvas. 160 × 200 cm (62 7/8 × 78 3/4 in). Signed, titled and dated in English and Cyrillic ‘Anatoliy Kryvolap Horse. Night 2009’ on the reverse.

Estimate £30,000–50,000 $47,500–79,200 €35,000–58,300 ‡ PROVENANCE Art-Agent Ukr Gallery, Kiev EXHIBITED Kiev, Modern Art Institute, 20 years of present, 23 August – 25

September, 2011 LITERATURE 20 years of present, exh. cat., Kiev, Modern Art Institute, 2011, p. 33

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301 IGOR GUSEV b. 1970 Elvis Returns, 2010 Oil on canvas. 195 × 145 cm (76 3/4 × 57 1/8 in).

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ‡ PROVENANCE Dymchuk Art Promotion, Odessa EXHIBITED Kiev, ART-KYIV Contemporary 2010, Mystetskiy Arsenal, 9 – 14 November

2011; Kiev, Modern Art Research Institute, 20 years of presence, 23 August – 25 September, 2011 LITERATURE ART-KYIV Contemporary 2010, exh. cat., Kiev, 2011, p. 43; 20 years of

presence, exh. cat.,Kiev, Modern Art Research Institute, 2011, p. 13

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302 VICTOR SYDORENKO b. 1953 Untitled from the project Levitation, 2010 Acrylic on canvas. 200 × 150 cm (78 3/4 × 59 in). Signed, titled and dated ‘Sydorenko Victor “Levitation” 2010’ on the reverse.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 ‡ PROVENANCE Black Square Gallery, Miami EXHIBITED Basel, Mironova Gallery, Scope Art Show, 15 – 19 June 2010; Kiev, Lavra

Municipal Gallery, Spaces of Gravity, 5 – 15 July 2011; Kiev, Modern Art Research Institute, 20 years of presence, 23 August – 25 September, 2011 LITERATURE Spaces of Gravity, exh. cat., Kiev, Lavra Municipal Gallery, 2011;

20 years of presence, exh. cat., Kiev, Modern Art Research Institute, 2011, p. 85

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303 REY GOST b. 1966 DRIFT, 2010 Inkjet print on canvas. 112 × 150 cm (44 1/8 × 59 in). Signed, titled and dated ‘DRIFT 2010 Rey Gost’ and numbered of 3 on the reverse. This work is from an edition of 3.

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 PROVENANCE Ilan Engel Gallery, Paris

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304

305

304 VITALIY and ELENA VASILIEVA b. 1966/1975 Untitled from the project No Art, 2010 Colour coupler print. 100 × 150 cm (39 3/8 × 59 in). This work is from an edition of 5.

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 ‡ PROVENANCE M17 Contemporary Art Center, Kiev EXHIBITED Kiev, M17 Contemporary Art Center, No Art, 10 – 20 December 2010 LITERATURE A Rush of Culture, Italy, June 2011; A Rush of Culture, Italy,

September 2011; Silvershotz Folio, September 2011

305 TAISHA 3,14 b. 1970 Hole, 2011 Inkjet print and oil on canvas. 100 × 120 cm (39 3/8 × 47 1/4 in). Signed, titled and dated in Cyrillic ‘Hole 2011 Taisha 3,14’ on the reverse.

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 ‡ PROVENANCE Black Square Gallery, Miami EXHIBITED Moscow, Central House of Artists, Art Moscow 2011,

21 – 25 September 2011

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306 PABLO LEHMANN b. 1974 The Other’s Writing (inverted), 2011 Cut-out paper. 148 × 70 cm (58 1/4 × 27 1/2 in). Signed, titled and dated in Spanish ‘Pablo Lehmann “The Other’s writing (inverted)” 2011’ on the reverse.

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 ‡ PROVENANCE Black Square Gallery, Miami EXHIBITED Miami, Black Square Gallery, The Other’s Writing, 2011 LITERATURE The Other’s Writing, exh. cat., Miami, Black Square Gallery, 2011,

p. 20–21 (illustrated)

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307 FARHAD KHALILOV b. 1946 From the Cycle Meeting, 2004 Acrylic on canvas. 100 × 140 cm (39 3/8 × 55 1/8 in). Signed in Latin ‘Farhad Khalilov’ upper left corner; further signed upper right corner on the reverse.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 ‡ PROVENANCE Acquired directly from the artist

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308 KATJA STRUNZ b. 1970 Untitled, 2003 Oil on wood. 200 × 80 × 13.5 cm (78 3/4 × 31 1/2 × 5 3/8 in).

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Galerie Giti Nourbakhsch, Berlin

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THIS LOT IS SOLD WITH NO RESERVE

309 THOMAS ZIPP b. 1966 Black Dada, 2006 Six etchings on 300 gsm Somerset Soft White paper from a portfolio of 14. Each: 76.5 × 58 cm (30 1/8 × 22 7/8 in). Each signed, variously titled and dated ‘Thomas Zipp 06’ lower margin; numbered of 42 on the reverse. These works are from an edition of 42.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 ♠   PROVENANCE Booth-Clibborn Editions, London

Titles include: Apfel; sailor schweres wasser; lewmorc; balloon; o.4; mens agitat molem

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310

311

310 MIMMO ROTELLA 1918–2006 Riconoscimento, 1961 Decollage on board. 34 × 28 cm (13 3/8 × 11 in). Signed, dated ‘Rotella / 61’ lower right and titled ‘Riconoscimento’ on the reverse.

Estimate £2,000–4,000 $3,200–6,300 €2,300–4,700 ‡ PROVENANCE Malinda Wyatt Gallery, Los Angeles; Private Collection, Seattle

311 FRANCESCO VEZZOLI b. 1971 Francesco by Francesco: Before & Ever After...With Love, 2002 Two Bromoil gelatin silver prints (in silver-plated freestanding frame). Overall: 14 × 19.6 cm (5 1/2 × 7 3/4 in). This work is an artist’s proof from an edition of 6 plus 2 artist’s proofs.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Gio Marconi, Milan

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312 HYUNG KOO KANG b. 1954 Jolie, 2007 Oil on canvas. 259.1 × 193.9 cm (102 × 76 3/8 in).

Estimate £40,000–60,000 $63,300–95,000 €46,600–69,900 ‡ PROVENANCE Arario Gallery, Hong Kong; Private Collection, Switzerland

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313

314

313 SYLVIE FLEURY b. 1961 Cuddly Painting, 1990/94 Faux-fur on wooden frame. 51 × 51 cm (20 1/8 × 20 1/8 in).

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 PROVENANCE Acquired directly from the artist

THIS LOT IS SOLD WITH NO RESERVE

314 JUSTIN LIEBERMAN b. 1977 Box of Money, 2007 Cardboard box, inkjet on paper. 59.7 × 79.4 × 79.4 cm (23 1/2 × 31 1/4 × 31 1/4 in).

Estimate £2,000–3,000 $3,200–4,700 €2,300–3,500 ‡

PROVENANCE Galerie Rodolphe Janssen, Brussels

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315 KEITH TYSON b. 1969 Everything I Hate About Art, 2000 Gouache and felt-tip pen on paper. 152 × 121 cm (59 7/8 × 47 5/8 in). This work is accompanied by a certificate of authenticity.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Galeria OMR, Mexico City

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316 KEITH TYSON b. 1969 Studio Wall Drawing (Three Layouts for the Hyatt Center, Chicago), 2003 Mixed media collage. 152 × 121.5 cm (59 7/8 × 47 7/8 in).

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Anthony Reynolds Gallery, London

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317 IAN DAVENPORT b. 1966 Untitled, Dark Grey II, 1991 Industrial paint on canvas. 213.4 × 213.4 cm (84 × 84 in). Signed, titled and dated on the reverse.

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 ♠ PROVENANCE Waddington Custot Galleries, London EXHIBITED Berlin, Galerie Michael Haas, Ian Davenport, 27 March – 25 April 1992 LITERATURE Ian Davenport, exh. cat., Galerie Michael Haas, Berlin: 1992, no. 9

(illustrated)

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318

319

THIS LOT IS SOLD WITH NO RESERVE

318 RITA ACKERMANN b. 1968 Untitled, c. 1990 Paper collage with dried plants, cellophane tape and residues of masking tape on cardboard. 41.6 × 41 cm (16 3/8 × 16 1/8 in).

Estimate £2,000–4,000 $3,200–6,300 €2,300–4,700 ♠ ‡

PROVENANCE Private Collection, California

319 PHILIPPE PASQUA b. 1965 Untitled (Constance), 2010 Mixed media on paper mounted on canvas. 200 × 148 cm (78 3/4 × 58 1/4 in). Signed and dated ‘Pasqua Philippe 2010’ on the reverse.

