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lot 39. Michael reisch

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lot 184. zeng chuanxing

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lot 187. fang lijun

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lot 117. roni horn

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Contents simon de pury

About NOW: a letter from the Chairman ...page 10

Hans ulriCH obrist

The visionary curator explores the twenty-first century art institution ...page 12

KeitH tyson

Reassessing the work of this multi-faceted Turner Prize winner ...page 18

objeCt lesson

Making child’s play of Lot 84 ...page 26

news

What’s happening NOW in the European art world ...page 28

2pm: pHotograpHs Lots 1 – 82 ...page 30

3.30pm: design Lots 83 – 99 ...page 60

4pm: Contemporary art Lots 100 – 291 ...page 72

buyers guide

How to buy and whom to contact at Phillips de Pury ...page 153 9

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NOW is what counts. In a life where we have a tendency to obsess over our future or to dwell in our past, the ultimate talent is to put all our energy, enthusiasm and focus on now. It we succeed in that, the quality of both our future and our past will improve dramatically. At Phillips de Pury & Company we pride ourselves on being the company that is consistently showing the best of what is happening in contemporary culture around the world. In order to be even better equipped to do so in the future, we have decided to add at least seventeen new theme sales to our regular schedule of ‘classic’ sales through the end of 2010. These sales will be presented in a new type of catalog that will include editorial content and will evolve into a cross between a catalog and a magazine. At the same time we are substantially increasing the distribution of these catalogs, which are being printed on environmentally-friendly (TCF) paper. We are happy to inaugurate this new series of sales with NOW. The brief we gave to our colleagues was that this sale should only include works produced between 2000 and 2009. Since many of the best artists have the foresight like mediums to predict our future, they help us to figure out what tomorrow’s NOW will consist of. Am particularly happy that we were able for this first new type of catalog, to include in-depth analyses of two figures of seminal importance in the contemporary art world. Ever since I saw the magic exhibition that a 24-year-old Hans Ulrich Obrist had devoted to Gerhard Richter in the Nietzsche House in Sils Maria, Switzerland, I have been impressed by his profound knowledge and his insatiable hunger for the best work being created around the globe in art, architecture, music, literature, film, photography and design. When the history of art of our times will be written, his role will have to be recognized as major. Obrist, not unlike his compatriot, the late Harald Szeemann, has done before him, allows us to have an overall view of what is artistically relevant today. My first physical contact with the work of Keith Tyson occurred at the 2001 Venice Biennale. I was instantly mesmerized and intrigued by it. His artistic evolution since then has been more than impressive. Like only the greatest artists manage to achieve, his work is getting consistently better and better. We are grateful to him for having allowed us to visit and photograph him in his Sussex studio. And now let’s focus on NOW!

SIMON de PURY ChaIRMaN, PhIllIPS de PURY & COMPaNY 11

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Hans ulricH obrist art for all interview Karen wright | PhotograPhy tim gutt

KAREN WRIGHT i want to talk to you about noW, not last year or the year before. recently i have felt that art is hard work and that means there’s something wrong. HANS ULRICH OBRIST i think it was Karl Valentin, the munich comedian, a visionary who has his own museum in munich, and who influenced Duchamp, who said, ‘Art is beautiful but makes a lot of work’. i think it’s always been a lot of work!

The firsT impression on meeting hans Ulrich obrist, Co-Director of exhibitions and programmes and Director of international projects at the serpentine, is his irrepressible energy and curiosity. Growing up in switzerland (obrist was born in Zurich in may 1968), he became interested in the arts at an early age, although his family was not art oriented. he recalls, aged fourteen or fifteen, meeting the playwright

KW Could you describe how you got started as a curator? HUO i started to curate at the very beginning of the nineties. i did The Kitchen Show in 1991, and because of The Kitchen Show i got a grant at the Cartier foundation, which at that time was in Jouy-en-Josas, on the outskirts of paris. They had little houses where curators and artists were in residence. i was twenty-three, and i had an encyclopaedic knowledge of the art of the West but no idea about any art beyond the West. i was in a residency there for three months and in the studio on my left hand side the then-unknown huang Yong ping was working. he had just participated in Les magiciens de la Terre. on the right hand side was the young, emerging Absolon, who tragically died. so there was a great sculptor from israel and a great installation artist from China. over those three months it became clear to me that the twenty-first century would be more about the polyphony of centres.

eugene ionesco, pioneer of the Theatre of the Absurd. he also met the italian conceptual artist Alighiero Boetti, who became a mentor, while still in school. obrist himself credits two early mentors, suzanne paget and Kasper König, ‘from whom i really learnt on the job. i did my first book with König, my first large show with paget.’ prior to joining the serpentine in April 2006, he was Curator of the musée d’Art moderne de la Ville de paris alongside paget. he has curated and co-curated over 200 solo and group exhibitions internationally since 1991. These include Take Me, I’m Yours; do it; Manifesta 1; Cities on the Move; Live/Life; Nuit Blanche; the

KW has this polyphony been around a long time? HUO The polyphony of centres gained strength in the nineties. When i started to be in the art world as a teenager in the eighties, it was the moment of Westkunst (1981) as Kasper König called his visionary exhibition, which really was the most important show – gathering Western art after World War Two, from Jackson pollock to the young, emerging franz West. in the late eighties, early nineties, we suddenly started to be aware of what there is beyond the West and that there are all these incredible centres.

first Berlin Biennale (1998); Utopia Station; Guangzhou Triennale 2005; Dakar Biennale 2004; the first and second moscow Biennales (2005 and 2007); Uncertain States of America; Lyon Biennale 2007; and Yokohama Triennale 2008. obrist may be best remembered however for his wide-ranging conversations with practitioners – artists, architects and others – as he emulates ‘studs Terkel, the great master and obviously my hero for

KW There was a lot of criticism this summer for Daniel Birnbaum’s Biennale and its lack of inclusion of centres outside of the traditional ones. HUO i found other centres to be present. There were several really exciting indian artists. There was nikhil Chopra. he was also one of the protagonists of Indian Highway the show we had at the serpentine and as part of his performance at the Gallery he lived here in a tent in the park. he is certainly a great voice and he has this desire for non-mediated experience. he is an artist who has emerged over the last couple of years from the indian context. he is also part of this incredible new generation of artists who work with time based art, which is something which i can see all over the place.

conversations.’ it seemed the time to turn the tables. here, the interviewer became the interviewee.

KW Which curator do you initially credit with this understanding of other places? 12

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Hans Ulrich Obrist photographed at the Serpentine, London, July 24, 2009

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«MigHt aMnesia be tHe core of tHe digital age?»

HUO it was harald szeemann who opened the Biennale by bringing in China so strongly. i think it was his second biennale. in every biennale since then the art world has no longer been the same and we now have this transformation, and fortunately i believe it has been present in all the biennales. it is something which is going to accompany us throughout the twenty-first century. museum collections are starting now to be more than Western art and take account of the polyphony of centres and it’s all going to change more and more.

actually having been there. But there is memory and oral history too, and scores. sometimes things can be redone! KW so does this mean that object-led art is more rewarding? HUO i think there are lots of different ways art can travel. Art can travel through an object, through a quasi-object and through a non-object. it is easiest in some ways because an object is an object and the object will always be the object, but the object might disintegrate and have to be fixed. That also happens because nothing lasts forever.

KW When did you first get more involved in non mediated work? HUO for me it was a very interesting moment three or four years ago when matthew Barney told me he felt a desire for non-mediated experience. having done the Cremaster movies throughout the nineties, it is intriguing that all his recent work is focusing on a non-mediated experience. ever since 2000 philippe parreno and i have had years and years of discussions reflecting on how we could do a group show where artists would be given time and not space, and that happened in Il Tempo del Postino at the manchester international festival in 2007. Two years later, in 2009, it was re-actualised for the Art fair in Basel, which was co-directed by Anri sala and rikrit Tiravanija.

KW Yes, but it’s still an object. HUO But once you leave the realm of the object it is a fact that throughout the twentieth century there have been a lot of very important experiences and experiments which are not objects. A lot of art functions with objects. it’s just that i believe it’s not the full story, there are a lot of other things to be told. A big part of art history is the history of objects. how can we make our art history more complex and also take into account the things which are not objects? more and more the medium for artists is exhibitions. The history of art has become a history of exhibitions, of temporary ‘constellations.’ This is the topic of my new book A Brief History of Curating, and i think it is one of the burning topics at the moment. particularly also given the resources of the planet now, intuitively a lot of younger, emerging artists feel it’s not necessary to add huge new objects.

KW how do you control these events as a curator? These evenings could go on forever if you wanted to give them their due. how would you respond to that? HUO it’s a very interesting question. i think each time there are different rules to the game. With Il Tempo del Postino it’s just an evening-filling programme; if you went to an opera or to the theatre, you would arrive there at 8pm and it would last until or 10.30pm or 11pm with an intermission, so we thought that’s the amount of time visitors would spend in a theatre or an opera, so let’s make the exhibition the same length. We used that format; we gave every artist about fifteen minutes, we included a break and that seemed to work very well.

KW so which do you prefer: the object-led art or the non-mediated experience kind of work? HUO i don’t believe in the dichotomy, which very often there is in the art world, between people who are interested in objects and people who are interested in non-objects. i happen to be interested in both. i think Jeff Koons’ Popeye Series show at the serpentine Gallery is an interesting example.

KW i feel one of the main problems we have now is how you document events like Il Tempo del Postino. if you think about Vito Acconci, for instance, you could say that Seedbed was a very seminal work and you can still look at it on YouTube. has Il Tempo del Postino been documented? HUO it was videoed and photographed, and we plan to publish the score. m/m have also designed an album.

KW Very object. HUO Very object. it has been a truly exciting experience for Julia peyton-Jones and i to work on this exhibition with him. i would say it was one of the great experiences of installing a solo show with an artist. The exhibition chose works from the Popeye series that Koons started in 2002. The character of popeye was conceived eighty years ago this year, during the Depression, and in the current period of economic recession we thought it would be a fitting time to rediscover him. And then it’s interesting that Tino sehgal told me that whenever a curator or gallerist visits his studio and wants him to participate in a project he does the Koons test.

KW so it is possible to revisit this. But isn’t this the problem with this unmediated work? is rirkrit Tiravanija’s piece that interesting in hindsight when you can’t actually eat the Thai food? i saw an amazing piece by stuart Brisley at the Whitechapel a few years ago but i feel that these experiences are often very empty for the viewer if you’re not there on the night. how do you deal with that, as a curator? HUO You do see Vito Acconci now on YouTube. Luckily there is this document so we can imagine how it was, yet it will never replace the experience of

KW [Laughs] HUO Tino sehgal asks curators who come to see him if they like Jeff Koons. if 14

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«protesting against forgetting is a key defense» they say they don’t like Koons he doesn’t do the show. it’s the Koons test.

Ballard once told me that the curator is a junction-maker; he makes bridges.

KW [Laughs] HUO i think that’s a funny anecdote to show how the question of object versus non-object is more complicated in some ways. in fact, i think we must experiment with ways beyond objects, by detaching art from its physical manifestation and going into other realms. As Koons told us, ‘What’s more important isn’t this object that we’re looking at. That object communicates the information that you want the viewer to have a dialogue with. The art takes place within the viewer, and so what i’m trying to do is control that experience. i really don’t care about objects, what i care about is letting the viewer know that they are what’s important.’

KW Bridges between the artist and the curator? HUO it involves not only bridges between the curator and the artist and between the artist and the institution, but also bridges to the public. That’s why curating is much more than enabling. enabling would mean the curator just walks away, and i don’t think that would be responsible because the curator has the responsibility to carry it further, to the public, and not only to one homogenous public, but to many, many passerelles, so it's not just one bridge. i think the curator is also a sparring partner to push the artist to do the very best he or she can do at the given moment in time. That i think is my key role. it is not only enabling but it’s also being a sparring partner and pushing things further and further. i think to some extent that has to do also with a dialogue, to give an artist feedback in conversations and, to answer your question before, not just to give the artist fifteen minutes in Il Tempo del Postino and then walk away and come to the opening to follow it very closely.

KW so is the desire for non-mediated art coming out of our digital age, the YouTube phenomenon? HUO There are many different reasons for the desire for non-mediated experience, including resistance to the virtual. Jean-françois Lyotard, the philosopher, curated Les Immatériaux, an exhibition that was so important for me and for many artists. This was in the eighties and it was really the first exhibition which anticipated the impact of the internet. After Les Immatériaux Lyotard wanted to do a show about resistance to communication which leads us to an artist like paul Chan and his delinking.

KW Yes. so how can you help do this? HUO The field of art is structured by a very limited number of possibilities. There are the solo shows in museums, the group shows. Then there are the biennales, there are the public commissions, and there are the gallery shows. That is something Alighiero Boetti pointed out to me when i visited him for the very first time when i was 18. he said as an artist he was always invited to do the same things; of gallery shows, some Kunsthalle shows, a couple of museum shows, group shows, theme shows and then sometimes a biennale, and a couple of times to do a public commission, perhaps one per cent of their output. he said there were other things he wanted to do, but nobody invited him so these ideas could not happen within these limited structures. new structures are offered if we empty a whole museum, as we did in manchester, with marina Abromovic and maria Balshaw at the Whitworth museum, or if we offer time to an artist in Il Tempo del Postino, or when each october Julia peyton-Jones and i invite artists to participate in a marathon in the serpentine Gallery pavilion. These are proposals the artist doesn't get every day. They are unusual and from that point of view, if they are motivating enough, they produce work or situations which are, for the artists and for us, exciting.

KW Are there other trends around at the moment that you see in the art schools – is there also a resistance to the non-mediated experience? HUO i think a lot of what is happening right now – and one can see it in art schools also – is that there is not only this desire for non-mediated experience and the whole performance thing, it is also a moment when drawing is an incredibly fertile zone. i see a lot of stunning drawing and that’s obviously another form of resistance to the disappearance of handwriting, and everything happening in computers. so to answer your previous questions, these are maybe two reasons why: resistance to everything happening on the computer and the idea of not adding any more objects. KW how do you as a curator respond to these new challenges? Are you a Kaiser or an enabler? HUO i always believe in a very close dialogue with artists and that is certainly at the core of my practice. i have always thought enabling is an important element in the sense that the curator should not stand in the way. so first and foremost certainly the enabler definition suits me better than the Kaiser definition. i think that the curator, however, is much more than an enabler. Curating has to do with finding possibilities to make things happen which otherwise wouldn’t happen, so that’s maybe an extension of enabling, finding production contexts or situations where reality can be produced. The late J. G.

KW is that what you are doing in october? HUO Yes. This autumn in our poetry marathon (18-19 october), artists will be invited to collaborate with a poet or do a reading with a poet or a project with a poet or present their own poems. it's not routine. KW Are there any other parameters to running a contemporary institution? You are showing artists that have been overlooked or are in danger of being forgotten – maria Lassnig, Anthony mcCall or Derek Jarman for example. 15

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«art is beautiful but Makes a lot of work»

HUO Besides the idea of performance and drawing (drawing is really key right now), one other thing which is vital at the moment, is what eric hobsbawm calls, a ‘protest against forgetting.’ i think memory is absolutely key. At the moment, when the internet produces extraordinary research tools which we embrace, i think it’s quite difficult to imagine how one curated a show or wrote a text before Google, because it’s a tool we use on such a daily basis. i think it was rem Koolhaas who once said that maybe amnesia is at the core of the digital age and i’m not sure if the answer is yes or no but it’s at least a very valid question. ’ The fact that we produce more and more archive and that the data grows exponentially , doesn’t necessarily mean that humanity as such produces more memory. i think at the moment there is a very interesting resistance in the art world. The art world is very strong at that- stronger at that than any other world - the idea of resisting amnesia. i think that’s a great quality of the art world and something i have always felt is part of my duty to support and push; protesting against forgetting is a key agenda. Look, for example, at Gustav metzger.

looks at these maps of Öyvind fahlström, they are completely twenty-first century, they are visionary. Because of certain difficulties the work hasn’t been shown, and then suddenly we see a room of only fahlström in the Biennale and it makes so much sense for the twenty-first century. KW i know you always ask about people’s unrealised projects – what are yours? HUO my biggest project is to do, ironically, a big exhibition on unrealised projects. my dream is to do a large-scale show of thousands of square metres, a really big exhibition, about all the great unrealised ideas of art and even other disciplines. Another unrealised project is to invent a salon for the twenty-first century and to invent a new Black mountain College. KW Absolutely. HUO With film makers there are all these movies that don’t happen because they just don’t fit in and very often they are the most interesting projects. The same thing is true for scientists, the same thing is true for architects. it’s also what i learnt from the field of architecture: this whole obsession with the unrealised project came because that is what the field of curating has always been about for me. it’s difficult for me to verbalise this because it is something intuitive, but when i grew up in switzerland, as a teenager i saw a Joseph Beuys work. harald szeemann brought him into Der Hang zum Gesamtkunstwerk (The Tendency towards the Total Work of Art, Zurich, 1983), yet at the same time Beuys also gave lectures at Lake Constance, where i grew up, as part of the Green party, on the whole idea of social sculpture. for me to listen to Beuys as an adolescent was really important. i felt he had completely expanded the notion of art. he called it Erweiterung des Kunstbegriffs, as he also expanded art. in a similar way Warhol had done the opposite in America. When i started in the art field there were, for me, these two poles: Beuys and Warhol. in the last ten years that has gone away a little bit because Beuys has been less present, but is now more important again.

KW i was just thinking of him. HUO metzger is such an incredibly important artist for all the young artists and students i know. still, Gustav metzger has never had a big solo show in London. he has never had an institutional exhibition in London, nor has he, after having lived in the UK for seventy years, ever had a permanent piece here. i feel it is now unbelievably urgent. now, through the manchester international festival, the monument is Flailing Trees, which is a memento mori of trees. it’s like a little temple in front of the town hall. metzger’s big exhibition which will happen at the serpentine Gallery in september, which will be his first solo show in a London institution ever, is a show of five decades of his work. This protest against forgetting can happen through exhibitions, but it can also happen through interviews. KW Tell me more about the conversations you do. HUO i think the interview project, the conversation project, is another attempt to protest against forgetting by speaking to people. it is something i did in the nineties a lot. so far i have 2000 hours of filmed recordings, of which some have been published as books.

KW Tell me what you think a successful institution should be doing noW? HUO it has to be a time store and a laboratory to invent the future. i think a successful art institution of the twenty-first century needs to look beyond the West. it needs to build many bridges. it is not only visitor figures, although visitor figures are, of course, key. We have over 800,000 people a year at the serpentine and that is very important for us, but it’s not only a matter of figures. it’s also the ability to connect to many different communities and have many different bridges with which to bring people to art, not just the people who go to art shows anyhow, but to bring many people who otherwise would not come to see art because it might actually change their lives. KW so how do you do this? HUO it's so important that the serpentine Gallery has free admission. Julia

KW i think there was much in Daniel Birnbaum’s Biennale that was a protest against amnesia, the Gutai room and the inclusion of Lygia pape. HUO There were other examples in Venice which i found very interesting in relation to that, for example Öyvind fahlström – extraordinary! KW Absolutely. HUO if one thinks about the current ecological apocalyptic perspectives, if one thinks about the current world order in terms of the political frame and one 16

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and i firmly believe in the idea of art for all, as Gilbert and George call it. Gilbert and George have a lot of wonderful quotes; ‘To be with art is all we ask’, is a great quote, but also ‘Art for all’. or ‘Architecture for all.’

between. You can say artists have come to Berlin because of that. residencies are key. KW We have leapt around a great deal, the future, the past do you agree? HUO i think it was panofsky, the great art historian, who once said when we invent the future we don’t invent it ex nihilo, but we invent the future from fragments of the past.

KW i feel the energy has seeped out of London recently. Do you feel that too? HUO i feel there is a new London with many connections, to China, india, the middle east. my big show about London was Live! Live!, which we did in 1996 in paris at the musée d'Art moderne de la Ville de paris with [curator] Laurence Bossé, a mapping of London of the nineties, of the energy London produced in the nineties. We realised, spending a year in London at that time and going to many studios, and also to other english cities, that actually the driving force of the english art scene were the artist-run spaces, City racing, Bank, Transmission in Glasgow, and that basically most of the artists we now know who emerged in the nineties had their beginnings in one of these artist-run spaces or were even committee members, you know. Last year i took a copy of Time Out and compared it with our own mapping of all these artist-run spaces from ‘96. Almost all these artist-run spaces had gone.

KW Yes. HUO it is difficult for me to think about the big vision for the institution of the twenty-first century without thinking about Cedric price and the fun palace. many of the things we have been discussing and which i have been trying to do over the last couple of years, the trans-disciplinary serpentine marathons, Il Tempo del Postino, Marina Abramovic Presents, these are all projects which could have happened in a fun palace. it also leads us back to me talking about Gustav metzger and to you talking about stuart Brisley. i think there is an incredible reservoir of ideas in what happened here in england in the fifties, sixties and seventies from the beginning of pop art and the extraordinary vision of richard hamilton, who we are going to show at the serpentine.

KW sad. HUO Because these were only possibilities that could come about when there was hardly any rent to pay and space was very cheap.

KW When is that? HUO 2010. There will be metzger and there will be Konstantin Grcic, who is the visionary industrial designer from Germany who will curate a design show for us. Then after that there will be richard hamilton

KW it wasn’t because the art wasn’t worth anything. it seems that as soon as art is worth more it is taken out of the realm of the artist. HUO But i have the feeling that now, over the last six months, more of these initiatives are starting to pop up in London. it is to be seen if there will be more. it could very well happen.

KW i think hamilton is one of those unsung heroes. HUO Totally. even if these artists are very well known here it is extremely important that they are set in a global context. if these artists had lived in the United states, might they be as famous as Warhol or Liechtenstein today? one of the great visionaries i have met is richard hamilton. he and his wife rita insisted that i visited Cedric price. Cedric price had inspired the whole mutation of urban cities. his texts had already been translated into Japanese in the sixties. This great visionary, whom i then became friends with in a similar way to Boetti ten years earlier, became my mentor in the late nineties. it was at the beginning of the time when i became obsessed by architecture, so i needed mentors who would introduce me to architecture.

KW outside the institution what else can be done to regain this energy? You started with a residency at the Cartier foundation all those years ago. Are more residencies the answer? HUO A lot of artists have stopped teaching over the last few years, or don’t teach at the moment in europe. KW They don’t need to. That’s part of the problem. HUO i think a key question is how to create situations again in the twenty-first century where artists have a desire to teach. As you have mentioned the idea of residency, one of the most successful models of residency in europe remains the DAAD [Deutsche Akademischer Austausch Dienst/German Academic exchange service], if you think about the sustainability of that model, how long it has lasted, whom it brought to Berlin. When i was at high school i met ed Kienholz in Berlin for coffee and he told me he had come there because of the DAAD and just couldn’t leave. You can say from George rickey and ed Kienholz to Tacita Dean, is a very wide range of generations and worlds

KW We have talked about Cedric price and Boetti as mentors of yours. Was there a defining moment when you realised this is what you wanted to do? HUO my life was changed as a kid when i saw harald szeemann’s first show. i didn’t come from a family where art was on the menu, my parents didn’t find art particularly interesting, so i didn’t have a background from my family of going to art shows. i suddenly saw the harald szeemann show and it was like a shockwave. my whole life turned around, so i still believe that can happen. ■ 17

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Keith tyson the future as the almost now Words Alex coles | PhotogrAPhy tim gutt

Keith Tyson was born in 1969 in Ulverston and now lives and works in Brighton. In 2002 he was awarded the Turner Prize, the same year as he showed his work in the Sao Paulo Biennale. He has been included in the 49th Venice Biennale and the 2nd Berlin Biennale, and exhibited at the Kunsthalle Zurich, the South London Gallery and more recently, Walking in the Mind at the Hayward Gallery. His invention of the Artmachine, (1991) was his attempt to undermine the artist’s voice. The machine which produced proposals of endless possibility, established him firmly as a conceptual artist of NOW.

