Contemporary Art Evening Sale

CONTEMPORARY ART LONDON EVENING SALE

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14 FEBRUARY 2013

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CONTEMP OR ARY ART LONDON EVENING SALE 14 FEBRUARY 2013 at 7pm

LOTS 1–36 Viewing Thursday 7 February, 10am – 6pm Friday 8 February, 10am – 6pm Saturday 9 February, 10am – 6pm Sunday 10 February, 12pm – 6pm Monday 11 February, 10am – 6pm Tuesday 12 February, 10am – 6pm Wednesday 13 February, 10am – 6pm Thursday 14 February, 10am – 6pm

Front cover Jean-Michel Basquiat, Untitled, 1982, lot 12 Back cover Mark Grotjahn, Untitled (Black and Canary Yellow Butterfly) #699, 2008, lot 4 Inside front cover Andy Warhol, Brillo Soap Pads Box, 1964, lot 9 (detail) Previous pages Jean-Michel Basquiat, Untitled, 1982, lot 12 (detail) Damien Hirst, Forgotten Promises, 2010, lot 22 (detail) Cecily Brown, East of Eden, 1999, lot 19 (detail) Inside back cover Andy Warhol, Tomato Juice Box, 1964, lot 10 (detail) Opposite Cindy Sherman, Untitled #469, 2008, lot 27 (detail)

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1 NATE LOWMAN

b. 1979

Green Escalade, 2005 silkscreen ink on canvas diameter: 152.4 cm (60 in)

Estimate £60,000–80,000 $96,700–129,000 €72,900–97,300 PROVENANCE

Maccarone, New York

“Good ideas should be engaged with until exhaustion.”

NATE LOWMAN

Embracing a sense of delinquency in his imagery, the work of American artist Nate Lowman is an emotional exploration of American culture. A tour of his Tribeca studio reveals the found objects symbolizing twentyfirst century America: celebrities, yellow smiley faces and bumper stickers. Lowman’s salient source material – both specific and articulate – reveals a fresh sociological study on a particular subset of society. While exploring his own identity, any patriotism for the ‘Land of the Free’ falls to the wayside in Bullet Hole.

Paintings from this series are sourced from trompe-l’œil stickers of bullet holes meant to be applied to cars, conjuring up put-on notions of masculinity, menace and aggression. Through reappropriation, Lowman unveils the wider cultural obsession with violence which emerges from the perpetual and ceaseless reciprocity between gun and gang culture. Thematically guided by themes of commerce, death and desire, Lowman’s contemporary Americana is imbued with the culturally absurd.

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NATE LOWMAN

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2 ROB PRUITT

b. 1964

Power of the Panda (Happy Alone), 2000 enamel and glitter on canvas 244 × 183 cm (96⅛ × 72 in)

Estimate £60,000–80,000 $96,700–129,000 €72,900–97,300 † PROVENANCE

Gavin Brown’s Enterprise, New York Private Collection, London EXHIBITED

London, Delfina Studio, New York Projects, July–August 2006

“I think that all art is kind of funny because it’s a little bit absurd.” ROB PRUITT

“I’ve really enjoyed letting the world know that not everything is so mystified or so regulated to expertise – that you can make something really beautiful with a little ingenuity and some supplies from Michaels [crafts shop].”

(Rob Pruitt, in an interview with James Franco, Interview Magazine, 26 October 2009) The panda relaxes on its back, happily munching a bamboo shoot. The creature shimmers on the canvas, content to be alone in a paradise overflowing with beauty. Rob Pruitt’s interest in pandas has developed and broadened extensively during his career, making his bear paintings his most recognisable works. The New York-based artist continually challenges established preconceptions of what an artwork should be. The title of this piece, Power of the Panda (Happy Alone), satirises the supremacy of this cuddly animal as an iconoclastic symbol within Pruitt’s œuvre.

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Rooted in Andy Warhol’s artistic strategies, Pruitt’s practice takes up various ideas from Pop art while adapting and transforming them.

Recalling Warhol’s love of superficiality, Pruitt’s dreamland is a glittery stage with no apparent content. The cliché breaks down when we think about the fate of the objects he portrays: we realise that behind the carefully staged surface lies a polluted environment that has driven the panda population to near extinction. In this balance of cliché and reality lies the true quality of Pruitt’s work.

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3 DAN COLEN

b. 1979

A Slip of the Tongue, 2010 chewing gum on canvas 122 × 92.5 cm (48 × 36⅜ in) Signed, titled, dated and numbered ‘DC-76 Dan Colen 2010 “A SLIP OF THE TONGUE”’ on the overlap. This work is accompanied by a certificate of authenticity signed by the artist.

Estimate £100,000–150,000 $161,000–242,000 €122,000–182,000 ‡ PROVENANCE

Gagosian Gallery, New York EXHIBITED

New York, Gagosian Gallery, Dan Colen, Poetry, 10 September–16 October 2010 LITERATURE

Pigs and Pigs and Pigs, exh. cat., Gagosian Gallery, New York, 2012, p. 38 (illustrated)

A Slip of the Tongue, by American artist Dan Colen, draws inspiration from both the imaginary and real spaces of teenage subculture. It is a quintessential example of his ‘gum paintings’, a series of works that the artist “fell in love with immediately” (Dan Colen, in an interview with Amy Kellner, ‘Suck on This’, Vice, 2008). Using chewing gum like paint, Colen mixes flavours – drawn from a long list of varieties organized by brand and taste in his studio – to achieve new colours. The result is a dynamic painting which evokes gumencrusted sites, from the underside of desks to California’s grotto-like tourist landmark Bubblegum Alley. It also recalls abstraction and neo-expressionism, negating formalism in a profoundly contemporary way.

The present lot is one of Colen’s mature gum pieces, which the artist says are created by “a more elaborate and involved process”.

Colen recalls their evolution: “I started adding a lot more gum to each canvas; I would put pieces down, pick them up again, move ’em around, stretch them out, mush ’em together” (Dan Colen, ‘Suck on This’, Vice, 2008). The broad

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“Chewing gum looked so much better than paint.”

DAN COLEN

strokes and larger scale indicate another evolution in Colen’s process, when he began boiling the gum to achieve greater fluidity and freedom with the medium.

Colen’s choice of chewing gum as a malleable and gestural medium exposes “a history, not one I necessarily know, but a history for sure.

There is an infinity in ‘real world objects’ that, no matter how much I try, I couldn’t paint or sculpt into being” (Dan Colen, Trash, Gagosian Gallery, 2011). The three-dimensional surface and freely orchestrated strokes reveal a dextrous touch typical of graffiti, another motif intrinsic to Colen’s œuvre. In his skilled hands the humble chewing gum becomes not just material, but tangible evidence of memory and existence.

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4 MARK GROTJAHN

b. 1968

Untitled (Black and Canary Yellow Butterfly) #699, 2008 coloured pencil on paper 121.6 × 100.3 cm (47⅞ × 39½ in) Signed twice, titled and dated ‘Mark Grotjahn Untitled (Black and Canary Yellow Butterfly) #699 2008’ on the reverse.

Estimate £250,000–350,000 $403,000–564,000 €304,000–425,000 ‡ PROVENANCE

Anton Kern Gallery, New York

“I don’t feel restricted, or I don’t want to feel restricted, by any rules.” MARK GROTJAHN

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Mark Grotjahn’s acclaimed Butterfly series focuses on the rigours of form and colour, while drawing on the imperfect elements of the natural world. In this series, each half of the pictorial plane represents the opening wing of a butterfly with lines of colour radiating from the centre. For Untitled (Black and Canary Yellow Butterfly) #699, 2008, the rays of colour, alternating lemon yellow with dark ebony, emerge from (or disappear into) a vanishing point at the very centre of the work. Other works in the series are asymmetrical, unlike the present lot, but in all, the vanishing points of Grotjahn’s butterfly works recede into an undefined space. The butterfly wings unfold from a thin vertical axis – a sliver of an opening into a sort of alternate reality.

Grotjahn’s hypnotic butterfly motif draws the eye inwards towards the unknown, becoming almost hallucinatory. The forms appear to stretch and shrink, approach and recede, play and taunt the logic of linear perspective.

The use of black and yellow in the present lot provides a stunning visual contrast, evoking Lichtenstein’s simplified colour schemes, advertising iconography, and the drama of comic strip action bursts. The colour choice lends a Pop art sensibility, adding historical resonance to the work. In Lichtenstein’s Sunrise, 1965, a sky full of blue lines illustrates the setting sun in the upper portion of the canvas. While the resplendent sun is absent from Grotjahn’s masterpiece, the gleaming radiance is evident from the centre point of the drawing as the wings beat with vigour.

Mark Rothko, Untitled, 1953, mixed media on canvas, 268.5 × 127.7 cm (105¾ × 505⁄ 16 in), Whitney Museum of American Art, New York

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In his pattern drawings, Grotjahn draws on traditional perspectival techniques refined since the Renaissance era. His iconic butterfly compositions nod to the history of modernist

painting, particularly that of Suprematism.

His skewed angles and radiant tonal colour echo some of the very first instances of forms and colours in Kazimir Malevich’s early 20thcentury abstract paintings. In a similar way to Frank Stella, Grotjahn plays with vanishing points and investigates perspective, creating an illusion of depth and volume. He expertly renders three-dimensional space on a twodimensional surface. His artwork destabilises the traditional perspective of lines that break at the horizon. The present lot displays an off-centre radial symmetry, with its starburst pattern forming a disjointed pinwheel motif.

Form and colour are infused with life and individual existence. Grotjahn’s delineation of colour is reminiscent of Mondrian’s defined colour fields and Rothko’s use of solid blocks of colour. In Mark Rothko’s Untitled, 1953, a study of the luminescence of yellow spans the canvas; in Grotjahn’s Untitled (Black and Canary Yellow Butterfly) #699 a parallel examination is witnessed as the yellow bands radiate across the page, revealing and concealing the multifaceted hues of the primary colour.

Grotjahn is inspired by storefront graphic design and the off-kilter, makeshift qualities of handmade ‘mom and pop’ shop signage.

Intentional scratches and imperfections on the surface lend a handmade aesthetic to the typically hard-edge appearance of geometric abstraction, subverting the illusion of perfection and attesting to the production process of his otherwise carefully controlled compositions. Recalling early 20th-century advertising and 1960s graphics, Untitled (Black and Canary Yellow Butterfly) #699 is at once vintage and contemporary. Its relevance to art historical canons renders it perennially current.

Lichtenstein: © The Estate of Roy Lichtenstein/DACS 2013; Stella: © ARS, NY and DACS, London 2013; Rothko: © 1998 Kate Rothko Prizel & Christopher Rothko ARS, NY and DACS, London

above Roy Lichtenstein, Sunrise, 1965 right Frank Stella, Jacques le Fataliste, 1974

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5 RASHID JOHNSON

b. 1977

Write Me In, 2012 mirrored tiles, black soap, wax, digital print, poplar board mirror: 243.8 × 182.9 × 5.1 cm (95⅞ × 72 × 2 in); overall installation: 274 × 184.5 × 100 cm (107⅞ × 72⅝ × 39⅜ in) This work is accompanied by a certificate of authenticity signed by the artist.

Estimate £60,000–80,000 $96,700–129,000 €72,900–97,300 ‡ PROVENANCE

Galerie Baudach, Berlin

“Johnson’s work can be said to index the schizophrenic attitudes toward race that have come to characterize the era of post-blackness.”

HUEY COPELAND

Write Me In, from 2012, by the American artist Rashid Johnson, is a highly individualistic yet altogether universal multimedia work. The artist uses materials that have a metaphorical and symbolic resonance for him, including products familiar from his childhood, such as West African herbal soap blackened with ash. Johnson grew up in Chicago during the 1970s and 80s, surrounded by his family’s early Afrocentrism, which dictated that many of the household’s objects should be symbols of “applying an Africanness to one’s self” (the artist, in Christopher Stackhouse, ‘Rashid Johnson’, Art in America, April 2012, p. 106).

However, as his family moved into a more middle-class, professional milieu, Johnson felt increasingly dislocated from the Afrocentric space that had been nurturing him since birth.

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The present lot is a testament to Johnson’s ongoing relationship with everyday objects that double up as signifiers for a culture.

The mirror, blackened in parts, negates the reflective nature of its surface and functions as an abstraction on identity. Johnson, caught in a state of social flux, questions his own place in a shared lineage of black history, identity and art. Indeed, his work often contemplates his own relationship with the pioneering cultural figures who came before him, as the title of the present lot suggests. As the artist explains, “I’m interested in exploring that sort of seismic change, looking into the space between things that came before and after. For me the undefined, in-between space is where it gets interesting” (Rashid Johnson, Rumble, Hauser & Wirth, 2012). Wavering between the personal and the social, Write Me In challenges preconceptions of racial identity in both realms.

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6 DONALD JUDD

1928–1994

Untitled (91-149 Menziken), 1991 anodized aluminium and transparent blue Plexiglas 25 × 100 × 25 cm (9⅞ × 39⅜ × 9⅞ in) Engraved ‘DONALD JUDD 91-149 ALUMINUM AG MENZIKEN’ on the reverse.

Estimate £250,000–350,000 $403,000–564,000 €304,000–425,000 PROVENANCE

Galerie Philomene Magers, Cologne EXHIBITED

Madrid, Galería Javier López, Donald Judd, 12 November 1998 – 31 January 1999

“A simple box is really a complicated thing” DONALD JUDD

“It isn’t necessary for a work to have a lot of things to look at, to compare, to analyse one by one, to contemplate. The thing as a whole, its quality as a whole, is what is interesting. The main things are alone and are more intense, clear and powerful. They are not diluted by an inherited format, variations of a form, mild contrasts and connecting parts and areas.”

(Donald Judd, ‘Specific Objects’, 1964. Arts Yearbook 8 [1965], p. 94; reprinted in Thomas Kellein, Donald Judd: Early Works 1955–1968, exh. cat., New York: D.A.P., 2002) Space and colour, working both together and in isolation, are at the heart of Judd’s œuvre. In Untitled (91-149 Menziken), he uses industrial materials – tinted Plexiglas and brushed

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aluminium – to construct a coloured space comprising two unequal rectangular expanses of pale blue within a silvery rectangular frame.

The result is a ‘specific object’ – a coherent totality much greater than the sum of its parts, embodying an almost metaphysical relationship between its elements of space and colour, metal and plastic. Judd, noted for his ability to divide forms, further heightens the tension between the open and closed volumes with the inclusion of an enclosed, partly hidden space – a motif he has often returned to. Through this resonant play on negative and positive, Judd produces space that is “intrinsically more powerful and specific than paint on a flat surface” (Judd, ‘Specific Objects’, 1964).

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7 CHRISTOPHER WOOL

b. 1955

Untitled (P271), 1997 enamel on aluminium 274.4 × 182.7 cm (108 × 71⅞ in) Signed, titled and dated ‘WOOL 1997 UNTITLED (P271)’ on the reverse.

Estimate £1,300,000–1,800,000 $2,090,000–2,900,000 €1,580,000–2,190,000 ‡ PROVENANCE

Luhring Augustine, New York

“I am an abstract painter. I am interested in visual language.

It’s not easy to put words to it.”

CHRISTOPHER WOOL

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Christopher Wool is one of the most recognised and critically acclaimed mid-career American painters working today. He came to prominence in the early 1980s, at a time when painting was being called into question as a viable medium, if not actually declared dead. The conceptual and minimalist movements of the 1970s in the United States had deliberately removed themselves from the act of painting.

With artists such as Donald Judd and Sol LeWitt exploring geometric sculptural forms, and Dan Flavin making constructions with neon lights, painting was seen as the least appropriate artistic method available. But then a new generation of American artists – including Wool himself, Richard Prince and Jean-Michel Basquiat – began to reconsider painting as a vehicle for critique from within.

The act of painting, they posited, did not have to be a conservative gesture; instead, it could effectively embody its critique by working within those conventions.

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With this in mind, in 1981 Wool returned to painting after a two-year sabbatical to pursue film-making. He began to explore a processbased practice, heavily influenced by the drip paintings of Jackson Pollock and works associated with post-minimalism. At this time, he was finding it increasingly difficult to identify meaningful imagery and subject matter, and soon lost interest in representation altogether.

Instead, it was the physical properties of paint that had begun to rekindle Wool’s enthusiasm for the medium: “I became more interested in ‘how to paint it’ than ‘what to paint’”, he has stated.

In 1997, Wool’s explorations led him to start applying black, spray-painted, rectangular ‘frames’ to the surface. “Streaming with drips, these ‘frames’ hover over the surface, reinforcing its form while at the same time alluding to the convention of the painting as a ‘window’. Like a disembodied picture of a

“It seems every time I prove something to myself, the opposite is equally valid.”

CHRISTOPHER WOOL

Pollock: © 2013. Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence © The Pollock-Krasner Foundation ARS, NY and DACS, London 2013; Rothko: © 2000 Kate Rothko Prizel & Christopher Rothko ARS, NY and DACS, London

Jackson Pollock (1912–1956), Autumn Rhythm (Number 30), 1950. New York, Metropolitan Museum of Art. Enamel on canvas, 266.7 × 525.8 cm (105 × 207 in). George A. Hearn Fund, 1957. Acc.n.: 57.92

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picture, they frame a painting within a painting” (A. Goldstein, ‘How to Paint’, in Wool, Taschen, 2012, p. 175).

The present lot, Untitled (P271) (1997), is a stunning example of the ‘frame’ paintings produced by Wool between 1997 and 1999.

Reminiscent of Mark Rothko’s mature style, they incorporate the use of rectangular fields of colour with light acting as a portal. Within this framing device, Untitled (P271) contains a mesh of patterns and marks familiar from Wool’s earlier works. These tropes emerged when, in 1986, the artist began to use rubber rollers intended for applying decorative ‘wallpaper’ patterns to walls, so that they could be repeated without a definitive beginning or end. He used banal imagery such as flowers, vines, clovers and dots, favouring designs that were neutral or naturalistic rather than overtly stylised or kitschy. The result was a loose yet formal repetitive aesthetic which Wool started to manipulate and complicate year by year. In 1988, he introduced the use of a rubber stamp; as with the roller, this enabled

Wool to fuse painting and process together whilst extending his image repertoire. He would construct a pattern by repeating the stamped image, interlocking the individual stamped images like links in a wire fence.

The present lot is a combination of Wool’s signature techniques. The primary layer is silkscreen and the rectangular frame is spray-paint, both on aluminium. It was not until the early 1990s that Wool turned to silkscreened imagery, a technique he continues to use. This enabled him to experiment with scale and process, with paintings from the early 1990s featuring large blow-ups of imagery taken from his earlier ‘roller’ and ‘stamp’ paintings. We can see these appropriated stars, dots and abstract marks within the window frame of Untitled (P271). There are imperfections throughout, such as overprinting, slipping and clogged screens, all associated with features of the silkscreen process. Wool embraces these imperfections, each one contributing to the individuality of the work.

The use of the spray gun dates from 1995, when Wool started to use this implement as a drawing instrument. He explored various styles of mark-making, starting with single lines, then intertwining lines, and later the rectangular ‘frames’ as seen in Untitled. Certain areas of the sprayed lines are highly liquefied, causing the paint to drip freely to the lower edge, while the loose spray-painted frame appears to levitate above the silkscreened carpet of pattern below.

Taken in its entirely, Untitled (P271) encapsulates a complex web of appropriation and layering that has become synonymous with Wool’s celebrated œuvre as a whole. His sophisticated exploration and development of process-based painting has received vast critical acclaim and paved the way for younger generations of artists. Yet in many ways, this elegant work is made precisely so as not to be understood: “It seems every time I prove something to myself, the opposite is equally valid,” he has said (in N. Wakefield, ‘Christopher Wool: Paintings Marked

by Confrontation and Restraint’, Elle Decor, February-March 1999, pp. 58–60).

Mark Rothko, Sketch for “Mural No. 1”, 1958

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8 BARBARA KRUGER

b. 1945

Untitled (Look and listen), 1996 photographic silkscreen on vinyl 141.8 × 257.3 × 6.6 cm (55⅞ × 101¼ × 2⅝ in) This work is unique.

Estimate £200,000–300,000 $322,000–483,000 €243,000–365,000 PROVENANCE

Mary Boone Gallery, New York Collection of BMG Bertelsmann Christie’s, New York, ‘Post-War and Contemporary, Afternoon Session’, 15 May 2002, lot 371 Acquired from the above sale by the present owner

“I think what I’m trying to do is create moments of recognition.