Estimate £10,000–15,000 $15,800–23,700 €11,700–17,500 ♠ PROVENANCE Acquired directly from the artist

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THIS LOT IS SOLD WITH NO RESERVE

320 JOHN BOCK b. 1965 Quasi-me, c. 2001 Wool with wool and cotton stuffing. 100 × 53 cm (39 3/8 × 20 7/8 in).

Estimate £2,500–3,500 $4,000–5,500 €2,900–4,100 ♠   PROVENANCE Sadie Coles HQ, London

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321 SHIRAZEH HOUSHIARY b. 1955 L’ Invitation au Voyage, 1983 Wood, plaster, soil and hay. 157 × 63 × 35 cm (61 3/4 × 24 3/4 × 13 3/4 in). This work is accompanied by a certificate of authenticity.

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 ♠ PROVENANCE Private Collection, Europe EXHIBITED Turin, Galleria Giorgio Persano; Siracusa, Centro d’Arte

Contemporanea, Shirazeh Houshiary, 1983 LITERATURE Shirazeh Houshiary, exh. cat., Lisson Gallery, London 1984, p. 12

(illustrated); DOMUS magazine, Milan, issue 640, June 1983, p. 74 (illustrated)

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322 OLIVIER MOSSET b. 1944 Untitled, 1989 Acrylic on canvas in four parts. Overall: 210 × 210 cm (82 5/8 × 82 5/8 in). This work is accompanied by a certificate of authenticity.

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 PROVENANCE Massimo de Carlo, Milan

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323 BERTRAND LAVIER b. 1949 Verona, 2005 Acrylic on canvas. 144 × 320 cm (56 3/4 × 125 7/8 in). This work is accompanied by a certificate of authenticity.

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 ♠ PROVENANCE Massimo de Carlo, Milan

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324 LORIS GRÉAUD b. 1979 Vanishing References Portrait Series, 2007 John Cage ink on canvas. 80 × 80 cm (31 1/2 × 31 1/2 in). Signed, annotated ‘John Cage Loris Gréaud’ and numbered of 1 on the stretcher. This work is unique.

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 ♠ PROVENANCE Yvon Lambert, Paris

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325

326

325 YAYOI KUSAMA b. 1929 Upward Vision (No. 1), 1953 Graphite, ink, gouache and pastel on paper. 41 × 33.3 cm (16 1/8 × 13 1/8 in). Signed and titled in an unidentifiable hand ‘Upward Vision No 1 YAYOI KUSAMA’ on the reverse.

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 PROVENANCE Private Collection, Europe

326 YAYOI KUSAMA b. 1929 Early Spring, 1983 Enamel and ink on paperboard. 27 × 24 cm (10 5/8 × 9 1/2 in). Signed and dated ‘YAYOI KUSAMA 1983’ upper left; further signed, titled in Japanese and dated ‘Early Spring 1983 Yayoi Kusama’ on the reverse. This work is accompanied by a certificate of authenticity.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 PROVENANCE Jason Rulnick Inc., New York

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327 TONY BEVAN b. 1951 Double Self-Portrait, 2004 Charcoal and oil pastel on paper. 73 × 85 cm (28 3/4 × 33 1/2 in). Signed and dated ‘BEVAN 04 3’ lower edge.

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 ♠ PROVENANCE James Hyman Fine Art, London, Private Collection, Italy EXHIBITED London, James Hyman Fine Art, Multiple Selves: Philip

Akkerman, Tony Bevan, Dryden Goodwin, Peter Harris, 28 January – 21 February 2004

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328 ANGELA PALMER b. 1957 Self-Portrait, 2005 Ink drawing on sheets of Mirogard glass in glass cube. 27.3 × 27.3 × 22.7 cm (10 3/4 × 10 3/4 × 8 7/8 in).

Estimate £2,000–4,000 $3,200–6,300 €2,300–4,700 ♠ PROVENANCE Acquired directly from the artist

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329 BARNABY HOSKING b. 1976 Untitled, 2004 Black-and-white digital video projection (60-minute loop), black velvet screen and resin sculpture with black paint. Sculpture: 160 × 40 × 23 cm (62 7/8 × 15 3/4 × 9 in); screen: 186 × 144 cm (73 1/4 × 56 3/4 in). This work is from an edition of 5 plus 2 artist’s proofs.

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 ♠ PROVENANCE Max Wigram Gallery, London EXHIBITED London, Royal Academy of Arts, Expander, 16 – 24 October 2004

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330 CHARLES SANDISON b. 1969 Nostradamus, 2006 PC CD-ROM and data projections. Dimensions variable. The CD-ROM is signed and dated ‘C Sandison December 2006’. This work is from an edition of 5 plus 1 artist’s proof and accompanied by a certificate of authenticity signed by the artist.

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 ♠ Ω PROVENANCE Yvon Lambert, Paris

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331 HANS OP DE BEECK b. 1969 Ingrid, 2008 Laser-hardened 3-D resin print, metal plinth, Perspex case, plastic and wood. Overall: 195 × 70 × 70 cm (76 3/4 × 27 1/2 × 27 1/2 in); figure: 67 × 22 × 36 cm (26 3/8 × 8 5/8 × 14 1/8 in). This work is from an edition of 3.

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 ♠  ‡ PROVENANCE Xavier Hufkens, Brussels

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332

333

332 PAUL P b. 1977 Untitled, 2003 Oil on canvas. 30.5 × 23 cm (12 × 9 in). Signed, titled and dated ‘Untitled Paul P 03’ on the overlap.

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 PROVENANCE Daniel Reich, New York

THIS LOT IS SOLD WITH NO RESERVE

333 CHRISTOPH SCHMIDBERGER b. 1974 Roman Afternoon, 2006 Coloured pencil on paper. 76 × 56 cm (29 7/8 × 22 in). Signed ‘Christoph Schmidberger 2006’ lower right.

Estimate £2,000–3,000 $3,200–4,700 €2,300–3,500 ♠   PROVENANCE Mark Moore Gallery, Los Angeles

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334

334 KAREN KILIMNIK b. 1955 Untitled, 1992-93 Graphite and ink on paper in the artist’s frame. 102 × 72 cm (40 1/8 × 28 3/8 in).

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 PROVENANCE Galleria Bottello, Turin EXHIBITED Turin, Galleria Claudio Bottello Arte, Teddy and other stories,

19 January – 27 February 1993; Bergamo, Chiostro di Sant’Agostino, Post Verbum, 15 May–15 June 1993

335 CHANTAL JOFFE b. 1969 Untitled, 2001 Oil on board. 42 × 30 cm (16 1/2 × 11 3/4 in). Signed ‘Chantal Joffe’ on the reverse.

335

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 ♠ PROVENANCE Victoria Miro, London

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336 JAMES RIELLY b. 1956 Sensible Ways, 1996–97 Oil on canvas. Installation: 299.7 × 998.2 cm (118 × 393 in).

Estimate £20,000–30,000 $31,700–47,500 €23,300–35,000 ♠ ‡ PROVENANCE Laurent Delaye Gallery, London; Saatchi Gallery, London; Private Collection, London EXHIBITED London, Royal Academy of Art, Sensation: Young British Artists from the Saatchi Collection, 1997;

Nantes, Musee des Beaux-Arts de Nantes, La Salle Blanche, James Rielly: Sensible Ways, 1997; Neuchâtel, Le CAN Centre D’Art, James Rielly, September 1998; Llandudno, Oriel Mostyn Gallery (touring exhibition), James Rielly, 9 September–21 October 2000; Salamanca, CASA Centro de Arte de Salamanca, James Rielly, 2002 LITERATURE Stuart Morgan, James Rielly ‘Sensible Ways’, La Salle Blanche, Musée des Beaux-Arts de Nantes,

1997, illustrated pl. 1; M. Lores and D. Fox, James Rielly, exh. cat., Salamanca: CASA Centro de Arte de Salamanca, 2002, illustrated pp. 26–27

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337 CLAYTON BROTHERS b. 1963/1967 How You Began, 2007 Mixed media on canvas. 101.7 × 76.3 cm (40 × 30 in). Signed, titled and dated ‘HOW YOU BEGAN 2007 CLAYTON BROTHERS’ on the reverse; further signed ‘C. Clayton’ lower left and ‘R. Clayton’ lower right on the reverse.

Estimate £15,000–20,000 $23,700–31,700 €17,500–23,300 PROVENANCE F2 Gallery, Beijing

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338 DAVID MACH b. 1956 Young Brutus, 1990 Fibreglass, paint and chainsaws. 158.8 × 77.5 × 78.7 cm (62 1/2 × 30 1/2 × 31 in).

Estimate £6,000–8,000 $9,500–12,700 €7,000–9,300 ♠ ‡ PROVENANCE Barbara Toll Fine Arts, New York

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339 CHRISTIAN WARD b. 1977 Black Hut, 2005 Oil on canvas. 203.5 × 263.5 cm (80 1/4 × 103 3/4 in). Signed, titled, and dated ‘Black Hut 2005 C. Ward’ on the reverse.

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 ♠ ‡ PROVENANCE Max Wigram Gallery, London

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340 PHILIPPE PERROT b. 1967 Untitled, 2007 Crayon, aquarelle, gouache, betadine and eosine on paper. 65 × 50 cm (25 5/8 × 19 3/4 in).