In 1972 AndreI Tarkovsky’s quietly pioneering scifi film Polaris was released in response to Stanley Kubrick’s much celebrated epic of the same genre from four years earlier, 2001: A Space Odyssey. Less famous than its counterpart, Polaris has nevertheless become something of an underground phenomenon due to its studied complexity. This attribute is partly accounted for by the way it ingeniously collapses a number of the dichotomies that Western films are customarily premised on. The first dichotomy to fall is the one between the pure visuality of many of the film’s scenes, and the medium’s customary need of a clear and progressive narrative structure to maintain the attention of the viewer. A large portion of Polaris’ narrative is communicated by stills and visually arresting slow-motion shots. The film opens with the camera panning across a pond in slow-motion and coming to rest on a bunch of reeds that stir as the water ripples. eventually this image fades into a shot of a clump of unrecognisable fauna. The shift between the two images acts as a charged signifier, rendering the geographical presence of the film’s protagonist ambiguous - as to whether he is on planet earth near his father’s house or the planet of Polaris. Oth-

er dichotomies collapsed by the film include those between science and poetics, rigour and play, and the old and the new. Specific moments in the expansive oeuvre of Keith Tyson collapse many of these same dichotomies, each moment representing something of a watershed in his recent development. So it is no coincidence that Polaris also happens to be Tyson’s favourite sci-fi film, a genre of film making that plays a crucial role in his thinking. ‘I don’t think there’s a specific way of viewing my work that is correct. And with regard to the dichotomy between a scientific reading and a poetic one, I don’t see any. I see the work as embodying both equally,’ Tyson affirms. Studio Wall Drawing: May 1st 2004, Inventory of Conway Forms to be used as Command Codes in a Geno/P is a case in point. The work is composed of a series of so-called Conway Forms, automata invented by the scientist John Conway to populate a two-dimensional cellular universe for which he coined the name The Game of Life. Within Conway’s automata, the status of each cell is utterly dependant on those of the surrounding cells - whether they are switched on or off, or even left unaltered from one generation to another. The

precise way these automata are repeated and configured in Tyson’s drawing – the elements sketched in black, the explanation of each one running underneath in red, renders them readable. However their loose and illustrative handling, enhanced as the rows of drawn elements, sway rather than precisely line up on the grid on which they are liberally set. This lends a degree of illegibility which serves to introduce a certain lyricism into the drawing. Were the elements simply legible then there would be no poetic interference, and the drawing would fail to engage to the extent it does. Large Field Array (2007) is comprised of a surfeit of two-foot-square modular units deployed on a grid at precisely four foot intervals. The installation was inaugurated at the Louisiana Museum in denmark in 2006, and gathered in momentum while it toured. It eventually contained three hundred elements at its final incarnation at Pace Wildenstein in 2008. The unit system underpinning the installation is akin to those deployed by the minimalist Sol Le Witt, with the exception that instead of being pristinely empty, it is replete with improbable sculptural forms. Their seeming randomness and obscurity ranges from an oversized black telephone

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Keith Tyson photographed at his studio in Sussex, July 28, 2009

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«i have been trying to embrace complexity instead of simplifying things»

to the gates of hell. The rigorous precision of the grid is everywhere interrupted by these fanciful representations drawn from chaos and string theory, the signs of the zodiac and the table of elements. On the grid, a cubed unit can morph into a washing machine or a giant birthday cake. Tyson evidently finds it frustrating that confusion arises because of the simultaneous presence of rigour and play in his work. Amusingly, he infers that this confusion is akin to approaching ‘somebody who is doing a documentary about science’ and ‘saying, ‘God, that wasn’t a very scientific documentary.’’ In Tyson’s way of thinking, ‘a scientific methodology doesn’t have to be rigorous. The great thing about being an artist is... you can hold two contradictory ideas in your head, and believe them both.’ This simultaneity is played through to a fault in Large Field Array. Fractal Dice, exhibited at Pace Wildenstein in new York in 2008, and to be included in the exhibition at Parasol unit in London later in 2009, extends the idea piloted in Large Field Array. The sculptures that constitute the series are the direct result of an algorithm, based on a dice system that Tyson communicated to the gallery some time in advance of

the opening of the exhibition. The gallery’s production team used it to determine the size, shape and colour of each individual sculpture. The sculptures start from the naked cube, and the precise method by which they deviate from it is determined by a role of the die. each face of a cube is subjected to a simple modification based on six separate rolls of the die. The first role determines the colour; the second roll determines the cubic intrusion or extrusion, and so on.The result is six new cubic elements emerging from the original box, each with five newly minted faces which are, in turn, subject to the same process. Following this second round, the sculpture is fabricated. each of the sculptures, with their playful colours and inventive cubic forms, has the pared back appearance of a formalist composition composed according to an intuitive sense of balance, however each is actually premised on this rigorous schema instead. In reference to the relationship between the conceptual and the visual, Tyson clarifies how his individual works ‘tend to be manifestations as opposed to representations’ of ideas. And it is precisely the fact that each of his works are manifestations, as opposed to representations, of ideas,

that accounts for their visuality. Were the two not so entangled – were each and every element easily readable separately, and a clear sense of narrative progression generated as a consequence, then perhaps Tyson’s work wouldn’t insist on the visual to such a great degree. But it does. The difficulty of reconciling the visuality of The Nature Paintings with their conceptual basis is compounded by a tension between the visual allusions the paintings make to the natural world and the procedure by which they are fabricated. Intent and skill has everywhere been subjugated to chance in their rendering. The myriad configurations in the series are determined by the reactions between paints and chemicals when combined and poured at different angles and temperatures onto aluminium plates. The conceptual process the materials have been subjected to produces a series of felicitous visual configurations, a portion of which were exhibited at Haunch of Venison in 2007, Blum and Poe in Los Angeles earlier in 2009, and will also be present in the exhibition at Parasol unit. no painting in the series alludes to the process. All refer instead to their intended subject matter, which is clearly indicated in the series’ title. Four Elements

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ÂŤbeing an artist is a bit liKe being a film maKer who starts with a good script and a great cinematographer, and then puts it all together to maKe a highly entertaining filmÂť

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«i don’t thinK there is a specific way of seeing my worK that is correct»

(Fire) (Water) (Earth) (Air), 2008, is typical of the series. A number of algae coloured forms circulate a large central area of deep blue. In places, the edges of the green colour bleed into the blue, which appears to swirl away from the surface. The cacophony of seemingly still liquid visual elements belies their conceptual premise. Tyson systematically collapses the dichotomy between the old and the new in his work. Interviews with the artist, which are so substantial as to form a crucial annexe to his practice, are littered with references to his intrigue in temporal warps. ‘It’s a question about oblivion,’Tyson surmises, in terms of ‘how what happens before you are born equates to what happens after you’re born. It’s this kind of tiny sandwich between these infinite matters of nothing-ness or everything-ness that I’m in the painful and privileged position of observing.’ Tyson is patently intrigued by how events from the past position the present, and furthermore, how viewing the past through the optic of the present completely changes perception of it. He refers to his own position in the middle as being akin to a ‘tiny sandwich’ in time. elsewhere in the same interview Tyson states: ‘I’ve found myself in situations in my life, and

thought, ‘Well, how did I get here? How did this occur?’ And thought about how none of this was my doing. This is all stuff that happens before you’re born. The decisions are made, and you don’t ask to replace art history. You don’t ask your parents to replace your genetics. You don’t ask for any of these things. So all those things are happening before you even put a brush to a canvas, so how can I claim authorship over their manifestation? Ultimately the action is about an emotional disturbance that I’m trying to solve.’ The notion of an ‘emotional disturbance’ being the direct result of a confused temporality is decisive to grasping Tyson’s own view of his work. It is another way of articulating his perception of the artist as being a ‘tiny sandwich’ in time. Tyson’s evident intrigue in time warps brings our trajectory back full circle to Polaris, the artist’s favourite sci-fi film. In the closing scene of the film, the protagonist considers whether or not to return to earth or stay on Polaris. Back on the shore of the pond beside his father’s house where the film started, his face falls when he sees something is wrong. Water is falling inside the house and though his father is inside, he is unaware of it. Father and

son embrace. The camera draws back, the house, lake and surrounding land are revealed to be on an island, floating on the surface of Polaris. Instead of playing out the dichotomy between the protagonist’s old life on earth and his new one on Polaris, the two are revealed to be folded together in his mind, their temporality confused. The inference is that the past sequences were just a series of flashbacks and that the entire film has taken place in the present. Similarly, rather than being conceived of as either the old or the new, in Tyson’s work the present is often rendered as the new, but the new being something which has already happened. In other words, as the almost new. In this way, a further dichotomy is collapsed in Tyson’s work and its selfprofessed complexity further played out. ■ Alex Coles is an art critic and editor. He is the author of DesignArt (Tate Publishing, 2005) and Design and Art (MIT Press/Whitechapel, 2007). Keith Tyson: Cloud Choreography and Other Emergent Systems Parasol unit, London (www.parasol-unit.org) 16 September – 11 November, 2009

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Now, 2009

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object lesson: lot 84 Words ALexAnder heminWAy | PhotogrAPhy byron sLAter

Childhood is a time for play. adulthood, too, one hopes, but not just politics and cards. Conceptual thinking, a grown-up pursuit, plays with expectations and meaning. in his work for the dutch collective droog, a loose affiliation of designers smitten with the reuse and recombination of materials, Mario Minale wins the game. Brick by lEGo® brick, he reassembles (and deconstructs) Gerrit Rietveld’s iconic ‘Red Blue Chair’ of 1923. Both the original chair and Minale’s update comprise standardized elements: Rietveld joined deal and plywood; Minale snaps together 4,500 plastic binding bricks, a winking acknowledgement of ‘Neo-Plasticism,’ a term associated with de stijl, that earlier loose affiliation of dutch artists to which Rietveld belonged. Minale builds a model of a model: the original represented an ideal, a ‘new answer’ for a new postwar interior, as artist Theo van doesburg wrote of Rietveld’s furniture in the journal De Stijl in 1919. Rietveld, like other contributors to de stijl, organized basic geometric components into formal configurations which were perceived as whole ‘while remaining clearly constructed from individual and independent elements,’ as the critic Paul overy has observed. Minale adopts the same principle, satisfying both de stijl’s stylistic requirements and droog’s: the unexpected reorganization of standard elements; the conjoining of decoration and function; simplicity. But Minale designs for a postmodern house, not a postwar one. With celerity and humour, hours playing on the floor. Minale’s obsessive act further fetishises ‘Red Blue Chair’, a paragon of modernism, while questioning its fetishisation; he reduces Rietveld’s work to child’s play. But the knock is not a hard one. Rietveld, after all, designed toys and high chairs (he had six children). Those stark, bright constructions were among his earliest experimental works. ‘leg godt’ he might have said to Minale, had they met. ‘Play well,’ that’s what lEGo® means.

The De Stijl movement was founded in 1917. The group, including painter Piet Mondrian, advocated a new, wholly abstract, aesthetic style composed predominantly of the primary colours of yellow, blue and red, combined with straight lines of black, gray and white.

Gerrit Rietveld, the Dutch architect and cabinet maker, was also a member of the De Stijl movement. His chairs were not intended to be comfortable. ‘We must remember,’ he said, ‘that sit is a verb too.’

Lego® was founded in 1932 by Ole Kirk Christiansen in Denmark. The first plastic blocks were made in 1947 when the company purchased a plastic injection moulding machine. Today the company manufactures approximately 20 billion blocks per year.

Red Blue Lego® Chair was designed by Mario Minale for Droog, the innovative Dutch Design Company, in 2004. It reflects both Droog’s and Rietveld’s philosophy that design should be about ‘the awakening of consciousness.’

Piet Mondrian ‘Composition in Red, Blue & Yellow’ 1937-1942, Digital image © 2009, The Museum of Modern Art / Scala, Florence.

he evokes childhood memories and flights of fancy, those endless

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berlin

The presence of Art Forum Berlin (September 24 - September 29) has inspired a lively programme in both the public and commercial galleries of this dynamic, always exciting, art city. Included in the Messe are 130 galleries from over twenty countries, which were selected from over 300 entries.  John M Armleder’s work, Untitled (Canaletto) FS (above) will be exhibited on the Galerie Anselm Dreher stand. Elsewhere in town, the Hamburger Bahnhof will feature the work of Berlin-based artist Thomas Demand. If finding out who are the artists of the future is your thing – then the Nationalgalerie Prize for Young Art 2009, at the Museum für Gegenwart, showcases the work of Keren Cytter, Omer Fast, Annette Kelm and Danh Vo.

John M Armleder Untitled (Canaletto) FS, 20 Courtesy Galerie Anselm Dreher

news

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news

i stan bu l

What Keeps Mankind Alive, the title of the eleventh Istanbul Biennial (September 12 – November 8, 2009), takes its name from a song in Bertolt Brecht’s Threepenny Opera. It is curated by the collaborative group, What, How & for Whom (WHW), a non-pro t organization founded in 1999 and currently based in Zagreb, Croatia. All WHW projects have been conceived as platforms for discussing relevant social issues through art, theory and media. It all sounds a bit serious, but artists seem to be able to get around the rhetoric, and with the city of Istanbul as a backdrop it is still a must-go destination for the art lover. Pictured is Vangelis Viahos’ found photograph from Grey Zones.

portugal

Few artists get their own museums during their lifetimes, but Portugal is about to bestow this honour on Paula Rego. The distinctive building, designed by Portuguese architect Eduardo Souto Moura, is in Casçais, a coastal resort a short distance from Lisbon, Rego’s birth place. Opening in mid-September, it will hold over 120 works by Rego alongside paintings by her late husband Victor Willing. Rego is that rare thing, a woman gurative artist who works in a way that is not overtly political or feminist but encapsulates all the best of these ideals. Rego’s Pillowman series was inspired by the show of the same name by Martin McDonagh, and comprises a collection of lively and often disturbing works.

london

m o sc ow

A rare chance to see a one man show of India’s Subodh Gupta in London. Many will know Gupta, who labels himself as an ‘idol thief,’ for his sculptural works that appear regularly in Biennales and international group shows. Gupta’s striking works usually incorporate everyday objects that are ubiquitous throughout India. Here in The Way Home (2001) we see mass-produced stainless steel utensils – thali pans, glasses and milk pails – alongside scattered revolvers. In October, Gupta will be at Hauser and Wirth in both the Picadilly and Bond Street galleries.

Against Exclusion, Moscow’s third Biennale, (September 25 – October 25, 2009) will for the rst time con ne its installation to the capacious interior of the newest venue in town, the Garage, Center for Contemporary Culture. Against Exclusion has been curated by Jean-Hubert Martin who has put together a group of artists working outside the normal con nes of the art world. Above, How to Blow Up Two Heads at Once (Gentlemen), by British-based Yinka Shonibare. 29

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NOW

2 pm 26 SEpTEmBER 2009 London

PhOtOgraPhs LOts 1 - 82

AbrAr, A. & Hoving, A. 74 AllcHurcH, E. 58 AntAr, Z. 66 Arnold, c. 67

HAAs, A. 27 HAyWood, t. 53, 54 HEtflAisZ, H. 49 HoldsWortH, d. 13

bAsElgiA, g. 41 bEllAmy, r. 19 bErry, m. 62, 63 blAufuks, d. 4, 5 bodiAm, m. 20 brinEr, t. 75 büHlEr-rosE, m. 79

JiménEZ, J. 14 JordAn, c. 60

sAbEllA, s. 50 scHulZ, J. 2 simmons, t. 12 stEElE-PErkins, c. 48 stEin, A. 78 stEPPAn, H. 23, 24 sussmAn, E. 6, 7, 8

källström, k. & fäldt, t. (kk + tf) 16 krusE, c. 35 kurlAnd, J. 57

tAlmor, d. 26 tEicHmAnn, E. 34 tEttAmAnti, J. 9

lAcHAPEllE, d. 29, 30 lAitAnEn, J. 33 lAmson, W. 69 lEvEnE, l. 65

vAHAlA, s. 68 vitAli, m. 42

cArtAgEnA, A. 77 clAnEt, c. 73 cHAn, l. 10 cHristEn, f. 3 coEkin, c. 17, 18 cortEs, J. P. 28 dAviEs, l. 61 dAvis, t. 64 dE rosA, y. 44, 45 d’orAZio, s. 31 du PrEEZ, W. & tHornton JonEs, n. 37 EnErotH, J. 1 Esid, o. 59

mAnn, J. 70 mArtins, E. 32 mclAugHlin, n. 43 mosEid, g. 25 murrAy, b. 46, 51, 52

WAddEll, s. 11 WiEslAndEr, E. 76 WolbErgEr, o. 80 yAss, c. 40 yoon, J. 72

nordquist, J. 47 norfolk, s. 21, 22 o’briEn o’connEll, b. 81 PEtErsEn, r. 71

gAo brotHErs 36 gill, s. 55 grîmbErt, b. 15 gross, y. 82 gütscHoW, b. 56

rEiscH, m. 39 rollAnd, v. 38

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1 JoAkim EnErotH b. 1969 Swedish Red–Comfortably Secure 014, 2007. Digital colour coupler print, printed 2009. 100 x 133 cm. (39 3/8 x 52 3/8 in). Signed, titled, dated and numbered 8/8 in ink on a label affixed to the reverse of the flush-mount. One from an edition of 8 plus 2 artist’s proofs. pRovEnancE Acquired directly from the artist ExhiBiTEd Swedish Red–Joakim Eneroth Photographs, School Gallery, Paris, 26 February – 22 March 2008; Swedish Red–Comfortably Secure, Arbetets Museum, Norrköping, Sweden, 6 June – 6 September 2009 (each another example exhibited) LiTERaTuRE Steidl, J. Eneroth, Swedish Red, 2009, p. 37 Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 31

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2 JOSEF SCHULZ b. 1966 Hall blue #3, 2001. Colour coupler print, Diasec mounted. 100 x 130 cm. (39 3/8 x 51 1/8 in). Signed, dated and numbered 5/6 in ink on the reverse of the flush-mount. One from an edition of 6 plus 2 artist’s proofs. Provenance Galerie Haus Schneider, Ettlingen/Karlsruhe Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠‡

3 FRANCK CHRISTEN b. 1971 Caddie, Beyrouth, 2004. Colour coupler print. 60 x 61 cm. (23 5/8 x 24 in). Signed in ink on a label affixed to the reverse of the frame. Number 2 from an edition of 6. Provenance Private Collection, Germany Literature Galerie Tanit, Franck Christen: Fotografien, exh. cat., 2005, p. 24 Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ♠

4 DANIEL BLAUFUKS b. 1963 Untitled (Glass) from Motel, 2005. Digital colour coupler print, flush-mounted. 80 x 80 cm. (31 1/2 x 31 1/2 in). Signed and annotated ‘AP’ in ink on the reverse of the frame. One from an edition of 5 plus 1 artist’s proof. Provenance Acquired directly from the artist exhibited Losing my Religion, Ermida, Lisbon, 31 January - 15 March 2009 (another example exhibited) Literature Galeria Carlos Carvalho, Daniel Blaufuks, exh. cat., 2006, n.p. Estimate £ 4 , 5 0 0 - 5 , 5 0 0 $ 7, 5 0 0 - 9 ,1 0 0 € 5 , 2 0 0 - 6 , 4 0 0 †

5 DANIEL BLAUFUKS b. 1963 Untitled (Patio) from Hiato, 2006. Digital colour coupler print, flush-mounted. 79.5 x 79.5 cm. (31 1/4 x 31 1/4 in). Signed and numbered 5/5 in ink on the reverse of the frame. Provenance Acquired directly from the artist Literature Galeria Carlos Carvalho, Daniel Blaufuks, exh. cat., 2006, n.p. Estimate £ 4 , 0 0 0 - 5 , 0 0 0 $ 6 , 6 0 0 - 8 , 3 0 0 € 4 , 6 0 0 - 5 , 8 0 0 †

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6 EvE sussmAn b. 1961 Girls at the Pool (photographic still from The Rape of the Sabine Women), 2005. Digital colour coupler print, mounted. 99.7 x 121.9 cm. (39 1/4 x 48 in). Accompanied by a signed Certificate of Authenticity. Number 2 from an edition of 10 plus 2 artist’s proofs. pRovEnancE Roebling Hall, New York ExhiBiTEd Eve Sussman & The Rufus Corporation, Louisiana Museum of Modern Art, Humlebæk, 8 November 2008 – 15 February 2009 (another example exhbited) Estimate £1 0 , 0 0 0 -1 5 , 0 0 0 $ 1 6 , 6 0 0 - 2 4 , 8 0 0 € 11, 6 0 0 -17, 4 0 0 ♠‡

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7 EvE sussmAn b. 1961 Women in the S-Bahn (photographic still from The Rape of the Sabine Women), 2005. Digital colour coupler print, mounted. 97.8 x 120.7 cm. (38 1/2 x 47 1/2 in). Accompanied by a signed Certificate of Authenticity. Number 8 from an edition of 10 plus 2 artist’s proofs. pRovEnancE Roebling Hall, New York Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ♠‡

8 EvE sussmAn b. 1961 Serving the Milk, from 89 Seconds at Alcázar, 2004. DVD, flat screen LCD monitor. 25.7 x 40 cm. (10 1/8 x 15 3/4 in). Accompanied by a signed Certificate of Authenticity. Number 5 from an edition of 5 plus 1 artist’s proof. pRovEnancE Roebling Hall, New York ExhiBiTEd Eve Sussman and the Rufus Corporation: 89 Seconds at Alcázar, Museo Nacional de Arte Reina Sofia, 9 May – 16 July 2006. (another example exhibited) Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9, 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠Ω

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9 JOËL TETTAMANTI b. 1977 Untitled Images (Archive n° 7688 and 7689) from Ilulissat, Greenland, 2008. Two Lambda prints. Each 128.3 x 156.2 cm. (50 1/2 x 61 1/2 in). Each accompanied by a label: signed, printed title, date and number AP 1/2. Each AP from an edition of 3 plus 2 artist’s proofs. Provenance Acquired directly from the artist exhibited Local Studies, Swiss Foundation of Photography, Winterthur, 28 February – 17 May 2009 (another example exhibited) Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ‡

11 STEPHEN WADDELL b. 1968 Bathers in Spring, 2008. Archival inkjet print, Diasec mounted. 70 x 85 cm. (27 1/2 x 33 1/2 in). Signed in ink on a label affixed to the reverse of the frame. Number 1 from an edition of 5. Provenance Private Collection, Germany Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 12 TIM SIMMONS b. 1955 Intervention Rockpool #6 from Intervention, 2008. Digital colour coupler print, flush-mounted. 90 x 132 cm. (35 7/16 x 52 in). Accompanied by a signed Certificate of Authenticity. Number 1 from and edition of 6 plus 2 artist’s proofs. Provenance Acquired directly from the artist Literature Alaska, Issue 02 Spring Summer 2009, p. 120-121 Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 †

10 LEONORA CHAN b. 1977 Pepeekeo 1, 2008. Colour coupler print. 75.3 x 94.3 cm. (29 5/8 x 37 1/8 in). Signed, dated and numbered 1/3 in ink on a label affixed to the reverse of the flushmount. Provenance Acquired directly from the artist Estimate £1, 2 0 0 -1, 8 0 0 $ 2 , 0 0 0 - 3 , 0 0 0 € 1, 4 0 0 - 2 ,1 0 0 34

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13 DAN HOLDSWORTH b. 1974 Black Mountains (triptych) from The World In Itself, 2001. Three colour coupler prints, printed 2003. Each 179.1 x 229.9 cm. (70 1/2 x 90 1/2 in). Each signed and numbered 2/3 in ink on the reverse of the flush-mount. Provenance Acquired directly from the artist exhibited Dan Holdsworth, The New Art Gallery, Walsall, 3 October – 16 November 2003; Consuming Nature, The Museum of Contemporary Photography, Columbia College, Chicago, 11 December 2003 – 19 February 2004 (each another example exhibited) Literature Steidl Verlag, Dan Holdsworth: Photoworks Monograph, 2005, p. 75-77; Thames & Hudson, Art Photography Now, 2006, p. 68 Estimate £1 8 , 0 0 0 - 2 2 , 0 0 0 $ 2 9 , 8 0 0 - 3 6 , 4 0 0 € 2 0 , 9 0 0 - 2 5 , 6 0 0 †

14 JESÚS JIMÉNEZ b. 1978 Selected Images from Agora, 2005. Ten digital colour coupler prints, printed 2009. Each 20.3 x 30.5 cm. (8 x 12 in); sheet 27.9 x 35.6 cm. (11 x 14 in). Each signed in ink in the margin; each signed in ink and edition stamp on the verso. Colophon signed and numbered 1/10 in ink with a copyright credit reproduction limitation stamp. Each number 1 from an edition of 10 plus 2 artist’s proofs. Contained in an acrylic portfolio box. Provenance Acquired directly from the artist exhibited Instante, Museo de Arte de Zapopan, Jalisco, Mexico, 7 September – 1 October 2006 Literature Alaska, Issue 01 Spring Summer 2008, p. 192-7 Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ‡

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15 bEnoît grimbErt b. 1969 Untitled no. 20, 23, 25 and 38 from Verso, 2001-2003. Four digital inkjet prints, printed 2006. Each 49.8 x 49.8 cm. (19 5/8 x 19 5/8 in). Each signed in ink, printed title, date and number 1/8 on a label affixed to the reverse of each flush-mount. One from an edition of 8 plus 2 artist’s proofs. pRovEnancE Acquired directly from the artist ExhiBiTEd Benoît Grimbert, Photographies, 1999-2003, Galerie de l’Ardi, Caen, October 2006 – January 2007 (another example exhibited) Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 †

16 kk+tf: klArA källström And tHobiAs fäldt b. 1978 and b. 1984 Year One #67, 2008.; Gingerbread Monument #13, 2008. Two digital colour coupler prints. Each 70 x 70 cm. (27 1/2 x 27 1/2 in). Each signed, dated, numbered 1/5 in pencil on the reverse of each flushmount. Each one from an edition of 5 plus 2 artist’s proofs. pRovEnancE Acquired directly from the artists ExhiBiTEd (ii) New Nordic Photography, Hasselblad Center, Gothenburg, 5 June – 23 August 2009 (another example exhibited) LiTERaTuRE (i) Steidl Verlag, Thobias Fäldt/Year One, 2009, p. 67; (ii) Klara Källström: Gingerbread Monument, 2008, p. 13 Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0 † 36

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17 cHris coEkin b. 1967 The Altogether #1, 2008. Unique archival pigment print. 76.2 x 101.6 cm. (30 x 40 in). Signed, titled, dated and numbered 1/1 AP in ink on the reverse of the flush-mount. pRovEnancE Acquired directly from the artist Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0

19

18 cHris coEkin b. 1967 The Altogether #2, 2008. Unique archival pigment print. 76.2 x 101.6 cm. (30 x 40 in). Signed, titled, dated and numbered 1/1 AP in ink on the reverse of the flush-mount. pRovEnancE Acquired directly from the artist Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0

19 robErt bEllAmy b. 1980 23:30 St.Meinrad, Zugerland, 2003. Digital colour coupler print, printed 2009. 64.5 x 83.8 cm. (25 3/8 x 33 in). Signed, dated and numbered 1/5 in pencil on the verso. One from an edition of 5 plus 1 artist’s proof. pRovEnancE Acquired directly from the artist ExhiBiTEd Zugerland, The Special Photographers Gallery, London, 21 January – 21 February 2004 (another example exhibited) Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0

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20

21

20 micHAEl bodiAm b. 1981 Untitled # 1 (Red); Untitled # 2 (Yellow); Untitled # 3 (Orange), 2003. Three colour coupler prints. Each 73.7 x 92.7 cm. (29 x 36 1/2 in). Each signed in ink, printed title, date and number 1/1 on a label affixed to the reverse of each frame. pRovEnancE Acquired directly from the artist Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0

21 simon norfolk b. 1963 The nitrogen fire suppression system, Commissariat à l’Energie Atomique, Bruyers-le-Chalet near Paris from The Super Computers: “I’m sorry Dave, I’m afraid I can’t do that”, 2005. Digital colour coupler print, Diasec mounted. 101.6 x 127 cm. (40 x 50 in). Accompanied by a signed Certificate of Authenticity. Number 1 from an edition of 10. pRovEnancE The Photographers’ Gallery, London Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7, 5 0 0 € 4 ,1 0 0 - 5 , 2 0 0 ♠

38

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22

23

22 simon norfolk b. 1963 Old aisle TERA-1, Commissariat à l’Energie Atomique, Bruyers-le-Chalet near Paris, from The Super Computers: “I’m sorry Dave, I’m afraid I can’t do that”, 2005. Digital colour coupler print, Diasec mounted. 101.6 x 127 cm. (40 x 50 in). Accompanied by a signed Certificate of Authenticity. Number 1 from an edition of 10. pRovEnancE The Photographers’ Gallery, London Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7, 5 0 0 € 4 ,10 0 - 5 , 2 0 0 ♠

24

23 HElgA stEPPAn b. 1976 All my things, /black/ from See Through, 2004. Colour coupler print, flush-mounted. 75.6 x 92.7 cm. (29 3/4 x 36 1/2 in). Accompanied by a signed Certificate of Authenticity. Number 9 from an edition of 10 plus 2 artist’s proofs pRovEnancE Man&Eve, London ExhiBiTEd Flash Forward, Kathleen Cullen Fine Art, New York, 29 November – 22 December 2007 (another example exhibited) LiTERaTuRE The Magenta Foundation, Flash Forward, exh.cat., 2007 Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

24 HElgA stEPPAn b. 1976 All my things, /white/ from See Through, 2004. Colour coupler print, flush-mounted. 75.6 x 92.7 cm. (29 3/4 x 36 1/2 in). Accompanied by a signed Certificate of Authenticity. Number 9 from an edition of 10 plus 2 artist’s proofs. pRovEnancE Man&Eve, London ExhiBiTEd Flash Forward, Kathleen Cullen Fine Art, New York, 29 November – 22 December 2007 (another example exhibited) LiTERaTuRE The Magenta Foundation, Flash Forward, exh.cat., 2007 Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

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26

25 GEIR MOSEID b. 1978 From the series Plucked (Lying figure 1), 2008. Colour coupler print. 76.2 x 101.6 cm. (30 x 40 in). Signed in ink, printed title, date and number 2/5 on a label affixed to the reverse of the flush-mount. One from an edition of 5 plus 2 artist’s proofs. Provenance Flowers, London exhibited Geir Moseid: Plucked, Flowers, London, 19 September – 18 October 2008 (another example exhibited) Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,10 0 ♠

