Con temporary art 29 & 30
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Con temporary art 29
2 0 10 7pm
Lots 1 – 4 5
Viewing Monday 21–Saturday 26 June, 10am– 6pm Sunday 27 June, 12pm– 6pm Monday 28–Tuesday 29 June, 10am– 6pm Wednesday 30 June, 10am–12pm
Front cover Thomas Schütte, Doppelkopf (Double Head), 1994, Lot 8, detail Inside front Roy Lichtenstein, Prop for a Film, 1969, Lot 18, detail title page Matthew Day Jackson, Gimme Shelter, 2009, Lot 6
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1 Johannes Kahrs b. 1965 Hand, 2001 – 02 Oil on canvas in the artist’s metallic and Perspex frame. 77.5 × 104 × 6 cm (30 1/2 × 41 × 2 1/2 in). Signed, titled and dated ‘J. Kahrs “Hand” 2001/02’ on the reverse.
estimate £60,000–£80,000 $86,400–115,000 €69,600–92,800 ♠ ‡ Provenance Zeno X Gallery, Antwerp
German artist Johannes Kahrs customarily takes a photo, a video projection or a film still as the starting point for his paintings. Presented without the context of their origin, his generic subjects become monumentalized and frozen in non-sequential time, their imagery merging the banal with the horrific. Leaving the contours of his figures blurred as though floating in a hazy fog of memory, Kahrs’ painting style captures the unreliable nature of photography. He transforms the art-historical tradition of painting to the point where oils on canvas seem to represent the shadows of over-exposure or the acid hues of a print. By thus detaching the image from its original meaning, Kahrs’ work is suggestive of a completely new method of recording of reality, one both ethereal and mysterious. “The work of Johannes Kahrs frequently mixes cinema and life in order to generate a subversive critique against images and against our perception of a world that can be too easily altered by the manipulation of a few moments and frames. In Kahrs’ paintings, photographs, drawings and video projections, cinema is returned to life, and it is placed on the border between representation and private memory, transgressing both contexts through an intense experience of violence or a subtle form of scepticism towards rhetoric of fiction.” (J. Fernandes, Flash Art, May/June, 2002)
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2 Urs FIsCher b. 1973 Untitled (Nürnberg), 2006 Wood, ACM panels, Epson Ultrachrome inkjet print on Somerset Velvet fine art paper, primer, oil paint, acrylic paint, paper cement, paint marker, varnish. 305.5 × 245 × 8 cm (120 1/4 × 96 1/2 × 3 1/8 in). This work is unique and is accompanied by a certificate of authenticity signed by the artist.
estimate £150,000–£200,000 $216,000–288,000 €174,000–232,000 Provenance Galerie Eva Presenhuber, Zürich; Private Collection, Italy exhibited New York, New Museum, Urs Fischer. Shovel in a Hole, 28 October
2009 – 24 January 2010 literature Urs Fisher. Shovel in a Hole, exh. cat., New Museum, New York, 2009,
p. 279 (illustrated)
Urs Fischer’s art is broad-based, far-reaching, sharply focused, raw, clever and disarming. He resists easy categorization, working across a wide range of media including photography, drawing, painting, sculpture and installation. His fundamental interest, however, lies in the everyday objects that surround us, objects which he often depicts in a state of decay or metaphysical transformation. Fischer’s practice traces the production process, revealing its organic and experimental nature; he is constantly dealing, both literally and metaphorically, with the contrasting themes of construction and deconstruction. Untitled (Nürnberg) is a characteristic example of this approach, featuring a period blackand-white photograph of a wall in Nuremberg demolished during World War II. The image is mounted on wooden panels, and to the top of this sparse composition, Fischer has added a reproduction of glowing fluorescent light tubes, which seem to both light and expose the rubble below. It is a quintessential Fischer creation, its seemingly disparate imagery combining to form an ambiguous work layered deeply with meaning. “There are no limits to Fischer’s perceptions and psychological penetration of our contemporary soul. His delight in acquiring knowledge via the senses can only be described as Baroque, focusing on reality throughout the 360 degrees of its compass. Large numbers of vanitas symbols, candles really burning and vegetables actually rotting, combine with horror and trash symbolism inspired by heavy metal and references to the work of Martin Kippenberger to address the widespread cultural phenomenon of pleasure in angst, the secret delight in terror. In the morass of adolescent taste Fischer discovers possibilities for expanding art’s frame of reference, recognizing a rich and vital vein of imaginative potential. The imagination is the agent of Fischer’s realism symbolism.” (Bice Curiger, ‘Spaces Generated by Vision or Basements Save Windows’, in Massimiliano Gioni, ed., Urs Fischer, Shovel in a Hole, New York, 2009, p. 16)
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3 anselm reyle b. 1970 Untitled, 2006 Acrylic and silver PVC foil on canvas in the artist’s Plexiglas box. 234 × 199 × 20 cm (92 1/8 × 78 1/3 × 7 7/8 in).
estimate £70,000–£90,000 $101,000–130,000 €81,200–104,400 ♠ ‡ Provenance Private Collection, Switzerland
Sampling ideas from Modernism and Abstract Expressionism, Anselm Reyle injects new life into concepts now resting securely within the art historical canon. In his foil paintings, Reyle achieves this by reactivating concepts of abstraction and the ready-made with a shiny new material; and in so doing, he revitalises the notion of chance during the acts of both creation and viewing. Each peak, bend and valley of his synthetic foil substrate creates a new surface upon which light can refract and forms reflect; there is a constant fluctuation of light and tone, creating a work which remains new no matter how many times it is viewed. “I found this cheap foil at a studio of a friend. I was very fascinated by this material. The quality – that it was so glossy. I’ve always liked the fact that you have to do very little to make it look good. In this case, you really have a lot of interesting effects created by almost nothing. All the colours reflect and also it has a very psychedelic effect when you look at it from a close distance. A bit like on an acid trip. The fact that this cheap store foil work is such a big contrast to the expensive acrylic box around it, is another aspect. Without this box, it would have been more trashy, cheap and even more fragile. But when it’s inside it gets more serious leaving no doubt that it’s a real piece of art.” (Anselm Reyle interviewed by A. Tovborg, Copenhagen, 27 June 2006)
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4 Ugo Rondinone b. 1964 air/ gets/ into/ everything/ even/ nothing, 2006 Cast aluminium, white enamel. 381 × 381 × 335 cm (150 × 150 × 131 7/8 in). This work is from an edition of three plus two artist’s proofs and is accompanied by a certificate of authenticity signed by the artist.
estimate £200,000–£300,000 $288,000–432,000 €232,000–348,000 Provenance Galerie Eva Presenhuber, Zürich exhibited Zürich, Galerie Eva Presenhuber, Ugo Rondinone, air gets into everything
even nothing, 10 June – 30 September 2006 (another example exhibited, resin cast); New York, Creative Time, Art on the Plaza, Ugo Rondinone, air gets into everything even nothing & get up girl a sun is running the world, 1 February – 31 August 2007 (another example exhibited); Venice, 52nd Venice Biennale, Swiss Pavilion, Church of San Stae, Ugo Rondinone & Urs Fischer, 2007 (another example exhibited); Des Moines, Iowa, The John and Mary Pappajohn Sculpture Park, September 2009 – present (another example exhibited)
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Ever the hopeless romantic, Ugo Rondinone creates eclectic works in which notions of the sublime are tinged with a poetic melancholia. Standing at nearly four metres tall, air/ gets/ into/ everything/ even/ nothing is a representation of a 2,000-year-old olive tree originally found in the countryside outside Naples. Life, death and the passage of time are evoked by the tree’s gnarled trunk and bare branches, so beautifully shaped by the forces of nature over the course of two millennia. A living organism with its own cycle of growth, reproduction and decay, now frozen in aluminium and white enamel, Rondinone’s tree becomes a contemplation on the story of creation, a vehicle for mankind’s shared memory and experience. This depiction of the natural landscape as a metaphor for human psychology, with the tree at its core, has been a recurring theme for Ugo Rondinone. As early as 1991, he began representing a nostalgic Arcadian ideal, with monumental Indian ink drawings depicting the woods, hills, streams and cottages of a pre-modern world, their simple beauty suggesting man’s lost innocence. This existential exercise is taken further in Rondinone’s trees which, while appearing to arrest the passage of time, in fact reflect upon our inescapable transience. Caught between life and death, the fragile nature of Rondinone’s tree is reminiscent of the oeuvre of the American sculptor Robert Gober. In both of these artists’ fantastic, hyperreal worlds, life can be interpreted as a melancholy progress through a failing world.
“What interests me about the two 2000-year-old olive trees is the fact that once they are cast bare naked they become a memoriam of condensed time. Through a cast olive tree you can not only experience the lapse of real time, that is lived time, frozen in its given form, but through this transformation also a different calibrated temporality. Time can be experienced as a lived abstraction, where the shape is formed by this accumulation of time and wind force. If my work in general has a nonlinear approach to the world, then the system and concept of time, which has occupied my work since the beginning, gives me a certain sense of grounding.” (Ugo Rondinone, from a press release for Creative Time’s project, Art on the Plaza: air gets into everything even nothing & get up girl a sun is running the world, New York, 2007)
Top left: another example exhibited as a part of Creative Time’s series Art on the Plaza in New York City, 2007; top right: another example exhibited at the Swiss Pavilion, in the Church of San Stae, at the 52nd Venice Biennale, in 2007; above: Robert Gober, Untitled, 2006–07; background: detail of present lot
5 Andy WArhol 1928–1987 Disaster (Retrospective Series), c. 1978 Unique silkscreen on Saunders paper. Image: 52.7 × 92.4 cm (20.7 × 36.4 in); paper: 77.5 × 109.2 cm (30 1/2 × 43 in). Numbered ‘UP48.19’ on the reverse.
Estimate £150,000 –250,000 $216,000 –360,000 €174,000 –290,000 ‡ Provenance Sean Kelly, New York Literature Feldman & Schellmann, eds., Andy Warhol Prints: A Catalogue Raisonné
1962–1987, 4th ed., New York, 2003, IIIA.9, p. 232 (illustrated)
Warhol’s Disaster series is a provocative statement that underscores his fascination with the power of media, the underside of American life and the indiscriminate nature of death. Culled from tragic frontpage news stories, its imagery chillingly reflects the artist’s raw and confrontational attitude towards beauty and tragedy. Indeed, as Warhol himself said in a 1963 interview: “I realized that everything I was doing must have been Death. It was Labor Day and every time you turned on the radio they said something like ‘Four million are going to die’. That started it. But when you see a gruesome picture over and over again, it doesn’t really have any effect … and I thought people should think about them some time … It’s not that I feel sorry for them, it’s just that people go by and it doesn’t really matter to them that someone unknown was killed so I thought it would be nice for these unknown people to be remembered.” (Gene Swenson, ‘What is Pop Art?’, Artnews 62, November 1963, Andy Warhol, 129 Die in Jet (Plane Crash), 1962
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6 MAtthEW dAy JAckson b. 1974 Gimme Shelter, 2009 Laser-cut Formica, wood. 120 × 90 cm (47 × 35 1/2 in).
Estimate £100,000–£150,000 $144,000–216,000 €116,000–174,000 Provenance Private Collection, New York
At the heart of Matthew Day Jackson’s work is the belief that technology is the key to man’s advancement – and at the same time his demise. In other words, scientific progress may promise entry to a utopian society, but it simultaneously unlocks the means to our end. In Gimme Shelter, 2009, Jackson focuses on post-World War II America and the acceleration of Cold War paranoia. While technology was allowing the average US citizen to prosper, it was also creating an underlying sense of impending doom; Jackson points up this duality and how the media plays upon it. The subject of Gimme Shelter is an appropriated cover of Life magazine from 12 January 1962, which warns readers about nuclear fallout and advises them of the measures to be taken to protect themselves in the event of a nuclear attack. The original image depicts a modern American city with citizens being ushered into Cover of Life magazine, 12 January 1962
community shelters, while the text – stating “New Facts You Must Know about Fall Out” – starkly emphasizes the climate of fear caused by nuclear proliferation and international standoffs. Jackson heightens this notion of technology as both progress and destruction by laser-etching Life’s propaganda-like cover into black Formica, utilizing both a method and a material which were considered advancements in the 20th century. It is a powerful combination of appropriated message and medium, in which Jackson reflects darkly upon contemporary society and the portrayal of modern history.
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7 roni horn b. 1955 When Dickinson Shut Her Eyes, no. 1259, 1993–2004 Aluminium and plastic in eight parts. Largest: 193 × 5.2 × 5.2 cm (76 × 2 × 2 in); smallest: 82.5 × 5.2 × 5.2 cm (32 1/2 × 2 × 2 in). Incised with the number ‘1259’ at one end of each bar. This work is from an edition of three and is accompanied by a certificate of authenticity signed by the artist.
Estimate £150,000–£200,000 $216,000–288,000 €174,000–232,000 Provenance Xavier Hufkens, Brussels; Private Collection, Paris
The subject of a major travelling retrospective in 2009 and 2010, the contradictory and tautological nature of Roni Horn’s innovative and diverse output defies easy categorization. Simplified to its essence, however, the focus of her art is simply the viewer’s interaction with it. Horn’s seemingly straightforward sculptural installations, often incorporating language, are in reality highly intentional; they result from the artist’s long and thorough working method, and her engagement with the legacies of Conceptualism and Minimalism. The present lot, from her acclaimed 1993 series When Dickinson shut her eyes, comprises eight aluminium poles of different lengths leaning casually against the gallery wall, each bearing a line from Emily Dickinson’s poem A Wind that rose. With her striking interpretation of the words of the reclusive 19th-century American poet, Horn invites the viewer to explore the poem’s central themes of nature and identity, its cycles of life and death. Following in the conceptual tradition started by Joseph Kosuth and Lawrence Weiner, Roni Horn’s homage to Dickinson investigates the possibilities of language as sculptural form. A Wind that rose though not a Leaf In any Forest stirred – But with itself did cold commune Beyond the Realm of Bird. A Wind that woke a lone Delight Like Separation’s Swell – Restored in Arctic confidence To the invisible. Emily Dickinson
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8 Thomas schüTTe b. 1954 Doppelkopf (Double Head), 1994 Glazed ceramic and plywood pedestal. Overall: 171 × 58.5 × 100 cm (67 1/3 × 23 × 39 1/2 in).
estimate £400,000–600,000 $576,000–864,000 €464,000–696,000 ♠ ‡ Provenance Frith Street Gallery, London; Private Collection, Germany
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Although primarily known as a sculptor, Thomas Schütte’s diverse
and the legacy of Hitler, Schütte’s work is constantly grappling
practice ranges from drawing to model making to installation. These
with that darkest hour of history – most overtly in his recent Dirty
varying approaches allow him to constantly bring fresh perspectives
Dictators, four monumental ceramic busts inspired by Socialist
to his ongoing exploration of the human condition and the
Realist and Fascist propaganda, which are an obvious evolution of
complexities and contradictions of mankind’s behaviour. Doppelkopf
the themes he first explored in the present lot. The opposing faces
(Double Head), a contemporary interpretation of the two-faced
in Doppelkopf, like those of the god Janus, are trapped between a
Roman deity Janus, powerfully suggests the schizophrenic nature
destructive past and an uncertain future, caught in the awkward
of human psychology. With their rusty, blood-ochre skin and deeply
space of an ambiguous present. As a former student of Gerhard
frowned brows, the eerie faces’ exaggerated physiognomies exude
Richter, Schütte is adept at using his practice to comment on the
the same sombre mood which permeates all of Schütte’s figurative
nature of art and the artist in history, a concept his teacher adroitly
and satirically explored in his 1971 masterpiece Two Sculptures for a Room by Palermo.
Sculptural portraiture and the human figure have been a recurring theme for Schütte since the early 1980s. Whether executed in
Revitalizing the ancient craft of earthenware, Schütte’s Doppelkopf,
wax, clay, steel, bronze, or aluminium, freestanding, under glass
like all the sculptures in his eclectic and copious oeuvre, is work
domes or on plinths, such works both undermine and extend the
of technical bravura. Pushing this most traditional of materials to
long artistic tradition of figurative sculpture. Schütte’s takes on the
its ultimate limits, the ceramic glazing process allows the artist
genre are recognizably influenced by his artistic precursors, yet
to achieve a brilliant two-toned ochre patina and a vivid, visceral
uniquely his own. In Doppelkopf, while the weight and scale of each
surface full of accidental markings and drips. While Schütte’s
face immediately suggests the Modernist masters Maillol, Picasso
physically painstaking working method is reminiscent of the
and Moore, the heads’ stylized, gargoyle-like features reveal an
macho sculptural attitude of Willem de Kooning, there exists in
underlying, deeply unflattering, violent portrayal of man. Like Francis
Doppelkopf – which is exhibited on a raw, unpainted plywood box
Bacon and Alberto Giacometti, Schütte has contorted the face to
– a clear sense of irony and ambivalence towards the notion of
create an existential portrait full of torment, angst and gravity.
icons, art-making and beauty. In fact, the contrast between the technically masterful glazed ceramic double bust and its plain and
Invoking themes such as history and memory, utopia and power,
simple wooden plinth perfectly encapsulates the duality in meaning
mortality and failure, Doppelkopf functions as a memorial, a relic of
pervading all of Thomas Schütte’s work. The art historian Jan
fallen public statues and monuments. Acutely aware of the artist’s
Thorn-Prikker has aptly described the artist’s oeuvre as a “unique
role in a modern Germany still coming to terms with the Holocaust
mélange of great earnestness, bitter irony and sarcastic scoffing”.
Top left: Alberto Giacometti, Head of Diego, 1953; top right: Francis Bacon, Self-portrait, 1971; right: Gerhard Richter, Two sculptures for a room by Palermo, 1971; far right: Marc Quinn, Self, 1991; opposite, alternative view of present lot
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9 Hermann nitscH b. 1938 Schüttbild (Splatter Painting), 1983 Dispersion on jute laid on canvas. 200 × 300 cm (78 3/4 × 118 in).
estimate £25,000–35,000 $36,000–50,400 €29,000–40,600 ♠ provenance James Carter, London
Since the 1960s, Hermann Nitsch has defied traditional boundaries of painting, sculpture and performance. His famous, and indeed, infamous performances are provocative works that challenge our ideas of violence, transgression and pain. Nitsch’s ‘Splatter’ paintings exist as relics from the ritualistic and existential spectacles staged by the artist. With its utterly forceful display of paint and blood, the present lot expresses a terrifying but undeniable sense of beauty. Corporeally and metaphysically, the work conveys a potent contemplation of life and violence.
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10 Andy WArhol 1928–1987 Hamburger Michel, c. 1980–83 Synthetic polymer, silkscreen inks and diamond dust on canvas. 125.4 × 104.8 cm (49 1/3 × 41 1/4 in). Signed ‘Andy Warhol’ on the overlap.
Estimate £200,000–300,000 $288,000–432,000 €232,000–348,000 ‡ Provenance Anon., Christie’s, London, Impressionist, Modern and Post-War Art,
7 February 2001, lot 339; Private Collection
Andy Warhol was a visionary whose innovations changed the course of art history. From his early commercial illustrations to the iconic late self-portraits, the breadth of his art is truly astonishing. The current lot, Hamburger Michel, is a prime example of Warhol’s wide-ranging oeuvre. The painting was produced at a time when the artist was exhibiting extensively in Germany in the early 1980s, in cities including Berlin, Hanover, Munich and Cologne. In typical Warholian fashion, the silkscreen is a multi-layered representation of a building in Hamburg. Elements such as diamond dust, traced outlines of the clock tower and colour blocks overlap, instantly creating a dynamic image.
11 Olafur EliassOn b. 1967 Snow crystal roof, 2004 Glass, mirror, lead, stainless steel, and stainless steel wire. 190 × 165 cm (74 3/4 × 65 in). This work is unique and is accompanied by a certificate of authenticity.
Estimate £70,000–£90,000 $101,000–130,000 €81,200–104,400 ♠ ‡ Provenance Tanya Bonakdar Gallery, New York exhibited Aspen Art Museum, Colorado, Olafur Eliasson, I only see things when they
move, 6 August – 3 October 2004
The very definition of a Renaissance man, Olafur Eliasson inventively fuses the fields of art, design, architecture and science in his installation-based practice. Exploring ideas about experience, mediation and representation, he continually questions mankind’s relationship with space and time. His arresting works are a feast for the senses, pleasures that while often ephemeral to experience, create everlasting impressions. Installed under a glass ceiling, the mesmerizing Snow crystal roof filters, fragments, reflects and refracts natural light to create a kaleidoscopic show for the viewer below. Since the viewer’s visual experience varies depending the amount light flooding in from above the installation, Eliasson plays on the idea of phenomenology, a subject that he is interested in, to the extent that he not only invites the object and subject to intertwine, but abandons any sort of distinction between the two. Instead, he allows one to feed off the other, thereby achieving a true artistic experience.
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12 Anselm Kiefer b. 1945 Untitled (Constellation Book), 2004 Mixed media on lead. Dimensions variable; as illustrated: 100 × 136 × 136 cm (39 1/2 × 53 1/2 × 53 1/2 in).
estimate £180,000–£250,000 $259,000–360,000 €209,000–290,000 ♠ ‡ Provenance James Cohan Gallery, New York; Private Collection, Switzerland
Concerned with the notions of being, Anslem Kiefer approaches art
We were lying
as a way of understanding human history. The German artist aims to
deep in the macchia, by the time
draw connections between poetry, religion, history and science, with
you crept up last.
the intention of using the past in order to better explore our current
But we could not
existence. In doing so, he makes the viewer aware that our own
darken over to you:
times are just as unfathomable as those of our forebears. In Untitled
(Constellation Book), from 2004, Kiefer draws upon the theories of the
17th-century mathematician and cosmologist Robert Fludd, NASA’s
documentation of stars, and the work of the 20th-century German poet Paul Celan. Kiefer documents our perception of the galaxy and our attempts at mapping what is beyond reach. The numbering system used to document stars invites comparison with the numbering of prisoners in the Holocaust; and by doing so, Kiefer replaces Fludd’s theory that every star is connected to a plant with Celan’s quest for post-war reconciliation and an understanding of atrocity. The comparison of stars with victims parallels the attempt to comprehend an act which, to many, is still incomprehensible.
Top left: Caspar David Friedrich, Wanderer above the Sea of Fog, 1818; top right: Vincent van Gogh, Night over the Rhône, 1888; above: alternative view of present lot; opposite: detail
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13 Joseph Kosuth b. 1945 Meaning (Art as idea as idea), 1967 Photostat mounted on fibreboard. 100 × 100 cm (39 3/8 × 39 3/8 in). This work is unique and is accompanied by a certificate of authenticity signed by the artist.
estimate £50,000–£70,000 $72,000–101,000 €58,000–81,200 Provenance Patrick De Brock Gallery, Knokke
The idiosyncratic American artist Joseph Kosuth approaches art with conceptual and intellectual reasoning rather than artistic intuition. Like Marcel Duchamp, he is primarily concerned with the definition and meaning of a work of art. The creative process is achieved through his method of conceptualization and is highlighted by his critical questioning of visual representation and perception. Meaning (Art as idea as idea), 1967, is a prime example of Kosuth’s adoption of words and language as his artistic tools. Devoid of everything aside from the mechanically printed words, the work can be seen as both a visual and a verbal code – one that invites the viewer to engage with the dialectical relationship between the idea of art and the realized art object. Kosuth’s preoccupation with language, meaning, relationships and the interpretation of visual information is, fundamentally, an enquiry into the very nature of art – with all the implications that suggests.
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14 Jean-Michel Basquiat 1960–1988 Ghost, 1986 Colour crayon and graphite on paper. 106.4 × 74.9 cm (41 3/4 × 29 1/2 in). Signed and dated ‘Basquiat 1986’ on the reverse.
estimate £120,000–180,000 $173,000–259,000 €139,000–209,000 ‡ Provenance Galerie Bruno Bischofberger, Zürich exhibited Santander, Fundacion Marcelino Botin, Jean-Michel Basquiat: Ahuyentando
fantasmas, 10 July–14 September 2008
Jean-Michel Basquiat’s work was informed by a wide spectrum of art historical and cultural sources: graffiti art, African Primitivism, scientific source books, and the works of Jean Dubuffet and Cy Twombly. The present lot, entitled Ghost, neatly encapsulates the artist’s inner train of thoughts, as well as his extraordinary gift of expression. The raw pictorial format, effective use of blank space and seemingly random network of motifs and words bring an overwhelming sense of intimacy and immediacy to the viewer. As a poet, actor, musician, graffitist and artist, Basquiat was an enigmatic force whose life and work continues to intrigue. “On a par with experiencing and reassuring oneself of one’s own everyday existence, the act of drawing was immensely important to Basquiat – in its own right, and not solely for its artistic outcome.” (Dieter Buchhart, ‘A Revolutionary Caught Between Everyday Life, Knowledge, and Myth’, Basquiat, Fondation Beyeler, p. 11).