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 ♠ ‡ PROVENANCE Art:Concept, Paris

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341 SCOLI ACOSTA b. 1973 Group of 9 works on paper, 2004 Mixed media on paper. Each: 12 × 8.5 cm (4 3/4 × 3 3/8 in)

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 ‡ PROVENANCE Daniel Reich Gallery, New York

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342 JAUME PLENSA b. 1955 HATE, 1997 Polyester resin and steel. Brick: 22 × 12 × 4 cm (8 5/8 × 4 3/4 × 1 5/8 in); figure: 14 × 15 × 43 cm (5 1/2 × 5 7/8 × 16 7/8 in).

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 ♠ PROVENANCE Private Collection, London EXHIBITED Göppingen, Städtische Galerie, Jaume Plensa:

One Thought Fills Immensity, 1995

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343 KRIS MARTIN b. 1972 Thank You, 2009 Plexiglas box and wood plinth. 106 × 46.5 × 46.5 cm (41 3/4 × 18 1/4 × 18 1/4 in).

Estimate £8,000–12,000 $12,700–19,000 €9,300–14,000 ♠ PROVENANCE Sies + Höke, Düsseldorf

CTA_UK_Oct11_Day_Lots_228-305_v2.indd 293

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344 MICHAEL DELUCIA b. 1978 Untitled (Push Brooms), 2006 Push-brooms made of wood and plastic. 114.3 × 127 × 203.2 cm (45 × 50 × 80 in).

Estimate £5,000–7,000 $7,900–11,100 €5,800–8,200 † PROVENANCE Rivington Arms, New York EXHIBITED New York, Rivington Arms, Argo Bongo: Sculptures, 19 October –

20 November 2007 LITERATURE M. Holborn, ed., Shape of Things to Come: New Sculpture, Jonathan

Cape, 2011, p. 609 (illustrated)

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345 HEMA UPADHYAY b. 1972 KILLING SITE I, 2008 Acrylic, gouache, dry pastels and photographs on paper, aluminium sheet, enamel paint and found hardware material. Installation: 229 × 122.5 × 81.5 cm (90 1/8 × 48 1/4 × 32 1/8 in). This work is accompanied by a certificate of authenticity.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 ‡ PROVENANCE Studio la Città, Verona

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346 CHIHO AOSHIMA b. 1974 Hot Spring, 2002 Colour print on aluminium. 102 × 102 cm (40 1/8 × 40 1/8 in). This work is from an edition of 8 plus 2 artist’s proofs.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 † PROVENANCE Galerie Perrotin, Paris; Private Collection, London; Private

Collection, Europe

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347 JASON BROOKS b. 1968 Spray, 1999 Acrylic on linen. 265 × 183.3 cm (104 3/8 × 72 1/8 in).

Estimate £4,000–6,000 $6,300–9,500 €4,700–7,000 ♠ PROVENANCE ABN AMRO, London

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348 CHRISTIAN HOLSTAD b. 1972 House Training no. 20, 2006 Wool, leather, polyester, rubber, foam, linen and tie. 48.3 × 101.6 × 45.7 cm (19 × 40 × 17 7/8 in).

Estimate £7,000–9,000 $11,100–14,200 €8,200–10,500 PROVENANCE Daniel Reich Gallery, New York EXHIBITED Miami, MOCA (Museum of Contemporary Art), 9 September–

11 November 2006 LITERATURE M. Holborn, M. Dailey and The Saatchi Gallery, Shape of Things

to Come: New Sculpture, London: Jonathan Cape, 2009, p. 463

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349 GABRIEL KURI b. 1970 Untitled, 2006 Two marble composite slabs and folded sales receipt. 66 × 55 × 11 cm (25 7/8 × 21 5/8 × 4 3/8 in). This work is unique and accompanied by a certificate of authenticity.

Estimate £12,000–18,000 $19,000–28,500 €14,000–21,000 PROVENANCE Galleria Franco Noero, Turin

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350 SEAN HENRY b. 1965 Untitled (Man Holding Knee), 1995 Bronze with steel stand. 164 × 46 × 46 cm (64 5/8 × 18 1/8 × 18 1/8 in). This work is from an edition of 6.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 ♠ PROVENANCE Acquired directly from the artist

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351 SEAN HENRY b. 1965 Man in Sheepskin Jacket, 1996 Bronze with steel stand. 164 × 46 × 57 cm (64 5/8 × 18 1/8 × 22 1/2 in). This work is from an edition of 6.

Estimate £3,000–5,000 $4,700–7,900 €3,500–5,800 ♠ PROVENANCE Acquired directly from the artist

CTA_UK_Oct11_Day_Lots_228-305_v2.indd 301

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352

353

THIS LOT IS SOLD WITH NO RESERVE

352 JOHN BOCK b. 1965 Phettberg, 1996 Charcoal, paper and acrylic on paper. 29.5 × 21 cm (11 5/8 × 8 1/4 in). Initialled, titled and dated ‘JB 96 Phettberg’ lower left.

Estimate £1,500–2,500 $2,400–4,000 €1,700–2,900 ♠   PROVENANCE Klosterfelde Gallery, Berlin

THIS LOT IS SOLD WITH NO RESERVE

353 JOHN BOCK b. 1965 Untitled, 2009 Glass bottle, eggshells, plastic, paper and glue on foamboard. Initialled and dated ‘JB 22 06 09’ on the base.

Estimate £1,500–2,500 $2,400–4,000 €1,700–2,900 ♠   PROVENANCE Klosterfelde Gallery, Berlin

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354 CAMERON JAMIE b. 1969 Untitled, 2006 Ink on paper. 77 × 57 cm (30 3/8 × 22 1/2 in). Signed and dated on the reverse.

Estimate £3,000–4,000 $4,700–6,300 €3,500–4,700 ‡ PROVENANCE Galerie Nathalie Obadia, Paris

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THIS LOT IS SOLD WITH NO RESERVE

355 DAMIEN HIRST b. 1965 Relationships, 1991 Glass, ping pong ball and paper with artist’s box. Glass: 15.8 × 6.2 cm (6 1/4 × 2 1/2 in), paper: 21 × 20.4 cm (8 1/4 × 8 in). The work is signed ‘Damien Hirst’ and numbered of 125 on the paper certificate. This work is from an edition of 125.

Estimate £1,500–2,500 $2,400–4,000 €1,700–2,900 ♠   PROVENANCE Institute of Contemporary Arts, London

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THIS LOT IS SOLD WITH NO RESERVE

356 THOMAS HIRSCHHORN b. 1957 1 man = 1 man (grün), 2002 Tape on polyester scarf. 85.5 × 85.5 cm (33 5/8 × 33 5/8 in).

Estimate £1,000–2,000 $1,600–3,200 €1,200–2,300

PROVENANCE Galerie Zwirner, Cologne

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INDEX

Abdessemed, A. Ackermann, R. Acosta, S. Ai, W.

139

Hajjaj, H.

318

341

Hein, J.

166

Albers, J.

293

Haring, K.

131, 200

Hempel, L. 165 114, 273

Henry, S.

Herold, G. 126 Hirschhorn, T.

Andy Hope 1930

Hirst, D.

178

Hockney, D.

Araki, N.

Hofer, C.

162

Baldassari, J. Banksy

138

265, 266

Basquiat, J-M.

254

186

228, 230

287

Männikkö, E.

Meese, J.

198, 199

Strunz, K.

146

Sugimoto, H.

Hosking, B.

329

Mikhailov, B.

299

Sydorenko, V.

106

Minter, M.

Houshiary, S.

321

Miyajima, T.

120

Icaza, A.

212

152, 320,352, 353

Muniz, V.

Brooks, J. 347

Indiana, R.

Brown, C. 161

Innes, C.

258

322

Neto, E.

Uecker, G. 207

335

Nicholson, B.

278

Nitsch, H.

Judd, D.

164

259

Oehlen, A.

205

Olowska, P.

Kapoor, A.

Op de Beeck, H.

Crumb, R.

190, 191

Kaspers, R.

257 286

de Saint Phalle, N. Decrauzat, P.

Orr, C.

Korner, J. 244

344

179

Veilhan, X. 331

151

185

298

Vezzoli, F. 311 Ward, C.

339

Warhol, A.

141, 241, 242,243, 260 159

Palmer, A.

328

Warren, R.

Pasqua, P.

319

Wesselmann, T.

158

Paul P.

Kryvolap, A.

300

Perrot, P.

332

Wurm, E.

256

202, 279

340

237

Pettibon, R.

diCorcia, P-L. 290

Kunath, F. 107, 108, 187

Pettibone, R.

Dolron, D. 142

Kuri, G.

Peyton, E.

217, 218

Yoshitomo, N.

Dzama, M.

Kusama, Y.

Plensa, J.

140, 342

Young, A.

110, 112

Young, R.

264

192, 193, 194

349 325, 326

Price, S. Elde Einarsson, G. Eliasson, O.

153

Elmgreen & Dragset Erlich, L.

115, 182

LaChapelle, D. Lavier, B.