To try to detonate some kind of feeling or understanding of lived experience.” BARBARA KRUGER

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Cover artwork for the New York Times Book Review, 19 September 1993

represents a voice of a woman addressing the man, suggesting that even suppressed women will find the way to communicate their feelings and desires. Here, Kruger asks the viewers to ‘look’ and ‘listen’ to women, and urges society to treat them equally to men. In oppostion Untitled (Look and listen), from 1996, is a to the objectification of women evident seminal work by Barbara Kruger, one of the throughout the history of art and film, Kruger most prominent postmodern feminist artists puts the focus on women, allocating them an of the 1970s and 80s. Kruger’s art has been equal role in contemporary society to that of greatly influenced by years working in the men, and freeing them from the so-called ‘male art departments of publisher Condé Nast as gaze’. Kruger has explained this purpose behind graphic designer, art director and picture editor. her work: “my attempts aim to undermine that These graphic skills, perfected at the start of singular pontificating male voice-over which the artist’s career, allow Kruger to skillfully ‘correctly’ instructs our pleasures and histories juxtapose found or created photographic images or lack of them. I am wary of the seriousness with text in order to create new meanings and and confidence of knowledge. I am concerned interpretations relevant to society at large. with who speaks and who is silent: with what is seen and what is not” (the artist quoted in The present lot is a powerful example of the way B. Kruger, et. al., Barbara Kruger, Rizzoli, 2010, in which Kruger has used text to address the p. 193). viewer. This text is written in Kruger’s signature Futura Bold Oblique font in white on a red Kruger’s body of work is multilayered in its background. Kruger creates the language that complexity; it addresses not only the issues

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Kruger: © Barbara Kruger, courtesy Mary Boone Gallery, New York

“Making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.” (Barbara Kruger)

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“I just say I’m an artist who works with pictures and words.”

BARBARA KRUGER

of sexism, but also consumerism, individualism, alienation, power and numerous other human desires. The text used by the artist to create the message becomes the intrinsic part of the work not only visually but also conceptually.

Kruger creates work about our society, with its virtues and its vices: “I don’t know if [empathy] has been wired into us. But I mean I’ve never been engaged with the war of the sexes. It’s too binary.

The good versus the bad. Who’s the good?” (the artist quoted in Ron Rosenbaum, ‘Barbara Kruger’s Artwork Speaks Truth to Power’, Smithsonian Magazine, July-August 2012). The phrase ‘look and listen’ that addresses the viewer directly way, may be variously interpreted – it could also be an encouragement to people in today’s age of alienation inside the cosmopolitan cities, the age when individualism has reached its peaks, to be more humane and sensitive to people around them – to give way to empathy. By posing questions about every aspect of our culture throughout her œuvre, Kruger is writing her own narrative that embodies an all-rounded critic of society we live in.

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top Barbara Kruger, Untitled (Women witll not be seen and not heard), 1992. Billboard project for Museu de Arte Contemporanea, São Paolo, Brazil above Billboards for Liz Claiborne, Inc., 1991, Women’s Work Project on Domestic Violence, San Francisco

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9 ANDY WARHOL

1928–1987

Brillo Soap Pads Box, 1964 silkscreen ink and house paint on plywood, wrapped in original plastic 43.2 × 43.2 × 35.6 cm (17 × 17 × 14 in)

Estimate £600,000–800,000 $967,000–1,290,000 €729,000–973,000 ‡ PROVENANCE

Leo Castelli Gallery, New York Private Collection Christie’s New York, ‘Post-War and Contemporary Art Morning Session’, 16 November 2006, lot 133 Acquired from the above sale by the present owner EXHIBITED

Pittsburgh, Carnegie Museum of Art, Charles H. Carpenter, Jr.: The Odyssey of a Collector, 23 March–9 June 1996, travelled to New York, Whitney Museum of American Art (16 January–9 March 1997) Ridgefield, The Aldrich Museum of Contemporary Art, The Charles H. Carpenter, Jr. Collection: Fifty Years of Supporting the New, 22 September–31 December 2002 LITERATURE

I. Sandler, American Art of the 1960s, New York, 1988, no. 40 (illustrated) Charles H. Carpenter, Jr.: The Odyssey of a Collector, exh. cat., Carnegie Museum of Art, Pittsburgh, 1996, p. 79 (illustrated) G. Frei and N. Printz, eds., The Andy Warhol Catalogue Raisonné; Paintings and Sculptures 1964–1969, vol. 02A, New York, 2004, p. 73 no. 631; p. 75, fig. 27 (illustrated)

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Andy Warhol standing among Brillo Boxes, New York, 1964

“I like things to be exactly the same over and over again.”

“A truckload of wood boxes arrived, individually wrapped and taped in clear plastic sheeting.

And so would begin the arduous task of taping the floor with rolls of brown paper and setting out each box in a grid-like pattern of eight rows lengthwise … Completing the work took nearly six weeks, from early February well into mid-April.”

(Gerard Malanga, Warhol’s studio assistant, in Archiving Warhol: Writings and Photographs by Gerard Malanga, 2002 (GMW147-8)) Andy Warhol’s Brillo Soap Pad Boxes were exhibited for the first time on 26 April 1964 at the Stable Gallery in New York as part of the artist’s inaugural sculptural project. The gallery space was filled from top to bottom with replicas of commonplace supermarket packaging: cans of Del Monte peach halves, Campbell tomato juice, Mott’s apple juice, Kellogg’s Cornflakes, Heinz tomato ketchup and Brillo Soap Pads boxes.

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The idea for the Stable Gallery show was sparked when Warhol asked his assistant Nathan Gluck to bring him cartons from the nearby grocery store. Gluck returned with some artfully-designed boxes that had contained exotic fruit. “No, no, no!”, Warhol complained, “I wanted something more ordinary.” (A. Chasin, All other things being equal: studies in U.S.-American material culture, Stanford University Press, p. 91.)

Warhol then delegated another assistant to the task, who returned with the most basic examples of supermarket packaging he could find. Warhol ordered precise copies of the originals to be made in the form of plywood boxes which were then screenprinted with imitation lettering and logos. The entire Stable Gallery was then filled with these boxes, recreating the disarray of a supermarket stockroom.

As the original invoice from the box carpenter shows, it can be supposed that Warhol produced one hundred Brillo Soap Pads boxes for the Stable Gallery show. The present Brillo Soap Pad Box appears to be straight from the stockroom, still in its original plastic wrapping.

A notation in the inventory of the Leo Castelli Gallery identifies the Brillo box photograph

by Rudolph Burckhardt (for the publication accompanying the exhibition The Odyssey of a Collector at the Whitney Museum of Art) with LC 179, the same inventory number as the current lot. From this fact we can assume that the most-reproduced photograph of a Brillo Soap Pad Box is in fact an image of this present lot.

© The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London 2013

ANDY WARHOL

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Andy Warhol in Gristede’s supermarket, New York, 1960s

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Warhol’s work in the early 1960s consciously destabilised the distinct domains of high culture and commercial art, but the Brillo Soap Pad boxes went a step further. They were precise copies of the actual object in shape and colour. The art critic Sidney Tillim reviewed the exhibition in Art Magazine with the following comment: “The visual emptiness of it all is the price he seems to pay for an instant of sublime but compulsive negation” (in E. E. Dennis, R. W. Snyder, eds., Media & Public Life, New Brunswick, NJ, 1997, p. 61).

This “visual emptiness” was precisely Warhol’s goal: to portray the extreme superficiality of the prosperous society in which he lived and worked.

The boxes emerged from an exciting time in Warhol’s life, just after he had moved to his new studio on 231 East 47th Street, New York, in 1963. The production setting for the Brillo Soap Pad boxes coined the name for this studio: the Factory. Warhol was no longer just an artist, he was a businessman. This statement on the structures and techniques of art production has ensured Warhol’s place as a figure of central importance in art since then.

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Brillo Soap Pads Box, Leo Castelli Gallery, New York, 1964 (a note in the Castelli inventory identifies this work as cat. no. 631, the present lot in this sale)

© The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London 2013; Castelli Brillo box: photo Rudolph Burckhardt

Andy Warhol and Gerald Malanga in the studio silk-screening Brillo Boxes at The Factory, 231 East 47th Street, New York, 1964

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Andy Warhol at The Factory, New York, 1964

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10 ANDY WARHOL

1928–1987

Tomato Juice Box, 1964 silkscreen ink and house paint on plywood 25.4 × 48.3 × 25.1 cm (10 × 19 × 9⅞ in) Stamped with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts and numbered ‘SC12.035’ on the underside.

Estimate £200,000–300,000 $322,000–483,000 €243,000–365,000 ‡ PROVENANCE

The Andy Warhol Foundation for the Visual Arts, Inc., New York Ronald Feldman Fine Arts, New York Christie’s New York, 11 November 2010, lot 115 Acquired from the above sale by the present owner EXHIBITED

Minneapolis, Walker Art Center, Duchamp’s Leg, 5 November 1994–26 March 1995 LITERATURE

G. Frei and N. Printz, eds., The Andy Warhol Catalogue Raisonné of Paintings and Sculptures, 1964-1969, vol. 2A, New York, 2004, p. 96, no. 894

“I never think that people die.

They just go to department stores.”

ANDY WARHOL

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Tomato Juice Box, 1964, featured in Andy Warhol’s first exhibition with the celebrated American art dealer Leo Castelli. It is a quintessential example of the artist’s witty engagement with political, artistic and social systems, and of Warhol’s unerring ability to turn the assembly line into an artistic and aesthetic punch line. Warhol assimilates the familiar Campbell’s branding into his own body of work, and makes startling parallels between low culture and high art, as well as demonstrating a sharp entrepreneurial eye.

Tomato Juice Box is a development of Warhol’s Campbell’s Soup Cans paintings of 1962, and was made at a point when he was moving from 2-D to 3-D installations, removing sculpture from the plinth in a similar way other artists such as Anthony Caro were also exploring. As well as appropriating Campbell’s tomato juice and soup containers, Warhol also recreated the packaging of other household names such as Brillo, Del Monte and Heinz. In doing so, he raised a series of critical conundrums: “How is it possible for something to be a work of art when something else, which resembles it to whatever degree of exactitude, is merely a thing, or an artefact, but not an artwork? Why is Brillo

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Box an artwork when the Brillo cartons in the warehouse are merely soap-pad containers?”

(A.C. Danto, ‘Andy Warhol: Brillo Box’, Art Forum, New York, 1993).

The work was in tune with the times. By 1964, a decade of American social activism had resulted in political reforms which would previously have been considered unthinkable. Marginalised groups had collectively mobilised change, with individual acts such as Rosa Parks’s instigation of the Montgomery Bus Boycott of 1955 leading to the passing of the Civil Rights Act of 1964, which outlawed many forms of racial and social discrimination. Visually, then, Warhol’s work can be seen as a summation of the recently realised power of the individual, framed by an American collective spirit.

At this time, Warhol was curating and popularising an underground scene at his New York studio, the Factory, with works that not only spoke to the public, but also connected him to art-historical themes such as the notion of individual genius. Indeed, the famous Factory, founded in 1963, can be seen as an updated version of the Renaissance workshops while almost mocking modern industrial systems. But

despite creating direct and pointed statements about the mechanisation of production and the rise of capitalist consumption, Warhol’s work is also visually stimulating and appealing.

It combines deep pleasure in the graphic with compelling conceptual complexity. By duplicating banal objects, Warhol fuses popular culture with modern art, a powerful mixture which profoundly changed the concept of art and the artist.

In his own way, Warhol pays homage to Marcel Duchamp, who isolated seemingly quotidian objects and remade them anew in the context of the gallery. Warhol’s appropriations likewise collapsed the structures of a hierarchical art system, whose institutions continually interrogate the cultural worth of individual artists. In an astute twist, Warhol subsumed a famous commercial brand into his own artistic legacy – and as a result Campbell’s soup is nowadays more associated with Warhol’s name than with that of Joseph A Campbell.

above Andy Warhol at the American Supermarket exhibition, Bianchini Gallery, New York, 1962 right The Warhol exhibition opening, the Stable Gallery, New York, 21 April 1964

© The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London 2013

“But why should I be original? Why can’t I be non-original?” ANDY WARHOL

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11 ANDY WARHOL

1928–1987

Hammer and Sickle, 1977 synthetic polymer paint and silkscreen on canvas 38 × 48 cm (14⅞ × 18⅞ in) Signed, dated, and inscribed ‘Andy Warhol 1977’ on the overlap; dedicated ‘to Bob Happy Birthday May 8, 1978’ on the overlap.

Estimate £200,000–300,000 $322,000–483,000 €243,000–365,000 ‡ PROVENANCE

Acquired directly from the artist Phillips de Pury & Company, New York, ‘Contemporary Art Part II’, 13 May 2005, lot 370 Acquired from the above sale by the present owner

“I guess I’ve been influenced by everybody.

But that’s good. That’s Pop.” ANDY WARHOL

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We strike the false shockworkers, poster, 1931

“Everybody’s always asking me if I’m a Communist because I’ve done Mao. So now I’m doing hammers and sickles for Communism, and skulls for Fascism.”

ANDY WARHOL

“ To Andy, they were also an extension of the classic still life. For years I had been photographing still lives for Andy … he loved to experiment and update classical themes. For him, it was the best part of making art.”

(R. Cutrone, ‘Hammer and Sickle’, Andy Warhol: Hammer and Sickle, exh. cat., London: Haunch of Venison, 2004, p. 5)

The present lot, executed in 1977, is a unique example of Andy Warhol’s famous Hammer and Sickle series. It was first exhibited under the title Still Lifes at New York’s Leo Castelli Gallery in 1977, and is dedicated to Warhol’s friend Bob Colacello, who edited the artist’s celebrity magazine Interview for 12 years.

With Hammer and Sickle, Warhol proves once again to be the premier iconoclast of the 20th century, demonstrating his unique ability to raise ideological, historical and social issues within a single striking image. Engaging with the Communist symbol and with the classic colours of Soviet propaganda – white, black and red – Warhol deprives the hammer and sickle of its usual stern aura and transforms it into an attractive consumerist object, on a par with his earlier Coca-Cola cans and Brillo Soap Pad

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boxes. However, this time the subject is not a product of American capitalism, but its exact opposite, the emblem of Communist ideology.

If his first controversial Brillo Soap Pad boxes were aimed at destabilising the threshold between high and low culture – undermining Clement Greenberg’s modernist separation of art and kitsch – Hammer and Sickle goes even further in conflating mass-produced imagery with propaganda. To Warhol, both the Brillo Soap Pad boxes and the hammer and sickle are nothing more than items made to sell: whether an object or an idea, it makes no difference.

First adopted by the Red Army and later incorporated into the Soviet Union’s national flag, the crossed hammer and sickle were meant to symbolise unity between industrial and agricultural labourers working together

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“It always amused me that Andy, the ultimate Capitalist, and me, the ultimate Libertarian, could be suspected of Communist activity.” RONNIE CUTRONE, ASSISTANT TO ANDY WARHOL

for the state. For his Hammer and Sickle series, Warhol dismantled this Communist icon into its components, arranging the tools into different compositions which were then photographed by his assistant Ronnie Cutrone. Inspired by Italian hammer and sickle graffiti seen during a trip to Naples, Warhol had originally asked Cutrone to track down images of the symbol in local bookstores. But the book images proved to be, in his words, too flat or too graphic, as Cutrone recalls: “The answer was to go down to Canal Street, into a hardware store, and buy a real hammer and sickle. Then I could shoot them, lit with long, menacing shadows, and add the drama that was missing from the flat-stencilled book versions… It always amused me that Andy,

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the ultimate Capitalist, and me, the ultimate Libertarian, could be suspected of Communist activity” (Hammer and Sickle, exh. cat., New York, C&M Arts, 2002). The result was a large body of work – comprising paint and silkscreen on canvas, drawings and collages – in which the artist experimented with different solutions, just as if moving objects in an ordinary still life composition.

If considering Hammer and Sickle as a contemporary version of the typical 18thcentury still life genre, the present work becomes a memento mori, a reminder of the horrors of war and dictatorships. Although the same may be said for Warhol’s Skull series –

and perhaps more generally for his Guns and Knives – the artist has here approached Communist iconography with a slightly greater sense of irony. A closer look at the handle of the sickle reveals the words “Champion no.

15 by True Temper”, the logo of the American manufacturer. Is Warhol mocking the American liberal market, or communism? Or both? The difference between capitalism and communism, between ‘good’ and ‘bad’, is irretrievably blurred. Warhol demotes the hammer and the sickle to mere objects and, with his knowing eye, transforms them still further into strikingly beautiful abstract images.

Photo: Ronnie Cutrone Art: © 2012 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

above Contact sheet of hammers and sickles with Warhol’s selections made in red, 1975 opposite The artist working on another version of Hammer and Sickle, New York, 1977

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12 JEAN-MICHEL BASQUIAT

1960–1988

Untitled, 1982 pastel, oilstick, coloured crayon and charcoal on paper 76.2 × 109.2 cm (30 × 43 in) Signed and dated ‘Jean Michel Basquiat/1982’ lower right. This work is accompanied by a certificate of authenticity issued by the Authentication Committee of the Estate of Jean-Michel Basquiat.

Estimate £1,800,000–2,500,000 $2,900,000–4,030,000 €2,190,000–3,040,000 ‡ PROVENANCE

Annina Nosei Gallery, New York Christie’s, New York, ‘Contemporary Art’, 2 November 1984 Galerie Daniel Templon, Paris Private Collection

“Believe it or not, I can actually draw.”

JEAN-MICHEL BASQUIAT

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(detail of the present lot)

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Jean-Michel Basquiat, Profit I, 1982

“Jean-Michel Basquiat made no hierarchical distinction between drawing and painting, and in fact, his paintings and drawings are often indistinguishable, and only differ in their paper or canvas support.”

The present lot, Untitled, was executed in 1982 with pastel, oilstick, coloured crayon and charcoal on paper. Art historically, works on paper have acted as studies or subsidiary works alongside an artist’s main output. It is arguable that Basquiat was more comfortable working on paper than on canvas. His favourite medium, pastel and oilstick, flowed uninhibitedly on the smooth surface of paper and suited his unprompted and expressionistic style. The same imagery and text occurred in both forms of expression throughout Basquiat’s œuvre - the drawings nourished the paintings, and the paintings evolved into drawings in a circular and replenishing cycle. This is apparent when comparing Untitled with Profit I, also executed in 1982. Untitled has an assured richness and quality of mark making that can rival the best of Basquiat’s works on canvas.

“Drawing was an essential element in the art of Jean-Michel Basquiat. The artist made no hierarchical distinction between drawing and

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painting, and in fact, his paintings and drawings are often indistinguishable, and only differ in their paper or canvas support. Basquiat drew on paper, canvas, and wood with graphite, oilstick, watercolor, and acrylic. He did it with a confidence and sophisticated hand, rapidly and spontaneously, and corrected or revised instantaneously and visibly. Drawing was a constant activity for the artist, and during his relatively short career he produced probably a few thousand works on paper.”

(R. Marshall, The Drawings of Jean-Michel Basquiat, p. 30) Untitled focuses on the human face and upper torso. The human figure is central to Basquiat’s works, especially in the early drawings of 1981–82, made while he was working out of the basement of Annina Nosie’s gallery on Prince Street, New York. The right side of the canvas is dominated by a human face painted in an archetypally bold and aggressive style. The head is set against a golden backdrop and is adorned with what appears to be a Crown of

Thorns, investing the figure with the symbolism of the Passion of Christ and further recalling early Italian Renaissance depictions of Christ such as by Giotto. Whereas in Basquiat’s later works, in which his subjects represent African-American musicians, athletes and political figures such as Robert Johnson, Charlie Parker, Joe Louis and Malcolm X, in Untitled the figure remains anonymous but, importantly, introduces to the viewer a black protagonist. Basquiat’s depiction of AfricanAmerican culture is usually treated with a stream-of-consciousness technique by which the artist constructs a social commentary on racial inequality and integration with autobiographical subject matter. Coming from a poor background – Basquiat’s father was Haitian and his mother a New York Puerto Rican – Basquiat found unprecedented fame and wealth in a very short amount of time, only to succumb to the pressures and prejudices of the white elitist New York art world of the 1980s, resulting in his unexpected death at the age of twenty seven.