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15 andy Warhol 1928 – 1987 Portrait of Joseph Beuys, 1980 Silkscreen ink on synthetic fabric. 129.7 × 79.5 cm (51 × 31 1/4 in). Stamped by the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts, and numbered ‘UP69.22’ on the overlap.
estimate £180,000–£220,000 $259,000–317,000 €209,000–255,000 ‡ Provenance Galerie Artmosphere, Vienna
Andy Warhol and Joseph Beuys were both giants of 20th-century art. Warhol’s dark glasses and wig, as well as Beuys’ hat and vest, have become readily recognizable, and symbolize these two artistic personae. Any portrait of such a well-known artist by an artist as famous as Warhol, such as the present lot, inevitably invites speculation as to the personal and artistic connections between them, and presents an intriguing insight into two of the most influential yet enigmatic characters in contemporary art. “We had breakfast with Joseph Beuys, he insisted I come to his house and see his studio and the way he lives and have tea and cake, it was really nice. He gave me a work of art which was two bottles of effervescent water which ended up exploding in my suitcase and damaging everything I have, so I can’t open the box now, because I don’t know if it’s a work of art anymore or just broken bottles. So if he comes to New York I’ve got to get him to come and sign the box because it’s just a real muck.” (Andy Warhol, quoted in Cast a Cold Eye: The Late Work of Andy Warhol, exh. cat., Gagosian Gallery, New York, 2006, p. 168)
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16 Josef alBers 1888 – 1976 Homage to the Square, 1963 Oil on masonite. 40 × 40 cm (15 3/4 × 15 3/4 in). Signed with monogram and dated ‘A 63’ lower right.
estimate £80,000–£120,000 $115,000–173,000 €92,800–139,000 Provenance PaceWildenstein, New York
Executed in 1961, the present lot is a prime example of Josef Albers’ most famous body of work, the Homage to the Square series. He first began working on the basic scheme of nested concentric squares, each hovering above the bottom edge of the last, in 1950 – and it was an endeavour he would pursue until his death 26 years later. Producing hundreds of variations of this arrangement, Albers used the conceptual bounds of the humble square to explore a personal geometry of great sophistication. The squares within each painting related mathematically to one another, and Albers carefully planned his palette to juxtapose shades which reacted interestingly with each other, cleverly exploiting to the way the human eye processes colours which echo or oppose each another. In direct contrast to the Abstract Expressionists of his generation, Albers executed these paintings with a deliberate, precise technique, employing a minimum of tools and avoiding any sort of painterly chaos. Instead, he would apply a single base coat on masonite, upon which he squeezed unmixed paints directly from the tubes, spreading each square as evenly and thinly as possible with a palette knife. The earlier Homages are chromatically playful, boldly eschewing academic colour theories, while later examples become more subtle in their colour schemes. But whatever their aspect, the Homages should not be viewed as a inward-looking exercises in mere formalism; rather, each one induces a powerful and individual charge of visceral visual pleasure, no matter how long one gazes at it. For Albers, in the true spirit of the Bauhaus, created these works with a high moral purpose: he believed that if he could heighten a viewer’s perception, then that person would gain a greater awareness of the whole world.
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17 Gerhard richter b. 1932 Graues Bild I, 1971 Oil on paper mounted on panel. 85.7 × 61 cm (33 3/4 × 24 in). Signed and dated ‘Gerhard Richter Sept. 1971’ on the reverse.
estimate £80,000–£120,000 $115,000–173,000 €92,800–139,000 ♠ ‡ Provenance Galerie M. Bochum, Berlin; Private Collection, New York
“When I first painted a number of canvases grey all over (about eight years ago), I did so because I did not know what to paint, or what there might be to paint: so wretched a start could lead to nothing meaningful. As time went on, however, I observed differences of quality among the grey surfaces – and also that these betrayed nothing of the destructive motivation that lay behind them. The pictures began to teach me. By generalizing a personal dilemma, they resolved it. Destitution became a constructive statement; it became relative perfection, and therefore painting. Grey. It makes no statement whatever; it evokes neither feelings nor associations; it is really neither visible nor invisible. “Its inconspicuousness gives it the capacity to mediate, to make visible, in a positively illusionistic way, like a photograph. It has the capacity that no other colour has, to make ‘nothing’ visible. To me, grey is the welcome and only possible equivalent for indifference, non-commitment, absence of opinion, absence of shape. But grey, like formlessness and the rest, can be real only as an idea, and so all I can do is create a colour nuance that means grey but is not it. “The painting is then a mixture of grey as a fiction and grey as a visible, designated area of colour. Finally; this kind of reductionist painting fascinates me in general, because I believe that it is a highly scrupulous and cautious attempt to achieve correctness, or rather definitiveness, in painting; that it pursues a quality which tends towards the valid and the universal. This seems to me important, in the face of a mindless, proliferating productivity that becomes less and less definitive.” (Gerhard Richter, ‘Letter to E. de Wilde’, 1975, quoted in H.-U. Obrist, ed., Gerhard Richter, The Daily Practice of Painting, London 1995, pp. 82 – 83).
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18 roy lichtenstein 1923–1997 Prop for a Film, 1969 Magna on board. 101.6 × 243.8 cm (40 × 96 in). Signed, titled and dated ‘Roy Lichtenstein Prop for a Film 1969’ on the reverse.
estimate £500,000–700,000 $720,000–1,010,000 €580,000–812,000 ‡ Provenance O. K. Harris Gallery, New York; Galerie Hans Mayer, Düsseldorf exhibition Los Angeles, Los Angeles County Museum of Art, Art and Technology,
1969; Osaka, Japan, World’s Fair, 1970
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Above: Claude Monet, Le Bassin des nymphéas, 1917–19; below: Sigmar Polke, Druckfehler, 1996; opposite: detail of present lot
In 1969, Roy Lichtenstein was selected by the Los Angeles
conventional representation that had been so critical for earlier
County Museum of Art to participate in Art and Technology, an
experimental project conceived by Maurice Tuchman involving the interaction of artists and corporations. Lichtenstein collaborated
“Lichtenstein rendered a fluid landscape into a static one in
with Universal Studios and independent film-maker Joel Freedman
very much the same manner in which Seurat stylized nature. He
to create an installation that was later selected for exhibition at the
abstracted nature’s forms into his own construct using a series
1970 World’s Fair in Osaka, Japan. The installation consisted of
of dots, lines, shapes, and colours to transcribe the images of a
painted seascapes, including the present lot, Prop for a Film, and
landscape onto canvas. What we are offered, then, is a series of
included filmed water sequences projected onto a revolutionary
conventions for landscape with which we can amuse ourselves, but
type of rear projection screen developed specifically for the piece.
which we come to recognize as the artist’s way of telling us that the image is not what it appears to be. These conventions generally
Spanning nearly two-and-a-half-metres, Prop for a Film is one of
hold true for all representational painting, which requires of the
the most radical and monumental paintings Roy Lichtenstein ever
viewer the willing suspension of disbelief, asking them to accept
executed. Ever the innovator, his aim was to discover just how
the painted image – at least for the moment – as the object or
far he could reduce the constituent elements of the landscape
scene itself. However, unlike Cezanne or Monet, whose depiction
and still retain the semblance of a figurative image. The source
of nature usually balanced abstraction with observation and a
for these landscape and seascape paintings differs from that of
certain verisimilitude, Lichtenstein emphasizes the artificiality of
Lichtenstein’s comic strips, in that he was essentially working from
his representation of landscape. When we accept the fact that the
life and much less from appropriated sources. He depicted nature
image has little relation to reality, we are faced with the realization
in a radically simplified and abstracted fashion, a process which
that the image as a representation of reality is only one of many
evolved from Monet, whose work Lichtenstein was looking at around
this time, and whose late depictions of waterlilies are a forerunner
(Diane Waldman, Roy Lichtenstein, exh. cat., Solomon R.
of the American artist’s landscape series.
Guggenheim Museum, New York, 1994, p. 137).
While true to his particular graphic style, Lichtenstein’s landscape paintings differ from the comic strips in their emphasis, for although both are deliberately stereotypical, many of the landscapes are so nearly abstract that their subject is not necessarily essential to their success as paintings. This is especially true of Prop for a Film and similar reductive works; they have a minimum of imagery, consisting primarily of an incised silhouette and just two areas of colour, translated into a screen of regularized Benday dots arrayed across the broad expanse of the picture plane. Lichtenstein has bent nature to his design, a design that includes heavy black outlines not found in natural landscapes and organic forms changed into geometric ones, creating a highly structured image from a less orderly reality. It is possible to conclude from paintings such as Prop for a Film that Lichtenstein found in landscape an opportunity to embrace a certain level of abstraction, thus loosening almost entirely the links between the object and its
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19 DonalD JuDD 1928 – 1994 Untitled (92-4 Ballantine), 1992 Douglas fir plywood and purple Plexiglas. 25 × 100 × 25 cm (10 × 39 1/2 × 10 in). Stamped ‘JUDD/BALLANTINE’ on the reverse.
Estimate £200,000–£300,000 $288,000–432,000 €232,000–348,000 Provenance Anne Marie Verna, Zürich
That Donald Judd is one of the most innovative post-war American artists is undisputed – his groundbreaking work has changed the course of modern sculpture. According to the artist, “Material, space and colour are the main aspects of visual art” (Dietmar Elger, ed., Donald Judd Colorist, Ostfildern-Ruit, 2000, p. 79). As Untitled demonstrates, Judd has utterly rejected the traditional conceits of sculpture by eschewing any traces of the artist’s hand and using industrial materials. Rather than the usual painted aluminium, the work presented here is composed of plywood and Plexiglas – a rare example from his illustrious career. With pristine geometric simplicity, Judd places the emphasis on purity of form, colour and materiality. Indeed, he called his works “specific objects” in order to stress their difference from conventional sculpture. First and foremost, Judd sought autonomy for his constructed objects and the spaces created by them. Notions of scale and order are explored, but it is the relationship between the object, the viewer and the surrounding environment that is central to the work. Judd’s unique vision, as seen here, is more than an investigation of material, space and colour; such a radical approach to art has had lasting influence in contemporary art, architecture and design.
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20 BriDgEt rilEy b. 1931 Out There, 2004 Oil on linen. 130 × 390 cm (51 1/5 × 153 1/2 in). Signed and dated ‘Bridget Riley 04’ on the reverse.
Estimate £400,000–£500,000 $576,000–720,000 €464,000–580,000 ♠ ‡ Provenance PaceWildenstein, New York exhibited Bloomfield Hills, Michigan, Cranbrook Academy of Art Museum, Bridget Riley:
Paintings and Works on Paper 1963 – 2005, 2005; New York, PaceWildenstein, Bridget Riley: Recent Paintings and Gouaches, 2008
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“The colours are organised on the canvas so that the eye can travel
or female, has done more over this period of time to infuse minimalist,
over the surface in a way parallel to the way it moves over nature. It
non-figurative painting with a sense of the personal, the poetic, the
should feel caressed and soothed, experience frictions and ruptures,
spiritual. While Riley’s first Op art works were much more hard-edged,
glide and drift. Vision can be arrested, tripped up or pulled back in
involving only black and white, her recent canvases are fluid and lyrical,
order to float free again … One moment there will be nothing to look at
exploring shapes and forms defined by colour contrast rather than line.
and the next second the canvas suddenly seems to refill, to be crowded
Reminiscent of the dynamic, undulating curves of Art Nouveau, Riley’s
with visual events.”
seemingly superimposed planes and interweaving fields of shaped
(Bridget Riley, quoted in Bridget Riley, exh. cat., Tate Modern, 2003)
colour synthesize to create an impression of organic movement that has been distilled to its pure, disembodied essence.
One of the most monumental of Bridget Riley’s recent curve paintings, Out There represents the height of the British artist’s search for a virtual
Upon viewing the dancing play and movement of light in Out There, one
space defined entirely in terms of form and colour. In 1997 Riley dropped
can not help but think of Henri Matisse’s Fauvist masterpiece La Danse.
the lozenge motif which had preoccupied her work since the mid-1980s
Executed, like Out There, in a very limited number of colours, La Danse
in order to explore the behaviour and intensity of light. Allowing an
depicts a rhythmical succession of monochromatic dancing nudes
unprecedented flow of energy, the new curve paintings, in contrast
set against a two-toned background of land and sky. Indeed, Riley’s
to the waves and ripples of the 1970s, are formed by the repetition of
new curve paintings can be seen as a continuation, reaffirmation and
simple organic shapes blocked out with large areas of colour. In Out
evolution of Matisse’s own late work, such as his famed paper cutout
There, Riley’s characteristic underlying structure is further enhanced by
The Snail, which defines its subject by shape and colour. Though more
sinuous, winding curves which dance freely and discursively. Only five
abstract, Riley, like Matisse, reveals features which we recognise from
different colours are used over an impressively wide expanse of canvas,
certain experiences in nature. As Riley has said, “for me, nature is not
drawing the eye across an animated, shimmering, chromatic field.
landscape but the dynamism of visual forces – an event rather than an appearance. These forces can only be tackled by treating colour and
Bridget Riley is one of the most innovative painters to emerge post-
form as ultimate identities” (Bridget Riley, ‘Working with Nature’, in
World War II, and her devotion to abstraction has been unwavering
R. Kudielka, ed., The Eye’s Mind: Bridget Riley Collected Writings 1965–2009,
for over half a century. Along with Agnes Martin, no other artist, male
London, 2009, p. 88).
Opposite: detail of present lot; above: Henri Matisse, La Danse, 1910; above left: Henri Matisse, The Snail, 1953; above right: Paul Klee, Polyphonic, 1932
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21 gilBErt & gEorgE b. 1943 & b. 1942 Damned Buddleia, 1980 Sixteen black and white photographs in the artists’ frames. Overall: 241 × 201 cm (95 × 79 in). Signed, titled and dated ‘Damned Buddleia Gilbert and George 1980’ lower right.
Estimate £150,000–£200,000 $216,000–288,000 €174,000–232,000 ♠ Provenance Massimo Martino Fine Arts + Projects, Lugano literature Schirmer, Mosel, eds., Gilbert & George, The Complete Pictures 1971 – 1985,
1986, p. 133 (illustrated); R. Fuchs, ed., Gilbert & George: The Complete Pictures 1971 – 2005, Volume 1 1971 – 1988, London, 2007, p. 350 (illustrated)
British duo Gilbert and George, while celebrated in the popular media as an eccentric artistic double act, have produced a serious and important body of work which blurs the boundaries between art and life. The pair began working together in 1968 and have since championed the egalitarian ideal of ‘Art for All’. By addressing taboo subjects and questioning social conventions, they often expose the more hidden, shadowed aspects of life – a tendency well-exemplified by Damned Buddleia. The buddleia plant is portrayed in stark contrasts of black and white within Gilbert and George’s trademark grid format. The soft and fleshy flower forms deliver a decidedly erotic charge, but rather than suggesting a potent display of nature in bloom, a feeling of vulnerability pervades the work – the limp bouquet will, no doubt, wither in time, becoming a symbol of moral and sexual damnation. Thus the work conveys, in essence, the universal feelings of hope and fear associated with modern society.
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22 Tony Cragg b. 1949 Conical Flask, 2000 Bronze with black patina. 56 × 56 × 33 cm (22 × 22 × 13 in). Incised with signature, foundry seal and numbered of six on the underside. This work is from an edition of six.
Estimate £40,000–£60,000 $57,600–86,400 €46,400–69,600 ♠ Provenance Galerie Thaddaeus Ropac, Paris
Trained as a scientist, Tony Cragg creates art that investigates the synthesis between the natural and material worlds. The sheer physicality of organic and synthetic objects forms the basis of his arresting and complex visual vocabulary. Cragg’s creations, like those of nature, are endlessly varied, ranging from witty works that involve stacking and accumulation to highly-finished carved figures and grand standing vessels. This work, Conical Flask, is a striking curvilinear vessel cast from highly polished and patinated bronze. Its sinuous, biomorphic form conjures up notions of metamorphosis and evolution, even embryology. Appearing as if caught in a state of perpetual flux somewhere between abstraction and figuration, Conical Flask can be seen as a metaphor for, and a meditation upon, contemporary life.
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23 Salvatore Scarpitta 1919 – 2007 Trapped Canvas, 1958 Bandages and mixed media on board. 111 × 181 cm (43 3/4 × 71 1/4 in) Signed and dated ‘Scarpitta -1958’ on the reverse.
estimate £250,000–£350,000 $360,000–504,000 €290,000–406,000 Provenance Mario Franchetti, Rome; Galleria Sprovieri, Rome exhibited Rome, Galleria La Tartaruga, Scarpitta, 1958; Venice, Chiesa di San
Samuele, Artisti italiani contemporanei 1950 – 1983, 1983, no. 21; Bagheria, Civica Galleria Renato Guttuso, Scarpitta, 1999, no. 18. literature L. Sansone, Salvatore Scarpitta, Catalogue Raisonné, Gabriele
Mazzotta: Milan, 2005, p.167 (illustrated); Chiesa di San Samuele, ed., Artisti italiani contemporanei 1950 – 1983, Venice 1983, p. 83 (illustrated); F. Gualdoni, Salvatore Scarpitta 1958 – 1985, Milan 1985, p. 6 (illustrated); G. Di Genova, Storia dell’arte italiana del ‘900 – Generazione anni Dieci, Bologna 1990, p. 261; Civica Galleria Renato Guttuso, ed., Scarpitta, Bagheria, 1999, pp. 141 – 42 (illustrated); L. Volpano, Pittura degli anni ’50 in Italia, exh. cat., Galleria Civica d’Arte Moderna e Contemporanea, Turin, 2003, p. 45 (illustrated); L. Sansone, Salvatore Scarpitta: Catalogue Raisonné, Milan, 2005, no. 220 (illustrated)
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Left: Alberto Burri, Sacco, 1954; right: Piero Manzoni, Achrome, 1957–58; opposite: detail of present lot
Throughout his long career, the Italian-American artist Salvatore
Like his fellow Italian artist Alberto Burri, Salvatore Scarpitta saw
Scarpitta has literally and figuratively stripped, ripped, twisted,
active service in World War II. However, unlike Burri – who was
draped, stretched and stitched the canvas to create works that
interned at an American prisoner of war camp in Texas – American-
have come to redefine painting. Over half a century ago, Scarpitta
born Scarpitta fought for the Allied forces as a ‘Monuments Man’
made the bold and unprecedented decision to break free from the
in the United States Navy, preserving and cataloguing art stolen
constriction of the rectangle and the dimensional confines of the
by Nazis. With a common thematic and formal approach to their
stretcher. The resulting assemblages of layered, textured canvas
respective oeuvres, both Burri and Scarpitta, who settled in
have an real, physical three-dimensionality never seen before in
Rome after the war, dealt with the psychological trauma of having
witnessed so closely the horror of man’s darkest hour. Using unorthodox, industrial materials, both turned to abstraction to
Executed in Rome in 1958, the large scale, visceral and colourful
create a visual language able to express their experiences.
Trapped Canvas is one of the artist’s most important works, certainly his most accomplished to come to auction. Trapped Canvas is made
“The strips transmit a sensation of strength, but also defence and
up of a webbed fabric, reminiscent of the medical clothes used in
protection; they are a symbol of conservation in the fundamental
childbirth or surgery, which Scarpitta found in Army surplus stores.
moments of life, from birth, to war experiences, to death with the
The artist then coloured and textured the raw material by rubbing
certainty of a future existence, as ancient civilizations, especially
it with pure pigment and dipping it in resin. Scarpitta had personal
that of Egypt, attest. Strips and beneficent binders that contain,
experience of war, and his ripped bandage strips are suggestive
hold back, conserve and preserve vital energy, which in us is the
of wounds and healing, invoking both survival and death. Wrought
will to survive.”
with a physical tension, Trapped Canvas speaks to man’s potential for
(Luigi Sansone, Salvatore Scarpitta: Catalogue Raisonné, Milan,
2005, p. 14)
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24 ARNALDO POMODORO b. 1926 Sfera con sfera (Sphere within sphere) 2002 Bronze with gold patina. Diameter: 50 cm (19 3/4 in). This work is from edition of eight and is accompanied by a certificate of authenticity signed by the artist. This work is registered in the Archivio Arnaldo Pomodoro under number 776.
Estimate £250,000–£350,000 $360,000–504,000 €290,000–406,000 ♠ Provenance Fondazione Arnaldo Pomodoro, Milan literature Arnaldo Pomodoro, Catalogo ragionato della scultura, Vol. II, Milan, 2007, p. 769,
no. 1047 (illustrated)
Left: Arnaldo Pomodoro, Sfera con sfera (Sphere within sphere), 2005, installed at the United Nations building, New York City; right: Lucio Fontana, Concetto Spaziale, La Fine di Dio, 1963; below: Constantin Brancusi, Bird in Space, 1927; opposite: detail of present lot
“The concerns of my work as an artist have always centred on the
freedom to liberate art from its formal constraints; if Jackson
relationship between the individual sculpture and the space in
Pollock reinvented painting and the role of the painter, then Arnaldo
which it is sited. A sculpture, indeed, is the realization of a space of
Pomodoro reinvented sculpture and the role of the sculptor. The
its own within the greater space in which it lives and moves. When
sheen of the gleaming, golden globe that makes up the outer form
a work transforms the place in which it is located, it takes on the
of the Sfera may reference Brancusi, but its insides, shredded
valence of a true and proper witness of the times that spawned it,
with laser-like precision, are the remnants of the violent gestures
and thus places a mark on its context, enriching it with additional
of the artist. Pomodoro himself talks of this influence and how to
layers of memory. Today I think of my sculptures as crystals, or
overcome it: “The perfection of form in Brancusi was so beautiful
nuclei, or as eyes, or signal fires; and I see them as relating to
and mysterious: what can one do after Brancusi, or after Arp? Then
borders and voyages, to the worlds of complexity and imagination.”
at a certain moment I said to myself, really this perfection of the
(Artist statement, Arnaldo Pomodoro, 2008)
form in our time is inappropriate; it has to be destroyed. For me the ‘destruction’ element was my most important discovery, and
Half mechanical, half organic, Arnaldo Pomodoro’s captivating
the most authentic both in terms of myself and my times” (Arnaldo
sculptures hover between the realms of figuration and abstraction.
Pomodoro, quoted in Sam Hunter, Arnaldo Pomodoro, New York,
Their burst-open forms could be the crystalline by-product of some
1982, p. 52).
strange reaction, a form of erosion, or the complex technological workings of a futuristic computer. Highly influenced, like his
Pomodoro has always insisted that the erosions or lacerations
compatriot Lucio Fontana, by the space race – with its Sputnik
found in his work should be read as a form of writing. Having taught
satellites and images of the moon – Pomodoro has steadfastly
throughout Northern California during the 1960s, he was influenced
dedicated a half century of artistic production to representing
by writers of the Beat Generation such as Jack Kerouac and Allen
modernity. Sfera con sfera (Sphere within sphere) belongs to his
Ginsberg, with whom the artist was well acquainted. The marks left
Sfera (Sphere) series, begun in the early 1960s. His most acclaimed
upon what was originally a pristine, shining surface are Pomodoro’s
body of work, spheres allowed Pomodoro to explore the sculptural
form of writing, a lyrical calligraphy which speaks directly of his
qualities of the primary geometric forms, an exercise he replicated
creative processes. Once completed, Pomodoro’s spheres become
with columns, pyramids, discs and cubes. Often executed on the
an exploration of negative space with light allowed to pass through
largest of scales as outdoor sculptures, many are now exhibited
and fill the intricate shapes which the artist has etched out. As
permanently in some of the world’s most prominent public spaces,
in the work of his peer Yves Klein, voids in the bronze become
such at the plaza of the United Nations Building in New York.
as important as – if not more important than – the remaining bronze. These gaps in the medium allow the viewer to enter an
Pomodoro’s ruptured forms carry the emotional weight of Abstract
alternate world, one in which mysticism and the machine age are
Expressionist canvases, and are declarations of the same artistic
25 Emilio VEdoVa 1919 – 2006 Ciclo, 1960 – 62 Oil and newspaper collage on canvas. 145 × 185 cm (57 1/8 × 72 3/4 in). Signed, titled, inscribed and dated ‘Emilio Vedova Ciclo 1960 – 62 Venezia’ on the reverse.
Estimate £400,000–£600,000 $576,000–864,000 €464,000–696,000 Provenance Galleria Salvatore Ala, Milan exhibited San Marino, Palazzo dei Congressi, Vedova Compresenze 1946 – 1981,
1981; New York, Salvatore Ala Gallery, Emilio Vedova, 1989; Milan, Galleria Salvatore e Carolina Ala, Emilio Vedova, 1999; Milan, Galleria Salvatore e Carolina Ala, Emilio Vedova, 2005 literature E. Vedova, Emilio Vedova, Milan, 2006, p. 107 (illustrated)
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Painted in Venice in the early 1960s, Ciclo is a large collation of forms, symbols and cipher-like signs combined into a dense, complex unity. Influenced by the Renaissance Italian master Tintoretto, a fellow Venetian, Vedova infuses the canvas with a colourful brilliance and freedom which give the work a sublime, primal beauty bursting with dynamism and energy. Like his contemporary Willem de Kooning, Vedova incorporated newspaper pages into his composition, lending Ciclo’s surface a highly textured, almost three dimensional quality, and One of post-war Italy’s most accomplished painters, Emilio Vedova
demonstrating his interest in the social and political milieu of his
was a radical artist both formally and thematically. Packed with rich
time. He openly proclaimed that his paintings were articulations
movement and drama, his abstract canvases stood as a symbol of
and responses to a broken world which he could only depict
political freedom at a time when Italy had been ravaged by Fascism.
using abstraction; as he stated in 1962, his paintings are “a cry
Convinced that, by its nature, revolutionary art had to be abstract,
for freedom at all costs”.