132, 201

288

323

Lehmann, P. Liden, K.

FAILE 267

Liu, W.

Fairey, S.

268

Liu, X.

Fleury, S.

220, 313

Lombardi, M.

Freud, L.

245

229

Friedman, T. Frize, B.

147 303

Gréaud L. Guo, J. Gusev, I.

Yang, S. 167, 169 Yin, Z.

172 163

136, 296

Pylypchuk, J.

195, 196

Zhang, H. 170 Zheng, D. 176

Quinn, M.

255

Zipp, T.

309

314

168

Rae, F.

171

236

Rana, R. 239

121

Reyle, A.

119, 154, 155

Rhoades, J. 213 Rielly, J. Rist, P.

227

336 219

Rojas, C. 270 Rotella, M.

Gost, R.

262

105

Prince, R.

Richter, G. 203, 204

124, 233

Furnas, B.

113, 180, 181, 214,215, 216

306

117

Lieberman, J.

Fontana, L.

283, 284

289

304

221, 231 223

Kounellis, J. Kuhn, S.

210

Vasilieva, V.& E.

240, 334

Kippenberger, M.

211

DeLucia, M.

Opie, J.

307

Kilimnick, K.

de la Cruz, A. 118

van Den Broek, K. 208, 209 van Warmerdam, M.

Kang, H. K. 312

109

Upadhyay, H. 345

van Ofen, M.

122, 183, 184

de Jong, F.

102

177

Condo, G.

317

232

315, 316

101

Joon, K.

Khalilov, F.

Twombly, C.

156

Joffe, C.

Chapman, J. & D. 104, 148 337

226

128, 129

Navarro, I.

354

305

Trockel, R.

Nepomuceno, M. Jamie, C.

302

125

Taisha 3.14.

103, 285

Nash, D.

Brown, J. 271, 272

Davenport, I.

Taaffe, P.

292

Tyson, K.

130

274

280, 281, 282

Mosset, O.

261

308

Mickalene, T.

Houseago, T.

235

150

348

277

114, 273

295 173, 174

Holstad, C.

Hütte, A.

Clayton Brothers

Sheng, Q. Snow, D.

263

Calzadilla, G. & Allora, J.

Serrano, A. Slominski, A.

Bidlo, M.

Cattelan, M.

137

333

225

294, 343

Morimura, Y.

222

127

Schmidberger, C.

116

253

Bujnowski, R.

330

Schendel, M.

Martin, K.

Hume, G.

160

Sandison, C.

Martin, J.

327

Bourgeois, L.

188 276

Schütte, T.

297

Bevan, T. Bock, J.

224

Maier-Aichen, F. 356

123, 143, 246-252, 355

Aoshima, C. 346

291

338

Madani, T.

Sachs, T. Sala, A.

Maciejowski, M.

350, 351

Alÿs, F. 133, 134, 135

149, 189

269

Mach, D.

197

Almond, D. 234, 275

McGee, B.

McGinley, R.

206

Henning, A.

Allora, J. & Calzadilla, G.

McCarthy, P.

144, 145

310

Ruckhäberle, C.

238

324

175 301

Guyton, W.

111

CTA_UK_Oct11_Day_Backmatter_306-319_v2.indd 306

16/09/11 17.01


GUIDE FOR PROSPECTIVE BUYERS

de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the

BUYING AT AUCTION

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prepared honestly and carefully, our staff are not professional restorers or trained

Phillips de Pury & Company. Our staff will be happy to assist you.

conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant

CONDITIONS OF SALE

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The Conditions of Sale and Authorship Warranty which appear later in this catalogue

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should always request a condition report because all such property is sold unframed,

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unless otherwise indicated in the condition report. If a lot is sold framed, Phillips de Pury

terms upon which property is bought at auction. Please be advised that Phillips de Pury &

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we will be pleased to refer the purchaser to a professional framer.

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Electrical and Mechanical Lots

£500,000, and 12% of the portion of the hammer price above £500,000.

All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any

VAT

intended use, the electrical system is verified and approved by a qualified electrician.

Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium. The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the ‘VAT

Symbol Key

AND OTHER TAX INFORMATION FOR BUYERS’ section in this catalogue.

The following key explains the symbols you may see inside this catalogue.

1 PRIOR TO AUCTION

O Guaranteed Property

Catalogue Subscriptions

The seller of lots with this symbol has been guaranteed a minimum price. The guarantee

If you would like to purchase a catalogue for this auction or any other Phillips de Pury &

may be provided by Phillips de Pury & Company, by a third party or jointly by us and a

Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.

third party. Phillips de Pury & Company and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur

Pre-Sale Estimates

a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed

Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high

lot and may be allowed to net the financial remuneration received in connection with the

and low estimate range should, in our opinion, offer a chance of success. However, many

guarantee against the final purchase price if such party is the successful bidder.

lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. It is advisable to

In this catalogue, if property has O◊ next to the lot number, the guarantee of minimum price

contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale

has been fully financed by third parties.

estimates do not include the buyer’s premium or VAT. ∆ Property in which Phillips de Pury & Company has an Ownership Interest Pre-Sale Estimates in US Dollars and Euros

Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in

Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction

part or has an economic interest in the lot equivalent to an ownership interest.

catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only.

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 de Pury & Company and the seller and

Catalogue Entries

below which a lot may not be sold. The reserve for each lot is generally set at a percentage

Phillips de Pury & Company may print in the catalogue entry the history of ownership of a

of the low estimate and will not exceed the low pre-sale estimate.

work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and

♠ Property Subject to the Artist’s Resale Right

literature references may not be exhaustive and in some cases we may intentionally refrain

Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of

from disclosing the identity of previous owners. Please note that all dimensions of the

the hammer price and payable as part of the purchase price as follows:

property set forth in the catalogue entry are approximate. Portion of the Hammer Price (in EUR)

Royalty Rate

Condition of Lots

From 0 to 50,000

4%

Our catalogues include references to condition only in the descriptions of multiple works

From 50,000.01 to 200,000

3%

(e.g., prints). Such references, though, do not amount to a full description of condition.

From 200,000.01 to 350,000

1%

The absence of reference to the condition of a lot in the catalogue entry does not imply

From 350,000.01 to 500,000

0.5%

that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips

Exceeding 500,000

0.25%

IMPORTANT NOTICES Items sold under temporary admission

• Where the buyer is a Non-EU business, we require evidence of the business status

We wish to draw your attention to changes recently made to items sold under temporary

by means of the company identification, Certificate of Incorporation, Articles of

admission (originally called temporary importation). The cancelling or refunding of

Association, or government-issued documents showing that the company exists.

applicable VAT is now subject to items being exported from the European Union within 30 days of payment, rather than 90 days from the date of sale as previously required. For

• Where the buyer is an EU VAT registered business, we require the above as well as

up-to-date information on this matter, please see the ‘VAT and Other Tax Information for

the business’s VAT registration number in the form of a government-issued document

Buyers’ section below.

or paperwork from the local EU tax/VAT office showing the VAT number.

Identification of business or trade buyers

These details can be scanned and emailed to us, or alternatively they can be faxed or mailed.

As of January 2010 in the UK, HMRC have made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding

If these requirements are not met, we will be unable to cancel or refund any

buyer’s premium for lots with symbols for businesses outside the UK.

applicable VAT.

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The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a

Bidding Increments

maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based

Bidding generally opens below the low estimate and advances in increments of up to 10%,

on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the

subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments

European Central Bank.

set below may be lowered to the next bidding increment.

†, §, ‡, or Ω Property Subject to VAT

UK£50 to UK£1,000

by UK£50s

Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’

UK£1,000 to UK£2,000

by UK£100s

in this catalogue for additional information.

UK£2,000 to UK£3,000

by UK£200s

UK£3,000 to UK£5,000

by UK£200s, 500, 800 (eg. UK£4,200, 4,500, 4,800)

∑ Endangered Species

UK£5,000 to UK£10,000

by UK£500s

This property may require an export, import or endangered species license or permit.

UK£10,000 to UK£20,000

by UK£1,000s

Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the

UK£20,000 to UK£30,000

by UK£2,000s

Conditions of Sale.

UK£30,000 to UK£50,000

by UK£2,000s, 5,000, 8,000

UK£50,000 to UK£100,000

by UK£5,000s

❖ Gemstones Originating in Burma (Myanmar)

UK£100,000 to UK£200,000

by UK£10,000s

Jadeite and rubies of Burmese origin and articles of jewellery less than 100 years old

above UK£200,000

at the auctioneer’s discretion

containing such gemstones may not be imported into the United States or the United Kingdom. Lots marked with ❖ contain rubies or jadeite of Burmese or unknown origin that

The auctioneer may vary the increments during the course of the auction at his or her

may be subject to these restrictions. Buyers wishing to import rubies or jadeite into the

own discretion.

United States or the United Kingdom must obtain certification of non-Burmese origin from a gemmological laboratory. There may be costs and delays associated with this process.

3 THE AUCTION Conditions of Sale

With respect to items containing any other types of gemstones originating in Burma (eg.