Basquiat: © The Estate of Jean-Michel Basquiat / ADAGP, Paris and DACS, London 2013; Olympics: ©PA

R. MARSHALL

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In the present lot, the left half of the picture is dominated by the figure’s raised arm, drawn, like the face, with a raw intensity that recalls the naïve figures which populated the artist’s early street art in downtown New York. The disproportionally elongated arm and hand perhaps allude to a crucifixion or an action of surrender or alarm. Equally, the gesture could be seen as a powerful sign of protest and revolution. The anatomically accurate hand is surrounded by a thick black outline and in areas is filled with black oilstick, representing a glove.

This immediately recalls the Black Power salute that came to represent the African-American civil rights movement of the 1960s, the apogee of which was the defiant salute of the AfricanAmerican runners Tommie Smith and John Carlos while the American national anthem was played at the medal ceremony in the 1968 summer Olympics in Mexico City. This resulted in the expulsion of Carlos and Smith from the games but today, this act has been properly recognized but Basquiat, in Untitled, was one of the first to pay homage to the sacrifices these athletes made for African-American civil rights.

The lower left quadrant and lower edge of the composition if filled with a loose grid-like structure. This is depicted in many of Basquiat’s earlier drawings and references a common street game that appealed to him because of its graffiti-like origins. The game called ‘skelly’ is played on a linear diagram that has been drawn on the surface of a street or sidewalk with chalk or paint. Basquiat animates the upper Extending gloved hands skyward in racial protest, U.S. athletes Tommie Smith, center, and John Carlos stare downward during the playing of the Star Spangled Banner after Smith received the gold and Carlos the bronze for the 200 meter run at the Summer Olympic Games in Mexico City on Oct. 16, 1968.

Giotto Di Bondone, The Kiss of Judas, 1305–06, fresco, Capella degli Scrovegni, Padua

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left quadrant of Untitled with spontaneous markings as if he was writing graffiti across the heavens. He is influenced here by the scrawled lines of poetry in many of Cy Twombly’s paintings. These marks congregate at the finger tips of the figure like a cloud of electricity or cosmological mass. The 1980s saw a heightened interest and investment into space travel and the first African-American astronaut, Guion Bluford, travelled into space in 1983, less than a year after the completion of the present lot. The scribbles denote an agitated mind where thought is converted to a frenetic handwriting of strange street symbols, mathematical diagrams and anxious doodles.

No meaning can easily be discerned and the viewer remains in awe yet confounded as though one has been confronted by the secret of the universe itself.

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13 ANDY WARHOL

1928–1987

Beatle Boots (Negative), 1986 synthetic polymer and silkscreen ink on canvas 203.2 × 182.9 cm (80 × 72 in) Stamped twice by the Estate of Andy Warhol and three times with the Andy Warhol Foundation for the Visual Arts, Inc. stamps and numbered twice ‘PA10.558’ on the overlap.

Estimate £550,000–650,000 $886,000–1,050,000 €669,000–790,000 ‡ PROVENANCE

The Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, New York Mugrabi Collection, New York Anon. sale; Sotheby’s, New York, 11 May 2006, lot 312 Acquired at the above sale by the previous owner

EXHIBITED

London and New York, Gagosian Gallery, Andy Warhol: B & W Paintings, Ads and Illustrations 1985-1986, February–March 2002, p. 16 (illustrated) Monoco, Grimaldi Forum, Super Warhol, July–August 2003, no. 247, p. 484 (illustrated) LITERATURE

C. Stuckey, ed., Andy Warhol: Heaven and Hell Are Just One Breath Away! Late Paintings and Related Works, 1984-1986, New York, 1992 p. 47 (illustrated)

“Once you ‘got’ Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again.” ANDY WARHOL

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American Pop artist Andy Warhol has long superseded the fifteen minutes of fame he famously allocated for everyone else. An institutional and cultural icon with an artistic process steeped with overt wit, attuned perception and clever tact, Warhol is akin to everything modern and avant-garde in the twentieth century. Discovering beauty and meaning in mass culture – from advertisements to consumer brands to celebrities and the news – Warhol’s process exceeded beyond visual art, encompassing a lifestyle and process extending into the realm of life-long performance. As such, Warhol has become the predecessor to the great contemporary artists today through his innovative business strategies of self-promotion, branding and a factory-based studio. Beatle Boots, painted in 1986, is a significant work in Warhol’s expansive œuvre. Created at the very end of his career,

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the 1980s proved to be a highly productive decade for Warhol. With the gift of hindsight, the qualities imbedded in the present lot reflect a rather ominous yet articulate achievement.

The process, the motifs and the themes that emerge from the monochromatic canvas are wholeheartedly Warholian.

Warhol popularized serigraphy in the sixties and became synonymous with the process throughout his career. The technique allowed for great versatility, excessive repetition and a visual flatness which were all qualities Warhol revered in popular imagery and appropriated for his own work. Warhol has sourced imagery from a plethora of sources from brand logos to celebrity headshots, however, for the series Black + White Paintings (to which Beatle Boots belongs), Warhol specifically sought the crude, monochrome advertisements he

had collected and archived from newspapers decades before. There was an attractive wealth of possibilities that the newsprint advertisements had, despite their inherently rudimentary appearance. The attributes of the original image source translated perfectly with the silk-screened process. “The newspaper ads that most interested Warhol were graphically crude and terribly direct – aimed at the lowest common denominator, and delivered with maximum force and economy” (Andy Warhol: A Retrospective, exh. cat., Museum of Modern Art, New York, 1989, p. 15) The advertisement in the present lot, which reads: “Fans – Beatle Boots are Here!” had been sourced by Warhol from a 1960s newspaper advertisement during the height of Beatlemania. The boots, designed specifically for the Beatles, were an amalgamation of the

Beatles: photo by Fiona Adams/Redferns

above Photo of The Beatles: left to right, Ringo Starr, George Harrison, Paul McCartney, John Lennon, posed group shot, jumping on wall, used on the Twist & Shout EP cover, 1963 below right Andy Warhol, Icers’ Shoes, 1960

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“Black is my favourite colour and white is my favourite colour.” © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London 2013.

ANDY WARHOL

Chelsea ankle boot with the “Cuban heel” of a flamenco boot and were instantly disseminated into wider fashion and culture with the popularity of the British group. By the 1960s, the boots had become quintessentially evocative of the band and without a doubt, appealed to Warhol on an iconographic level like the Coca-Cola bottles and the tomato soup cans. Footwear as a motif has had a significant role in Warhol’s personal history. His first commercial job was creating illustrations for the shoe company I. Miller in the fifties, and the motif was resurrected in the early 1980s with diamond dust. With Beatle Boots harking back to Warhol’s early advertisements for I. Miller, the motif and process have come full circle.

Consumerism, mass-culture and celebrity are themes integral to Warhol’s philosophy

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with Beatle Boots embodying all three. Warhol, transforming a minute newspaper advertisement into a billboard scale, simplifies the overall visual impact while elevating the motif. For the works in the Black + White series, the advertisements of the 1950s and 60s in particular appealed to Warhol as they were lettered and drawn by hand. Warhol later revealed that, “the process of doing work in commercial art was machine-like, but the attitude had feeling to it.” (ibid., p. 459) By the eighties, the precision of line achieved by technology had displaced the more artistic nature of advertising with which Warhol had begun his career.

Beatle Boots, as a monochromatic, large-scale silkscreen, synthesizes all the recurring themes in Warhol’s prolific artistic career.

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14 JEAN-MICHEL BASQUIAT

1960–1988

For B.A.M., 1985 acrylic and coloured oilstick on canvas 213.4 × 152.4 cm (84 × 60 in) Signed and dated ‘Jean-Michel Basquiat 1985’ on the reverse.

Estimate £1,200,000–1,800,000 $1,930,000–2,900,000 €1,460,000–2,190,000 ‡ PROVENANCE

Galerie Beaubourg, Paris LITERATURE

Michel Enrici, Jean-Michel Basquit, Paris, Éditions de la Différence/Galerie Enrico Navarra, 1989, p. 43 (illustrated) Richard Marshall and Jean-Louis Prat, Jean-Michel Basquiat, Paris, 1996, 2nd ed., vol. II, p. 138, No. 1 Richard Marshall and Jean-Louis Prat, Jean-Michel Basquiat, Paris, 2000, 3rd ed., vol II, p. 226–27 (illustrated in colour)

“I start a picture and I finish it. I don’t think about art while I work. I try to think about life.”

JEAN-MICHEL BASQUIAT

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The present lot, For B.A.M., executed in 1985, was painted during the height of Jean-Michel Basquiat’s short-lived career. It was in February of that year that he featured on the cover of The New York Times Magazine accompanied by the title ‘New Art, New Money: The Making of An American Artist’. It was only five years prior to this that Basquiat had been an unknown homeless graffiti artist who left cryptic and witty statements on the walls of New York’s SoHo and the East Village using the pseudonym SAMO. His ascent to prominence from this position was without parallel. Basquiat’s time in New York’s high-society art world was brief and he was soon to succumb to the exploitative social and professional pressures, ultimately leading to his death at the age of 27. His career lends itself spectacularly to the romanticized legend of a struggling genius, the artist as exemplary outsider, unable to function within society. Basquiat was the first black artist to break into the white dominated art world; his entire œuvre reflects the struggles and hardships of an underprivileged AfricanAmerican in the face of the art world elite. It is well known that Basquiat’s greatest existential fight in life was his identity and his struggle for acceptance.

For B.A.M. incorporates many of Basquiat’s familiar motifs. The centre of the canvas is dominated by the head of a black figure. The face itself is characteristically crude with a primitive mask-like rendering, sharp jewel eyes, thick red lips, and a thin grid-like mouth that

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© The Estate of Jean-Michel Basquiat / ADAGP, Paris and DACS, London 2013

Hand-carved African mask, date unknown

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The upper left corner has a Japanese Yen symbol painted in vibrant red. Directly below, water is pouring onto a luscious green plant, fuelling its growth, all alluding to Basquiat’s new found fame and wealth. He had several blockbuster shows throughout 1985, including shows at Galerie Bruno Bischofberger in Zurich and Mary Boone Gallery in New York. Helping to further explain the use of the Japanese Yen, Basquiat took his second trip to Tokyo later in the year where he spent a week for the opening

above right Jean-Michel Basquiat on the cover of The New York Times Magazine, 10 February 1985 opposite Jean-Michel Basquiat, New York, 1984 below Malcolm X

of his solo show at the Akira Ikeda Gallery.

He was now finding fame and recognition worldwide. In the base of the plant Basquiat has written ‘ICECUBES’ then drawn a line through the word. Below the word the actual object is depicted in a child-like manner, a distinct art historical reference to the early conceptual art of the mid 1960s, especially One and Three Chairs, 1965 by Joseph Kosuth, where the central subject of the chair, is physically displayed alongside a photograph of the object and its definition. Furthermore, this loosely written text is suggestive of his earlier days, as SAMO©, the rebellious graffiti poet of lower Manhattan in the late 1970s. Basquiat often paid tribute to the traditions of graffiti.

The very title of the work, For B.A.M., is open to interpretation. The acronym B.A.M. in the context of Basquiat’s lifetime and social background conceivably stands for The Black Arts Movement. This was an artistic branch of the Black Power movement, started in Harlem by activist Amiri Baraka in 1965. The movement was triggered by the assassination of Malcolm X, the black American political figure to whom

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Basquiat often referred in his paintings.

Further, the preposition ‘For’ incorporated in the title insinuates that For B.A.M. was painted in dedication or as a monument to The Black Arts Movement and those involved. Here Basquiat show his appreciation and respect for his forefathers that have paved the way for the civil rights of black Americans.

“His influences were encyclopedic, and when we look for one we can find it. He did for ghetto commence what Warhol and Johns did for corporate commerce – flats fix, peso neto – and he made histories equivalent: biblical, colonial, jazz and prizefighting. There’s a democracy of information that captures and corrects the dazzling multimedia assault of freeze-dried information on the human sensorium. He let it all in and he reorganized it with divine judgment and artistic elegance. Like Warhol and the other Pop artists, his work was comedic. A painting might make you laugh out loud, but it might scare someone else. He was ‘big picture’ comedic, like Dante – a poet trying to sort absolutely all of it out.” (G. O’Brien, ‘Who Was that Masked Man?’ in Basquiat, p. 111)

Basquiat: © The Estate of Jean-Michel Basquiat / ADAGP, Paris and DACS, London 2013

resembles a zip running disproportionately high across the figure’s cheek. The face is reminiscent of a traditional hand-carved wooden African mask. We recognize this primitive art influence in the work of Pablo Picasso at the turn of the 20th century. The head is without body and floats above the stark white background within a naïvely drawn circle; above the head sits a dark cloudy crown. Basquiat often depicts his subjects with a crown or halo. His figures are heralded, commemorated and honoured as kings, heroes and martyrs who have often overcome great persecution and ultimately triumphed. As with many of Basquiat’s subjects, the head is anonymous and could be identified as several of Basquiat’s black American idols, included musicians, sports players and civil rights figures. There is the constant element of Basquiat depicting an existential portrait, often struggling with his identity and desperately trying to find a sense of belonging in the world.

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15 BANKSY

b. 1975

Bomb Middle England, 2001 acrylic and spraypaint stencil on canvas 92 × 183 cm (36¼ × 72 in) Tagged ‘BANKSY’ on the right overlap. This work has been authenticated by Pest Control Office and is accompanied by a certificate of authenticity.

Estimate £100,000–150,000 $161,000–242,000 €122,000–182,000 z PROVENANCE

Acquired directly from the artist in 2001 Sotheby’s, Olympia, ‘Contemporary Art’, 7 February 2007, lot 529 Acquired from the above sale by the present owner

“People look at an oil painting and admire the use of brushstrokes to convey meaning. People look at a graffiti painting and admire the use of a drainpipe to gain access.”

BANKSY

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Banksy has been making his distinctive handpainted mark on the world’s cityscapes since the early 1990s, turning them into his own idiosyncratic sketchbooks. Primarily created by spraying black-and-white paint through stencils, his artworks are at times humorous and nostalgic, but their apparent whimsicality masks a sharp political bite, and they often convey anti-war messages. Such is the case with Bomb Middle England, in which three mild-looking senior citizens are pictured on a manicured green playing the polite English game of bowls but using bombs instead of balls. This is one of the artist’s quintessential strategies: to humorously disarm war-related iconography by turning it into an image of peace, such as with his famous masked flowerthrower in Love is the Air. Street art is often considered to have originated with the birth of hip-hop culture in late 1970s America. But its roots actually lie in earlier guerilla art forms such as the Situationist actions of the 1950s and the radical happenings of the 1960s, intended as a critique of art’s commodification by the cultural establishment.

For example in the early 1960s, the Danish exSituationist Asger Jorn made a series of what he called ‘Modifications’ or ‘Défigurations’, in which he painted over cheap 19th-century prints, usually sourced from flea markets, to enhance and modernise what he considered meaningless old images. With this venerable lineage, street art today encompasses many art forms and styles, including graffiti, posters, installation, video, and many forms of modern technology.

After many years of making his hugely popular polemical yet funny work, Banksy has helped raise street art from an underground cult into

right Asger Jorn, Poussin, 1962, oil on canvas, 66 × 54 cm opposite Banksy, Mona Lisa with rocket launcher, 2001

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a globally recognised movement. Thanks to his success, critics and galleries have raised the profile of many other graffiti artists. Examples include designer Shepard Fairey, responsible for Barack Obama’s iconic ‘Hope’ poster from the 2008 US election, and the Norwegian stencil artist Dolk, both of who are now represented by mainstream galleries.

“His messages are direct enough to reach anyone on the street.” HELEN WEAVER

But despite street art’s elevation to high culture, Banksy’s belief in a ‘democratic’ form of art, accessible to everyone, remains firm: “Despite what they say, graffiti art is not the lowest form of art, although you might have to creep out at night and lie to your mum, it’s actually one of the more honest art forms available. There is no elitism or hype, it exhibits on the best walls a town has to offer and nobody is put off by the price of admission” (Bansky: Wall and Piece, p. 8).

Jorn: © Donation Jorn, Silkeborg/ billedkunst.dk/ DACS 2013; Banksy: Banksy, London, 2001

Rats with cameras, children holding heartshaped balloons, and policemen kissing each other – this is the witty and uniquely imaginary world of Banksy, Britain’s most famous contemporary street artist, as well as its most mysterious.

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16 JONATHAN WATERIDGE

b. 1972

Untitled (Mountain Wreck), 2006 oil on Plexiglas sheets (in ten parts) 192 × 270 × 21.5 cm (75⅝ × 106¼ × 8½ in)

Estimate £100,000–150,000 $161,000–242,000 €122,000–182,000 z PROVENANCE

David Risley Gallery, London

“Of course, painting does come with a huge amount of historical baggage but essentially it is just another language or idiom within art and I prefer to see it in those terms.” JONATHAN WATERIDGE

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“Even the most conceptual contemporary work operates within a tradition, it’s just not quite as long established.” JONATHAN WATERIDGE

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Jeff Wall, Dead Troops Talk (A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986), 1992, transparency in lightbox

“I’m very concerned with ideas of ‘looking’ and of what is being ‘seen’ within the pictures.” JONATHAN WATERIDGE landscapes” (www.saatchi-gallery.co.uk). It is this subtle marriage of the sublime, inspired by idealistic landscapes of Claude Lorrain, with the more recent and hard-edged aesthetics of photomontage and cinematography, that creates a playful ambiguity in his work.

The present lot is one of a series of landscapes of ‘forgotten disasters’, set in zoological habitats reminiscent of the old-style dioramas found in museums of natural history. Works in the so-called ‘crash series’ depict crashed planes and ships within these imaginary landscapes, conjuring up a theatrical world reminiscent of scenes from Jurassic Park.

Inspired by the cinema, the artist works almost

Claude Lorraine (1600–82), Apollo and the Muses on Mount Helicon, 1680, oil on canvas, 99.7 × 136.5 cm (39¼ × 53¾ in), Museum of Fine Arts, Boston, MA, USA, Picture Fund 12.1.050

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like a movie director. He stages sets with largescale models, taking numerous photographs with which to build up a story that he later depicts in paintings of dramatic intensity. For instance to create Untitled (Mountain Wreck), Wateridge explains that he started “by making a scale model of the scene – I built a plane and wrecked it – and worked directly from the miniature. This allows me to think of my work in relation to cinematography. Akin to making a film, I can compose the image and direct the lighting as I see fit” (www.saatchigallery.co.uk). In a further comparison to cinematography, the work is painted on ten Plexiglas sheets arranged like a mille-feuille, like cinematographic film that consists of multiple frames.

By presenting his ideas on this monumental scale, Wateridge creates a parallel between the widescreen cinema and the painted surface that in turn relates to photographic works by contemporaries, such as Jeff Wall, who employ photography to imitate conventional painting.

In one of Wall’s greatest pieces, Dead Troops Talk (a vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter 1986), 1992, the photographer created a fictional battleground in a hired studio, taking multiple shots and fusing together selected images with the help of digital technology. The result was a compelling tableau of modern-day disaster, meticulously realistic yet entirely constructed by the artist. Although painting in traditional technique, Wateridge, like Wall, uses photography as an intrinsic part of the process of creation, an essential step towards portraying his own heart-stopping dystopian visions.

Wall: © the artist; Claude Lorraine: © 2013 Museum of Fine Arts, Boston

Untitled (Mountain Wreck), from 2006, is a work by the English hyper-realist artist Jonathan Wateridge. Painted on a monumental scale, the piece invites the viewer into its alternate reality and overpowers with its grandeur. Wateridge’s precision of representation and fine application of paint creates a disconcertingly pseudo-realistic image, an illusion of a landscape the viewer might think they had already encountered.

As the artist puts it: “My paintings construct images you feel you could have seen before.

They play on a sense of the familiar … It’s essentially a B-movie aesthetic meets the Sublime. They all contain wrecks of obsolete modernist engineering rotting away in fictional

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17 ALBERT OEHLEN

b. 1954

Student II, 1997 oil on canvas 190 × 190 cm (74¾ × 74¾ in) Signed, titled and dated ‘Student II, A. Oehlen 97’ on the reverse.

Estimate £150,000–250,000 $242,000–403,000 €182,000–304,000 z ‡ PROVENANCE

Margo Leavin Gallery, Los Angeles Galerie Max Hetzler, Berlin Private Collection, Geneva

“I was always interested in the transportation of meaning, and I tried to find out what’s possible with that.” ALBERT OEHLEN

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“I am convinced that I cannot achieve beauty via a direct route; that can only be the result of deliberation.”

