ART HOUSE: The Collection of Chara Schreyer

NEW YORK

ART HOUSE: THE COLLECTION OF CHARA SCHREYER

15–16 NOVEMBER 2023 N11179 N11180

AUCTIONS IN NEW YORK CONTEMPORARY EVENING AUCTION 15 NOVEMBER 2023 7:00 PM CONTEMPORARY DAY AUCTION 16 NOVEMBER 2023 9:00 AM 1334 York Avenue New York, NY 10021 +1 212 606 7000 sothebys.com FOLLOW US @SOTHEBYS

ALL EXHIBITIONS FREE AND OPEN TO THE PUBLIC

Wednesday 8 November 10 AM–4 PM

Wednesday 1 November 1 PM–5 PM

Thursday 9 November 10 AM–5 PM

Thursday 2 November 10 AM–5 PM

Friday 10 November 10 AM–5 PM

Friday 3 November 10 AM–5 PM

Saturday 11 November 10 AM–5 PM

Saturday 4 November 10 AM–5 PM

Sunday 12 November 1 PM–5 PM

Sunday 5 November 1 PM–5 PM

Monday 13 November 10 AM–5 PM

Monday 6 November 10 AM–5 PM

Tuesday 14 November 10 AM–5 PM

Tuesday 7 November 10 AM–5 PM

Wednesday 15 November 10 AM–1 PM

TO LEARN MORE ABOUT THIS SALE, VISIT SOTHEBYS.COM/N11179 SOTHEBYS.COM/N11180 shown left: Lot 114: Georgia O'Keeffe, Pelvis, 1943 (detail)

FOR EVENING SALE ENQUIRIES CONTACT Kelsey Reed Leonard Vice President Head of Sale, Contemporary Evening kelsey.leonard@sothebys.com FOR DAY SALE ENQUIRIES CONTACT Kathleen Hart Assistant Vice President, Head of Afternoon Session, Specialist Contemporary Art kathleen.hart@sothebys.com

ENQUIRIES SA L E N U M B ER

EVENING N11179 DAY N11180 B I DS D EPA RT ME N T

+1 212 606 7414 fax +1 212 606 7016 bids.newyork@sothebys.com Telephone bid requests should be received 24 hours prior to the sale. This service is offered for lots with a low estimate of $5,000 and above.

P RE- SA L E COO R D I NATO R

Jacqueline Dishner jacqueline.dishner@sothebys.com +1 212 894 1086 P OST SA L E S ERV I C ES

For payment, delivery and collection +1 212 606 7444 fax +1 212 606 7043 uspostsaleservices@sothebys.com

Front Cover: Chara Schreyer’s home in Tiburon, California. Photo © Matthew Millman. Art © 2023 Frank Stella / Artists Rights Society (ARS), New York; © Hans Bellmer / 2023 Artists Rights Society (ARS), New York / ADAGP, Paris Back Cover: Detail of Donald Judd, Untitled, 1969. Art © 2023 Judd Foundation / Artists Rights Society (ARS), New York

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Indoor view of Chara Schreyer’s home in Los Angeles, California.

CONTENTS 3

AUCTION & EXHIBITION INFORMATION

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SPECIALISTS AND ENQUIRIES

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CONTEMPORARY EVENING SALE LOTS 101-116

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CONTEMPORARY DAY SALE LOTS 401-493

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CONDITIONS OF BUSINESS FOR BUYERS

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BUYING AT AUCTION

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INFORMATION ON SALES AND USE TAX IMPORTANT NOTICES

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GLOSSARY OF TERMS

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INDEX OF ARTISTS

Lot 111, Mark Bradford, A Thousand Daddies, 2008 (detail)

From left to right: Lucas Samaras’ Box #110, Frank Stella’s Honduras Lottery Co., and Robert Gober’s Deep Basin Sink, as exhibited in Chara Schreyer’s home in Marin, California.

Photo © Matthew Millman. Art © 2023 Lucas Samaras; © 2023 Frank Stella / Artists Rights Society (ARS), New York; © 2023 Robert Gober

"IF THE IDEA OF CARE IS AT THE HEART OF THE ACT OF COLLECTING, THEN I THINK THAT I’VE ALWAYS BEEN A COLLECTOR, EVEN FROM MY YOUTH…”

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ew collections are as thoroughly remarkable in scope, resounding in quality, or singular in identity as the Collection of Chara Schreyer.

The narrative of Chara’s collection is one of a lifelong and layered personal study of art history, unfolding with her lasting legacy as one of the most consequential collectors and patrons of post-war and contemporary art in the Twenty-First century. Curated with fearless rigor, Chara’s collection defies simple classification: benchmarking art movements from Conceptualism to Minimalism and beyond, seminal works from Marcel Duchamp, Ed Ruscha, Eva Hesse and other artists at the vanguard of their generations abound in the Collection, and they provide the intellectual cornerstone for contemporary artists like Mark Bradford, Richard Prince, and Amy Sillman who shape the cultural zeitgeist of the present day.

Beyond the scope of collecting for which she is

celebrated, Chara also devoted herself to supporting leading museums and institutions throughout her home state of California, where she was distinguished as a dedicated benefactor.

The full story of Chara Schreyer’s collection cannot be told without the spirit of intention, intimacy, and generosity that sustained it. This ethos is rooted in her personal foundations and sensibilities coming from an extended family of Holocaust survivors, who witnessed the traumas of both Auschwitz and Reichenbach concentration camps. Born in Germany in the aftermath of World War II, Chara was made deeply aware of the fragile precarity of life and therefore encouraged at a young age to pursue her passions by her family. By the early 1950s, they had immigrated from Germany to Los Angeles; by the mid1960s, Chara would attend the University of California, Berkeley at the pinnacle of the countercultural

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Chara Schreyer photographed in October 2019 Photo © Ryan West

"I’VE NEVER THOUGHT ABOUT MY RELATIONSHIP TO COLLECTING AS BEING ABOUT OWNING OR ACQUIRING WORKS, BUT RATHER AS AN EXPRESSION OF MY PASSION FOR BEING PARTY TO A HISTORICAL DIALOGUE BETWEEN OBJECTS AND IDEAS THAT, IN THEMSELVES, CANNOT REALLY BE OWNED. IN THE END, I'VE ALWAYS THOUGHT OF COLLECTORS AS THE TEMPORARY CUSTODIANS OF ARTWORKS THAT ARE IN THEIR CARE FOR A SPECIFIC PERIOD OF HISTORICAL TIME. MY RELATIONSHIP TO THE WORKS IN THIS COLLECTION IS NO DIFFERENT… HERE, THEY RESIDE TOGETHER FOR A MOMENT AS A MERRY BAND OF SISTERS AND BROTHERS THAT WILL ONE DAY BE DISPERSED TO OTHER CUSTODIANS…”

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Ed Ruscha’s Etc. and Yayoi Kusama’s Untitled as exhibited at Chara Schreyer’s San Francisco home. Photo © Matthew Millman. Art © 2023 Ed Ruscha; © 2023 Yayoi Kusama

"THE ART HAS AN INTERPERSONAL DIALOGUE OF ITS OWN THAT I THINK IS SORT OF UNCONSCIOUS AND PSYCHOANALYTICAL. THINGS MOVE AROUND A LOT FROM HOUSE TO HOUSE. I DON’T BUY A SPECIFIC PIECE FOR A CERTAIN SPOT – IT IS MORE OF AN INTELLECTUAL EXERCISE WHERE I BUY IT FOR THE COLLECTION.”

movements in San Francisco. Amidst this backdrop, Chara identified revolutionary force not in politics, but in art. It was at Berkeley where Chara experienced one of the most pivotal moments in her development as an art patron: when assigned to study Matisse’s Femme au chapeau (1905) at the San Francisco Museum of Modern Art, Chara discovered “the beginning of my understanding” of art. Such profound academic experiences at university sparked the emotional foundation for the sensitivity that would sustain her collecting practice throughout her life, the remainder of which she dedicated to unraveling her unconscious connections to art.

Today, the extraordinary Collection of Chara Schreyer traces the evolution of Contemporary art history at nearly every critical juncture, and it can be attributed to none other than her own visionary and

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tasteful eye. In the 1970s, Chara began by acquiring works by artists of American Modernism such as Georgia O’Keeffe, Joseph Stella, and Stuart Davis, but by the 1990s, she would pivot seriously into collecting the artistic lineage pioneered during the heady days of postwar Conceptualism, starting with Marcel Duchamp’s 1935-1940 De ou par Marcel Duchamp ou Rrose Sélavy (La Boîte-en-Valise). Indeed, others of the earliest centerpieces to enter Chara’s collection include Donald Judd’s early 1969 architectonic Untitled stack sculpture; Robert Gober’s hauntingly poetic 1984 Deep Basin Sink; and Eva Hesse’s boundary-pushing relief 1965 Top Spot, each of which will headline Sotheby’s Contemporary Evening Sale in November. With its broader curatorial origins beginning with Marcel Duchamp – the Dada Conceptual prodigy and progenitor from which the

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Opposite: Lot 432, Jean-Michel Basquiat, Untitled (Bad Tooth and Ivory), c. 1984

Below: Lot 421, Man Ray, Vénus de Medici avant la restauration, conceived in 1936 and executed in 1971.

"INDEED, AS MINIMAL AS ONE MIGHT GET, THERE IS NO SUCH THING AS SILENCE. THE WORLD IS SIMPLY TOO LOUD.” DOUGL AS FOGL E AN D HAN N EKE SKERATH, EDS., MA KING STRA NGE : TH E CH A RA SCH REYE R COLLECTION, N EW YORK, 2021, P. 13 5

rest of the Collection extends – the Collection of Chara Schreyer encompasses hundreds of artworks that celebrate interconnectedness and adaptability, all connected by their beguiling reenchantment of the mundane. Famously, Chara referred to these masterpieces as “making strange,” paying homage to the uniquely astounding ability of art in the wake of Duchamp to change perceptions – to make the familiar strange, the strange familiar.