27

26 DAFNA TALMOR b. 1974 Untitled from Obstructed Views, 2007. Colour coupler print. 43 x 58.5 cm. (16 7/8 x 23 in). Signed, titled, dated and numbered 4/10 in ink in the margin, verso and on the reverse of the frame. One from an edition of 10 plus 1 artist’s proof. Provenance Acquired directly from the artist Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0

27 ALEX HAAS b. 1963 Lola, Madrid, 2004. Colour coupler print, printed 2009. 26.2 x 41 cm. (10 5/16 x 16 1/8 in). Signed, titled, dated and numbered 2/5 in ink on the verso. Provenance Acquired directly from the artist Estimate £1, 0 0 0 - 2 , 0 0 0 $ 1,7 0 0 - 3 , 3 0 0 € 1, 2 0 0 - 2 , 3 0 0

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31

28 JOSÉ PEDRO CORTES b. 1976 Untitled (girl) from Like an empty yard, 2007. Digital inkjet print. 125 x 90 cm. (49 1/4 x 35 7/16 in). Signed, titled, dated and numbered 2/5 in ink on a label affixed to the reverse of the flush-mount. One from an edition of 5 plus 1 artist’s proof. Provenance White Space Gallery, London exhibited Like an empty yard, Galeria Modulo, Lisbon, 5-30 July 2008 (another example exhibited) Estimate £1, 2 0 0 -1, 8 0 0 $ 2 , 0 0 0 - 3 , 0 0 0 € 1, 4 0 0 - 2 ,1 0 0 †

29 DAVID LACHAPELLE b. 1964 Rize (Cover), 2004. Fujicolour Crystal Archive print. 96.8 x 76.8 cm. (38 1/8 x 30 1/4 in). Signed in ink, printed title, date and number on an artist’s label affixed the reverse of the flush-mount. One from an edition of 7. Provenance Private Collection, Europe Estimate £ 7, 0 0 0 - 9 , 0 0 0 $ 11, 6 0 0 -14 , 9 0 0 € 8 ,1 0 0 -1 0 , 5 0 0

SANTE D’ORAZIO b. 1956 Gisele on couch, New York City, 2006. Colour coupler print. 46.4 x 58.4 cm (18 1/4 x 23in). Signed in ink and copyright credit stamp on a label affixed to the reverse of the flush-mount. Number 5 from an edition of 25. Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 0 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

∆ 31

30 DAVID LACHAPELLE b. 1964 Krumped House, 2004. Fujicolour Crystal Archive print. 68.6 x 101 cm. (27 x 39 3/4 in). Signed in ink, printed title, date and number on an artist’s label affixed the reverse of the flush-mount. One from an edition of 7. Provenance Private Collection, Europe estimate £ 7, 0 0 0 - 9 , 0 0 0 $ 11, 6 0 0 -14 , 9 0 0 € 8 ,1 0 0 -1 0 , 5 0 0 41

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33

32 EDGAR MARTINS b. 1977 Untitled from The Rehearsal of Space, 2005; Untitled from The Accidental Theorist, 20052006. Two colour coupler prints, each flush-mounted to aluminium. (i) 99.1 x 77.5 cm. (39 x 30 1/2 in); (ii) 102.6 x 81.6 cm. (40 3/8 x 32 1/8 in). Each accompanied by a signed Certificate of Authenticity. Each number 1 from an edition of 5. Provenance The Photographers’ Gallery, London Literature Aperture, Edgar Martins: Topologies, 2008 Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠

34

33 JOHANNA LAITANEN b. 1976 A Spectacle of Nature #03, 2005. Colour coupler print, printed 2009 and flush-mounted. 73.7 x 73 cm. (29 x 28 3/4 in). Signed in ink, printed title, date and number 2/7 on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist Literature University of Arts London, RE-STAGE, exh. cat., 2006, n.p.; Alaska, Issue 01 Spring Summer 2008, p. 164 Estimate £1, 5 0 0 - 2 , 5 0 0 $ 2 , 5 0 0 - 4 ,1 0 0 € 1,7 0 0 - 2 , 9 0 0

34 ESTHER TEICHMANN b. 1980 Untitled from Mythologies, 2006. Colour coupler print, printed 2009 and flush-mounted. 78.7 x 101 cm. (31 x 39 3/4 in). Signed and dated in ink on the reverse of the frame. Accompanied by a signed Certificate of Authenticity. Number 4 from an edition of 5. Provenance Man&Eve, London Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,10 0 ♠

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35 CHRISTINA KRUSE b. 1975 L.I.A.R., 2003. Archival pigment print, printed 2009. 76.2 x 101.6 cm. (30 x 40 in). Signed and dated in pencil on the verso. Number 4 from an edition of 5 plus 2 artist’s proofs. Provenance Acquired directly from the artist Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ‡

36 GAO BROTHERS b. 1956 & b. 1962 Mao Spirit in the Crystal Coffin, 2000. Four digital prints, each flush-mounted. Each 71.1 x 99.7 cm. (28 x 39 1/4 in). One signed, dated and numbered 2/5 in ink in the margin. Provenance Acquired directly from the artist Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ‡

37 WARREN DU PREEZ AND NICK THORNTON JONES b. 1966 and b. 1971 Myf Sheppard in Alexander McQueen, 2009. Digital print. 80 x 59.7 cm. (31 1/2 x 23 1/2 in). Signed, annotated ‘Myf’, dated and numbered 1/1 in ink in the margin. Provenance Blank Art Ltd., London Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ♠

38 VERONIQUE ROLLAND b. 1973 Jay-Paris, 2000. Digital colour coupler print, printed 2007. 119.1 x 99.7 cm. (46 7/8 x 39 1/4 in). Signed, titled, dated and numbered 1/3 in ink on a label affixed to the reverse of the flush-mount. One from an edition of 3 plus 2 artist’s proofs. Provenance Acquired directly from the artist exhibited John Kobal Photographic Portrait Award 1999, National Portrait Gallery, London, 12 September 2000 – 4 February 2001 Literature National Portrait Gallery, John Kobal Photographic Portrait Award 1999, exh. cat., 2000 Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 43

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39 MICHAEL REISCH b. 1964 “Landschaft”, 7/016, 2008. Digital colour coupler print, Diasec mounted. 180 x 285 cm. (70 7/8 x 112 1/4 in). Signed, titled, dated and numbered 7/8 in ink on the reverse of the flush-mount. One from an edition of 8 plus 2 artist’s proofs. Provenance Private Collection, Europe exhibited Sammlung XXL, Kunstraum Alexander Bürkle, Freiburg, 22 March – 21 June 2009 (another example exhibited) Literature Bibliothek der Provinz, Longing Nature: Landscapes in Europe, 2009, p. 91 Estimate £8,000-12,000 $13,200-19,900 €9,300-13,900 ♠

41

40 CATHERINE YASS b.1963 Descent: HQ2: 1/2s, 18°, 0mm, 5mph, north, 2002. Ilfochrome transparency in light box. 72 x 91 x 12.5 cm. (28 3/8 x 35 7/8 x 4 7/8 in). Signed, titled and dated 2003 in ink on the reverse of the lightbox. Provenance Alison Jacques Gallery, London Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ♠

41 GUIDO BASELGIA b. 1953 HOCHLAND X, Val d’Uina, Il Quar, 2001. Gelatin silver print on Baryte paper. 57.2 x 74 cm. (22 1/2 x 29 1/8 in). Signed, titled, dated and numbered 6/7 in ink on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist exhibited Guido Baselgia – Hochland, Kunsthalle Erfurt, Germany, 15 December 2002 – 19 January 2003; In den Alpen, Kunsthaus Zürich, Switzerland, 6 October 2006 – 2 January 2007 (each another example exhibited) Literature Hatje Cantz Verlag, Guido Baselgia – Hochland, 2001, p.10; Kunsthaus Zürich, In den Alpen, 2006, p.31 Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ‡

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42 MASSIMO VITALI b. 1944 A Portfolio of Landscapes with Figures Fifty-two colour offset lithographs, printed by Steidl 2006. Each approximately 66 x 85.1 cm. (26 x 33 1/2 in) or the reverse; sheet 70 x 90 cm. (27 9/16 x 35 7/16 in). Each numbered sequentially 1-52 in ink in an unidentified hand, credit and edition stamp 101/120 on the verso. Title page signed and numbered 101/120 in ink. Contained in a linen clamshell case. One from an edition of 120 plus 20 artist’s proofs. Provenance Private Collection, Europe Estimate £ 8 , 0 0 0 -1 2 , 0 0 0 $ 1 3 , 2 0 0 -1 9 , 9 0 0 € 9 , 3 0 0 -1 3 , 9 0 0 ♠

43 NOEL MCLAUGHLIN b. 1978 House no. 2; House no. 3; House no. 4; House no. 5 from American Gothic, 2008. Four archival pigment prints. Three 20.3 x 25.4 cm. (8 x 10 in), one 20.3 x 30.5 cm. (8 x 12 in). Each signed, titled, dated and numbered 1/1 in pencil in the margin. One from an edition of 1 plus 1 artist’s proof. Provenance Acquired directly from the artist Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0 †

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44 YVONNE DE ROSA b. 1975 Untitled (Blue Corridor) from Crazy God, 2005. Digital colour coupler print, printed 2007. 50.8 x 76.2 cm. (20 x 30 in). Signed in ink on the verso. Accompanied by a signed Certificate of Authenticity. Number 2 from an edition of 3. Provenance Diemar/Noble Photography, London Literature Damiani Editore, Yvonne De Rosa: Crazy God, 2008, p. 72 Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

46 BETHANY MURRAY b. 1971 Untitled 6 from Avoided Spaces – Colour Polaroids, 2007. Unique colour polaroid. 7.3 x 9.5 cm. (2 7/8 x 3 3/4 in). Signed, titled and dated in ink on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 47 JENNY NORDQUIST b. 1977 Untitled #2, #3, #4 and #6 from Alminde Series, 2007. Four digital colour coupler prints, each printed 2009 and flush-mounted. Each 47.6 x 60.3 cm. (18 3/4 x 23 3/4 in). Each signed, titled, dated and numbered 1/5 in ink on a label affixed to the reverse of the frame. Each one from an edition of 5 plus 1 artist’s proof. Provenance Acquired directly from the artist Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 †

45 YVONNE DE ROSA b. 1975 Untitled (Blue and White Staircase) from Crazy God, 2005. Digital colour coupler print, printed 2007. 50.8 x 76.2 cm. (20 x 30 in). Signed in ink on the verso. Accompanied by a signed Certificate of Authenticity. Number 1 from an edition of 3. Provenance Diemar/Noble Photography, London Literature Damiani Editore, Yvonne De Rosa: Crazy God, 2008, p. 22 Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠ 46

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48 CHRIS STEELE-PERKINS b. 1947 Tokyo Love Hello, 2007. Archival pigment print. 50.2 x 192.1 cm. (19 3/4 x 75 5/8 in). Signed and numbered 1/5 in ink in the margin. Number 1 from an edition of 5 plus 1 artist’s proof. Provenance Host Gallery, London exhibited Tokyo Seen by Magnum Photographers, Tokyo Metropolitan Museum of Photography, 10 March – 6 May 2007 (another example exhibited) Literature Editions Intervalles, Chris Steele-Perkins: Tokyo Love Hello, 2007, all illustrated pages; Magnum Photos, Tokyo Seen by Magnum Photographers, 2007 Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0

50

49 HENRYK HETFLAISZ b. 1978 Boulder, 2004. Digital colour coupler print, mounted. 99.7 x 79.7 cm. (39 1/4 x 31 3/8 in). Signed in ink, printed title, date and number 1/1 on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

50 STEVE SABELLA b. 1975 In Exile, 2008. Lambda print. 125 x 136 cm. (49 1/4 x 53 1/2 in). Signed, titled, dated and numbered 2/6 in ink on the reverse of the flush-mount. Provenance Acquired directly from the artist exhibited The Gates of Mediterranean, Palazzo Piozzo, Turin, 23 April – 28 September 2008; Palestine: La Création Dans Tous Ses Etats, L’Institut du Monde Arabe, Paris, 23 June – 22 November 2009 (each another example exhibited) Literature Thames & Hudson, New Vision: Contemporary Arab Art in the New Century, 2009, p. 250 Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0

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54

51 BETHANY MURRAY b. 1971 Untitled 1 from Avoided Spaces, 2007. Light jet print. 157.8 x 121.9 cm. (62 1/8 x 48 in). Signed, dated and numbered 1/3 in ink on a label affixed to the reverse of the flush-mount. One from an edition of 3 plus 2 artist’s proofs. Provenance Acquired directly from the artist Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

52 BETHANY MURRAY b. 1971 Untitled 2 from Avoided Spaces, 2007. Light jet print. 157.8 x 121.9 cm. (62 1/8 x 48 in). Signed, dated and numbered 1/3 in ink on a label affixed to the reverse of the flush-mount. One from an edition of 3 plus 2 artist’s proofs. Provenance Acquired directly from the artist Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

53 THOMAS HAYWOOD b. 1972 Grete, Ian and Guri from Family, 2005. Colour coupler print, printed 2008 and flush-mounted. 91 x 91 cm. (35 7/8 x 35 7/8 in). Accompanied by a signed Certificate of Authenticity. Number 1 from an edition of 5 plus 2 artist’s proof. Provenance Acquired directly from the artist exhibited Survey, Standpoint Gallery, London, 16 January – 14 February 2009 (another example exhibited) Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

54 THOMAS HAYWOOD b. 1972 Island (Horse) from Island, 2007. Lambda print, printed 2008 and flush-mounted. 76 x 92 cm. (30 x 36 1/4 in). Accompanied by a signed Certificate of Authenticity. Number 5 from an edition of 7 plus 1 artist’s proof. Provenance Acquired directly from the artist exhibited SHOW, Royal College of Art, London, 30 May – 8 June 2008 (another example exhibited) Literature Source Magazine, Issue 55 Summer 2009 Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 48

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55 STEPHEN GILL b. 1971 Billboard Series, 2002-2004. Twenty colour coupler prints, printed 2004 and 2009. Each 37.8 x 46.8 cm. (14 7/8 x 18 7/16 in), sheet 40.6 x 50.8 cm. (16 x 20 in). Each signed, titled and numbered 6/10 in ink on the verso. Each one from an edition of 10 plus 2 artist’s proofs. Contained in an archival print box. Provenance Acquired directly from the artist exhibited Field Studies, The State Centre of Architecture, Moscow, September 2004 (another example exhibited) Literature Chris Boot Ltd., A Book of Field Studies, 2004, cover and various pages Estimate £1 0 , 0 0 0 -1 5 , 0 0 0 $ 1 6 , 6 0 0 - 2 4 , 8 0 0 € 11, 6 0 0 -17, 4 0 0 †

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56 BEATE GÜTSCHOW b. 1970 LS#14, 2003. Lambda print, printed 2004. 49.8 x 80.6 cm. (19 5/8 x 31 3/4 in). Signed in ink, printed title, date and number 3/10 on a label affixed to the reverse of the flush-mount. Provenance Acquired directly from the artist Literature Aperture, Beate Gütschow – LS / S, 2007, similar works from the series illustrated p. 7-35 Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠

57 JUSTINE KURLAND b. 1969 Buses on the Farm, 2003. Colour coupler print, mounted. 45.1 x 57.2 cm. (17 3/4 x 22 1/2 in). Signed in ink, printed title, date and number 7/8 on a label affixed to the reverse of the frame. One from an edition of 8 plus 2 artist’s proofs. Provenance Gorney Bravin + Lee, New York Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ‡

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44551

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58 EMILY ALLCHURCH b. 1974 Urban Chiaroscuro 3: Rome (after Piranesi), 2006. Transparency in lightbox. 81.5 x 116.4 cm. (32 1/8 x 45 7/8 in). Signed in ink, printed title, date and number 1/4 on a label affixed to the reverse of the lightbox. Provenance Diemar/Noble Photography, London Literature Frost & Reed, Emily Allchurch: Urban Chiaroscuro, exh. cat., cover and p. 9-11 Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ♠

59 OSAMA ESID b. 1970 The girl with the silver shoes, 2006. Digital inkjet print. 101.6 x 79.4 cm. (40 x 31 1/4 in). Signed, titled, dated and numbered 2/5 in ink in the margin. Provenance Acquired directly from the artist Estimate £1, 8 0 0 - 2 , 2 0 0 $ 3 , 0 0 0 - 3 , 6 0 0 € 2 ,1 0 0 - 2 , 6 0 0 61 LOTTIE DAVIES b. 1971 The Red Devil from Memories and Nightmares, 2008. Digital colour coupler print. 73 x 96.5 cm. (28 3/4 x 38 in). Signed, titled and numbered 1/10 in ink in the margin. Provenance Acquired directly from the artist Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠

60 CHRIS JORDAN b. 1963 Recycling Yard #5, Seattle from Intolerable Beauty: Portraits of American Mass Consumption, 2003. Ultrachrome pigment print, printed 2005. 111.4 x 133.5 cm. (43 7/8 x 52 9/16 in). Signed, titled, dated and numbered 2/9 on a label affixed to the reverse of the flush-mount. One from an edition of 9 plus 2 artist’s proofs. Provenance Paul Kopeikin Gallery, Los Angeles Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ‡ 51

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66 62 MAEVE BERRY Untitled from Incandescence, 2008. Digital colour coupler print, printed 2009 and Diasec mounted. 61 x 76.2 cm. (24 x 30 in). Signed, numbered 1/15 in pencil and printed title on a copyright credit limitation stamped label affixed to the reverse of the flushmount. Provenance Diemar/Noble Photography, London Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

63 MAEVE BERRY Untitled from Incandescence, 2008. Digital colour coupler print, printed 2009 and Diasec mounted. 61 x 76.2 cm. (24 x 30 in). Signed, numbered 1/15 in pencil and printed title on a copyright credit limitation stamped label affixed to the reverse of the flushmount. Provenance Diemar/Noble Photography, London Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

64 TIM DAVIS b. 1969 One People, One Nation, One Taco, One Destiny from My Life in Politics, 2002-2006. Colour coupler print. 122 x 155 cm. (48 x 61 in). Signed, annotated ‘One People, One Nation…’ and numbered 2/6 in ink on the reverse of the flush-mount. Provenance Greenberg Van Doren Gallery, New York Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

65 LUCY LEVENE b. 1978 Timmy Green from Marrying In (Please God by You), 2001. Colour coupler print, printed 2007. 101.6 x 101.6 cm. (40 x 40 in). Signed and numbered in ink on the reverse of the flush-mount. One from an edition of 8 plus 3 artist’s proofs. Provenance Acquired directly from the artist exhibited ReGeneration – 50 Photographers of Tomorrow, including: Musée de l’Elysée, Lausanne, 23 June – 25 September 2005 and Aperture Fondation, New York, 7 April – 22 June 2006 (each another example exhibited) Literature Thames & Hudson, ReGeneration – 50 Photographers of Tomorrow, 2005, p. 123; Skira Ltd, In Our World, New Photography in Britain, 2008, n.p. Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

66 ZIAD ANTAR b. 1978 Chair; Soldier Food; Tricycle from Products of War, 2006. Three ultrachrome inkjet prints, printed 2009. Each 49 x 73. 5 cm. (19 1/4 x 28 3/4 in) or the reverse. Each accompanied by a signed Certificate of Authenticity. Each number 1 from an edition of 6 plus 1 artist’s proof. Provenance Acquired directly from the artist. exhibited Art Now In Lebanon, Darat Al Funun, Amman, Jordan, 4 March – 29 May 2008 (another example exhibited) Literature Galerie Enrico Navarra, In the Arab World Now, 2008 Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ‡ 52

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Humble ARts foundAtion

emerging art photographers currently face a unique breed of challenges. Shifting trends

and influences, accelerated ideas via online venues, and the proliferation of MFa photography programmes have forced a highly competitive art market; one that is limited in print resources which are specifically focused on informing collectors while connecting the early-career photographer to pivotal figures in the established art world. as a not-for-profit organization working to advance the careers of contemporary art photographers, humble arts Foundation responded to the challenges of today’s art market with the recent publication of The Collector’s Guide to Emerging Art Photography. the guide culls the work of 163 of the industry’s most talented new photographers whose aesthetic and international exposure affirms the intellectual integrity of their work. humble’s partnership with Phillips de Pury & company on its upcoming sale and catalogue Now: Art of the 21st Century enables the foundation to continue to encourage seasoned collectors, gallerists and other art world professionals to seriously consider the work of some of the most talented emerging and under represented photographers working today. Phillips de Pury selected 16 photographers from The Collector’s Guide, whose work is a snapshot of the strongest and most innovative and challenging new work in art photography. amani olu and Jon Fenstein Founders of humble arts Foundation

67

67 COREY ARNOLD b. 1976 Kitty and Horse Fisherman from Fish-Work, 2006. Colour coupler print, printed 2009. 50.8 x 68.6 cm. (20 x 27 in). Signed, titled, dated and numbered in ink on a label affixed to the reverse of the flush-mount. Provenance Sara Tecchia Roma New York exhibited Fish-Work, Sarah Tecchia Roma New York, 19 February – 4 April 2009 (another example exhibited) Estimate £ 8 0 0 -1, 2 0 0 $ 1, 3 0 0 - 2 , 0 0 0 € 9 5 0 -1, 4 0 0 ‡ 53

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68

69

70

71

68 SIMON VAHALA b. 1978 Untitled, 2008. Colour coupler print, Diasec mounted. 65 x 65 cm. (25 5/8 x 25 5/8 in). Signed, titled, dated and numbered 1/1 in ink on the reverse of the flushmount. Provenance Acquired directly from the artist Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

69 WILLIAM LAMSON b. 1977 Intervention 02/20/08. Archival pigment print. 43.8 x 29.5 cm. (17 1/4 x 11 5/8). Signed and numbered 2/10 in ink on the verso. Provenance Acquired directly from the artist/ Pierogi Gallery, Brooklyn exhibited William Lamson: Actions, Marty Walker Gallery, Dallas, 6 September – 11 October 2008 (another example exhibited) Estimate £ 5 0 0 -7 0 0 $ 8 5 0 -1, 2 0 0 € 6 0 0 - 8 0 0 ‡

70 JOHN MANN b. 1972 Untitled (Libya) from Folded in Place, 2007. Digital colour coupler print. 61 x 76.2 cm. (24 x 30 in). Signed, titled, dated and numbered 2/10 in ink on the reverse of the flush-mount. Provenance Acquired directly from the artist exhibited Pause, to Begin, Gallery Kunstler, Rochester, 2-30 January 2009 (another example exhibited) Estimate £ 5 0 0 -7 0 0 $ 8 5 0 -1, 2 0 0 € 6 0 0 - 8 0 0 ‡

71 REGINE PETERSEN b. 1976 Ladybug from The Hair, 2006. Colour coupler print. 69.5 x 54.9 cm. (27 3/8 x 21 5/8 in). Signed in pencil on the reverse of the flush-mount; signed in pencil, printed title, date and number 1/6 on a label affixed to the reverse of the frame. One from an edition of 6 plus 2 artist’s proofs. Provenance Acquired directly from the artist exhibited Gute Aussichten—New German Photography, including Forum für Fotografie, Cologne, 9 November 2006 – 14 January 2007, Stuttgart, VHS-Photogalerie, Stuttgart, 14 March – 29 April (each another example exhibited) Estimate £ 8 0 0 -1, 2 0 0 $ 1, 3 0 0 - 2 , 0 0 0 € 9 5 0 -1, 4 0 0 ♠ 54

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72

73

74

75

72 JEONGMEE YOON b. 1969 Seohyun and Her Pink Things from The Pink Project, 2007. Light jet print, flush-mounted. 142 x 142 cm. (55 7/8 x 55 7/8 in). Signed, titled, dated and numbered 3/5 in ink on the verso; signed, printed title, date and number 3/5 on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist exhibited ‘The 5th Daum Prize Solo Show’– The Pink and Blue Project, Kumho Museum, Seoul, South Korea, 14 - 24 June 2007 (another example exhibited) Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -1 3 , 2 0 0 € 7, 0 0 0 - 9 , 3 0 0 ‡ 74 ANOUSH ABRAR & AIMÉE HOVING b. 1976 and b. 1978 Pinceau á la bouche, 2006. Digital colour coupler print. 70 x 51.7 cm. (27 1/2 x 20 3/8). Signed in ink, printed title, date and number 2/7 on a label affixed to the reverse of the flush-mount. Accompanied by a signed Certificate of Authenticity. Provenance Acquired directly from the artists exhibited Photographic Portrait Prize 2006, National Portrait Gallery, London, 8 November 2006 – 18 February 2007 (another example exhibited) Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠‡

03_NOW_LON_SEPT_PHOTO_v7.indd 55

73 CÉLINE CLANET b. 1977 Les rennes de Jon (Jon’s Herd) from Máze, 2005. Lambda print, printed 2009 and flush-mounted. 47.3 x 47.3 cm. (18 5/8 x 18 5/8 in). Signed and dated in ink, printed title, date and number 1/15 on an artist’s label affixed to the reverse of the frame. Provenance Acquired directly from the artist exhibited Fotohuset, Kristiansand, Norway, 27 August – 1 November 2009 (another example exhibited) Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0 ♠ 75 TIMOTHY BRINER b. 1981 Nathan, Boonville, North Carolina from Boonville, 2007. Gelatin silver print. 50.8 x 40.6 cm. (20 x 16 in). Signed, titled, dated and numbered 2/7 in pencil on a label affixed to the reverse of the flush-mount. Provenance Acquired directly from the artist/ Daniel Cooney Fine Art, New York Estimate £ 5 0 0 -7 0 0 $ 8 5 0 -1, 2 0 0 € 6 0 0 - 8 0 0 ‡

55

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76

77

78

79

76 EMMA WIESLANDER b. 1979 Ullswater from Black Mirror, 2006. Colour coupler print, facemounted to glass together with a walnut shelf. Diameter 30 cm. (11 13/16 in). Signed, titled, dated and numbered 1/5 in ink on the verso. Accompanied by a Certificate of Authenticity. One from an edition of 5 plus 2 artist’s proofs. Provenance Acquired directly from the artist Estimate £ 6 0 0 - 8 0 0 $ 1, 0 0 0 -1, 3 0 0 € 7 0 0 - 9 5 0 ♠

77 ALEJANDRO CARTAGENA b. 1977 Rio No.10 from Lost Rivers/Suburbia Mexicana, 2007. Archival inkjet print. 45 x 54.8 cm. (17 3/4 x 21 5/8 in). Signed, titled, dated and numbered 1/3 in ink on the reverse of the flush-mount. Provenance Acquired directly from the artist exhibited Pause, to Begin, Gallery Kunstler, Rochester, 2-30 January 2009 (another example exhibited) Estimate £ 7 0 0 - 9 0 0 $ 1, 2 0 0 -1, 5 0 0 € 8 0 0 -1, 0 0 0 ‡

78 AMY STEIN b. 1970 Nursery from Domesticated, 2007. Digital colour coupler print. 61 x 76.2 cm. (24 x 30 in). Signed, titled, dated and numbered 7/10 in ink on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist/ Pool Gallery, Berlin exhibited Beyond the Backyard, Museum of Contemporary Photography, Chicago, 1 July – 19 August 2008 (another example exhibited) Literature Photlucida, Amy Stein: Domesticated, 2008, n.p. Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0