As noted above, the auction is governed by the Conditions of Sale and Authorship

sapphires), such items may be imported into the United States or the United Kingdom

Warranty. All prospective bidders should read them carefully. They may be amended by

provided that the gemstones were mounted or incorporated into articles of jewellery outside

saleroom addendum or auctioneer’s announcement.

of Burma as long as the setting is not of a temporary nature. Loose gemstones of any type originating in Burma may not be imported into the United States or the United Kingdom.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such

The purchaser’s inability to import any item into the United States or the United Kingdom or

lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or

any other country as a result of these or other restrictions shall not justify cancellation or

a party providing or participating in a guarantee on the lot, Phillips de Pury & Company will

rescission of the sale or any delay in payment. Please check with the specialist department

make an announcement in the saleroom that interested parties may bid on the lot.

if you are uncertain as to whether a lot is subject to these import restrictions, or any other restrictions on importation or exportation.

Consecutive and Responsive Bidding The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.

2 BIDDING IN THE SALE

The auctioneer may further bid on behalf of the seller up to the amount of the reserve by

Bidding at Auction

placing consecutive bids or bids in response to other bidders.

Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued

4 AFTER THE AUCTION

identification will be required, as will an original signature. We may also require that

Payment

you furnish us with a bank reference.

Buyers are required to pay for purchases immediately following the auction unless other arrangements have been agreed with Phillips de Pury & Company in writing in advance of

Bidding in Person

the sale. Payments must be made in pounds sterling either by cash, cheque drawn on a UK

To bid in person, you will need to register for and collect a paddle before the auction begins.

bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate

New clients are encouraged to register at least 48 hours in advance of a sale to allow

policy not to make or accept single or multiple payments in cash or cash equivalents in

sufficient time for us to process your information. All lots sold will be invoiced to the name

excess of the local currency equivalent of US$10,000. Payment must be made by the

and address to which the paddle has been registered and invoices cannot be transferred to

invoiced party only.

other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction,

Credit Cards

please return your paddle to the registration desk.

As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard, American Express and UK-issued debit cards to pay for invoices of £50,000 or less.

Bidding by Telephone

A processing fee will apply.

If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of

Collection

the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone

It is our policy to request proof of identity on collection of a lot. A lot will be released to the

bids may be recorded. By bidding on the telephone, you consent to the recording of your

buyer or the buyer’s authorized representative when Phillips de Pury & Company has received

conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and

full and cleared payment and we are not owed any other amount by the buyer. After the auction,

VAT, which we can execute on your behalf in the event we are unable to reach you

we will transfer all lots to our premises at Howick Place, London SW1P 1BB, and will so advise

by telephone.

all buyers. If you are in doubt about the location of your purchase, please contact the Shipping Department prior to arranging collection. We will levy removal, interest, storage and handling

Absentee Bids

charges on uncollected lots.

If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can be

Loss or Damage

found at the back of this catalogue. This service is free and confidential. Bids must be

Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to

placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the

lots for a maximum of five days following the auction.

lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be

Transport and Shipping

accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the

As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand

event of identical bids, the earliest bid received will take precedence.

carry only. We do not provide packing, handling or shipping services directly. However, we will coordinate with shipping agents instructed by you in order to facilitate the packing,

Employee Bidding

handling and shipping of property purchased at Phillips de Pury & Company. Please refer to

Employees of Phillips de Pury & Company and our affiliated companies, including the

Paragraph 7 of the Conditions of Sale for more information.

auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee

Export and Import Licences

bidding procedures.

Before bidding for any property, prospective bidders are advised to make independent

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enquiries as to whether a licence is required to export the property from the United

VAT AND OTHER TAX INFORMATION FOR BUYERS

Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial

The following paragraphs provide general information to buyers on the VAT and certain

of any required licence or permit or any delay in obtaining such documentation will not

other potential tax implications of purchasing property at Phillips de Pury & Company.

justify the cancellation of the sale or any delay in making full payment for the lot.

This information is not intended to be complete. In all cases, the relevant tax legislation takes precedence, and the VAT rates in effect on the day of the auction will be the rates

Endangered Species

charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is not

Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,

usually treated as agent and most property is sold as if it is the property of Phillips de Pury

whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may

& Company. In the following paragraphs, reference to VAT symbols shall mean those

require a licence or certificate prior to exportation and additional licences or certificates

symbols located beside the lot number or the pre-sale estimates in the catalogue (or

upon importation to any country outside the European Union (EU). Please note that the

amending saleroom addendum).

ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence or certificate in another country, and vice versa. We suggest that prospective

1 PROPERTY WITH NO VAT SYMBOL

bidders check with their own government regarding wildlife import requirements prior to

Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s

placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import

Margin Scheme, and VAT will not normally be charged on the hammer price.

licences or certificates as well as any other required documentation. The denial of any required licence or certificate or any delay in obtaining such documentation will not justify

Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will

the cancellation of the sale or any delay in making full payment for the lot.

charge an amount in lieu of VAT at 20% on the buyer’s premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified. 2 PROPERTY WITH A † SYMBOL These lots will be sold under the normal UK VAT rules, and VAT will be charged at 20% on both the hammer price and buyer’s premium. Where the buyer is a relevant business person in the EU (non-UK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury & Company being provided with evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided then VAT will be charged on the buyer’s premium. 3 PROPERTY WITH A § SYMBOL Lots sold to buyers whose registered address is in the EU will be assumed to be remaining in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer advises us that the property is to be exported from the EU, Phillips de Pury & Company will re-invoice the property under the normal VAT rules. Lots sold to buyers whose address is outside the EU will be assumed to be exported from the EU. The property will be invoiced under the normal VAT rules. Although the hammer price will be subject to VAT, the VAT will be cancelled or refunded upon export. The buyer’s premium will always bear VAT unless the buyer is a relevant business person in the EU (non-UK) or is a relevant business person in a non-EU country, subject to Phillips de Pury & Company receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium. 4 PROPERTY SOLD WITH A ‡ OR Ω SYMBOL These lots have been imported from outside the EU to be sold at auction under temporary admission. Property subject to temporary admission will be offered under the Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 20%, marked by ‡ and Ω respectively, on the hammer price and an amount in lieu of VAT at 20% on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin Scheme should notify the Client Accounting Department before the sale. Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant business person in the EU (non-UK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury & Company receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium. 5 EXPORTS FROM THE EUROPEAN UNION The following types of VAT may be cancelled or refunded by Phillips de Pury & Company on exports made within three months of the sale date if strict conditions are met: • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol). • The VAT on the hammer price for property sold under the normal VAT rules (i.e., with a † or a § symbol). The following type of VAT may be cancelled or refunded by Phillips de Pury & Company on exports made within 30 days of payment date if strict conditions are met:

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• The import VAT charged on the hammer price and an amount in lieu of VAT on

HM Revenue & Customs

the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a Ω

VAT Overseas Repayment Directive

symbol) under the Auctioneer’s Margin Scheme.

Foyle House Duncreggan Road

In each of the above examples, where the appropriate conditions are satisfied, no VAT

Londonderry

will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury &

Northern Ireland

Company to export the property from the EU. If such instruction is received after payment, a

BT48 7AE

refund of the VAT amount will be made. (tel) +44 2871 305100 Where the buyer carries purchases from the EU personally or uses the services of a third

(fax) +44 2871 305101

party, Phillips de Pury & Company will charge the VAT amount due as a deposit and refund it if the lot has been exported within the timelines specified below and either of

You should submit claims for VAT to HMRC no later than six months from the end of the 12

the following conditions are met:

month period ending 30 June (e.g. claims for the period 1 July 2009 to 30 June 2010 should be made no later than 31 December 2010).

• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips de Pury & Company is provided with appropriate documentary proof of

Please note that refunds of VAT will only be made where VAT has been incurred for a business

export from the EU within three months of the date of sale. Buyers carrying their

purpose. Any VAT incurred on articles bought for personal use will not be refunded.

own property should obtain hand-carry papers from the Shipping Department to facilitate this process.

7 SALES AND USE TAXES Buyers from outside the UK should note that local sales taxes or use taxes may

• For lots sold under temporary admission, Phillips de Pury & Company is provided

become payable upon import of lots following purchase. Buyers should consult their

with a copy of the correct paperwork duly completed and stamped by HM Revenue &

own tax advisors.