Albert Oehlen was born in 1954 in Krefeld, Germany and studied under Sigmar Polke in Hamburg. Linked to the Düsseldorf School and once a close friend of the late Martin Kippenberger, Oehlen combines a genuine love of painting and its beauty with a good measure of scepticism towards its fundamental rules and regulations. That eternal question in contemporary art theory, “is painting dead?”, has lost none of its controversy over the course of his career. On the contrary, it is the vigorous presence of artists such as Oehlen which helps keep the flame of painting blazing amidst the storms of criticism.

top Francis Bacon, Head VI, 1949 above Pablo Picasso, A Portrait of Wilhelm Uhde, 1910

Oehlen has always stuck to the traditional roots of painting – the exploration of colour and form, space and depth – but the power of his work lies in its unorthodoxy. Oehlen is in favour of confronting its received dogma, initially rejecting all beauty and dispensing with style in order to regain an authentic, expressive quality.

Rebellious and restless, his practice ranges from large abstract canvases to small-scale collages.

Constantly re-evaluating his approach over the years, he has lately started using a computer to compose his canvases.

Measuring 190 centimetres square, Student II is a large-scale self-portrait set within a mesh

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of abstract architecture. It is a painting which speaks of a deep admiration for the force of Francis Bacon’s self-depictions: the Irish master’s metaphysical investigations resonate in Oehlen’s own cage-like structure. And surely Oehlen must feel an affinity with Bacon: a man whose constant, lifelong struggle with the hotly contested medium of painting resulted, eventually, in supreme masterworks.

In Student II, Oehlen’s rough, spontaneous brushwork is executed solely in black and white, marking the beginning of his grey paintings. This reduction in tones came about when Oehlen was in Spain and only had a very limited palette at hand. Here he brushes up against neoclassicism and cubism: works such as Portrait of Wilhelm Uhde (1910) by the self-reinventing Pablo Picasso come to mind.

This exclusion of colour provoked in Oehlen an increased desire for vibrant paint: “I wanted to paint even more intensely coloured pictures, and I prescribed to myself the grey tones as therapy, in order to artificially heighten the lust for colour.” (Albert Oehlen, ed. by Hans-Werner Holzwarth, Cologne, 2009, p. 378). And by thus stripping his work down to its basics, Oehlen was able to use the grey tones as a springboard for different possibilities within his paintings – becoming the trigger as opposed to the end.

Picasso: © Succession Picasso/DACS, London 2013; Bacon: © The Estate of Francis Bacon. All rights reserved. DACS 2013

ALBERT OEHLEN

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18 JEAN DUBUFFET

1901–1985

Le Chien Rodeur, 1955 oil on canvas 81 × 99.5 cm (31 ⅞ × 39 ⅛ in) Signed and dated ‘J. Dubuffet 55’ upper left; further signed, titled and dated ‘Vence, août ’55’ on the reverse.

Estimate £400,000–600,000 $644,000–967,000 €486,000–729,000 z ‡ PROVENANCE

Pierre Matisse Gallery, New York Mr. and Mrs. Arthur J. Kobacker Steubenville, Ohio Sotheby Parke Bernet, New York, 28 October 1970, lot 64 Dr. Irving Stoner (acquired from the above sale) Robert Elkon Gallery, New York (1975) Marisa del Re Gallery, Inc., New York Waddington Galleries, London Mr. and Mrs. George Bloch, Hong Kong Private Collection, Connecticut Sotheby’s New York, ‘Impressionist & Modern Paintings, Drawings & Sculpture’, 8 November 1994, lot 42 Acquired from the above sale Sotheby’s, New York, ‘Collection of Stanley J. Seeger’, 8 May 2001, lot 35 Acquired from the above sale by the present owner EXHIBITED

New York, Pierre Matisse Gallery, Dubuffet Paintings – Assemblages d’Empreintes, 21 February-17 March 1956, no. 16 Hanover, Kestner Gesellschaft; Zürich Kunsthaus, Jean Dubuffet, 26 October–4 December 1960, no. 62 New York, The Museum of Modern Art, The Work of Jean Dubuffet, 19 February–8 April 1962, then travelled to The Art Institute of Chicago (11 May–17 June 1962), Los Angeles County Museum of Art (10 July–12 August 1962) London, Tate Gallery, Dubuffet Paintings, 23 April–30 May 1966, no. 72 New York, The Solomon R. Guggenheim Museum, Jean Dubuffet, 26 April-29 July 1973, then travelled to Paris, Galeries Nationales du Grand Palais (27 September–20 December 1973), no. 76 New York, Robert Elkon Gallery, Dubuffet, A Selection, 27 September–29 October 1975, no. 16 LITERATURE

Petr Selz, The Work of Jean Dubuffet, New York, 1962, p.114 (illustrated) Max Loreau, Catalogue des Travaux de Jean Dubuffet, Fascicule XI: Charettes, Jardins, Personnages Monolithes, Lausanne, 1969, no. 76, p. 64, pl. 76 (illustrated)

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“Personally, I believe very much in values of savagery. I mean: instinct, passion, mood, violence, madness.” JEAN DUBUFFET

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“For me, insanity is super sanity.

The normal is psychotic. Normal means lack of imagination, lack of creativity.” JEAN DUBUFFET This work by the French artist Jean Dubuffet, created in 1955, is a superb example of his Paysages of the 1950s. It is also a perfect illustration of his life-long struggle to connect his own art with the profoundest origins of man and earth. Le Chien Rodeur (the prowler dog) exemplifies Dubuffet’s concept of Art Brut: a savage and untamed form of expression which, just as the dog here, wanders through the twists and turns of the human mind bringing to the surface its most primitive and raw essence.

Dubuffet’s passion for the tactile qualities of art, its texture and materiality, evolved into the use of materials such as sand, glass, and tar – an awareness of materials that generally characterized the Art Informel movement of the time. Most strikingly, Le Chien Rodeur comprises densely applied layers of paint on canvas, subsequently incised with deep lines, creating a bas-relief in the surface of contoured impasto. This work reveals a unique stylistic continuum in Dubuffet’s œuvre, of conjuring life through carving into or out of his materials. This painting is reminiscent of

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the artist’s earlier work in high-relief, Pierre brise-loguique (pour exercises philosophiques), 1952, in which abstract forms are interpreted through the opaque strata of oil on canvas, conjuring ancient scenes of chiselled stone or bronze cast. Here, the artist combines sumptuous earth tones with a charming little character, mischievous and amusing. As in many of his Paysage works, Dubuffet populated his canvases with figures and animals alike, inhabiting his paintings with a sense of verve and appreciation for the everyday. Further exploring this theme in his sculptures, aptly titled Petites statues de la vie précaire (Little statues of precarious life), Dubuffet engaged with found materials such as steel wool, charcoal, newspaper, sponges, debris from a burned-out car, and grapevines, in order to create small figures or heads, often endearing, which display a sense of the transitory and sensitivity to their surrounding.

Le Chien Rodeur, like the sculptures developed just a year before, embodies the fragility and randomness of life. Dubuffet succeeds

in conveying this precariousness along with a vivid sense of the tenacity of his little dog.

While the title of the work connotes an action, we find his dog standing in place at the very top centre of the composition against a clear blue skyline, a small animal on the move and in a state of survival. Its expressive eyes, ears and tail reveal an attentive posture equally found in the manner of Dubuffet’s farmers, field workers, and other human figures; finding contentment in their natural surroundings.

The term rodeur not only signifies prowling but also implies a state of drifting, a sense of displacement projected by the collective consciousness of postwar Europe, a reaction to an unprecedented wretchedness and violence. In this way, one can interpret Le Chien Rodeur as a self-portrait of sorts, encapsulating the moment Dubuffet chose to let go of his prosperous livelihood in order to focus on his art, wandering the South of France, the Sahara, and even the United States before creating this painting. In fact, the very ground under this little dog’s paws, which engulfs the composition, can be compared to the metaphorical expanse located in Chinese landscape painting, expressing a withdrawal from social disintegration, communing with nature and privileging a natural hierarchy rather than an intellectual hierarchy.

Dubuffet created scenes of everyday life that reveal the artist’s salt-of-the-earth personality as much as they show bucolic landscapes.

To this, we can incorporate notions of early creation stories, the creator producing life forms out of soil, and the renewal of existence.

Indeed, there is a distinct overarching and omniscient force at work in Dubuffet’s paintings, possessing a “narrative look to

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Jean Dubuffet in Vincennes: Photo by Francis CHAVEROU/Gamma-Rapho via Getty Images; Dubuffet: © ADAGP, Paris and DACS, London 2013; Basquiat: © The Estate of Jean-Michel Basquiat / ADAGP, Paris and DACS, London 2013

it but no sense of movement in time or of consistent period and place” (P. Schjeldahl, ‘1942 and After: Jean Dubuffet in His Century’, in Jean Dubuffet 1943–1963, Washington DC: Smithsonian Institution Press, 1993, p. 15).

The significance of earth and natural elements in Dubuffet’s work is particularly clear in his biological works and garden paintings as it is in his later series, Texturologies (1957–58), which recreated the textures of soil. Gardens became a prominent subject matter for Dubuffet throughout 1955 and 1956. In Madame au jardin (Madame in the garden), 1956, the artist assembled elements of previously painted canvases, cut up and applied to the canvas in order to suggest plants and flowers. In Le Chien Rodeur, we find a similar topography, the earth is suggested through a patchwork-like strata of flowers and soil.

At the age of 41, Dubuffet became a professional artist at a time when the postwar debate between figuration and abstraction was animating the art worlds of both Europe and America. Dubuffet repudiated any type of high-brow art or culture. Influenced by the art of the COBRA group as well as the literary works of Claude Lévi-Strauss and Dr. Hans Prinzhorn (who was analysing connections between the art of the mentally ill and that of children), Dubuffet’s attention focused instead on that art which was free of cultural reference or influence and born exclusively of the mind’s own creativity – a product which he called ‘brut’: “Art made by professional specialists, I find it uninteresting. It is the production of art emanating from persons foreign to the specialized circles and elaborated by those shielded from any influence, in a completely spontaneous and immediate way, that

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from left to right Jean Dubuffet in Vincennes, France - in front of his sculptures Jean Dubuffet, Le Solitaire (The Solitary One), May 1955, oil on canvas, 260 × 81 cm (3⅝ × 31⅞ in). Collection of Margaret H. Demant, Detroit Jean Dubuffet, Vâche au nez subtil (Cow with the Subtil Nose), September 1954, oil and enamel on canvas, 88.9 × 116.1 cm (35 × 45¾ in). The Museum of Modern Art New York, Benjamin Scharps and David Scharps Fund Jean Michel Basquiat, Untitled (Dog), 1982, acrylic, oil stick and spray paint on canvas, 193 × 239 cm (76 × 94 in).

Private Collection

interests me” (Dubuffet, ‘In Honour of Savage Values’, RES: Anthropology and Aesthetics, no.

46, ‘Polemical Objects’, Autumn 2004, p. 259).

Highly educated and naturally immersed in his culture, Dubuffet never intended to be labelled an Art Brut artist. Nevertheless, during his career he attempted to ‘prowl’ throughout the modern world in search of an original, authentic form of art with a hunger for artistic truth. This insatiable desire to reproduce perceptions of the everyday is what situates him among the most important artists of the mid-twentieth century. Through his legacy, Dubuffet influenced innumerable artists, including the artistic genius of Jean-Michel Basquiat, known for adopting a neo-expressionist or primitive style in his approach.

Certainly the sense of immediacy found in Basquiat’s painting and drawing radiates with the inventiveness of Dubuffet’s style, doodlelike paintings and drawings often brimming with colour. Both artists exhibit a direct relationship to their environments, drawing simultaneously on the small daily encounters in life as much as they reveal historical lineages of art-making. Basquiat and Dubuffet drew on

populist themes, albeit in very different times and places. While Dubuffet’s dog is imagined prowling the uninhibited French landscape, Basquiat’s Untitled (Dog), 1982, is imagined in an urban environment, stalking beneath the constellations of night sky, almost hovering above the cold concrete, its bestial attributes heightened by a menacing grin and fixed gaze.

The importance of these seemingly innocuous depictions is directly related to the artists’ realities, reverberations of feelings and memories shaped by their social circumstances. Unpacking the unique quality of his work, Dubuffet states: “What seems interesting to me is to reproduce in the figurative representation of an object the whole complex system of impressions we receive in the normal course of everyday life, the way this affects our feelings and the shape it takes in our memory; and it is to this that I have always applied myself” (Jean Dubuffet, in Prospectus et tous écrits suivants, Vol. II, Jean Dubuffet, Gallimard, Paris, 1967, p. 103). In this way, Le Chien Rodeur, 1955, much like Basquiat’s Untitled (Dog), 1982, is an embodiment of a reality of nature which is both chaotic and resplendent.

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19 CECILY BROWN

b. 1969

East of Eden, 1999 oil on linen 190.5 × 190.5 cm (75 × 75 in)

Estimate £600,000–800,000 $967,000–1,290,000 €729,000–973,000 z ‡ PROVENANCE

Gagosian Gallery, New York EXHIBITED

New York, Gagosian Gallery, Cecily Brown, 14 January–19 February 2000 LITERATURE

E. Wingate, Cecily Brown: Paintings 1998–2000, Gagosian Gallery, New York, 2000, pl. 10 (illustrated) E. Wingate and R. Dergan, Cecily Brown, Gagosian Gallery, New York, 2008, pp. 96–97 (illustrated)

“I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention.” CECILY BROWN

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“People say to me, you paint like a man from the 1950s; and I say, someone’s got to do it.” CECILY BROWN

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In 1993, following a six-month placement in New York City, the British-born artist Cecily Brown took on a small studio in Lower Manhattan’s White Street. Escaping the brash installations and shocking spectacles of the Young British Artists in London, this move proved immensely successful for her. Equipped with a training from London’s Slade School of Fine Art, and the esteemed British painter Maggie Hambling, Brown’s work began to recall the Abstract Expressionists of the 1950s. She is happy to have her painting style described as hovering between abstraction and figuration: “I’ve always wanted to have a lot of different ways of saying something, maybe sometimes to the detriment of the paintings,” Brown says, “so that you might have a veil of paint that suggests some very delicate skin, but then I’ll want something very meaty and clogged next to it.” This conflict and ambiguity within her canvases paradoxically creates a most singular atmosphere, and she says she is “always trying to say something specific about a specific thing or place” (‘New York Minute’, AnOther Magazine, 14 September 2012).

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While she acknowledges a shared interest with British contemporaries concerning “basic sex and death type things, a certain violence” (‘New York Minute’), Brown’s range of interests sets her apart. In 2008, her bookshelf revealed a variety of influences including Hieronymus Bosch, Chinese eroticism, Aubrey Beardsley and El Greco (interview with Zefrey Throwell, 2008).

Willem de Kooning, Woman I, 1950–52, oil on canvas, The Museum of Modern Art, New York

The present lot, East of Eden (1999), is one of her earlier works; it was last exhibited in her solo show at the Gagosian Gallery, Rome, in 2008. Two human figures can be discerned in the painting – a female dominates the top half of the canvas, while a male lies outstretched at the bottom. Seen from a distance, the figures become much more prominent, but observing them close up, one is struck by the abstract, painterly quality of the surface. East of Eden recalls Hieronymus Bosch’s The Garden of Earthly Delights (1500–05), in which there is a perpetual battle between the overarching narrative and the multitude of fine details. In subject matter, too, Bosch’s painting is poised between the redemptive and the perverse.

© The Willem de Kooning Foundation, New York/ ARS, NY and DACS, London 2013; Brown studio: courtesy the artist

Cecily Brown in her studio

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“I love the trick of painting. You can have the movement within the still thing, but it is completely fixed. And that illusion is constantly exciting.” CECILY BROWN those paintings with a lot of sexual content, whether I was setting things up so that later on I could be less explicit and the paintings would still be imbued with an idea of this content”.

Thus, East of Eden acts as a kind of seed crystal, forming the backdrop against which her later works can be viewed, a tactic de Kooning himself employed in his controversial Woman series.

© Museo Nacional del Prado, Madrid

Hieronymus Bosch, The Garden of Earthly Delights, 1500-05, grisaille and oil on wood, 220 × 389 cm, Museo Nacional del Prado, Madrid

Brown’s style may appear instinctive and rapid, but it is in fact carefully constructed and historically aware. She is constantly looking into the past, while letting her paintbrush guide her forward. She has said, “I take all my cues from the paint” (‘New York Minute’), and this aspect of her practice can be likened to that of American Abstract Expressionists such as Jackson Pollock and Willem de Kooning. It also bears comparison with Francis Bacon’s figurative paintings, in which bodies are often seen in tense relationships; it was Bacon who said that he wanted to create “rivers of flesh” (interview with David Sylvester, Interviews with Francis Bacon, London, 1988, p. 83), a highly appropriate phrase to describe Brown’s own sensuous treatment of the body. Her humming colours – corals, burnt oranges, acrid green and flecks of calm blue – conjure up an almost dream-like state, drawing in the viewer and stimulating the gaze.

East of Eden invites a similarly dynamic response. In the catalogue of her 2008 Gagosian exhibition in Rome, Brown

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intersperses collage-like reproductions of her paintings with texts and close-ups of details, as if to present her associative mind at work. Double-page spreads of explicit sexual imagery, such as Victorian photographs and Baroque paintings, are followed by Brown’s own series of Hogarth-meets-Egon Schiele ink drawings; these are followed in turn by four large paintings, of which East of Eden is the last. This serial imagery is an important part of her process, and the mixture of references fosters creativity: “I love the freedom of having all these artists in your head side by side; you might find yourself thinking of Jeff Koons one minute and Giotto the next” (‘New York Minute’). Even her earliest work, an animated film from 1995, lends itself to this type of viewing, and is thus included in the exhibition catalogue.

Brown has said that she will often work with the catalogue entries of previous works in her studio to ensure both continuity and originality.

In an interview with Larry Pittman, Brown notes: “I sometimes wonder, looking back on

East of Eden perfectly embodies Brown’s chains of association and breadth of inspiration. The title itself refers to the Biblical land of Cain’s exile – situated east of Eden – a phrase later taken by John Steinbeck for the title of his great American novel about the migrant experience in 1930s California. It was made still more famous by the subsequent 1955 film, in which a young and dangerously sexual James Dean made his smouldering debut. Thus the title is a witty and ambiguous slogan to describe a work that is explicitly sexual, and which raises a subject often considered taboo in Anglo-Saxon culture.

Although her medium sets Brown apart from the YBAs – she herself has said, “In London, you felt like such a leper for painting” – she has also been keen to court the press. The erotic content of her work, like that of her London contemporaries Tracey Emin, Damien Hirst, and Jake and Dinos Chapman, has perhaps functioned as a shock tactic. She has described this aspect of her practice as “a kind of marriage of Francis Bacon and Gilbert & George. And even, going further back, to Hogarth – a sort of satire” (‘New York Minute’).

Brown’s father, the art critic David Sylvester, dedicated his life to an exploration of painting, and this offers a fascinating insight to Brown’s own distinctive style. Sylvester has said that his first “visceral experience” of art was seeing a reproduction of Matisse’s La Danse (1909–10) on the cover of Robert Goldwater’s book Primitivism in Modern Painting: “I saw … the linear tension of the forms of this circle of dancers and suddenly I was turned on to painting” (David Sylvester, in interview with John Tusa, BBC Radio 3, 7 September 2001).

In the same interview, he refers to looking as an act which is instinctive: “It is somewhere between prayer and sex.”

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20 DAMIEN HIRST

b. 1965

Untitled # 2 (Spot Painting), 1992 household gloss on canvas 91.4 × 91.4 cm (35⅞ × 35⅞ in) Signed ‘Damien Hirst’ on the reverse.

Estimate £300,000–500,000 $483,000–806,000 €365,000–608,000 z ‡ PROVENANCE

Acquired directly from the artist Private Collection, Transylvania Christie’s London, ‘Sale of Post-War and Contemporary Art’, 5 February 2004, lot 217 Acquired from the above sale by the present owner EXHIBITED

New York, Gagosian Gallery, The Complete Spot Paintings 1986-2011, 12 January–18 February 2012

“Mathematically, with the spot paintings, I probably discovered the most fundamentally important thing in any kind of art. Which is the harmony of where colour can exist on its own, interacting with other colours in a perfect format.” DAMIEN HIRST

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“Art can heal.”