Vedova created pictures filled with wild patterns of smeared, poured and dripped paint. Although he briefly took evening art classes at the Scuola dei Carmini in Venice, Vedova was a mainly self-taught artist who constantly sought to represent the plight of man in a world of aggressive confrontation and social injustice. Vedova was a major protagonist in the vigorous, highly politicized debate between realism and abstraction in Post-War Italy; and his raw, visceral paintings, influenced by Cubism and Futurism, reflected his left-wing convictions. He was a leader of several prominent movements such as Beyond Guernica, and urged fellow artists to engage with reality – meaning the anxiety and anguish of the period – without being naturalistic. His spontaneous, gestural painting style, reminiscent of the free abstraction of French art informel and American action painting, was coupled with explicitly political titles like his Cycle of Protest – a body of work to which the present lot belongs.
Above left: Tintoretto, The Origin of the Milky Way, c. 1570; above right: Gino Severini, Sea = Dancer, 1914; right: Umberto Boccioni, Simultaneous Vision, c. 1911–12; opposite: detail of present lot
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26 antoni tàpiEs b. 1923 Grey between Brackets, 1960 Oil and mixed media on board mounted on canvas. 54 × 64.8 cm (21 1/4 × 25 1/2 in). Signed and dated ‘Tàpies 1960’ on the reverse.
Estimate £70,000–£90,000 $101,000–130,000 €81,200–104,400 ♠ ‡ Provenance Sala Gaspar, Barcelona; Collection of Mr. and Mrs. Frank H. Porter
Trust Estate exhibited Hanover, Kestner-Gesellschaft, Antoni Tàpies, February – April 1962;
Zürich, Kunsthaus, Antoni Tàpies, April – June 1962 literature A. Augustí, Tàpies: The Complete Works 1943 – 1960, Vol. 1, Barcelona
1990, no. 867, p. 453 (illustrated)
Highly influenced by two immediate predecessors, his compatriot Joan Miró and the Swiss painter Paul Klee, in 1948 Antoni Tàpies founded the most important artistic movement in post-war Spain. Moving beyond his Surrealist and Dadaist roots, Tàpies developed a revolutionary style known as pintura matérica, in which he incorporated what were traditionally non-artistic materials into his paintings in a manner similar to his art informel peer, the Italian artist Alberto Burri. Fascinated by the contrasts between different materials, Tàpies covers his canvases with a thick, highly textured base incorporating matter such as clay and marble dust. To complete the composition, Tàpies adds incised and scribbled lines, various lacerations and graffiti-like marks. Grey between Brackets is a strong early work which incorporates one of the most important and recurrent motifs of Tàpies’ oeuvre, the cross. Carefully rendered and incised like a strange wound or ritualized mark at the centre of the composition, the cross can be read as a symbol of the terrible human suffering inflicted by General Franco’s forces during the Spanish Civil War on the people of Tàpies’ native Catalonia.
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27 Juan muñoz 1953 – 2001 Untitled, 1988 Wood, metal, plaster and clay. 156 × 35 × 20 cm (61 1/2 × 14 × 8 in). This work is registered with the Estate of Juan Muñoz under archive number 0.443.
Estimate £60,000–£80,000 $86,400–115,000 €69,600–92,800 Provenance Galerie Ghislaine-Hussenot, Paris; Private Collection exhibited Madrid, Museo de Arte Contemporaneo Conde Duque, Encuentro con el
arte actual, Pintores y escultores Españoles, 13 November 2008 – 23 January 2009
Although his career was curtailed by his premature death, Juan Muñoz nevertheless managed, in a short period of time, to return figurative sculpture to the forefront of contemporary artistic practice. Presenting the viewer with haunting depictions of the human form, his dramatic installations create an intriguing tension between the illusory and the real. The work presented here depicts the rough, shadowy outline of a bust encased in a hinged wooden cupboard. Depicting a frozen moment in time trapped in an enclosed architectural setting, the voyeuristic nature of this piece puts the viewer in an awkward position. Serving as an allegory for the failure of communication and the impasse of language, this ambiguous, surreal tableau leaves the audience to interpret its own story and meaning. “Muñoz’s figures are always either self-absorbed or involved in some enigmatic interchange that renders them obvious to all else. Never soliciting any engagement with the viewer, their impregnable self-preoccupation cachets their audience, thereby creating a relationship that is unsettling as that generated between the architecture that shelters them and the discombobulated spectator.” (L. Cooke, ed., Juan Muñoz: Interpretations, New York, 1999, p. 12)
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28 WangEchi mutu b. 1972 Untitled, c. 2005 Acrylic, sequins and printed paper collage on Mylar. 60.9 × 41.9 cm (24 × 16 1/2 in). Signed ‘Wangechi Mutu’ lower right.
Estimate £50,000–£70,000 $72,000–101,000 €58,000–81,200 ‡ Provenance Acquired directly from the artist
Trained as an artist and an anthropologist, Wangechi Mutu explores contemporary society’s perception of, preoccupation with, and eternal quest for beauty. Focusing on the identity of the African female figure in a global society, Mutu combines images of enhanced and artificial beauty with elements of the grotesque – a juxtaposition of forces which creates an image both enticing and repulsive. Challenging the viewer to question notions of female attractiveness as prescribed in magazines and advertisements, Mutu’s mutated figures are the result of a global society striving for an aesthetic which can never be.
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29 GeorG Baselitz b. 1938 Untitled (Adler), 2007 Bronze and black-painted stainless steel. 250 × 100 × 100 cm (91 × 40 × 40 in). Incised ‘Georg Baselitz’ and numbered of ten on one of the wings. This work is from an edition of ten.
estimate £150,000–£200,000 $216,000–288,000 €174,000–232,000 ♠ Provenance Private Collection, Miami; Private Collection, Germany
Having arrived at sculpture relatively late in his career, the German artist Georg Baselitz has produced a body of work in that medium worthy of Picasso and de Kooning, the two other major paintersturned-sculptors of the 20th century. But rather than look towards the Western tradition in this medium, Baselitz has been inspired by the combination of the freshness of so much of African sculpture and the heritage from which it has come. The present lot is an imposing, totem-like statue executed in black-painted steel and crowned by a double-headed eagle. Grand and austere, the work has an official quality to it, almost as if it were commissioned by the state under the Third Reich. But as well as being an important emblem for Germany, the eagle has long held a symbolic meaning in world history, not to mention as a motif throughout Baselitz’ own work. “I am not interested in adopting the elevated cultural vantage point of European sculpture and making use of all its sophisticated refinements. I set out to formulate things as if I were the first one, the only one, as if the precedents did not exist.” (The artist, quoted in Georg Baselitz, exh. cat., Guggenheim Museum, New York, 1995, p. 100)
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30 Li SongSong b. 1973 Gift (diptych), 2003 Oil on canvas in two parts. 180 × 301 cm (71 × 118 1/2 in). Signed and dated ‘Li Songsong [in Chinese] 2003’ on the reverse.
Li Songsong’s paintings are based on found images from magazines, film stills and photographs of historical events. His work alludes to the deceptive qualities of images and the subjectivity of represented ‘truth’. In Gift (diptych), we are presented with
Estimate £150,000–£200,000 $216,000–288,000 €174,000–232,000 † Provenance Private Collection, Belgium
Chinese fighters parading a gunned-down Japanese aeroplane. However, the implications of the original war image seem lost
exhibited London, Saatchi Gallery, The Revolution Continues: New Chinese Art, 2008
within Li’s disjointed layering of the pictorial scene. The artist’s
literature The Revolution Continues: New Chinese Art, exh. cat., Saatchi Gallery,
gestural and expressionistic process of painting has given way to a
London, pp. 122 – 23 (illustrated)
detached, almost abstract, narrative. As ‘fact’ becomes secondary and dissolves into a gestural network of mark-making, the scene is rendered a purely artistic production. Gift oscillates between historical interpretation, artistic visualization and fractured memory – establishing at once a powerful interplay between documentation and perception.
31 Zheng guogu b. 1970 Waterfall, 2003 Wax, calligraphy, metal armature. 210 × 140 × 140 cm (83 × 55 × 55 in). Collaborative work with the Yangjiang group including Chen Zaiyan and Sun Qinglin.
estimate £40,000–£60,000 $57,600–86,400 €46,400–69,600 † Provenance Pekin Fine Arts, Beijing exhibited London, Saatchi Gallery, The Revolution Continues: New Art from
China, 2008 literature The Revolution Continues: New Chinese Art, exh. cat., Saatchi Gallery,
London, p. 151 (illustrated)
From photography to architecture to calligraphy, Zheng Guogu is an artist whose work does not conform to any particular medium or style. Zheng’s sculptural work often combines materials that serve as both tactile and symbolic matter. In Waterfall, the juxtaposition of metal ballast, embedded calligraphy scripts and melted wax can be seen as a reference to the tensions between China’s rich history and its recent transformations. Reminiscent of a mountainous landscape, the work hints at the ever-shifting environment of modern China. With great impact, Waterfall raises critical questions on ideas of permanence and temporality, of the past and the future.
32 Liu Wei b. 1965 Swimmers, 1994 Watercolour on paper. 24 × 35 cm (9 1/2 × 13 4/5 in). Signed and dated ‘1991.3 Liu Wei [in Chinese and Pinyin]’ lower right.
estimate £50,000–£70,000 $72,000–101,000 €58,000–81,200 ‡ Provenance Hanart TZ Gallery, Hong Kong
The current lot is a rare watercolour by Liu Wei, enfant terrible of the Chinese avant-garde. Liu is a profoundly non-conformist artist; his subjective and often iconoclastic oeuvre is one that perfectly captures the wave of changes sweeping China in recent years. The current lot comes from Liu’s Swimmers series in 1994, one of the most important and sought-after body of works by the artist. Images of Mao swimming in the Yangtze River have long been engraved in the public conscience, but here Liu has abandoned the ideology of athletic doctrine for an imagined scene of flagrant sexuality. Mao is depicted emerging from the corner with his tongue sticking out perversely at the female figure. This deliberately crude portrayal of suppressed desire and sexuality is juxtaposed against the delicately painted ripples, erotically charged peony, and the sensual forms of the female body. In a bitingly satirical tone, Liu highlights the corruption of the soul and its manifestation on the human body, ultimately transforming his subjects into a revelation of moral character. Viewed in this context, this work reveals the overwhelming contradictions and tensions between the shifting currents of China’s rapid transformation.
33 Yang Shaobin b. 1963 Fun, 1992 Oil on canvas. 100 × 100 cm (39 3/8 × 39 3/8 in). Signed and dated ‘Yang Shao Bin 1992’ lower right.
Estimate £80,000–£120,000 $115,000–173,000 €92,800–139,000 Provenance Schoeni Art Gallery, Hong Kong literature Xindong Cheng, ed., Yang Shaobin, Beijing, 2004, p. 60 (illustrated)
Together with Yue Minjun and Fang Lijun, Yang Shaobin has emerged as one of the leading voices in contemporary Chinese painting. Yang’s work was influenced by the painterly traditions of Social Realism; but his interest in psychology and physiognomy can already be detected in early works such as Fun. Dating from 1992, it depicts a scene of five figures standing before a Chinese garden landscape. With varied expressions, the protagonists form a strangely compelling group. The painting at once recalls staged family portraits and ideologically-loaded official group photographs. Looking more carefully at the work, however, the viewer slowly discerns that it may be a rather cynical portrayal of family unity. With its rigid contours, caricature-like figures and awkward poses, the image is suffused with a sense of irony and ambiguity. Although ostensibly portraying a scene of leisure and play, the protagonists are presented with a grimace as much as a smile or laugh, and there is a sense of forced enjoyment and civility. The painting works as both celebration and critique of the ordered, homogenous workings of Chinese society – the mobility of the average family, the one child policy, Confucian ideals of filial piety, and the monotony of everyday life. In short, Fun can be seen as Yang’s investigation into the cultural psychology of modern China.
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34 Wang guangYi b. 1957 Prada, 2003 Oil on canvas. 201 × 201 cm (79 × 79 in). Signed and dated ‘Wang Guangyi 2003 [in Chinese and Pinyin]’ on the reverse.
Estimate £120,000–£180,000 $173,000–259,000 €139,000–209,000 ‡ Provenance Arario Gallery, Beijing
The clashing ideologies of socialism and capitalism abound in Wang Guangyi’s work. As a towering exponent of the post-1989 Political Pop movement, Wang’s paintings serve as mediation between China’s totalitarian past and commercial present. The binary poles of communist idealism and western materialism are playfully explored through Wang’s appropriation of images from propaganda and advertising. Prada, from the iconic Great Criticism series, features a group of stoic proletarians in two-tone yellow, with the logo of Italian fashion house Prada firmly anchored in the foreground. Rendered deliberately kitsch, the painting is suggestive of China’s superficial social environment; the tension between the potent legacy of propaganda and the powerful allure of advertising is easily felt. One wonders if the proletarians have high political hopes, or simply a desire for high fashion. The inscription ‘NO’ in the painting also has a certain ambiguity – are the figures refusing western consumerism or rejecting socialist values? Either way, Prada is a tongue-in-cheek comment about the ideological antagonism that exists between the two opposing doctrines.
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35 Tom WESSElmann 1931 – 2004 Study for Pat nude, 1979 Oil on canvas. 56 × 76 cm (22 × 30 in). Signed, titled and dated ‘Wesselmann 1979 Study for Pat nude’ on the reverse.
Estimate £150,000–£200,000 $216,000–288,000 €174,000–232,000 ‡ Provenance Tom Wesselmann Studio; Private Collection, Paris
Tom Wesselmann’s treatment of the female form is one of the most recognisable in 20th century art. Choosing the figure as his point of study, he transformed the semi-anonymous female nude into a symbol of both Pop Art and the new-found freedoms of the 1960s and 70s. His figures are highly sexualized, but at the same time disarmingly familiar – we are presented with stylised nude woman in her ordinary American home. In his studies, the artist is concerned more with the form of the figure than the specific individual. By removing the majority of facial features and placing the hands and feet out of the picture plane, Wesselmann concentrates the viewer on the contours of the body rather than the identity of the model. This focus on form is made more apparent by the limited background Wesselmann provides for his model; the backdrop’s solid colour blocks simply emphasize the lines of her figure, and draw the eye back to her torso.
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36 KEITH HARING 1958 – 1990 Untitled, 1984 Acrylic on card. 70 × 100 cm (27 1/2 × 39 1/2 in). This work is registered with the Keith Haring Foundation.
Estimate £150,000–£200,000 $216,000–288,000 €174,000–232,000 Provenance Galleria Salvatore Ala, Milan
Master draughtsman Keith Haring’s singular, signature style has always been lauded for its simplicity and movement. To Haring, drawings were never studies for works in other mediums but autonomous creations. With its bold graphic quality, complex composition and glorious colour scheme, the painting presented here carries all hallmarks of Haring’s rich body of work which was executed in the short time span before his untimely death in 1990. “The drawings I do have very little to do with classical, postRenaissance drawings where you try to imitate life or make it appear to be life-like. My drawings don’t try to imitate life, they try to create life, try to invent life. That’s a much more so-called primitive idea, which is the reason that my drawings look like they could be Aztec or Egyptian or Aboriginal or all these other things, and why they have so much in common with them. It has the same attitude towards drawing: inventing images. You’re sort of depicting life, but you’re not trying to make it life-like. I don’t use colours to try to look life-like, and I don’t use lines to try to look life-like. It’s also much more Pop, I guess, after growing up in a really carbon- and comic- dominated period. And, also, growing up with Pop art.” (Keith Haring, from interview with C. Flyman, 26 September 1980, in G. Celant, Keith Haring, Munich 1992, p. 116)
37 Damien Hirst b. 1965 Bipyridinium Dibromind-N, N-Tetremethylene, 1995 Household gloss paint on canvas. 30.5 × 30.5 cm (12 × 12 in).
estimate £90,000–£120,000 $130,000–173,000 €104,000–139,000 ♠ ‡ Provenance White Cube, London; Max Lang, New York exhibited Santa Monica, Ikon Ltd., Contemporary Art, Selected Works,
1–29 October 2005
“The spot paintings have nothing to do with Richter or Poons or Bridget Riley or Albers or even Op. They’re about the urge or the need to be a painter above and beyond the object of painting. I’ve often said they are like sculptures of paintings. I started them as an endless series like a sculptural idea of a painter (myself). A scientific approach to painting in a similar way to the drug companies’ scientific approach to life. Art doesn’t purport to have all the answers; the drug companies do... Art is like medicine – it can heal. Yet I’ve always been amazed at how many people believe in medicine but don’t in art without questioning either.” (Damien Hirst, I want to spend the rest of my life everywhere, with everyone, one to one, always, forever, now, London, 1997, p. 246)
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38 Thomas Ruff b. 1958 Substrat 13 I, 2003 Inkjet print on paper with Diasec face in the artist’s wooden frame. 285.5 × 185.6 cm (112 3/8 × 72 7/8 in). Signed, titled, dated and numbered of three ‘Sub 13 I Th Ruff’ on the reverse. This work is from an edition of three.
Estimate £50,000–£70,000 $72,000–101,000 €58,000–81,200 ♠ Provenance David Zwirner, New York exhibited New York, David Zwirner, Thomas Ruff: New Work, 2003 (another
While looking for source material for his celebrated Nudes series, Thomas Ruff realized that virtual images on the internet no longer depict reality, but simply represent visual stimuli transmitted by purely electronic means. This flood of pictures on the web, in which imagery and digital data are combined, makes it almost impossible for viewers to distinguish between ‘real’ and ‘fake’ visual information. Ruff wanted to exploit his personal experience of technology to penetrate this realm of endless visual nothingness. In order to create the psychedelic images of the Substratum series, Ruff used Japanese manga and anime comics as a starting point, digitally layering and multiplying them until he had a picture that was more or less devoid of meaning.
39 Sarah MorriS b. 1967 William Morris (Los Angeles), 2005 Household gloss on canvas. 289 × 289 cm (114 × 114 in). Signed and dated ‘S Morris 2005’ on the overlap.
Estimate £50,000–£70,000 $72,000–101,000 €58,000–81,200 ♠ Provenance White Cube, London; Galerie Max Hetzler, Berlin
Sarah Morris makes complex, physical paintings that use rigorous overall grids and lurid colours, executed in brilliant household gloss paint on square-format canvases. As a panoramic portrait of America’s most sprawling metropolis, William Morris (Los Angeles) dynamically depicts LA’s unique architectural motifs and colour palette. Ambivalent in feeling, hanging somewhere between figuration and pure abstraction, the painting reduces its subject to line and colour. Having studied semantics, the artist is informed by an interest in signs and the de-coding of the built environment. Therefore, while her approach may resonate with the strategies of rationalist modernism, running from Piet Mondrian to Peter Halley, Morris’s formal reductionism is in fact the product of a semiotically distilled reference to the urban world.
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40 Gilbert & GeorGe b. 1942 & b. 1943 MIX, 1992 Four hand-dyed gelatin silver prints in the artists’ frames. Overall: 168.9 × 142.2 cm (66 1/2 × 56 in). Signed, titled and dated ‘MIX 1992 Gilbert + George’ lower right.
estimate £60,000–80,000 $86,400–115,000 €69,600–92,800 ♠ Provenance Massimo Martino Fine Arts + Projects, Lugano literature R. Fuchs, Gilbert & George: The Complete Pictures, Volume Two, London,
2007, p. 801 (illustrated)
Mix comes from The 1992 Pictures series – a body of work that addresses social and racial conflicts. Composed of four individual panels in a grid format, the work displays all the hallmarks of Gilbert and George’s signature aesthetics, and is an outstanding example of the duo’s daring vision. By confronting the viewer with a swirling explosion of psychedelic shapes and colours, the artists communicate a powerful sense of psychological angst. “We have inside ourselves a lot of thoughts, feelings, desires, dreams, hopes, fears – many things inside. And we, as artists, have a great, burning ambitious need to tell these things and to put these things out of ourselves.” (The artists, quoted in Robert Violette, ed., The Words of Gilbert & George, London, 1997, p. 158)
41 Anselm Reyle b. 1970 Untitled, 2004 Found neon objects. 100 × 58 × 58 cm (39 1/2 × 23 1/2 × 23 1/2 in). This work is unique and is accompanied by a certificate of authenticity signed by the artist.
estimate £30,000–£40,000 $43,200–57,600 €34,800–46,400 ♠ Provenance Gavin Brown’s Enterprise, New York
“Although armed with an array of gestural brushstrokes, kitschy found objects and outdatedly ‘modern’ sculptural forms, Anselm Reyle skews his pieces away from their retro beginnings by yoking them with such futuristic materials as day-glo and fluorescent paint, neon light, silver Mylar and sheets of mirror. The results are futuromodern, perhaps, or retro-contemporary. “In 1964 Clement Greenberg despairingly described how painterly abstraction had become, in the hands of a watered-down second generation, ‘by and large an assortment of ready-made effects’ where ‘the look of the accidental had become an academic, conventional look’. Forty years later these ready-made effects are willingly taken onboard by a new generation, ready to dissociate them from their original contexts without the need for the selfconscious irony of their Postmodern predecessors. The drip, the pour, the stain, the gestural brushstroke all have a role to play in Reyle’s painting, as do monochromes, striped canvases and black and white Op geometricism lifted straight from Victor Vasarely. For Reyle the painterly gesture is there for the taking: it has the same potential ready-made status as a found sculptural object.” (Kirsty Bell, ‘Anselm Reyle’ in Frieze, Issue 86, October 2004)
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42 IvÁn navarro b. 1972 Record, 2007 Fluorescent light, mirrors, mixed media. 215 × 100 × 29 cm (84 5/8 × 39 3/8 × 11 1/2 in). This work is from an edition of three plus an artist’s proof.
Estimate £35,000–£45,000 $50,400–64,800 €40,600–52,200 ♠ Ω Provenance Galerie Daniel Templon, Paris; Private Collection, Switzerland
Like modern-day Dan Flavin or James Turrell, Iván Navarro is, literally, a sculptor of light. Building upon the Minimalist and Conceptual traditions, Navarro uses the seductive glow of neon to transform utilitarian objects. Record is a monumental sculptural installation in which the viewer’s eye is drawn down a perspective of receding geometric light forms, a visually hypnotic effect created by mirrors. As a deliberate distortion of spatial depth, this stack of ‘shelves’ made of fluorescent light tubes creates the illusion of several perspective points, and in doing so, pushes the boundaries of modern formalism to their limits. It is perhaps no coincidence that the artist, who uses light, a common symbol of hope and truth, as his medium, was born in Chile during General Pinochet’s brutal regime – indeed, Navarro’s work has been described as “humanitarian social sculptures whose light aims to illuminate the nebulous and nefarious undercurrents of both authoritarian and democratic societies” (Amy Ingrid Schlegel, press release for Iván Navarro, Tufts University, 2008).
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43 Gavin Turk b. 1967 Death of Che, 2000 Waxwork and mixed media. 130 × 255 × 120 cm (51 1/5 × 100 2/5 × 47 1/4 in).
Estimate £60,000–£80,000 $86,400–115,000 €69,600–92,800 ♠ † Provenance White Cube, London exhibited London, White Cube, Out There, 2000; London, Saatchi Gallery,
Ant Noises Part 2, September – November 2000; Tate Liverpool, The Uncanny, February – May 2004; Bern, Switzerland, Kunstmuseum, Six Feet Under, November 2006 – January 2007; The Hague, The Netherlands, GEM Museum of Contemporary Art, The Negotiation of Purpose, March – May 2007; Grenoble, France, Magasin Centre National d’Art Contemporain, The Negotiation of Purpose, June – September 2007; Dresden, Germany, Deutsches Hygiene Museum, Six Feet Under, November, 2007 – March 2008 literature Ant Noises Part 2, exh. cat., Saatchi Gallery, London, 2000, pp. 42 – 43
(illustrated); 100: The Work That Changed British Art, London: Jonathan Cape, 2003, pp. 128 – 30 (illustrated)
Using an appropriation-based conceptual approach, Gavin Turk
to the right. But in the sculpture Death of Che, Turk has chosen to
investigates what it means to be an artist dealing with issues
depict himself as Che after his capture and execution by Bolivian
of authorship, authenticity and originality. He has long had a
forces, appropriating the moment when Che’s dead body was shown
fascination with Che Guevara; an adapted image where Turk casts
to the world the day after his murder. With his outstretched arms,
himself as the Marxist revolutionary has been a recurrent motif
closed eyes and bare torso, Che’s pose is reminiscent of depictions
throughout his work. As a major figure of the Cuban Revolution,
of the Entombment of Christ of the Renaissance for example. By
Che Guevara became a ubiquitous counter-cultural symbol; and,
casting himself thus, Turk is suggesting that his revolutionary work
since his death in 1969, his stylized visage has become a global
is over, a theme also explored in his seminal Royal College of Art
cliche within popular culture. Depictions of Che, and, in turn, Turk’s
degree installation Cave – in which he represented himself with a blue
previous appropriations of him, are usually based on the famous
heritage plaque, proclaiming him to be a dead sculptor. Deeply layered
Alberto Korda photograph, showing a bearded, beret-wearing
with meaning, Death of Che perfectly embodies Turk’s continual desire
warrior with furrowed brow, flowing hair, and his eyes looking up
to question the value and integrity of a coherent artistic identity.