Upon a closer examination of the Collection, further nuanced psychological and sociopolitical narratives emerge from the genesis of such Conceptual rigor, testifying to Chara’s insatiable intellectual curiosity and penchant for thoughtful curation. To begin, from the laboriously intricate sculptures of Lee Bontecou to an intimate painting

of Georgia O’Keeffe, key highlights by leading female artists lend refined elegance to the Collection while reflecting Chara’s resolute commitment to collecting and supporting women artists. Meanwhile, works by the provocateurs of the Pictures Generation like Louise Lawler, Sherrie Levine and Richard Prince showcase Chara’s trailblazing perspective, one that champions the avant-garde tactics of appropriation that revolutionized the canon of photography. In the layered décollage of Mark Bradford and the neon wall reliefs of Glenn Ligon, Chara connects voices that address systemic American racism with critical consciousness and artistic subversion – a strategy also echoed in the tradition of institutional critique heralded by earlier artists like Joseph Beuys. Finally, from the German Surrealist sculptures of Hans Bellmer

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Mark Bradford’s A Thousand Daddies (center) and Donald Judd’s Untitled (right), as exhibited at Chara Schreyer’s Los Angeles home. Photo © Matthew Millman.

Art © 2023 Mark Bradford 2023; Judd Foundation / Artists Rights Society (ARS), New York

The outdoor view of Chara Schreyer’s home in Los Angeles, California.

Photo © Matthew Millma

"I ALWAYS LIKE TO BE AVAILABLE TO PEOPLE WHO WANT TOURS OF MY COLLECTION—AND NOT JUST TRUSTEES... I LOVE DOING THOSE BECAUSE PEOPLE WILL SAY TO ME AFTERWARD, 'I’M NOT AFRAID OF CONTEMPORARY ART ANYMORE. YOU’VE MADE ME UNDERSTAND HOW TO LOOK AT IT.' FOR ME, IT’S A REALLY INTELLECTUAL EXERCISE, AND A GREAT LOVE OF MINE—I JUST LOVE TO SHARE.” to the monumental, psychiatric-influenced Rorschach paintings of Andy Warhol, Chara’s collection unfolds at the convergence of psychology and art.

To supplement her evolving and personalized process of collecting, Chara also began to redesign and expand her living spaces in order to exhibit her Collection in dialogue with meticulous care. Inspired by childhood experiences at building construction sites with her father, who founded a real estate development firm after emigrating to the United States, Chara designed homes throughout California to perfectly showcase artworks in conversation. In Los Angeles and the San Francisco Bay Area, she transformed each of her residences into customdesigned gallery-like spaces with a variety of nontraditional art styles and materials that deliberately blurred the boundary between art and environment.

Beyond the venture of collecting art, here, Chara also remained dedicated to both inviting artists and sharing

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"PEOPLE OFTEN ASK, ‘HOW DO YOU DECIDE WHAT TO BUY?’ AND I TELL THEM, ‘ART COLLECTING IS SERENDIPITOUS. YOU NEVER KNOW WHAT’S GOING TO CROSS YOUR PATH.’”

their work with an open audience: over the past decade, she has not only hosted artists including Mark Bradford and Catherine Opie, but also welcomed over two hundred tours for various university study groups, cultural associations, and museum boards.

“This is home as gallery” is as such an oftrepeated phrase in the book ART HOUSE: The Collaboration of Chara Schreyer & Gary Hutton (Assouline, 2016), which memorializes Chara and designer Gary Hutton’s longtime creative partnership and is today regarded a definitive volume for collectors of contemporary art. The Collection would further be celebrated in Making Strange (DelMonico Books, 2021), a second book that featured a range of in-depth essays that explore nearly 250 works from

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the collection to provide curatorial depth and access to the artworks in academic engagement. Always believing in not only the power of art education to inspire, but also the responsibility of collectors to make their collections accessible, Chara also committed herself as a longtime patron and trustee to major art institutions, such as the San Francisco Museum of Modern Art, Museum of Contemporary Art in Los Angeles, and the Hammer Museum.

Above: The cover of Making Strange: The Chara Schreyer Collection (DelMonico Books, New York, 2021) Opposite: The cover of ART HOUSE: The Collaboration of Chara Schreyer & Gary Hutton, (Assouline, New York 2016)

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CHARA SCHREYER & GARY HUTTON HOUSING THE ART OF IDEAS ALISA CARROLL

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Richard Prince’s Untitled (Fashion) as exhibited at Chara Schreyer’s Tiburon home.

Photo © Matthew Millman.

Art © 2023 Richard Prince

ach generation produces visionary collectors who seek to capture the zeitgeist of their art and their age in their personal environments, and who have called upon like-minded designers or architects to help them achieve that goal. The residences created by Le Corbusier and the Stein family, Parish Hadley and the Paleys, and Charles James and the de Menils attest to the transcendent surroundings that can be achieved through these partnerships. In A Museum of One’s Own, Anne Higonnet writes, “If we care about the social resonance of art objects, and if we care about the history of visuality, then surely we should care about the immediate visual context in which art objects are perceived.” Chara Schreyer and designer Gary Hutton, by forging a distinctive approach that reflected both a conceptual aesthetic and twenty-first century ideas of interconnectedness, adaptability, mobility, and freedom, provided a singular, insightful perspective on our time. “It’s not about sleeping in so many different places,” Schreyer said of her legacy. “It is about collecting work by people who have positively changed the course of history.”

Walls lined with black industrial brushes; white epoxy floors. An AstroTurf rug in the living room; a steel prison toilet in the bath. This domestic conceptualism, a living system that merges art and interior design, was the product of the over forty-year collaboration of Schreyer and Hutton. Beginning in 1978, the creative partners and friends worked side by side to design homes that were both materially and intellectually empathetic with Schreyer’s historic collection of modern and contemporary art. Conceptual in focus, the collection’s six

hundred works take shape in materials like paint and Celotex, video and neon, and span from Dada to minimalism, process art to new media.

Incorporating rigorous modernism, nontraditional materials, installation, and even the performative, Schreyer and Hutton’s interiors channeled the formal qualities of these works as well as their intelligence, unconventionality, humor, and audacity.

“My idea of contemporary art starts with Duchamp,” said Schreyer. “With his work, art became conceptual. I think that’s where things overlap between Gary and me—we both have an educated eye for those things that are new, revolutionary, subversive.” Schreyer channeled that philosophy into building one of the world’s great private collections, rarely deaccessioning a piece or consigning any to storage. Instead, driven by ongoing study, research, and an indefatigable curiosity, she was continually at her intimate work of refining the collection, exploring juxtapositions and deepening dialogues until her installations sang.

Schreyer and Hutton brought the same critical eye to the design of her five residences. Ranging from a San Francisco high-rise to a Los Angeles estate, her homes were, above all, homes for art. There were few concessions to traditional domesticity. Spare and reductive but full of soul and presence, these residences eschewed the decorative, and, on occasion, like the Duchampian tradition they honored, blurred the boundary between environment and artwork.

Schreyer’s fearlessness can be traced in part to her family’s history. She was the daughter of Holocaust survivors, a member of a family that emigrated from Germany to the U.S. when she was five. Her father,

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From left to right: Richard Artschwager’s Doors II, Pae White’s Gutter Leaves, Pasadena, Mark Bradford’s A Thousand Daddies, and Andy Warhol’s Rorschach as exhibited at Chara Schreyer’s Los Angeles home. Photo © Matthew Millman. Art © 2023 Richard Artschwager / Artists Rights Society (ARS), New York; © 2023 Pae White; © 2023 Andy Warhol Foundation For The Visual Arts / Artists Rights Society (Ars), New York; © 2023 Mark Bradford

Max Webb, who lived to age 101, built a highly successful real estate development company and remained a guiding presence in her life. Schreyer noted, “There is a saying that the first generation makes the money so that the second generation can be scholars and philanthropists and the third generation can be artists and poets. I was second generation, so I’ve had the luxury of being able to follow my passion, but I grew up feeling like an outsider—English was my third language. So a lot of the sensibility I have is about seeing the world from an outsider’s point of view.”

While the family’s life in America was financially comfortable, the past was a constant presence in their home. Schreyer’s mother, Sala, never completely recovered from her Holocaust experiences and would awaken every night, screaming. “My sister, Rose, and I would make sure our homework was done, and we would go to bed early to get enough sleep,” said Schreyer. “You live a life you actually didn’t live, but you live it through their fears.”

Though her mother was emotionally frail, she taught Schreyer and her sister that they were not to default into traditional female roles, encouraging them to become doctors or lawyers. It was Schreyer’s lifelong dream to go to the University of California, Berkeley, and she arrived on campus in 1965, at the height of the San Francisco counterculture and of political unrest. “My parents said, ‘If we see you on TV, you’re coming home,’” she said. They needn’t have worried. “My sister says that I was not a child of the Sixties, and she was right,” said Schreyer. “I didn’t do drugs or alcohol or smoke. I wore Villager dresses that I hand-washed and ironed myself, and I frequently scrubbed the floors on my hands and knees to keep my room clean because my roommate smoked. I would go to bed at eight p.m. and then go to the architecture library at five a.m. to study.”

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From left to right: John Baldessari’s Repository (Yellow/ Violet) and Elizabeth Peyton’s Kurt Cobain as exhibited in Chara Schreyer’s home in Los Angeles, California. Photo © Matthew Millman. Art © 2023 John Baldessari; © 2023 Elizabeth Peyton

"MY IDEA OF CONTEMPORARY ART STARTS WITH DUCHAMP. WITH HIS WORK, ART BECAME CONCEPTUAL. I THINK THAT'S WHERE THINGS OVERLAP BETWEEN GARY AND ME—WE BOTH HAVE AN EDUCATED EYE FOR THOSE THINGS THAT ARE NEW, REVOLUTIONARY, SUBVERSIVE.”