DAMIEN HIRST

From curating the exhibition Freeze in 1988 and establishing the solo auction of his own work Beautiful Inside My Head Forever in 2008, all the way to his major Tate Modern retrospective in 2012, Damien Hirst has become one of the most influential artists of his generation. Hirst’s talent for being an entrepreneur is undoubtedly a large part of his success. Like many of the artists that today are associated with the YBAs (Young Brutish Artists), Hirst started out his highly successful career as a graduate of Goldsmiths College in London in the late 1980s.

During Hirst’s second year at Goldsmiths, he assembled his first Medicine Cabinet Sinner (1988). The cabinet marked a time when Hirst

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wanted to paint but was unable to produce anything decent. “… in painting I’d get lost: I had no formal devices to help me out. One problem I always had was colour” (Damien Hirst, exh. cat., London, Tate, 2012, p. 93). Hirst began to compose the cabinets in a painterly manner by selecting the medicine boxes for their colour and size. The advantage of the cabinet shelves was that they imposed a structure to the artwork that gave Hirst the necessary formal tool.

It was only shortly after the first Medicine Cabinet that Hirst painted the first of what must be one of the most widely recognized works in contemporary art today – his Spot Paintings. The set layout of the spots followed exactly the same

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Gagosian: Courtesy Gagosian Gallery, photography by Rob McKeever; Hirst: © Damien Hirst and Science Ltd. All rights reserved, DACS 2013

above Damien Hirst, Sinner, 1988, glass, faced particleboard, ramin, plastic, aluminium, anatomical model, scalpels and pharmaceutical packaging, 137.2 × 101.6 × 22.9 cm (54 × 40 × 9 in) left Installation view, Damien Hirst: The Complete Spot Paintings 1986–2011, Gagosian Gallery, New York, 12 January–18 February 2012 (the present lot is shown at far left)

notion of structure as the Cabinets; however, now Hirst could not hide the fact that he was arranging colour anymore. He committed fully to paintings in the way that it now was all about colour and composition. As Hirst has said about the Spot Paintings, “I just wanted things that were irresistible, things that you couldn’t ignore, things that you couldn’t avoid and you couldn’t challenge” (Damien Hirst, 2012, p. 92).

Indeed, Hirst had created something utterly provocative and unavoidable with his vibrant Spots.

“Yeah, the first [Spot Painting] on canvas absolutely changed my world. I’d looked at this stuff, like Conceptual art, but it was the

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first time I had clarity in some way. The thing that was causing me problems in painting was colour, finding a structure where I could lay it down, be in control of it rather than it controlling me. Once I’d done that, I didn’t really have problems with colour anymore.” (Damien Hirst, 2012, p. 91) At the time of the first Spot Paintings, Hirst was looking at Minimalism. He was intrigued by these minimal forms because they also were unavoidable and at the same time deeply irresistible. “I was totally into Minimalism probably before I was into Conceptual art – Donald Judd and Sol Lewitt and all those guys.

I loved Minimalism because it was everything

I wasn’t as a human being …” (Damien Hirst, 2012, p. 93). But soon he became bored and then even frustrated by the meaningless of Minimalism; Damien’s response were the Spot Paintings.

In early 2012, Hirst exhibited over 300 Spot Paintings at once across all of Gagosian Gallery’s eleven locations worldwide. Spanning 25 years, The Complete Spot Paintings 19862011 fulfilled the artist’s long-standing dream to show all the Spots simultaneously.

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21 MARC QUINN

b. 1964

Frozen Head, 2009 10 kg of 18 ct gold 32 × 17 × 22 cm (12⅝ × 6¾ × 8⅝ in) This work is an edition of one.

Estimate £600,000–800,000 $967,000–1,290,000 €729,000–973,000 z ‡ PROVENANCE

Private Collection, Switzerland Private Collection, Los Angeles

“The final one will be done after I die, with blood drained out of my body” MARC QUINN

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“On the one hand the symbolic mystery of an alchemical and enigmatic truth, on the other the force of a well-known, recognizable image, obvious in its familiarity.” DANILO ECCHER

A self-portrait of the artist cast in 18 carat gold and born of the same mould used for Quinn’s seminal work, Self (1991), Frozen Head (2009) may appear to be a work of apotheosis. By casting the image of a mortal man in one of the most valuable of materials and thus consigning it to posterity, Quinn is raising questions about the value of art and its significance for contemporary society. Is this work valuable to us because it has been made out of gold or because it is by a famous artist? Furthermore, do we make the image or does the image make us?

Marc Quinn, Self, 1991, blood, stainless steel, Perspex and refrigeration equipment, 208 × 63 × 63 cm (82 × 24¾ × 24¾ in)

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However, as with much of Quinn’s work, the meaning of the piece is in fact the opposite of what it seems. In Self (1991) Quinn made his first self-portrait in his own frozen blood. An icon of contemporary art, it underlines the thin line between art and death and the fragility of existence. In Frozen Head, Quinn shifts focus from the physical to the anthropological world and, created in the aftermath of the financial

crash of 2008, this work examines the fragility of the belief systems by which we make our world work. Humans have decided since time immemorial that gold is the most precious of metals, yet of course it is but a metal and it is us who have collectively decided its value.

Economics is a belief system as much as any religion and a doubt about collective agreement on economic value systems is precisely what leads to any economic crisis. Things have value because we say or believe they do.

Frozen Head addresses the relative values of art and money. In this case, the head is ‘frozen’ by a social consensus about these relative values. Fragility is underlined by the hard fact that if the value of the gold in this work were to be considered as greater than its qualities or values as a work of art, it risks being melted down into bullion. Frozen Head is as much a contingent creation as its brother in blood frozen by a freezer.

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Zombie-Boy: © Peter Marlow/Magnum Photos; Quinn: © the artist

Marc with ‘Zombie-Boy’ (Rick) sculpture, 2011

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22 DAMIEN HIRST

b. 1965

Forgotten Promises, 2010 glass, gold plated stainless steel, steel, aluminium, nickel and cubic zirconia 183.3 x 275.3 x 10.2 cm (72⅛ x 108⅜ x 4 in)

Estimate £1,500,000–2,500,000 $2,420,000–4,030,000 €1,820,000–3,040,000 z ‡ PROVENANCE

“You have to get people listening before you can change their minds. Any artist’s big fear is being ignored, so if you get debate, that’s great.” DAMIEN HIRST

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© Damien Hirst and Science Ltd. All rights reserved, DACS 2013, Photographed by Prudence Cuming Associates

Gagosian Gallery, New York

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Hirst has long held a fascination with the concept of cabinetry in his art, stretching

back to his art school days at Goldsmiths during the late 1980s. Originally conceived as a series of medical cabinets full of pill boxes, the first incarnations of cabinetry revealed Hirst’s preoccupation with both death and the modern nature of prescription reality; our constant dosing in the psychopharmacological future of today has dramatically changed our concepts of perception as we drift farther away from our original state. These original cabinets also showed Hirst to be an inheritor of the Duchampian readymade – the cabinets’ mundanity hid the sting of their significance.

A decade later, Hirst revisited his medical cabinets, but modified their aesthetics. In The Void, 2000, Hirst presents us with a plenitude of shelving, adorned not with pill boxes but with enlarged versions of single pills, placed side by side against the backdrop of a mirror. In doing so, Hirst zeroed in on the seductive nature of medicine: its appeal was not only in its curative

effects, but also in its presentation, delicious as candy.

Hirst’s art had achieved a remarkable feat for any artist: its conceptual depth had been equaled by its visual attractiveness. It is as if Hirst was simultaneously advancing and simplifying his artistic concept of medical cabinetry. The lessons he offered hit harder because of their ominous beauty. But Hirst was not finished in his refinery. By the time Hirst’s sensational diamond encrusted skull, For the Love of God was revealed to the public in 2008, his penchant for employing diamonds in his work was in full swing. The rock’s physical structure and controversial means of procurement echoed both immortality and death. The paradoxical quality of that particular combination made their presence a loaded one at the very least – an excellent medium for the eccentricities of Hirst’s art. But Hirst’s explorations of man’s desire for immortality did

Damien Hirst, Dead Ends Died Out, Examined, 1993, glass, painted MDF, ramin, steel, cigarettes and ash, 153 × 242 × 12 cm (60 × 96 × 4 in)

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© Damien Hirst and Science Ltd. All rights reserved, DACS 2013, Photographed by Prudence Cuming Associates; Fontana: © Lucio Fontana/SIAE/DACS, London 2013; Judd: © Judd Foundation, licensed by VAGA, New York/DACS, London 2013

While Damien Hirst has been the art world’s most controversial mainstay of the past two decades, one does not often associate the diverse body of his work with overt illusion or optical trickery. Rather, he has redefined the definition of face value: his pieces are not meant to represent, but simply to be. Instead, Hirst’s puckish genius lies in his ability to provoke our most disturbing repressions out of dormancy with the incendiary work that he creates. When faced with the stark realities of our darkest whims, one could easily accuse Hirst’s work of fabricating sinister thoughts and feelings within him, rather than to admit that they were there all along. The present lot, Forgotten Promises, 2010, presents us with a beauty so material in nature that we must question our own notions of aesthetics. It is a glimmering example of ethical conflict.

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Lucio Fontana, Concetto Spaziale, All’alba Venezia era Tutta d’Argento, 1961, acrylic and glass on canvas, silver, 150 × 150 cm (59 × 59 in), Prada Collection, Milan

not stop there. His contemporaneous works, such as Au-195m, 2008, signal his particular fascination with gold: for both its coveted possession and its unmatchable status in human history as the embodiment of wealth, it too began to make frequent appearances in Hirst’s art.

Both of these concepts come to an explosive head in Forgotten Promises. We observe Hirst’s cabinetry lifted out of the realm of mere conceptual art, for the glittering and magnificent visual impact of his piece is enough to humble even the most devout ascetic. Stretching nine feet wide by six feet high, the present lot commands as much light as it reflects, its gold-plated stainless steel providing a surface of unparalleled luster. On 62 glinting shelves sit thousands of brilliant-cut cubic zirconias, the most common surrogate for diamonds in today’s jewellery market.

Hirst uses a number of devices to augment his already fantastic visual impression. Firstly the golden surface behind the crystals approaches a mirror in the quality of its reflectivity. Hirst compounds this with a glass encasement.

The result is a vision of infinity; as the viewer approaches the cabinet from a distance,

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Donald Judd, Untitled, 1968, brass, 56 × 122.6 × 91.4 cm (22 × 48¼ × 36 in), The Museum of Modern Art, New York

he beholds the shining wealth of Forgotten Promises – all the myriad surfaces of crystal, gold, and glass echo each other in a brilliant splendour. Hirst succeeds in conjuring up a number of associations simply by pairing his gorgeous piece with a charismatic title. The ‘forgotten promises’ in question seem to be those of past lovers, their decades-old words hollow but their material signs of devotion still held tight by their spurned lover. Hirst succeeds in crafting a narrative of a bygone aristocracy, where physical promises are in abundance but they lack any kind of emotional substance.

Beyond his suggestions of story, however, Hirst reliably delivers on his promise to reveal the menacing tendencies of the viewer.

Pairing brilliant crystals with gold in a cabinet stretching to infinity, Hirst manages to present us with an almost pure vision of materiality.

Hirst’s uncompromising presentation of seductive surfaces and faceted forms has many direct antecedent. Out of the linear presentation and encrustations of Fontana to the rectilinear sublime of Donald Judd, blazes forth the dazzling visual intensity of Forgotten Promises. Perhaps the answer lies with Hirst’s complex methods of artistic

inquiry. After all, his art is always deeper than it seems: “His posture on the surface is that of a puritanical moralist excoriating contemporary society for its materialism and vanity. What more immediately, if not deeply, animates his project, however, is a calculating blend of satire, cynicism and grandiosity” (‘Varied Phases of Damien Hirst (Sliced-Up Cow Not Included)’, The New York Times, 13 January 2012). The very material of the cubic zirconia is in itself a lens into our psychology. Brandishing the wrists, necks, and ring fingers of millions of people around the world, this substitute diamond fulfils our need to project wealth without ever actually achieving it. Even as he tempts us with his seductive piece, Hirst demonstrates that sometimes beauty can exist without authentic substance. In Forgotten Promises, Hirst courts our greed, then renders it worthless.

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23 ROSEMARIE TROCKEL

b. 1952

Waterfall, 2006 wool and wood 296 × 296 cm (116½ × 116½ in) Signed, titled and dated ‘RTrockel 2006 Waterfall’ on the reverse on the stretcher bar.

Estimate £200,000–300,000 $322,000–483,000 €243,000–365,000 z PROVENANCE

Gladstone Gallery, Brussels

“Through the masks of the image, through the signs, through the materials and patterns, we see in Trockel’s knitted logograms the activity of ideology.” P. WIEBEL

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Installation view of Rosemarie Trockel, Verflüssigung der Mutter, Kunsthalle Zurich, 8 May–15 August 2010

“Art about women’s art is just as tedious as the art of men about men’s art.” ROSEMARIE TROCKEL

While Trockel works across a variety of media including painting, video, sculpture and drawing, she is best known for her seminal ‘knit paintings’, which she started making in around 1985, and of which Waterfall is a beautiful and recent example. Unlike many of her earlier knit-works, Waterfall confronts the viewer with monochromatic rows of close-knit wool, leading viewer’s eyes in a restless dance trying to find a beginning or an end, or just some reference point. This simplistic format gives the work an almost meditative quality, and recalls the Formalist movement of the 1940s, when Clement Greenberg claimed that artistic value is determined by form and medium.

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But look closer and the knit’s bland surface is composed of a multitude of tiny interlinked loops, created by a series of controlled, highly repetitive actions; this aspect of her work can be seen as demonstrating Trockel’s interest in the behavioural and psychological patterns that regulate our everyday lives.

Abandoning the hand-craft involved in traditional painting, Trockel’s ‘knit paintings’ are composed of machine-produced woollen fabric stretched over canvas. Her use of wool as a medium stems from her interest in questions like ‘what constitutes the female?’, ‘does the female cliché still exists when removing the element of the manual process?’, and ‘can craft and material like wool be elevated to art outside its usually negatively and inferiorly charged context?’. This determination to challenge the materials and methods traditionally associated with ‘high art’ places her firmly in the footsteps of Joseph Beuys and Sigmar Polke. Trockel explains it thus: “in the 70s there were a lot of questionable women’s exhibitions, mostly on the theme of

house and home. I tried to take wool, which was viewed as a woman’s material, out of this context and to rework it in a neutral process of production” (Rosemarie Trockel in an interview with Isabelle Graw, Artforum International, March 2003).

Her wool works are beautiful examples of the tension between historically female attributes like sensuality, warmth and softness and the rational, unsentimental aesthetics of massreproduction, linking her to Pop icons like Andy Warhol.

It would not do Trockel’s complex work justice, however, to classify her as a feminist artist. An intellectual polymath, her œuvre is informed by a multitude of references ranging from politics to social patterns to sexuality.

By isolating popular commercial motifs, and removing them from their usual context, she leads to deeper philosophical questions, such as asking ‘what is left?’ when we strip away the preconceptions and assumptions of our received consumer culture.

© Rosemarie Trockel, VG Bild-Kunst, Photograph: Stefan Altenburger Photography Zurich

In the 1980s, the Cologne-based artist Rosemarie Trockel emerged into a German art establishment largely dominated by male painters such Gerhard Richter, Georg Baselitz and Sigmar Polke. Her subversive textile works quickly became a driving force within the evolution of German contemporary art, and she remains one of the most significant female artists on the international art scene today.

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∆

24 RICHARD PRINCE

b. 1949

What Can You Do?, 2001 acrylic on canvas 190.5 × 294.6 cm (75 × 115 ⅞ in) Signed, titled and dated ‘R. Prince 2001 What Can You Do?’ on the overlap.

Estimate £300,000–500,000 $483,000–806,000 €365,000–608,000 ‡ PROVENANCE

Barbara Gladstone Gallery, New York EXHIBITED

The University of Chicago, The Renaissance Society, Watery, Domestic, 17 November– 22 December 2002

“Prince’s bad jokes are the truest expression we have of spiritual America.” EDMUND WHITE

Painted in 2001, What Can You Do? is a largescale joke painting rendered on a smooth, powdery surface. Combining different modern traditions and techniques, such as silk-screening processes and monochrome canvases, Richard Prince’s jokes stand in between the comical and disbelief, continually questioning definitions of art and of authorship.

The pastel hues employed in the present lot shy away from Prince’s more stark, monochromatic paintings from earlier in his career. Yet, this time, the artist seems to have chosen this yellowish background in accordance with the joke based on colour-matching humour.

The joke itself is stencilled in black in a narrow band across the width of the canvas. The strong design of the work, in its symmetry and the detailed composition, echo Barnett Newman’s zip paintings.

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Richard Prince’s first joke paintings date back to the mid 1980s when, after having posted up a small handwritten joke on a piece of paper, he started imagining how it would have looked on a gallery wall. At first handwritten, his jokes developed in time into more substantial works in which the same joke is repeated on monochrome canvases of different colours.

Prince is part of the Pictures Generation – alongside Cindy Sherman, Robert Longo, David Salle, Barbara Kruger and Sherrie Levine – who came to prominence in the 1970s and were known for their appropriation of images drawn from the mass media. Just as his earlier Cowboys and Nurse Paintings series, Prince’s jokes are therefore a further ‘variation’ on this method.

I think you can do only something for yourself.”

(Richard Prince in Vincent Pécoil, ‘Richard Prince, Writer’, in Richard Prince, Canaries in the Coal Mine, exh. cat, Astrup Fearnley Museum of Modern Art, Oslo, 2006, p.128) The true meaning of the joke paintings is still a matter of discussion. From a distance, they could even be read as abstract works. But viewed closely, their formal simplicity and their repetition seem to set them in the tradition of conceptualism. All in all, Prince’s works are loaded with references to Structuralism and Post-modernist theories. Repetition deprives the joke of its humour thus reducing it to a mere text in which the signifier takes over on the signified. After this, what is left?

“I have never thought making anything new.

I make it again. I am very much against trying to make anything new in a modernist approach.

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25 ELIZABETH PEYTON

b. 1965

Dr. Scarpinato (Vincent), 2007 oil on medium-density fibreboard 30.5 × 22.9 cm (12 × 9 in) Signed, titled and dated ‘Dr. Scarpinato (Vincent) 2007 Elizabeth Peyton’ on the reverse.

Estimate £120,000–180,000 $193,000–290,000 €146,000–219,000 ‡ PROVENANCE

Regen Projects, Los Angeles EXHIBITED

Los Angeles, Regen Projects, Elizabeth Peyton, 10 March–7 April 2007

“Peyton’s work suggests that history is unstable, that fame is rarely eternal, and that life, indeed, goes on.” MATTHEW HIGGS

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“When I went to Europe for the first time, it was with Rirkrit for a show he was having. People would say to me, ‘And what do you do?’ And I’d say, ‘I make paintings’. ‘What kind of paintings?’

‘Of people’. ‘Like who?’ ‘Um, Napoleon and King Ludwig’. And they’d say [making a face], ‘Oh. How interesting’. Or people are always thinking that it’s about cute people. There are millions of cute people in the world, and very few that are beautiful.”

(Elizabeth Peyton in an interview with Rob Pruitt and Steve Lafreniere, Index, 200, www.indexmagazine.com)

Realized in 2007, the present work portrays Dr Scarpinato, a young man wearing a suit and sitting on a brown chair. Not much information can be found on this man, suggesting the sitter may be one of Peyton’s friends. Whether it is a pop star, a member of the royal family, or an ‘un-famous’ friend, Peyton paints each one of her subjects with the same introspection.

She manages to capture an intimate moment of someone’s life and transfigure it on the canvas with the grace and, at the same time, expressive power that characterizes all her work. Without ever exposing their nudity – unlike the paintings of other ‘figurative’ artists such as Lucian Freud, Marlene Dumas or Jenny Saville – Peyton manages to disclose the vulnerability of the person she portrays.

It is a psychological vulnerability rather than a physical one. In fact, her works lack the exploration into physical issues of bodies undergoing decay or deformation, but seek to deal with questions around identity.

Organized by dealer and former artist Gavin Brown, Peyton’s first solo exhibition in New York was held in 1993 in a room of the Chelsea Hotel. To see the works – which consisted of black-and-white drawings of Napoleon, Oscar Wilde and other historical figures such King Ludwig II of Bavaria – people had to ask for the room key at reception. Curiously, this set the mood for following exhibitions which were held in an apartment in Cologne and at The Prince Albert, a South London bar. Although she is now exhibiting in commercial galleries, Peyton

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Marlene Dumas, Lucy, 2004, oil on canvas, 110.3 × 130.3 × 24 cm, Tate Modern, London

“it’s just really overwhelming to me that time passes. I’m constantly thinking about it …” ELIZABETH PEYTON never lost her interest in public participation and in conveying a sense a reality in all her portraits. Her subjects are always portrayed in an intimate environment, be that a bedroom or a studio, and are not devoid of that melancholic touch which expresses all the love she has for each one of them.