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44 Jim Lambie b. 1964 The Doors, 2003 Wood, household gloss paint and mirrored Perspex. 134.7 × 84.5 × 10 cm (53 × 33 1/4 × 4 in).
estimate £25,000–£35,000 $36,000–50,400 €29,000–40,600 ♠ Provenance Galerie Chez Valentin, Paris exhibited Paris, Galerie Chez Valentin, Know What They Mean?, 10 December
2005 – 7 January 2006
Jim Lambie’s striking sculptures and installations reference popular culture, music and the everyday. Using a diverse range of materials and found objects, the Scottish artist blurs the boundaries between furniture, design and art to create works which play on the tensions between dualities such as art and craft, or decoration and function. The Doors presents a contorted, brightly coloured door, one of his recurrent motifs, wedged between the gallery floor and the wall. Stripped of its utilitarian purpose, Lambie’s door becomes a fetishistic artefact, a reclassified object which has been granted a heightened aesthetic presence. “Dismembered doors, cut up and folded in on themselves also bear mirrored surfaces in a crude visual pun, in part after William Blake (‘If the doors of perception were cleansed everything would appear to man as it is, infinite.’ William Blake, The Marriage of Heaven and Hell, 1793), albeit via Aldous Huxley’s Doors of Perception (1954), in turn via Jim Morrison’s The Doors – and more particularly, via a much replayed performance of the band’s Light My Fire on the Ed Sullivan Show, when the band performed on a studio set dressed with hanging household doors.” (Rob Tufnell, ‘Psychedelic Soul’, in Jim Lambie: Voidoid, Glasgow, pp. 49 – 51)
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45 Tim Noble and Sue WebSTer b. 1966 & b. 1967 Forever, 1996 One hundred and ninety-six light fittings, bulbs and ice white UFO caps, 5 mm foamex and electronic sequencer. 89 × 234 × 7 cm (35 × 92 × 2 in). This work is one from an edition of five plus two artist’s proofs and two artist’s copies and is accompanied by a certificate of authenticity signed by the artists.
estimate £150,000–£250,000 $216,000–360,000 €174,000–290,000 ♠ Ω Provenance Modern Art, Inc., London literature T. Noble & S. Webster, Wasted Youth, New York, 2006, n.p. (illustrated)
Tim Noble and Sue Webster operate by juxtaposing the languages of trash, glamour and kitsch. Celebrating British youth culture and the legacy of Pop art, over the last two decades the duo have created a witty and ironic body of work filled with imagery culled from banal everyday life. Forever – the second light sculpture from Noble and Webster’s iconic series – spells out in a nostalgic cursive script one of the most romantic and sentimental words in the English language, while acknowledging the text paintings of Jasper Johns and Ed Ruscha. However, the tacky carnival lights quickly turn what at first seemed like a study of the emotional connotations of a word into a display of how meaning can be lost within an abstract form. Referencing the insatiable beast of consumerism with its gaudy, casino-inspired, blinking electric lights, Forever invokes sentiments of loneliness and emptiness with its trite, almost meaningless declaration of love.
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Con temporary art 30
2 0 10
Lots 101 – 278 Viewing Monday 21–Saturday 26 June, 10am– 6pm Sunday 27 June, 12pm– 6pm Monday 28–Tuesday 29 June, 10am– 6pm Wednesday 30 June, 10am–12pm
title page Wang Guangyi, Aesthetics of War – Blue No. 3, 2006, Lot 168, detail
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101 IvÁn navarro b. 1972 White Electric Chair, 2005 Fluorescent tubes, painted metal boxes, plastic tubes and electric energy. 121.9 × 80 × 113 cm (48 × 31 1/2 × 44 1/2 in). This work is an artist’s proof aside from a numbered edition of three and is accompanied by a certificate of authenticity signed by the artist.
Estimate £18,000–25,000 $25,900–36,000 €20,900–29,000 ♠ Provenance Roebling Hall, New York exhibited Venice, 53rd Biennale, Chile Pavilion, 7 June–22 November 2009
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102 ronI Horn b. 1955 Key and Cue, No. 895 – a cloud withdrew from the sky, 1994 Aluminium and solid cast black plastic. 167 × 5 × 5 cm (65 3/4 × 2 × 2 in). Stamped ‘895’ and numbered of three on the underside. This work is from an edition of three.
Estimate £50,000–70,000 $72,000–101,000 €58,000–81,200 Provenance Hauser & Wirth, Zürich
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103 Steven Parrino 1958 – 2005 N.Y.C. H.C. F.T.W (New York City Hardcore Fuck the World), 1995 Acrylic, enamel, graphite and felt-tip pen on canvas. 56.2 × 77.5 cm (22 1/8 × 30 1/2 in). Titled ‘N.Y.C. H.C. F.T.W.’ upper left; signed and dated ‘Steve Parrino ’95’ and inscribed ‘For Jigi’ with a coloured ink drawing titled ‘Creeping Eye’ on the reverse.
estimate £50,000–70,000 $72,000–101,000 €58,000–81,200 Provenance Gift from the artist; Private Collection, New York; Private Collection,
View of the reverse of the canvas
104 Juan Muñoz 1953–2001 Untitled, 1985 Iron. Height: 100.4 cm (39 1/2 in); diameter: upper edge 43 cm (16 7/8 in), lower edge: 36 cm (14 1/4 in).
Estimate £30,000–40,000 $43,200–57,600 €34,800–46,400 Provenance Galería Fúcares, Madrid exhibited Almagro, Galeria Fúcares, Muñoz, 1986
Muñoz’s sculpture both tests the nature of reality and brings a poetic element to the post-Minimal art of his time. In the present work, the artist combines in a surreal manner the elements from daily life, such as a bucket and stairs, to create an illusion of potentially habitable space within a space that is otherwise alien. Space was a fundamental concept for Muñoz: “Architecture and sculpture begin and end in their concern with space. Inhabited space, uninhabited, or to-be-inhabited space; even space as a metaphor” (S. Wagstaff, Juan Muñoz: A Retrospective, London, 2008, p. 96). Unlike the Minimalist artists who advocate Frank Stella’s famous dictum, “What you see is what you see”, Muñoz emphasizes his love of playing games with the spectator: “What you see is not what it seems to be” (ibid.).
105 Andy WArhol 1928 – 1987 Mrs. McCarthy & Mrs. Brown (Tunafish disaster), 1985 Polymer paint on cotton t-shirt on stretcher. 48 × 29.2 cm (19 7/8 × 11 1/2 in). Stamped with the Estate of Andy Warhol and numbered ‘UP 8005’ on the reverse.
Estimate £30,000–40,000 $43,200–57,600 €34,800–46,400 ProvEnAncE Hamilton Selway, West Hollywood
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106 Charles ray b. 1953 Pumpkin Poster, 2006 Chromogenic print. 109.2 × 74.9 cm (43 × 29 1/2 in). This work is from an edition of 25.
estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ‡ Provenance Matthew Marks Gallery, New York
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107 Tony ourslEr b. 1957 Dark Scene, 2005 Wood, fibreglass, built in LCD screen, memory card, memory card reader, remote control and electrical components. 71 × 77 cm (28 × 30 3/8 in). This work is unique.
Estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ProvEnAncE Baronian Francey, Brussels
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108 Julian Opie b. 1958 Imagine You are Driving at Night (3), 1993 Acrylic on wood, glass and aluminium. 93 × 122.5 cm (36 5/8 × 48 1/4 in). Signed ‘Julian Opie’ in pen on label adhered to the reverse. This work is unique.
estimate £7,000–9,000 $10,100–13,000 €8,100–10,400 ♠ Provenance Lisson Gallery, London exhibited London, Hayward Gallery, Julian Opie, 4 November 1993–6 February 1994;
Kunstverein Hannover, Julian Opie, 26 February–17 April 1994 literature M. Horlock, Julian Opie, London, 2004, p. 59 (illustrated)
With Imagine You Are Driving at Night (3) (1993), Julian Opie offers a modern take on the traditional genre of landscape painting. Instead of picturesque views, en-plain-air painting, or the depiction of glittering reflections of light in vibrant paint, the contemporary landscape is a more mediated experience. Opie’s cool, detached pictorial rendition returns landscape to the western tradition of painting by offering a window to the outside world, but, by presenting our envisioning of nature to simulate the graphics of a computerized video game, he updates it to reflect our contemporary experience. This work belongs to a group of twelve landscapes shown in the Hayward Gallery’s 1993 retrospective of Opie’s work.
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Exhibition view, Julian Opie, at Hayward Gallery, London, 4 November 1993 – 6 February 1994
109 Tom sAChs b. 1966 Ilene Gray Lamp, 2002 Wood and fluorescent light. 119.4 × 30.5 × 17.8 cm (47 × 12 × 7 in). This work is unique.
Estimate £7,000–9,000 $10,100–13,000 €8,100–10,400 ♠ ProvEnAncE Acquired from the MOCA Los Angeles Benefit Auction,
15 May 2008, lot 9
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110 RichaRd deacon b. 1949 Breath, 1989–90 Two parts: aluminium. Each: 200 × 102 × 51 cm (78 3/4 × 40 1/8 × 20 in).
estimate £70,000–90,000 $101,000–130,000 €81,200–104,400 ♠
“I think that when we look at art, one of the things we want to do is to attribute meanings. We try to uncover what it is that the artist is trying to do in this or that thing. This is a mode of transaction which at its simplest is to do with a certain kind of recognition – we recognize that something resembles something else. We don’t only do this in looking at art; seeing resemblances
Provenance Lisson Gallery, London; Private Collection, Turin exhibited Oslo, Musée for Samtikunts, Terskel/Treshold I,1990; Modena, Galleria
and recognizing that things look like other things is part of how we meet the
Civica di Modena, Arte Inglese d’Oggi nella collezione Re Rebaudengo-Sandretto, May
world, but it becomes very focused in looking at art. The question for me
is whether resemblance can be detached from objects. That quote about
literature Arte Inglese d’Oggi nella collezione Re Rebaudengo-Sandretto, exh. cat.,
Modena, 1995, p. 1 and p. 6 (illustrated)
the drawings has to do with trying to work out whether the conjunctions of resemblance, looking like, reminding of, referring to, are simple associative categories or whether they refer to something else. Metaphor is an example of a way in which objects can be put in relationship without them having any necessary resemblance; two things are put into conjunction and then you see the one in the other. It was that ability to evoke those kinds of responses – looking like, resemblance, and so on – which I had been trying to create. It requires a certain level of ambiguity, a certain level of giving and taking away at the same time. That’s the kind of thing that I was interested in.” (Richard Deacon, in Ian Tromp, ‘Undetermined Pleasure and Unnecessary Beauty: An Interview with Richard Deacon’, Sculpture Magazine, November 1999, vol. 18, no. 9)
111 Kris Martin b. 1972 Idiot VII, 2008 18-carat yellow gold. Diameter: 33 cm (13 in). This work is from an edition of five plus two artist’s proofs and is accompanied by a certificate of authenticity.
Estimate £8,000–10,000 $11,500–14,400 €9,300–11,600 ♠ Provenance Sies + Höke Galerie, Düsseldorf
112 LionEL EstèvE b. 1967 Bubble, 2008 Motor, chrome-plated steel and nylon thread. 75.6 × 66 cm (29 3/4 × 26 in). This work is unique.
Estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠ Provenance Baronian Francey, Brussels
113 HirosHi sugimoto b. 1948 Stanley, New Jersey, 1978 Gelatin silver print. 42.3 × 54 cm (16 5/8 × 21 1/4 in). Blindstamped with title and date ‘STANLEY NEW JERSEY 1978’ and numbered of 25 in margin. Signed ‘Hiroshi Sugimoto’ on the mount. This work is from an edition of 25.
Estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 Provenance Sonnabend Gallery, New York
114 HirosHi sugimoto b. 1948 Gulf of Bothnia, Hornslandet, 1996 Gelatin silver print. 42 × 54 cm (16 1/2 × 21 1/4 in). Blindstamped with title and date ‘GULF OF BOTHNIA HORNSLANDET 1996’ and numbered 25 in margin. Signed ‘Hiroshi Sugimoto’ on the mount. This work is from an edition of 25.
Estimate £18,000–25,000 $25,900–36,000 €20,900–29,000 Provenance Sonnabend Gallery, New York
115 RichaRd MisRach b. 1949 Untitled, 2003 Colour coupler print. 125 × 222.8 cm (49 1/4 × 87 5/8 in). Signed, numbered of five, annotated and dated ‘Richard Misrach 2003 #703-03’ on a label adhered to the reverse. This work is from an edition of five.
Estimate £18,000–22,000 $25,900–31,700 €20,900–25,500 Provenance Fraenkel Gallery, San Fransisco
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CTA JUNE DAY part1_pp118-217.indd 139
116 Shirin neShat b. 1957 Innocent Memories, 1995 Ink on gelatin silver print. 190 × 120 cm (74 7/8 × 47 1/4 in). Signed ‘Shirin Neshat’ lower right, numbered of three and dated ‘1995’ lower left. This work is from an edition of three.
estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 Provenance Private Collection, Europe
117 Andy WArhol 1928–1987 Still Life (Hammer and Sickle), c. 1977 Graphite on ivory wove paper. 52.1 × 71.1 cm (20 1/2 × 28 in). Stamped by the Estate of Andy Warhol, initialled ‘VF’ and numbered ‘31.006’ on the reverse.
Estimate £40,000–60,000 $57,600–86,400 €46,400–69,600 ‡ ProVEnAncE Andy Warhol Foundation for the Visual Arts, new York
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118 Andy WArhol 1928–1987 Ladies and Gentlemen, 1975 Graphite on J. Green paper. 102.2 × 70.2 cm (40 1/4 × 27 5/8 in). Stamped with the Estate of Andy Warhol and Andy Warhol Foundation seals, initialled ‘VF’ and numbered ‘53.021’ on the reverse.
Estimate £25,000–35,000 $36,000–50,400 €29,000–40,600 ‡ ProVEnAncE Andy Warhol Foundation for the Visual Arts, new York
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119 Andy WArhol 1928–1987 In the Bottom of My Garden, 1956 The complete set of 21 lithographs including the cover, thirteen with unique hand-colouring. Each: 21.6 × 27.9 cm (8 1/2 × 11 in). Signed ‘Andy Warhol’ lower right of cover; inscribed ‘Alice’ upper left cover. Stamped with the Authentication Board seal and numbered ‘A158.095’ on the interior back cover.
Estimate £40,000–60,000 $57,600–86,400 €46,400–69,600 ‡ Provenance Gifted by the artist to the previous owner; Private Collection,
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CTA JUNE DAY part1_pp118-217.indd 145
120 Keith haring 1958–1990 Ascending, 1989 Screenprint in colours on paper. 74.9 × 57.2 cm (29 1/2 × 22 1/2 in). Signed and dated in pencil ‘K. Haring 89’ in the lower right margin, inscribed ‘A.P.’ lower left margin. This work is an artist’s proof aside from an edition of 100.
estimate £7,000–9,000 $10,100–13,000 €8,100–10,400 † Provenance Private Collection, Berlin literature K. Littman, Keith Haring: Editions on Paper 1982–1990, Ostfildern-Ruit,
1993, p. 116–17 (illustrated)
121 Sylvie Fleury b. 1961 Formula 1 Dress and Bag, 1999 Hand-tailored dress with original Formula one fabric, original Formula one logos, two-way zipper and printed lining dress and bag manufactured by HuGo BoSS, in original artist’s packaging. Dress: 147.3 × 72.4 cm (58 × 28 1/2 in). Bag, including strap: 76.8 × 33 cm (30 1/4 × 13 in). Signed ‘Sylvie Fleury’ in pen on the inside label and numbered from an edition of 100. this work is from an edition of 100.
estimate £5,000–7,000 $7,200–10,100 €5,800–8,100 Provenance Hugo Boss Kunststiftung Guggenheim
view of the bag and original packaging
122 Günter FörG b. 1952 Untitled, 1989 Acrylic on lead on wooden panel. 180 × 120.2 cm (70 7/8 × 47 5/8 in). Signed and dated ‘Förg 89’ on the reverse.
estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 ♠ Provenance Galerie Michael Janssen, Cologne
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123 Michael craiG-Martin b. 1941 Untitled, 1986 Painted wrought iron and wood. 192 × 103 × 22 cm (75 1/2 × 40 1/2 × 8 5/8 in).
estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ♠ Provenance Waddington Galleries, London
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124 chris Burden b. 1946 Indo-China Bridge, 2002 Stainless steel reproduction Mysto Type I Erector parts. 37.8 × 114.3 × 21.6 cm (14 7/8 × 45 × 8 1/2 in). Incised ‘Chris Burden’ and numbered of twelve on the side. This work is from an edition of twelve.
estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 Provenance Gagosian Gallery, New York
CTA JUNE DAY part1_pp118-217.indd 150
CTA JUNE DAY part1_pp118-217.indd 151
125 Petr Belyi b. 1971 Obscure light, 2009 Rubber, eight neon tube lights. Approximate installation dimensions 210 × 120 cm (82 3/4 × 47 1/4 in).
estimate £8,000–10,000 $11,500–14,400 €9,300–11,600 ♠ PRovenAnce Barbarian Art Gallery by natasha Akhmerova, Zürich
126 leonid tishkov b. 1953
127 yves klein 1928–1962
Petite Venus Bleue, 1956–57
C-print. 168 × 140 cm (66.1 × 55.1 in). Signed on the reverse. This work is from
IKB bronze sculpture in Perspex box with gold leaf. 12 × 9.4 × 7.6 cm
an edition of ten.
(4 7/8 × 3 3/4 × 3 in). Inscribed ‘345/500’ on the reverse. This work is from an edition of 500 and is accompanied by a certificate of
estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠ ‡ PRovenAnce Barbarian Art Gallery by Natasha Akhmerova, Zürich
estimate £3,000–5,000 $4,300–7,200 €3,500–5,800 PRovenAnce Private Collection, France
128 Tony oursler b. 1957 Sony Movie Block, 1994 Video projector, VCR, videotape, wood. Dimensions variable.
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 PRoVenanCe Metro Pictures, new York; Private Collection, Turin liTeRaTuRe Tony oursler, ‘Dummies, Flowers & alters’, Grand Street 52, 1995, p. 167
129 PhiliPPe Pasqua b. 1965 Vanité, 2007 Acrylic and six butterflies on resin skull on wooden plinth. 160 × 40 × 50 cm (63 × 15 3/4 × 19 3/4 in).
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 ♠ † PRoVenanCe Private Collection, Paris
130 Pierre Bismuth b. 1963
131 DAmieN hirst b. 1965
Most Wanted Men/NYC (D. Hirst & M. Cattelan), 2007
C-print mounted on Cintra and spray paint on Plexiglas. 147.3 × 190.5 cm
Acrylic and glitter on paper. Diameter: 44 cm (17 3/8 in). Signed ‘Damien xxx’,
(58 × 75 in). This work is unique.
stamped with Damien Hirst studio seal and dedicated on the reverse.
estimate £6,000–8,000 $8,600–11,500 €7,000–9,300 ♠
estimate £5,000–7,000 $7,200–10,100 €5,800–8,100 ♠
Provenance Mary Boone Gallery, New York
Provenance Gifted by the artist to the present owner
132 DAmieN hirst b. 1965 Windmills of my Mind, 2002 Coloured crayon, felt-tip pen and gouache on etched ground. 111 × 90.8 cm (43 3/4 × 35 3/4 in). Signed, titled and dated ‘Windmills of my mind 30/05/02 Damien Hirst’ lower centre. Signed ‘Damien Hirst’ lower right margin. This work is registered in the Damien Hirst Archives under number DHS 6922.
estimate £25,000–35,000 $36,000–50,400 €29,000–40,600 ♠ † Provenance Private Collection, London
133 Damien Hirst b. 1965 Set of three spot etchings: (i) Ciclopirox Olamine, (ii) Cineole, (iii) Cinchonidine, 2004 Three colour etchings on Hahnemühle paper. Each: 115 × 112.5 cm (45 1/4 × 44 1/4 in). Signed ‘Damien Hirst’ in the lower margin on the first sheet, ‘D Hirst’ in the lower margin of the other two sheets. This work is from an edition of 145 plus 35 artist’s proofs and one printer’s proof.
estimate £18,000–22,000 $25,900–31,700 €20,900–25,500 ♠ † Provenance Paragon Press, London
134 SIR TeRRy FRoST 1915–2003 Orchard Tambourine B, 2002 The complete set of 25 colour woodcuts. Each: 37.3 × 37.3 cm (14 3/4 × 14 3/4 in). Signed ‘Terry Frost’ on the reverse of each. This work is from an edition of 35.
estimate £5,000–7,000 $7,200–10,100 €5,800–8,100 Provenance Private Collection, London
135 DamIen HIRST b. 1965 Pharmaceuticals, 2005 Inkjet print in colours on Somerset paper. 125.5 × 101 cm (49 1/2 × 39 7/8 in). Signed, titled, numbered of 75 and dated ‘2005 PHARMACEUTICALS Damien Hirst’ in lower margin. This work is from an edition of 75.
estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 ♠ † Provenance Private Collection, London
136 RobeRt IndIana b. 1928 Love Wall, 1967 Screenprint in colours on paper in four parts. 129.5 × 99 cm (51 × 39 in). Signed, numbered of 70 and dated ‘R Indiana ’67’ lower right. This work is from an edition of 70.
estimate £6,000–8,000 $8,600–11,500 €7,000–9,300 † Provenance Private Collection, New York
137 damIen HIRst b. 1965 All You Need is Love, Love, Love, 2008 Screenprint in colours and diamond dust on paper. 151 × 151 cm (59 1/2 × 59 1/2 in). Signed ‘Damien Hirst’ and numbered of 50 lower right. This work is from an edition of 50.
estimate £18,000–22,000 $25,900–31,700 €20,900–25,500 ♠ † Provenance Private Collection, London
138 Damien Hirst b. 1965 Mauve Butterfly, 2008 Colour aquatint on Velin Arches paper. 118.1 × 108 cm (46 1/2 × 42 1/2 in). Signed ‘Damien Hirst’ lower margin. This work is unique and is registered in the Damien Hirst Archives under number DHP 11869.
estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ♠ † Provenance Private Collection, London
139 marc Quinn b. 1964 Six Moments of Sunrise, 2008 Set of six colour etchings on Magnami paper. Each 36.8 × 54.6 cm (14 1/2 × 21 1/2 in). Each signed and dated ‘Marc Quinn 2008’ lower right. This work is from an edition of 59.
estimate £8,000–12,000 $11,500–17,300 €9,300–13,900 ♠ † Provenance Private Collection, London
140 ElizabEth Magill b. 1959 (i) Deer Park; (ii) Deer Park Clearing; (iii) Skirt Tales; (iv) Roches Point from Parlous Land, 2005–06 Four lithographs. (i) 60 × 84.3 cm (23 5/8 × 33 1/4 in); (ii) 61 × 84 cm (24 × 33 1/8 in); (iii) 60 × 83.5 cm (23 5/8 × 32 7/8 in); (iv) 60 × 84 cm (23 5/8 × 33 1/8 in). These works are from an edition of 45.
Estimate £6,000–8,000 $8,600–11,500 €7,000–9,300 ♠ Provenance Private Collection, London
141 Marc Quinn b. 1964 Crystal World, 2008 Bronze with heat-treated chrome patina. 35 × 10.2 × 10.2 cm (13 3/4 × 4 × 4 in). Initialled ‘MQ 2008’ numbered of 45 and dated on the base. This work is from an edition of 45.
Estimate £3,000–5,000 $4,300–7,200 €3,500–5,800 ♠ Provenance White cube, London
142 chris Ofili b. 1968 Untitled, 1999 Watercolour and graphite on paper. 24.1 × 15.9 cm (9 1/2 × 6 1/4 in). Signed and dated on the reverse.
Estimate £3,000–5,000 $4,300–7,200 €3,500–5,800 ♠ Provenance Private Collection, Germany
143 Marc Quinn b. 1964 Handpainted Self (Pink), 2006 Hand-coloured pigment print on gesso-coated aluminium panel. 26 × 20 cm (10 1/4 × 7 7/8 in). Signed ‘Marc Quinn’ on the reverse. This work is from an edition of ten, each uniquely hand-painted by the artist.