79 MICHAEL BÜHLER-ROSE b. 1980 The Conversation, Alachua, FL. from Constructing the Exotic, 2006. Colour coupler print. 101.6 x 127 cm. (40 x 50 in). Signed, titled, dated and numbered 2/5 in ink and a copyright credit reproduction limitation stamp on a label affixed to the reverse of the flush-mount. One from an edition of 5 plus 2 artist’s proofs. Provenance Acquired directly from the artist/ Brancolini Grimaldi, Roma exhibited Contemporary Portrait, SK Stiftung Kultur/ Die Photographische Sammlung, Cologne, 18-22 April 2007 (another example exhibited) Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 56

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80

81

80 OFER WOLBERGER James Dean’s Last Stop, Lost Hills, CA from Life with Maggie, 2008. Colour coupler print, flushmounted. 101.6 x 127 cm. (40 x 50 in). Signed, dated and numbered 1/3 in ink on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist/ Michael Hoppen Gallery, London exhibited Masks, Dong-gang Museum of Photography, Gangwon-do, Korea, 24 July – 30 September 2009 (another example exhibited) Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

82

81 BORU O’BRIEN O’CONNELL b. 1979 Marks of the Genuine Man from Mavericks and Daydreamers, 2008. Digital colour coupler print, flush-mounted. 48.3 x 60.5 cm. (19 x 23 13/16 in). Accompanied by a signed Certificate of Authenticity. Number 2 from an edition of 4 plus 1 artist’s proof. Provenance LaMontagne Gallery, Boston exhibited Mavericks and Daydreamers, LaMontagne Gallery, 4 April – 2 May 2009 (another example exhibited) Estimate £ 6 0 0 - 8 0 0 $ 1, 0 0 0 -1, 3 0 0 € 7 0 0 - 9 5 0

82 YANN GROSS b. 1981 Avalanche 3 from Lavina, 2006. Lamda print, flush-mounted. 125 x 100 cm. (49 1/4 x 39 3/8 in). Signed in ink, printed title, date and number 2/9 on a label affixed to the reverse of the frame. Provenance Acquired directly from the artist/ World’s End Contemporary Gallery, London exhibited Best of ECAL, Contemporary Art Space, Lausanne, 10 October – 21 December 2007 Literature NZZ Libro, Worlds of rock and ice: Alpine Photography in Switzerland—History and Present, 2009, p. 324 Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

57

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PHOTOGRAPHS LOTS 1 - 82

1 JOAKIM ENEROTH

2 JOSEF SCHULZ

3 FRANCK CHRISTEN

4 DANIEL BLAUFUKS

5 DANIEL BLAUFUKS

6 EVE SUSSMAN

7 EVE SUSSMAN

8 EVE SUSSMAN

9 JOËL TETTAMANTI

10 LEONORA CHAN

11 STEPHEN WADDELL

12 TIM SIMMONS

13 DAN HOLDSWORTH

14 JESÚS JIMÉNEZ

15 BENOîT GRIMBERT

16 KK+TF: KLARA KÄLLSTRÖM AND THOBIAS FÄLDT

17 CHRIS COEKIN

18 CHRIS COEKIN

19 ROBERT BELLAMY

20 MICHAEL BODIAM

21 SIMON NORFOLK

22 SIMON NORFOLK

23 HELGA STEPPAN

24 HELGA STEPPAN

25 GEIR MOSEID

26 DAFNA TALMOR

27 ALE X HAAS

28 JOSÉ PEDRO CORTES

29 DAVID LACHAPELLE

30 DAVID LACHAPELLE

31 SANTE D’ORAZIO

32 EDGAR MARTINS

33 JOHANNA LAITANEN

34 ESTHER TEICHMANN

35 CHRISTINA KRUSE

36 GAO BROTHERS

37 WARREN DU PREEZ AND NICK THORNTON JONES

38 VERONIQUE ROLLAND

39 MICHAEL REISCH

40 CATHERINE YASS

41 GUIDO BASELGIA

42 MASSIMO VITALI

58

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PHOTOGRAPHS LOTS 1 - 82

43 NOEL MCLAUGHLIN

4 4 YVONNE DE ROSA

45 YVONNE DE ROSA

46 BETHANY MURRAY

47 JENNY NORDQUIST

48 CHRIS STEELE-PERKINS

49 HENRYK HETFLAISZ

50 STEVE SABELLA

51 BETHANY MURRAY

52 BETHANY MURRAY

53 THOMAS HAYWOOD

54 THOMAS HAYWOOD

55 STEPHEN GILL

56 BEATE GÜTSCHOW

57 JUSTINE KURLAND

58 EMILY ALLCHURCH

59 OSAMA ESID

60 CHRIS JORDAN

61 LOTTIE DAVIES

62 MAEVE BERRY

63 MAEVE BERRY

64 TIM DAVIS

65 LUCY LEVENE

66 ZIAD ANTAR

67 COREY ARNOLD

68 SIMON VAHALA

69 WILLIAM LAMSON

70 JOHN MANN

71 REGINE PETERSEN

72 JEONGMEE YOON

73 CÉLINE CLANET

74 ANOUSH ABRAR & AIMÉE HOVING

75 TIMOTHY BRINER

76 EMMA WIESLANDER

77 ALEJANDRO CARTAGENA

78 AMY STEIN

79

MICHAEL BÜHLER-ROSE

80

OFER WOLBERGER

81

BORU O’BRIEN O’CONNELL

82

YANN GROSS

59

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NOW

3.30 pm 26 SEpTEmBER 2009 London

DESIGN LOtS 83 - 99

MAssALoux, L. 95 MinALe, M. 84

ArAd, r. 92 Bonetti, M. 87

noten, t. 94 CAMpAnA, F. 89 CAMpAnA, H. 89 CoCksedge, p. 97 CoMMittee 86

pot, B. 93 priCe, t. 85 roeder, t. 83

HAygArtH, s. 99 Hein eek, p. 88

WiseMAn, d. 98

kAdusHin, r. 90

yosHiokA, t. 96

LiBeskind, d. 91

60

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83

83 tinA roeder b. 1975 ‘White Plastic Chair’, 2009. Perforated and sanded pre-existing plastic chair. 79.5 cm. (31 1/4 in) high. Self produced, Germany. Number 11 from the edition of 33 unique pieces plus one artist’s proof and one prototype. Underside of chair with plastic label ‘TINA ROEDER 11 / 33’. ExhiBiTEd White Billion Chairs 33 by Tina Roeder, Appel Design Gallery, Berlin, 13-31 March 2009 LiTERaTuRE Damn, June 2008, p. 167; Kunstjahr, November 2008, p. 287; Max Borka, Nullpunkt. Nieuwe German Gestaltung, exh. cat., Marta Herford Museum, Herford, 2009, p. 167; Max Borka, Volker Albus and Tina Roeder, White Billion Chairs, exh. cat., Appel Design Gallery, Berlin, 2009 Estimate £1, 2 0 0 -1, 8 0 0 $ 2 , 0 0 0 - 3 , 0 0 0 € 1, 4 0 0 - 2 ,1 0 0 61

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84

84 MArio MinALe b. 1973 ‘Red Blue LEGO © Chair’, 2007. LEGO © bricks, aluminium. 84 cm. (33 1/8 in) high. Manufactured by Droog Design, The Netherlands. Number three from the edition of five, plus two artist’s proofs and one prototype. Underside of seat with plastic label ‘droog/by Mario Minale/3/5’. LiTERaTuRE NRC Handelsblad, 2004, n.p.; Droog Design, Simply Droog, 2004, Amsterdam, p. 66; Human Touch, 2006, Amsterdam, p. 100 Estimate £ 2 0 , 0 0 0 - 2 5 , 0 0 0 $ 3 3 ,1 0 0 - 41, 4 0 0 € 2 3 , 2 0 0 - 2 9 , 0 0 0 62

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85

86

85 toM priCe b. 1973 ‘Meltdown chair: PP Tube #1’, 2007. Heated and pressed polypropylene tubes. 98 cm. (38 1/2 in) high. Artist’s proof from the edition of ten. Left underside of a tube impressed with ‘TOM PRICE’. Together with a certificate of authenticity from the artist. LiTERaTuRE Marie Claire Deco, June 2008, front cover; Crafts, March/April 2009, p. 25; Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 58 for a similar example Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠

87

86 CoMMittee: CLAre pAge And HArry riCHArdson b.1975, b. 1975 Unique ‘Freeze’ standard lamp, 2006. Tubular metal, fabric, glazed ceramic, clear and coloured glass, plastic, vinyl, brushed stainless steel, ebonised wood, white metal. 147 cm. (58 in) high. Produced by Committee, UK, from the ‘Kebab’ series. Tea cup signed in marker with ‘‘Freeze’ Committee 2006’. ExhiBiTEd Super Design, London, 8-14 October 2007 LiTERaTuRE Sophie Lovell, Furnish: Furniture and Interior Design for the 21st Century, Berlin, 2007, back cover and pp. 50-51 for similar examples Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠

87 MAttiA Bonetti b. 1953 ‘Smarties Geometries’ chair, 2003. Bent chrome-plated steel, leather. 94.6 cm. (37 1/4 in) high. Produced by Galerie Kreo, France. Number two from the edition of eight. Back of seat back impressed with facsimile initials ‘MB’ and ‘Galerie kreo/2003/2/8’. Estimate £ 3,0 0 0 - 5,0 0 0 $5,0 0 0 - 8,3 0 0 €3,5 0 0 - 5,8 0 0 ♠Ω

63

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88

89

88 PIET HEIN EEK b. 1967 ‘Scrap Wood’ cabinet, 2008. Salvaged wood, painted laminated wood, painted steel. 90 x 300 x 58 cm. (35 1/2 x 118 x 22 7/8 in). Produced by Eek & Ruijgrok BV, The Netherlands. Literature Tom Dixon, et al. eds., &Fork, London, 2007, p. 144, figs. 4-6 for a similar example Estimate £1 0 , 0 0 0 -1 5 , 0 0 0 $ 1 6 , 6 0 0 - 2 4 , 8 0 0 € 11, 6 0 0 -17, 4 0 0

89 FERNANDO AND HUMBERTO CAMPANA b. 1961, b. 1953 ‘Kaiman Jakaré’ sofa, 2006. Velvet, polyurethane, PVC. 140 x 420 x 400 cm. (55 1/8 x 165 3/8 x 157 1/2 in). Produced by Edra, Italy. Each zipper cast with ‘Edra’. Literature Antibodies—Fernando & Humberto Campana 1989-2009, cat. exh., Vitra Design Museum, Weil am Rhein, 2009, p. 35 for a study and pp. 38-39 and 106-107 for similar examples Estimate £1 2 , 0 0 0 -1 8 , 0 0 0 $ 1 9 , 9 0 0 - 2 9 , 8 0 0 € 1 3 , 9 0 0 - 2 0 , 9 0 0 ♠ 64

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90

90 ronen kAdusHin b. 1964 Prototype ‘Italic Shelf’, 2008. Birch plywood. 200 x 250 x 45 cm. (78 7/8 x 98 1/2 x 17 3/4 in). One edge of shelf with brass plaque incised with ‘RONEN KADUSHIN 2008/ITALIC SHELF PROTOTYPE’. ExhiBiTEd Hard Copies Open Design by Ronen Kadushin, Appel Design Gallery, Berlin, 1-22 November 2008 Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7, 5 0 0 € 4 ,1 0 0 - 5 , 2 0 0 65

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91

92

91 dAnieL LiBeskind b. 1946 ‘Spirit House’ chair, 2007. Brushed and polished stainless steel, leather. 90 cm. (35 3/8 in) high. Manufactured by Klaus Nienkämper, Canada. Number 43 from the edition of 100. Top edge impressed with artist’s facsimile signature and ‘by/ nienkämper/43/100’. Together with a certificate of authenticity from the artist. LiTERaTuRE Yoshio Futagawa, ‘Renaissance ROM (Extension to the Royal Ontario Museum: The Crystal)’, GA Document, July 2007, Tokyo, p. 33; Kelvin Browne, Bold Visions: The Architecture of the Royal Ontario Museum, Toronto, 2008, p. 25 Estimate £ 8 , 0 0 0 -1 2 , 0 0 0 $ 1 3 , 2 0 0 -1 9 , 9 0 0 € 9 , 3 0 0 -1 3 , 9 0 0 ♠

92 ron ArAd b. 1951 ‘RTW’ bookshelf, 2000. Polished stainless steel. 130 cm. (51 1/8 in) high. Manufactured by Hidden, The Netherlands. From the edition of 15. LiTERaTuRE Deyan Sudjic, Ron Arad, London, 2001, p. 148 for similar examples; Ron Arad No Discipline, exh. cat., Centre national d’art et de culture Georges Pompidou, Paris, 2008, pp. 162-163 for similar examples Estimate £1 0 , 0 0 0 -1 5 , 0 0 0 $ 1 6 , 6 0 0 - 2 4 , 8 0 0 € 11, 6 0 0 -17, 4 0 0 ♠

66

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93

94 93 BERTJAN POT b. 1975 ‘Carbon’ coffee table/bench, 2006. Carbon fibre, resin. 40.5 x 119 x 55 cm. (16 x 46 7/8 x 21 5/8 in). Manufactured by Bertjan Pot Studios, The Netherlands. From the edition of five. Estimate £ 4 , 5 0 0 - 5 , 5 0 0 $ 7, 5 0 0 - 9 ,1 0 0 € 5 , 2 0 0 - 6 , 4 0 0

95 94 TEd NOTEN b. 1956 Unique ‘Sophia Lauren’ bag, 2007. Polyester, nylon, metal, plastic, acrylic, pre-existing brooch, mineral, hairs. 28 x 6.5 x 29 cm. (11 x 2 1/2 x 11 1/2 in). Self production, The Netherlands, from the edition of ‘Wearable Art for Stars’ series of 12 unique bags. ExhibitEd 64th Venice International Film Festival, Venice, 6 September 2007; Wearable Art for Stars, design-e-space Gallery, Venice, 8 September – 13 October 2007 Estimate £10,0 0 0 -15,0 0 0 $16,60 0 -24,80 0 €11,60 0 -17,40 0

95 LAURENT MASSALOUX b. 1968 ‘VanityTidy’ bowl, 2006. Selective laser-sintered polyamide powder. 8 cm. (3 1/16 in) high, 24 cm. (9 1/2 in) diameter. Produced by Tools Galerie, France. From the edition of eight plus two artist’s proofs and one prototype. Estimate £2,0 0 0 - 3,0 0 0 $3, 3 0 0 - 5,0 0 0 €2, 3 0 0 - 3,5 0 0 ♠Ω

67

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96

97 96 tokuJin yosHiokA b. 1967 Prototype ‘Pane’ chair, 2006. Polyester elastomer fibre. 80 cm. (31 1/2 in) high. From the edition of 29 plus ten artist’s proofs. Together with a certificate of authenticity from the artist. LiTERaTuRE ‘Thanks to the National Geographic Pane Chair’, Domus, April 2006, pp. 115-117; ‘A Spatial Poetry’, Casa Brutus, June 2006, p. 90; ‘Pane Chair’, AXIS, June 2006, pp. 7-9 Estimate £ 8 , 0 0 0 -1 2 , 0 0 0 $ 1 3 , 2 0 0 -1 9 , 9 0 0 € 9 , 3 0 0 -1 3 , 9 0 0 Ω

97 pAuL CoCksedge b. 1978 ‘Light As Air’ lighting sculpture, 2006. PVC, LED lights, lacquered MDF, aluminium. 79 cm. (31 in) high. Produced by Paul Cocksedge, UK. From the edition of 77 unique pieces. Underside of each light signed in marker with ‘P.C’ and ‘35/77’, ‘73/77’ and ‘74/77’ respectively and underside of base incised with ‘Light As Air/Installation exhibited at Rabih Hage./Limited edition of seventy seven light sculptures/designed and produced by Paul Cocksedge.’, with artist’s signature and ‘May 2006’. ExhiBiTEd Light As Air, Rabih Hage Gallery, London, May 2006 LiTERaTuRE Tom Dixon, et al. eds., &Fork, London, 2007, p. 114, figs. 1-2 for a similar example Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 68

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98

98 dAVid WiseMAn b. 1983 Large unique chandelier, 2008. Bronze, porcelain. 101.5 cm. (40 in) drop. LiTERaTuRE Jen Renzi, ‘Room for the New’, Modern Magazine, Spring 2009, pp. 110111; Elisa Chemayne Agostinho, ‘Organically Designed’, Luxe Magazine, Winter 2008, n.p.; West Magazine. Los Angeles Times, September 17, 2006. p. 33; Casa, Italy, 7 March 2009, n.p. Estimate £1 2 , 0 0 0 -1 8 , 0 0 0 $ 1 9 , 9 0 0 - 2 9 , 8 0 0 € 1 3 , 9 0 0 - 2 0 , 9 0 0 Ω 69

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99

99 stuArt HAygArtH b. 1966 ‘Tail Light’ chandelier, 2007. Coloured and clear plastic vehicle light lenses, acrylic. 146 cm. (57 1/4 in) drop. Number two from the series of seven. ExhiBiTEd Grandmateria, Gallery Libby Sellers, London, September – October 2007; Grandmateria II, Gallery Libby Sellers, Miami, December 2007 LiTERaTuRE Kommersant, October 2007, p. 69 for a similar example; Design Week, October 2007, p. 13; Brompton Quarterly, Autumn 2007, front cover and p. 9 for similar examples; Azure, October 2007; ‘The New Review’, The Independent on Sunday, 14 October 2007, front cover and pp. 16-17 for a similar examples; Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 241 Estimate £1 2 , 0 0 0 -1 8 , 0 0 0 $ 1 9 , 9 0 0 - 2 9 , 8 0 0 € 1 3 , 9 0 0 - 2 0 , 9 0 0 70

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24/08/09 16:50


DeSIGN LotS 83 - 99

83 tINA rOEDEr

84 MArIO MINALE

85 tOM PrICE

86 COMMIttEE: CLArE PAgE AND HArry rICHArDSON

87 MAttIA BONEttI

88 PIEt HEIN EEK

89 FErNANDO AND HuMBErtO CAMPANA

90 rONEN KADuSHIN

91 DANIEL LIBESKIND

92 rON ArAD

93 BErtjAN POt

94 tED NOtEN

95 LAurENt MASSALOuX

96 tOKujIN yOSHIOKA

97 PAuL COCKSEDgE

98 DAVID WISEMAN

99 StuArt HAygArtH

71

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NOW

4.00 pm 26 SEpTEmBER 2009 LONDON

CONTEMPORARY ART LOTs 100 - 291

AhmAdi, S. 210 Al-KArim, h. 209 AryAnpour, p. 208 ASchroft, m. 258 Attoe, d. 252, 253, 280 Avery, c. 272

fAng, l. 187 flAnnigAn, m. 139 förg, g. 107 friedmAn, t. 115 fuJitA, g. 273 fuSS, p. 129

Belinchón, r. 195 BiSmuth, p. 224 Bludov, A. 264 BocK, J. 229 Bove, c. 119 BuJnowSKi, r. 228

geerS, K. 102 gili, J. 288 gordon, d. 149 greenfield-SAnderS, i. 275

cAivAno, e. 217 cAnAdAy, S. 254 cecchini, l. 218, 219 céSpedeS, J. 260 chApmAn, J. & d. 135 chichKAn, i. 266, 267 chilver, J. 290 chuAn, J. 189 d*fAce 131 de Bloeme, r. 287 diBA, K. 207 dodge, t. 249 doll, t. 257 dr lAKrA 132, 133 drAper, m. 259 dzAmA, m. 173 eliASSon, o. 220 elSner, S. 283, 284 eSSAydi, l. 206 eSSenhigh, i. 147

hAi, B. 124 hAmAK, h. 221 hAn, mA 180 hArding, A. 104, 251 hAveKoSt, e. 239 hildeBrAndt, g. 114, 212 hirSchhorn, t. 120, 242 hirSig, S. 236, 237 hirSt, d. 126, 127, 128, 162, 163 hnylytSKA, K. 262 höfer, c. 106, 194 holzApfel, o. 110 horn, r. 117 huAng, y.p. 186 hume, g. 227, 235 iSrAel, K. 123, 198 JAcir, e. 276 JAcquette, J. 196 JAnAS, p. 286 Joffe, c. 151, 282 JohAnSon, c. 171, 172, 271 Joon, K. 201

KAnSo, n. 205 KApoor, A. 160, 161 KAprielov, S. 256 KAruBiAn, c. 279 KAuffmAn, c. 118 KAwAuchi, r. 188 KAwS & yue, m. 178 Kelley, m. 214 Koh, t. 116 KunAth, f. 111 Kürten, S. 197 KuSAmA, y. 155 lAwler, l. 105, 215, 216 ledgerwood, J. 291 lee, B. 222 lieBermAn, J. 289 liSter, A. 176 lowe, f. 130 lucAnder, r. 285 lutz, c. 165 lutz, d. 150 mAch, d. 199 mAiofiS, g. 269 mAmSiKov, m. 263 mAnnig, m. 152 mArepe 100 mArtin, B. 250 mcgee, B. 169, 170 meeSe, J. 230, 231 micAllef, A. 174, 175 moffAtt, t. 138 monroe, i. 142 mulJi, h. 204 mumford, S. 255 munteAn, m. & roSenBlum, A. 145 murAKAmi, t. 164

nArA, y. 168 nitSche, f. 232 ofili, c. 134 perry, g. 136 pettiBon, r. 101, 270 peyton, e. 140

tAKAno, A. 157, 158, 159, 166, 167 tAl r 243, 244, 245 teruyA, y. 122 tiAnde, w. 181 toBiAS, g. & u. 143, 144 ˇ topçuoglu, n. 203 trouBinA, v. 261 tunglu, h. 191

quinn, m. 156 rAho, A. 278 rAnA, r. 141 rAtcliff, d. 193 ridnyi, n. 265 ritSon, B. 202 roSenBlum, A. & munteAn, m. 145 rucKhABerle, c. 148 ruff, t. 125, 200 ruyter, l. 281 SAnditz, l. 240, 241 ScheiBitz, t. 233, 234 Schnell, d. 238 Sen, h. 182 ShAw, J. 137 Shovlin, J. 247, 248 SKoglund, S. 211 SKoruBSKy KAndinSKy, A. 179 SKreBer, d. 223 Smith, J. 113 SolomKo, y. 268 Strode, t. 246 StuBBS, m. 192 Sugimoto, h. 213 Supine, J. 177

vAllAnce, J. 226 vilASini, v. 274 von hellermAnn, S. 153, 154 wAlSh, d. 108 weiSer, g. 112 weKuA, A. 109 weSt, f. 121 wetzel, m. 146 wurm, e. 103, 225 yAn, p.m. 185 young, r. 277 yue, m. & KAwS 178 zhAng, p. 183 zeng, c. 184 zhAo, B. 190

72

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100

100 mArepe b. 1970 Untitled, 2002. Plastic. 37 x 25 x 25 cm. (14 1/2 x 9 7/8 x 9 7/8 in). Incised ‘Marepe’ on the underside. pROvENaNcE Galerie Luisa Strina, Sao Paolo; Galerie Nathalie Obadia, Paris; Private collection, Paris Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ♠ 73

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101

102 (i)

(ii)

102 Kendell geerS b. 1968 Two works: La Sainte Vierge, 2004. Ink on paper. Each: 100 x 70 cm. (39 3/8 x 27 1/2 in). (i) Signed ‘Kendell Geers’ lower left. (ii) Signed ‘Kendell Geers’ lower right. pROvENaNcE Private collection, Germany Estimate £10,000-15,000 $16,600-24,800 €11,600-17,400 ♠

101 rAymond pettiBon b. 1957 Untitled (A great schoolboy), 2000. Ink on paper. 65 x 100 cm. (25 5/8 x 39 3/8 in). Signed and dated ‘Raymond Pettibon 2000’ on the reverse. pROvENaNcE Galerie Hauser & Wirth, Zurich ExhiBiTED Kunsthalle Vienna, Raymond Pettibon, Whatever it is you’re looking for you won’t find it here, 13 October, 2006 – 25 February, 2007 LiTERaTuRE Exhibition catalogue, Kunsthalle Vienna, Whatever it is you’re looking for you won’t find it here, 2006, p. 206 (illustrated) Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,10 0 ‡

74

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103

104

105

106

103 erwin wurm b. 1954 Mies van der Rohe Melting, 2005. Polyester. 106 x 82 x 65 cm. (41 3/8 x 32 1/4 x 25 1/2 in). Signed and dated ‘Erwin Wurm 2005’ and numbered of eight on the underside. pROvENaNcE Acquired directly from the artist Estimate £ 2 0 , 0 0 0 - 2 5 , 0 0 0 $ 3 3 ,1 0 0 - 41, 4 0 0 € 2 3 , 2 0 0 - 2 9 , 0 0 0 ♠‡

∆ 104 AlexiS hArding b. 1973 Painting July/August 2002, 2002. Oil and gloss paint on MDF. 131 x 61 cm. (51 5/8 x 24 in). Signed and dated ‘Alexis HARDING 2002’ on the reverse. This work is accompanied by a certificate of authenticity signed by the artist. pROvENaNcE Marella Gallery, Milan ♠ Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0

105 louiSe lAwler b. 1947 Claudio’s, 1994/2003. Digital Cibachrome mounted on aluminium. 48.3 x 48.3 cm. (19 x 19 in). Signed, dated ‘Louise A. Lawler 1994/2003’ and numbered of five on the reverse. This work is from an edition of five. pROvENaNcE Metro Pictures, New York ExhiBiTED New York, Metro Pictures, Louise Lawler, 28 June – 31 July, 2003 Estimate £ 7, 0 0 0 - 9 , 0 0 0 $ 11, 6 0 0 -14 , 9 0 0 € 8 ,1 0 0 -1 0 , 5 0 0 ‡

106 cAndidA höfer b. 1944 The Metropolitan Museum of Art New York II, 2000. Colour coupler print. 152 x 152 cm. (59 3/4 x 59 3/4 in). Signed ‘Candida Höfer’ on a label adhered to the reverse. This work is from an edition of six. pROvENaNcE Galerie Grita Insam, Vienna Estimate £1 5 , 0 0 0 - 2 0 , 0 0 0 $ 2 4 , 8 0 0 - 3 3 ,1 0 0 € 17, 4 0 0 - 2 3 , 2 0 0 ♠‡

75

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107

108

107 günther förg b. 1952 Untitled, 2000. Oil on canvas. 200 x 220 cm. (78 3/4 x 86 5/8 in). Signed and dated ‘Förg 2000’ on the reverse. pROvENaNcE Acquired directly from the artist Estimate £ 2 5 , 0 0 0 - 3 5 , 0 0 0 $ 41, 4 0 0 - 5 7, 9 0 0 € 2 9 , 0 0 0 - 4 0 , 6 0 0 ♠‡

108 dAn wAlSh b. 1960 Game Plan, 2003. Acrylic on canvas. 140 x 229 cm. (55 x 85 in). Signed and dated ‘Dan Walsh 2003’ on the reverse. pROvENaNcE Acquired directly from the artist Estimate £1 5 , 0 0 0 - 2 0 , 0 0 0 $ 2 4 , 8 0 0 - 3 3 ,1 0 0 € 17, 4 0 0 - 2 3 , 2 0 0 ‡ 76

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109

110

111

112

109 Andro weKuA b. 1977 The Last House, 2006. Painted and glazed ceramics on wooden plinth and found poster. Plinth: 168.5 x 65 x 71.5 cm. (66 1/4 x 25 5/8 x 28 1/8 in.) Poster: 97 x 67 cm. (38 1/4 x 26 3/8 in.) pROvENaNcE Peter Kilchmann Gallery, Zurich Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -1 3 , 2 0 0 € 7, 0 0 0 - 9 , 3 0 0