In his ‘ouverture’ for the Chelsea Hotel show, Meicost Ettal – a pseudonym for Gavin Brown – wrote: “What else have these pictures been witness to in this sad little room, watching time pass here, pondering their own exquisite ennui?” (Meicost Ettal, ‘Ouverture: Elizabeth Peyton’, November 1994, in Elizabeth Peyton, New York, 2005, p. 36).

Jenny Saville, Juncture, 1994, 285 × 168 cm

Elizabeth Peyton’s portraits are imbued with a magical quality, the power to freeze a moment in one’s life into eternity. Staring at Dr Scarpinato, we cannot help but think about how many curious strangers that elegant man must have seen passing by. While sitting in his chair, he acts both at the subject and the object. He is seeing and being seen at the same time, witness of personal narratives that will never be told.

Saville: © Jenny Saville. All rights reserved, DACS 2013; Dumas: courtesy the artist

Portraiture has a very long history. It has been one of the preferred genres by artists from all epochs, from ancient Rome to modern times.

Hence, it is always with surprise when one happens to approach the work of an artist who, having chosen portraiture, manages to come up with an entirely new language. Elizabeth Peyton is one of these artists.

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26 GEORGE CONDO

b. 1957

Untitled (Choo Choo), 2009 acrylic on canvas 304.8 × 213 cm (120 × 83⅞ in) Signed and dated ‘Condo 09’ on the reverse.

Estimate £350,000–450,000 $564,000–725,000 €425,000–547,000 ‡ PROVENANCE

Galerie Andrea Caratsch, Zurich

“Painting needs to transform in order for it to become interesting for each and every generation, but I think more in terms of being liberated by history… by what has come before.” GEORGE CONDO

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comedy and tragedy, they also bring to light and question in depth the stereotypes we live by. By choosing to represent cartoons born in the 1950s and 1960s – a particular moment in the history of the United States when art, and culture more generally, were taking part in the construction of a cultural identity still so relevant nowadays – Condo dismantles these cultural beliefs, so underlining the power of mass media in shaping a nation’s culture: “Even though these characters are invented, the positions that they occupy actually exist in society, so that potentially they can kick off a mental discussion about the roles that real people play in life” (George Condo in an interview with Ralph Rugoff, in George Condo: Existential portraits, sculpture, drawings, paintings, 2005/2006, Berlin, 2006, p. 12).

“Any abstraction of reality involves some kind of distortion. The more recognizable something is, the more interesting it is after it’s been transformed or abstracted.”

(George Condo in an interview with Morgan Falconer, Art World, June–July 2008, p. 62) Painted in 2009, Untitled (Choo Choo) is part of a recent series of Cartoon Abstractions begun in the same year. Seemingly distant from Condo’s typical style, this series may be actually considered as a further development of the artist’s distinctive concept of ‘Artificial Realism’, “the realistic representation of that which is artificial” in the artist’s words.

In the Cartoon Abstraction series, Condo draws his subject matter from 1950s and 1960s cartoons. Painted on a light-grey background, each canvas is dedicated to a different character – Droopy, Ranger Smith, Donald Duck and many more. In the present work, Condo has chosen Choo Choo, one of the main characters of ‘Top Cat’, a Hanna-Barbera cartoon which ran on the television from November 1961 to April 1962. In line with the artist’s typical deformed portraits of naked women and priests, these cartoons are portrayed slightly distorted; the drawing is sketched, colours are dripping out of the outlines and, in some cases, parts of the characters are replicated but in different positions, twisted or overlapping each other. “It’s about dismantling one reality and constructing another form the same parts”, said Condo when explaining his Artificial Realism.

It has always been common practice for the artist to take a particular character – either a specific are generic one – and to deform it according to his ‘mental states’. In this way, not only do his portraits reveal the most grotesque aspects of human kind, but, standing between

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“If I think about the idea of something independent of our perceptions, it doesn’t interest me as an artist.”

GEORGE CONDO

In the early 80s, impressed by a press release the young artist had written, Andy Warhol asked Condo to help in his studio as an assistant and was thus put to work on the screen prints.

As Condo has stated in previous occasions, the Myth series Warhol was working on at the time has therefore certainly been an important source of inspiration for his Cartoon Abstractions. Nor is it the first time the artist has worked with mass media imagery. In fact, his 1997 Televised Silkscreen works were realized by selecting images from American television shows and by reorganizing them in new abstract compositions.

By hovering between abstraction and realism, Condo’s Choo Choo reflects on the power the mass media have in shaping national culture and the collective unconscious. Apparently childish and naive, this work raises questions on the absurdity of reality, challenging us to question what is real and what is not.

Andy Warhol, Superman (F&S II. 260), 1981, colour screenprint with diamond dust on Lenox Museum Board, 96.5 × 96.5 cm (38 × 38 in), edition of 200, Joseph K. Levene Fine Art, Ltd New York

Exhibition view: © George Condo, courtesy Galerie Jérôme de Noirmont, Paris, © ARS, NY and DACS, London, 2013; Warhol: © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London 2013

Exhibition view: George Condo – Cartoon Abstractions (catalogue), Galerie Jérôme de Noirmont, Paris, 31 March–26 May 2010

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27 CINDY SHERMAN

b. 1954

Untitled #469, 2008 chromogenic colour print 156.5 × 152.4 cm (61⅝ × 60 in) Signed, numbered and dated ‘Cindy Sherman 5/6 2008’ on a label affixed to reverse of the backing board. This work is number five from an edition of six.

Estimate £180,000–220,000 $290,000–354,000 €219,000–267,000 ‡ PROVENANCE

Metro Pictures, New York EXHIBITED

New York, Metro Picture, Cindy Sherman, 15 November–23 December 2008 New York, The Museum of Modern Art, Cindy Sherman, 26 February–11 June 2012, then travelled to San Francisco Museum of Modern Art (14 July–8 October 2012), Minneapolis, Walker Art Center (10 November 2012–17 February 2013), Dallas Museum of Art, 17 March–9 June 2013 (another example exhibited) LITERATURE

E. Respini, Cindy Sherman, The Museum of Modern Art, New York, 2012, pl. 104, p. 156 (another example illustrated)

“To me, it’s a little scary when I see myself.

And it’s specially scary when I see myself in these older women.” CINDY SHERMAN

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digitally. The large-scale format of the picture highlights the visible signs of heavy make-up, wrinkles, exaggerated rouge on the cheeks and a possible face-lift along with the Botoxed forehead, all adding to the theatrical element of her work.

The grotesque and theatrical vein that runs along her work is evident in the Society Portraits. In her 1988-90 series of History Portraits, Sherman’s subjects are explicit references to Old Master paintings such as those by Raphael, Botticelli and Caravaggio.

Similarly, the present lot is a direct allusion to society portraits of the dominant class by painters such as George Romney and Thomas Gainsborough. Society Portraits embrace high-society affirmations in a society obsessed with image and status. The subject is floating against the backdrop of her estate and one can immediately place her as a well-to do, middleaged woman probably married to a man in a position of power through visual codes such as her coiffed hair, impeccable dress and fine jewellery. Although she is quite capable of immaculate makeup techniques, her use of these is very evident and can be even jolting and unpleasant. Sherman has developed an extraordinary capability to drastically transform her looks, gender and age, yet in this work she is recognizable and is coming to terms with herself as a mature artist.

Cindy Sherman, Untitled #224, 1990

In this piece, Sherman poses as a politician’s wife, blatantly attempting to appear a certain way: elegant, sophisticated and wealthy. The subject casts herself as a prominent middleaged woman, confronting the viewer with her gaze and pose, far from the gendered positions of vulnerability of her Film Stills and Centerfolds from the late 70s and early 80s. The lush, green background alludes to the character’s status and possessions, in the tradition of portraits of the aristocracy from the Renaissance on.

Furthermore, the subject seems to be an apparition in the middle of the forest; this is the first time Sherman uses a green screen and later inserts separate backgrounds

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Installation view of Cindy Sherman, Metro Pictures, New York, 15 November–23 December 2008

Sherman: © the artist

The present lot is from Cindy Sherman’s Society Portraits, a series of works from 2008 that were included in her major retrospective at The Museum of Modern Art in New York in 2012.

These colour photographs are a continuation of her investigation into ideas of beauty, ageing and self-image. They offer a critique of today’s standards of beauty and glamour as well as issues of class. The characters are women ‘of a certain age’ from the privileged classes struggling with the impossible standards of beauty demanded in our culture.

Typically of Sherman, this confrontational portrait can be alarming as well as poignant.

Disturbing and graceful, the character Sherman impersonates reeks of her own speculation about the self, which is at the heart of Sherman’s work. Her exploration of how identity and gender roles are defined through visual imagery has made Sherman one of the most prominent artists of the second half of the twentieth century.

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28 BRUCE HIGH QUALITY FOUNDATION Las Meninas, 2011 silkscreen and paint on canvas (in two parts) each: 259.1 × 228.6 cm (102 × 90 in); overall: 259.1 × 457.2 cm (102 × 180 in) Each part signed ‘The Bruce High Quality Foundation’ on the overlap and stretcher.

Estimate £150,000–250,000 $242,000–403,000 €182,000–304,000 ‡ PROVENANCE

Vito Schnabel, New York EXHIBITED

New York, Tony Shafrazi Gallery, Spring Fever, 22 March–1 July 2012

“We decided to do something that ends up being much harder but that we think has more possibilities.” BRUCE HIGH QUALITY FOUNDATION

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(detail of the present lot)

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Since forming in 2004, the American collective now known as Bruce High Quality Foundation (BHQF) has become synonymous with their use of deadpan humour to critique traditional art histories and the contemporary fine art milieu.

Anonymity has been a prudent and scrupulous trait for the collective composed of five to eight rotating artists, originally alumni of the art college Cooper Union in Manhattan. Remaining unnamed, uncredited and unidentified symbolizes an antithesis to the superstardom artists began seeking and achieving in the early years of the millennium.

Guided by a mission “to invest the experience of public space [with] wonder, to resurrect art history from the bowels of despair, and to impregnate the institutions of art with the joy of man’s desiring”, BHQF notoriously appropriates work from the past, creating a charged dialogue

with the present. The overt appropriation in the present lot, unabashedly titled Las Meninas, is multifarious in terms of the iconographic and the aesthetic.

First, with analogous titles, the left panel of the diptych is a reproduction of the 17th-century painting by Diego Velázquez. The group portrait of the Spanish royal family (and the inclusion of a self-portrait of the artist at the easel) is iconic and stands as the Velázquez’s most famous work. As Velázquez presents himself in Las Meninas (c. 1656) as an unrivalled painter welcomed into the royal sphere, the appropriation of the work refers back to BHQF’s rejection of the “celebrity artist”. Las Meninas (2011) is juxtaposed with a silkscreened photograph of the BHQF studio, notably absent of any artist, however, scattered with materials of art production. As such, both versions of Las

“In the future, everyone will be a foundation.” BRUCE HIGH QUALITY FOUNDATION`

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Meninas are paintings regarding notions of the artist and ultimately reveal the processes of art-making.

Formally, the black on silver silkscreening application of BHFQ’s Las Meninas serves as a visual allusion to Andy Warhol’s seminal silkscreens of the sixties. Work such as Silver Liz as Cleopatra reveal this art historical reference. By using visual codes, BHQF’s specific reference to Warhol is used to further articulate the role of the artist. Warhol serves as the clear precursor to the contemporary status of superstar artists with fame, celebrity and notoriety delineating key themes in Warhol’s work.

Thus, through appropriation of iconography and style from icons of the past, BHQF formulates a cohesive dialogue about contemporary art practice today. “It’s been important for us to think of art history as a material, as more stuff to work with, whether it’s to honour or to disparage it. It’s as much a material as anything else, wood or plaster” (BHQF in an interview with C. Shaw, ‘Enter the Afterlife: A Conversation with the Bruce High Quality Foundation’, Art in America, March 2009). The deliberate use of specific source material underpins a breadth of art historical connoisseurship BHQF possesses.

Warhol: © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London 2013; Velázquez: © Museo Nacional del Prado, Madrid

Andy Warhol, Silver Liz as Cleopatra, 1963, silver paint, silkscreen ink and pencil on linen. Art Gallery of Ontario, gift of Mrs. Else Landauer, in memory of her husband, Walter Landauer, 1979; Andy Warhol Foundation for Visual Arts / ARS (New York) / SODRAC (Montreal) 2006

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Diego Rodríguez de Silva y Velázquez, Las Meninas, c. 1656, oil on canvas Museo Nacional del Prado, Madrid

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29 THOMAS HOUSEAGO

b. 1972

Caryatide with Squatting Man, 2000 wood, plaster, iron, jute 300 × 90 × 40 cm (118⅛ × 35⅜ × 15¾ in)

Estimate £60,000–80,000 $96,700–129,000 €72,900–97,300 z † PROVENANCE

David Kordansky Gallery, Los Angeles EXHIBITED

London, Camden Arts Centre, Strange Events Permit Themselves The Possibility of Occurring, 7 December–10 February 2008 London, Saatchi Gallery, Shape of Things to Come: New Sculpture, 27 May– 16 October 2011 LITERATURE

Meghan Dailey, Shape of Things to Come: New Sculpture, Jonathan Cape, 2009, pp. 42–45 The Shape of Things to Come: New Sculpture, exh. cat., Saatchi Gallery, London, 2011, p. 59

“What I see always seems to break down into a state of flux.” THOMAS HOUSEAGO

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“The best sculptures come from a struggle.” THOMAS HOUSEAGO

above Caryatid from the Porch of the Maidens, 412–406 BC below Amedeo Modigliani, Caryatid 2, 1912

Referencing a multitude of styles, from classicism to Cubism to Pop, Thomas Houseago subverts the traditional language of sculpture, opening it up to new readings. Executed in 2000, Caryatide with Squatting Man is a perfect example of this approach: by breaking away from conventional notions of sculpture, it can be interpreted on many levels. On one level, Houseago elaborates on the classical column, which is traditionally composed of three elements: plinth, column and capital.

His version takes the shape of a disturbing beheaded caryatid, with a small crouching man serving duty as its head. Also present is an allusion to the modernism of Constantin Brancusi, who broke the sculptural mould with works such as Endless Column. Yet the contrast with these historical references could not be more striking. Houseago’s sculptures are bulky and textured; their coarse outlines have nothing in common with the elegant figures of ancient Greece or Brancusi’s smoothly rounded forms.

By thus emphasising the chameleon nature of contemporary sculpture, Houseago’s works map out a unique space between figuration and abstraction.

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Usually made with traditional materials such as wood, plaster, iron and steel, Houseago’s monumental sculptures perpetrate a knowing deception. His creatures initially appear like monsters hewn from rock, but a closer look soon reveals them for what are: hollow assemblages of fragile wire and plaster. Not only does their fallacious, anxiety-raising presence expose humankind’s own frailty and vulnerability, but it also reveals art’s illusory nature and, in consequence, its endless possibilities for depiction.

Houseago’s special talent is to use sculpture as a vehicle for transforming static figuration into a ‘performance’, in which wood, steel, and iron are animated in a continuous state of dialectical flux. “As a sculptor, bottom line, I am trying to put thought and energy into an inert material and give it truth and form, and I believe there is nothing more profound than that” (Thomas Houseago in The Shape of Things to Come: New Sculpture, exh. cat., Saatchi Gallery, London, 2011, p. 115).

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∆

30 RUDOLF STINGEL

b. 1956

Untitled, 2006 oil and enamel on canvas 36 × 52 cm (14 ⅛ × 20 ½ in) Signed and dated ‘Stingel 2006’ on the reverse.

Estimate £50,000–70,000 $80,600–113,000 €60,800–85,100 z ‡ PROVENANCE

Galleria Massimo de Carlo, Milan

“Stingel creates a transitive way to recede from abstraction into the subject and to push the subject into a different kind of time.” FRANCESCO BONAMI

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“I wanted to be against a certain way of painting. Artists have always been accused of being decorative. I just went to the extreme.” RUDOLF STINGEL

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31 RYAN SULLIVAN

b. 1983

July 24, 2011 – September 28, 2011, 2011 oil, enamel and latex on canvas 150 × 114.8 cm (59 × 45¼ in)

Estimate £30,000–40,000 $48,300–64,400 €36,500–48,600 PROVENANCE

Bugada & Cargnel, Paris EXHIBITED

Paris, Bugada & Cargnel, Were all stars to disappear or die… Nina Beier, Étienne Chambaud, Peggy Franck, Alex Hubbard, Pamela Rosenkranz, Ryan Sullivan, 18 November 2011–7 January 2012

Eschewing traditional conventions of picturemaking, American artist Ryan Sullivan turns the act of painting into an exquisite alchemical process. By combining a variety of paints, such as acrylic and oil, with less conventional materials like enamel and latex, he transforms the surface of each canvas into an expressive, abstract topography. Presented here is a large work which combines knowing references to the history of abstract painting with an evocative, unforced beauty. Executed in a rich but understated palette of black, turquoise and cream, the ripples and cracks that punctuate its surface evince a process comprising chance, gravity and self-expression in equal measure.

Sullivan – who lives and works in New York City – takes daily inspiration from his casual

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encounters with the city’s ‘found’ abstraction: from a rusty car, to puckering tape, to the veins of a marble shop counter. Characteristically, the title of this work states the length of time Sullivan took to produce it, articulating notions of transience and mortality. By giving such titular prominence to the span of days necessary to complete a painting, the canvas becomes a record of its own making.

Sullivan often displays such works in pendant pairs: the juxtaposition creates a visceral dialogue between the works’ physical appearance, while the titles allude to the more philosophical aspects of their creation. The present lot, July 24, 2011– September 28, 2011, once formed a diptych with another entitled May 13, 2011–June 4, 2011, exhibited at Bugada & Cargnel, Paris in 2011–12.

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32 MARK TANSEY

b. 1949

Study for the Valley of Doubt, 1986–90 oil on canvas 35.6 × 111.8 cm (14 × 44 in) Signed, titled and dated ‘Tansey, 1986–1990, study for valley of doubt’ on the reverse.

Estimate £250,000–350,000 $403,000–564,000 €304,000–425,000 ‡ PROVENANCE

Gifted by the artist to a Private Collection, Virginia EXHIBITED

Baruch College, Sidney Mishkin Gallery, Reinventing Landscape, 17 February– 30 March 2012 LITERATURE

Arthur C. Danto, Mark Tansey: Visions and Revisions, New York: Harry S. Abrams, 1992, p. 127 (illustrated)

“The reading of textures, unlike the immediate optical sensation of colour, involves the association of visual appearance with the memory of tactile sensation.” MARK TANSEY

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Mark Tansey, Valley of Doubt, 1990, oil on canvas, 222.9 × 366.7 × 4.1 cm (87¾ × 144⅜ in), Whitney Museum of American Art, promised gift of Emily Fisher Landau

Metaphorical and introspective, the work of American artist Mark Tansey derives motifs from historical painting in addition to a wealth of found imagery to create fictionalized narratives. Being a draughtsman through and through, for the artist to arrive at the final painting is the result of an extensive process.

From an archive of source material collected in the artist’s studio, Tansey’s artistic process begins with collages made from manipulating images through a photocopier which serve as an intricate and highly tactile process to the more traditional preparatory drawing.

Reworking the collages until the desired

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composition has been achieved, the versatility of this process is intrinsic to the final outcome of the work.

The present lot, as an oil on canvas study, is a crucial translation of paper collage to painting.

Tansey has described this transition: “it is eventually in the painting that I get the closest to the seemingly seamless circumstance” (A. C. Danto, Mark Tansey: Visions and Revisions, New York, 1992, p. 131). Tansey appropriates Cézanne’s famous motif of Montagne Sainte-Victoire in order to question representation in painting. Described by

Tansey as a history painting of the history of art, the prominence of Mont Sainte-Victoire in the background represents both the end and possibly the beginning of something new in art.

Tansey has formally expressed this lull through the vast expanse separating the mountain range and the foreground of the painting.

The symbolic effect of painting in mono– chromatic hues “is its production of a ‘seeming’ unity...it’s a matter of seeing how much force of content the framework can take before its apparent unity breaks down” (Mark Tansey, in Mark Tansey: Visions and Revisions, p 128).