Estimate £5,000–7,000 $7,200–10,100 €5,800–8,100 ♠ Provenance Private Collection, London
144 Marc Quinn b. 1964 Pink tongue (study for the sculpture Pink Laocoon Kate), 2007 Acrylic, graphite and watercolour on paper. 77.5 × 101.5 cm (30 1/2 × 40 in). Signed, titled and dated ‘Pink Tongue Marc Quinn 2007’ lower right.
Estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ♠ ‡ Provenance Acquired directly from the artist by the previous owner
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CTA JUNE DAY part1_pp118-217.indd 171
145 Grayson Perry b. 1960 Death to Grayson Perry, 1984 Glazed earthenware. Diameter: 29 cm (11 3/8 in).
estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠ Provenance Private Collection, London exhibited London, James Birch Fine Art, Grayson Perry, 1984 Literature Jackie Klein, Grayson Perry, London, p. 28 (illustrated)
146 Grayson Perry b. 1960 We Lounged Gloriously Bored, 1988 Glazed earthenware. 30.5 × 23 cm (12 × 9 in).
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 ♠ Provenance Birch & Conran, London
147 Grayson Perry b. 1960 Map of Nowhere (purple), 2008 Coloured etching from five plates on one sheet. 153 × 113 cm (60 1/4 × 44 1/2 in). Signed and numbered of fifteen on the reverse. This work is from an edition of fifteen.
estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ♠ Provenance Private Collection, London
148 GeorG Baselitz b. 1938 Remix, 2006/07 Five colour woodcuts. Each: 96.5 × 64.8 cm (38 × 25 1/2 in). Each signed, numbered of 25 and dated ‘Baselitz 06’ lower right. This work is from an edition of 25.
estimate £8,000–12,000 $11,500–17,300 €9,300–13,900 ♠ † Provenance Private Collection, London
149 Sue WilliamS b. 1954 Neon Pink + Manly, 1996 Oil and acrylic on canvas. 183 × 162.7 cm (72 × 63 3/4 in). Signed, titled and dated ‘NEON PINK + MANLY Sue Williams ’96’ on the reverse.
estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 ♠ Provenance The Bernier/Eliades Gallery, Athens
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150 CeCilY BROWN b. 1969 Untitled, 2002 Monotype on paper. 99.7 × 124.5 cm (39 1/4 × 49 in). This work is unique.
estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ♠ Provenance Contemporary Fine Arts, Berlin
CTA JUNE DAY part1_pp118-217.indd 177
151 A R PENCK b. 1939
152 A R PENCK b. 1939
Oil on canvas. 40 × 50.4 cm (15 3/4 × 19 7/8 in). Signed ‘A.R. Penck’ lower right.
Ink on cardboard. 77 × 105.5 cm (30 3/8 × 41 1/2 in). Signed ‘A.R. Penck’ lower right.
Estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠ Estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠ Provenance Private Collection, Europe Provenance Galerie Barbara Farber, Rotterdam
153 JoNAthAN MEEsE b. 1970 Die Gralsburg “Suppenadler n the rocks, s.v.p”, 2004 Oil, acrylic, silicone and collage on canvas. 190 × 190 cm (74 3/4 × 74 3/4 in). Initialled and dated ‘JM 2004’ lower right. Signed, titled and dated ‘J Meese 2004 DIE GRALSBURG “SUPPENADLER ON THE ROCKS, s.v.p”’ on the reverse.
Estimate £30,000–40,000 $43,200–57,600 €34,800–46,400 ♠ Provenance Sies + Höke Galerie, Düsseldorf
154 Martin Kippenberger 1953–1997 Capri bei Nacht, 1982 Oil and sawdust on canvas. 50 × 63 cm (19 5/8 × 23 3/4 in).
estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 Provenance Acquired directly from the artist; Private Collection, Germany
155 Jonathan Meese b. 1970 Der Braumeister (im Ehrenmantel), 2003–04 Oil on canvas. 78.8 × 59.7 cm (31 × 23 1/2 in). Initialled and dated ‘JM 2003’ lower left. Signed, titled and dated ‘DER BRAUMEISTER (im Ehrenmantel) J Meese 2004’ on the reverse.
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 ♠ Provenance Sies + Höke Galerie, Düsseldorf
156 Keith tyson b. 1969 Studio Wall Drawing: 1st Feb 05: These Resources are Mine to Mine, 2005 Two parts: ink, gouache, acrylic and felt-tip pen on paper. Each: 152.5 × 122 cm (60 × 48 in); overall: 152.5 × 244 cm (60 × 96 in). This work is unique and is accompanied by a certificate of authenticity.
estimate £40,000–60,000 $57,600–86,400 €46,400–69,600 ♠ ‡ Provenance Haunch of Venison, London
157 Christoph ruCkhÄberle b. 1972 TRINK HALLE (Drink Hall), 2003 Oil on canvas. 186.1 × 279.7 cm (73 1/4 × 110 1/8 in). Signed and dated ‘Ruckhäberle 2003’ on the overlap.
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 ♠ ‡ Provenance LIGA Galerie, Berlin exhibited Norwich Gallery, Norwich School of Art and Design, EAST International
2004, 5 July–21 August 2004
CTA JUNE DAY part1_pp118-217.indd 184
CTA JUNE DAY part1_pp118-217.indd 185
158 Martin kippenberger 1953–1997 Capri bei Nacht, 1982 Acrylic on glass. 51.7 × 62 cm (20 3/8 × 24 3/8 in).
estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 Provenance Acquired directly from the artist; Private Collection, Germany
CTA JUNE DAY part1_pp118-217.indd 186
159 raYMond pettibon b. 1957
160 Jonathan Yeo b. 1970
Untitled (And who so), 2000
Leaf Study Light Blue, 2008
Ink on paper. 55 × 66.2 cm (21 5/8 × 26 in). Signed and dated ‘Raymond Pettibon
Acrylic and collage on canvas. 62.2 × 87.6 × 7 cm (24 1/2 × 34 1/2 × 2 3/4 in).
2000’ on the reverse.
Signed and dated ‘JONATHAN YEO 2008’ on the reverse of the wooden frame.
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400
estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠
Provenance Hauser & Wirth, Zürich
Provenance Acquired directly from the artist exhibited New York, Lazarides Gallery, Outsiders, 26 September–23 October 2008
CTA JUNE DAY part1_pp118-217.indd 187
161 raYMond pettibon b. 1957 Untitled (This was the first time I’d ever been kissed – Everything else under the sun no doubt – But never that ), 1990 Ink and watercolour on paper. 35.5 × 28 cm (14 × 11 in). Signed and dated ‘Raymond Pettibon 90’ on the reverse.
estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 Provenance Private Collection, Europe
CTA JUNE DAY part1_pp118-217.indd 188
162 raYMond pettibon b. 1957 Untitled (Wall Street’s Chosen Few…), 2000 Ink and watercolour on paper. 40.6 × 35.2 cm (16 × 13 7/8 in). Signed and dated ‘Raymond Pettibon 2000’ on the reverse.
estimate £6,000–8,000 $8,600–11,500 €7,000–9,300 Provenance Private Collection, Berlin
CTA JUNE DAY part1_pp118-217.indd 189
163 swoon b. 1978 Untitled, 2005 Hand-painted linoleum print on Mylar. Installation dimensions variable.
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 Provenance Deitch Projects, New York
CTA JUNE DAY part1_pp118-217.indd 190
CTA JUNE DAY part1_pp118-217.indd 191
164 Dave Muller b. 1964
165 Bjarne MelgaarD b. 1967
Two Performances in a White Room (Figure-Eight), 2001
Two works: (i) Untitled; (ii) Gay men are a woman’s best friend, 2002
Acrylic on paper in six parts. Each: 80 × 101.9 cm (31.5 × 40 1/8 in). This work is
Pencil and pastel on paper. Each sheet: 40.6 × 33 cm (16 × 13 in). Signed in the lower
right quadrant ‘Melgaard’ on each sheet.
estimate £15,000–20,000 $21,600–28,800 €17,400–23,200
estimate £3,000–5,000 $4,300–7,200 €3,500–5,800 ♠
Provenance Els Hanappe Underground, Athens
Provenance Galerie Krinzinger, Vienna
166 Ian Monroe b. 1972 New Monument, 2004 Vinyl, felt, carpet, card and paper collage. 153 × 295 cm (60 1/4 × 116 in). Signed, titled and dated ‘Ian Monroe “New Monument” 2004’ on the reverse.
estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 Provenance Private Collection, UK
167 Wu Shanzhuan b. 1960 New Artwork No. 1, 2007–08 Acrylic and oil based marker pen on canvas. 200 × 300 cm (78 3/4 × 118 1/8 in). Signed in Chinese and dated ‘Wu Shanzhuan 07’ lower right.
Estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 † Provenance Acquired directly from the artist exhibited London, The Saatchi Gallery, The Revolution Continues: New Art From
China, 9 October 2008–18 January 2009 Literature Jiang Jiehong, The Revolution Continues: New Art From China,
London, Jonathan Cape, 2008, pp. 192–93 (illustrated)
168 Wang guangyi b. 1957 Aesthetics of War – Blue No. 3, 2006 Oil on canvas. 200 × 300 cm (78 3/4 × 118 1/8 in).
Estimate £100,000–150,000 $144,000–216,000 €116,000–174,000 † Provenance Acquired directly from the artist exhibited London, The Saatchi Gallery, The Revolution Continues: New Art From
China, 9 October 2008 – 18 January 2009 Literature Jiang Jiehong, The Revolution Continues: New Art From China, London,
Jonathan Cape, 2008, pp. 4–5 (illustrated)
169 Wu Shanzhuan b. 1960 Shadow fucker, 2005 Acrylic on canvas. 160 × 120 cm (63 × 47 1/4 in). Signed and dated ‘Wu Shan Zhuan ’05’ lower right.
Estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ‡ Provenance Hanart TZ Gallery, Hong Kong
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170 Liu WEi b. 1965 Gatinhasoruentaisferram (Man with Root), 1994 Watercolour on paper. 21 × 30 cm (7 7/8 × 11 7/8 in). Signed in Chinese and Pinyin, titled and dated ‘LIU WEI 1994.11’ lower left.
Estimate £25,000–35,000 $36,000–50,400 €29,000–40,600 ‡ Provenance Hanart TZ Gallery, Hong Kong
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171 Ling Jian b. 1963 Strangle it, 2007 Oil on canvas. 200 × 180 cm (78 3/4 × 70 7/8 in). Signed in Chinese and English and dated ‘Ling 2007’ on the reverse.
Estimate £40,000–60,000 $57,600–86,400 €46,400–69,600 ♠ ‡ Provenance Private Collection, London
Strangle it is typical of Ling Jian’s bold, beautiful, and highly sexualized exploration of the notion of the ‘Communist sister’. On the one hand, the gagging of the mouth addresses the repression of the political voice, and on the other, the bloated lips suggest a suppressed feminine sexuality. Strangle it typifies Ling Jian’s masterful depiction of the feminine as an expression of his own discontent with the effect Communism has had on China both culturally and politically.
172 Zhang huan b. 1965 Peace, 2003 C-print. 179 × 127 cm (70 1/2 × 50 in). This work is from an edition of eight.
Estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 Provenance Private Collection, Europe
173 ZhEng DElong b. 1976 Ghost, 2006–08 Oil on canvas. 180 × 150 cm (70 7/8 × 59 in). Signed and dated in Chinese and English ‘Zeng De Long 2006–8’ on the reverse.
Estimate £8,000–12,000 $11,500–17,300 €9,300–13,900 ‡ Provenance Private Collection, London
174 MIAO XIAOCHUN b. 1964 Three works: (i) The Last Judgement in Cyberspace – The Vertical View; (ii) The Last Judgement in Cyberspace – The Vertical View; (iii) The Last Judgement in Cyberspace – The Below View, 2006 C-prints on aluminium. (i) 288 × 240 cm (113 3/8 × 94 1/2 in); (ii) 120 × 354 cm (47 1/4 × 139 3/8 in); (iii) 289 × 360 cm (113 3/4 × 141 3/4 in). Each signed, titled, numbered of six and dated lower left. These works are from an edition of six.
Estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 † Provenance Alexander Ochs Galleries, Berlin Literature J. Cape, The Revolution Continues: New Art From China, London, 2008, pp. 262–67 (illustrated)
175 ZHANG PENG b. 1981 Gaze of Sorrow No. 2, 2006 Colour digital print. 125.7 × 125.7 cm (49 1/2 × 49 1/2 in). Signed, numbered of ten and dated ‘ZHANG PENG 2006.’ lower right. This work is from an edition of ten.
Estimate £5,000–7,000 $7,200–10,100 €5,800–8,100 ‡ Provenance 10 Chancery Lane Gallery, Hong Kong; acquired from the above
by the present owner
176 CHiHo AosHimA b. 1974 Japanese Apricot 3 – A Pink Dream, 2007 Digital chromogenic print, Diasec mounted. 141.6 × 169.8 cm (55 3/4 × 66 7/8 in). This work is from an edition of six plus two artist’s proofs.
Estimate £6,000–8,000 $8,600–11,500 €7,000–9,300 Provenance Private Collection, Europe
177 Doug Aitken b. 1968 Digital, 2005 Colour coupler print, flush-mounted. 153 × 122 cm (60 1/4 × 48 in). Signed ‘Aitken’ on a label adhered to the reverse. This work is from an edition of six.
estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 Provenance 303 Gallery, New York
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178 AnDres serrAno b. 1950 Pieta II, 1990 Cibachrome. 102 × 152.5 cm (40 1/4 × 59 7/8 in). This work is from an edition of four.
estimate £30,000–40,000 $43,200–57,600 €34,800–46,400 Provenance Blum Helman, Santa Monica; Texas Gallery, Houston; Private
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CTA JUNE DAY part1_pp118-217.indd 208
179 Ugo Rondinone b. 1963 No. 178 SECHSUNDZWANZIGSTERMAERZZWEITAUSENDUNDNULL, 2000 Fifteen C-prints. Largest: 52.7 × 77.5 cm (20 3/4 × 30 1/2 in); smallest: 27.3 × 40 cm (10 3/4 × 15 3/4 in).
estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 Provenance Galerie Hauser & Wirth & Presenhuber, Zürich; Private Collection, USA literature A. Tarsia, Ugo Rondinone: Zero Built a Nest in My Navel, London, 2005, p. 134
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180 Darren almonD b. 1971 Thames to Hudson, 2000 Four Cibachrome prints mounted on aluminium. Each: 75.8 × 75.8 cm (29 7/8 × 29 7/8 in). This work is from an edition of three.
estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 ♠ Provenance White Cube, London
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181 Dash snow 1981–2009 Untitled, 2007 Didgital C-print. 177.8 × 116.8 cm (70 × 46 in). Signed ‘Dash Snow’ on a label adhered to the reverse. This work is unique.
estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 Provenance Peres Projects, Los Angeles exhibited Los Angeles, Peres Projects, God Spoiled a Perfect Asshole When He Put
Teeth in Yer Mouth, 22 September – 10 November 2007
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182 Roni HoRn b. 1955 Piece #2, 1998 Five iris prints. Four prints: 56 × 74 cm (22 × 29 1/8 in); one print: 56 × 56 cm (22 × 22 in). This work is from an edition of five.
Estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 Provenance Galleria Raffaella Cortese, Milan
183 BEatE GütscHow b. 1970 S#24, 2007 LightJet print. 215.9 × 181 cm (85 × 71 1/4 in). Signed, titled, numbered of five and dated ‘B. Gütschow S#24 2007’ on reverse. This work is from an edition of five.
Estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 ♠ Provenance Sonnabend Gallery, New York literature L. A. Martin, Beate Gütschow: LS/S, New York: Aperture, 2007, p. 64 (illustrated)
184 Axel Hütte b. 1951 Rotterdam, 2001 Duratrans flush-mounted on mirror. 157.2 × 189.2 cm (61 7/8 × 73 1/2 in). Signed, titled, numbered of four and dated ‘Rotterdam 2001 Axel Hütte’ on the reverse. This work is from an edition of four.
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 ♠ Provenance Patrick De Brock Gallery, Knokke
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185 Candida Höfer b. 1944 Porzellansammlung Dresden II, 2002 C-print. 161.3 × 155 cm (63 1/2 × 61 in). Signed ‘Candida Höfer’ and numbered of six on a label adhered to the reverse. This work is from an edition of six.
estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 ♠ Provenance Ben Brown Fine Arts, London; Galleri K, Oslo literature C. W. Glenn, M.-K. Lombino, V. Heckert, Candida Höfer: Architecture of
Absence, New York, 2004, p. 86 (illustrated)
186 Candida Höfer b. 1944 Schauspillhaus Dresden IV, 2002 C-print. 154.6 × 192.7 cm (60 7/8 × 75 7/8 in). Signed ‘Candida Höfer’ and numbered of six on a label adhered to the reverse. This work is from an edition of six.
estimate £25,000–35,000 $36,000–50,400 €29,000–40,600 ♠ Provenance Galleri K, Oslo
187 Olafur EliassOn b. 1967 Landscapes, 1995 Eight colour coupler prints in artist’s frames. Each: 22.5 × 30 cm (8 7/8 × 11 7/8 in). Each signed and date ‘Olafur El. 1995’ and numbered from an edition of two on the reverse. These works are from an edition of two.
Estimate £30,000–50,000 $43,200–72,000 €34,800–58,000 ♠ Provenance Galleria Emi Fontana, Milan
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188 ElgEr EssEr b. 1967 Cap - Antifer- Etretat, La Courtine, 2000 Colour coupler print. 106.5 × 151.5 cm (41 7/8 × 59 5/8 in). Signed ‘Elger Esser’ on a label adhered to the reverse. This work is from an edition of seven.
Estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 ♠ Provenance Sonnabend Gallery, New York; Thomas Segal Gallery, Baltimore
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189 ElgEr EssEr b. 1967 La Côte d’Etretat Frankreich, 2000 Colour coupler print. 129.5 × 181.3 cm (51 × 71 3/8 in). Signed ‘Elger Esser’ on a label adhered to the reverse. This work is from an edition of seven.
Estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ♠ Provenance Sonnabend Gallery, New York literature P. Foos, Elger Esser: Cap d’Antifet- Etretat, Munich, 2002, n.p. and cover
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brazilian contemporary art Phillips de Pury is delighted to offer this oustanding group of works by Brazilian artists of the last 40 years. Our goal is not just to draw attention to the fact that Brazil has produced a great deal of art but to demonstrate its excellence. By placing these works alongside their European and North American contemporaries, we aim to repudiate the common misconception that the art of the ‘Rest of the World’ is assumed to be derivative or at best exotic. For example, among the following group of works, there are highlights that show the extraordinary depth and sophistication of contemporary Brazilian art. It also goes some way to show the significant development in artistic progression of the two cultural centres of São Paulo and Rio de Janiero. No discourse on the art of Brazil is possible without placing Hélio
While the Neo Concrete artists were changing paradigms and creating
Oiticica at its very centre. The radical nature of his thinking and
a new language of art, Mira Schendel was concerned with creating art
production has been a catalyst to so many that followed him. Amongst
from language. After she moved from her native Switzerland to Brazil,
the major concerns of the Neo Concrete artists, the group founded
Schendel first worked in ceramics and pursued an interest in Asian
by Oiticica, was a desire to challenge the traditional paradigm of the
poetry and philosophy before turning to painting. Her early canvases,
object–viewer relationship. Their aim was to develop a method of
of which Phillips de Pury here offer two fine examples, were mainly
creating art that embraced notions of performative interactivity between
textural and tonal, reflecting somewhat the surface of the earthenware
the artwork and the spectator. With this in mind, Oiticica pioneered the
finishes of the ceramics she made previously. In 1964 she developed her
‘Parangole’. These works took the form of capes stitched together like an
interest in Asian art by starting to work on Japanese paper in a linear,
geometric assemblage to be thrown over the body, becoming literally
calligraphic style, using black ink and incorporating letters as symbols.
art to be worn and therefore interacted with. The two rare photos we
This subtle beauty is perfectly shown in another work being offered by
are offering were taken by Oiticica of his favourite model displaying
us for sale. In addition to these important works there are examples by
examples of the famous ‘Parangole’.
other significant artists such as Sergio Camargo, Anna Maria Maiolino, Cildo Meireles, and José Leonilson. The extraordinary success of our recent BRIC theme sale has again proved that the appetite for Brazilian art is stronger than it has ever been. There has always been a very supportive regional market but now the international economic might of Brazil is matched by the global recognition of its culture. In the last few years there have been major retrospectives of Oiticica, Schendel, Meireles, and Lygia Clarke at Tate Modern, MOMA in New York, and the San Francisco Museum of Modern Art. This is highly significant as it is in these leading institutions that the canons of modern and contemporary art have been formed and continue to be developed. This places Brazil’s cultural and artistic development ever more at the forefront of the international art scene and as an equal to the existing art ‘superpowers’.
190 antonio manUel b. 1947 Untitled, 1967 Indian ink on newspaper on Fabriano paper. 67.3 × 45.7 cm (26 1/2 × 18 in). Signed and dated ‘Antonio Manuel 1967’ lower right.
estimate £25,000–35,000 $36,000–50,400 €29,000–40,600 ♠ ‡ Provenance Private Collection, São Paulo
191 HÉLIO OITICICA 1937–1980 Romero Cavalcanti wearing P32 Parangolé Cape 25, New York, 1972 Colour print from 35 mm slide. 11.7 × 7.8 cm (4 5/8 × 3 1/8 in). Signed, inscribed and annotated extensively on the reverse. This work is from an edition of four.
Estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ‡ Provenance Acquired directly from the artist by the present owner literature S Roesler, Hélio Oiticica: A Pintura Depois do Quadro, Rio de Janeiro:
Edições de Arte, 2008
192 HÉLIO OITICICA 1937–1980 Omar Salomão wearing P31 Parangolé Cape 24 ‘Escrerbuto’, 1972 Black and white photograph. 24.5 × 16.8 cm (9 1/2 × 6 5/8 in). Signed on the verso. This work is unique.
Estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ‡ Provenance Acquired directly from the artist by the present owner literature S Roesler, Hélio Oiticica: A Pintura Depois do Quadro, Rio de Janeiro:
Edições de Arte, 2008
193 MIRA SCHENDEL 1919 – 1988 Composição, 1963 Oil on canvas. 30 × 22 cm (11 3/4 × 8 5/8 in).
Estimate £30,000–50,000 $43,200–72,000 €34,800–58,000 ‡ Provenance Private Collection, São Paulo literature G. Souza Dias, Mira Schendel: do Espirituel à Corporeidade, Cosac &
Naify, São Paulo, 2009, p. 214 (illustrated)
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194 MIRA SCHENDEL 1919 –1988 Experiência textura, c. 1960 Tempera on jute. 30 × 25 cm (11 3/4 × 9 7/8 in).
Estimate £30,000–50,000 $43,200–72,000 €34,800–58,000 ‡ Provenance Private Collection, São Paulo
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195 JOSÉ LEONILSON 1957–1993 Braço de Ferro, 1983 Acrylic on canvas. 72 × 155 cm (28 3/8 × 61 in). Dated ‘83’ lower right.
Estimate £40,000–60,000 $57,600–86,400 €46,400–69,600 ‡ Provenance Private collection, São Paulo exhibited São Paulo, Thomas Cohn Gallery, Leonilson, 1998
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196 AMILCAR DE CASTRO 1920–2002 Untitled (3325), Wood. 60.1 × 70.3 × 40 cm (23 2/3 × 27 2/3 × 15 3/4 in). Signed.
Estimate £35,000–45,000 $50,400–64,800 €40,600–52,200 ‡ Provenance Galeria Millan, São Paulo
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197 AnnA MARIA MAIOLInO b. 1942 Untitled from the series Continuous, 2008 Moulded plaster and metal table. Each: 30 × 22 cm (11 3/4 × 8 2/3 in); table: 34 × 55 × 70 cm (13 3/8 × 21 2/3 × 27 2/3 in). Signed on the plaster and table elements.
Estimate £35,000–45,000 $50,400–64,800 €40,600–52,200 ♠ ‡ Provenance Galeria Millan, São Paulo
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198 AnGELA DETAnICO and RAFAEL LAIn b. 1974, b. 1973 Five Stars, 2007 Paper collage. Each: 42.5 × 42.5 × 4 cm (16 1/2 × 16 1/2 × 1 3/8 in). This work is unique and is accompanied by a certificate of authenticity signed by the artists.
Estimate £8,000–12,000 $11,500–17,300 €9,300–13,900 ♠ ‡ Provenance Galeria Vermelho, São Paulo exhibited São Paulo, Galeria Vermelho, Ana Zero, 2007; Paris, Musée Zadkine,
Inverse Times, 2007
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199 MARCELO CIDADE b. 1979 Esquerda Direita, 2007 Chromed steel shopping carts. 120 × 400.1 × 89.9 cm (47 1/4 × 157 1/2 × 35 3/8 in). This work is an artist’s proof and is accompanied by a certificate of authenticity signed by the artist.