Customs which shows the property has been exported from the EU via the UK within 30 days of payment date. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HM Revenue & Customs insist that the correct customs procedures are followed and Phillips de Pury & Company will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary admission must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips de Pury & Company is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary admission and the property is exported from the EU within 30 days of payment date. Any refund of VAT is subject to a minimum of £50 per shipment and a processing charge of £20. Buyers intending to export, repair, restore or alter lots under temporary admission should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips de Pury & Company being unable to refund the VAT charged on deposit. 6 VAT REFUNDS FROM HM REVENUE & CUSTOMS Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be possible to seek repayment from HM Revenue & Customs (‘HMRC’). Repayments in this manner are limited to businesses located outside the UK and may be considered for example for Import VAT charged on the hammer price for lots sold under temporary admission. All claims made by customers located in another member state to the UK will need to be made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is no longer in operation. If you are located in an EU member state other than the UK you will now need to apply for a refund of UK VAT directly to your local tax authority. This is done via submission of an electronically based claim form which should be accessed through the website of your local tax authority. As a result, your form may include VAT incurred in a number of member states. Furthermore, from 1 January 2010 you should only submit one form per year, rather than submitting forms throughout the year. Please note that the time limits by which you must make a claim have been extended. When making a claim for VAT incurred in another EU member state any claim will still be made on a calendar year basis but must now be made no later than 30 September following that calendar year. This effectively extends the time by which claims should be made by three months (e.g. for VAT incurred in the year 1 January to 31 December 2010 you should make a claim to your local tax authority no later than 30 September 2011). Once you have submitted the electronic form to your local tax authority it is their responsibility to ensure that payment is obtained from the relevant member states. This should be completed within four months. If this time limit is not adhered to you may receive interest on the unpaid amounts. If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC (the rules for those located outside of the EU have not changed). Claim forms are only available from the HMRC website. Go to http://www.hmrc.gov.uk/index.htm, and follow Quick Links, then Find a Form. The relevant form is VAT65A. Completed forms should be returned to:

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PART II

CONTEMPORARY ART AUCTION 8 NOVEMBER 2011 10AM & 2PM 450 PARK AVENUE

Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1260 Catalogues +1 212 940 1240

PHILLIPSDEPURY.COM JACK PIERSON Heroin, 20 0 0 Estimate $10 0,0 0 0 – 150,0 0 0

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CONDITIONS OF SALE

Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy of

The Conditions of Sale and Authorship Warranty set forth below govern the relationship

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers,

Bids must be placed in the currency of the sale. The bidder must clearly indicate the

on the other hand. All prospective buyers should read these Conditions of Sale and

maximum amount he or she intends to bid, excluding the buyer’s premium and value added

Authorship Warranty carefully before bidding.

tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at

1 INTRODUCTION

the lowest possible price taking into account the reserve and other bidders. Any absentee

Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale

bid must be received at least 24 hours in advance of the sale. In the event of identical bids,

and Authorship Warranty; (b) additional notices and terms printed in other places in this

the earliest bid received will take precedence.

catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom,

(c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of

in each case as amended by any addendum or announcement by the auctioneer prior to

which is printed in this catalogue or otherwise available from Phillips de Pury & Company.

the auction.

Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid

By bidding at the auction, whether in person, through an agent, by written bid, by telephone

from a telephone bidder by fax or otherwise immediately after such bid is accepted by the

bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as

auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder

so changed or supplemented, and Authorship Warranty.

consents to the recording of the conversation.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all

(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder

the terms on which Phillips de Pury & Company and the seller contract with the buyer.

accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing

2 PHILLIPS de PURY & COMPANY AS AGENT

with Phillips de Pury & Company before the commencement of the auction that the bidder is

Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in

acting as agent on behalf of an identified third party acceptable to Phillips de Pury &

this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a

Company and that we will only look to the principal for such payment.

lot, in which case we will act in a principal capacity as a consignor, or may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise.

(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY

undertaking such activity, we cannot accept liability for failure to execute such bids except

Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless

where such failure is caused by our wilful misconduct.

such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis.

(f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the

(a) The knowledge of Phillips de Pury & Company in relation to each lot is partially

reserve when submitting their absentee bids and otherwise comply with our employee

dependent on information provided to us by the seller, and Phillips de Pury & Company is

bidding procedures.

not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and

5 CONDUCT OF THE AUCTION

investigations to satisfy themselves as to the lots in which they may be interested.

(a) Unless otherwise indicated by the symbol

Notwithstanding the foregoing, we shall exercise such reasonable care when making

is the confidential minimum selling price agreed by Phillips de Pury & Company with the

express statements in catalogue descriptions or condition reports as is consistent with our

seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

, each lot is offered subject to a reserve, which

role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of

(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a

relevant experts, in each case at the time any such express statement is made.

lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate.

(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on

(c) The auctioneer will commence and advance the bidding at levels and in increments

the basis that bidders (and independent experts on their behalf, to the extent appropriate

he or she considers appropriate. In order to protect the reserve on any lot, the

given the nature and value of the lot and the bidder’s own expertise) have fully inspected the

auctioneer may place one or more bids on behalf of the seller up to the reserve without

lot prior to bidding and have satisfied themselves as to both the condition of the lot and the

indicating he or she is doing so, either by placing consecutive bids or bids in response

accuracy of its description.

to other bidders.

(c) Prospective buyers acknowledge that many lots are of an age and type which means that

(d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For

they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may

the benefit of international clients, pre-sale estimates in the auction catalogue may be

prepare and provide condition reports to assist prospective buyers when they are

shown in US dollars and/or euros and, if so, will reflect approximate exchange rates.

inspecting lots. Catalogue descriptions and condition reports may make reference to

Accordingly, estimates in US dollars or euros should be treated only as a guide.

particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the

Illustrations are for identification purposes only and cannot be used as precise indications

auctioneer will be the buyer and the striking of the hammer marks the acceptance of the

of size or to convey full information as to the actual condition of lots.

highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other

(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’,

report, commentary or valuation, is not a representation of fact but rather a statement of

‘returned to owner’ or ‘bought-in’.

opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by

(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of

Phillips de Pury & Company at our absolute discretion. Neither Phillips de Pury & Company

Sale and Authorship Warranty as if sold in the auction.

nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s

4 BIDDING AT AUCTION

premium, plus any applicable value added tax (VAT) and any applicable resale royalty

(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction

(the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including

or participation in the sale. All bidders must register for a paddle prior to bidding, supplying

£25,000, 20% of the portion of the hammer price above £25,000 up to and including £500,000

such information and references as required by Phillips de Pury & Company.

and 12% of the portion of the hammer price above £500,000. Phillips de Pury & Company reserves the right to pay from our compensation an introductory commission to one or more

(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury &

CTA_UK_Oct11_Day_Backmatter_306-319_v2.indd 312

third parties for assisting in the sale of property offered and sold at auction.

16/09/11 17.01


(b) VAT is payable in accordance with applicable law. All prices, fees, charges and

(b) If a purchased lot is paid for but not collected within six months of the auction, the buyer

expenses set out in these Conditions of Sale are quoted exclusive of VAT.

authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s

(c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us

reasonable discretion. The proceeds of such sale will be applied to pay for storage charges

an amount equal to the resale royalty provided for in those regulations and we undertake to

and any other outstanding costs and expenses owed by the buyer to Phillips de Pury &

the buyer to pay such amount to the artist’s collection agent. In circumstances where (i) we

Company or our affiliated companies and the remainder will be forfeited unless collected by

are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the

the buyer within two years of the original auction.

nationality of the artist, we will identify the lot with the symbol ♠ next to the lot number and will invoice the resale royalty to the buyer. If we subsequently determine that the nationality of

9 REMEDIES FOR NON-PAYMENT

the artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to

(a) Without prejudice to any rights the seller may have, if the buyer without prior agreement

the buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the

fails to make payment of the Purchase Price for a lot in cleared funds within five days of the

resale royalty on a particular lot, we become aware that information provided to us prior to the

auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the

auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale

following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at

royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice.

the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render

(d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately

such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the

following the auction regardless of any intention to obtain an export or import licence or

date payment became due until the date the Purchase Price is received in cleared funds; (v)

other permit for such lot. Payments must be made by the invoiced party in pounds sterling

subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in

either by cash, cheque drawn on a UK bank or wire transfer, as follows:

the possession of Phillips de Pury & Company and instruct our affiliated companies to

(i) Phillips de Pury & Company will accept payment in cash provided that the total amount

exercise a lien over any of the buyer’s property which is in their possession and, in each case,

paid in cash or cash equivalents does not exceed the local currency equivalent of

no earlier than 30 days from the date of such notice arrange the sale of such property and

US$10,000.

apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated

(ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and the buyer

companies after the deduction from sale proceeds of our standard vendor’s commission, all

provides to us acceptable government-issued identification. Cheques and banker’s drafts

sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or

should be made payable to “Phillips de Pury & Company Limited”. If payment is sent by post,

private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable

please send the cheque or banker’s draft to the attention of the Client Accounting

discretion, it being understood that in the event such resale is for less than the original

Department at Howick Place, London SW1P 1BB and ensure that the sale number is written

hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall

on the cheque. Cheques or banker’s drafts drawn by third parties will not be accepted.

together with all costs incurred in such resale; (vii) commence legal proceedings to recover

(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank

the hammer price and buyer’s premium for that lot, together with interest and the costs of

transfer details will be provided on the Invoice for purchased lots.

such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs.

(e) As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard, American Express and UK-issued debit cards to pay for invoices of £50,000 or less.