It was art that would prove the radical influence on Schreyer. Assigned to write a paper on Matisse’s Femme au chapeau (1905), she made a pivotal visit to the San Francisco Museum of Modern Art. “It was revolutionary,” she said. “That painting was the beginning of the collection at SFMOMA, and it was the beginning of my understanding. It was as much an eye-opener for me as it was for the 1905 Salon d’Automne, where it was originally exhibited.” She went on to major in art history, earning undergraduate and graduate degrees in the subject and writing her master’s thesis on Marcel Duchamp and Joseph Cornell’s artistic collaboration.

Schreyer’s own defining creative partnership would begin ten years later. In 1978, she walked into a new San Francisco restaurant called Today’s.

“It was one of those ‘aha’ moments in life,” she said. “I was just blown away by how well it was done, and I asked for the name of the interior

designer.” They told her—Gary Hutton. At the time, Schreyer and her then-husband were building a home in Sonoma, and she knew she had found her designer. “When I met Gary, I remember opening the front door, and he was such a lovely man, and so easy, not judgmental,” said Schreyer.

Hutton recalls of their initial meeting, “I was really intimidated on that first visit! I grew up on a farm in Watsonville, California—I was still picking hay out of my ears.” He had, in fact, graduated with a degree in fine arts from the University of California, Davis, where he had studied during the heyday of its groundbreaking arts department with artists Wayne Thiebaud, Robert Arneson, and Manuel Neri, and had earned an honors degree in environmental design from California College of Arts and Crafts (now California College of the Arts). The Schreyer project would be the twenty-eight-year-old’s very first residential commission.

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Chara Schreyer’s home in Tiburon, California. Photo © Matthew Millman

Though Schreyer and her husband had not yet begun collecting seriously, they had an artful vision for the home and had commissioned noted architecture firm Jennings and Stout. “They wanted something suitable for the house, which was based on Bauhaus and international style modernism,” says Hutton. “That was where we started. I drew and redrew patterns for a floor based on Kandinsky’s paintings for a year and a half.”

Schreyer also hired Hutton to work on the couple’s primary home in Marin. They collaborated first on a few improvements to the space, to be followed several years later by a comprehensive redesign. “We developed a vocabulary that’s about textural changes and richness, a kind of materiality that’s maybe a little different,” says Hutton. “In art school I was a sculpture major. I was doing metal casting, working with plastics and clay. That gave me an understanding of, and a lust for, materiality.” Schreyer, the daughter of a real estate developer, had been imprinted by the architecture and building process and shared Hutton’s sensibility. Their program for the house—environments that honored the art and which provided adaptive backdrops for ever-evolving installations—would establish a template for all of their future work.

Beginning with the Sonoma home and concluding with the Los Angeles residence, Schreyer and Hutton would ultimately design the interiors of six homes together. “Each was conceived and exactingly designed according to the art program,” says Hutton.

“The shifts were in the art, as Chara acquired new work and curated new installations. These were not the kind of places where you put the Goya over the sofa and decorated the room around it. We understood that nothing was ever going to stay in the same place; the art was always going to evolve.”

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CONTEMPORARY EVENING AUCTION | 15 NOVEMBER 2023

101

AMY SILLMAN b. 1955

J U N K ER 1 signed twice and dated 2009-2010 (on the overlap) oil on canvas 84 ⅝ by 90 ½ in. 214.9 by 229.9 cm.

Executed in 2009-10.

$ 400,000-600,000

P R OV E N A N C E

Sikkema Jenkins & Co., New York Acquired from the above in May 2010 by the present owner EXHIBITED

New York, Sikkema Jenkins & Co., Transformer (or how many lightbulbs does it take to change a painting), April May 2010 Boston, Institute of Contemporary Art, Amy Sillman: one lump or two, October 2013 - January 2014, p. 133, illustrated L I T E R AT U R E

Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 167 and 222, illustrated in color (installed in Chara Schreyer's residence, Los Angeles) Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 241, illustrated in color and p. 419

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“MY WHOLE IMPETUS IN MAKING ART, MAKING WORK, WRITING, DRAWING IS TO FUNCTION AS A KIND OF COMBINATION BRICOLEUR, FLANEUR, VOYEUR, RADISH FARMER, AUTO MECHANIC, AND TAKE PARTS, AND WITH MY LABOR, REMAKE A STRANGE NEW LANGUAGE.” AMY S ILLMAN QUOTED IN LAURIE BARRON, "AMY S ILLMAN EMANCIPATES THE REPUTATION OF A BSTRACTI ON, " OCUL A , 28 OCTOBER 2021 (ONLINE)

Left: John Chamberlain, Essex, 1960. Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. Art © 2023 John Chamberlain / Artists Rights Society (ARS), New York Opposite: Willem de Kooning, Composition, 1955. Image © The Solomon R. Guggenheim Foundation / Art Resource, NY. Art © 2023 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York

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xecuted with a palimpsestic logic of layered forms and geometric planes across a field of blazing orange, Junker 1 of 2009-10 succinctly distills Amy Sillman’s groundbreaking processbased enterprise: “My whole impetus in making art, making work, writing, drawing is…to take parts, and with my labor, remake a strange new language” (Amy Sillman quoted in Laurie Barron, “Amy Sillman Emancipates the Reputation of Abstraction,” Ocula, 28 October 2021 (online)). A scorching riot suffuses the canvas with energy and movement, while turbulent, mechanical strokes of blue, purple and black at once delineate and disrupt its pictorial infrastructure.

Among the most consummate examples of Sillman’s signature mode, Junker I is situated within the precarious brink between abstraction and figuration, with its dialectical tension revealing itself as an undeniable byproduct of the artist’s process – one that has been critically lauded for radically privileging doubt and unknowability above canonical ideals of mastery and power, thus extending the storied legacy of Abstract Expressionism into new territory.

Evincing its importance within Sillman’s oeuvre,

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Junker 1 was prominently featured in the artist’s first major museum exhibition, Amy Sillman: one lump or two at the Institute of Contemporary Art, Boston in 2013. Sillman’s work further belongs in such esteemed international museum collections as the Metropolitan Museum of Art, New York; National Gallery of Art, Washington, D.C.; Moderna Museet, Stockholm and Saatchi Collection, London, among many others. One of the most celebrated artists of her generation, Sillman is the steadfast champion of painting’s relevance in the contemporary era, invoking her brilliantly saturated canvases as testaments to the power of painting when its rules are bent.

Born in Detroit in 1955 and raised in Chicago, Sillman now lives and works in Brooklyn. Though she first gained recognition for her witty text-based drawings, Sillman’s recent work directly engages the push-and-pull between the oscillating dominance of abstraction versus figuration, ultimately settling somewhere in the middle. The title of the present work, Junker 1, brings to mind a beloved, well-used car hinting at a certain rawness or reclaimed quality, suggesting that beneath the surface of the polished

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strokes lies a sense of salvage or repurposing. Inviting contemplation on the relationship between chaos and order, control and spontaneity, the painting itself unravels in the tensions inherent to the process of artistic creation. Welcoming chance and accident, Sillman is known for her process-based methodology, which not only explores the potential of erasure as an additive painterly gesture, but also constructs form in an undeniably architectural and mechanical mode.

Indeed, Sillman has explained her practice as inhabiting the space between intuition and empiricism: “Each half sort of vexes the other. Half of my painting process is accident / chance / mistake / erasure / discovery (i.e., body!), and this is balanced by about 50 percent decisions / analysis / editing / conceptualizing / etc. (i.e. mind!). And this is where the ‘mood’ of painting really appeals to me, this crazy slippage between what we do and what we think.” (Amy Sillman in conversation with Fabiran Schöneich, in: Exh. Cat., Frankfurt, Portikus, Amy Sillman: the ALL-OVER, 2016, p. 47) For Sillman, liminal spaces are sites of possibility.

Fraught, tenuous, sticky or unsure, the in-between realms of planning and improvisation, representation and abstraction are the wellsprings of her painterly enterprise. Even when faced with the precarity of the COVID-19 pandemic, Sillman remained unwaveringly productive, producing canvas after canvas that reinvigorated the frenzied coloration of Paul Klee and Ernst Ludwig Kichner – two of her biggest inspirations – with confidence and freshness. Sillman, also a writer and curator, is a thoughtful inheritor of the history of art, despite her gripes with canonical valorizations of mastery and masculinity. From nineteenth-century landscape painting to Vincent van Gogh, the Abstract Expressionists to Philip Guston, Sillman is acutely aware of her contemporary footing, and Junker 1 exists not only in conversation with her art historical predecessors, but also with the present moment.

Born out of a process in which decision-making is enriched by happenstance, Junker 1 embodies an exuberant and poetic interaction of painterly

gesture, geometric mark-making, corporeal allusion and psychological charge. As curator Mark Godfrey writes, “Sillman’s strategy has been to deploy this gestural mode, but in such a way as to indicate a kind of hesitancy about its use. Each of her strokes reveals itself not as the final masterful decision but as just one more application on a surface already covered with other strokes, which you can see behind to the last one" (Mark Godfrey, “Statements of Intent: The Art of Jacqueline Humphries, Laura Owens, Amy Sillman, and Charline von Heyl,” ARTFORUM, May 2014 (online)). Suspended within the layers of the present work, it is precisely this unknowability and elusiveness that sustains Sillman’s practice and allows her to awaken new potentialities in the threshold between abstract and figurative form.

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102

LEE BONTECOU 1931 - 2022

U N TIT L ED welded steel, porcelain, cloth, wire mesh and wire 23 by 20 by 19 in. 58.4 by 50.8 by 48.3 cm.

Executed in 1983.

$ 600,000-800,000

P R OV E N A N C E

The artist Bill Maynes, New York (acquired from the above) Marc Selwyn Fine Art, Los Angeles Acquired from the above in August 2019 by the present owner EXHIBITED

Los Angeles, Hammer Museum; Chicago, Museum of Contemporary Art; and New York, the Museum of Modern Art, Lee Bontecou: A Retrospective, October 2003 - January 2004, pl. 119, pp. 117, 230, illustrated in color L I T E R AT U R E

Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 115, illustrated in color and pp. 117, 228-229, 413

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Installation view of Lee Bontecou: A Retrospective, Hammer Museum, Los Angeles, October 2003 - January 2004, where the present work was exhibited.