Cézanne: © 2013 Philadelphia Museum of Art Tansey: © Mark Tansey. Courtesy Gagosian Gallery. Photography by Robert McKeever

“My work investigates how different realities interact and abrade … The understanding is that the abrasions start within the medium itself.” MARK TANSEY

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Vehemently negating any semblance to realist painting, Tansey’s painted picture, rich with texture, questions both how to represent the real world and ultimately, whether representation should even be a goal for art.

Arriving at the metaphorical, Tansey asks, “How do you make meaning pictorial? It’s no longer about getting direct equivalence between the material and the idea. It’s not about capturing the real. It’s the transition, what happens between the material and the ideas … I’m working with pictorial rhetoric; how we read different kinds of visual order’’(in P. Hoban, ‘The Wheel Turns: Painting Paintings About Painting’, New York Times, 27 April 1997). Thus, Tansey’s canvas in shades of blue adheres to a wider post-modern and post-structuralist notion of instability. The false realism provided by photographic source material combined with recognizable motifs, such as Mont SainteVictoire sprawling across the horizon, Tansey turns the onus onto the viewer to evaluate and to distinguish truth from fiction. above Paul Cézanne, Mont Sainte-Victoire, c. 1906, Philadelphia Museum of Art below Mark Tansey, Mount Sainte-Victoire, 1987, 254 × 393.7 cm (100 × 155 in)

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33 YAN PEI-MING

b. 1960

Invisible Man nº. 1, 2000 oil on canvas 220.5 × 300.5 cm (86¾ × 118¼ in) Signed [in English and Chinese], titled and dated ‘Invisible Man nº. I Yan Pei-Ming 2000’ on the reverse.

Estimate £200,000–300,000 $322,000–483,000 €243,000–365,000 z ‡ PROVENANCE

Bernier Elliades, Athens Private Collection, New York Sotheby’s, London, ‘Contemporary Art, Day’, 22 June 2007, lot 415 Acquired from the above sale by the present owner

“A man looking at a painting is like a man looking in the mirror.” YAN PEI-MING

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(detail of the present lot)

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Yan Pei-Ming paints large canvases in a style notable for its rapid, expressive brushwork. He has gained particular renown for huge portraits employing a limited palette of white and black or red – a highly economical use of colour which he uses to conjure up an alternate realm beyond the reach of ‘real’ hues. Often referred to as the ‘master of brushstroke’, his work is represented in major museum and gallery collections all over the world. He has also participated in several prestigious group exhibitions, including the 2nd Seville Biennal in 2006, and the Venice Biennales of 1995 and 2003.

This story has parallels with the artist’s own work, which is also a product of experimentation and self-reinvention. Having grown up in Shanghai during China’s Cultural Revolution, Yan decided to settle in France and create his own style and technique, working in a more individualistic fashion than had been encouraged in his homeland. In the monochromatic portraits which resulted, Yan has positively embraced the possibilities of chance and experimentation, using fluid, dramatic brushstrokes inspired by traditional Chinese calligraphy, and creating backgrounds that are rarely as important as the main subject they serve to emphasise. The overall effect is striking and vibrant, with a careful balance between minimalism and maximalism, peace and disruption. Prime examples are his epic Mao Zedong portraits, brushed in thick, swift strokes: viewed at close quarters they appear to be abstract, but the motif becomes more evident from a distance.

Containing elements of both orient and occident, Yan’s expressive style speaks of the western world, while his controlled palette and ‘blurred’ technique is more suggestive of eastern aesthetics. Invisible Man no. 1

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above The artist in his studio opposite Yan Pei Ming in White, edition of 3, photograph by RANCINAN

foregrounds this connection between two cultures, with its masterly use of dripping paint, selective highlights and subtle delineation all contributing to an air of enigmatic vitality.

Such works are psychologically charged, with a shallow pictorial space that appears both iconic and the monumental, and fluid brushwork that at times resembles watercolour. The artist often describes his large-scale canvases as “collages” of memories and photographs, but rather than documenting separate historical or current events, they suggest an ongoing history in flux.

According to Jérôme Sans, Director of Beijing’s Ullens Centre for Contemporary Art (UCCA), and co-curator of its 2009 Yan Pei-Ming exhibition Landscape of Childhood, “Yan PeiYan has become the ultimate artist portraying the iconic scene”. Guo Xiaoyan, UCCA Chief Curator and co-curator of Landscape of Childhood, agrees: “Yan Pei-Ming’s portraits, furiously and quickly executed with a strong, large brushstroke technique, [represent] the artist’s concerns on social conflicts and international politics and present his ongoing interest [in the] problems of universal human nature”.

“I have never felt it necessary to put some things around the persons; I just want to draw portraits” YAN PEI-MING

© ADAGP, Paris and DACS, London 2013; RANCINAN: courtesy of STUDIO RANCINAN

Yan’s portraits usually contain key elements of his own personal memory and imagination, mingled with propaganda derived from Maoism and other ideologies. Most of his paintings suggest an atmosphere of nostalgia, often being based on the heroic notions of traditional history painting.

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34 ISA GENZKEN

b. 1948

Empire/Vampire, 2004 plastic, lacquer, metal, fabric, nuts, wood on artist’s plinth 176 × 72 × 53 cm (69¼ × 28⅜ × 20⅞ in)

Estimate £60,000–80,000 $96,700–129,000 €72,900–97,300 z PROVENANCE

Hauser & Wirth, London

“You have to get a lot of new visual impressions, again and again. Otherwise you get completely limited.”

ISA GENZKEN

During her prolific and influential career as a sculptor, Isa Genzken has tirelessly mixed shoddy with shiny, high with low, dumb with clever, all with abundant excess and success.

Her fragile but powerful constructions are primarily assembled from a riot of colourful non-artistic materials such as umbrellas, dolls, action figures, plastics, mirrors, and pop culture memorabilia. Her skill lies in channelling a coherent visual and conceptual narrative from such heterogeneous components, revealing a crystalline personal logic behind her iconoclastic strategies. Crucially, Genzken has the ability to continually re-invent her entire artistic process, her practice periodically re-emerging anew like a Phoenix from the ashes.

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Empire/Vampire (2004) consists of an array of coloured found objects that sit on a pedestal, requiring the viewer to stand erect in order to engage with them. As with all Genzken’s finest sculptures, it has a visceral power which instantly commands the viewer’s attention, and a mysterious beauty that invites the eye to linger. Affirming Genzken’s position as one of the leading innovators of contemporary sculpture, The Museum of Modern Art in New York has planned a major survey of her work for November 2013.

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“A sculpture is really a photo – although it can be shifed, it must still always have an aspect that reality has too.” ISA GENZKEN

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35 STERLING RUBY

b. 1972

Monument Stalagmite/Headbanger, 2008 PVC pipe, formica, urethane, spray paint and wood 515 × 123 × 103 cm (202¾ × 48⅜ × 40½ in) Signed, titled and dated ‘SR. 08 Headbanger’ on the underside and titled ‘HEADBANGER’ on the side.

Estimate £70,000–100,000 $113,000–161,000 €85,100–122,000 † PROVENANCE

Sprueth Magers, London EXHIBITED

Los Angeles, Museum of Contemporary Art, SUPERMAX 2008, 2008 Saatchi Gallery, London, Shape of Things to Come: New Sculpture, 27 May– 16 October 2011 LITERATURE

SUPERMAX 2008, exh. cat., Museum of Contemporary Art, Los Angeles, 2008 Meghan Dailey, Shape of Things to Come: New Sculpture, Jonathan Cape, 2009, pp. 332–39 The Shape of Things to Come: New Sculpture, exh. cat., Saatchi Gallery, London, 2011, p. 84

Sterling Ruby’s monumental sculpture, Monument Stalagmite/Headbanger, employs the visual motif of the stalagmite, a spire-like mineral tower usually found rising from cave floors. The American artist’s hybrid materials and varied approach – ranging from sculpture to canvas to video to ceramics – suggests the Wagnerian concept of Gesamtkunstwerk (total work of art), and this outstanding work is no exception. Standing at nearly five metres tall, it evokes fantastical topographies, its sheer verticality dominating the viewer by commanding the architectural space it stands in. This is no accident, for the idea of the monument is a major trope in Ruby’s conceptual strategy: “The monument plays a big role in much of my work because it is defined as a structure built for the sole purpose of remembering something that has been lost. [I am] addressing the way artists of my

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generation felt trapped by a kind of postmodern burden of ideas, theories and histories.

It seemed impossible to make a sincere gesture any more. This was my monument to all of that.” (Shape of Things to Come: New Sculpture, exh. cat., Saatchi Gallery, London, 2011) The work was included in SUPERMAX, Ruby’s 2008 solo exhibition at the Museum of Contemporary Art, Los Angeles. The show’s title was a deliberate reference to US maximum security prisons – highlighting Ruby’s social, psychological, physical and emotional interests and themes. Set within the larger context of SUPERMAX, Monument Stalagmite/ Headbanger’s overwhelming presence “evoked issues of repression and control and cumulated in a massive total environment … [the] slickly glazed, gnarled and organically shaped [forms] suggest dismembered body

parts. Huge, cantilevered, beam-like works lean somewhat impossibly across the room – ‘physics sculptures,’ as the artist calls them, referring alternatively to the interest in weight and balance as well as more explicitly human concerns including sexuality, gendering as a social construct, intimacy and expression.”

(S. M. Momin in A. Ellegood and N. Adajania, Vitamin 3-D: New Perspectives in Sculpture and Installation, London, 2009, p. 256)

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“I have always thought of art as similar to poetry … it can’t be proven and yet, if done right, has a sense of unmistakable aura.”

STERLING RUBY

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36 MARC QUINN

b. 1964

Careless Desire, 2010 painted bronze 98 × 98 × 40 cm (38⅝ × 38⅝ × 15¾ in) Incised ‘Marc Quinn 2010 1/6’ on the reverse of the stem. This work is number one from an edition of six.

Estimate £100,000–150,000 $161,000–242,000 €122,000–182,000 z PROVENANCE

Private Collection, Europe

“Flowers that shouldn’t be available at the same time could be purchased … because they are flown in from halfway around the world.

It perfectly illustrates how human desire constantly reshapes nature’s limitations.” MARC QUINN

Marc Quinn, an often controversial British artist associated with the YBAs, has taken particular interest in flowers since 2000, making an extensive body of work on this theme across several media including sculpture, painting and drawing. Careless Desire (2010) is a highly characteristic example of this psychologicallydriven œuvre, within which the artist explores matters such as the concept of ideal beauty, both natural and genetically manipulated, and notions of female sexuality.

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Fascinated by the hothoused plants on sale at London’s New Covent Garden Market, which can be found in bloom at times of year that mere nature would never allow, Quinn likes to surround himself with natural flowers in his east London studio. Orchids, or Orchidaceae, play a special role in his practice. Historically symbols of beauty, fertility, purity and spirituality, they are one of the largest and most diverse families of flowering plants, and give the artist a wide choice to work with. Deriving from the Greek word orchis, meaning testicles, orchids are even today commonly associated with human sexuality, which adds an intriguing aspect to this beautiful and otherwise serene object.

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“Orchids are very special. They’re extremely sculptural and object-like. At the same time they are full of sensuality. They’re like pornography that your granny can look at.

It’s a beautiful paradox.” MARC QUINN

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above The artist and Sphinx on 28 April 2006 in Groningen, The Netherlands opposite Marc Quinn, Archaeology of Desire, 2009, painted bronze, 250 × 186 × 128 cm, installation from Beyond Limits, Sotheby’s at Chatsworth, 14 September–1 November 2009

Cast in bronze and then painted white, the orchid portrayed in Careless Desire has a delicate, weightless quality – it appears as if made from porcelain, a material whose brittle quality resonates with the soft fragility of real petals. The work has been created using Quinn’s signature technique of freezing the living organism in a tank of sub-zero silicone, preserving the natural flower to provide a form that is subsequently cast in bronze, creating a realistic aura of life and freshness. “It’s like a transgenic plant; real flowers cast into bronze then reassembled by me to make an impossible plant. I developed a process to cast the actual

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“I always buy my flowers myself and arrange them as though I were creating a sculpture.” MARC QUINN

flower. It was deemed impossible before I got it to work” (Marc Quinn in ‘My Space: Marc Quinn, sculptor’, Observer, 8 November 2009). Being denied the natural processes of decay, the orchid is forever immortalised in its full beauty.

As in Self (1991), for which Quinn used his own blood to create a self-portrait, Careless Desire presents a seemingly living object as if frozen and static, magnifying its importance and beauty, and offering the viewer a rare chance for contemplation. It is a particularly refined example of Quinn’s flower series, in which the artist continues to explore his powerful and elegant take on the transience of life.

Artist and Sphinx: photo by Michel Porro/Getty Images; © the artist

Quinn has said of his obsession with the flower: “Orchids are like perfectly evolved little sculptures in themselves, they’re full of colour, interesting shapes and beauty. Even though they are a plant’s reproductive organs, they pun on human ones too. They make you realise it is colour, life and sexuality that keeps the world turning. They are a celebration of life. I like all kinds of flowers, irises, sunflowers and anthuriums are great but none are quite as good as orchids” (Marc Quinn quoted in Laura Bradley, ‘AnOther Thing I Wanted to Tell You. Marc Quinn on orchids’, AnOther Magazine, 14 November 2011).

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GUIDE FOR PROSPECTIVE BUYERS BUYING AT AUCTION The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you.

CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips generally acts as agent for the seller.

BUYER’S PREMIUM Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £25,000, 20% of the portion of the hammer price above £25,000 up to and including £500,000 and 12% of the portion of the hammer price above £500,000.

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

1 PRIOR TO AUCTION Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.

Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or VAT. Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction 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.

Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a 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 literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition.

The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

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

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Symbol Key The following key explains the symbols you may see inside this catalogue. ○ Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price. The guarantee may be provided by Phillips, by a third party or jointly by us and a third party. Phillips and third parties providing or participating in a guarantee may benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party guarantor may also bid for the guaranteed lot and may be allowed to net the financial remuneration received in connection with the guarantee against the final purchase price if such party is the successful bidder. ∆ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest. ● No Reserve Unless indicated by a ●, all lots in this catalogue are offered subject to a reserve.

A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

z Property Subject to the Artist’s Resale Right Lots marked with z are subject to the Artist’s Resale Right calculated as a percentage of the hammer price and payable as part of the purchase price as follows: Portion of the Hammer Price (in EUR) From 0 to 50,000 From 50,000.01 to 200,000 From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000

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

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank. ∑ Endangered Species

Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import.

Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale. †, §, ‡, or Ω Property Subject to VAT Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’ in this catalogue for additional information.

2 BIDDING IN THE SALE Bidding at Auction 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 identification will be required, as will an original signature. We may also require that you furnish us with a bank reference.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk.

Bidding by Telephone 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 the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

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Employee Bidding Employees of Phillips and our affiliated companies, including the 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 bidding procedures.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment.

UKÂŁ50 to UKÂŁ1,000 UKÂŁ1,000 to UKÂŁ2,000 UKÂŁ2,000 to UKÂŁ3,000 UKÂŁ3,000 to UKÂŁ5,000 UKÂŁ5,000 to UKÂŁ10,000 UKÂŁ10,000 to UKÂŁ20,000 UKÂŁ20,000 to UKÂŁ30,000 UKÂŁ30,000 to UKÂŁ50,000 UKÂŁ50,000 to UKÂŁ100,000 UKÂŁ100,000 to UKÂŁ200,000 above UKÂŁ200,000

by UKÂŁ50s

by UKÂŁ100s

by UKÂŁ200s

by UKÂŁ200s, 500, 800 (e.g. UKÂŁ4,200, 4,500, 4,800)

by UKÂŁ500s

by UKÂŁ1,000s

by UKÂŁ2,000s

by UKÂŁ2,000s, 5,000, 8,000

by UKÂŁ5,000s

by UK£10,000s at the auctioneer’s discretion

Export and Import Licences Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from the United 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 of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to any country outside the European Union (EU). Please note that the 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 bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import 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 the cancellation of the sale or any delay in making full payment for the lot. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

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

IMPORTANT NOTICES 3 THE AUCTION Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

4 AFTER THE AUCTION Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements have been agreed with Phillips in writing in advance of the sale. Payment must be made in pounds sterling either by cash, cheque drawn on a UK bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of the local currency equivalent of US$10,000. Payment must be made by the invoiced party only.

Items Sold under Temporary Admission We wish to draw your attention to changes recently made to items sold under temporary admission (originally called temporary importation). The cancelling or refunding of applicable VAT is now subject to items being exported from the EU within 30 days of payment, rather than 90 days from the date of sale as previously required. For up-todate information on this matter, please refer to the section entitled VAT and Other Tax Information for Buyers below.

Identification of Business or Trade Buyers As of January 2010, Her Majesty’s Revenue & Customs (“HMRCâ€?) has made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding buyer’s premium for lots with symbols for businesses outside the UK. Ăż :KHUH WKH EX\HU LV D QRQ (8 EXVLQHVV 3KLOOLSV UHTXLUHV HYLGHQFH RI WKH EXVLQHVV VWDWXV by means of the company identification, Certificate of Incorporation, Articles of Association or government-issued documents showing that the company exists. Ăż :KHUH WKH EX\HU LV DQ (8 9$7 UHJLVWHUHG EXVLQHVV 3KLOOLSV UHTXLUHV WKH DERYH DV ZHOO DV the business’s VAT registration number in the form of a government-issued document or paperwork from the local EU tax/VAT office showing the VAT number.

These details can be scanned and emailed to us, or alternatively they can be faxed or mailed. If these requirements are not met, we will be unable to cancel/refund any applicable VAT.

Credit Cards As a courtesy to clients, Phillips will accept American Express, Visa, MasterCard and UK-issued debit cards to pay for invoices of ÂŁ50,000 or less. A processing fee will apply.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. After the auction, we will transfer all lots to our fine art storage facility located near Wimbledon and will so advise 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 charges on uncollected lots.

Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction.

Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand 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, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information.

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VAT AND OTHER TAX INFORMATION FOR BUYERS The following paragraphs provide general information to buyers on the VAT and certain other potential tax implications of purchasing property at Phillips. 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 charged. It should be noted that, for VAT purposes only, Phillips is not usually treated as agent and most property is sold as if it is the property of Phillips. In the following paragraphs, reference to VAT symbols shall mean those symbols located beside the lot number or the pre-sale estimates in the catalogue (or amending saleroom addendum).

1 PROPERTY WITH NO VAT SYMBOL Where there is no VAT symbol, Phillips is able to use the Auctioneer’s Margin Scheme, and VAT will not normally be charged on the hammer price.

Phillips must bear VAT on the buyer’s premium. Therefore, we will 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 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 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 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 Ί 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 Ί 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 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 on exports made within three months of the sale date if strict conditions are met: ÿ 7KH DPRXQW LQ OLHX RI 9$7 FKDUJHG RQ WKH EX\HUøV SUHPLXP IRU SURSHUW\ VROG XQGHU the Auctioneer’s Margin Scheme (i.e., without a VAT symbol). ÿ 7KH 9$7 RQ WKH KDPPHU SULFH IRU SURSHUW\ VROG XQGHU WKH QRUPDO 9$7 UXOHV L H ZLWK a †or a § symbol).

The following type of VAT may be cancelled or refunded by Phillips on exports made within 30 days of payment date if strict conditions are met: ÿ 7KH LPSRUW 9$7 FKDUJHG RQ WKH KDPPHU SULFH DQG DQ DPRXQW LQ OLHX RI 9$7 RQ WKH buyer’s premium for property sold under temporary admission (i.e., with a ‥ or  a Ί symbol) under the Auctioneer’s Margin Scheme.

In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or before the time of invoicing, the buyer instructs Phillips to export the property from the EU. If such instruction is received after payment, a refund of the VAT amount will be made.

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Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips 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 the following conditions are met: ÿ )RU ORWV VROG XQGHU WKH $XFWLRQHHUøV 0DUJLQ 6FKHPH RU WKH QRUPDO 9$7 UXOHV 3KLOOLSV is provided with appropriate documentary proof of export from the EU within three months of the date of sale. Buyers carrying their own property should obtain handcarry papers from the Shipping Department to facilitate this process. ÿ )RU ORWV VROG XQGHU WHPSRUDU\ DGPLVVLRQ 3KLOOLSV LV SURYLGHG ZLWK D FRS\ RI WKH correct paperwork duly completed and stamped by HMRC 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. HMRC insist that the correct customs procedures are followed and Phillips 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 ÂŁ20 will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips. Phillips 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 ÂŁ50Â per shipment and a processing charge of ÂŁ20.