110 olAf holzApfel b. 1969 Flutgraben, 2004. Oil on canvas. 195 x 135 cm. (76 3/4 x 53 1/8 in). Signed, titled and dated ‘Flutgraben Olaf Holzapfel 04’ on the reverse. pROvENaNcE Galerie Gebr. Lehmann, Dresden Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -1 3 , 2 0 0 € 7, 0 0 0 - 9 , 3 0 0 ♠‡

111 friedrich KunAth b. 1974 Untitled, 2004. Oil on canvas. 180 x 120 cm. (70 7/8 x 47 1/4 in). Signed and dated ‘Friedrich Kunath 2004’ on the reverse. pROvENaNcE BQ Jorn Botnagel and Yvonne Quimbach, Cologne Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠

112 gArth weiSer b. 1979 Untitled (Black), 2005. Oil on canvas. 236 x 209 cm. (93 x 82 1/2 in). Signed and dated ‘Garth Weiser 2005’ on the reverse. pROvENaNcE Guild and Greyshkul, New York; Private collection, Paris Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 77

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(ii)

113 (i)

(iii)

(iv)

114

113 JoSh Smith b. 1976 Five works: (i) Florida #1, (ii) Florida #2, (iii) Florida #3, (iv) Florida #4, (v) Florida #5, 2002. Oil on canvas. Each: 45.5 x 35.5 cm. (17 7/8 x 14 in). pROvENaNcE Galerie Catherine Bastide, Brussels ExhiBiTED Brussels, Galerie Catherine Bastide, Josh Smith, April – May, 2003 Estimate £10,000-15,000 $16,600-24,800 €11,600-17,400 ‡

(v)

115

114 gregor hildeBrAndt b. 1974 A Forest (Cure), 2007. Cassette tape on canvas. 44.5 x 29.3 cm. (17 1/2 x 11 1/2 in). Signed, titled and dated ‘Gregor Hildebrandt A Forest (Cure) 2007’ on the reverse. pROvENaNcE Galerie Jan Wentrup, Berlin; Private collection, New York Estimate £1, 0 0 0 -1, 5 0 0 $1,7 0 0 - 2 , 5 0 0 €1, 2 0 0 -1,7 0 0 ♠ ‡

115 tom friedmAn b. 1965 Untitled (Best of Club), 2005. Lambda print. 116.8 x 86.4 cm. (46 x 34 in). This work is from an edition of five plus two artist’s proofs. pROvENaNcE Stephen Friedman Gallery, London ExhiBiTED New York, Feature Inc., Tom Friedman, 1 October – 20 October, 2005 (another example exhibited) Estimate £10,000-15,000 $16,600-24,800 €11,600-17,400 ‡

78

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116

116 terence Koh b. 1977 Untitled (C45), 2006. Acrylic, Colt 45 beer and artist’s urine on wood. 458 x 202.5 cm. (180 3/8 x 79 3/4 in). This work is accompanied by a certificate of authenticity. pROvENaNcE Bortolami Gallery, New York Estimate £1 5 , 0 0 0 - 2 0 , 0 0 0 $ 2 4 , 8 0 0 - 3 3 ,1 0 0 € 17, 4 0 0 - 2 3 , 2 0 0 † 79

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117

118

117 RONI HORN b. 1955 Clown Mirror 6, 2001. Diptych: C-prints. Each: 76.2 x 76.2 cm. (30 x 30 in). Signed, titled, dated ‘Roni Horn Clown Mirror (6), 2001’ and numbered of seven on a label adhered to the reverse of the right panel. This work is from an edition of seven. Provenance i8 Gallery, Reykjavik Estimate £1 5 , 0 0 0 - 2 0 , 0 0 0 $ 2 4 , 8 0 0 - 3 3 ,1 0 0 € 17, 4 0 0 - 2 3 , 2 0 0 ‡

118 CRAIG KAUFFMAN b. 1932 Untitled (Donut) No. 5, 2001. Vacuum-formed acrylic plastic with acrylic lacquer. 81 x 91 x 21 cm. (32 x 35 3/4 x 8 1/4 in). Incised ‘CK 01’ on the reverse. This work is unique. Provenance Sandra Gering Gallery, New York Estimate £1 0 , 0 0 0 -1 5 , 0 0 0 $ 1 6 , 6 0 0 - 2 4 , 8 0 0 € 11, 6 0 0 -17, 4 0 0 ‡ 80

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119

120

119 CAROL BOVE b. 1971 Psychedelic Art, 2001. Two books, wood, metal and mirror. 80 x 45 x 45 cm. (31 1/2 x 17 3/4 x 17 3/4 in). Provenance Team Gallery, New York Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,10 0 ‡

121

120 THOMAS HIRSCHHORN b. 1957 Musée Précaire Albinet (Lighter), 2004. Paper collage, gold foil, aluminium foil and acrylic on plastic. Height: 130 cm. (51 1/4 in). Diameter: 48.5 cm. (19 1/8 in). Signed ‘Thomas Hirschhorn’ and numbered of 50 on the underside. This work is from an edition of 50. Provenance Private collection, Germany Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0

121 FRANZ WEST b. 1947 Proportion, 2003. Oil, plaster, papier-mâché and metal stand. 140 x 30 x 20 cm. (55 1/8 x 11 3/4 x 7 7/8 in). Provenance Galerie Meyer Kainer, Vienna Estimate £15,000-20,000 $24,800-33,100 €17,400-23,200 ♠‡

81

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122

123

124

122 YUKEN TERUYA b. 1973 Notice-Forest, 2003. Cut-out paper Burger King bag and adhesive. 10 x 15.5 x 28 cm. (4 x 6 1/8 x 11 in). Provenance Shoshana Wayne Gallery, Santa Monica Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ‡

123 KOBI ISRAEL b. 1970 No Through Roads, Untitled, 2008. C-print. 120 x 150 cm. (47 1/4 x 59 in). Signed ‘Kobi Israel’ and numbered of five on the reverse. This work is from an edition of five. Provenance Hamiltons Gallery, London Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0

124 HAI BO b. 1962 Four Seasons, 2003. C-print in four parts. Overall: 240 x 240 cm. (94 1/2 x 94 1/2 in). Signed, titled, numbered of ten and dated ‘Hai Bo Four Seasons 2003’ on the reverse of one of the panels. This work is from an edition of ten. Provenance Acquired directly from the artist Estimate £20,000-30,000 $33,100-49,700 €23,200-34,800 ‡

82

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125 125 THOMAS RUFF b. 1958 Jpeg wd01, 2005. C-print with Diasec face in the artist’s wooden frame. 258 x 188 cm. (101 5/8 x 74 in). Signed, titled, dated ‘Thomas Ruff wd01 2005’ and numbered of three on the reverse. This work is from an edition of three. Provenance Mai 36 Galerie, Zurich Estimate £ 3 0 , 0 0 0 - 4 0 , 0 0 0 $ 4 9 ,7 0 0 - 6 6 , 2 0 0 € 3 4 , 8 0 0 - 4 6 , 5 0 0 ♠‡

83

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126

126 DAMIEN HIRST b. 1965 Second Series Biopsy: M865/303, M865/304, 2008. Diptych: UV inks and household gloss on canvas with glass. Overall: 60.3 x 162.6 cm. (23 3/4 x 64 in). Signed, titled and dated ‘Damien Hirst “M865/303, M65/304” 2008’ on the reverse of the right panel. Signed and dated ‘Damien Hirst 2008’ on the reverse of the left panel. Provenance Acquired directly from the artist Estimate £ 6 0 , 0 0 0 - 8 0 , 0 0 0 $ 9 9 , 3 0 0 -1 3 2 , 0 0 0 € 6 9 ,7 0 0 - 9 2 , 9 0 0 ♠ 84

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85

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127

127 DAMIEN HIRST b. 1965 Purple Butterfly, 2008. Colour aquatint. 118 x 107 cm. (46 1/2 x 42 1/8 in). Signed ‘Damien Hirst’ lower right. This work is unique. Provenance Private collection, London Estimate £1 5 , 0 0 0 - 2 0 , 0 0 0 $ 2 4 , 8 0 0 - 3 3 ,1 0 0 € 17, 4 0 0 - 2 3 , 2 0 0 ♠

86

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128 (i)

(ii)

130

129

131

128 DAMIEN HIRST b. 1965 Two works: (i) For the Love of God, Laugh; (ii) The Diamond Skull, 2007. Screenprints with diamond dust. Each: 99.7 x 74.3 cm. (39 1/4 x 29 1/4 in). (i) Numbered of 250 on the reverse. (ii) Signed ‘Damien Hirst’ lower right; numbered of 250 lower left. These works are from an edition of 250. Provenance White Cube, London Estimate £1 0 , 0 0 0 -1 5 , 0 0 0 $ 1 6 , 6 0 0 - 2 4 , 8 0 0 € 11, 6 0 0 -17, 4 0 0 ♠‡

129 PETER FUSS For the Laugh of God, 2007. Plastic, glass and 9870 imitation diamonds. 20 x 15.5 x 21 cm. (7 7/8 x 6 1/8 x 8 1/4 in). Signed ‘FUSS’ and numbered of five on the underside. This work is from an edition of five. Provenance Acquired directly from the artist; Private collection, Europe Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -1 3 , 2 0 0 € 7, 0 0 0 - 9 , 3 0 0 ♠

130 FRANCESCA LOWE b. 1979 Skull All, 2007. Acrylic and ink on linen. 58.4 x 30.5 cm. (23 x 12 in). Signed and dated ‘Francesca Lowe 2007’ on the reverse. Provenance Riflemaker, London Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠‡

131 D*FACE Canis Servo Regina, 2006. Screenprint on paper. 50 x 70 cm. (19 5/8 x 27 1/2 in). Signed ‘DFACE’ and numbered of 80 lower right. This work is from an edition of 80. Provenance Pictures on Walls, London Estimate £ 5 0 0 -7 0 0 $ 8 5 0 -1, 2 0 0 € 6 0 0 - 8 0 0 ♠

87

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132

132 DR LAKRA b. 1972 Especial a Go Go, 2003. Gouache and ink on vintage magazine cover. 35.3 x 25.7 cm. (13 7/8 x 10 1/8 in). Signed ‘LAKRA’ upper left. Provenance Kate MacGarry Gallery, London Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 † 88

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133

133 DR LAKRA b. 1972 Preacher’s Lil Gal, 2003. Gouache and ink on vintage magazine cover. 30 x 23.7 cm. (11 7/8 x 9 3/8 in). Signed ‘Dr Lakra’ lower left. Provenance Kate MacGarry Gallery, London Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 † 89

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134

134 CHRIS OFILI b. 1968 Untitled, 2002. Diptych; watercolour and graphite on paper. Each: 24.5 x 15.5 cm. (9 5/8 x 6 1/8 in). Signed and dated ‘Chris Ofili 2002’ on the reverse. Provenance Victoria Miro, London Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠ 90

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91

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135

135 JAKE AND DINOS CHAPMAN b. 1966 & b. 1962 Exquisite Corpse, 2000. The complete set of 20 etchings. Each: 46 x 37.5 cm. (18 1/8 x 14 3/4 in). Each signed ‘Jake and Dinos Chapman’ and numbered of 30 on the reverse. This work is from an edition of 30. Provenance The Paragon Press, London Estimate £ 8 , 0 0 0 -1 2 , 0 0 0 $ 1 3 , 2 0 0 -1 9 , 9 0 0 € 9 , 3 0 0 -1 3 , 9 0 0 ♠† 92

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93

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136

136 GRAySON PERRy b. 1960 I Hate You, I Hate Myself, 2000. Glazed earthenware. 31.7 x 20 x 20 cm. (12 1/2 x 7 7/8 x 7 7/8 in). Provenance Laurent Delaye, London Estimate £ 2 0 , 0 0 0 - 3 0 , 0 0 0 $ 3 3 ,1 0 0 - 4 9 ,7 0 0 € 2 3 , 2 0 0 - 3 4 , 8 0 0 ♠† 94

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alternative view

95

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137

138

139

137 JIM SHAW b. 1952 The Land of the Octopus #4, 2003. Oil on canvas. 152 x 101.5 cm. (59 7/8 x 40 in). Signed and dated ‘Jim Shaw 03’ on the stretcher. Provenance Bernier/Eliades Gallery, Athens exhibited Athens, Bernier/Eliades Gallery, Jim Shaw, 19 April – 31 May, 2003 Estimate £15,000-20,000 $24,800-33,100 €17,400-23,200 ‡

138 TRACEy MOFFATT b. 1959 Invocation No. 5 from Invocations series, 2000. Photo silkscreen print in ultraviolet inks on Somerset Satin paper. 148 x 123 cm. (58 1/4 x 48 1/2 in). Signed, titled, dated ‘T. MOFFATT 2000 INVOCATIONS’ and numbered of 60 along the lower margin. This work is from an edition of 60. Provenance Lothar Albrecht Gallery, Frankfurt Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -1 3 , 2 0 0 € 7, 0 0 0 - 9 , 3 0 0

139 MOyNA FLANNIGAN b. 1963 Mr. Two Degrees, 2001. Acrylic on canvas. 100 x 105 cm. (39 3/8 x 41 3/8 in). Signed, titled and dated ‘Moyna Flannigan 2001 “Mr Two Degrees”’ on the reverse. Provenance Sara Meltzer Gallery, New York Estimate £ 6 ,0 0 0 - 8 ,0 0 0 $ 9, 9 0 0 -13 , 2 0 0 € 7,0 0 0 - 9, 3 0 0 ♠

96

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140

140 ELIZABETH PEyTON b. 1965 Kirsty (Berlin), 2001. Coloured pencil on paper. 21.6 x 15.2 cm. (8 1/2 x 6 in). Signed, titled and dated ‘Kirsty (Berlin) 2001 Elizabeth Peyton’ on the reverse. Provenance Sadie Coles HQ, London; Private collection, USA Estimate £ 2 0 , 0 0 0 - 3 0 , 0 0 0 $ 3 3 ,1 0 0 - 4 9 ,7 0 0 € 2 3 , 2 0 0 - 3 4 , 8 0 0 97

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141

141 RASHID RANA b. 1968 When He Said I Do, He Did Not Say What He Did, 2004. Lambda print flush-mounted to aluminium with Diasec face. 119 x 305 cm. (46 3/4 x 110 in). This work is from an edition of five. Provenance New Art World Ltd., London Estimate £ 4 0 , 0 0 0 - 6 0 , 0 0 0 $ 6 6 , 2 0 0 - 9 9 , 3 0 0 € 4 6 , 5 0 0 - 6 9 ,7 0 0 98

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detail 99

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142

143

144

145 (i)

(ii)

142 IAN MONROE b. 1972 New Monument, 2004. Vinyl, felt, carpet, card and paper collage. 153 x 295 cm. (60 1/4 x 116 in). Signed, titled and dated ‘Ian Monroe “New Monument” 2004’ on the reverse. Provenance Acquired directly from the artist Estimate £ 8 , 0 0 0 -1 2 , 0 0 0 $ 1 3 , 2 0 0 -1 9 , 9 0 0 € 9 , 3 0 0 -1 3 , 9 0 0

143 GERT & UWE TOBIAS b. 1973 & b. 1973 Untitled, 2005. Watercolour, gouache, coloured pencil and paper collage on paper. 29.3 x 20.8 cm. (11 1/2 x 8 1/4 in). Signed and dated ‘Tobias 2005’ on the reverse. Provenance Galerie Rodolphe Janssen, Brussels Estimate £1, 5 0 0 - 2 , 5 0 0 $ 2 , 5 0 0 - 4 ,1 0 0 € 1,7 0 0 - 2 , 9 0 0 ♠

144 GERT & UWE TOBIAS b. 1973 & b. 1973 Untitled, 2006. Watercolour, gouache, coloured pencil and paper collage on paper. 29.5 x 20.5 cm. (11 5/8 x 8 1/8 in). Signed and dated ‘Gert & Uwe Tobias 2006’ on the reverse. Provenance Patricia Low Contemporary, Gstaad Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0 ♠

145 MARKUS MUNTEAN & ADI ROSENBLUM b. 1962 & b. 1962. Two works: (i) DON’T LOOK BACK; (ii) Rebellion Is Usually, 2006. (i) Graphite and mixed media on paper; (ii) Mixed media on paper. (i) 39.5 x 30 cm. (15 1/2 x 11 7/8 in); (ii) 38 x 29.6 cm. (15 x 11 3/8 in). Each signed and dated ‘MUN/ROS .06’ on the reverse. Provenance Galerie Elizabeth and Klaus Thoman, Innsbruck; Private collection, London Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠ 100

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146

148

147

149

146 MICHAEL WETZEL b. 1966 Untitled, 2003. Oil on canvas. 66 x 76.3 cm. (26 x 30 in). Signed and dated ‘M.Wetzel 03’ on the reverse. Provenance John Connelly Presents, New York Estimate £1, 5 0 0 - 2 , 5 0 0 $ 2 , 5 0 0 - 4 ,1 0 0 € 1,7 0 0 - 2 , 9 0 0

147 INKA ESSENHIGH b. 1969 Way Out, 2005. Oil on paper. 51 x 36 cm. (20 1/8 x 14 1/8 in). Signed, titled and dated ‘Inka Essenhigh 2005 “Way Out”’ on the reverse. Provenance Victoria Miro, London Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7, 5 0 0 € 4 ,1 0 0 - 5 , 2 0 0

148 CHRISTOPH RUCKHABERLE b. 1972 Untitled (Woman 1), 2006. Linocut on paper. 270 x 200 cm. (106 1/4 x 78 3/4 in). Signed, numbered of 20 and dated ‘RUCKHABERLE 2006’ lower right. This work is from an edition of 20. Provenance Sutton Lane, London Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ♠

149 DOUGLAS GORDON b. 1966 Staying home, 2005. Polaroid. 10 x 10 cm. (4 x 4 in). Signed and dated ‘Douglas Gordon 2005’ lower right. Provenance Deutsche Guggenheim, Berlin ♠ Estimate £ 5 0 0 -7 0 0 $ 8 5 0 -1, 2 0 0 € 6 0 0 - 8 0 0

101

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150

151

150 DIETMAR LUTZ b. 1968 Twin Peaks, 2001. Acrylic on canvas. 200 x 315 cm. (78 3/4 x 124 in). Signed, titled and dated ‘Dietmar Lutz 2001 “Twin Peaks”’ on the reverse. PROVENANCE Taché-Lévy Gallery, Brussels Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ♠

152

151 CHANTAL JOFFE b. 1969 Me and Mill, 2000. Oil on panel. 22 x 29 cm. (8 3/4 x 11 1/2 in). Signed, titled, inscribed and dated ‘Chantal Joffe “Me and Mill” April 2000 For Dominic from Chantal X’ on the reverse. PROVENANCE Anon. sale, Sotheby’s London, 24 June, 2003, lot 9 Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,10 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,10 0 ♠

152 MARTIN MANNIG b. 1974 Zaborze, 2006. Oil on canvas. 64 x 50 cm. (25 1/8 x 19 3/4 in). Signed, titled and dated ‘Martin Mannig ZABORZE 2006’ on the reverse. PROVENANCE Galerie Gebr. Lehmann, Dresden Estimate £ 2,0 0 0 - 3 ,0 0 0 $ 3 , 3 0 0 - 5,0 0 0 €2, 3 0 0 - 3 , 5 0 0 ♠‡

102

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153

154

153 SOPHIE VON HELLERMANN b. 1975 Nightmare in Dover, 2001. Acrylic on canvas. 183 x 245 cm. (72 x 96.5 in.) Signed and dated ‘Sophie v. Hellermann 2001’ on the stretcher. PROVENANCE Timothy Taylor Gallery, London Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠

154 SOPHIE VON HELLERMANN b. 1975 Deco Morons (Bedford Place), 2002. Acrylic on canvas. 266 x 395 cm. (105 x 155 1/2 in). Signed and dated ‘Sophie von Hellermann 2002’ on the reverse. PROVENANCE Vilma Gold, London Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ♠ 103

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155

156

158

157

159

160

155 yAyOI kUSAMA b. 1929 Pumpkins, 2002. Set of five porcelain pumpkins. Each: 8.5 x 7.3 x 7.3 cm. (3 3/8 x 2 7/8 x 2 7/8 in). Each signed, numbered of 130 and dated ‘Yayoi Kusama 2002’ on the underside. These works are from an edition of 130. PROVENANCE Private collection, Paris Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

156 MARC QUINN b. 1964 Close Up 1, 2007. Colour pigment print. 98.4 x 74.3 cm. (38 3/4 x 29 1/4 in). Signed ‘Marc Quinn’ on the reverse. This work is from an edition of 59. PROVENANCE Private collection, Düsseldorf Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠ 158 AyA TAkANO b. 1976 Untitled, 2002. Ink and watercolour on paper. 26.5 x 20 cm. (10 1/2 x 7 7/8 in). Signed and dated ‘2002 Takano Aya’ lower right. PROVENANCE Galerie Emmanuel Perrotin, Paris Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

157 AyA TAkANO b. 1976 Untitled, 2002. Ink and watercolour on paper. 15 x 20 cm. (6 x 8 in). Signed and dated ‘2002 Takano Aya’ upper right. PROVENANCE Galerie Emmanuel Perrotin, Paris Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

160 ANISH kAPOOR b. 1954 Untitled from 12 Etchings, 2007. Colour etching on Somerset paper. 76.8 x 90 cm. (30 1/4 x 35 1/2 in). Signed ‘Anish Kapoor’ lower right and numbered of 40 on the reverse. This work is from an edition of 40. PROVENANCE Private collection, London Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠

159 AyA TAkANO b. 1976 A Night Walk—A Pink Moon Emerged, 2005. Offset colour lithograph. 58.7 x 50.2 cm. (23 1/8 x 19 3/4 in). Signed, numbered of 300 and dated ‘AYA TAKANO 05’ lower right. This work is from an edition of 300. PROVENANCE Kaikai Kiki Co Ltd., Japan Estimate £ 3 0 0 - 5 0 0 $ 5 0 0 - 8 0 0 € 3 5 0 - 6 0 0

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161

161 Anish KApoor b. 1954 Shadow, 2007. A portfolio of nine etchings on Somerset Textured Soft White paper in a wooden solander box with colophon page. Each: 49.2 x 65 cm. (19 3/8 x 25 5/8 in). Each signed ‘Anish Kapoor’ and numbered of 35 on the reverse. This work is from an edition of 35 plus six artist’s proofs and one printer’s proof. PROVENANCE Private collection, London Estimate £1 5 , 0 0 0 - 2 0 , 0 0 0 $ 2 4 , 8 0 0 - 3 3 ,1 0 0 € 17, 4 0 0 - 2 3 , 2 0 0 ♠ 105

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162

162 DAMIEN HIRST b. 1965 Valium, 2000. Lambda print. 125 x 125 cm. (49 1/4 x 49 1/4 in). Signed ‘Damien Hirst’ lower right. This work is from an edition of 500. PROVENANCE Eyestorm, London Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠†

106

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163

164

165

163 DAMIEN HIRST b. 1965 Opium, 2000. Lambda print. 48 x 43.5 cm. (18 7/8 x 17 1/4 in). Signed ‘D. Hirst’ lower right. This work is from an edition of 500. PROVENANCE Eyestorm, London; Private collection, London Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 ♠

164 TAKASHI MURAKAMI b. 1962 Monogram Multicolore— white, 2007. PVC canvas on chassis. 45.5 x 45.5 x 8 cm. (18 x 18 x 3 1/4 in). This work is from an edition of 100 and is accompanied by a certificate of authenticity. PROVENANCE Guy Hepner, Los Angeles; Private collection, London EXHIBITED Los Angeles, The Geffen Contemporary at MOCA, © MURAKAMI, 29 October, 2007 – 11 February, 2008 Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -1 3 , 2 0 0 € 7, 0 0 0 - 9 , 3 0 0

165 CHARLES LUTZ b. 1982 Stacked (LV Heinz, Brillo & Kellogg’s Boxes), 2008. Enamel, leather, brass and vinyl on wood in three parts. 13 x 48.2 x 61 cm. (5 1/8 x 19 x 24 in). Each element is initialed ‘C.L.’. This work is from an edition of seven. PROVENANCE RedHouse Originals, Harrogate EXHIBITED Harrogate, 108 Fine Art, Project One: Icons, 20 September – 11 October, 2008 Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0

107

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166

167

169

168

166 AyA TAKANo b. 1976 Untitled, 2002. Acrylic on canvas. 18.5 x 14 cm. (7 1/4 x 5 1/2 in). Signed and dated ‘2002 Takano Aya’ on the reverse. PROVENANCE Galerie Emmanuel Perrotin, Paris Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0

167 AyA TAKANo b. 1976 Untitled, 2002. Acrylic on canvas. 41.5 x 31.5 cm. (16 1/4 x 12 1/2 in). Signed and dated ‘2002 Takano Aya’ on the reverse. PROVENANCE Galerie Emmanuel Perrotin, Paris Estimate £ 7, 0 0 0 - 9 , 0 0 0 $ 11, 6 0 0 -14 , 9 0 0 € 8 ,1 0 0 -1 0 , 5 0 0

168 yoSHIToMo NARA b. 1959 Untitled (Head with Blue Hair), 2002. Coloured pencil on paper. 20.3 x 21.6 cm. (8 x 8 1/2 in). PROVENANCE Tomio Koyama Gallery, Tokyo Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0 ‡

169 BARRy MCGEE b. 1966 Two works: (i) Untitled (blue face bottle), (ii) Untitled (blue face bottle), 2006-2007. Acrylic on glass bottle. 20.5 x 9.5 x 4 cm. (8 x 3 3/4 x 1 1/2 in); 16.5 x 7.5 x 3.5 cm. (6 1/2 x 3 x 1/4 in). PROVENANCE Roberts & Tilton Gallery, Los Angeles Estimate £1, 0 0 0 - 2 , 0 0 0 $ 1,7 0 0 - 3 , 3 0 0 € 1, 2 0 0 - 2 , 3 0 0 ‡ 108

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170

171

173 (i) 170 BARRy MCGEE b. 1966 Drypoint on Acid, 2006. A portfolio of ten etchings, aquatints and screenprints on wove paper in wooden box. Each approximately: 20.3 x 15.2 cm. (8 x 6 in). Each is signed or initialed and numbered of five artist’s proofs on the reverse. This work is one of five artist’s proofs aside from a numbered edition of twenty. LITERATuRE G.D. Lowry, MoMA Highlights since 1980, New York, 2008, p. 241 (illustrated) Estimate £ 6 ,0 0 0 - 8 ,0 0 0 $ 9, 9 0 0 -13 , 2 0 0 € 7,0 0 0 - 9, 3 0 0 ‡

172

(ii)

174 171 CHRIS JoHANSoN b. 1968 I Am a Scientist, 2004. Acrylic on paper. 76.5 x 111.2 cm. (30 x 39 7/8 in). Signed and dated ‘CHRIS Johanson 2004’ on the reverse. PROVENANCE Private collection, Europe Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0

172 CHRIS JoHANSoN b. 1968 I Am a Part of the Sick Modern World, 2004. Acrylic on paper. 70.5 x 101.6 cm. (27 3/4 x 40 in). Signed and dated ‘CHRIS Johanson 2004 PORTLAND’ on the reverse. PROVENANCE Private collection, Europe Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0