Image © Courtesy of Hammer Museum, Los Angeles. Art © Lee Bontecou 2023 All Rights Reserved

Lee Bontecou, Untitled, 1987. Colored pencil and graphite on graph paper.

17 ⅛ by 22 in. Collection Kunstmuseum Den Haag © Lee Bontecou 2023 All Rights Reserved

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mbodying Lee Bontecou's tireless interrogation of the cosmos and dimensionality of her world, Untitled from 1983 is a galactic microcosm of the artist’s category-defying hanging constructions. Nowhere is Bontecou’s incomparable vision more apparent than in her gracefully suspended sculptures, as she sutures together steel, cloth, wire and porcelain into a intimate, hypnotic, otherworldly mobile that gently fuses the organic with the mechanical. Emerging onto the New York art scene of the 1960s in the wake of Abstract Expressionism, Bontecou worked alongside her Pop and Minimalist contemporaries but instead forged an intricate visual lexicon entirely of her own, one simultaneously rooted in her personal fascination with outer space and grappling with a fraught world order. Bontecou consciously challenged the masculine dominance of sculpture and embraced, in her own words, “freedom in every sense,” and the oeuvre she left behind continues to resist categorization. Featured in the artist’s critically acclaimed 2003-04 retrospective presented at the Hammer Museum, Los Angeles; Museum of Contemporary Art, Chicago; and the Museum of Modern Art, New York, the present work is testemant to the enduring singularity of her practice. Further emphasizing to the present work’s significance in the

artist’s oeuvre, Bontecou, the only female artist to be represented by gallerist Leo Castelli, held Untitled in her own collection until its acquisition by prominent California collector Chara Schreyer. At once futuristic and fossil-like, weighty and weightless, Untitled is Bontecou’s intellectual and celestial response to reality, the unknown and the sublime.

Untitled illustrates Bontecou’s technical mastery on an intimate scale, achieving the painterly sense of depth and illusion resulting from the artist’s lightweight welded framework. The resulting object, while primarily geometric in form, resembles animated, rough-hewn machines bearing a curiously handmade aura: “a kind of botanical surrealism” (Karen Rosenburg, “Galaxies of Wires, Canvas and Velvety Soot,” The New York Times, 13 August 2010, p. C22). Unlike Bontecou’s wall reliefs, Untitled is literally set in motion, a slowly whirling constellation of forms radiating from its porcelain core. The unfurling structure evokes the unfamiliar, uncanny and extraordinary: experiencing in real time the tenuous midcentury history of the Cold War, Space Race and nuclear paranoia, Bontecou turned to sculpture to cleave open new realms, producing assemblages as precarious as the world she inhabited.

Struck simultaneously by fascination and fear with contemporary scientific and technological advances,

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“THE REIGNING IMAGE IS THE BLACK TUNNELED HOLE CENTRAL TO ANYTHING BONTECOU UNDERTAKES... THE INTENSITY OF HER EXPRESSION AND THE CURRENTS OF AUTHENTICITY THAT ONE FEELS SO STRONGLY LEAD ONE TO SENSE FOR A MOMENT THE DEPTH AND INEXPRESSIBLE SOURCES OF HER IMAGERY.” DO RE ASH TO N C IT E D IN E X H. CAT. , C HICAG O, M USEU M O F CO NT E M PO RARY ART, LE E BO NT ECOU: A R ET ROS P ECTIV E , 20 0 4, P. 174

the apocalyptic beauty of her work conjures the nefarious underbelly of the modern world. In a statement accompanying the Museum of Modern Art’s 1963 exhibition Americans 1963, Bontecou said that her goal was to “build things that express our relation to this country—to other countries—to this world—to other worlds—in terms of myself. To glimpse some of the fear, hope, ugliness, beauty, and mystery that exists in all of us and which hangs over all the young people today” (Lee Bontecou quoted in Exh. Cat., Museum of Modern Art, New York, Americans 1963, May – August 1963, p. 12).

Bontecou’s ability to condense the dreams, anxieties and fears of her time into sculptural form made her one of the most important working artists in New York in the 1960s. Her fascination with space fueled her void-centric renderings, which mimicked the deep black vastness and swirling densities of not only the cosmos but also collective sentiment.

Beyond their topical relevance, Bontecou’s sculptures are masterfully executed with mechanical influence.

The technical handling of Bontecou’s chosen materials stem from her early exposure to the process of industrial manufacturing, as both her parents were skilled technicians – her mother a worker in a World War II submarine factory wiring transmitters and her father the inventor of an allaluminum canoe. In her craft, Bontecou twists and stretches material ranging from conveyor belts discarded by the laundry beneath her apartment, bits of canvas, and pieces of wire and machinery left on the streets into three-dimensional wall hangings. The resulting fabrications are characterized above all for their ingenious, unsettling use of space: sculptures that excited both fear and fantasy, armatures which present complex feats of engineering, architecture, and artistic brilliance.

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A critical touchstone of Bontecou’s conceptual enterprise is her prudent confrontation of the machismo inherent within the canon of sculpture. “I just got tired of sculpture as a big thing in the middle of a room,” she reflected. “I wanted it to go into space” (the artist quoted in: Paul Trachtman, “Lee Bontecou’s Brave New World,” Smithsonian Magazine, September 2004 (online)). Contesting the virility of her Abstract Expressionist predecessors and peers such as Donald Judd and John Chamberlain, Bontecou’s sculptural corpus is radically feminist in principle. She has profoundly influenced other female artists, including Eva Hesse and Louise Bourgeois, and critics and artists alike testified to the impact and magnitude of her developments. Dore Ashton said of the artist in one 1963 essay: "In this image-making prowess there is an originality that would be difficult to define in the logic of language, an originality in the quite literal sense: one is absorbed by the reigning image and knows instinctively that it had its origin deep in the artist's psyche... The reigning image is the black tunneled hole central to anything Bontecou undertakes... the intensity of her expression and the currents of authenticity that one feels so strongly lead one to sense for a moment the depth and inexpressible sources of her imagery" (Exh. Cat., Chicago, Museum of Contemporary Art, Lee Bontecou: A Retrospective, 2004, p. 174).

The product of thoughtful introspection and unflinching honesty, Untitled commands our respect: simultaneously a creation of our own world and an aperture to another, the present work embraces the otherworldly and exceptional form.

Standing at a historical crossroads, Bontecou’s work is unequivocally her own, a balance of woman and machine that has colored the work of countless artists to follow yet has never been replicated.

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Lee Bontecou’s Pennsylvania studio in 2003. Photography

by Will Brown. Art © Lee Bontecou 2023 All Rights Reserved

L E E B O N T E C O U U N T IT LE D

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EE BONTECOU KNEW SOMETHING ABOUT THE PROFUNDITY OF RUPTURE, FEATURING GAPING APERTURES IN HER WALL RELIEFS OF THE LATE 1950S AND 1960S. INCORPORATING AN ARRAY OF DARKLY INDUSTRIAL-LOOKING URBAN DETRITUS—WIRE, SURPLUS MILITARY AIRPLANE PARTS, AND REPURPOSED CANVAS CONVEYER BELTS FROM A LAUNDRY BELOW HER APARTMENT— BONTECOU CREATED WORKS THAT WERE “NEITHER PAINTING NOR SCULPTURE,” AS DONALD

JUDD ONCE SUGGESTED. IN THE SCHREYER COLLECTION’S UNTITLED WE SEE A THOROUGHLY THREE-DIMENSIONAL TOPOGRAPHY BUILT OUT OF MYRIAD PIECES OF IRREGULARLY SHAPED DISCOLORED CANVAS IN DIFFERENT STATES OF WEAR AND TEAR. SUTURING THESE ELEMENTS TOGETHER WITH ROUGHLY EXPOSED PIECES OF RUSTCOLORED WIRE, BONTECOU CONSTRUCTS A FOREBODING FRANKENSTEINIAN LANDSCAPE WHOSE SINGLE MECHANISTIC OCULAR ORIFICE EVOKES THE INTAKE OF A JET ENGINE OR THE GAPING MAW OF A SCI-FI ALIEN. A PRODUCTIVE ANGER EMANATES FROM THE SUBDUED APOCALYPTIC QUALITIES OF HER MATERIALS AND THE FORMS THAT THEY INHABIT, AS BONTECOU WAS REACTING IN PART TO THE SOCIAL AND POLITICAL CONFLICTS OF HER DAY—FROM THE DEATH AND DESTRUCTION OF THE KOREAN WAR TO THE CALCULATED NUCLEAR TERROR OF THE COLD WAR. HERE, THE BODY OF PAINTING IS FOLDED INTO A FRACTURED KALEIDOSCOPIC VISION OF AN ARCHAEOLOGICAL FUTURE. IN THE END, THE WORLD IMPOSES ITSELF ON WORKS SUCH AS THIS AS MUCH AS THEY IMPOSE THEMSELVES ON THE WORLD.

D O U G L A S F O G L E & H A N N E K E S K E R AT H Making Strange: The Chara Schreyer Collection, New York, 2021, pp. 228-229

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LUCAS SAMARAS b. 1936

BOX # 1 10 wooden box construction with acrylic, yarn, glass

EXHIBITED

beads, plastic, metal, fabric and collage

Denver Art Museum; Washington, D.C., Smithsonian American Art Museum; Atlanta, High Museum of Art; Miami, The Center for the Fine Arts; Richmond, Virginia Museum of Fine Arts; and Boston, Museum of Fine Arts, Lucas Samaras: Objects and Subjects 1969-1986, May 1988 - November 1989, no. 13, pp. 156-157, illustrated in color and pp. 59, 228

open: 17 ½ by 21 ½ by 13 ½ in. 44.5 by 54.6 by 34.3 cm. closed: 11 by 14 ½ by 8 ¼ in. 27.9 by 36.8 by 21 cm.