Estimate £6,000–8,000 $8,600–11,500 €7,000–9,300 ♠ ‡ Provenance Galeria Vermelho, São Paulo exhibited São Paulo, Itaú Cultural, Futuro de Presente, 2007–08 literature Futuro de Presente, exh. cat., Itaú Cultural, São Paulo, 2007
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200 ARThuR LuIS PIzA b. 1928 Untitled, c. 1980 Paper construction. 50 × 40 cm (19 5/8 × 15 3/4 in). Signed ‘Piza’ and annotated with archive number 265 on the verso.
Estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 ♠ ‡ Provenance Marcia Barrozo do Amaral Galeria de Arte, Rio de Janeiro
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201 MIRA SChEnDEL 1919–1988 (i) Untitled, 1965; (ii) Untitled, 1964 Oil on rice paper. 47 × 23 cm (18 1/2 × 9 in). Each signed and dated lower right.
Estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 ‡ Provenance Gabinete de Arte Raquel Arnaud, São Paulo literature M.E. Marques, Mira Schendel, São Paulo: Cosac & Naif Edições, 2001,
p. 66 (illustrated)
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202 CARMELA GROSS b. 1946 A Negra, 2009 Nylon, tulle and iron. 132 × 90 × 45 cm (31 1/2 × 118 1/8 × 78 3/4 in). This work is from an edition of ten.
Estimate £6,500–7,500 $9,400–10,800 €7,500–8,700 ♠ ‡ Provenance Gabinete de Arte Raquel Arnaud, São Paulo
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203 SERGIO CAMARGO 1930 – 1990 Untitled, c. 1960 Painted wood. 19.6 × 9.6 × 5.3 cm (7 3/4 × 3 3/4 × 2 1/8 in).
Estimate £40,000–60,000 $57,600–86,400 €46,400–69,600 ‡ Provenance Rubens Gerchman Collection, Rio de Janeiro
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204 MARILA DARDOT b. 1973
205 ANNA MARIA MAIOLINO b. 1942
Sob Neblina, 2004
Ponto a Ponto, 1976–89
Engraved glass and stainless steel. 50 × 34 cm (19 5/8 × 13 3/8 in). This work is
Paper notebook and thread. 28 × 22 × 2 cm (11 × 8 2/3 × 3/4 in). Signed. This
unique and is accompanied by a certificate of authenticity signed by the artist.
work is from an edition of 100.
Estimate £2,000–3,000 $2,900–4,300 €2,300–3,500 ♠ ‡
Estimate £7,000–9,000 $10,100–13,000 €8,100–10,400 ♠ ‡
Provenance Galeria Vermelho, São Paulo
Provenance Galeria Millan, São Paulo
exhibited São Paulo, Galeria Vermelho, Solto, Cruzado e Junto, 2004
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206 TATIANA BLASS b. 1979
207 CILDO MEIRELES b. 1948
Alagado (delta del Tigre), 2008
Sal Sem Carne, 1975
Lacquer painting on wood and book. 70.2 × 89.9 × 29.8 cm (27 5/8 × 35 3/8 × 11
Offset lithograph, vinyl 33 rpm LP record with 8-track recording. 30 × 30 cm (11
3/4 in). Signed on the book.
3/4 × 11 3/4 in). Signed ‘Cildo Meireles’ on record cover.
Estimate £7,000–9000 $10,100–13000 €8,100–10,400 ♠ ‡
Estimate £8,000–12,000 $11,500–17,300 €9,300–13,900 ♠ ‡
Provenance Galeria Millan, São Paulo
Provenance Private Collection, Brazil literature C. Meireles, The Tate, 2008, p. 97 (illustrated).
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208 MIRA SCHENDEL 1919–1988 Untitled, c. 1980 Tempera and gold leaf on paper. 35.9 × 25.7 cm (14 1/8 × 10 1/8 in).
Estimate £25,000–35,000 $36,000–50,400 €29,000–40,600 ‡ Provenance Andre Millan Collection, São Paulo literature G. Souza Dias, Mira Schendel, do espiritual à corporeidade, Brazil: Cosac
& Naify, 2009, p. 214 (illustrated)
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209 ARTuR BARRIO b. 1945 Untitled from the series Desenhos Heterodoxos, 1973–2009 Mixed media on paper. 50 × 67 × 3 cm (19 5/8 × 26 3/8 × 1 1/8 in). Signed upper right.
Estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 ♠ ‡ Provenance Galeria Millan, São Paulo
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210 PAuLO BRuSCky b. 1949 Two works: (i) The issue is… balance, 1976; (ii) Bureaucracy, 1977 (i) Offset lithograph; (ii) Xerox and stamp on paper; (i) 30 × 21 cm (11 3/4 × 8 1/4 in); (ii) 33 × 21 cm (13 × 8 1/4 in). (i) Stamped ‘PAULO BRUSCKY’ lower left; (ii) signed ‘Paulo Bruscky’ lower right. These works are unique.
Estimate £22,000–28,000 $31,700–40,300 €25,500–32,500 ♠ ‡ Provenance Acquired directly from the artist literature C. Tejo, Paulo Bruscky: el Arte en Todos Los Sentidos, Sao Paulo, 2009
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211 Miguel Rio BRanco b. 1946 Kyoto Offerings, 2004 Inkjet print in two parts. Overall 160 × 80 cm (62 × 31 in). Signed on a label adhered to the reverse. This work is from an edition of five.
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 ♠ ‡ Provenance Galeria Millan, São Paulo
212 aRtuR lescheR b. 1962 Untitled, 2007 Polyester resin, car paint and steel cable. 200 × 30 cm (78 3/4 × 11 3/4 in). This work is from an edition of five plus one artist’s proof and is accompanied by a certificate of authenticity.
estimate £18,000–22,000 $25,900–31,700 €20,900–25,500 ♠ ‡ Provenance Acquired directly from the artist
213 ANDRE KOMATSU b. 1978
214 ThiAgO ROchA PiTTA b. 1980
Untitled (Armário) from the series Embutidos, 2005
Drawing on wooden panel. 46 × 36.8 × 7 cm (18 1/8 × 14 1/2 × 2 3/4 in). Signed,
Digital print diptych. Each: 55 × 49 cm (21 5/8 × 19 1/4 in). Signed on the reverse.
titled, dated and numbered ‘s/titulo (ARMÁRIO) 1/1 SÉRIE: Embutidos 2005
These works are from an edition of five.
Andre Komatsu’ on the reverse. This work is unique and is accompanied by a certificate of authenticity.
Estimate £3,000–5000 $4,300–7200 €3,500–5,800 ♠ ‡
Estimate £3,000–5,000 $4,300–7,200 €3,500–5,800 ♠ ‡ Provenance Galleria Millan, São Paulo
Provenance Private Collection, São Paulo exhibited São Paulo, Galeria Vermelho, Solto, Cruzado e Junto, 2004
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215 MARcOS chAVES b. 1961 Laughing Mask, 2005 DVD. 1' 50" loop. This work is from an edition of five plus two artist’s proofs and is accompanied by a certificate of authenticity.
Estimate £6,000–8,000 $8,600–11,500 €7,000–9,300 ♠ ‡ Provenance Private Collection, Brazil exhibited London, Butcher’s, 12 October–15 November 2008; Sunderland,
Northern Gallery of Contemporary Art, The Fool, 2009
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216 ViK MUNiz b. 1961 Convergence # 10 (After Pollock) from Pictures of Pigment, 2007 Chromogenic print. 180 × 300 cm (70 7/8 × 118 1/8 in). This work is from an edition of six.
Estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ♠ Provenance Galerie Arndt & Partner, Berlin
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217 gERhARD RichTER b. 1932 1024 Colours, 1974 Printed nylon. 295.3 × 196.3 cm (116 1/4 × 77 1/4 in).
Estimate £5,000–7,000 $7,200–10,100 €5,800–8,100 ♠ † Provenance Private Collection, Düsseldorf
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218 Mark rothko 1903–1970 Orange over Violet, c.1968 Hand-knotted wool. 249.5 × 168.3 cm (98 1/4 × 66 1/4 in). Edition Modern Tapestries, this work is from an edition of eight.
Estimate £8,000–12,000 $11,500–17,300 €9,300–13,900 † Provenance Private Collection, Paris
219 Frank StElla b. 1936 Sinjerli Variations II, 1976 Hand-knotted wool. Diameter: 304.5 cm (119 7/8 in). Stitched with signature ‘STELLA’ on reverse. This work is from an edition of 20.
Estimate £6,000–8,000 $8,600–11,500 €7,000–9,300 † Provenance Private Collection, New York
220 Günther FörG b. 1952 Untitled, 1986 Ten parts: acrylic on lead on wooden panel. Each: 57.2 × 37.5 cm (22 1/2 × 14 3/4 in). Each signed, numbered from 1 to 10 and dated ‘Förg 86’ on the reverse.
estimate £50,000–70,000 $72,000–101,000 €58,000–81,200 ♠ Provenance Acquired directly from the artist by the previous owner
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221 Dan Walsh b. 1960 Untitled, 2003 Acrylic on canvas. 127 × 228.6 cm (50 × 90 in). This work is accompanied by a certificate of authenticity.
Estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 Provenance Private Collection, Europe
222 Juan uslé b. 1954 Malhereux, 1993 Acrylic on canvas laid on wooden panel. 61 × 46 cm (24 × 18 1/8 in). Signed, inscribed & dated ‘SARO – Uslé 93’ on the reverse.
Estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 ♠ Provenance Deweer Art Gallery, Otegem; Galeria Luis Adelantado, Valencia;
Galeria Soledad Lorenzo, Madrid
223 Günther FörG b. 1952 Untitled, 2005 Acrylic on canvas. 195.6 × 320 cm (77 × 126 in). Signed and dated ‘Förg 05’ upper left.
estimate £35,000–50,000 $50,400–72,000 €40,600–58,000 ♠ Provenance Galerie Max Hetzler, Berlin; Patrick De Brock Gallery, Knokke exhibited Berlin, Galerie Max Hetzler, Günther Förg, 5 November – 17 December 2005
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224 Henning BoHL b. 1975 Announcing, The Bus Wrap Book, 2008
Artist’s statement on certificate: “This picture, besides its function as picture,
Gouache on paper laid on primed canvas, rivets, two certificates.
announces the forthcoming Bus Wrap Book. A project by Henning Bohl and
220.7 × 180.3 cm (86 7/8 × 71 in).
estimate £8,000–12,000 $11,500–17,300 €9,300–13,900 ♠ Provenance Johann König, Berlin
Sabine Reitmaier, Bus Wrap Book is a source book of anonymous bus wrap graphics and paintings by Henning Bohl and Sabine Reitmaier. “This picture is about applied art that becomes fine art that is applied art.”
225 Ryan M cginness b. 1971
226 MaRk TiTcHneR b. 1973
Two works: (i) Because of Her; (ii) The Throne did Such, 2007
Baked porcelain enamel on steel panel. 122 × 122 cm (48 × 48 in). Signed and
Jesmonite, cellulose paint, wood, candles. (i) 62.5 × 61 × 19.5 cm (24 1/2 × 24 ×
dated ‘Ryan McGinness 2001’ on the reverse.
7 1/2 in); (ii) 61 × 61 × 20 cm (24 × 24 × 7 7/8 in). (i) Signed, titled and dated ‘Mark Titchner 2007 BECAUSE OF HER’ on the reverse; (ii) Signed, titled and dated
estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 Provenance Acquired directly from the artist’s studio
‘Mark Titchner 2007 THE THRONE DID SUCH’ on the reverse.
estimate £8,000–12,000 $11,500–17,300 €9,300–13,900 ♠ Provenance Vilma Gold, London
227 CLAY KETTER b. 1961 Goodbye Russell Road, 1997 Household enamel paint, wallboard compound and steel corner bead on gypsum wallboard and wooden frame. 182 × 182 cm(71 3/4 × 71 3/4 in). Signed, titled and dated ‘Clay Ketter 1997 Goodbye Russell Road’ on the reverse.
Estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠ Provenance Acquired directly from the artist; Private Collection, London
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228 LAuREnz BERgEs b. 1966 b.M. (#2229), 2005 Couler couper print. 158 × 111 cm (62 1/4 × 111 1/4 in). Signed ‘Laurenz Berges’ on a label adhered to the reverse. This work is from an edition of five plus two artist proofs.
Estimate £3,000–4,000 $4,300–5,760 €3,500–4,600 Provenance Stephane Simoens, Knokke
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229 Olivier MOsset b. 1944 Untitled, 2000 Acrylic on canvas. 243.5 × 120.3 cm (94 7/8 × 47 3/8 in).
estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 Provenance Galerie Andrea Caratsch, Zürich; Patrick De Brock, Knokke
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230 Daniel Buren b. 1938 Untitled (Olivier Mosset Fait Par Daniel), 1967 Oil on canvas. 99.7 × 99.7 cm (39 1/4 × 39 1/4 in). Signed and dated ‘Buren Decembre 1967’ on the overlap.
estimate £60,000–80,000 $86,400–115,000 €69,600–92,800 ♠ Provenance Galarie Nathalie Obadia, Paris
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231 Dirk skreBer b. 1961 Klebeband, 2001 Oil, resin and duct tape on canvas. 169.8 × 300 cm (66 7/8 × 118 in). Signed and dated ‘Skreber 01’ on the reverse.
estimate £15,000–25,000 $21,600–36,000 €17,400–29,000 ♠ Provenance Private Collection, Belgium
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232 Dirk skreBer b. 1961 Häuser, 1994 Oil on canvas. 230 × 150 cm (90 1/2 × 59 1/8 in).
estimate £60,000–80,000 $86,400–115,000 €69,600–92,800 ♠ Provenance Private Collection, Belgium
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233 Frank nitsche b. 1964 BBC-01-2007, 2007 Acrylic on canvas. 269.9 × 299.7 cm (106 1/4 × 118 in). Signed, titled and dated ‘BBC-01-2007 Nitsche’ on the reverse.
estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ♠ Provenance Galerie Nathalie Obadia, Brussels
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234 sarah MOrris b. 1967 Panda (Origami), 2008 Household gloss paint on canvas. 214 × 214 cm (84 1/4 × 84 1/4 in).
estimate £35,000–45,000 $50,400–64,800 €40,600–52,200 ♠ Provenance White Cube, London
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˘ ANçAY b. 1929 235 BURHAN DOG Untitled, 1982 Gouache on paper. 68.6 × 53.3 cm (27 × 21 in). Signed and dated ‘B Dogançay 1982’ in the lower right corner.
Estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠ ‡ Provenance Collection of His Excellency Josias Leão, Honorary Ambassador of Brazil
˘ ANçAY b. 1929 236 BURHAN DOG Untitled, 1980 Acrylic and collage on paper. 57 × 76 cm (22 1/2 × 29 5/8 in). Signed and dated ‘B. Dogançay 1980’ in the lower right.
Estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠ ‡ Provenance Collection of His Excellency Josias Leão, Honorary Ambassador of Brazil
237 Piotr Uklanski b. 1968 Untitled (Flowers) from the Joy of Photography series, 1998 C-print mounted under Plexiglas laid on aluminium. 69 × 99.7 cm (26 3/4 × 39 1/4 in). This work is in an edition of five.
Estimate £8,000–10,000 $11,500–14,400 €9,300–11,600 ♠ Provenance Gavin Brown’s Enterprise, New York
238 PEtEr ZimmErmann b. 1956 Untitled, 2006 Epoxy on canvas. 90 × 70 cm (35 1/2 × 27 1/2 in). Signed and dated ‘Peter Zimmerman 2006’ on the reverse.
Estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 ♠ Provenance Galerie Rodolphe Janssen, Brussels
239 AdAm Fuss b. 1961 Untitled from the Details of Love series, 1992 Dye destruction photogram. 148 × 104.5 cm (58 1/4 × 48 1/8 in). This work is unique.
Estimate £8,000–12,000 $11,500–17,300 €9,300–13,900 ♠ Provenance Private Collection, Europe
240 sAm FrAncis 1923–1994 Untitled, 1985 Acrylic on canvas. 76.2 × 76.2 cm (30 × 30 in). Signed and dated ‘Sam Francis 1985’ on the reverse. This work is registered in the Sam Francis Estate archives under number ‘SFP 85-55’.
Estimate £40,000–60,000 $57,600–86,400 €46,400–69,600 Provenance Smith Andersen Gallery, Palo Alto; Galerie Jean Fournier, Paris; Private Collection, Basel exhibited Palo Alto, California, Smith Andersen Gallery, Sam Francis: Recent Work, September–November 1985;
Paris, Galerie Jean Fournier, Sam Francis 1986: oeuvres sur toile et sur papier, November 1986 – January 1987 Literature M. Waldberg, Sam Francis: Metaphysics of the Void, Toronto, 1987, pp. 112–13 (illustrated)
241 Katharina Grosse b. 1961 Untitled (1038M), 2002 Acrylic on linen. 203.8 × 139 cm (80 1/4 × 54 3/4 in).
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 ♠ Provenance Christopher Grimes Gallery, Santa Monica
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242 Katharina Grosse b. 1961 Untitled, 2006 Acrylic on paper. 179 × 120 cm (70 1/2 × 47 1/4 in).
estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 ♠ Provenance Galeria Helga de Alvear, Madrid
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243 Micha Klein b. 1964 Two works: (i) Venus, 1998; (ii) Isabelle, 2002 (from Artificial Beauty series), Cibachrome prints. Each 75 × 75 cm (29 1/2 × 29 1/2 in). (i) Signed, titled, numbered of 5 and dated ‘ARTIFICIAL BEAUTY SERIES “VENUS” Micha Klein 1998’ on the reverse; (ii) Signed, titled, numbered of 5 and dated ‘ARTIFICIAL BEAUTY SERIES “ISABELLE” Micha Klein 2002’ on the reverse. These works are from an edition of five.
estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠ Provenance Robert Sandelson, London
244 Michel Majerus 1967–2002 Untitled, 1999 Six works: oil on canvas. Each: 50 × 50 cm (19 3/4 × 19 3/4 in). Each signed and dated ‘Majerus 99’ on the reverse.
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 Provenance Gio Marconi, Milan
245 M/M (1"3*4 ) (i) Big Conference Center; (ii) Ashford; (iii) My Step was Light and I Could Feel the Ball of Each Foot; (iv) A Person in a Room with Coca Cola Colored Walls, from Malaga – An Album of Covers, 2006 Enamel on steel. Each: 65 × 50 cm (25 5/8 × 19 3/4 in). Each stamped ‘M/M (Paris)’ on a label adhered to the reverse. These works are from an edition of three.
Estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠ PrOVENANCE Haunch of Venison, London
246 PauL M ccarthy b. 1945 People 1, 2000 Cibachrome print on foamcore and mounted on board. 177.8 × 121.9 × 3.5 cm (70 × 48 × 1 3/8 in). This work is unique.
Estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 ‡ Provenance Patrick Painter Inc., Santa Monica; Hauser & Wirth, Zürich
247 Jesper Just b. 1974
248 Anri sAlA b. 1974
Bliss & Heaven, 2004
Super 16mm transferred to DVD. Duration: 8' 10". This work is from an edition of ten plus two
Colour film with sound. Duration: 9' 15". Signed ‘Anri Sala’ on DVD. This work is from an edition of
artist’s proofs and is accompanied by a certificate of authenticity.
six plus two artist’s proofs.
estimate £18,000–22,000 $25,900–31,700 €20,900–25,500 ♠ ‡
estimate £18,000–22,000 $25,900–31,700 €20,900–25,500 ‡
Provenance Perry Rubenstein, New York
Provenance Hauser & Wirth, Zürich
eXHIBITeD Turin, Gallery Maze, Jesper Just: Bliss and Heaven, 2004 (another example exhibited);
eXHIBITIon 8th International Istanbul Biennial, 20 September–16 November 2003 (another
New York, Perry Rubenstein, Jesper Just, 3 November–22 December 2004 (another example
example exhibited); Deichtorhallen Hamburg, Anri Sala: When the Night Calls it a Day, 14 May–15
exhibited); Los Angeles, Hammer Museum, Jesper Just, 20 April–2 July 2006 (another example
August 2004; Warsaw, Centre for Contemporary Art, Anri Sala, 25 April–19 June 2005 (another
exhibited); Miami, Miami Art Museum, Jesper Just: No man is an Island II 2004 Bliss and Heaven
example exhibited); Milan, Circolo Filologico Milanese, Anri Sala, 15 November–18 December 2005
2004 Something to Love 2005, 16 January–11 March 2007 (another example exhibited); Rotterdam,
(another example exhibited); Berlin, Martin-Gropius-Bau, RUNDLEDERWELTEN: Football and Art,
Witte de With, Centre for Contemporary Art, Jesper Just, 3 March–29 April 2007 (another example
Body and Mind, 20 October 2005–9 January 2006 (another example exhibited); Munich, Galerie
exhibited); Paris, Galerie Emmanuel Perrotin, Jesper Just: Romantic Delusions, 9 June–11 November
Rüdiger Schöttle, Anri Sala, 20 May–24 June 2006 (another example exhibited)
2008 (another example exhibited); Paris, Centre Pompidou, Jesper Just, 26 February 2009 (another
LITeraTUre J. Heiser and J. Verwoert, Frieze, ‘What’s the Difference? : Discussing the
example exhibited); New York, Brooklyn Museum, Jesper Just: Romantic Delusions, 19 September
relationship between art and documentary filmmaking with artists Yael Bartana, Annika Eriksson,
2008–4 January 2009; Tampa Museum of Art, Jesper Just: Romantic Delusions, 8 May–5 September
Anri Sala and Gitte Villeson’, London, no. 84, June–August 2004 (n.p.)
2010 (another example exhibited) LITeraTUre R. Jones, ‘Jesper Just’, Frieze, no. 100, June–August 2006, n.p.; R. Goldberg, ‘Jesper
Just’, Bomb, no. 96, Summer 2006, Music, n.p.; L. Bennett, St. Petersburg Times, ‘Tampa Museum of Art features Jesper Just video art exhibit’, 16 May 2010, n.p.
249 sigmAr polke b. 1941 Untitled, 1968/69 Screenprint on paper. 61 × 50 cm (24 × 19 3/4 in). Signed in pencil ‘Sigmar Polke’ on the lower right margin.
estimate £20,000–30,000 $28,800–43,200 €23,200–34,800 ♠ Provenance Galerie Erhard Klein, Bonn
250 Jonathan Monk b. 1969 A Painting By Pat Perdue, 2006–07 Oil and acrylic on canvas. 152 × 117.2 cm (59 7/8 × 46 1/8 in).
Estimate £15,000–20,000 $21,600–28,800 €17,400–23,200 ♠ Provenance Casey Kaplan, New York exhibited New York, Casey Kaplan, Some Kind of Game Between This and That,
30 March – 5 May 2007
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251 YEvgEniY Fiks b. 1972 Portrait of Sheltreese McCoy (Communist Party of USA), 2007 Oil on canvas. 91 × 120 cm (36 × 48 in). Signed on the reverse.
Estimate £7,000–9,000 $10,100–13,000 €8,100–10,400 ♠ ‡ Provenance Barbarian Art Gallery by Natasha Akhmerova, Zürich
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252 igor gusEv b. 1970 Pyramid, 2009 Oil on canvas. 178 × 140 cm (70 1/8 × 55 1/8 in). Signed in Cyrillic ‘Gusev’ lower right.
Estimate £8,000–10,000 $11,500–14,400 €9,300–11,600 ♠ ‡ Provenance Dymchuk Art Promotion, Odessa exhibited RESTART: Odessa, Marine Art Terminal, 25 December 2009 –
20 January 2010; Kiev, Modern Art Research Institute, 16 April–15 May 2010
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253 DMitrY kawarga b. 1972 Diffusion of Form Creation, 2009 C-print, Diasec mounted. 97.5 × 220 cm (38 3/8 × 86 5/8 in). Signed ‘Dmitry Kawarga’ on the reverse. This work is unique.
Estimate £8,000–10,000 $11,500–14,400 €9,300–11,600 ♠ Provenance Barbarian Art Gallery by Natasha Akhmerova, Zürich
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254 Meta Isaeus-BerlIn b. 1963 Frustration, 2005 Oil on canvas. 90.2 × 192.3 cm (35 1/2 × 75 3/4 in). Initialled and dated ‘M.I.B. 2005’ on the reverse; signed, titled and dated ‘Frustration Meta IsaeusBerlin 2005’ on the stretcher bar.
estimate £5,000–7000 $7,200–10100 €5,800–8,100 Provenance Andréhn-Schiptjenko, Stockholm
255 PHIlIPPe Pastor b. 1961 Untitled from Les Coeurs, 2010 Mixed media on canvas. 200 × 200 cm (78 3/4 × 78 3/4 in). This work is accompanied by a certificate of authenticity.
estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 ♠ Provenance Opera Gallery, Paris; Private Collection, Monaco
256 DaviD La ChapeLLe b. 1964
257 Tom hunTer b. 1965
The Art of Squatting, 1997
C-print. 61 × 235 cm (24 × 92 1/2 in). Signed ‘David LaChapelle’ on label adhered
Cibachrome print flush-mounted to foamcore. 152.2 × 121.9 cm (59 7/8 × 48 in).
to the reverse. This work is from an edition of ten.