(b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the

A processing fee will apply.

buyer’s property which is in our possession upon notification by any of our affiliated companies that the buyer is in default of payment. Phillips de Pury & Company will notify the

(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the

buyer of any such lien. The buyer also irrevocably authorizes Phillips de Pury & Company,

Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to

upon notification by any of our affiliated companies that the buyer is in default of payment,

release a lot to the buyer until title in the lot has passed and appropriate identification has

to pledge the buyer’s property in our possession by actual or constructive delivery to our

been provided, and any earlier release does not affect the passing of title or the buyer’s

affiliated company as security for the payment of any outstanding amount due. Phillips de

unconditional obligation to pay the Purchase Price.

Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

7 COLLECTION OF PROPERTY (a) Phillips de Pury & Company will not release a lot to the buyer until we have received

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips de Pury &

payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding

Company to instruct any of our affiliated companies in possession of the buyer’s property

amounts due to Phillips de Pury & Company or any of our affiliated companies, including

to deliver the property by way of pledge as the buyer’s agent to a third party instructed by

any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such

Phillips de Pury & Company to hold the property on our behalf as security for the payment of

other terms as we in our sole discretion shall require, including completing any anti-

the Purchase Price and any other amount due and, no earlier than 30 days from the date of

money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied

written notice to the buyer, to sell the property in such manner and for such consideration

all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or

as can reasonably be obtained on a forced sale basis and to apply the proceeds to any

+44 (0) 207 318 4082 to arrange for collection of purchased property.

amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related

(b) The buyer must arrange for collection of a purchased lot within five days of the date of the

expenses and any applicable taxes thereon.

auction. After the auction, we will transfer all lots to our fine art storage facility located near Wimbledon and will so advise all buyers. Purchased lots are at the buyer’s risk, including the

10 RESCISSION BY PHILLIPS de PURY & COMPANY

responsibility for insurance, from (i) the date of collection or (ii) five days after the auction,

Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale

whichever is the earlier. Until risk passes, Phillips de Pury & Company will compensate the

without notice to the buyer if we reasonably believe that there is a material breach of the

buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid,

seller’s representations and warranties or the Authorship Warranty or an adverse claim is

subject to our usual exclusions for loss or damage to property.

made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then

(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap

refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the

purchased lots for hand carry only. We do not provide packing, handling, insurance or

refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury &

shipping services. We will coordinate with shipping agents instructed by the buyer, whether

Company and the seller with respect to such rescinded sale.

or not recommended by Phillips de Pury & Company, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips de Pury & Company. Any

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENCES AND PERMITS

such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for

Before bidding for any property, prospective buyers are advised to make their own enquiries

acts or omissions of third party packers or shippers.

as to whether a licence is required to export a lot from the United Kingdom or to import it into another country. Prospective buyers are advised that some countries prohibit the

(d) Phillips de Pury & Company will require presentation of government-issued

import of property made of or incorporating plant or animal material, such as coral,

identification prior to release of a lot to the buyer or the buyer’s authorized representative.

crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export

8 FAILURE TO COLLECT PURCHASES

of purchased lots should familiarize themselves with relevant export and import regulations

(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of

of the countries concerned. It is solely the buyer’s responsibility to comply with these laws

the auction, the buyer will incur a late collection fee of £50, storage charges of £10 per day

and to obtain any necessary export, import and endangered species licences or permits.

and pro rated insurance charges of 0.1% of the Purchase Price per month on each

Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of

uncollected lot. Additional charges may apply to oversized lots.

the sale or any delay in making full payment for the lot.

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12 DATA PROTECTION

any party to exercise, nor any delay in exercising, any right or remedy under these

(a) In connection with the management and operation of our business and the marketing

Conditions of Sale shall act as a waiver or release thereof in whole or in part.

and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties

(e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of

(e.g., credit information). If clients provide us with information that is defined by law as

Third Parties) Act 1999 by anyone other than the buyer.

‘sensitive’, they agree that Phillips de Pury & Company and our affiliated companies may use it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or

16 LAW AND JURISDICTION

process sensitive information for any other purpose without the client’s express consent. If you

(a) The rights and obligations of the parties with respect to these Conditions of Sale and

would like further information on our policies on personal data or wish to make corrections to

Authorship Warranty, the conduct of the auction and any matters related to any of the

your information, please contact us at +44 20 7318 4010. If you would prefer not to receive details

foregoing shall be governed by and interpreted in accordance with English law.

of future events please call the above number. (b) For the benefit of Phillips de Pury & Company, all bidders and sellers agree that the (b) In order to fulfil the services clients have requested, Phillips de Pury & Company may

Courts of England are to have exclusive jurisdiction to settle all disputes arising in

disclose information to third parties such as shippers. Some countries do not offer

connection with all aspects of all matters or transactions to which these Conditions of Sale

equivalent legal protection of personal information to that offered within the European

and Authorship Warranty relate or apply. All parties agree that Phillips de Pury & Company

Union (EU). It is Phillips de Pury & Company’s policy to require that any such third parties

shall retain the right to bring proceedings in any court other than the Courts of England.

respect the privacy and confidentiality of our clients’ information and provide the same level of protection for client information as provided within the EU, whether or not they are

(c) All bidders and sellers irrevocably consent to service of process or any other documents

located in a country that offers equivalent legal protection of personal information.

in connection with proceedings in any court by facsimile transmission, personal service,

By agreeing to these Conditions of Sale, clients agree to such disclosure.

delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of

13 LIMITATION OF LIABILITY

the bidder or seller known to Phillips de Pury & Company.

(a) Subject to sub-paragraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company,

AUTHORSHIP WARRANTY

any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury &

Phillips de Pury & Company warrants the authorship of property in this auction catalogue

Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in

for a period of five years from date of sale by Phillips de Pury & Company, subject to the

respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury &

exclusions and limitations set forth below.

Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot.

(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not

(c) All warranties other than the Authorship Warranty, express or implied, including any

extend to (i) subsequent owners of the property, including purchasers or recipients by way of

warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de

gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property

Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law.

created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of

(d) Subject to sub-paragraph (e) below, none of Phillips de Pury & Company, any of our

the claim under this warranty which is materially less than the Purchase Price paid; (iii)

affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond

property where the description in the catalogue states that there is a conflict of opinion on

the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss

the authorship of the property; (iv) property where our attribution of authorship was on the

or damage is characterised as direct, indirect, special, incidental or consequential, or for

date of sale consistent with the generally accepted opinions of specialists, scholars or other

the payment of interest on the Purchase Price to the fullest extent permitted by law.

experts; or (v) property whose description or dating is proved inaccurate by means of

(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability

scientific methods or tests not generally accepted for use at the time of the publication of the

of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of

catalogue or which were at such time deemed unreasonably expensive or impractical to use.

any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to

14 COPYRIGHT

provide to us at the buyer’s expense the written opinions of two recognized experts

The copyright in all images, illustrations and written materials produced by or for Phillips

approved in advance by Phillips de Pury & Company. We shall not be bound by any expert

de Pury & Company relating to a lot, including the contents of this catalogue, is and shall

report produced by the buyer and reserve the right to consult our own experts at our

remain at all times the property of Phillips de Pury & Company and, subject to the provisions

expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship

of the Copyright, Designs and Patents Act 1988, such images and materials may not be used

Warranty, we shall refund to the buyer the reasonable costs charged by the experts

by the buyer or any other party without our prior written consent. Phillips de Pury &

commissioned by the buyer and approved in advance by us.

Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips

15 GENERAL

de Pury & Company in writing within three months of receiving any information which

(a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1

causes the buyer to question the authorship of the lot, specifying the auction in which the

above, and Authorship Warranty set out the entire agreement between the parties

property was included, the lot number in the auction catalogue and the reasons why the

with respect to the transactions contemplated herein and supersede all prior and

authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury

contemporaneous written, oral or implied understandings, representations and

& Company in the same condition as at the time of its auction and is able to transfer good

agreements.

and marketable title in the lot free from any third party claim arising after the date of the auction.

(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning

(d) The buyer understands and agrees that the exclusive remedy for any breach of the

of the sale catalogue. Notices to clients shall be addressed to the last address notified by

Authorship Warranty shall be rescission of the sale and refund of the original Purchase

them in writing to Phillips de Pury & Company.

Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of

(c) These Conditions of Sale are not assignable by any buyer without our prior written

any other remedy available as a matter of law. This means that none of Phillips de Pury &

consent but are binding on the buyer’s successors, assigns and representatives.

Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or

(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable

damage is characterized as direct, indirect, special, incidental or consequential, or for the

for any reason, the remaining provisions shall remain in full force and effect. No failure by

payment of interest on the original Purchase Price.