Executed in 1983.

$ 300,000-500,000

P R OV E N A N C E

The artist The Pace Gallery, New York Aron and Phyllis Katz, Boulder (acquired from the above in May 1984) PaceWildenstein, New York Acquired from the above in May 2005 by the present owner

Yokohama Museum of Art; and Hiroshima City Museum of Contemporary Art, [Self: 1961-1991] Lucas Samaras, October 1991 - May 1992, no. 6, p. 36, illustrated in color and p. 166 New York, Whitney Museum of American Art, Unrepentant Ego: The Self-Portraits of Lucas Samaras, November 2003 February 2004, p. 238, illustrated in color L I T E R AT U R E

Exh. Cat., New York, Hollis Taggart Galleries, Image in the Box: From Cornell to Contemporary, 2008, p. 24 Exh. Cat., Athens, Hellenic Ministry of Culture, 53rd International Art Exhibition of La Biennale di Venezia (Greek participation), Paraxena: Lucas Samaras, 2009, p. 75, illustrated in color Hannah Barton, ed., Lucas Samaras: Boxes, New York, 2017, no. 1983.02, illustrated in color (online) Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 16, 21, 23 and 218, illustrated in color (installed in Chara Schreyer's residence, Marin) Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 93, illustrated in color and p. 418 Camille Freestone, "This Stunning Home Is The Perfect Synthesis Of Curation & Design", Coveteur, 2 February 2022, illustrated in color (online) (installed in Chara Schreyer's residence, Marin)

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aleidoscopically encrusted with stones, beads and tightly coiled spirals of yarn, Lucas Samaras’ Box #110 constitutes one of the most compelling and intricate examples of the artist’s celebrated body of work. Initiated in 1960, Samaras’ Boxes stand as a paragon of the Pattern and Decoration movement, a group of artists who resisted Minimalism’s artistic supremacy and instead prized texture, chromatic variation and optical stimulation, thus infusing playfulness back into the sobriety of Modernism. Rejecting the notion that fine art and craftsmanship were mutually exclusive, these artists found inspiration in the decorative arts, textiles, illuminated manuscripts and ornamental architecture, and it is this aesthetic rebellion from which Samaras’ Boxes were born. Testifying to the gravity of the present work in the artist’s oeuvre, Box #110 has been exhibited internationally and was notably included in the seminal 1988-89 retrospective Lucas Samaras: Objects and Subjects, which traveled to the Denver Art Museum; Smithsonian American Art Museum, Washington, D.C.; The Center for the Fine Arts, Miami; The High Museum of Art, Atlanta; Virginia Museum of Fine Arts, Richmond; and Museum of Fine Arts, Boston. Belonging to only one other private collection before its acquisition by Chara Schreyer, who has held the work for nearly two decades since, Box #110 captures the very best of Samaras’ joyful contribution to postmodern art.

From 1962, the year he began numbering his Boxes, until 1989, Samaras would produce 135 unique and highly individuated boxes. From miniature baby figurines to an apple core, a starry night sky and a latticed rainbow of chicken wire, Box #110 contains multitudes as it thoughtfully reimagines the art historical canon that precedes its conception. In its

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meticulous embellishment the present work recalls the reliquary boxes of the Middle Ages, but there is no sanctity to be found. Punctuating the center of the lid’s interior is not Christ or Mary but Samaras’ own face – he casts himself as our saint. The artist, staged front and center, thus extends Box #110 as an allegory of the mind, one that is curious, unpredictable and delightfully strange. This potent visual metaphor is further heightened by the box’s format, which allows for the demarcation of the exterior from the private contents of the interior. Samaras, famously reclusive, declared himself an “urban hermit,” but in the present work’s trove of oddities, the psychological complexities of the artist’s mind are humorously laid before us, available for exploration, inspiration and even confusion.

In Box #110 the mundane is made magical: a lone grasshopper is set like a precious stone, and yarn takes on the luminosity of a High Gothic rose window. Arresting and intellectual, absurd and exuberant, Samaras’ work has been described by critic Robert Smith as such: “Samaras’ best objects are like magnets. Our eyes latch onto them, pore over them, have difficulty letting go; our minds are equally snared by their mesmerizing surfaces and startling juxtapositions of image, form, and material” (Roberta Smith, “Repeated Exposures: Lucas Samaras in Three Dimensions,” in Exh. Cat., Denver Art Museum, Lucas Samaras: Objects and Subjects 1969-1986, May - July 1988, p. 53). Samaras exalts the detritus of urban life, and in his hands, what would ordinarily be overlooked or discarded becomes a cipher of the mind, a conversation with the canon of art history and, ultimately, a thing of wonder.

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Opposite top: René Magritte, Les Valeurs Personnelles, 1952.

San Francisco Museum of Modern Art. Image © Banque d'Images, ADAGP / Art Resource, NY. Art © 2023 C. Herscovici, Brussels / Artists Rights Society (ARS), New York Opposite bottom: Reliquary Casket, c. 1200. The Art Institute of Chicago

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ROBERT GOBER b. 1954

D EEP BASIN SIN K signed, titled and dated 1984 (on the reverse) plaster, wire lath, wood and semi-gloss enamel paint 26 by 29 by 24 in. 66 by 73.7 by 70 cm.

Executed in 1984.

$ 2,000,000-3,000,000

P R OV E N A N C E

Daniel Weinberg Gallery, Los Angeles Oregon Community Foundation, Portland (acquired from the above in 1985) Sotheby's New York, 14 November 2000, lot 5 (consigned by the above) Acquired from the above by the present owner EXHIBITED

Los Angeles, Daniel Weinberg Gallery, Robert Gober, February - March 1985 Portland Art Museum, Object Lessons, May - July 1991 New York, The Museum of Modern Art, The Heart is Not a Metaphor, October 2014 - January 2015 L I T E R AT U R E

Exh. Cat., Rotterdam, Museum Boymans van Beuningen (and traveling), Robert Gober, 1990, p. 53, illustrated Exh. Cat., Los Angeles, The Museum of Contemporary Art, Robert Gober, 1997, p. 45, illustrated in color (installed in New York, Daniel Weinberg Gallery, 1985) Exh. Cat., Minneapolis, Walker Art Center (and traveling), Robert Gober: Sculpture + Drawing, 1999-2000, p. 11

Carol Vogel, "10 Records in Contemporary Art Are Set at Sotheby's," The New York Times, 15 November 2000 (online) Souren Melikian, "Auction: Contemporary Records," The New York Times, 16 November 2000 (online) George Howell, "Object/Installation: The Two Sides of Robert Gober," Sculpture Magazine, June 2001, pp. 40-45 Richard Marshall and Liz Kotz, Jack Pierson: Desire Despair, Michigan, 2006, fig. 6, p. 19, illustrated Theodora Vischer, ed., Robert Gober: Sculptures and Installations 1979-2007, Basel, 2007, no. S 1984.09, pp.

76-77, illustrated in color Zahid Sardar, "Dialogues with Art above the Golden Gate," Western Interiors and Design, July-August 2004, pp. 92-101 Morgan Falconer, "The Man Who Wasn't There," Art Review, March 2005, p. 31 Wendy Cromwell, "A Glimpse Through the Keyhole," Art on Paper, May-June 2005, p. 20 Rebecca Firestone, "Gary Hutton: Becoming an Art Collector," The Architects' Take, 26 February 2011, illustrated in color (online) (installed in Chara Schreyer's residence, Marin) Thomas Micchelli, "Robert Gober's Unanswered Questions," Hyperallergic, 18 October 2014 (online) Dennis Kardon, "Pictorial Baggage: Dennis Kardon on Robert Gober," Artcritical, 12 November 2014 (online)

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aunting in presence and potent in symbolism, Robert Gober’s Deep Basin Sink is the quintessential exemplar of the artist’s celebrated and affecting union of household items and corporeality. Executed in 1984, the present work is among the earliest mature iterations of Gober’s Sink sculptures and is particularly compelling for the depth of its basin and its similarity to its classic porcelain referent.

Inaugurated in 1983, Gober’s Sinks series represent one of the artist’s earliest, enduring and most significant bodies of work, drawing on early religious influences in the artist’s own life, the evolution of his identity in relation to his family and society as a gay man, and the devastating onslaught of the AIDS epidemic. Unlike the utilitarian sinks from which he draws inspiration, however, Gober’s sinks are emphatically useless. Possessing a vexing autonomy, these handmade facsimiles of quotidian appliances serve as relics of the artist’s personal history, the collective history he sought to embody and the human body itself. Testament to the present work’s significance in the artist’s oeuvre, Deep Basin Sink has been included in many of Gober’s most critical exhibitions, from his 1985 solo show at Daniel Weinberg Gallery, Los Angeles, to his 2014-15 monumental retrospective at the Museum of Modern Art, New York, entitled Robert Gober: The Heart Is

L I T E R AT U R E C O N T I N U E D

Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, illustrated in color (on the cover) and pp. 16, 21, 23 and 218, illustrated in color (installed in Chara Schreyer's residence, Marin) Lorna Koski, "Dream Duo: New Book Details Collaboration of Chara Schreyer and Gary Hutton," Women's Wear Daily, 3 October 2016, illustrated in color (online) (installed in Chara Schreyer's residence, Marin) Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 103, illustrated in color and pp.26, 415 Camille Freestone, "This Stunning Home Is The Perfect Synthesis Of Curation & Design," Coveteur, 2 February 2022, illustrated in color (online) (installed in Chara Schreyer's residence, Marin) Elizabeth Fazzare, "Chara Schreyer Makes Strange with Her Art Collection in Tiburon, California," Cultured Magazine, 11 February 2022, illustrated in color (online) (installed in Chara Schreyer's residence, Marin)

The present work installed (right) in Robert Gober, Daniel Weinberg Gallery, Los Angeles, February - March 1985.