173 MARCEL DZAMA b. 1974 Two works: (i) Untitled (Three figures with attached heads), (ii) Untitled, 2002. Watercolour and ink on paper. (i) 35.5 x 28 cm. (14 x 11 in). (ii) 31.5 x 25 cm. (12 3/8 x 9 7/8 in). Each signed ‘Marcel Dzama’ lower right. PROVENANCE Atelier Gallery, Vancouver; Marilyn Wilson Gallery, Alabama Estimate £ 2,0 0 0 - 3 ,0 0 0 $ 3 , 3 0 0 - 5,0 0 0 € 2, 3 0 0 - 3 , 5 0 0 ‡

174 ANToNy MICALLEF b. 1975 God I Want to Be Bad, 2007. Screenprint on paper. 106 x 75.6 cm. (41 3/4 x 29 3/4 in). Signed ‘Antony Micallef’ and numbered of 1000 along the lower edge. This work is from an edition of 1000. PROVENANCE Pictures on Walls, London ♠‡ Estimate £ 4 0 0 - 6 0 0 $ 5 5 0 -1, 0 0 0 € 4 5 0 -7 0 0

109

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175

176 175 ANTONY MICALLEF b. 1975 My Society, 2007. Oil, acrylic and graphite on canvas. 108.3 x 137.5 cm. (42 5/8 x 54 1/8 in). Signed ‘Antony Micallef’ on the reverse. Provenance Lazarides Inc., London exhibited Los Angeles, Lazarides Inc., Impure Idols by Antony Micallef, 19-29 September, 2007 Estimate £35,000-45,000 $58,000-74,500 €40,700-52,300 ♠

177 176 ANTHONY LISTER b. 1980 Know Your Own God, 2007. Acrylic and spraypaint on canvas. 178 x 125.5 cm. (70 x 49 1/2 in). Signed and dated ‘Anthony Lister 2007’ on the reverse. This work is accompanied by a certificate of authenticity. Provenance Elms Lesters Painting Rooms, London Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0

177 JUDITH SUPINE b. 1979 Untitled, 2007. Acrylic and paper collage on board. 190 x 140 cm. (74 3/4 x 55 1/8 in). Signed ‘Judith Supine’ along the lower edge. This work is accompanied by a certificate of authenticity. Provenance Leonard Street Gallery, London Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7, 5 0 0 € 4 ,1 0 0 - 5 , 2 0 0

110

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178

179

180

181

178 YUE MINJUN & KAWS b. 1962 & b. 1974 Untitled (Collaborative Companion Figure), 2008. Cast resin. 29.2 x 14 x 9 cm. (11 1/2 x 5 1/2 x 3 1/2 in). Signed ‘Yue Minjun x KAWS’ and numbered of 100 on the underside of the left foot of the figure. This work is from an edition of 100 and is accompanied by a certificate of authenticity signed by the artists and a wooden exhibition box. Provenance Museum of Tomorrow, Taipei exhibited Taipei, Museum of Tomorrow, Art for the Masses, 27 June – 27 July, 2008 Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 Ω

179 ANTON SKORUBSKY KANDINSKY b. 1960 I Don’t Want to be a Russian Artist, I want to be a Chinese Artist from China-ism series, 2009. Oil on canvas. 121.9 x 152.4 cm. (48 x 60 in). Signed ‘Anton SKY’ lower left; signed, titled, and dated ‘Anton Skorubsky Kandinsky I Don’t Want to be a Russian Artist I Want to be a Chinese Artist, 2009’ on the reverse. Provenance Private collection, USA exhibited New York, Art Next Gallery, The New Blue Riders 23 June – 1 August, 2009 LiteratUre Rong Xiaoqing, SingTao Daily, Next Art Gallery’s The New Blue Riders - Post-modern Masters’ Grandsons Illustrate Chinese Art, 26 June, 2009 (illustrated); Jian Yifu, World Journal, The New Blue Riders Announce the Value of Art, 30 June, 2009 (illustrated); Jian Yifu, World Journal, The New Blue Riders Exhibition Extends, 17 July, 2009 (illustrated) Estimate £1 0 , 0 0 0 -1 5 , 0 0 0 $ 1 6 , 6 0 0 - 2 4 , 8 0 0 € 11, 6 0 0 -17, 4 0 0 ‡

∆ 180 MA HAN b. 1968 City Life, 2004. C-print. 56.5 x 56 cm. (22 1/4 x 22 in). Signed [in Chinese and Pinyin] and dated ‘ Ma Han 2004.12’ lower center; signed, titled [in Chinese and Pinyin], dated and numbered of 15 ‘Ma Han City Life 2004.12’ on the reverse. This work is from an edition of fifteen and is accompanied by a certificate of authenticity signed by the artist. Provenance 3F Contemporary, Beijing Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0

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181 TIANDE WANG b. 1960 Chinese Clothes No. 04-D09, 2004. Silk cloth, burn marks. 160 x 70 cm. (63 x 27 1/2 in). Signed [in English and Pinyin] and dated ‘Wang Tiande 2004’ along the hemline. Provenance Chambers Fine Art, New York Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ‡ 111

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182

183

182 HE SEN b. 1968 Girl with Make-up, 2005. Oil on canvas. 100 x 80 cm. (39 3/8 x 31 1/2 in). Signed [in English and Pinyin] and dated ‘HE SEN 2005’ lower right. Provenance Private collection, London Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -1 3 , 2 0 0 € 7, 0 0 0 - 9 , 3 0 0

183 ZHANG PENG b. 1981 Red No. 6, 2007. C-print. 150 x 152 cm. (59 x 59 7/8 in). This work is from an edition of eight and is accompanied by a certificate of authenticity signed by the artist. Provenance Acquired directly from the artist Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ‡ 112

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184

184 ZENG CHUANXING b. 1974 Blue Paper Bride—Dream, 2008. Oil on linen. 170 x 100 cm. (67 x 43 3/8 in). Signed upper right. Provenance Private collection, London Estimate £ 4 0 , 0 0 0 - 6 0 , 0 0 0 $ 6 6 , 2 0 0 - 9 9 , 3 0 0 € 4 6 , 5 0 0 - 6 9 ,7 0 0 113

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185

186

185 YAN PEI-MING b. 1960 Tête de Profil, 2003. Charcoal on paper. 125 x 160 cm. (49 1/4 x 63 in). Signed, titled and dated ‘Yan Pei-Ming Tête de Profil 2003’ lower centre. Provenance Acquired directly from the artist exhibited Geneva, Musée Rath, Yan Pei-Ming: Fils du Dragon— Dessins intimes, 28 May – 24 August, 2003 Estimate £ 2 0 , 0 0 0 - 3 0 , 0 0 0 $ 3 3 ,1 0 0 - 4 9 ,7 0 0 € 2 3 , 2 0 0 - 3 4 , 8 0 0 ♠‡

186 HUANG YONG PING b. 1954 Fourrure de Tigre, 2002. Watercolour on paper. 76 x 58 cm. (30 x 22 7/8 in). Signed [in Pinyin] and dated ‘Huang Yong Ping 05/05/02’ lower right. Provenance Acquired directly from the artist Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ‡ 114

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187

187 FANG LIJUN b. 1963 2002.10.1, 2002. Acrylic on canvas. 130 x 90 cm. (51 1/4 x 35 1/2 in). Signed, titled [in Pinyin and English] and dated ‘Fang Lijun 2002.10.1 2002’ on the reverse. Provenance Hanart TZ Gallery, Hong Kong Estimate £1 0 0 , 0 0 0 -1 5 0 , 0 0 0 $ 1 6 6 , 0 0 0 - 2 4 8 , 0 0 0 € 11 6 , 0 0 0 -174 , 0 0 0 ‡ 115

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188

189

190

191

∆ 188 RINKO KAWAUCHI b. 1972 Rinko II. Aila (28), 2004. Colour coupler print. 101.6 x 101.6 cm. (40 x 40 in). Signed, titled, dated ‘Rinko Kawauchi Rinko II. Aila (28) 2004’ and numbered of six on a label adhered to the reverse of the frame. Provenance Private collection, London Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0

189 JIANG CHUAN b. 1983 Tears 1, 2007. Oil on canvas. 200 x 200 cm. (78 3/4 x 78 3/4 in). This work is accompanied by a certificate of authenticity signed by the artist. Provenance Acquired directly from the artist Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ‡

190 ZHAO BO b. 1974 Year of the Horse: Female No. 3, 2002. Oil on canvas. 98.7 x 98.7 cm. (38 7/8 x 38 7/8 in). Signed and dated ‘Zhao Bo 2002.12’ lower right. Signed, titled [in Pinyin] and dated ‘Year of the Horse Female No. 3 Zhao Bo 2002’ on the reverse. Provenance Private collection, Beijing Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7, 5 0 0 € 4 ,1 0 0 - 5 , 2 0 0

191 HUNG TUNGLU b. 1968 Cyber Murder 1, 2002-2006. C-print. 94 x 125 cm. (37 x 49 1/4 in). Titled ‘Cyber Murder’ and numbered of eight lower left; signed and dated ‘HungTung Lu 20022006’ lower right. This work is from an edition of eight. Provenance Acquired directly from the artist Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ‡

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192

193

194 192 MICHAEL STUBBS b. 1961 Untitled (Lamb Chop, No. 4), 2001. Satin floor varnish and eggshell paint on board. 78 x 95 1/2 in (198.1 x 242.5 cm). Signed, titled and dated ‘Michael Stubbs - 2001 Untitled (Lamb Chop, No. 4)’ on the reverse. This work is accompanied by a certificate of authenticity and a photograph signed by the artist. Provenance Entwistle, London; The Marino and Paola Golinelli Collection, Bologna Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠

193 DAVID RATCLIFF b. 1970 Fireplaces, 2005. Acrylic spraypaint on canvas. 182.5 x 244 cm. (72 x 96 in). Signed, titled, inscribed and dated ‘FIREPLACES 2005 LOS ANGELES DAVID RATCLIFF’ on a label adhered to the reverse. Provenance Team Gallery, New York Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 194 CANDIDA HöFER b. 1944 Museum an der Augustinergasse, Basel III, 2002. C-print. 163 x 152 cm. (64 1/8 x 59 7/8 in). Signed ‘Candida Höfer’ on a label adhered to the reverse. This work is from an edition of six. Provenance Patrick De Brock Gallery, Knokke, Belgium Estimate £ 8 , 0 0 0 -1 2 , 0 0 0 $ 1 3 , 2 0 0 -1 9 , 9 0 0 € 9 , 3 0 0 -1 3 , 9 0 0 ♠ 117

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196

195

197

198

199 195 RAÚL BELINCHÓN b. 1971 [Untitled] from Patio de Butacas series, 2006. C-print with Diasec face mount. 122 x 170 cm. (48 x 67 in). This work is from an edition of three. Provenance T20 Gallery, Murcia ♠ Estimate £1, 0 0 0 -1, 5 0 0 $1,70 0 - 2 , 5 0 0 €1, 2 0 0 -1,70 0

196 JULIA JACQUETTE b. 1964 My Houses: Penthouse Living Room With View Of Central Park South, 2006. Watercolour on paper. 38 x 48.3 cm. (15 x 19 in). Provenance Michael Steinberg Fine Art, New York; Private collection, Boston Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ‡

198 KOBI ISRAEL b. 1970 0901 from Fragments of Life series, 2001. C-print. 81.2 x 101.5 cm. (32 x 40 in). Signed ‘Kobi Israel’ and numbered of five on the reverse. This work is from an edition of five. Provenance Hamiltons Gallery, London eXHIBITeD Dallas, Goss Gallery, Photographs, 23 May – 01 July, 2006; Los Angeles, Culver City, David Gallery, Intimate Strangers, 20 October – 24 November, 2007 LITeraTUre B. Gmuender, Kobi Israel. Views, Berlin, 2003 p.45 (illustrated) Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0

199 DAVID MACH b. 1956 Shifting Sands, 2000. Photo collage and pastel. 122 x 223.5 cm. (48 x 88 in). Provenance Jill George Gallery, London Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,10 0 ♠

197 STEFAN KüRTEN b. 1963 Airport, 2006. Oil and pigmented gesso on canvas. 60.5 x 45.7 cm. (23 3/4 x 18 in). Signed, titled and dated ‘Stefan Kürten Airport 2006’ on the reverse. Provenance Alexander and Bonin, New York; Private collection, Boston Estimate £2,0 0 0 - 3,0 0 0 $3, 3 0 0 - 5,0 0 0 €2, 3 0 0 - 3,5 0 0 ♠‡

118

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200

201

202

200 THOMAS RUFF b. 1958 Nudes ev05, 2002. Cibachrome with Diasec face in the artist’s wooden frame. 162.1 x 110 cm. (63.8 x 43.3 in). Signed, titled, dated ‘Thomas Ruff ev05 2002’ and numbered of five on the reverse. This work is from an edition of five plus two artist’s proofs. Provenance Galerie Nelson, Paris Estimate £1 5 , 0 0 0 - 2 0 , 0 0 0 $ 2 4 , 8 0 0 - 3 3 ,1 0 0 € 17, 4 0 0 - 2 3 , 2 0 0 ♠‡

201 KIM JOON b. 1966 We-Adidas, 2005. C-print. 190 x 120 cm. (74 3/4 x 47 1/4 in). Signed, titled ‘We-Adidas Kim Joon’ and numbered of eight on a label adhered to the reverse. This work is from an edition of eight. Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7, 5 0 0 € 4 ,1 0 0 - 5 , 2 0 0 ‡ 202 BOO RITSON b. 1969 Pilot AP, 2007. Colour photograph. 118.1 x 92.7 cm. (46 1/2 x 36 1/2 in). This work is from an edition of three plus two artist’s proofs. Provenance David Risley Gallery, London Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠‡ 119

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203

204

205

ˇ b. 1954 Lamentations from New 203 NAZIF TOPçUOGLU World series, 2007/2009. Digital c-print. 59.7 x 90.3 cm. (23 1/2 x 35 1/2 in). Signed, titled numbered of five and dated ‘Nazif Topçuoglu ˇ Lamentations 2007/2009’ on a label adhered to the reverse. This work is from an edition of five. PROVENANCE Acquired directly from the artist by the previous owner Estimate £ 3 , 5 0 0 - 4 , 5 0 0 $ 5 , 8 0 0 -7, 5 0 0 € 4 ,10 0 - 5 , 2 0 0 ♠

204 HUMA MULJI b. 1970 Chai Pani and Cigarette. C-print. 73 x 115 cm. (28 3/4 x 43 1/2 in). This work is from an edition of five and is accompanied by a certificate of authenticity. PROVENANCE Acquired directly from the artist by the previous owner Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0

205 NADINE KANSO b. 1968 Stop from Meen Ana (Who I Am) series, 2006. Lambda print. 80 x 110 cm. (31 1/2 x 43 1/4 in). Signed, numbered of three and dated ‘Nadine Kanso 2006’ on the reverse. This work is from an edition of three. PROVENANCE Private collection, Beirut Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0

120

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206

207 206 LALLA ESSAYDI b. 1956 Converging Territories #5, 2004. Colour coupler print, Diasec mounted. 90.8 x 72.4 cm. (35 3/4 x 28 1/2 in). This work is from an edition of fifteen and is accompanied by a certificate of authenticity signed by the artist. PROVENANCE Schneider Gallery, Chicago Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠‡

207 KAMRAN DIBA b. 1937 Airstrikes, Friday May 15, 2009 from Front Page series, 2009. Oil on canvas and metal poles. 170 x 145 cm. (67 x 57 1/2 in). Signed and dated ‘K. DIBA 09’ lower left. PROVENANCE Private collection, Spain Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 121

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208

209

208 POOYA ARYANPOUR b. 1971 Untitled, 2008. Acrylic on canvas. 180 x 180 cm. (70 7/8 x 70 7/8 in). Signed [in Farsi] ‘Pooya Aryanpour’ lower left, signed [in English] and dated ‘Pooya Aryanpour 2008’ on the reverse. PROVENANCE Private collection, Paris Estimate £ 8 , 0 0 0 -1 2 , 0 0 0 $ 1 3 , 2 0 0 -1 9 , 9 0 0 € 9 , 3 0 0 -1 3 , 9 0 0

209 HALIM AL-KARIM b. 1963 Hidden Victims, 2008. Triptych: Lambda print flush-mounted to aluminium. Each: 75 x 50 cm. (29 1/2 x 19 3/4 in). Signed, titled, numbered of three and dated ‘Halim Al-Karim Hidden Victims 2008’ on a label adhered to the reverse of each panel. This work is from an edition of three. PROVENANCE Private collection, Dubai Estimate £ 8 , 0 0 0 -1 2 , 0 0 0 $ 1 3 , 2 0 0 -1 9 , 9 0 0 € 9 , 3 0 0 -1 3 , 9 0 0 ♠ 122

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210

210 SHAHRIAR AHMADI b. 1969 Untitled #23 from Rumi in My Chalice series, 2008. Acrylic and graphite on canvas. 207 x 149 cm. (81 1/2 x 58 5/8 in). Signed and dated ‘Shahriar Ahmadi 2008’ lower left. PROVENANCE Private collection, Paris Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 123

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211

212

211 SANDY SKOGLUND b. 1946 Raining Popcorn, 2001. Cibachrome print flush mounted to aluminium. 100 x 127 cm. (39 1/4 x 50 in). This work is from an edition of 30. PROVENANCE Galerie Guy Bärtschi, Geneva Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0

213

212 GREGOR HILDEBRANDT b. 1974 Grosser Schwarzer Vogel, 2006. Cassette tape collage and Xerox print on paper. 133 x 112 cm. (52 1/4 x 44 in). Signed, titled and dated ‘Gregor Hildebrandt Grosser Schwarzer Vogel (I. Craven) 2006’ on the reverse. PROVENANCE Galerie Jan Wentrup, Berlin; Private collection, New York Estimate £6,0 0 0 - 8,0 0 0 $9,9 0 0 -13,20 0 €7,0 0 0 -9,3 0 0 ♠‡

213 HIROSHI SUGIMOTO b. 1948 Mechanical Form, Material Testing Machine 0046, 2004. Gelatin silver print. 25.3 x 20.3 cm. (10 x 8 in). Signed ‘Sugimoto’ lower right and numbered of 25 with blindstamp lower centre. This work is from an edition of 25. PROVENANCE Private collection, Germany Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0

124

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214

216

215

217

214 MIKE KELLEY b. 1954 Psychic Waveforms (Gerome Kamrowski’s Sculpture Garden, Ann Arbor, MI), 2001. Gelatin silver print. 59 x 215.9 cm. (23 1/4 x 85 in). Signed ‘M. Kelley’ on a label adhered to the reverse. This work is from an edition of five. PROVENANCE Patrick Painter Editions, Santa Monica Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,10 0 ‡

215 LOUISE LAWLER b. 1947 Soup and Mirror, 2001/2005. Laminated Cibachrome mounted on aluminium museum box. 50.2 x 40 cm. (19 3/4 x 15 3/4 in). Signed, dated ‘Louise A. Lawler 2001/05’ and numbered of five on the reverse. This work is from an edition of five. PROVENANCE Metro Pictures, New York Estimate £7,0 0 0 -9,0 0 0 $11,6 0 0 -14,9 0 0 €8,10 0 -10,50 0 ‡

216 LOUISE LAWLER b. 1947 Yellow Mat, 2003-2004. Digital Fujiflex print in the artist’s frame. 10.16 x 7.62 cm. (4 x 3 in). Dated ‘2003/04’ and numbered of ten on the reverse. This work is from an edition of ten. PROVENANCE Metro Pictures, New York ExhibitEd New York, Metro Pictures, Louise Lawler, 28 June – 31 July, 2003 Estimate £ 6 ,0 0 0 - 8 ,0 0 0 $ 9, 9 0 0 -13 , 2 0 0 € 7,0 0 0 - 9, 3 0 0 ‡

217 ERNESTO CAIvANO b. 1972 Rising, 2003. Paper collage in Plexiglas case. 12.1 x 37.5 x 29.8 cm. (4 3/4 x 14 3/4 x 11 3/4 in). Initialed and dated ‘EC 03’ on the reverse of the paper collage sculpture. PROVENANCE Private collection, London ♠ Estimate £ 4 0 0 - 6 0 0 $ 5 5 0 -1, 0 0 0 € 4 5 0 -7 0 0

125

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218

219

220

221

219 Loris CeCChini b. 1969 Untitled (Stage Evidence), 2001. Cast urethane rubber. 130 x 39 x 8 cm. (51 1/4 x 15 3/8 x 20 1/8 in). This work is from an edition of three and is accompanied by a certificate of authenticity. PROVENANCE Galerie Ghislaine Hussenot, Paris Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠

218 Loris CeCChini b. 1969 Untitled (Stage Evidence), 2001. Cast urethane rubber. 39.5 x 38 x 38 cm. (15 1/2 x 15 x 15 in). This work is from an edition of three and is accompanied by a certificate of authenticity. PROVENANCE Galerie Ghislaine Hussenot, Paris Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠ 220 oLAFUr eLiAsson b.1967 Drahtstein, 2003. Metal wire. 26.7 x 14.9 x 12.7 cm. (10 1/2 x 5 7/8 x 5 in). This work is from an edition of 110 and is accompanied by a certificate of authenticity signed by the artist. PROVENANCE Texte zur Kunst, Berlin Estimate £ 7 0 0 - 9 0 0 $ 1, 2 0 0 -1, 5 0 0 € 8 0 0 -1, 0 0 0 ♠

∆ 221 herbert hAmAk b. 1952 Two works: (i) Untitled (Green); (ii) Untitled (Blue), 2001. Resin and pigments on canvas. Each: 155.5 x 9 x 21.5 cm. (61 1/4 x 3 3/4 x 8 1/2 in). These works are each accompanied by a label signed by the artist and a certificate of authenticity. PROVENANCE Studio La Città, Verona ♠ Estimate £8,000-12,000 $13,200-19,900 €9,300-13,900

126

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222

222 Lee bUL b. 1964 Untitled, 2007. Aluminium, mirror and stainless steel. 30 x 22 x 34 cm. (11 3/4 x 8 5/8 x 9 3/8 in.) This work is from an edition of two plus two artist’s proofs and is accompanied by a certificate of authenticity. PROVENANCE Acquired directly from the artist Estimate £ 2 5 , 0 0 0 - 3 5 , 0 0 0 $ 41, 4 0 0 - 5 7, 9 0 0 € 2 9 , 0 0 0 - 4 0 , 6 0 0 ‡ 127

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223

224

225

226

223 DIRK SKREBER b. 1961 Untitled, 2007. Plastic car model and metal stand. Model: 16 x 11 x 10 cm. (6 3/8 x 4 3/8 x 4 in). Metal stand: 124 x 29 x 29 cm. (48 3/4 x 11 1/2 x 11 1/2 in). Signed ‘Skreber’ on the underside of the car model. PROVENANCE Private collection, Germany Estimate £ 7, 0 0 0 - 9 , 0 0 0 $ 11, 6 0 0 -14 , 9 0 0 € 8 ,1 0 0 -1 0 , 5 0 0 ♠

224 PIERRE BISMUTH b. 1963 One thing made of another, one thing used as another, 2005. Folded paper. 11.5 x 11.5 x 11.5 cm. (4 1/2 x 4 1/2 x 4 1/2 in). Signed and dated ‘Pierre Bismuth 5/02/05’ along the lower edge. PROVENANCE Galerie Jan Mot, Brussels ExhibitEd Brussels, Galerie Jan Mot, Today is just a copy of yesterday, 9 February – 29 March, 2005 Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠‡

225 ERWIN WURM b. 1954 The Ass of Sigmund Freud, 2004. Polystyrene-filled bean bag. 65 x 75 x 70 cm. (25 1/2 x 29 1/2 x 27 1/2 in). Inscribed ‘stand on your head, lean your legs against the wall and think of Freud’s ass’ along the edge. PROVENANCE Acquired directly from the artist Estimate £1 0 , 0 0 0 -1 5 , 0 0 0 $ 1 6 , 6 0 0 - 2 4 , 8 0 0 € 11, 6 0 0 -17, 4 0 0 ♠‡

226 JEFFREY VALLANCE b. 1955 Statue Blessed by Pope John Paul II and Drive-by Yassir Arafat, 2006. Cast figurines in gilt glass and wood reliquary. 66 x 26.5 x 27 cm. (26 x 10 1/2 x 10 3/4 in). Signed, dated ‘Vallance 2006’ and stamped with the artist’s wax insignia on a label adhered to the reverse. PROVENANCE Galerie Nathalie Obadia, Paris; Private collection, Paris Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 128

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227 (i)

228

(ii)

(iii) 229 228 rAFAL bUJnoWski b. 1974 Three works: #18, #19, #22 from Museum series, 2004. Oil on canvas. #18: 21 x 28 cm. (8 1/4 x 11 in). #19: 40.5 x 30.5 cm. (16 x 12 in). #22: 18 x 23 cm. (7 x 9 in). Each signed and dated ‘BUJNOWSKI 04’ on the reverse. PROVENANCE Galerie Rüdiger Schöttle, Munich Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠

227 GArY hUme b. 1962 Three works: London Plane Leaf, 2000. Ink on paper. Each: 19.1 x 14 cm. (7 1/2 x 5 1/2 in). Each signed ‘Hume’ lower right. PROVENANCE ACRIA Benefit Auction, New York, 2001 ♠‡ Estimate £ 6 0 0 - 8 0 0 $ 1, 0 0 0 -1, 3 0 0 € 7 0 0 - 9 5 0

229 John boCk b. 1965 Untitled, 2005. Collage. 29 x 21 cm. (11 3/8 x 8 1/4 in). Signed and dated ‘JB 05’ lower right. PROVENANCE Galerie Meyer Keiner, Vienna; Private collection, London Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0 ♠ 129

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230

231

230 JonAthAn meese b. 1970 Napoleon’s Tierchen, 2006. Oil, photo collage and one American twenty dollar bill on canvas in three parts. Overall: 210 x 421 cm. (82 3/4 x 165 3/4 in). Initialed and dated ‘JM 06’ lower left; signed, titled and dated ‘J Meese 06 Napoleon’s Tierchen’ on the reverse of each panel. PROVENANCE Contemporary Fine Arts, Berlin Estimate £ 6 0 , 0 0 0 - 8 0 , 0 0 0 $ 9 9 , 3 0 0 -1 3 2 , 0 0 0 € 6 9 ,7 0 0 - 9 2 , 9 0 0 ♠‡

231 JonAthAn meese b. 1970 Noel Coward is Back XVII, 2006. Oil and mixed media on canvas. 100 x 80 x 4.5 cm. (39 1/4 x 31 1/2 x 1 3/4 in). Initialed and dated ‘JM 06’ lower right; signed, titled and dated ‘J Meese 06 NOEL Coward is back XVII’ on the reverse. PROVENANCE Contemporary Fine Arts, Berlin Estimate £1 0 , 0 0 0 -1 5 , 0 0 0 $ 1 6 , 6 0 0 - 2 4 , 8 0 0 € 11, 6 0 0 -17, 4 0 0 ♠ 130

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232

233

234

232 FrAnk nitsChe b. 1964 FOB-07-2004, 2004. Oil on canvas. 280 x 320 cm. (110 1/4 x 126 in). Signed, titled and dated ‘Nitsche FOB-07-2004’ on the reverse. PROVENANCE Galerie Max Hetzler, Berlin Estimate £20,000-25,000 $33,100-41,400 €23,200-29,000 ♠‡