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EVENING EDITIONS

AUCTION 26 OCTOBER 2011 6PM

450 PARK AVENUE

Phillips de Pury & Company 450 Park Avenue New York 10022 Enquiries +1 212 940 1220 | editions@phillipsdepury.com Catalogues +1 212 940 1240

PHILLIPSDEPURY.COM ROY LICHTENSTEIN Roommates from Nude Series, 19 8 3 Relief print in colors Estimate $120,0 0 0 – 18 0,0 0 0

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PHILLIPS de PURY & COMPANY

Chairman

Directors

Advisory Board

Simon de Pury

Sean Cleary

Maria Bell

Finn Schouenborg Dombernowsky

Janna Bullock

Patricia G. Hambrecht

Lisa Eisner

Alexander Payne

Lapo Elkann

Olivier Vrankenne

Ben Elliot

Chief Executive Officer Bernd Runge

Lady Elena Foster H.I.H. Francesca von Habsburg Marc Jacobs

Senior Directors

Ernest Mourmans

Michael McGinnis

Aby Rosen

Dr. Michaela de Pury

Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

INTERNATIONAL SPECIALISTS

Berlin Brussels

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Bérénice Chef, Specialist +32 473 12 27 06

Buenos Aires & London

Brooke Metcalfe, International Specialist, Contemporary Art +44 777 551 7060

Geneva

Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000

London

Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611

Los Angeles Milan Moscow

Maya McLaughlin, Contemporary Art +1 323 791 1771 Laura Garbarino, International Senior Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22

GENERAL COUNSEL

MANAGING DIRECTORS

Patricia G. Hambrecht

Finn Schouenborg Dombernowsky, London/Europe Sean Cleary, New York

WORLDWIDE OFFICES

NEW YORK

LONDON

MOSCOW

450 Park Avenue, New York, NY 10022, USA

Howick Place, London SW1P 1BB, United Kingdom

TSUM, Petrovska str., 2, office 524, 125009 Moscow, Russia

tel +1 212 940 1300 fax +1 212 940 1227

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +7 495 225 88 22 fax +7 495 225 88 87

NEW YORK

LONDON

BERLIN

450 West 15 Street, New York, NY 10011, USA

45–47 Brook Street at Claridge’s, London W1K 4HN, United Kingdom

Auguststrasse 19, 10117 Berlin, Germany

tel +1 212 940 1200 fax +1 212 924 5403

tel +44 20 7318 4010 fax +44 20 7318 4011

tel +49 30 8800 1842 fax +49 30 8800 1843

PARIS

GENEVA

6 avenue Franklin D. Roosevelt, 75008 Paris, France

23 quai des Bergues, 1201 Geneva, Switzerland

tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

tel +41 22 906 80 00 fax +41 22 906 80 01

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SPECIALISTS AND DEPARTMENTS CONTEMPORARY ART Michael McGinnis, Senior Director +1 212 940 1254 and Worldwide Head, Contemporary Art LONDON Peter Sumner, Head of Evening Sale +44 20 7318 4063 George O’Dell, Head of Day Sale +44 20 7318 4093 Judith Hess Matt Langton Raphael Lepine Karen Levy Ivgenia Naiman

+44 20 7318 4075 +44 20 7318 4074 +44 20 7318 4078 +44 20 7318 4082 +44 20 7318 4071

Paul de Bono Henry Highley Helen Rohwedder Charlotte Salisbury

+44 20 7318 4070 +44 20 7318 4061 +44 20 7318 4042 +44 20 7318 4058

NEW YORK Zach Miner, Head of Part I +1 212 940 1256 Sarah Mudge, Head of Part II +1 212 940 1259 Roxana Bruno Jean-Michel Placent Peter Flores Winnie Scheuer Alyse Serrell Amanda Stoffel Roxanne Tahbaz Jonathan Winter

+1 212 940 1229 +1 212 940 1263 +1 212 940 1223 +1 212 940 1226 +1 212 940 1303 +1 212 940 1261 +1 212 940 1292 +1 212 757 0190

PARIS Edouard de Moussac + 33 1 42 78 67 77 DESIGN Alexander Payne, Director +44 20 7318 4052 and Worldwide Head, Design LONDON Domenico Raimondo +44 20 7318 4016 Ben Williams +44 20 7318 4027 Marine Hartogs +44 20 7318 4021 Marcus McDonald

+44 20 7318 4014

Megan McGee

+44 20 7318 4023

NEW YORK Alex Heminway, New York Director +1 212 940 1269 Marcus Tremonto Meaghan Roddy

+1 212 940 1268 +1 212 940 1266

Allison Condo Alexandra Gilbert

+1 212 940 1268 +1 212 940 1266

MODERN AND CONTEMPORARY EDITIONS

PHOTOGRAPHS Vanessa Kramer +1 212 940 1243 Worldwide Director, Photographs LONDON Lou Proud, Head of Photographs, London +44 20 7318 4018 Sebastien Montabonel +44 20 7318 4025 Alexandra Bibby +44 20 7318 4087 Rita Almeida Freitas Emma Lewis

+44 20 7318 4062 +44 20 7318 4092

NEW YORK Shlomi Rabi +1 212 940 1246 Caroline Shea +1 212 940 1247 Deniz Atac Carol Ehlers, Consultant Sarah Krueger

+1 212 940 1245 +1 212 940 1245 +1 212 940 1245

JEWELS NEW YORK Nazgol Jahan, Worldwide Director +1 212 940 1283 Joanna Bengoa

+1 212 940 1302

Brittany Gersh

+1 212 940 1365

LONDON Ardavan Ghavami, Head of Jewels, Europe +44 20 7318 4064 Rose Curran Lane McLean

+44 20 7318 4032 +44 20 7318 4032

Stephen Gilbert

+44 20 7318 4104

THEME SALES Henry Allsopp, Worldwide Director +44 20 7318 4060 LONDON Arianna Jacobs +44 20 7318 4054 Lisa de Simone +44 20 7318 4090 Eleanor Crabtree Tamila Kerimova

+44 20 7318 4040 +44 20 7318 4085

NEW YORK Corey Barr +1 212 940 1234 Steve Agin, Consultant +1 908 475 1796 Laura González

+1 212 940 1216

Stephanie Max

+1 212 940 1301

PRIVATE SALES Matt Langton +44 20 7318 4074 PRIVATE CLIENT SERVICES Judith Hess, Director, London +44 20 7318 4075 Simon Tovey, Assistant +44 20 7318 4084

NEW YORK Cary Leibowitz, Worldwide Co-Director

+1 212 940 1222

Kelly Troester, Worldwide Co-Director

+1 212 940 1221

Audrey Lindsey

+1 212 940 1333

Jannah Greenblatt

+1 212 940 1332

ART AND PRODUCTION Mike McClafferty, Consultant Art Director LONDON Mark Hudson, Deputy Art Director Andrew Lindesay, Sub-Editor Tom Radcliffe, Production Director NEW YORK Andrea Koronkiewicz, Studio Manager Steven Mosier, Graphic Designer Orlann Capazorio, US Production Manager

CTA_UK_Oct11_Day_Backmatter_306-319_v2.indd 317

OFFICE OF THE CHAIRMAN Anna Furney, New York +1 212 940 1238 Harmony Johnston, London +44 20 7318 4099

MARKETING & COMMUNICATIONS LONDON Giulia Costantini, Head of Communications Fiona McGovern, Communications Assistant Alex Godwin-Brown, Communications Assistant NEW YORK Trish Walsh, Marketing Manager Anne Huntington, Communications Manager

16/09/11 17.01


SALE INFORMATION AUCTION Thursday 13 October 2011, 2pm VIEWING Thursday 6 October, 10am – 6pm Friday 7 October, 10am – 6pm Saturday 8 October, 10am – 6pm Sunday 9 October, 12pm – 6pm Monday 10 October, 10am – 6pm Tuesday 11 October, 10am – 6pm Wednesday 12 October, 10am – 7pm Thursday 13 October, 10am – 2pm VIEWING & AUCTION LOCATION Howick Place, London SW1P 1BB WAREHOUSE & COLLECTION LOCATION 110–112 Morden Road, Mitcham, Surrey CR4 4XB SALE DESIGNATION When sending in written bids or making enquiries, please refer

P

PROPERTY MANAGER

Barbara Petro Escobar +44 20 7318 4039 +1 212 940 1291 catalogues@phillipsdepury.com

C

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Tess Contla +44 207 318 4026 Jan Navratil +44 207 318 4081 Elisa Sciandro +44 207 318 4035 PHOTOGRAPHY Hayley Giles Kent Pell

Warehouse and collection location

Back cover Wade Guyton, Untitled, 2010, Lot 111 Inside back cover John Baldessari, Space between glad hands, 1986, Lot 138 (detail) Opposite Yang Shaobin, Untitled No. 13, 2000, Lot 169

Printed in the United Kingdom, Phillips de Pury & Company

CTA_UK_Oct11_Day_Backmatter_306-319_v2.indd 318

16/09/11 17.12


CTA_UK_Oct11_Day_Backmatter_306-319_v2.indd 319

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CTA_UK_Oct11_Day_BOB_320-321 singoli.indd 320

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P H I L L I P S D E P U RY.C O M

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19/09/11 08.17

Contemporary Art Day Sale  

13 October 2011 2PM Howick Place London SW1P 1BB

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