Photo © Courtesy of Nick Weinberg. Art © 2023 Robert Gober Right: Marcel Duchamp, Fountain, 1917. Centre Georges Pompidou, Paris. Image © CNAC/ MNAM/Dist. RMN-Grand Palais / Art Resource, NY. Art © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp

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Not A Metaphor. Deep Basin Sink has remained in the distinguished collection of Chara Schreyer for over twenty years as an intimate reimagination of the Duchampian readymade, one that courageously moves beyond the abstract restraint of Minimalism and re-engages the ideation, exaltation and fetishization of the found object.

Born in 1954 in Wallingford, Connecticut, Gober moved to New York City in 1976, where he found work as a carpenter and handyman to support his practice. Appropriating the sinks of his own childhood, the artist reflected, “each sculpture that I made based on the image of a sink, was at the beginning, a portrait of a sink that I knew or had lived with” (Ibid, p. 66). He would join a group of artists responding to the ongoing AIDS epidemic, including Felix Gonzalez-Torres, Joe Brainard, Jim Hodges and others. Working in the epicenter of downtown Manhattan, Gober witnessed and personally endured firsthand the devastation wrought by HIV and AIDS, especially during the early years during which the disease was poorly understood and its contamination stigmatized. The idea of hygiene in the queer community had been wholly undermined by the communal anxiety amidst

“ T H E P R O M I S E T H AT T H E D R E A M I M P L I E D WA S C O N FO U N D E D, C O U N T E R B A L A N C E D B Y T H E R E A L- L I F E N I G H T M A R E O F DAY-TO - DAY L I F E I N N E W YO R K .”

RO B ERT G O B E R QUOT E D IN T HEO D O RA V ISCH E R , E XH . CAT., BASE L, SC H AU LAGE R BASE L, RO BERT G OB E R: SCUL PTUR ES AN D IN STA L LAT IO NS, 1979 - 2007 , 2007, P. 6

widespread misinformation, rapid infection and the typecasting of queerness as taboo.

It was in this moment that Gober inaugurated his series of sink sculptures, thwarting our associations with sinks as sites of self-beautification and basic hygiene, as chambers of privacy where indiscretions wash away and disappear. “It seemed that every other day someone I knew or someone that a friend of mine knew was getting severely sick, really fast, and most of them were gay men,” the artist recalled.

“Young men were dying all around me, from causes unknown, and the world seemed to be either in denial or revulsion. The government lied to the people and shrank from its duty. Families abandoned 'loved ones.' Even the church abdicated its responsibility to life. Gay men were left, more often than not, to take care of their own. It was a situation that is very hard to create in words. So when I am asked to look back and to 'explain' my sculptures of sinks, this situation reasserts itself. What do you do when you stand in front of a sink? You clean yourself. I seemed to be obsessed with making objects that embodied that broken promise” (Ibid, p. 60). By upending the prosaic object’s servitude to the human body—from a source of cleanliness to

Felix Gonzalez-Torres, "Untitled" (Perfect Lovers), 1991. Image © The Museum Of Modern Art/licensed By Scala / Art Resource, NY. Art © Estate Felix Gonzalez-Torres, courtesy Felix GonzalezTorres Foundation

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dry, facile and faithless wells—the artist achieves a deeply idiosyncratic archeology of contemporary life. Gober’s Sinks render their referents a tombstone bearing the mark and memory of the bodies already passed through their now ceased wellsprings. Subtle intrusions in the painted body of the sink disrupt the viewer's sense of comfort, provoking a range of uncanny emotional responses from discomfort to displacement. Gober's use of such enigmatic and provocative elements challenges societal norms and raises questions about identity, sexuality, and the hidden aspects of our personal lives. By combining the mundane with the unsettling, Gober forces us to confront the complexity and contradictions inherent to our own existence.

Gober’s Sinks exist in the liminal space between the mimesis of the everyday object and their personified dissonance as mannequins of the human body. In the present work, Gober has mapped the queer body’s sterilization, stigmatization and unavoidable mortality. A sink is only a sink, after

all, through its interaction with its user, and the undeniable, overwhelming ineptitude of the Deep Basin Sink and its failure to live up to its promised— or projected—function probes larger questions around human cruelty and fallibility. Through subtle manipulation, Gober channels our attention towards a ritualized object that is so deeply inherent to the human condition we have developed blindness to its very existence. Layered and rife with dualities, the present work not only problematizes the relationship between art and object but emotionally alludes to privacy, intimacy and bodily comportment. Imbued with a psychological and symbolic power, Gober’s Deep Basin Sink sanctifies its environment as an eerily sacred yet unsettling space. Devised as an eloquent symbol of our existence, Gober invites the viewer into an intermediate realm between a seemingly familiar reality and an unsettling dream world, where an ordinary object assumes the role of autonomous subject and ultimately interrogates the very nature of being human.

“ I T S EEMED THAT EVERY OTHER DAY SOMEONE I KNEW OR SOMEO N E THAT A F R I END OF M I NE KNEW WAS GET TI NG S EVER ELY S I CK, RE ALLY FAST, AND M OST OF THEM WER E GAY M EN. YOUNG M EN WER E DYIN G ALL AROUND M E, F ROM CAUS ES UNKNOWN, AND THE WOR LD S EEMED TO BE EI THER I N DENI AL OR R EVULS I ON... GAY MEN WER E LEF T, M ORE O FT EN THAN NOT, TO TAKE CAR E OF THEI R OWN. I T WAS A S I TUATI ON T H AT I S VERY HAR D TO CR E ATE I N WOR DS. SO WHEN I AM AS KED TO LO O K BACK AND TO 'E X PL AI N' M Y SCULPTUR ES OF S I NKS, THI S S I TUAT IO N R E ASS ERTS I TS ELF. WHAT DO YOU DO WHEN YOU STAND I N F RO N T O F A S I NK? YOU CLE AN YOURS ELF. I S EEM ED TO B E OBS ESS ED WI T H MAKIN G OBJ ECTS THAT EM BODI ED THAT B ROKEN PROM I S E.” ROBERT G OBER QUOTED IN THEODORA VISCHER, EXH. CAT. , BAS EL, SCHAULAG ER BAS EL, ROBERT GOBER : SCUL PTURES A ND INSTA L L ATIONS, 1979-20 07, 20 07, P. 60

The present work (center) installed in The Heart Is Not A Metaphor, The Museum of Modern Art, New York, October 2014 - January 2015. Image © The Museum of Modern Art/ Licensed by SCALA / Art Resource, NY. Art © 2023 Robert Gober

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R O B E R T G O B E R DE E P BAS IN S IN K

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HAT AT FIRST LOOKS FAMILIAR IS QUICKLY TRANSFORMED INTO SOMETHING THAT DOESN’T SEEM QUITE RIGHT. THE SEMIGLOSS PAINT DOESN’T ENTIRELY LOOK LIKE PORCELAIN AND THE PLASTERWORK DOESN’T HAVE THE SEAMLESS CHARACTER OF A MACHINED OR CAST SURFACE. […] PLAYING

WITH THE SERIALITY OF MINIMALISM BY REPLICATING AN INDUSTRIAL FORM, THESE WORKS DEPART FROM THAT LEGACY WITH THEIR EMPHASIS ON THEIR HANDMADE QUALITY AND THEIR DEEPLY HUMAN EMOTIONAL RESONANCE.

D O U G L A S F O G L E & H A N N E K E S K E R AT H Making Strange: The Chara Schreyer Collection, New York, 2021, p. 26

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FRANK STELLA b. 1936

H O N D U R AS LOT T ERY C O. alkyd on canvas 85 by 85 in. 215.9 by 215.9 cm.

Executed in 1962.

$ 10,000,000-15,000,000

P R OV E N A N C E

Leo Castelli Gallery, New York Ferus Gallery, Los Angeles Betty M. Asher, Los Angeles Douglas S. Cramer, Los Angeles (acquired from the above in 1983) Sotheby's New York, 14 November 2001, lot 20 (consigned by the above) Acquired from the above by the present owner EXHIBITED

Los Angeles, Ferus Gallery, Frank Stella, February 1963

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“ T H E C O N C E N T R I C S Q UA R E S C R E AT E D A P R E T T Y H I G H , P R E T T Y TO U G H P I C TO R I A L STA N DA R D. T H E I R S I M P L E , R AT H E R H U M B L I N G E F F EC T—A L M O ST A N U M B I N G P O W E R — B ECA M E A S O R T O F ‘ C O N T R O L’ AG A I N ST W H I C H M Y I N C R E A S I N G T E N D E N C Y I N T H E S E V E N T I E S TO B E E X T R AVAG A N T C O U L D B E M E A S U R E D.” T H E A RT I ST QUOT E D IN : E X H. CAT. , N EW YO R K, MUSEU M O F M O D E R N ART, F RA N K ST EL L A 1970 -19 87, 1987, P. 4 4

Irving Blum, Walter Hopps, and Ed Kienholz photographed in front of Honduras Lottery Co. as exhibited in the living room of Dr. Leonard and Mrs. Betty Asher, Los Angeles. Photo © Malcolm Lubliner Photography. Art © 2023 Frank Stella / Artists Rights Society (ARS), New York

FRANK STELLA'S MONUMENTAL CONCENTRIC SQUARES OF 1962

L I T E R AT U R E

Gerald Nordland, "Collecting in Los Angeles," Artforum, Summer 1964, vol. II, no. 12, p. 15, illustrated (installed in Betty Asher's residence, Los Angeles) Carter Ratcliff, "The Collectors: Contemporary Cast, "Douglas S. Cramer’s Residence in Bel-Air," Architectural Digest, vol. 42, February 1985, p. 119, illustrated in color (installed in Douglas S. Cramer’s residence, Bel-Air) Lawrence Rubin, Frank Stella: Paintings, 1958 to 1965: A Catalogue Raisonné, New York, 1986, no. 175, p. 164-165, illustrated in color Elizabeth Venant, "LA's Rich New Cultural Life: Starting with America's Wealthiest Museum - The Getty," Travel and Leisure, March 1986, p. 97, illustrated in color (in installation in Douglas S. Cramer's residence, Bel-Air) Lee Wohlfert-Whilborg, "A New Place in the Sun," Town & Country, May 1986, p. 210, illustrated Elizabeth Fazzare, "Chara Schreyer Makes Strange with Her Art Collection in Tiburon, California," Cultured Magazine, 11 February 2011, illustrated in color (installed in Chara Schreyer's residence, Marin) (online) Christopher Bagley, "We Go Inside Collector Chara Schreyer's Gallery-like Los Angeles Home," Architectural

Digest, 3 November 2015, illustrated in color (installed in Chara Schreyer's residence, Marin) (online) Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, illustrated in color (on the cover) and pp. 21, 22-23 and 218, illustrated in color (installed in Chara Schreyer's residence, Marin)

IN 1962, STELLA INITIATED HIS ICONIC CONCENTRIC SQUARE SERIES IN A SUITE OF SIX MONUMENTAL PAINTINGS.

Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 136, illustrated in color and p. 419

EACH MEASURING OVER SEVEN FEET IN BOTH DIRECTIONS, FOUR OF THESE PAINTINGS ARE TODAY HELD IN PRESTIGIOUS MUSEUM OR PRIVATE INSTITUTIONAL COLLECTIONS, LEAVING ONLY THE PRESENT WORK AND ONE OTHER IN PRIVATE HANDS.

Ayla Angelos, "Making Strange: The Chara Schreyer Collection," Port Magazine, 14 January 2022, illustrated in color (installed in Chara Schreyer's residence, Marin) (online) Camille Freestone, "This Stunning Home Is the Perfect Synthesis of Curation & Design," 2 February 2022, Coveteur, illustrated in color (installed in Chara Schreyer's residence, Marin) (online) Maximilíano Durón, "Veteran Collector Chara Schreyer Discusses Her Latest Book, Highlighting a Collection Rich in ‘Artists Who Have Changed the Course of Art History'," ARTnews, 26 September 2022, illustrated in color (installed in Chara Schreyer's residence, Marin) (online)

CIPANGO

CATO MANOR

1962

GRAN CAIRO

3

1962

2

1

The present work as installed in the living room of Dr. Leonard and Mrs. Betty Asher, Los Angeles, c.

1964. Photo Credits: John Thomson.

Art © 2023 Frank Stella / Artists Rights Society (ARS), New York

1962

POWERS ART CENTER,

WHITNEY MUSEUM OF AMERICAN ART,

NAGANO-KEN

CARBONDALE

NEW YORK

HONDURAS LOTTERY CO.

LOUISIANA LOTTERY CO.

SHARPEVILLE

THE PRESENT WORK

5

4

1962

1962 HIRSHHORN MUSEUM AND

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SEZON MUSEUM OF ART,

1962 PRIVATE COLLECTION

SCULPTURE GARDEN, SMITHSONIAN INSTITUTION, WASHINGTON D.C.

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ALL ART © 2023 FRANK STELLA / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

A

mesmerizing crescendo of color, line, and painterly bravado, Honduras Lottery Co. announces the apex of Frank Stella’s artistic practice as applied to the very tenets of painting itself. Towering over seven feet in both height and length, Honduras Lottery Co. from 1962 is one from a limited suite of six Concentric Square masterworks of this scale that the artist painted that year, initiating a larger series that are today amongst the artist’s most iconic works.

Testifying to the significance of this group, three of the paintings from this suite are already held in prestigious international museums, including the sister painting Louisiana Lottery Co. in the Hirshhorn Museum and Sculpture Garden in Washington, D.C. Underscoring its prominence within the artist’s oeuvre, the present work was notably included in one of Frank Stella’s first significant solo exhibitions at the legendary Ferus Gallery, Los Angeles, and has been held by several of the most prominent private collectors of California: first owned by Betty M. Asher, famed Los Angeles art patron and longtime affiliate of the Los Angeles County Museum of Art, the painting was subsequently owned by television titan Douglas S. Cramer. Following its acquisition in 2001 by Chara Schreyer, the painting was notably featured as the prominent cover work for the now iconic book Art House, which covers Schreyer’s singular collection and extraordinary residences. Executed at a critical juncture in the trajectory of postwar art, Honduras Lottery Co. triumphantly testifies to the conceptual rigor of Stella’s signature style, singularly encapsulating his interrogations of the elemental structures underlying the act of painting itself and enduring today a singular masterpiece of Twentieth-Century American painting.

Within the composition of kaleidoscopic Honduras Lottery Co., pure color reigns supreme, and within the predetermined format of the Concentric Squares, the absolute literalism of Stella’s canvas reverberates with the precision of the artist’s radical take on the dominant formal vocabulary of Minimalism. Beaming outward from the bright core, a rainbow of scintillating hues proceeds in a

cyclical development: electric yellows and crimsons progress into saturated greens, blues, and a deep, rich indigo. Then, as curator Michael Auping observes, “the pattern flips at one point; following the pattern from outer edge inward, for example, the color sequence suddenly reverses” (Michael Auping, “Phenomenology of Frank,” in: Exh. Cat., New York, Whitney Museum of American Art, Frank Stella: A Retrospective, 2015-2016, p. 26). Stella’s arrangement of color and line directs the eye to the center of the composition and indeed creates a dueling sense of receding and projecting depth. At the same time, coupled with the precise modulation of color and tonal values, the uniform schematic pattern collapses space together into a single flattened plane. Auping further describes: “The Concentric Squares are like visual traps that lure our eyes into a descending well of color motion. Some of the borderline lurid colors

Opposite: Hollis Frampton, #11 (432 Leonardo after Vitruvius), 1958-1962. Image © Addison Gallery of American Art, Phillips Academy, Andover, MA / Art Resource, NY. Above: Piet Mondrian, Composition C (No.III) with Red, Yellow and Blue, 1935. Tate Gallery, London (on long term loan). Image © Tate, London / Art Resource, NY

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Below: Donald Judd, Untitled, 1991. Image © The Museum of Modern Art/Licensed

by SCALA / Art Resource, NY. Art © 2023 Judd Foundation / Artists Rights Society (ARS), New York

Opposite: Brice Marden, The Propitious Garden of Plane Image, Third Version, 2000-2006. Image © The Museum of Modern Art/ Licensed by SCALA / Art Resource, NY. Art © 2023 Brice Marden / Artists Rights Society (ARS), New York

“ T H E C O N C E N T R I C S Q UA R E S A R E L I K E V I S UA L T R A P S T H AT LU R E O U R E Y E S I N TO A D E S C E N D I N G W E L L O F C O LO R M OT I O N . S O M E O F T H E B O R D E R L I N E LU R I D C O LO R S H AV E T H E E F F EC T O F F L A S H I N G L I G H TS R AT H E R T H A N S O F T C O LO R B A N D S … ST E L L A S I M U LTA N EO U S LY G I V E S U S T H E I M P R E S S I O N O F C O N T R O L A N D C H AO S .”

of a painting could be taken away and still have it read as a painting, he now seemed to be asking how much color could be fitted into a pictorial structure” (Ibid., pp. 24-25). Abandoning the impassioned, improvisational immediacy of the Abstract Expressionism movement championed by his contemporaries, Stella acknowledges and embraces the flatness of the canvas. Just as the Abstract Expressionists were lauded by the likes of Clement Greenberg for their complete submission to the notion of art as simply paint on canvas, so too did Frank Stella literalize this concept – through a completely antithetical aesthetic strategy. As Honduras Lottery Co. exemplifies, he anarchically revels in a Minimalist level of standardization, clarity, and calculated precision.

Though the surface of the present work seems to deny any clear referents, the title of Honduras Lottery Co. does hold a wry and nuanced nod to a littleknown historical narrative. The title of the painting, and its sister work, refer to the U.S. government’s crackdown on the Louisiana State Lottery Company’s illegal operations out of Honduras in the midnineteenth century, when the privately-run Louisiana State Lottery Company was shut down for running not only the Louisiana lottery, but also maintaining a monopoly on lottery tickets country-wide. When the U.S. government outlawed the interstate distribution of lottery tickets and, the Louisiana State Lottery Company moved its headquarters to Honduras while continuing to unlawfully print and issue lottery tickets in the United States. The Department of

Justice shut down their operations in 1907, effectively ending operations in both Louisiana and Honduras, but Honduras Lottery Co., in conjunction with its sister painting, Louisiana Lottery Co., remain as Stella’s oblique reference to the failed ruse. In playful homage, Stella uses the same palette of scarlet and vermilion, yellow and emerald, indigo and ultramarine across both works, but he inverts their placement in the spectrum from one to the other – a nod to the fact that both corporations, though headquartered from different locations, were still fundamentally and functionally identical. This visual metaphor exemplifies Stella’s penchant for translating real-life historiography through the phenomenology of painting itself.

Stella found the square format so ideal that he insisted that it was the simplest, most regular of all rectilinear formats, one that allowed for the maintenance of the same proportions throughout the field of the canvas. Within it, Stella discovered limitless opportunities to experiment with color and line in the direct simplicity of his pattern, and Honduras Lottery Co. witnesses his mastery in the meticulous orchestration of hues within such a set framework—an intricate dance of warm and cool tones flowing seamlessly into one another, oscillating between light and color from square to square. The monumental Concentric Square format in Honduras Lottery Co. was so seminal that, after spending much of the late 1960s and early 1970s working with shaped canvases and creating unexpected sculptural compositions, he would return to this series in the

MI C H A EL AU P IN G, “ P HE N O M E N O LO GY O F FRANK ,” IN: E XH . CAT., NEW YO R K , W H IT NEY M USEU M O F A MERI CAN ART, F RAN K STE L L A : A R E TROS PECT IVE , 201 5- 2016, P. 26

have the effect of flashing lights rather than soft color bands…Stella simultaneously gives us the impression of control and chaos.” (Ibid.)

Pulsating and vibrating with a dizzying optical hum, Honduras Lottery Co. radically blurs the distinction between figure and ground, defying the static nature of the canvas to announce the apotheosis of Stella’s lifelong aesthetic project.