233 thomAs sCheibitZ b. 1968 Untitled, 2004. Graphite, ink and marker pen on paper. 21 x 30 cm. (8 1/4 x 11 3/4 in). Dated ‘5.04’ lower left. PROVENANCE Tanya Bonakdar Gallery, New York Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 €1,70 0 - 2 , 3 0 0 ♠‡

234 thomAs sCheibitZ b. 1968 Untitled, 2002. Pencil, gouache, marker, acrylic and charcoal on paper. 157.5 x 337.3 cm. (61 5/8 x 132 7/8 in). Signed and dated ‘Scheibitz 2002’ upper left. PROVENANCE Tanya Bonakdar Gallery, New York Estimate £8,000-12,000 $13,200-19,900 €9,300-13,900 ♠

131

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235

235 GArY hUme b. 1962 Spring Angels, 2000. Two colour silkscreens. Each: 126 x 101.5 cm. (49 5/8 x 40 in). Each signed, titled and dated ‘Angel Gary Hume 00’ along the lower margin. These works are from an edition of 45. PROVENANCE The Paragon Press, London Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ♠† 132

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133

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236

237

238

239

240

241

∆ 236 Stefan HirSig b. 1966 Safari Beta 2.4I, 2000. Acrylic on canvas. 199.4 x 199.4 cm. (78 1/2 x 78 1/2 in). Signed, titled and dated ‘S. Hirsig ‘00 Safari Beta 2.4I’ on the reverse. This work is accompanied by a photograph signed by the artist. Provenance Galleria Franco Noero, Turin; The Marino and Paola Golinelli Collection, Bologna ♠ Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

237 Stefan HirSig b. 1966 Space Fairy, 2005. Acrylic on canvas. 167 x 153 cm. (65 3/4 x 60 1/4 in). Signed, titled and dated ‘S.hirsig Space Fairy 05’ on the reverse. Provenance Marella Gallery, Milan Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠

238 DaViD SCHneLL b. 1971 Spielplatz, 2006. Silkscreen on handmade paper. 55.9 x 76.2 cm. (22 x 30 in). Signed and dated ‘David Schnell 06’ lower right; numbered of 35 lower left margin. This work is from an edition of 35. Provenance Private collection, London ♠‡ Estimate £ 6 0 0 - 8 0 0 $ 1, 0 0 0 -1, 3 0 0 € 7 0 0 - 9 5 0

239 eBerHarD HaVeKOSt b. 1967 Superstar, 2005. Offset colour lithograph. 39.4 x 66.3 cm. (15 1/2 x 26 1/8 in). Signed and dated ‘Havekost 05’ lower right, titled ‘SUPERSTAR’ lower centre and numbered of 22 lower left. This work is from an edition of 22. Provenance Galerie EIGEN + ART, Berlin ♠ Estimate £ 3 0 0 - 5 0 0 $ 5 0 0 - 8 0 0 € 3 5 0 - 6 0 0

240 LiSa SanDitZ b. 1973 Christmas Tree Farm, 2004. 121.9 x 182.9 cm. (48 x 72 in). Signed, titled and dated ‘Lisa Sanditz Christmas Tree Farm 2004’ on the overlap. Provenance Private collection, New York ‡ Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0

241 LiSa SanDitZ b. 1973 Study, Christmas Tree Farm, 2004. Mixed media on paper. 22.9 x 29.8 cm. (9 x 11 3/4 in). Titled ‘X-mas Tree Farm’ lower left; signed and dated ‘Lisa Sanditz 2004’ lower right. Provenance Private collection, New York ‡ Estimate £ 6 0 0 - 8 0 0 $ 1, 0 0 0 -1, 3 0 0 € 7 0 0 - 9 5 0

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134

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242

243

244

245 (i)

(ii)

242 tHOMaS HirSCHHOrn b. 1957 Saddam/Schwarzenegger, 2004. Paper collage, plastic sheet, felt pen and ballpoint pen on paper. 41.9 x 61 cm. (16 1/2 x 24 in). Provenance Barbara Gladstone Gallery, New York Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ‡

243 taL r b. 1967 Untitled, 2006. Colour woodcut on paper. 59.6 x 79.7 cm. (23 1/2 x 31 3/8 in). Signed ‘Tal R’ and numbered of 24 lower right. This work is from an edition of 24. Provenance Victoria Miro, London Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

244 taL r b. 1967 Untitled, 2006. Colour woodcut on paper. 59.6 x 79.7 cm. (23 1/2 x 31 3/8 in). Signed ‘Tal R’ and numbered of 24 lower right. This work is from an edition of 24. Provenance Victoria Miro, London Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0 ♠

245 taL r b. 1967 Two works: (i) Gate Brown (04.08.06); (ii) Inn (20.08.06), 2006. Marker, crayon and paint on paper. Each: 39.4 x 29.2 cm. (15 1/2 x 11 1/2 in). (i) Signed, titled and dated ‘TAL R Gate Brown 4.08.06’ lower right. (ii) Signed, titled and dated ‘TAL R Inn 8.08.06’ lower right. Provenance Zach Feuer Gallery, New York ♠‡ Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 135

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246 (i)

(ii)

(v)

247

(iii)

(vi)

(iv)

(vii)

248 (i)

(ii)

246 tHaDDeUS StrODe b. 1964 Seven works: (i) And We Ride at Your Side, (ii) Don Lemo, (iii) Everywhere, (iv) Story Talk (Thoughts), (v) Gold, (vi) Sounds of Kissing, (vii) Bomb in the Island, 2001. Ink, watercolour, graphite and paper collage. In variation: six works: 51 x 66 cm. (20 1/8 x 26 in)., one work: 15 x 15 cm. (5 7/8 x 5 7/8 in). Each signed, titled and dated on the reverse. Provenance Galerie Michael Janssen, Cologne Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ‡

247 JaMie SHOVLin b. 1978 Fontana Colour Wheel, 2004-2005. Inkjet print. 59.7 x 59.7 cm. (23 1/2 x 23 1/2 in). Signed ‘J Shovlin’ on a label adhered to the reverse. This work is from an edition of five. Provenance Riflemaker, London ♠‡ Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0

248 JaMie SHOVLin b. 1978 Two works: (i) Naomi Welsh Sketchbook Three; (ii) Naomi Welsh Sketchbook Five, 2004. Pencil on paper and inkjet prints in archival box. Each 33 x 31.5 x 23.5 cm. (13 x 12 3/8 x 9 1/4 in). Provenance Riflemaker, London eXHIBITeD London, Riflemaker, Naomi V Jelish curated by John Ivesmail presented by Jamie Shovlin 21 May – 26 June, 2004 Estimate £ 3 , 0 0 0 - 5 , 0 0 0 $ 5 , 0 0 0 - 8 , 3 0 0 € 3 , 5 0 0 - 5 , 8 0 0 ♠ 136

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249 (i)

(ii)

251 250

252

253

249 tOMOrY DODge b. 1974 Two works: (i) Supermarket; (ii) Pile, 2004. Watercolour on rag paper. (i) 37.8 x 38.4 cm. (14 7/8 x 15 1/8 in). (ii) 37.8 x 37.5 cm. (14 7/8 x 14 3/4 in). (i) Signed, titled and dated ‘Tomory Dodge SUPERMARKET 2004’ on the reverse. (ii) Signed, titled and dated ‘Tomory Dodge PILE 2004’ on the reverse. Provenance ACME, Los Angeles Estimate £1, 8 0 0 - 2 , 2 0 0 $ 3 , 0 0 0 - 3 , 6 0 0 € 2 ,1 0 0 - 2 , 6 0 0 ‡

250 BernHarD Martin b. 1966 Untitled, 2006. Gouache and ink on paper. 30 x 21 cm. (11 7/8 x 8 1/4 in). Signed and dated ‘B.Martin 2006’ on the reverse. Provenance Patricia Low Contemporary, Gstaad Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0 ♠ 252 Dan attOe b. 1975 My Conscience, 2003. Oil on panel. 18.5 x 17.5 cm. (17 1/4 x 6 3/4 in). Signed, titled and dated ‘My Conscience Dan Attoe 2003’ on the reverse. Provenance Vilma Gold, London Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0

251 aLeXiS HarDing b. 1973 Poverty Painting II, 2004. Oil and gloss paint on board. 91 x 91 cm. (35 3/4 x 35 3/4 in). Signed, titled and dated ‘Alexis Harding poverty painting II 2004’ on the reverse. Provenance Marella Gallery, Milan Estimate £ 8 0 0 -1, 2 0 0 $ 1, 3 0 0 - 2 , 0 0 0 € 9 5 0 -1, 4 0 0 ♠

253 Dan attOe b. 1975 Inspiration, 2004. Oil on panel. 17.5 x 17.5 cm. (7 x 7 in). Signed, titled and dated ‘Inspiration Dan Attoe 2004’ on the reverse. Provenance Vilma Gold, London Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 137

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254

255

256

257

254 SteVe CanaDaY b. 1967 Nature Calls, 2002. Acrylic on canvas. 122 x 152.5 cm. (48 x 60 in). Signed, titled and dated ‘Stevie CANADAY “NATURE CALLS” 2002’ on the reverse. Provenance Black Dragon Society, Los Angeles Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

255 SteVe MUMfOrD b. 1960 Arizona, 2001. Oil on canvas. 137 x 176 cm. (54 x 69 1/4 in). Signed and dated ‘Mumford 2001’ on the reverse. Provenance Victoria Miro, London Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0

257 tatJana DOLL b. 1970 Babyhummer (H3), 2004-2005. Acrylic and lacquer on canvas. 86 x 133 cm. (33 7/8 x 52 3/8 in). Signed, titled, inscribed and dated ‘Tatjana Doll Babyhummer (H3) 2004/5 Berlin’ on the overlap. Provenance Galerie Gebr. Lehmann, Dresden Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ♠‡

256 SaMUeL KaPrieLOV b. 1977 Payday Evacuation, 2006-2007. Oil pastel on panel. 91.4 x 144.8 cm. (36 x 57 in). Initialed ‘S.K.’ lower right. Provenance Riflemaker, London Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠‡ 138

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261 258

259

260

258 MiCHaeL aSHCrOft b. 1974 In the Beginning, 2005. Oil on canvas. 254 x 203.5 cm. (100 x 80 1/8 in). Signed, titled and dated ‘Michael Ashcroft In the Beginning 2005’ on the reverse. Provenance Max Wigram Gallery, London Estimate £ 6 ,0 0 0 - 8 ,0 0 0 $ 9, 9 0 0 -13 , 2 0 0 € 7,0 0 0 - 9, 3 0 0 ♠

259 MarKUS DraPer b. 1969 Zentrale Randlage, 2005. Oil and acrylic on canvas. 220 x 160 cm. (86 1/2 x 63 in). Signed, titled and dated ‘Draper “Zentrale Randlage” 2005’ on the reverse. Provenance Galerie Gebr. Lehmann, Dresden Estimate £ 4,0 0 0 - 6 ,0 0 0 $ 6 ,6 0 0 - 9, 9 0 0 €4,6 0 0 -7,0 0 0 ♠‡ 139

07_NOW_LON_SEPT_CONT_v10.indd 139

260 JUan CÉSPeDeS b. 1972 Hollywood Scratchiti, 2006. Three c-prints. (i) 43.2 x 29.8 cm. (17 x 11 3/4 in); (ii) 29.8 x 43.2 cm. (11 3/4 x 17 in); (iii) 43.2 x 29.8 cm. (17 x 11 3/4 in). This work is from an edition of five. Provenance Andrew Kreps Gallery, New York ♠‡ Estimate £1,0 0 0 -1,5 0 0 $1,70 0 -2,5 0 0 €1, 2 0 0 -1,70 0

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261

262

263

264

261 VALERIA TRoUBINA b. 1966 Labyrinth, 2008. Oil on canvas. 200 x 150 cm. (78 3/4 x 59 in). Initialed ‘VT’ lower right. PROVENANCE Bottega Gallery, Kiev Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -1 3 , 2 0 0 € 7, 0 0 0 - 9 , 3 0 0 ‡

262 KSENIA HNYLYTSKA b. 1984 Untitled (Project Open Air), 2008. Oil on canvas. 150 x 170 cm. (59 x 67 in). Initialed [in Cyrillic] and dated ‘KG2008’ on the reverse. PROVENANCE Collection Gallery, Kiev EXHIBITED Kiev, Collection Gallery, Project Open Air, 29 January – 26 February, 2009 Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ‡

263 MAXIM MAMSIKoV b. 1968 Lenin, 2009. Oil on canvas. 79 x 67 cm. (31 1/8 x 26 3/8 in). Signed [in Cyrillic] and dated ‘Mamsikov 09’ lower right. PROVENANCE Collection Gallery, Kiev Estimate £ 7, 0 0 0 - 9 , 0 0 0 $ 11, 6 0 0 -14 , 9 0 0 € 8 ,1 0 0 -1 0 , 5 0 0 ‡

264 ANDRIY BLUDoV b. 1962 Catchers, 2009. Acrylic on canvas. 120 x 180 cm. (47 1/4 x 70 7/8 in). Signed [in Cyrillic] ‘A.Bludov’ lower right. PROVENANCE Bottega Gallery, Kiev Estimate £ 7, 0 0 0 - 9 , 0 0 0 $ 11, 6 0 0 -14 , 9 0 0 € 8 ,1 0 0 -1 0 , 5 0 0 ‡ 140

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265

266

268

267

269

265 NIKoLAY RIDNYI b. 1985 Project Gestures, 2009. Felt-tip pen and varnish on canvas. 145 x 190 cm. (57 x 74 3/4 in). Signed and dated ‘RIDNYI 09’ lower left. PROVENANCE Collection Gallery, Kiev EXHIBITED Kiev, Collection Gallery, “Pulse” and “Gestures”, 15 May – 18 June, 2009 Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ‡

266 ILYA CHICHKAN b. 1967 Household Surrealism 1, 2009. C-print. 120 x 120 cm. (47 1/4 x 47 1/4 in). This work is from an edition of six and is accompanied by a certificate of authenticity signed by the artist. PROVENANCE Collection Gallery, Kiev EXHIBITED Kiev, Ludmila Bereznitska & Partner Gallery, Household Surrealism, 26 April – 30 June, 2009 Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 ‡

267 ILYA CHICHKAN b. 1967 Household Surrealism 2, 2009. C-print. 120 x 120 cm. (47 1/4 x 47 1/4 in). This work is from an edition of six and is accompanied by a certificate of authenticity signed by the artist. PROVENANCE Collection Gallery, Kiev EXHIBITED Kiev, Ludmila Bereznitska & Partner Gallery, Household Surrealism, 26 April – 30 June, 2009 Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 ‡

268 YURIY SoLoMKo b. 1962 Red Graffitist, 2008. Oil and digital print on canvas. 140 x 142 cm. (55 1/8 x 55 7/8 in). Initialed [in Cyrillic] ‘Y.S.’ lower right; titled [in Cyrillic] and dated ‘Red Graffitist 2008’ on the reverse. PROVENANCE Collection Gallery, Kiev EXHIBITED Kiev Fine Art Gallery, Between the Earth and the Sky: New Ukrainian Landscape, 19 March – 17 May, 2009 Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ‡ 269 GREGoRY MAIoFIS b. 1970 Taste for Russian Ballet, 2008. Bromoil on canvas. 102 x 92 cm. (40 1/8 x 36 1/4 in). Signed, titled [in Cyrillic and English] and dated ‘Gregory Maiofis Taste for Russian Ballet 2008’ on the reverse. PROVENANCE pop/off/art gallery, Moscow Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ♠‡ 141

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270

271

272 (i)

(ii)

273

274

270 RAYMoND PETTIBoN b. 1957 Untitled (He pointed to), 2000. Ink on paper. 39 x 52 cm. (15 3/8 x 20 1/2 in). Signed and dated ‘Raymond Pettibon 2000’ on the reverse. PROVENANCE Galerie Hauser & Wirth, Zurich EXHIBITED Kunsthalle Vienna, Raymond Pettibon, Whatever it is you’re looking for you won’t find it here, 13 October, 2006 – 25 February, 2007 LITERATuRE Exhibition catalogue, Kunsthalle Vienna, Raymond Pettibon, Whatever it is you’re looking for you won’t find it here, Vienna, 2006, p. 208 (illustrated) Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ‡

271 CHRIS JoHANSoN b. 1968 Tomorrow is Another Day Filled with Promise and Let Downs, 2003. Ink on paper. 55.6 x 75.8 cm. (21 7/8 x 29 7/8 in). Signed and dated ‘CHRIS Johanson 2003’ on the reverse. PROVENANCE Private collection, Europe Estimate £ 8 0 0 -1, 2 0 0 $ 1, 3 0 0 - 2 , 0 0 0 € 9 5 0 -1, 4 0 0 273 GAJIN FUJITA b. 1972 Study of Bliss, 2003. Acrylic, spraypaint and pencil on paper. 21.6 x 41.6 cm. (8 1/2 x 16 3/8 in). Signed, titled and dated ‘Gajin 2003 “Study of Bliss”’ on the reverse. PROVENANCE LA Louver Gallery, Los Angeles Estimate £1, 5 0 0 - 2 , 5 0 0 $ 2 , 5 0 0 - 4 ,1 0 0 € 1,7 0 0 - 2 , 9 0 0 ‡

272 CHARLES AVERY b. 1973 Two works: (i) What Them Dogs Don’t Know They Know; (ii) Constructing the Super-Triangle, (i) 2000; (ii) 2002. Graphite and coloured pencil on paper. (i) 59.7 x 84.5 cm. (23 1/2 x 33 1/4 in); (ii) 69.9 x 102.9 cm. (27 1/2 x 40 1/2 in). (i) Signed and dated ‘Charles Avery’ lower right. (ii) Signed, titled and dated ‘Constructing the Super-Triangle, Charles Avery 2002’ lower left. PROVENANCE Elizabeth Dee Gallery, New York ♠‡ Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

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274 VIVEK VILASINI b. 1964 Through the Looking Glass (Boycott British Goods), 2007. Archival print on paper. 160.7 x 113 cm. (63 1/4 x 44 1/2 in). Signed ‘Vivek Vilasini’ lower right margin; numbered of five lower left margin. This work is from an edition of five. PROVENANCE Aicon Gallery, London Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0 ‡ 142

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275 276

277

278

275 ISCA GREENFIELD-SANDERS b. 1978 Pink Beach Lantern, 2004. Painted paper lantern, light bulb, metal, electrical wire. 34.5 x 30.5 x 30.5 cm. (13 1/2 x 12 x 12 in). PROVENANCE Benefit Auction for Design Trust for Public Space, New York; Private collection, New York Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0

276 EMILY JACIR b. 1970 Omayma (from Where We Come From), 2002-2003. C-print and printed wall text. C-Print: 25 x 25 cm. (9 7/8 x 9 7/8 in). Printed wall text: 21 x 27 cm. (8 1/4 x 10 5/8 in). Signed ‘Emily Jacir’ and numbered of 3 on the reverse of each. PROVENANCE Debs & Co., New York Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ‡

277 RUSSELL YoUNG b. 1960 Mick and Bianca Jagger, 2006. Screenprint on canvas. 152 x 122 cm. (59 7/8 x 48 in). Signed ‘Russell Young’ on the reverse PROVENANCE Acquired directly from the artist Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -1 3 , 2 0 0 € 7, 0 0 0 - 9 , 3 0 0 ‡

278 ALESSANDRo RAHo b. 1971 Catherine, 2006. Oil on canvas. 69.6 x 97.5 cm. (27 3/8 x 38 3/8 in). Signed and dated ‘Raho 1/06’ on the upper turnover edge. PROVENANCE Ruzicska, Salzburg EXHIBITED Salzburg, Ruzicska, Alessandro Raho, 8 April – 17 May, 2006 Estimate £ 5 , 0 0 0 -7, 0 0 0 $ 8 , 3 0 0 -11, 6 0 0 € 5 , 8 0 0 - 8 ,1 0 0 ♠ 143

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279

280

281

282

283

284

279 CHARLES KARUBIAN b. 1970 Untitled, 2007. Oil on canvas. 91.4 x 61 cm. (36 x 24 in). Signed and dated ‘CHARLES KARUBIAN 2007’ on the reverse. PROVENANCE Black Dragon Society, Los Angeles ‡ Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0

280 DAN ATTOE b. 1975 Northern Minnesota Truck Garage Shop Girl, 2003. Oil on MDF. 17.8 x 17.8 cm. (7 x 7 in). Signed, titled and dated ‘Northern Minnesota Truck Garage Shop Girl 2003’ on the reverse. PROVENANCE Peres Projects, Los Angeles ‡ Estimate £1, 5 0 0 - 2 , 0 0 0 $ 2 , 5 0 0 - 3 , 3 0 0 € 1,7 0 0 - 2 , 3 0 0

281 LISA RUYTER b. 1968 Catch 22, 2000. Acrylic on canvas. 62 x 61 cm. (24 3/8 x 24 in). Signed, titled and dated ‘Lisa Ruyter, 2000 “CATCH - 22”’ on the reverse. PROVENANCE Aesbæk Gallery, Copenhagen Estimate £ 2 , 5 0 0 - 3 , 5 0 0 $ 4 ,1 0 0 - 5 , 8 0 0 € 2 , 9 0 0 - 4 ,1 0 0

282 CHANTAL JOFFE b. 1969 Untitled, 2000. Oil on board. 29.2 x 21.6 cm. (11 1/2 x 8 1/2 in). Signed and dated ‘Chantal Joffe 2000’ on the reverse. PROVENANCE Private collection, New York ♠‡ Estimate £1, 5 0 0 - 2 , 5 0 0 $ 2 , 5 0 0 - 4 ,1 0 0 € 1,7 0 0 - 2 , 9 0 0

283 SLAWOMIR ELSNER b 1976 Panorama 94, 2006. Oil on canvas. 100.5 x 79.5 cm. (39 1/2 x 31 1/4 in). Signed, titled and dated ‘Slawomir Elsner Panorama 94 2006’ on the reverse. PROVENANCE Sutton Lane, London; Private collection, New York Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 ♠‡

284 SLAWOMIR ELSNER b. 1976 Panorama 87, 2006. Oil on canvas. 99.5 x 79 cm (39 1/4 x 31 in). Signed, titled and dated ‘Slawomir Elsner Panorama 87 2006’ on the reverse and again on the stretcher. PROVENANCE Johnen Galerie, Berlin; Private collection, New York Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 ♠‡

144

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285

286

287

288

285 ROBERT LUCANDER b. 1962 Ich weiss nicht, wie sich die Dinge jetzt weiterentwickeln, 2003. Acrylic and gouache on wooden panel. 170 x 120 cm. (67 x 47 1/8 in). Signed, titled and dated ‘Robert Lucander Ich weiss nicht, wie sich die Dinge jetzt weiterentwickeln 2003’ on the reverse. PROVENANCE Contemporary Fine Arts, Berlin Estimate £ 3 , 0 0 0 - 4 , 0 0 0 $ 5 , 0 0 0 - 6 , 6 0 0 € 3 , 5 0 0 - 4 , 6 0 0 ♠

286 PIOTR JANAS b. 1970 Untitled, 2006. Oil on canvas. 160 x 100 cm. (63 x 39 3/8 in). Signed and dated ‘PIOTR JANAS 5/2006’ on the reverse. PROVENANCE Foksal Gallery Foundation, Warsaw; Private collection, Paris ExhibitEd Warsaw, Zacheta National Gallery of Art, Polish Painting of the 21st Century, 16 December, 2006 – 25 February, 2007 Estimate £ 6 , 0 0 0 - 8 , 0 0 0 $ 9 , 9 0 0 -1 3 , 2 0 0 € 7, 0 0 0 - 9 , 3 0 0 ♠

287 RONALD DE BLOEME b. 1971 Purple Gift, 2008. Enamel on canvas. 120 x 230.5 cm. (47 1/4 x 90 3/4 in). Signed, titled and dated ‘Ronald de Bloeme “Purple Gift” 2008’ on the reverse. PROVENANCE Private collection, Berlin ExhibitEd Cyprus, Nicosia, Pharos Centre for Contemporary Art, Best Discount, 28 July – 25 August, 2008; Berlin, SUBSTITUT/ Raum für aktuelle Kunst aus der Schweiz, Don’t follow me, I’m lost too, 17 April – 30 May, 2009 Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ♠

288 JAIME GILI b. 1972 Matias, 2007. Acrylic on canvas. 139.7 x 149.9 cm. (55 x 59 in). Signed, titled and dated ‘Jaime Gili Matias, 2007’. PROVENANCE BUIA Gallery, New York Estimate £ 4 , 0 0 0 - 6 , 0 0 0 $ 6 , 6 0 0 - 9 , 9 0 0 € 4 , 6 0 0 -7, 0 0 0 ‡

145

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289

290

291

289 JUSTIN LIEBERMAN b. 1977 Untitled (Fuck Women and Minority Groups!), 2003. Acrylic, paper collage, marker pen, and graphite on paper. 96.5 x 61 cm. (38 x 24 in). Signed and dated ‘Justin Lieberman 2003’ on the reverse. Provenance Zach Feuer, New York; Galerie Nathalia Obadia, Paris; Private collection, Paris Estimate £1, 0 0 0 -1, 5 0 0 $ 1,7 0 0 - 2 , 5 0 0 € 1, 2 0 0 -1,7 0 0

290 JOHN CHILVER b. 1964 Preamble, 2000. Oil based fluorescent paint, alkyd, oil, wax and silicone on canvas. 210 x 199.5 cm. (82 3/4 x 78 1/2 in). Signed, titled and dated ‘John Chilver “Preamble” 2000’ on the reverse. Provenance Asprey Jacques, London Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0 ♠

291 JUDY LEDGERWOOD b. 1959 Soulshine, 2004. Oil and oil stick on canvas. 127 x 152.5 cm. (50 x 60 in). Signed, titled and dated ‘Judy Ledgerwood 2004 Soulshine’ on the reverse. Provenance Private collection, London exhibited New York, Tracey William LTD, Spring Fever, 5 May – 24 June, 2005 Estimate £ 2 , 0 0 0 - 3 , 0 0 0 $ 3 , 3 0 0 - 5 , 0 0 0 € 2 , 3 0 0 - 3 , 5 0 0

146

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contemporary art Lots 100 - 291