This work is from an edition of five.
estimate £25,000–35,000 $36,000–50,400 €29,000–40,600
estimate £2,000–3,000 $2,900–4,300 €2,300–3,500 ♠
Provenance Acquired directly from the artist
Provenance Private Collection, Spain
Alternative lenticular view
258 Bae Joonsung b. 1967 The Costume of Painter, 2008 Lenticular print with oil on canvas in artist’s frame. 157 × 123.6 cm (59 3/4 × 46 3/4 in). Signed, titled, numbered of five and dated ‘The Costume of Painter 2008 Bae Joonsung’ on the reverse. This work is from an edition of five and is accompanied by a certificate of authenticity.
estimate £7,000–9,000 $10,100–13,000 €8,100–10,400 Provenance Private Collection, Europe
259 Sam Kaprielov b. 1977
260 Stefan Kürten b. 1963
Pastel on gessoed board. 122 × 181.5 cm (48 × 71 1/2 in). Initialled ‘S.K.’
Oil and pigmented gesso on canvas. 60.5 × 45.7 cm (23 3/4 × 18 in). Signed,
titled and dated ‘Stefan Kürten Airport 2006’ on reverse.
estimate £4,000–6,000 $5,800–8,600 €4,600–7,000 ♠
estimate £2,000–3,000 $2,900–4,300 €2,300–3,500 ♠ ‡
Provenance Acquired directly from the artist; Private Collection, Europe
Provenance Alexander and Bonin, New York; Private Collection, Boston
261 DaviD Breuer-Weil b. 1965 Mortal, 2006 Oil on canvas. 189 × 226 cm (74 3/8 × 89 in). Signed and dated ‘Breuer-Weil 2006’ upper left.
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 ♠ Provenance Acquired directly from the artist
Like many of the works in the series Project 3, this work is a profound exploration of the human condition and in particular the paradox of mortality. Discussing this particular work, Breuer-Weil stated: “In truth each of us is a floating soul, not rooted. In Mortal I show life thriving on wooden planks that cover a large chasm. The whole structure is very flimsy, but people are going about their business very confidently” (quoted in the exhibition catalogue, David Breuer-Weil, Project 3, 9 –13 Mercer Street, London, 2007, p. 66).
262 Anri SAlA b. 1974 Untitled (Golf), 2006 C-print on dibond. 93.4 × 129.4 cm (36 3/4 × 51 in). Signed ‘Anri Sala’ on a label adhered to the reverse. This work is from an edition of five plus two artist’s proofs.
Estimate £5,000–7,000 $7,200–10,100 €5,800–8,100 Provenance Hauser & Wirth, Zürich
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263 rEbEccA Horn b. 1944 Unicorn, 1970/2000 Gelatin silver print. 58.5 × 43.5 cm (23 × 16 7/8 in). Signed ‘Rebecca Horn’ lower right and numbered from an edition of twelve lower left. This work is from an edition of twelve and three artist’s proofs.
Estimate £5,000–7,000 $7,200–10,100 €5,800–8,100 ♠ Provenance Galerie Thomas Schulte, Berlin
CTA JUNE DAY part2_pp218-313.indd 297
264 James Reilly b. 1956 Drawing the Line, 1998 Five works: oil on canvas. 15.2 × 25.4 cm (6 × 10 in); 25.4 × 36 cm (10 × 14 1/8 in); 25.4 × 20 cm (10 × 7 7/8 in); 45.7 × 35.6 cm (18 × 14 in); 35.3 × 35.3 cm (13 7/8 × 13 7/8 in). Each signed, titled, numbered from 1 to 5, inscribed and dated ‘James Rielly 1998 Drawing the Line’ on the reverse.
estimate £5,000–7,000 $7,200–10,100 €5,800–8,100 ♠ ‡ Provenance Laurent Delaye Gallery, London; Spencer Brownstone Gallery, New York
265 Thomas Ruff b. 1958 Portraits, 1986–88 Six Cibachrome prints. Each: 24.2 × 18.2 cm ( 9 1/2 × 7 1/8 in). Signed and dated ‘Th Ruff 1986’ on the reverse of two prints; signed and dated ‘Th Ruff 1987’ on the reverse of one print; signed and dated ‘Th Ruff 1988’ on the reverse of two prints. These works are from an edition of three plus one artist’s proof. The upper middle image is from an edition of four plus one artist’s proof.
Estimate £8,000–12,000 $11,500–17,300 €9,300–13,900 ♠ Provenance 303 Gallery, New York exhibited New York, Neuberger Museum of Art, Crossing State Lines: 20th Century
Art from Private Collections in Westchester and Fairfield Counties, March – June 1995 literature P. Boym, Thomas Ruff 1979 to the Present, Cologne, 2001, pp. 183–86
(other examples illustrated)
CTA JUNE DAY part2_pp218-313.indd 300
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266 GEd Quinn b. 1963 Being There, 2005 Oil on linen. 266.7 × 182.9 cm (105 × 72 in). Signed, titled and dated ‘Ged Quinn “Being There” 2005’ on the stretcher three times.
Estimate £7,000–9,000 $10,100–13,000 €8,100–10,400 ♠ ‡ Provenance Wilkinson Gallery, London
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267 CERiTh Wyn Evans b. 1958 11.08.99 Munich (Total Eclipse), 2004 C-print. 33 × 49 cm (13 × 19 1/4 in). The work is from an edition of six.
Estimate £3,000–4,000 $4,300–5,760 €3,500–4,600 ♠ ‡ Provenance White Cube, London
CTA JUNE DAY part2_pp218-313.indd 303
268 Sharon Lockhart b. 1964 No-no Ikebana, Arranged by Haruko Takeichi, December 1, 2002, 2003 Three colour coupler prints. Each: 57.2 × 71.1 cm (22 1/2 × 28 in). Signed, numbered of six and dated ‘Sharon Lockhart 2003’ on the reverse of Panel A. This work is from an edition of six.
Estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 Provenance Leo Koenig Inc., New York
CTA JUNE DAY part2_pp218-313.indd 304
269 maT CoLLishaW b. 1961
270 hans-PETER fELdmann b. 1941
The Awakening of Conscience, Emily, 1997
Flower pictures from postcards, 2001
Photographic print in artist’s wooden frame. 200 × 200 cm (78 3/4 × 78 3/4 in). This work is
Two c-prints. 119.4 × 85 cm (47 × 33 1/2 in).
from an edition of three.
Estimate £6,000–8,000 $8,600–11,500 €7,000–9,300 ♠ Estimate £3,000–5,000 $4,300–7,200 €3,500–5,800 ♠ Provenance Galerie Micheline Szwajcer, Antwerp Provenance Lisson Gallery, London; Bonakdar Jancou Gallery, New York; Vicki & Kent Logan
Collection, Vail exhibited San Francisco, Logan Galleries, CCAC San Francisco Campus, Potent Present:
Selections from the Vicki and Kent Logan Collection, March–May 2000
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271 YAYOI KUSAMA b. 1929 Four Works: (i) Untitled, 1983; (ii) Bird I, 1980; (iii) Untitled, 1980; (iv) Earth, 1980 Ink, gouache, glitter, pastel and paper collage on paper. (i) 66 × 50.8 cm (26 × 20 in) ; (ii) 50.8 × 66 cm (20 × 26 in); (iii) 66 × 50.8 cm (26 × 20 in); (iv) 50.8 × 66 cm (20 × 26 in). (i) Signed and dated ‘Yayoi Kusama 1983’ lower right; (ii) signed and dated ‘Yayoi Kusama 1980’ lower right; signed, titled and dated in Japanese and English ‘Bird Yayoi Kusama 1980’ on the reverse; (iii) signed and dated ‘Yayoi Kusama 1980’ lower right; (iv) signed and dated ‘Yayoi Kusama 1980’ lower right; signed, titled and dated in Japanese and English ‘Yayoi Kusama 1980 Earth’ on the reverse.
Estimate £12,000–18,000 $17,300–25,900 €13,900–20,900 Provenance Private Collection, Europe
272 YAYOI KUSAMA b. 1929 Two works: (i) Ripple; (ii) Silver at the bottom of the lake, 1978 Spray paint and ink on card. (i) 27.2 × 24.2 cm (10 3/4 × 9 1/2 in); (ii) 24.2 × 27.2 cm ( 9 1/2 × 10 3/4 in). Each signed and dated ‘YAYOI KUSAMA 1978’ upper left. (i) Signed in Japanese and English, titled in Japanese and dated ‘1978 Yayoi Kusama Ripple’ on the reverse; (ii) Signed in Japanese and English, titled in Japanese and dated ‘Yayoi Kusama 1978 Silver at the bottom of the lake’ on the reverse.
Estimate £3,000–5,000 $4,300–7,200 €3,500–5,800 Provenance Private Collection, Europe
273 THOMAS RUFF b. 1958 Nudes lu 10, 1999 C-print. 134.9 × 94 cm (53 1/8 × 37 in). Signed, numbered of five and dated and numbered ‘Th Ruff 1999’ on reverse of mount. This work is from an edition of five.
Estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 ♠ Provenance Private Collection, Europe Literature M. Houellebecq, Thomas Ruff Nudes, A Short Story, Munich, 2003,
p. 145 (illustrated)
274 THOMAS RUFF b. 1958 Nude ni 20, 2000 Colour coupler print. 112 × 157 cm (44 × 61 3/4 in). Signed, numbered of five and dated ‘Thomas Ruff 2000’ on the reverse of the mount. This work is from an edition of five plus two artist’s proofs.
Estimate £30,000–50,000 $43,200–72,000 €34,800–58,000 ♠ ‡ Provenance Stellan Holm Gallery, New York
275 KENDELL GEERS b. 1968 F.V. 12, 2005 Ink on four sheets of paper. Overall 203 × 132 cm (79 7/8 × 52 in). Signed ‘Kendell Geers’ lower right.
Estimate £7,000–9,000 $10,100–13,000 €8,100–10,400 ♠ Provenance Private Collection, Europe
276 RachEL FEiNStEiN b. 1971 Unicorn, 2002 Fabric, resin, plaster, foam and acrylic on wood. 101.9 × 185.1 × 80 cm (40 1/8 × 72 7/8 × 31 1/2 in).
Estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 † Provenance Private collection, UK exhibited canterbury, herbert read Gallery, Candyland Zoo, 16 January – 14 February
2004; dijon, Le consortium, Rachel Feinstein: Tropical Rodeo, 29 october – 30 december 2006; London, Marc Jacobs international, 3 october – 30 october 2007
277 William Wegman b. 1943 Overs and Crossovers, 1987 Four colour polaroids. (i) 73.5 × 56 cm (28 7/8 × 22 in); (ii) 73 × 55.5 cm (28 3/4 × 21 7/8 in); (iii) 74.5 × 55.8 cm (29 3/8 × 22 in); (iv) 71.5 × 55.5 cm (28 1/8 × 21 7/8 in). (i) Titled ‘overs and crossovers’ lower left; (iv) signed and dated ‘William Wegman 1987’ lower right.
estimate £10,000–15,000 $14,400–21,600 €11,600–17,400 Provenance Patrick De Brock Gallery, Knokke
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278 Roni HoRn b. 1955 Untitled (Kitty Cat), 2000 C-prints mounted on polyester. Each 76.2 × 76.2 cm (30 × 30 in). Signed ‘Roni Horn’ and numbered of twelve on a label adhered to the reverse. These works are from an edition of twelve.
estimate £10,000–12,000 $14,400–17,300 €11,600–13,900 Provenance Leo Koenig Inc., New York
CTA JUNE DAY part2_pp218-313.indd 313
Almond, D. 180 Aoshima, C. 176 Perry, G. Bae, J.
139, 141, 143, 144
Kahrs, J. 1
106 264 3, 41
Brown, C. 150
159, 161, 162
Piza, A. L.
Basquiat, J. M. Belyi, P.
145, 146, 147
Rio Branco, M.
Rocha Pitta, T.
Collishaw, M. Cragg, T.
38, 265, 273, 274
Craig Martin, M.
Day Jackson, M. de Castro, A. Deacon, R.
Dogancay, B. Eliasson, O. Esser, E.
235, 236 11, 187
Melgaard, B. Miao, X
275 21, 40
Uklanski, P. 237
Gilbert & George
Tishkov, L. Turk, G.
Förg, G. 122, 220, 223 Frost, T.
Maiolino, A. M.
Skreber, D. Stella F.
M/M (Paris) & Gillick, L. 276
193, 194, 201, 208
Snow, D. 181
109 248, 262
Scarpitta, S. 195
Detanico, A. & Lain, R.
Lain, R. & Detanico, A.
Wang, G 34, 168
Gross, C. 202
Webster, S. & Noble, T.
241, 242 252
Gütschow, B. Haring, K. Hirst, D.
36, 120 37, 131, 132, 133, 135, 137, 138
Höfer, C. Horn, R.
5, 10, 15, 105, 117, 118, 119,
Wyn Evans, C. 267
185, 186 7, 102, 182, 263, 278
Hunter, T. Hütte, A.
Yang, S. 33
Nitsche, F. Indiana, R.
Zhang, P. 175 Zheng, G.
Oiticica, H. Opie, J.
Pastor, P. Penck, AR.
Zheng, D. 173 Ofili, C.
Zhang, H 172
Noble, T. & Webster, S.
255 151, 152
GUIDE FOR PROSPECTIVE BUYERS BUYING aT aUCTION
The following pages are designed to offer you information on how to buy at auction at
The following key explains the symbols you may see inside this catalogue.
Phillips de Pury & Company. Our staff will be happy to assist you. O Guaranteed Property CONDITIONS OF SalE
The seller of lots with this symbol has been guaranteed a minimum price. The guarantee
The Conditions of Sale and Authorship Warranty which appear later in this catalogue
may be provided by Phillips de Pury & Company, by a third party or jointly by us and a
govern the auction. Bidders are strongly encouraged to read them as they outline the legal
third party. Phillips de Pury & Company and third parties providing or participating in a
relationship between Phillips de Pury & Company, the seller and the buyer and describe
guarantee may benefit financially if a guaranteed lot is sold successfully and may incur
the terms upon which property is bought at auction. Please be advised that Phillips de
a loss if the sale is not successful.
Pury & Company generally acts as agent for the seller. ∆ Property in which Phillips de Pury & Company has an Ownership Interest BUYER’S PREmIUm
Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in
Phillips de Pury & Company charges the successful bidder a commission, or buyer’s
part or has an economic interest in the lot equivalent to an ownership interest.
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
Unless indicated by a , all lots in this catalogue are offered subject to a reserve.
including £500,000, and 12% of the portion of the hammer price above £500,000.
A reserve is the confidential value established between Phillips de Pury & Company 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.
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.
♠ Property Subject to the artist’s Resale Right Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of the hammer price and payable as part of the purchase price as follows:
1 PRIOR TO aUCTION
Portion of the Hammer Price (in EUR)
From 0 to 50,000
If you would like to purchase a catalogue for this auction or any other Phillips de Pury &
From 50,000.01 to 200,000
Company sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.
From 200,000.01 to 350,000
From 350,000.01 to 500,000
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
The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to
lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’
a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be
appears, please contact the specialist department for further information. It is advisable
based on the pounds sterling/euro reference exchange rate quoted on the date of the sale
to contact us closer to the time of the auction as estimates can be subject to revision.
by the European Central Bank.
Pre-sale estimates do not include the buyer’s premium or VAT. †, §, ‡, or Ω Property Subject to VaT Pre-Sale Estimates in US Dollars and Euros
Please refer to the section entitled ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’
Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction
in this catalogue for additional information.
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 de Pury & Company 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 de Pury & Company may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the 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 de Pury & Company 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.
2 BIDDING IN ThE SalE
4 aFTER ThE aUCTION
Bidding at auction
Bids may be executed during the auction in person by paddle or by telephone or prior to
Buyers are required to pay for purchases immediately following the auction unless other
the sale in writing by absentee bid. Proof of identity in the form of government-issued
arrangements have been agreed with Phillips de Pury & Company in writing in advance of
identification will be required, as will an original signature. We may also require that
the sale. Payments must be made in pounds sterling either by cash, cheque drawn on a UK
you furnish us with a bank reference.
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.
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
As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and
the name and address to which the paddle has been registered and invoices cannot be
UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.
transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the
end of the auction, please return your paddle to the registration desk.
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 de Pury & Company has received
Bidding by Telephone
full and cleared payment and we are not owed any other amount by the buyer. After the auction,
If you cannot attend the auction, you may bid live on the telephone with one of our
we will transfer all lots to our fine art storage facility located near Wimbledon and will so
multilingual staff members. This service must be arranged at least 24 hours in advance of
advise all buyers. If you are in doubt about the location of your purchase, please contact the
the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone
Shipping Department prior to arranging collection. We will levy removal, interest, storage and
bids may be recorded. By bidding on the telephone, you consent to the recording of your
handling charges on uncollected lots.
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
loss or Damage
Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction.
absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de
Transport and Shipping
Pury & Company will be happy to execute written bids on your behalf. A bidding form can
As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand
be found at the back of this catalogue. This service is free and confidential. Bids must be
carry only. We do not provide packing, handling or shipping services directly. However, we
placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the
will coordinate with shipping agents instructed by you in order to facilitate the packing,
lowest possible price taking into account the reserve and other bidders. Always indicate
handling and shipping of property purchased at Phillips de Pury & Company. Please refer
a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be
to Paragraph 7 of the Conditions of Sale for more information.
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.
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
Employees of Phillips de Pury & Company and our affiliated companies, including the
Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply
auctioneer, may bid at the auction by placing absentee bids so long as they do not know
with all import and export laws and to obtain any necessary licences or permits. The
the reserve when submitting their absentee bids and otherwise comply with our employee
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.
Bidding generally opens below the low estimate and advances in increments of up to 10%,
Items made of or incorporating plant or animal material, such as coral, crocodile, ivory,
subject to the auctioneer’s discretion. Absentee bids that do not conform to the
whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may
increments set below may be lowered to the next bidding increment.
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
UK£50 to UK£1,000
ability to obtain an export licence or certificate does not ensure the ability to obtain an
UK£1,000 to UK£2,000
import licence or certificate in another country, and vice versa. We suggest that
UK£2,000 to UK£3,000
prospective bidders check with their own government regarding wildlife import
UK£3,000 to UK£5,000
by UK£200s, 500, 800 (i.e., UK£4,200, 4,500, 4,800)
requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any
UK£5,000 to UK£10,000
necessary export or import licences or certificates as well as any other required
UK£10,000 to UK£20,000
documentation. The denial of any required licence or certificate or any delay in obtaining
UK£20,000 to UK£30,000
such documentation will not justify the cancellation of the sale or any delay in making full
UK£30,000 to UK£50,000
by UK£2,000s, 5,000, 8,000
payment for the lot.
UK£50,000 to UK£100,000
UK£100,000 to UK£200,000
at the auctioneer’s discretion
The auctioneer may vary the increments during the course of the auction at his or her own discretion.
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 de Pury & Company will make an announcement in the saleroom that interested parties may bid on the lot. Consecutive and Responsive Bidding 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.
VaT aND OThER TaX INFORmaTION FOR BUYERS The following paragraphs provide general information to buyers on the VAT and certain
Where the buyer carries purchases from the EU personally or uses the services of a third
other potential tax implications of purchasing property at Phillips de Pury & Company.
party, Phillips de Pury & Company will charge the VAT amount due as a deposit and
This information is not intended to be complete. In all cases, the relevant tax legislation
refund it if the lot has been exported within the timelines specified below and either
takes precedence, and the VAT rates in effect on the day of the auction will be the rates
of the following conditions are met:
charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is not usually treated as agent and most property is sold as if it is the property of Phillips de
• For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules,
Pury & Company. In the following paragraphs, reference to VAT symbols shall mean those
Phillips de Pury & Company is provided with appropriate documentary proof of
symbols located beside the lot number or the pre-sale estimates in the catalogue (or
export from the EU within three months of the date of sale. Buyers carrying their
amending saleroom addendum).
own property should obtain hand-carry papers from the Shipping Department to facilitate this process.
1 PROPERTY wITh NO VaT SYmBOl Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s
• For lots sold under temporary admission, Phillips de Pury & Company is provided
Margin Scheme, and VAT will not normally be charged on the hammer price.
with a copy of the correct paperwork duly completed and stamped by HM Revenue & Customs which shows the property has been exported from the EU via the UK
Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will
within 30 days of payment date. It is essential for shippers acting on behalf of
charge an amount in lieu of VAT at 17.5% on the buyer’s premium. This amount will form
buyers to collect copies of original import papers from our Shipping Department.
part of the buyer’s premium on our invoice and will not be separately identified.
HM Revenue & Customs insist that the correct customs procedures are followed and Phillips de Pury & Company will not be able to issue any refunds where the
2 PROPERTY wITh a † SYmBOl
export documents do not exactly comply with governmental regulations. Property
These lots will be sold under the normal UK VAT rules, and VAT will be charged at 17.5%
subject to temporary admission must be transferred to another customs procedure
on both the hammer price and buyer’s premium.
immediately if any restoration or repair work is to be carried out.
Where the buyer is a relevant business person in the EU (non-UK) or is a relevant business
Buyers carrying their own property must obtain hand-carry papers from the Shipping
person in a non-EU country then no VAT will be charged on the buyer’s premium. This is
Department, for which a charge of £20 will be made. The VAT refund will be processed
subject to Phillips de Pury & Company being provided with evidence of the buyer’s VAT
once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips
registration number in the relevant Member State (non-UK) or the buyer’s business status
de Pury & Company is not able to cancel or refund any VAT charged on sales made to UK
in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence
or EU private residents unless the lot is subject to temporary admission and the property
not be provided then VAT will be charged on the buyer’s premium.
is exported from the EU within 30 days of payment date. Any refund of VAT is subject to a minimum of £50 per shipment and a processing charge of £20.
3 PROPERTY wITh a § SYmBOl Lots sold to buyers whose registered address is in the EU will be assumed to be remaining
Buyers intending to export, repair, restore or alter lots under temporary admission should
in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer
notify the Shipping Department before collection. Failure to do so may result in the import
advises us that the property is to be exported from the EU, Phillips de Pury & Company will
VAT becoming payable immediately and Phillips de Pury & Company being unable to
re-invoice the property under the normal VAT rules.
refund the VAT charged on deposit.
Lots sold to buyers whose address is outside the EU will be assumed to be exported from
6 VaT REFUNDS FROm hm REVENUE & CUSTOmS
the EU. The property will be invoiced under the normal VAT rules. Although the hammer
Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be
price will be subject to VAT, the VAT will be cancelled or refunded upon export. The
possible to seek repayment from HM Revenue & Customs (‘HMRC’). Repayments in this
buyer’s premium will always bear VAT unless the buyer is a relevant business person in
manner are limited to businesses located outside the UK and may be considered for example
the EU (non-UK) or is a relevant business person in a non-EU country, subject to Phillips
for Import VAT charged on the hammer price for lots sold under temporary admission.
de Pury & Company receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such
All claims made by customers located in another member state to the UK will need to be
as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will
made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is
be charged on the buyer’s premium.
no longer in operation.
4 PROPERTY SOlD wITh a ‡ OR Ω SYmBOl
If you are located in an EU member state other than the UK you will now need to apply for a
These lots have been imported from outside the EU to be sold at auction under temporary
refund of UK VAT directly to your local tax authority. This is done via submission of an
admission. Property subject to temporary admission will be offered under the
electronically based claim form which should be accessed through the website of your
Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 17.5%,
local tax authority. As a result, your form may include VAT incurred in a number of
marked by ‡ and Ω respectively, on the hammer price and an amount in lieu of VAT at 17.5%
member states. Furthermore, from 1 January 2010 you should only submit one form per
on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin
year, rather than submitting forms throughout the year.
Scheme should notify the Client Accounting Department before the sale. Please note that the time limits by which you must make a claim have been extended. Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant
When making a claim for VAT incurred in another EU member state any claim will still be
business person in the EU (non-UK) or is a relevant business person in a non-EU country
made on a calendar year basis but must now be made no later than 30 September
then no VAT will be charged on the buyer’s premium. This is subject to Phillips de Pury &
following that calendar year. This effectively extends the time by which claims should be
Company receiving evidence of the buyer’s VAT registration number in the relevant
made by three months (e.g. for VAT incurred in the year 1 January to 31 December 2010 you
Member State (non-UK) or the buyer’s business status in a non-EU country such as the
should make a claim to your local tax authority no later than 30 September 2011). Once you
buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be
have submitted the electronic form to your local tax authority it is their responsibility to
charged on the buyer’s premium.
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
5 EXPORTS FROm ThE EUROPEaN UNION
on the unpaid amounts.