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 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, it may be possible to seek repayment from 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 hmrc.gov.uk, select Forms under Quick Links, and then Find a Form. The relevant form is VAT65A. Completed forms should be returned to: HM Revenue & Customs, VAT Overseas Repayments, 8th/13th Directive, PO Box 34, Foyle House, Duncreggan Road, Londonderry, BT48 7AE, Northern Ireland, tel +44 (0)2871 305100, fax +44 (0)2871 305101, email enq.oru.ni@hmrc.gsi.gov.uk.

You should submit claims for VAT to HMRC no later than six months from the end of the 12 month period ending 30 June (e.g., claims for the period 1 July 2011 to 30 June 2012 should be made no later than 31 December 2012).

Please note that refunds of VAT will only be made where VAT has been incurred for a business purpose. Any VAT incurred on articles bought for personal use will not be refunded.

7 SALES AND USE TAXES Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of lots following purchase. Buyers should consult their own tax advisors.

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CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand.

All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding.

1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer.

2 PHILLIPS AS AGENT Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise.

3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless 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. (a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is 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 investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our 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 relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots.

Catalogue descriptions and condition reports may make reference to 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. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any presale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. 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 Phillips at our absolute discretion. Neither Phillips 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.

4 BIDDING AT AUCTION (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips 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 which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and value added 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 the lowest possible price taking

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into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder 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 with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips and that we will only look to the principal for such payment. (e) By participating in the auction, whether in person, by absentee bid or on the telephone, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anticompetitive agreement and are otherwise consistent with federal and state antitrust law. (f) Arranging absentee and telephone bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our wilful misconduct. (g) Employees of Phillips and our affiliated companies, including the 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 bidding procedures.

5 CONDUCT OF THE AUCTION (a) Unless otherwise indicated by the symbol , each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.

•

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

Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders.

If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount.

Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in pounds sterling and payment is due in pounds sterling.

For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates.

Accordingly, estimates in US dollars or euros should be treated only as a guide. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the 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. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 PURCHASE PRICE AND PAYMENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including £25,000, 20% of the portion of the hammer price above £25,000 up to and including £500,000 and 12% of the portion of the hammer price above £500,000. Phillips reserves the right to pay from our compensation an introductory commission to one or

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more third parties for assisting in the sale of property offered and sold at auction. (b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT. (c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artist’s collection agent. In circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the nationality of the artist, we will identify the lot with the symbol z next to the lot number and will invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot, we become aware that information provided to us prior to the auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice. (d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import licence or other permit for such lot. Payments must be made by the invoiced party in pounds sterling either by cash, cheque drawn on a UK bank or wire transfer, as follows: (i) Phillips will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed the local currency equivalent of US$10,000. (ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and the buyer provides to us acceptable government-issued identification. Cheques and banker’s drafts should be made payable to “Phillips.” If payment is sent by post, please send the cheque or banker’s draft to the attention of the Client Accounting Department at Howick Place, London SW1P 1BB and ensure that the sale number is written on the cheque.

Cheques or banker’s drafts drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips. Bank transfer details will be provided on the Invoice for purchased lots. (e) As a courtesy to clients, Phillips will accept American Express, Visa, MasterCard and UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply. (f) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

7 COLLECTION OF PROPERTY (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or antiterrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or +44 (0) 207 318 4082 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the 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 responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended

by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8 FAILURE TO COLLECT PURCHASES (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of £50, storage charges of £10 per day and pro rated insurance charges of 0.1% of the Purchase Price per month on each uncollected lot. Additional charges may apply to oversized lots. We will not release purchased lots to the buyer until all such charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or

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private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 REMEDIES FOR NON-PAYMENT (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips’s premises or elsewhere at 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 such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) 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; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the 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 will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge. (c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon.

10 RESCISSION BY PHILLIPS Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips’s election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us.

As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENCES AND PERMITS Before bidding for any property, prospective buyers are advised to make their own enquiries 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 import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species.

12 DATA PROTECTION (a) In connection with the management and operation of our business and the marketing 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

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UNDER THE INFLUENCE

AUCTION 8 MARCH 2013 NEW YORK VIEWING 23 FEBRUARY - 7 MARCH ENQUIRIES +1 212 940 1234 cbarr@phillips.com DAN COLEN Untitled (Gum), 2006 (detail)

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third parties (e.g., credit information). If clients provide us with information that is defined by law as ‘sensitive’, they agree that Phillips and our affiliated companies may use it for the above purposes. Phillips and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +44 20 7318 4010. If you would prefer not to receive details of future events please call the above number. (b) In order to fulfill the services clients have requested, Phillips may disclose information to third parties such as shippers. Some countries do not offer equivalent legal protection of personal information to that offered within the EU. It is Phillips’s policy to require that any such third parties 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 located in a country that offers equivalent legal protection of personal information. By agreeing to these Conditions of Sale, clients agree to such disclosure.

13 LIMITATION OF LIABILITY (a) Subject to sub-paragraph (e) below, the total liability of Phillips, 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, 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 or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips 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. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to sub-paragraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of 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.

14 COPYRIGHT The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 GENERAL (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements.

all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, 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 the bidder or seller known to Phillips.

AUTHORSHIP WARRANTY Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALISED type for a period of five years from date of sale by Phillips, subject to the exclusions and limitations set forth below. (a) Phillips 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 extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot; or (v) there has been no material loss in value of the lot from its value had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (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 in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that none of Phillips, 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 damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

(b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue.

Notices to clients shall be addressed to the last address notified by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part. (e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer.

16 LAW AND JURISDICTION (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of

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INVITATION TO CONSIGN

CONTEMPORARY ART EVENING & DAY SALE

AUCTION 16–17 MAY 2013 NEW YORK DEADLINE 1 APRIL ENQUIRIES +1 212 940 1256 zminer@phillips.com +1 212 940 1261 astoffel@phillips.com

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CHIEF EXECUTIVE OFFICER Michael McGinnis

CHIEF OPERATING OFFICER Sean Cleary

CHIEF BUSINESS DEVELOPMENT OFFICER Patricia G. Hambrecht

CHIEF FINANCIAL OFFICER Annette Schwaer

SENIOR DIRECTOR Olivier Vrankenne

MANAGING DIRECTOR, EUROPE Finn Schouenborg Dombernowsky

DIRECTORS Alexander Payne Vanessa Kramer Svetlana Marich

INTERNATIONAL SPECIALISTS Berlin Brussels

Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, Senior Director and International Senior Specialist +32 486 43 43 44 Bérénice Chef, Specialist, Contemporary Art +32 473 12 27 06

Buenos Aires & London Geneva Istanbul Los Angeles Milan Moscow Paris

Brooke Metcalfe, International Specialist, Contemporary Art +44 777 551 7060 Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000 Deniz Atac, Consultant +90 533 374 1198 Maya McLaughlin, Specialist, Contemporary Art +1 323 791 1771 Laura Garbarino, Senior International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Director and Senior International Specialist, Contemporary Art +7 495 225 88 22 Thomas Dryll, Senior Specialist, Contemporary Art +33 1 42 78 67 77 Edouard de Moussac, Specialist, Contemporary Art +33 1 42 78 67 77

Zurich

Niklaus Kuenzler, Specialist, Contemporary Art +41 79 533 90 00

WORLDWIDE OFFICES LONDON Howick Place, London SW1P 1BB, United Kingdom tel +44 20 7318 4010 fax +44 20 7318 4011

NEW YORK 450 Park Avenue, New York, NY 10022, USA tel +1 212 940 1200 fax +1 212 940 1378

BERLIN Auguststrasse 19, 10117 Berlin, Germany tel +49 30 8800 1842 fax +49 30 8800 1843 BRUSSELS rue Jean Baptiste Colyns 72, 1050 Brussels, Belgium tel +32 486 43 43 44 GENEVA 23 quai des Bergues, 1201 Geneva, Switzerland tel +41 22 906 80 00 fax +41 22 906 80 01

ISTANBUL Meclisi Mebusan Caddesi, Deniz Apartmani No. 79/8 Beyoglu 34427, Istanbul, Turkey tel +90 533 3741198

MOSCOW TSUM, Petrovska str., 2, office 524, 125009 Moscow, Russia tel +7 495 225 88 22 fax +7 495 225 88 87

LOS ANGELES 7285 Woodrow Wilson, Los Angeles, CA 90068, USA tel +1 323 791 1771

PARIS 6 avenue Franklin D. Roosevelt, 75008 Paris, France tel +33 1 42 78 67 77 fax +33 1 42 78 23 07

MILAN via Vincenzo Monti 26, 20123 Milan, Italy tel +39 339 478 9671

ZURICH Restelbergstrasse 89, 8044 Zurich, Switzerland tel +41 79 533 90 00

ADVISORY BOARD Maria Bell Janna Bullock Lisa Eisner Ben Elliot Lady Elena Foster H.I.H. Francesca von Habsburg Marc Jacobs

CTA_UK_Feb13_Eve_Backmatter_140-155.indd 148

Ernest Mourmans Aby Rosen Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz

24/01/13 18.02

SPECIALISTS and DEPARTMENTS CONTEMPORARY ART

DESIGN

Michael McGinnis, Chief Executive Officer

+1 212 940 1254

Joseph Carlucci, International Business Director

+1 212 940 1366

Alexander Payne, Director and Worldwide Head, Design

LONDON Domenico Raimondo +44 20 7318 4016 Ben Williams +44 20 7318 4027 Marine Hartogs +44 20 7318 4021

LONDON Peter Sumner, Head of Evening Sale +44 20 7318 4063 George O’Dell, Head of Day Sale +44 20 7318 4093 Paul de Bono, Business Director

+44 20 7318 4070

Henry Allsopp Henry Highley Matt Langton Daniela Sánchez

+44 20 7318 4060 +44 20 7318 4061 +44 20 7318 4074 +44 20 7318 4090

Larkin Erdmann Tamila Kerimova Charlotte Salisbury Simon Tovey

+44 20 7901 2909 +44 20 7318 4065 +44 20 7318 4058 +44 20 7318 4084

Marcus McDonald Annabelle Wills Sofia Sayn-Wittgenstein

+1 212 940 1223

Corey Barr Benjamin Godsill Laura González Jean-Michel Placent Sarah Mudge

+1 212 940 1234 +1 212 940 1333 +1 212 940 1216 +1 212 940 1263 +1 212 940 1259

Joshua Friedman Viola McGowan Jed Moch Alexandra Raponi Jonathan Winter

+1 212 940 1392 +1 212 940 1226 +1 212 940 1301 +1 212 940 1292 +1 212 940 1252

Marcus Tremonto Meaghan Roddy

+1 212 940 1268 +1 212 940 1266

Lauren Sohn

+1 212 940 1268

PHOTOGRAPHS Vanessa Kramer, Director and Worldwide Head, Photographs

Rita Almeida Freitas Laetitia Morenz

+44 20 7318 4062 +44 20 7318 4092

NEW YORK Shlomi Rabi +1 212 940 1246 Caroline Deck +1 212 940 1247 Sarah Krueger +1 212 940 1225 David Rimoch Carol Ehlers, Consultant

+1 212 940 1222 +1 212 940 1221

+1 212 940 1245 +1 212 940 1245

PARIS Jonas Tebib, Consultant Specialist +33 1 42 78 67 77

LONDON Robert Kennan, Head of Sales +44 20 7318 4010 Rebecca Tooby-Desmond +44 20 7318 4079

JEWELS NEW YORK Nazgol Jahan, Worldwide Director +1 212 940 1283

NEW YORK Audrey Lindsey +1 212 940 1285 Jannah Greenblatt +1 212 940 1332

Joanna Bengoa Brittany Gersh

EXHIBITIONS Arianna Jacobs

+1 212 940 1243

LONDON Lou Proud, Head of Photographs, London +44 20 7318 4018 Sebastien Montabonel +44 20 7318 4025 Alexandra Bibby +44 20 7318 4087

MODERN AND CONTEMPORARY EDITIONS Cary Leibowitz, Worldwide Co-Director Kelly Troester, Worldwide Co-Director

+44 20 7318 4095 +44 20 7318 4019 +44 20 7318 4023

NEW YORK Alex Heminway, New York Director +1 212 940 1268

NEW YORK Zach Miner, Head of Evening Sale +1 212 940 1256 Amanda Stoffel, Head of Day Sale +1 212 940 1261 Peter Flores, Business Director

+44 20 7318 4052

+1 212 940 1302 +1 212 940 1365

PRIVATE SALES

+44 20 7318 4054

Susanna Brockman

+44 20 7318 4041

PRIVATE CLIENT SERVICES

CLIENT DEVELOPMENT

MUSEUM SERVICES DEPARTMENT

Michael Berger-Sandhofer, London +44 20 7318 4048 Philae Knight, New York +1 212 940 1313 Meredith Ostrom, New York +1 212 940 3301 Anna Poulson, New York +1 212 940 1300 Sara Tayeb-Khalifa, New York +1 212 940 1383

Marya Oja, Worldwide Head

Lauren Shadford, New York +1 212 940 1257 Cecilia Wolfson, New York +1 212 940 1258

LONDON Isadora Tharin Linda Pyke

NEW YORK Carolyn Bachman Carly Murphy

PROPOSALS C. K. Swett, New York +1 212 940 1271

OFFICE OF THE CHIEF EXECUTIVE OFFICER Elisabeth Anne Wallace, New York +1 212 940 1303 Fiona McGovern, London +44 20 7318 4099

ART AND PRODUCTION Mike McClafferty, Art Director LONDON Mark Hudson, Deputy Art Director Andrew Lindesay, Sub-Editor Tom Radcliffe, Production Director

CTA_UK_Feb13_Eve_Backmatter_140-155.indd 149

NEW YORK Andrea Koronkiewicz, Studio Manager Orlann Capazorio, US Production Manager Steven Mosier, Graphic Designer Fernando Dias de Souza, Graphic Designer Jeff Velazquez, Production Artist

COMMUNICATIONS AND MARKETING LONDON Alex Godwin-Brown, Communications and Marketing Manager NEW YORK Trish Walsh, Marketing Manager Tiana Webb-Evans, Director of Communications

24/01/13 18.02

SALE INFORMATION AUCTION Thursday 14 February 2013, 7pm VIEWING Thursday 7 February, 10am – 6pm Friday 8 February, 10am – 6pm Saturday 9 February, 10am – 6pm Sunday 10 February, 12pm – 6pm Monday 11 February, 10am – 6pm Tuesday 12 February, 10am – 6pm Wednesday 13 February, 10am – 6pm Thursday 14 February, 10am – 6pm 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 to this sale as UK010113 or Contemporary Art Evening Sale

IC

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CATALOGUERS Larkin Erdmann +44 20 7901 2909 Tamila Kerimova +44 20 7318 4065

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SALE ADMINISTRATOR Charlotte Salisbury +44 20 7318 4058

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HEAD OF SALE Peter Sumner +44 20 7901 4063

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CATALOGUES Emma Miller +44 20 7318 4039 +1 212 940 1291 catalogues@phillips.com Catalogues $35/€25/£22 at the Gallery

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PHOTOGRAPHY Hayley Giles Ivan Ingletto Ross Martin

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WAREHOUSE & SHIPPING Lydia Stewart +44 20 7318 4050 Rory Kirk-Duncan +44 20 7901 2905 Ameeta Lodhia +44 20 7318 4026 Jan Navratil +44 20 7318 4081 Elisa Sciandro +44 20 7318 4077

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Viewing and Auction location

CLIENT ACCOUNTS Jason King, Director +44 20 7318 4086 Buyer Accounts: Carolyn Whitehead +44 20 7318 4020 Seller Accounts: Surbjit Dass +44 20 7318 4072 CLIENT SERVICES Madalena Horta e Costa, Lucinda Newman, Natasha Pryce, +44 20 7318 4010

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ABSENTEE & TELEPHONE BIDS tel +44 20 7318 4045 fax +44 20 7318 4035 Anna Ho +44 20 7318 4044 Susanna Brockman +44 20 7318 4041 bidslondon@phillips.com

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VICTORIA

Warehouse and collection location

Printed in the United Kingdom, Phillips Auctioneers Ltd

CTA_UK_Feb13_Eve_Backmatter_140-155.indd 150

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IN-PERSON REGISTRATION FORM Please use this form to bid in person.

To pre-register, please submit this form by fax to +44 20 7318 4035 or by email to bidslondon@phillips.com, or bring it with you to Howick Place, London SW1P 1BB to register on the day of the auction.

Howick Place London SW1P 1BB +44 20 7318 4010 www.phillips.com bidslondon@phillips.com

Sale Title

Sale number

Sale date

Please indicate in what capacity you will be bidding (please select one): AS A PRIVATE INDIVIDUAL ON BEHALF OF A COMPANY ÿ COMPANY PURCHASES We require a copy of government-issued identification (such as the certificate of incorporation) to verify the status of the company. This should be accompanied by an official document confirming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold.

Client number (if known) Title

First name

Surname

Company name (complete this only if you are bidding on behalf of a company)

Ăż CONDITIONS OF SALE All bids are placed and executed, and all lots are sold and purchased subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

VAT number (if applicable) Address

City

State / County

Postcode / zip code

Country

Phone

Mobile

Fax

Email Phone (for phone bidding only)

FINANCIAL INFORMATION For your bid to be accepted, we require the following information for our reference only. Please note that you may be contacted to provide a bank reference: Credit card type Credit card number For anyone wishing to bid on lots with a low pre-sale estimate of above ÂŁ5,000, please provide the following information for our reference only: Contact

Telephone / fax

Account number

I hereby authorise the above references to release information to PHILLIPS. Please bid on my behalf up to the limits shown for the indicated lots without legal obligations to PHILLIPS, its staff or agents; and subject to the Conditions of Sale and Authorship Warranty printed in the catalogue, additional notices or terms printed in the catalogue and supplements to the catalogue posted in the salesroom, and in accordance with the above statements and conditions.

Signature

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I ACCEPT THE CONDITIONS OF SALE OF PHILLIPS AS STATED IN OUR CATALOGUES AND ON OUR WEBSITE

CTA_UK_Feb13_Eve_Backmatter_140-155.indd 151

24/01/13 18.03

ABSENTEE/TELEPHONE BID FORM Please use this form to register for absentee bids or telephone bids. Please read the advice and conditions included here, and note that it is important that you indicate whether you are applying as an individual or on behalf of a company.

Howick Place London SW1P 1BB +44 20 7318 4010 www.phillips.com

Please select the type of bid you wish to make with this form, and for which sale: ABSENTEE BID

bidslondon@phillips.com

TELEPHONE BID 3OHDVH VHOHFW RQH

Sale Title

Sale number

Are you applying as an individual

or on behalf of a company

Sale date ?

3OHDVH VHOHFW RQH

Client number (if known) Title

First name

ÿ COMPANY PURCHASES We require a copy of government-issued identification (such as the certificate of incorporation) to verify the status of the company.

This should be accompanied by an official document confirming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold.

Surname ÿ CONDITIONS OF SALE All bids are placed and executed, and all lots are sold and purchased subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

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* Excluding Buyerâ&#x20AC;&#x2122;s Premium and VAT

FINANCIAL INFORMATION For your bid to be accepted, we require the following information for our reference only. Please note that you may be contacted to provide a bank reference: Credit card type

Expiration date

Credit card number For anyone wishing to bid on lots with a low pre-sale estimate of above £5,000, please provide the following information for our reference only: Bank name

Contact

Telephone / fax

Account number

I hereby authorise the above references to release information to PHILLIPS. Please bid on my behalf up to the limits shown for the indicated lots without legal obligations to PHILLIPS, its staff or agents; and subject to the Conditions of Sale and Authorship Warranty printed in the catalogue, additional notices or terms printed in the catalogue and supplements to the catalogue posted in the salesroom, and in accordance with the above statements and conditions.

Signature

Date

I ACCEPT THE CONDITIONS OF SALE OF PHILLIPS AS STATED IN OUR CATALOGUES AND ON OUR WEBSITE

Please return this form by fax to +44 20 7318 4035 or email it to bidslondon@phillips.com at least 24 hours before the sale

CTA_UK_Feb13_Eve_Backmatter_140-155.indd 152

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24/01/13 18.03

Marc Quinn, Frozen Head, 2009, lot 21

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24/01/13 18.03

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24/01/13 18.44

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24/01/13 17.49

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25/01/13 09.04