100 MAREPE

101 RAYMOnd PETTIBOn

102 KEndELL gEERS

103 ERWIn WURM

104 ALE xIS HARdIng

105 LOUISE LAWLER

106 CAndIdA HöFER

107 günTHER FöRg

108 dAn WALSH

109 AndRO WEKUA

110 OLAF HOLZAPFEL

111 FRIEdRICH KUnATH

112 gARTH WEISER

113 JOSH SMITH

114 gREgOR HILdEBRAndT

115 TOM FRIEdMAn

116 TEREnCE KOH

117 ROnI HORn

118 CRAIg KAUFFMAn

119 CAROL BOVE

120 THOMAS HIRSCHHORn

121 FRAnZ WEST

122 YUKEn TERUYA

123 KOBI ISRAEL

124 HAI BO

125 THOMAS RUFF

126 dAMIEn HIRST

127 dAMIEn HIRST

128 dAMIEn HIRST

129 PETER FUSS

130 FRAnCESCA LOWE

131 d*FACE

132 dR LAKRA

133 dR LAKRA

134 CHRIS OFILI

135 JAKE And dInOS CHAPMAn

136 gRAYSOn PERRY

137 JIM SHAW

138 TRACEY MOFFATT

139 MOYnA FLAnnIgAn

140 ELIZABETH PEYTOn

141 RASHId RAnA

147

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24/08/09 19:00


contemporary art Lots 100 - 291

142 IAN MONROE

143 GERT & UWE TOBIAS

14 4 GERT & UWE TOBIAS

145 MARKUS MUNTEAN & ADI ROSENBLUM

146 MICHAEL WETZEL

147 INKA ESSENHIGH

148 CHRISTOPH RUCKHABERLE

149 DOUGLAS GORDON

150 DIETMAR LUTZ

151 CHANTAL JOFFE

152 MARTIN MANNIG

153 SOPHIE VON HELLERMANN

154 SOPHIE VON HELLERMANN

155 YAYOI KUSAMA

156 MARC QUINN

157 AYA TAKANO

158 AYA TAKANO

159 AYA TAKANO

160 ANISH KAPOOR

161 ANISH KAPOOR

162 DAMIEN HIRST

163 DAMIEN HIRST

164 TAKASHI MURAKAMI

165 CHARLES LUTZ

166 AYA TAKANO

167 AYA TAKANO

168 YOSHITOMO NARA

169 BARRY MCGEE

170 BARRY MCGEE

171 CHRIS JOHANSON

172 CHRIS JOHANSON

173 MARCEL DZAMA

174 ANTONY MICALLEF

175 ANTONY MICALLEF

176 ANTHONY LISTER

177 JUDITH SUPINE

178 YUE MINJUN & KAWS

179 ANTON SKORUBSKY KANDINSKY

180 MA HAN

181 TIANDE WANG

182 HE SEN

183 ZHANG PENG

07_NOW_LON_SEPT_CONT_v10.indd 148

148

24/08/09 17:03


contemporary art Lots 100 - 291

184 ZENG CHUANXING

185 YAN PEI-MING

186 HUANG YONG PING

187 FANG LIJUN

188 RINKO KAWAUCHI

189 JIANG CHUAN

190 ZHAO BO

191 HUNG TUNGLU

192 MICHAEL STUBBS

193 DAVID RATCLIFF

194 CANDIDA HöFER

195 RAÚL BELINCHÓN

196 JULIA JACQUETTE

197 STEFAN KüRTEN

198 KOBI ISRAEL

199 DAVID MACH

200 THOMAS RUFF

201 KIM JOON

202 BOO RITSON

ˇ 203 NAZIF TOPçUOGLU

204 HUMA MULJI

205 NADINE KANSO

206 LALLA ESSAYDI

207 KAMRAN DIBA

208 POOYA ARYANPOUR

209 HALIM AL-KARIM

210 SHAHRIAR AHMADI

211 SANDY SKOGLUND

212 GREGOR HILDEBRANDT

213 HIROSHI SUGIMOTO

214 MIKE KELLEY

215 LOUISE LAWLER

216 LOUISE LAWLER

217 ERNESTO CAIVANO

218 LORIS CECCHINI

219 LORIS CECCHINI

220 OLAFUR ELIASSON

221 HERBERT HAMAK

222 LEE BUL

223 DIRK SKREBER

224 PIERRE BISMUTH

225 ERWIN WURM

149

07_NOW_LON_SEPT_CONT_v10.indd 149

24/08/09 19:11


contemporary art Lots 100 - 291

226 JeffreY VALLANCe

227 gArY HUMe

228 rAfAL BUJNOwSKI

229 JOHN BOCK

230 JONAtHAN MeeSe

232 frANK NItSCHe

233 tHOMAS SCHeIBItZ

234 tHOMAS SCHeIBItZ

235 gArY HUMe

236

238 DAVID SCHNeLL

239 eBerHArD HAVeKOSt

240 LISA SANDItZ

241 LISA SANDItZ

242 tHOMAS HIrSCHHOrN

243 tAL r

24 4 tAL r

245 tAL r

246 tHADDeUS StrODe

247 JAMIe SHOVLIN

248 JAMIe SHOVLIN

249 tOMOrY DODge

250 BerNHArD MArtIN

251 ALe XIS HArDINg

252 DAN AttOe

253 DAN AttOe

254 SteVe CANADAY

255 SteVe MUMfOrD

256 SAMUeL KAPrIeLOV

257 tAtJANA DOLL

258 MICHAeL ASHCrOft

259 MArKUS DrAPer

260 JUAN CÉSPeDeS

261 VALerIA trOUBINA

262 KSeNIA HNYLYtSKA

263 MAXIM MAMSIKOV

264 ANDrIY BLUDOV

265 NIKOLAY rIDNYI

266 ILYA CHICHKAN

267 ILYA CHICHKAN

StefAN HIrSIg

231 JONAtHAN MeeSe

237 StefAN HIrSIg

150

07_NOW_LON_SEPT_CONT_v10.indd 150

24/08/09 17:31


contemporary art Lots 100 - 291

268 YuRIY SOLOMKO

269 gREgORY MAIOFIS

270 RAYMOND PETTIBON

271 CHRIS JOHANSON

272 CHARLES AVERY

273 gAJIN FuJITA

274 VIVEK VILASINI

275 ISCA gREENFIELD-SANDERS

276 EMILY JACIR

277 RuSSELL YOuNg

278 ALESSANDRO RAHO

279 CHARLES KARuBIAN

280 DAN ATTOE

281 LISA RuYTER

282 CHANTAL JOFFE

283 SLAWOMIR ELSNER

284 SLAWOMIR ELSNER

285 ROBERT LuCANDER

286 PIOTR JANAS

287 RONALD DE BLOEME

288 JAIME gILI

289 JuSTIN LIEBERMAN

290 JOHN CHILVER

291 JuDY LEDgERWOOD

151

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Inaugural Exhibition

Drawings by Pablo Picasso, Henri Matisse, Marc Chagall, Salvador Dali, Alexander Calder, Christo and Keith Haring

Marc Chagall Nimrod 1958 43x32cm ink on paper

OLYVIA FINE ART

Black on Paper 7th Oct- 8th Nov 09 Private View 6th Oct 6-9 pm by invitation only Olyvia Fine Art 17 Ryder Street SW1Y 6PY LONDON U.K. t:+44 207 925 2986 f:+44 207 839 5845 info@olyviafineart.com www.olyviafineart.com 11

olyvia fine art.indd 152

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GUIDE FOR PROSPECTIVE BUYERS BUYInG aT aUCTIOn The following pages are designed to offer you information on how to buy at auction at Phillips de Pury & Company. Our staff will be happy to assist you. COnDITIOnS OF SalE The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips de Pury & Company generally acts as agent for the seller. BUYER’S PREmIUm Phillips de Pury & Company charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £25,000, 20% of the portion of the hammer price above £25,000 up to and including £500,000 and 12% of the portion of the hammer price above £500,000. VaT Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium. The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the “VAT AND OTHER TAX INFORMATION FOR BUYERS” in this catalogue.

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

Property in Which Phillips de Pury & Company Has an Ownership Interest Lots with this symbol indicate that Phillips de Pury & Company owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

UK£50 to UK£1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000

UK£5,000 to UK£10,000 UK£10,000 to UK£20,000 UK£20,000 to UK£30,000 UK£30,000 to UK£50,000 UK£50,000 to UK£100,000 UK£100,000 to UK£200,000 above UK£200,000

no Reserve Unless indicated by a , all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips de Pury & Company and the seller and 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.

♠ 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: Portion of the Hammer Price (in EUR) From 1,000 to 50,000 From 50,001 to 200,000 From 200,001 to 350,000 From 350,001 to 500,000 Exceeding 500,000

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

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank. ✝, §, ‡, or Ω Property Subject to VaT Please refer to the section entitled “VAT AND OTHER TAX INFORMATION FOR BUYERS” in this catalogue for additional information.

2 BIDDInG In THE SalE Bidding at auction Bids may be executed during the auction in person by paddle or by telephone or prior to the sale in writing by absentee bid. Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. Proof of identity in the form of government issued identification will be required, as will an original signature. We may also require that you furnish us with a bank reference. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips de Pury & Company staff member immediately. At the end of the auction, please return your paddle to the registration desk. Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone. absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips de Pury & Company will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt

by UK£50s by UK£100s by UK£200s by UK£200s, 500, 800 (i.e. UK£4,200, 4,500, 4,800) by UK£500s by UK£1,000s by UK£2,000s by UK£2,000s, 5,000, 8,000 by UK£5,000s by UK£10,000s 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.

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

Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept Visa, Mastercard and UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply. Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to a third party storage facility and will so advise all buyers. If you are in doubt about the location of your purchase, please contact the Shipping Department prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots. loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction. Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We do not provide

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DESIGN AUCTION THURSDAY 15 OCTOBER 2009

5pm

Viewing 5 – 14 October

PHOTOGRAPHS AUCTION THURSDAY 15 OCTOBER 2009

3pm

Viewing 5 – 14 October

CONTEMPORARY ART DAY SALE AUCTION SATURDAY 17 OCTOBER 2009

4pm

EVENING SALE AUCTION SATURDAY 17 OCTOBER 2009

7pm

Viewing 5 – 16 October

Phillips de Pury & Company Howick Place London SW1P 1BB 4010 Catalogues +44 20 7318 4039 / +1 212 940 1240 Enquiries +44 20 7318 4040

www.phillipsdepury.com

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packing, handling or shipping services directly. However, we will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information. Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a license is required to export the property from the United Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any country outside the European Union (EU). Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

VAT And oThEr TAx InformATIon for buyErS The following paragraphs provide general information to buyers on the VAT and certain other potential tax implications of purchasing property at Phillips de Pury & Company. This information is not intended to be complete. In all cases, the relevant tax legislation takes precedence, and the VAT rates in effect on the day of the auction will be the rates charged. It should be noted that, for VAT purposes only, Phillips de Pury & Company is not usually treated as agent and most property is sold as if it is the property of Phillips de Pury & Company. In the following paragraphs, reference to VAT symbols shall mean those symbols located beside the lot number or the pre-sale estimates in the catalogue (or amending saleroom addendum). 1 ProPErTy wITh no VAT SymboL Where there is no VAT symbol, Phillips de Pury & Company is able to use the Auctioneer’s Margin Scheme, and VAT will not normally be charged on the hammer price. Phillips de Pury & Company must bear VAT on the buyer’s premium. Therefore, we will charge an amount in lieu of VAT at 15% on the buyer’s premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified. 2 ProPErTy wITh A ✝ SymboL These lots will be sold under the normal UK VAT rules, and VAT will be charged at 15% on both the hammer price and buyer’s premium. 3 ProPErTy wITh A § SymboL Lots sold to buyers whose registered address is in the EU will be assumed to be remaining in the EU. The property will be invoiced as if it had no VAT symbol. However, if an EU buyer advises us that the property is to be exported from the EU, Phillips de Pury & Company will re-invoice the property under the normal VAT rules. Lots sold to buyers whose address is outside the EU will be assumed to be exported from the EU. The property will be invoiced under the normal VAT rules. Although the hammer price will be subject to VAT, the VAT will be canceled or refunded upon export. The buyer’s premium will always bear VAT. However, buyers who are not intending to export their property from the EU should notify our Client Accounting Department on the day of the sale, and the property will be re-invoiced showing no VAT on the hammer price. 4 ProPErTy SoLd wITh A ‡ or Ω SymboL These lots have been imported from outside the EU to be sold at auction under temporary importation. Property subject to temporary importation will be offered under the Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 15% on the hammer price and an amount in lieu of VAT at 15% on the buyer’s premium. Anyone who wishes to buy outside the

Auctioneer’s Margin Scheme should notify the Client Accounting Department before the sale. ‡ = 5%

Ω = 15%

5 ExPorTS from ThE EuroPEAn unIon The following types of VAT may be cancelled or refunded by Phillips de Pury & Company on exports made within three months of the sale date if strict conditions are met: • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol). • The VAT on the hammer price for property sold under the normal VAT rules (i.e., with a # or a § symbol). • The import VAT charged on the hammer price and buyer’s premium for property sold under temporary importation (i.e., with a ‡ or a Ω symbol). In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or before the time of invoicing, the buyer instructs Phillips de Pury & Company to export the property from the EU. If such instruction is received after payment, a refund of the VAT amount will be made. Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips de Pury & Company will charge the VAT amount due as a deposit and refund it if the lot has been exported within three months of the date of sale and the following conditions are met: • For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips de Pury & Company is provided with appropriate documentary proof of export from the EU. Buyers carrying their own property should obtain hand-carry papers from the Shipping Department to facilitate this process; or • For lots sold under temporary importation, Phillips de Pury & Company is provided with a copy of the correct paperwork duly completed and stamped by HM Revenue and Customs which shows the property has been exported from the EU via the UK. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HM Revenue and Customs insist that the correct customs procedures are followed and Phillips de Pury & Company will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary importation must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out. Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips de Pury & Company. Phillips de Pury & Company is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary importation and the property is exported from the EU within three months of the sale date. Any refund of VAT is subject to a minimum of £50 per shipment and a processing charge of £20. Buyers intending to export, repair, restore or alter lots under temporary importation should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips de Pury & Company being unable to refund the VAT charged on deposit. 6 VAT rEfundS from hm rEVEnuE And CuSTomS Where VAT charged cannot be cancelled or refunded by Phillips de Pury & Company, it may be possible to seek repayment from HM Revenue and Customs. Repayments in this manner are limited to businesses located outside the UK and may be considered for: • VAT charged on the buyer’s premium on property sold under the normal VAT rules. • Import VAT charged on the hammer price and buyer’s premium for lots sold under temporary importation. Claim forms are available from: HM Revenue and Customs VAT Overseas Repayment Section P.O. Box 34, Foyle House, Duncreggan Road, Londonderry Northern Ireland BT48 7AE Tel +44 28 7130 5100 Fax +44 28 7130 5101

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

CondITIonS of SALE The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips de Pury & Company and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding. 1 InTroduCTIon Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips de Pury & Company in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty. These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. 2 PhILLIPS dE Pury & ComPAny AS AgEnT Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own 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. 3 CATALoguE dESCrIPTIonS And CondITIon of ProPErTy Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested. Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury & Company may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips de Pury & Company in our

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absolute discretion. Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable for any difference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 4 Bidding at auction (a) Phillips de Pury & Company has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips de Pury & Company. (b) As a convenience to bidders who cannot attend the auction in person, Phillips de Pury & Company may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips de Pury & Company. Telephone bidding is available for lots whose low pre-sale estimate is at least £500. Phillips de Pury & Company reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) When making a bid, whether in person, by absentee bid or on the telephone, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips 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 & Company and that we will only look to the principal for such payment. (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 undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures. 5 conduct of the auction (a) Unless otherwise indicated by the symbol • each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips de Pury & Company with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders.

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.” (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction. 6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including £25,000, 20% of the portion of the hammer price above £25,000 up to and including £500,000 and 12% of the portion of the hammer price above £500,000. (b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT. (c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artist’s collection agent. Lots subject to the Artist’s Resale Right are identified with the symbol ♠ next to the lot number. (d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in pounds sterling either by cash, cheque drawn on a uK bank or wire transfer, as follows: (i) Phillips de Pury & Company will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed the local currency equivalent of US$10,000. (ii) Personal cheques and banker’s drafts are accepted if drawn on a UK bank and the buyer provides to us acceptable government issued identification. Cheques and banker’s drafts should be made payable to “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 Howick Place, London SW1P 1BB and ensure that the sale number is written on the cheque. Cheques or banker’s drafts drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. Bank transfer details: Bank of Scotland Gordon Street, Glasgow G1 3RS. SWIFT BIC: BOFSGB21138 Sort code: 80-54-01 IBAN: GB36BOFS 8054 0100 4407 80 For the account of PDEPL LTD Account no.: 00440780 (e) As a courtesy to clients, Phillips de Pury & Company will accept Visa, Mastercard and UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

(f) Title in a purchased lot will not pass until Phillips de Pury & Company has received the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

(d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide.

7 collection of ProPerty (a) Phillips de Pury & Company will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or +44 (0) 207 318 4082 to arrange for collection of purchased property.

(e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(b) The buyer must arrange for collection of a purchased lot within five days of the date of the auction. Promptly after the auction, we will transfer the purchased lot to a third party storage facility and will so advise the buyer. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) five days after

the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips de Pury & Company, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips de Pury & Company. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips de Pury & Company will require presentation of government issued identification prior to release of a lot to the buyer or the buyer’s authorized representative. 8 failure to collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of £25, storage charges of £3 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips 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. 9 remedies for non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & Company’s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips de Pury & Company and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; or (viii) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs. (b) The buyer irrevocably authorizes Phillips de Pury & Company to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies that the buyer is in default of payment. Phillips de Pury & Company will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips de Pury & 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 delivery to our affiliated company as security for the payment of any outstanding amount 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. (c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips de Pury & Company to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed by Phillips 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 of written notice to the buyer, to sell the property in such manner and for such consideration as can

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reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon. 10 rescission By PhilliPs de Pury & comPany Phillips de Pury & Company shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company and the seller with respect to such rescinded sale. 11 exPort, imPort and endangered sPecies licenses and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a license is required to export a lot from the United Kingdom or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. 12 data Protection (a) In connection with the management and operation of our business and the marketing and supply of auction related services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from 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 it for the above purposes. Phillips de Pury & Company and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on our policies on personal data or wish to make corrections to your information, please contact us at +44 (0)20 7318 4010. If you would prefer not to receive details of future events please call the above number. (b) In order to fulfill the services clients have requested, Phillips de Pury & Company may disclose information to third parties such as shippers. Some countries do not offer equivalent legal protection of personal information to that offered within the European Union (EU). It is Phillips de Pury & Company’s policy to require that any such third parties respect the privacy and confidentiality of our clients’ information and provide the same level of protection for client information as provided within the EU, whether or not they are located in a country that offers equivalent legal protection of personal information. By agreeing to these Conditions of Sale, clients agree to such disclosure. 13 limitation of liaBility (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & Company, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & Company, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips de Pury & Company or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips de Pury & Company, our affiliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a)

above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips de Pury & Company or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions. 14 coPyright The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips de Pury & Company and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips de Pury & Company and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it. 15 general (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

(iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use. (b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips 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. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips 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 why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that none of Phillips de Pury & Company, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

(e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer. 16 law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips 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.

authorshiP warranty Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below. (a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; 157

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PhilliPs de Pury & comPany

senior Partners Michael McGinnis Dr. Michaela Neumeister

chairman Simon de Pury chief executive officer Bernd Runge

advisory Board Maria Bell Janna Bullock Lisa Eisner Lapo Elkann Ben Elliot Lady Elena Foster H.I.H. Francesca von Habsburg Marc Jacobs Malcolm McLaren Ernest Mourmans Aby Rosen Christiane zu Salm Princess Gloria vonThurn undTaxis Jean Michel Wilmotte Anita Zabludowicz

Partners Aileen Agopian Sean Cleary Alexander Payne Rodman Primack Olivier Vrankenne Tiffany Wood

worldwide offices NEW YORK 450 West 15 Street NewYork NY 10011 USA +1 212 940 1200 +1 212 924 5403 fax

PARIS 28, rue Michel Le Comte 75003 Paris France +33 1 42 78 67 77 +33 1 42 78 23 07 fax

BERLIN Auguststrasse 19 10117 Berlin Germany +49 30 880 018 42 +49 30 880 018 43 fax

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

MUNICH Maximiliansplatz 12a 80333 Munich Germany +49 89 238 88 48 0 +49 89 238 88 48 15 fax

GENEVA 23, quai des Bergues 1201 Geneva Switzerland +41 22 906 80 00 +41 22 906 80 01 fax

sPecialist and serVice dePartments

modern and contemPorary editions NEW YORK Kelly Troester, Worldwide Co-Director +1 212 940 1221 Cary Leibowitz, Worldwide Co-Director +1 212 940 1222 Jannah Greenblatt +1 212 940 1332 Joy Deibert +1 212 940 1333

contemPorary art LONDON Anthony McNerney, Head of Evening Sale, London +44 20 7318 4067 Peter Sumner, Head of Day Sale, London +44 20 7318 4063 Laetitia Catoir +44 20 7318 4064 Silke Taprogge +44 20 7318 4012 Ivgenia Naiman +44 20 7318 4071 Fiona Biberstein +44 20 7318 4013 Siobhan O’Connor +44 20 7318 4093 Catherine Higgs +44 20 7318 4089 Raphael Lepine +44 20 7318 4078 Tanya Tikhnenko +44 20 7318 4065 Sarah Buchwald +44 20 7318 4085 Phillippa Willison +44 20 7318 4070 NEW YORK Michael McGinnis, Worldwide Director +1 212 940 1254 Aileen Agopian, New York Director +1 212 940 1255 Jean-Michel Placent +1 212 940 1263 Timothy Malyk +1 212 940 1258 Chin-Chin Yap +1 212 940 1250 Sarah Mudge, Head of Part II, New York +1 212 940 1259 Roxana Bruno +1 212 940 1229 Sara Davidson +1 212 940 1262 Maria Bueno +1 212 940 1261 Peter Flores +1 212 940 1223 (Uli) Zhiheng Huang +1 212 940 1288 Eugenia Ballvé +1 212 940 1303

Jewelry NEW YORK Nazgol Jahan, Worldwide Director +1 212 940 1283 Carmela Manoli +1 212 940 1302 Heather Zises +1 212 940 1290 GENEVA Carolin Bulgari +41 22 906 80 00 Veronica Lota +41 22 906 80 05 LONDON Lane McLean +44 20 7318 4032 theme sales Tiffany Wood, Worldwide Director +49 30 880 018 42 LONDON Tobias Sirtl, London Manager +44 20 7318 4095 Arianna Jacobs +44 20 7318 4054 George O’Dell +44 20 7318 4040 NEW YORK Corey Barr, New York Manager +1 212 940 1234 Anne Huntington +1 212 940 1210 Steve Agin, Consultant +1 908 475 1796

design LONDON Alexander Payne, Worldwide Director +44 20 7318 4052 Ben Williams +44 20 7318 4027 Domenico Raimondo +44 20 7318 4016 Ellen Stelter +44 20 7318 4021 Marcus McDonald +44 20 7318 4014 NEW YORK Alex Heminway, New York Director +1 212 940 1269 Marcus Tremonto +1 212 940 1268 Tara DeWitt +1 212 940 1265 Meaghan Roddy +1 212 940 1266 Stephanie Abraitis +1 212 940 1268

chairman london Rodman Primack +44 20 7318 4017 managing directors Finn Dombernowsky, London +44 20 7318 4034 Charlie Horne, New York +1 212 940 1292 PriVate sales Christina Scheublein +1 212 940 1248

international sPecialists and rePresentatiVes Berlin & munich Dr. Michaela Neumeister Brussels & Paris Olivier Vrankenne Paris Leonie Moschner Paris & london Tamara Corm london Ivgenia Naiman Brooke de Ocampo los angeles Mimi Won Techentin Maya McLaughlin milan Laura Garbarino Eugenia Bertelè moscow Svetlana Marich shanghai/Beijing Jeremy Wingfield

PhotograPhs LONDON Louise Proud +44 20 7318 4018 Sebastien Montabonel +44 20 7318 4025 Alexandra Bibby +44 20 7318 4087 Helen Hayman +44 20 7318 4092 NEW YORK Vanessa Kramer, New York Director +1 212 940 1243 Caroline Shea +1 212 940 1247 Sarah Krueger +1 212 940 1245

+49 89 238 88 48 10 +32 486 43 43 44 +33 6 85 53 92 03 +33 6 75 07 04 71 +44 20 7318 4071 +44 777 551 7060 +1 310 600 9192 +1 323 791 1771 +39 339 478 9671 +39 02 3669 5895 +7 495 225 88 22 +86 135 0118 2804

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sale information auction Saturday 26 September 2009 at 2pm Viewing Saturday 19 September, 10am - 6pm Sunday 20 September, 12pm - 6pm Monday 21 September, 10am -6pm Tuesday 22 September, 10am - 6pm Wednesday 23 September, 10am - 6pm Thursday 24 September, 10am - 6pm Friday 25 September, 10am - 6pm Viewing & auction location Howick Place London SW1P 1BB sale designation In sending written bids or making inquiries please refer to this sale as UK000209 or NOW. theme sales Tiffany Wood, Worldwide Director +49 30 880 018 42 london Tobias Sirtl, Manager +44 20 7318 4095 Arianna Jacobs, Cataloguer +44 20 7318 4054 George O’Dell, Administrator +44 20 7318 4040 new york Corey Barr, Manager +1 212 940 1234 Anne Huntington, Cataloguer +1 212 940 1210 consultant Steve Agin, Toy Art +1 908 475 1796 sPecialists contemporary art Peter Sumner +44 20 7318 4063 design Ellen Stelter +44 20 7318 4021 Photographs Louise Proud +44 20 7318 4018 Sebastian Montebonel +44 20 7318 4025 catalogues Allyson Melchor +44 20 7318 4039 +1 212 940 1240 catalogues@phillipsdepury.com aBsentee and telePhone Bids Anna Ho +44 20 7318 4045 +44 20 7318 4035 fax bids@phillipsdepury.com Buyers accounts Carolyn Whitehead +44 20 7318 4020 seller accounts Elliot Depree +44 20 7318 4072 client serVices Lauren Holowesko +44 20 7318 4010 shiPPing Kate Spalding +44 20 7318 4081 Andrew Ballaro +44 20 7318 4082 Clare Simpson +44 20 7318 4026 ProPerty manager Sam Martin +44 20 7318 4010 PrinciPal auctioneer Simon de Pury 0874341 auctioneers AileenAgopian 1199037 Sarah Mudge 1301805 Alexander Gilkes 1308958 Ellen Stelter UK Rodman Primack UK

now editor Karen Wright PhotograPhy Byron Slater and Peter Hepplewhite

e-mail addresses All Phillips de Pury & Company e-mails are first initial and last name @phillipsdepury.com (e.g. twood@phillipsdepury.com) www.phillipsdepury.com Please note that all lots are offered and sold subject to (i) the StandardTerms and Conditions, and (ii) Special Terms and Conditions applicable to this sale as described within this sale catalogue. The Standard Terms and Conditions and Special Terms and Conditions should be fully read and understood prior to bidding at the auction. All lots are sold “AS-IS.” All lots are offered subject to a reserve unless otherwise indicated.

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LATIN AMERICA

MusIC

OCTOBER 2009 NEW YORK

NOVEMBER 2009 LONdON

NEW YORK NEW YORK dECEMBER 2009 NEW YORK

NOW MARCH 2010 NEW YORK

sEx

AFRICA bRIC FILM

ITALIA

80s

MARCH 2010 LONdON

JUNE 2010 LONdON

LATIN AMERICA OCTOBER 2010 NEW YORK

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MARCH 2010 NEW YORK

JUNE 2010 NEW YORK

APRIL 2010 LONdON

NO REsERvE JULY 2010 LONdON

jApAN MusIC NOVEMBER 2010 LONdON

NOVEMBER 2010 NEW YORK

APRIL 2010 NEW YORK

NOW SEPTEMBER 2010 LONdON

bLACK & WhITE dECEMBER 2010 LONdON

24/08/09 18:44

NOW: Art of the 21st Century  

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