The following types of VAT may be cancelled or refunded by Phillips de Pury & Company on exports made within three months of the sale date if strict conditions are met:
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
• The amount in lieu of VAT charged on the buyer’s premium for property sold
only available from the HMRC website. Go to http://www.hmrc.gov.uk/index.htm, and
under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol).
follow Quick Links then Find a Form. The relevant form is VAT65A. Completed forms should be returned to: HM Revenue & Customs, VAT Overseas Repayment Directive, Foyle
• The VAT on the hammer price for property sold under the normal VAT rules
House, Duncreggan Road, Londonderry, Northern Ireland, BT48 7AE, (tel) +44 2871 305100
(i.e., with a † or a § symbol).
(fax) +44 2871 305101.
The following type of VaT may be cancelled or refunded by Phillips de Pury &
You should submit claims for VAT to HMRC no later than six months from the end of the
Company on exports made within 30 days of payment date if strict conditions are met:
12 month period ending 30 June (e.g. claims for the period 1 July 2009 to 30 June 2010 should be made no later than 31 December 2010).
• The import VAT charged on the hammer price and an amount in lieu of VAT on the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a
Please note that refunds of VAT will only be made where VAT has been incurred for a business
Ω symbol) under the Auctioneer’s Margin Scheme.
purpose. Any VAT incurred on articles bought for personal use will not be refunded.
In each of the above examples, where the appropriate conditions are satisfied, no VAT
7 SalES aND USE TaXES
will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury &
Buyers from outside the UK should note that local sales taxes or use taxes may
Company to export the property from the EU. If such instruction is received after payment,
become payable upon import of lots following purchase. Buyers should consult their
a refund of the VAT amount will be made.
own tax advisors.
CONDITIONS OF SalE The Conditions of Sale and Authorship Warranty set forth below govern the relationship
(c) Telephone bidders are required to submit bids on the ‘Telephone Bid Form’, a copy of
between bidders and buyers, on the one hand, and Phillips de Pury & Company and
which is printed in this catalogue or otherwise available from Phillips de Pury & Company.
sellers, on the other hand. All prospective buyers should read these Conditions of Sale
Telephone bidding is available for lots whose low pre-sale estimate is at least £500.
and Authorship Warranty carefully before bidding.
Phillips de Pury & Company 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
Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale
telephone, a bidder consents to the recording of the conversation.
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
(d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder
catalogue or other written material posted by Phillips de Pury & Company in the saleroom,
accepts personal liability to pay the purchase price, as described more fully in Paragraph
in each case as amended by any addendum or announcement by the auctioneer prior to
6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing
with Phillips de Pury & Company before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips de Pury &
By bidding at the auction, whether in person, through an agent, by written bid, by
Company and that we will only look to the principal for such payment.
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.
(e) Arranging absentee and telephone bids is a free service provided by Phillips de Pury & Company to prospective buyers. While we undertake to exercise reasonable care in
These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain
undertaking such activity, we cannot accept liability for failure to execute such bids except
all the terms on which Phillips de Pury & Company and the seller contract with the buyer.
where such failure is caused by our wilful misconduct.
2 PhIllIPS de PURY & COmPaNY aS aGENT
(f) Employees of Phillips de Pury & Company and our affiliated companies, including the
Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in
auctioneer, may bid at the auction by placing absentee bids so long as they do not know
this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own
the reserve when submitting their absentee bids and otherwise comply with our employee
a lot, in which case we will act in a principal capacity as a consignor, or may have a legal,
beneficial or financial interest in a lot as a secured creditor or otherwise. 5 CONDUCT OF ThE aUCTION
3 CaTalOGUE DESCRIPTIONS aND CONDITION OF PROPERTY
(a) Unless otherwise indicated by the symbol
Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless
which is the confidential minimum selling price agreed by Phillips de Pury & Company with
such description is changed or supplemented, as provided in Paragraph 1 above) and in
the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction.
, each lot is offered subject to a reserve,
the condition that they are in at the time of the sale on the following basis. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially
lot for sale (including after the fall of the hammer) if he or she believes there may be error
dependent on information provided to us by the seller, and Phillips de Pury & Company is
or dispute and take such other action as he or she deems reasonably appropriate.
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
(c) The auctioneer will commence and advance the bidding at levels and in increments
investigations to satisfy themselves as to the lots in which they may be interested.
he or she considers appropriate. In order to protect the reserve on any lot, the
Notwithstanding the foregoing, we shall exercise such reasonable care when making
auctioneer may place one or more bids on behalf of the seller up to the reserve without
express statements in catalogue descriptions or condition reports as is consistent with
indicating he or she is doing so, either by placing consecutive bids or bids in response
our role as auctioneer of lots in this sale and in light of (i) the information provided to us
to other bidders.
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.
(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
(b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by
shown in US dollars and/or euros and, if so, will reflect approximate exchange rates.
prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots
Accordingly, estimates in US dollars or euros should be treated only as a guide.
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
(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the
inspected the lot prior to bidding and have satisfied themselves as to both the condition of
auctioneer will be the buyer and the striking of the hammer marks the acceptance of the
the lot and the accuracy of its description.
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.
(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 de Pury & Company
(f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’,
may prepare and provide condition reports to assist prospective buyers when they are
‘returned to owner’ or ‘bought-in’.
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
(g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of
not expressly referred to in the catalogue or condition report. All dimensions are
Sale and Authorship Warranty as if sold in the auction.
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.
6 PURChaSE PRICE aND PaYmENT (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s
(d) Information provided to prospective buyers in respect of any lot, including any pre-sale
premium, plus any applicable value added tax (VAT) and any applicable resale royalty
estimate, whether written or oral, and information in any catalogue, condition or other
(the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and
report, commentary or valuation, is not a representation of fact but rather a statement of
including £25,000, 20% of the portion of the hammer price above £25,000 up to and
opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as
including £500,000 and 12% of the portion of the hammer price above £500,000.
a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company at our absolute discretion. Neither Phillips de Pury &
(b) VAT is payable in accordance with applicable law. All prices, fees, charges and
Company nor any of our affiliated companies shall be liable for any difference between the
expenses set out in these Conditions of Sale are quoted exclusive of VAT.
pre-sale estimates for any lot and the actual price achieved at auction or upon resale. c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to 4 BIDDING aT aUCTION
us an amount equal to the resale royalty provided for in those regulations and we
(a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction
undertake to the buyer to pay such amount to the artist’s collection agent. In
or participation in the sale. All bidders must register for a paddle prior to bidding,
circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have
supplying such information and references as required by Phillips de Pury & Company.
not been able to ascertain the nationality of the artist, we will identify the lot with the
(b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury
subsequently determine that the nationality of the artist does not entitle him/her to the
& Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s
resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty
behalf. Absentee bidders are required to submit bids on the ‘Absentee Bid Form’, a copy
paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot,
of which is printed in this catalogue or otherwise available from Phillips de Pury &
we become aware that information provided to us prior to the auction concerning an
Company. Bids must be placed in the currency of the sale. The bidder must clearly
artist’s nationality was incorrect and the artist is entitled to the resale royalty on the lot,
indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and
the buyer shall pay the resale royalty to us upon receipt of an invoice.
symbol ♠ next to the lot number and will invoice the resale royalty to the buyer. If we
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
(d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately
an absentee bid at the lowest possible price taking into account the reserve and other
following the auction regardless of any intention to obtain an export or import licence or
bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the
other permit for such lot. Payments must be made by the invoiced party in pounds
event of identical bids, the earliest bid received will take precedence.
sterling either by cash, cheque drawn on a UK bank or wire transfer, as follows:
(i) Phillips de Pury & Company will accept payment in cash provided that the total amount
premium for that lot, the buyer will remain liable for the shortfall together with all costs
paid in cash or cash equivalents does not exceed the local currency equivalent of
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;
(ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and the
or (viii) release the name and address of the buyer to the seller to enable the seller to
buyer provides to us acceptable government-issued identification. Cheques and banker’s
commence legal proceedings to recover the amounts due and legal costs.
drafts should be made payable to “PDEPL LTD”. If payment is sent by post, please send the cheque or banker’s draft to the attention of the Client Accounting Department at
(b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the
Howick Place, London SW1P 1BB and ensure that the sale number is written on the
buyer’s property which is in our possession upon notification by any of our affiliated
cheque. Cheques or banker’s drafts drawn by third parties will not be accepted.
companies that the buyer is in default of payment. Phillips de Pury & Company will notify
(iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank
the buyer of any such lien. The buyer also irrevocably authorizes Phillips de Pury &
transfer details will be provided on the Invoice for purchased lots.
Company, 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
(e) As a courtesy to clients, Phillips de Pury & Company will accept Visa, MasterCard and
delivery to our affiliated company as security for the payment of any outstanding amount
UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.
due. Phillips de Pury & Company will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.
(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to
(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips de Pury &
release a lot to the buyer until title in the lot has passed and appropriate identification has
Company to instruct any of our affiliated companies in possession of the buyer’s property
been provided, and any earlier release does not affect the passing of title or the buyer’s
to deliver the property by way of pledge as the buyer’s agent to a third party instructed by
unconditional obligation to pay the Purchase Price.
Phillips de Pury & Company 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
7 COllECTION OF PROPERTY
of written notice to the buyer, to sell the property in such manner and for such
(a) Phillips de Pury & Company will not release a lot to the buyer until we have received
consideration as can reasonably be obtained on a forced sale basis and to apply the
payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding
proceeds to any amount owed to Phillips de Pury & Company or any of our affiliated
amounts due to Phillips de Pury & Company or any of our affiliated companies, including
companies after the deduction from sale proceeds of our standard vendor’s commission,
any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such
all sale-related expenses and any applicable taxes thereon.
other terms as we in our sole discretion shall require, including completing any antimoney laundering or anti-terrorism financing checks. As soon as a buyer has satisfied
10 RESCISSION BY PhIllIPS de PURY & COmPaNY
all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or
Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale
+44 (0) 207 318 4082 to arrange for collection of purchased property.
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
(b) The buyer must arrange for collection of a purchased lot within five days of the date of
made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the
the auction. After the auction, we will transfer all lots to our fine art storage facility located
sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then
near Wimbledon and will so advise all buyers. Purchased lots are at the buyer’s risk,
refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the
including the responsibility for insurance, from (i) the date of collection or (ii) five days
refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury
after the auction, whichever is the earlier. Until risk passes, Phillips de Pury & Company will
& Company and the seller with respect to such rescinded sale.
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.
11 EXPORT, ImPORT aND ENDaNGERED SPECIES lICENCES aND PERmITS Before bidding for any property, prospective buyers are advised to make their own
(c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap
enquiries as to whether a licence is required to export a lot from the United Kingdom or to
purchased lots for hand carry only. We do not provide packing, handling, insurance or
import it into another country. Prospective buyers are advised that some countries
shipping services. We will coordinate with shipping agents instructed by the buyer,
prohibit the import of property made of or incorporating plant or animal material, such as
whether or not recommended by Phillips de Pury & Company, in order to facilitate the
coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age,
packing, handling, insurance and shipping of property bought at Phillips de Pury &
percentage or value. Accordingly, prior to bidding, prospective buyers considering export
Company. Any such instruction is entirely at the buyer’s risk and responsibility, and
of purchased lots should familiarize themselves with relevant export and import
we will not be liable for acts or omissions of third party packers or shippers.
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
(d) Phillips de Pury & Company will require presentation of government-issued
licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify
identification prior to release of a lot to the buyer or the buyer’s authorized representative.
the cancellation of the sale or any delay in making full payment for the lot.
8 FaIlURE TO COllECT PURChaSES
12 DaTa PROTECTION
(a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days
(a) In connection with the management and operation of our business and the marketing and
of the auction, the buyer will incur a late collection fee of £25, storage charges of £3 per
supply of auction related services, or as required by law, we may ask clients to provide
day and pro rated insurance charges of 0.1% of the Purchase Price per month on each
personal information about themselves or obtain information about clients from third parties
(e.g., credit information). If clients provide us with information that is defined by law as ‘sensitive’, they agree that Phillips de Pury & Company and our affiliated companies may use
(b) If a purchased lot is paid for but not collected within six months of the auction, the
it for the above purposes. Phillips de Pury & Company and our affiliated companies will not
buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item
use or process sensitive information for any other purpose without the client’s express
by auction or private sale, with estimates and a reserve set at Phillips de Pury &
consent. If you would like further information on our policies on personal data or wish to make
Company’s reasonable discretion. The proceeds of such sale will be applied to pay for
corrections to your information, please contact us at +44 20 7318 4010. If you would prefer not to
storage charges and any other outstanding costs and expenses owed by the buyer to
receive details of future events please call the above number.
Phillips de Pury & Company or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.
(b) In order to fulfil the services clients have requested, Phillips de Pury & Company may disclose information to third parties such as shippers. Some countries do not offer
9 REmEDIES FOR NON-PaYmENT
equivalent legal protection of personal information to that offered within the European
(a) Without prejudice to any rights the seller may have, if the buyer without prior
Union (EU). It is Phillips de Pury & Company’s policy to require that any such third parties
agreement fails to make payment of the Purchase Price for a lot in cleared funds within
respect the privacy and confidentiality of our clients’ information and provide the same
five days of the auction, Phillips de Pury & Company may in our sole discretion exercise
level of protection for client information as provided within the EU, whether or not they are
one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s
located in a country that offers equivalent legal protection of personal information. By
premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot,
agreeing to these Conditions of Sale, clients agree to such disclosure.
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
13 lImITaTION OF lIaBIlITY
interest at 12% per annum from the date payment became due until the date the Purchase
(a) Subject to sub-paragraph (e) below, the total liability of Phillips de Pury & Company,
Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien
our affiliated companies and the seller to the buyer in connection with the sale of a lot
over any of the buyer’s property which is in the possession of Phillips de Pury & Company
shall be limited to the Purchase Price actually paid by the buyer for the lot.
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
(b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury &
such notice arrange the sale of such property and apply the proceeds to the amount owed
Company, any of our affiliated companies or the seller (i) is liable for any errors or
to Phillips de Pury & Company or any of our affiliated companies after the deduction from
omissions, whether orally or in writing, in information provided to prospective buyers by
sale proceeds of our standard vendor’s commission, all sale-related expenses and any
Phillips de Pury & Company or any of our affiliated companies or (ii) accepts
applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a
responsibility to any bidder in respect of acts or omissions, whether negligent or
reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood
otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection
that in the event such resale is for less than the original hammer price and buyer’s
with the conduct of the auction or for any other matter relating to the sale of any lot.
aUThORShIP waRRaNTY (c) All warranties other than the Authorship Warranty, express or implied, including any
Phillips de Pury & Company warrants the authorship of property in this auction catalogue
warranty of satisfactory quality and fitness for purpose, are specifically excluded by
for a period of five years from date of sale by Phillips de Pury & Company, subject to the
Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent
exclusions and limitations set forth below.
permitted by law. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer (d) Subject to sub-paragraph (e) below, none of Phillips de Pury & Company, any of our
of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty
affiliated companies or the seller shall be liable to the buyer for any loss or damage
does not extend to (i) subsequent owners of the property, including purchasers or
beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether
recipients by way of gift from the original buyer, heirs, successors, beneficiaries and
such loss or damage is characterised as direct, indirect, special, incidental or
assigns; (ii) property created prior to 1870, unless the property is determined to be
consequential, or for the payment of interest on the Purchase Price to the fullest extent
counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive)
permitted by law.
and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that
(e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability
there is a conflict of opinion on the authorship of the property; (iv) property where our
of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of
attribution of authorship was on the date of sale consistent with the generally accepted
any fraud or fraudulent misrepresentation made by any of us or in respect of death or
opinions of specialists, scholars or other experts; or (v) property whose description or
personal injury caused by our negligent acts or omissions.
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.
The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall
(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company
remain at all times the property of Phillips de Pury & Company and, subject to the
reserves the right, as a condition to rescinding any sale under this warranty, to require the
provisions of the Copyright, Designs and Patents Act 1988, such images and materials
buyer to provide to us at the buyer’s expense the written opinions of two recognized
may not be used by the buyer or any other party without our prior written consent. Phillips
experts approved in advance by Phillips de Pury & Company. We shall not be bound by any
de Pury & Company and the seller make no representations or warranties that the buyer of
expert report produced by the buyer and reserve the right to consult our own experts at
a lot will acquire any copyright or other reproduction rights in it.
our expense. If Phillips de Pury & Company 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.
(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
(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a
respect to the transactions contemplated herein and supersede all prior and
claim for breach of the Authorship Warranty provided that (i) he or she has notified
contemporaneous written, oral or implied understandings, representations and
Phillips de Pury & Company 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
(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the
why the authorship of the lot is being questioned and (ii) the buyer returns the lot to
department in charge of the sale, quoting the reference number specified at the beginning
Phillips de Pury & Company in the same condition as at the time of its auction and is able
of the sale catalogue. Notices to clients shall be addressed to the last address notified by
to transfer good and marketable title in the lot free from any third party claim arising after
them in writing to Phillips de Pury & Company.
the date of the auction.
(c) These Conditions of Sale are not assignable by any buyer without our prior written
(d) The buyer understands and agrees that the exclusive remedy for any breach of the
consent but are binding on the buyer’s successors, assigns and representatives.
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
(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable
Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of
for any reason, the remaining provisions shall remain in full force and effect. No failure by
any other remedy available as a matter of law. This means that none of Phillips de Pury &
any party to exercise, nor any delay in exercising, any right or remedy under these
Company, any of our affiliated companies or the seller shall be liable for loss or damage
Conditions of Sale shall act as a waiver or release thereof in whole or in part.
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
(e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights
payment of interest on the original Purchase Price.
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 de Pury & Company, 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 all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips de Pury & Company 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 de Pury & Company.
PhIllIPS de PURY & COmPaNY
Simon de Pury
Patricia G. Hambrecht
Lady Elena Foster
Chief Executive Officer Bernd Runge
H.I.H. Francesca von Habsburg Marc Jacobs
Dr. Michaela de Pury
Christiane zu Salm Juergen Teller Princess Gloria von Thurn und Taxis Jean Michel Wilmotte Anita Zabludowicz
Shirin Kranz, Specialist, Contemporary Art +49 30 880 018 42 Olivier Vrankenne, International Senior Specialist +32 486 43 43 44 Katherine van Thillo, Consultant +32 475 687 011
Brooke de Ocampo, International Specialist, Contemporary Art +44 777 551 7060
Katie Kennedy Perez, Specialist, Contemporary Art +41 22 906 8000
Dr. Michaela de Pury, International Senior Director, Contemporary Art +49 17 289 73611
los angeles milan moscow Shanghai/Beijing Singapore Zurich/Israel
Maya McLaughlin, Contemporary Art +1 323 791 1771 Laura Garbarino, International Specialist, Contemporary Art +39 339 478 9671 Svetlana Marich, Specialist, Contemporary Art +7 495 225 88 22 Jeremy Wingfield, International Specialist, Contemporary Art +852 6895 1805 Chin-Chin Yap, International Specialist, Contemporary Art +1 347 784 6916 Fiona Biberstein, International Specialist, Contemporary Art +41 43 344 86 32
Patricia G. Hambrecht
Finn Dombernowsky, London/Europe Sean Cleary, New York (Interim)
wORlDwIDE OFFICES NEW YORK
450 West 15 Street, New York, NY 10011, USA
15 rue de la Paix, 75002 Paris, France
Auguststrasse 19, 10117 Berlin, Germany
tel +1 212 940 1200 fax +1 212 924 5403
tel +33 1 42 78 67 77 fax +33 1 42 78 23 07
tel +49 30 8800 1842 fax +49 30 8800 1843
Howick Place, London SW1P 1BB, United Kingdom
23 quai des Bergues, 1201 Geneva, Switzerland
tel +44 20 7318 4010 fax +44 20 7318 4011
tel +41 22 906 80 00 fax +41 22 906 80 01
SpeciaLiStS and departMentS
conteMporarY art Michael McGinnis, Senior Director
+1 212 940 1254
and Worldwide Head, Contemporary Art LonDon Peter Sumner, Head of Sales, London
+44 20 7318 4063
+44 20 7318 4060
+44 20 7318 4064
+44 20 7318 4075
+44 20 7318 4074
+44 20 7318 4071
Modern and conteMporarY editionS nEW YoRK Cary Leibowitz, Worldwide Co-Director
+1 212 940 1222
Kelly Troester, Worldwide Co-Director
+1 212 940 1221
+1 212 940 1332
+1 212 940 1333
pHotograpHS LonDon Lou Proud
+44 20 7318 4018
+44 20 7318 4025
+44 20 7318 4085
+44 20 7318 4089
+44 20 7318 4087
+44 20 7318 4093
Rita Almeida Freitas
+44 20 7318 4087
+44 20 7318 4078
+44 20 7318 4092
+44 20 7318 4024
+44 20 7318 4092
+44 20 7318 4065
+44 20 7318 4070
nEW YoRK Aileen Agopian, new York Director
+1 212 940 1255
Sarah Mudge, Head of Day Sale
+1 212 940 1259
nEW YoRK Vanessa Kramer, new York Director
+1 212 940 1243
+1 212 940 1246
+1 212 940 1247
+1 212 940 1253
Carol Ehlers, Consultant
+1 212 940 1245
+1 212 940 1258
+1 212 940 1245
+1 212 940 1263
+1 212 940 1229
+1 212 940 1262
+1 212 940 1223
+1 212 940 1252
(Uli) Zhiheng Huang
+1 212 940 1288
+1 212 940 1303
PARIS Edouard de Moussac
+ 33 1 42 78 67 77
deSign Alexander Payne, Worldwide Director
+44 20 7318 4052
LonDon Domenico Raimondo
+44 20 7318 4016
+44 20 7318 4021
+44 20 7318 4027
+44 20 7318 4021
+44 20 7318 4014
nEW YoRK Alex Heminway, new York Director
+1 212 940 1269
+1 212 940 1268
+1 212 940 1265
+1 212 940 1266
+1 212 940 1268
PARIS Johanna Frydman
+49 30 886 250 57
JeWeLrY nazgol Jahan, Worldwide Director
+1 212 940 1283
nEW YoRK Carmela Manoli
+1 212 940 1302
+1 212 940 1365
GEnEVA Carolin Bulgari
+41 22 906 80 00
LonDon Lane McLean
+44 20 7318 4032
tHeMe SaLeS LonDon Tobias Sirtl, London Manager
+44 20 7318 4095
+44 20 7318 4061
+44 20 7318 4054
+44 20 7318 4040
nEW YoRK Corey Barr, new York Manager
+1 212 940 1234
Steve Agin, Consultant
+1 908 475 1796
+1 212 940 1210
+1 212 940 1301
+33 1 42 78 67 77
BERLIn Christina Scheublein
BERLIn Christina Scheublein
+49 30 886 250 57
private SaLeS nEW YoRK Andrea Hill
art and production Fiona Hayes, Art Director
+1 212 940 1238
Marketing nEW YoRK Trish Walsh, Marketing Manager
LonDon Mark Hudson, Senior Designer Andrew Lindesay, Sub-Editor Tom Radcliffe, UK Production Manager nEW YoRK Andrea Koronkiewicz, Studio Manager Kelly Sohngen, Graphic Designer orlann Capazorio, US Production Manager
auction Evening Sale, Tuesday 29 June 2010, 7pm Day Sale, Wednesday 30 June 2010, 2pm vieWing Monday 21–Saturday 26 June, 10am–6pm Sunday 27 June, 12pm–6pm Monday 28–Tuesday 29 June, 10am–6pm Wednesday 30 June, 10am–12pm 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 UK010310 or Contemporary Art Evening Sale, and UK010410 or Contemporary Art Day Sale SaLe adMiniStratorS Evening Sale: Sarah Buchwald +44 207 318 4085 Day Sale: Phillippa Willison +44 207 318 4070 propertY ManagerS Sam Martin +44 207 318 4056 cataLogueS London +44 20 7318 4039 new York +1 212 940 1240 email@example.com Catalogues £30/$60 at the Gallery abSentee and teLepHone bidS Anna Ho tel +44 20 7318 4045 fax +44 20 7318 4035 firstname.lastname@example.org buYer accountS Carolyn Whitehead +44 20 7318 4020
Charlotte Salisbury +44 20 7318 4010 Katherine Walters +44 20 7318 4010 knig
Kate Spalding + 44 20 7318 4081 Cláudia Gonçalves + 44 20 7318 4026
BUCKINGHAM PALACE GARDENS P
pHotograpHY Ivan Ingletto
K WAL CAGE
ST. JAMES’S PARK HA
ST. JAMES’S PARK
HYDE PARK CORNER
Harmony Johnston +44 20 7318 4010
WareHouSe & SHipping
Elliot Depree +44 20 7318 4072
AM .J ST
TR IA S
back cover Ugo Rondinone, air/ gets/ into/ everything/ even/ nothing, 2006, Lot 4 inside back cover Anselm Kiefer, Untitled (Constellation Book), 2004, Lot 12, detail
w w w. p h i l l i p s d e p u ry.c o m