Amongst the earliest of the Concentric Squares, at the

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time Stella embarked on this series, he was working and living as a young artist in New York and using readily available house paints and housepainter's tools to create these compositions. “Continuing the use of Benjamin Moore paint, and continuing to paint tightly masked stripes in a concentric manner, Albers’ color interactions are amplified into highintensity friction,” Michael Auping continues. “Just as Stella had previously asked himself how much

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Jasper Johns, Target, 1961. Image © The Art Institute of Chicago / Art Resource, NY. Art © 2023 Jasper Johns / Licensed

by VAGA at Artists Rights Society (ARS), NY

mid-1970s. Speaking to the import of these paintings, Stella stated, “The Concentric Squares created a pretty high, pretty tough pictorial standard. Their simple, rather humbling effect—almost a numbing power—became a sort of ‘control’ against which my increasing tendency in the seventies to be extravagant could be measured” (The artist quoted in: Exh. Cat., New York, Museum of Modern Art, Frank Stella 1970-1987, 1987, p. 44).

Augmented by the operatic proportions of the canvas, the immediate visual bravado of Honduras Lottery Co. is most palpable in the tantalizing optical vortex that seems to radiate outward and then contract back inward throughout the squares, endowing the stark rationality of Stella’s Minimalist structure with a hypnotic, chromatic energy. Here, the staunch nihilism of his earlier Black Paintings has been saturated with a kaleidoscope joy, a

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decisive shift in the artist’s career that is wholly embodied by Honduras Lottery Co. Layer by layer, the interplay between geometric elements draws the gaze inward, inviting the viewer to unravel the prismatic complexities of the composition. In the process, Stella challenges perceptions of space and dimensionality: color and form converge in harmonious synergy, creating an optical whir that blurs the boundary between the painting's monumental presence and the very space it occupies. At a time when the relevance of painting was hotly contested, Honduras Lottery Co. offers a heroic show of what painting can and should be, and far beyond any precedent. In Honduras Lottery Co., Stella nonchalantly negotiates the coexistence of hard intellect, cool Minimalism and explosive color.

“Everybody was tired…” Stella recalls, “the field was sort of open. All you had to do was do it.” (the artist quoted in: Ibid., p. 7)

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MARCEL DUCHAMP 1887 - 1968

D E O U PA R M A RCEL D U CH A M P O U RROSE SÉL AV Y (L A BOÎT E- EN -VA LISE), SERIE S A signed, inscribed and dated Pour Bernard Ries ce no. V de vingt boites-en-valise contenant chacune 69 items et un original et par Marcel Duchamp New York Sept. 1942 (on the interior of the box; stamped bernard j. Ries and numbered no. V/XX (on the interior of the valise); signed, dated and inscribed Coloriage original Marcel Duchamp 1937 (on Mariée) original leather valise containing the original handcolored collotype (Mariée) and sixty-eight miniature replicas and reproductions in black and white and in colors by Marcel Duchamp mounted on the original paper and contained within the box Valise: 16 ⅛ by 14 ⅝ by 4 ⅛ in. 41 by 37.3 by 10.5 cm.

Box: 15 ½ by 13 ⅝ by 3 in. 39.5 by 34.5 by 7.6 cm.

Mariée: 12 by 7 ½ in. 30.3 by 19 cm. Conceived in 1935-40; this example assembled in New York in September 1942.

$ 1,800,000-2,500,000

EXHIBITED

Philadelphia Museum of Art and Houston, The Menil Collection, Joseph Cornell/ Marcel Duchamp... in resonance, October 1998 - May 1999, pp. 135-36, illustrated in color L I T E R AT U R E

Robert Lebel, Marcel Duchamp, New York, 1959, pp. 54-55, 82-83 and 173-74, no. 173, pl. 109, illustration of another example in the series Calvin Tomkins, The World of Marcel Duchamp, New York, 1966, p. 156 Arturo Schwarz, The Complete Works of Marcel Duchamp, New York, 1970, no. 311a, pp. 511-13; p. 512, illustration of another example in the series Pierre Cabanne, Dialogues with Marcel Duchamp, New York, 1971, p. 79 Gloria Moure, Marcel Duchamp, New York, 1988, no. 112, color illustration of another example in the series

P R OV E N A N C E

Bernard J. Reis, New York (acquired directly from the artist) Andy Warhol, New York Sotheby's, New York, The Andy Warhol Collection: Volume V, 29-30 April 1988, lot 2847 (consigned by the estate of the above) Private Collection, New York (acquired at the above sale) Richard Gray Gallery, New York Acquired from the above in 1999 by the present owner

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Ecke Bonk, Marcel Duchamp, The Box in a Valise: de ou par Marcel Duchamp ou Rrose Sélavy, New York, 1989, p. 266; p. 267, illustrated in color; pp. 258-97, color illustrations of other examples in the series Jennifer Gough-Cooper and Jacques Caumont; Pontus Hulten, ed., Marcel Duchamp, Work and Life, Cambridge, 1993, p. 109, color illustration of another example in the series Calvin Tomkins, Duchamp: A Biography, New York, 1996, pp. 314-28 Shown on flap: Marcel Duchamp with a Boîte-en-Valise in Peggy Guggenheim's New York apartment, August 1942. Art © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp

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Left: An example of Duchamp’s Mariée photographed in Andy Warhol’s Upper East Side townhouse, New York, 1987. Photo © Evelyn Hofer. Art © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Opposite: Jasper Johns, Racing Thoughts, 1983. Whitney Museum of American Art, New York. Image © Whitney Museum of American Art / Licensed

by Scala / Art Resource, NY. Art © 2023 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY

L I T E R AT U R E C O N T I N U E D

Pierre Cabanne, Duchamp & Co., Paris, 1997, p. 149, illustration of another example in the series (illustrated in a photograph with the artist); pp. 150-51, color illustrations of another example in the series Arturo Schwarz, The Complete Works of Marcel Duchamp, vol. II, New York, 1997, no. 484, p. 762; p. 763, illustration of another example in the series Dawn Ades, Neil Cox and David Hopkins, Marcel Duchamp, London, 1999, pp. 174-78; p. 175, illustration of another example in the series with the artist; pp. 176-77, illustration of another example in the series Francis M. Naumann, Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction, New York, 1999, no. 5.31, p. 141; p. 142, illustration of another example in the series

W

ithin the epoch-defining oeuvre of Marcel Duchamp, there is perhaps no more compelling and illuminating work than De ou par Marcel Duchamp ou Rrose Sélavy (La Boîte-en-Valise). Composed of sixty-eight miniature reproductions plus one original hand-colored collotype, the Boîte-en-Valise, as it’s come to be known, references the span of Duchamp’s entire professional corpus, not only documenting the artist’s early achievements but existing as a crucial masterwork in its own right.

By 1935, Duchamp—pioneer of the Dada movement, inventor of the readymade and progenitor of Surrealism—had created many of the twentiethcentury’s most important works of art, including the 1912 painting Nude Descending a Staircase and assemblages such The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) from 1915-23, and the radical readymades like Bottle Rack and Fountain.

The roots of the present work can be traced back as early as the 1910s, when the artist was assembling The Large Glass. In the creative process, Duchamp had amassed a wealth of handwritten notes, scraps and sketches relating to the project. Taken together, he came to view these documents as an essential companion to the assemblage. So essential, in fact, that Duchamp created five sets of facsimiles of his notes and drawings and framed the replicas within repurposed photographic supply containers, calling the work the Box of 1914.

Two decades later, Duchamp would reprise the album-like concept in The Bride Stripped Bare by Her Bachelors, Even (The Green Box) series of 1934.

This compendium of facsimiles included ninety-four reproductions of notes, photos and drawings and one original work contained within a green flocked cardboard box. Intended as a sort of addendum to the finished Large Glass, which the artist completed in 1923, Duchamp’s Green Box series took a year to assemble and entailed the complex and laborintensive processes of reproduction by zinc template, collotype and pochoir stenciling—methods which would be honed in his eventual Boîte-en-Valise series.

As Duchamp began to reflect on his life’s work and legacy in the 1930s, he returned to the archival notions explored earlier in his Box of 1914 and The Green Box. For an artist with a curatorial mind and penchant for archival materials, the most compelling way to expand on his existing oeuvre was to reduce it. Thus between 1935 and 1940, the concept of the present work was born.

Assembled between 1941-1949, Duchamp’s deluxe series of Boîte-en-Valise (known as Series A) consists of twenty plus four hors-serie boxes, each set within a leather valise, numbered and inscribed to an individual or institution. The present example, numbered V/XX, was among the first to be executed in New York after Duchamp’s wartime migration from Paris. As with each of the Boîtes from Series A, the present work includes an original work by

Larry Witham, Picasso and the Chess Player: Pablo Picasso, Marcel Duchamp, and the Battle for the Soul of Modern Art, Hanover, 2013, pp. 167 and 183-84, illustration of another example in the series Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 29-30 and 218, illustrated in color (installed in the Four Seasons, San Francisco) Matthew Affron, ed., The Essential Duchamp, Philadelphia, 2018, pp. 90-96; pp. 90-91 and inside back cover, color illustrations of another example in the series Douglas Fogle and Hannake Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, pp. 34-35, illustrated in color; p. 37, illustrated in color (detail); p. 39, illustration of another example in the series (illustrated in a photograph); p. 414

Francis M. Naumann, The Recurrent, Haunting Ghost: Essays on the Art, Life and Legacy of Marcel Duchamp, New York, 2012, pp. 136-157; pp. 147; 149; 151; 152; 154 and 155, illustrations of other examples in the series V I S I T SOTHE BYS.COM /SC HR EYE R

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Left: Joseph Cornell, Duchamp Dossier, circa 1942-53, lidded cardboard box containing typed and handwritten notes, letters, and postcards, Photostats, paper, newspaper and magazine clippings, exhibition announcements, printed papers, printed reproductions, and drawings, objects, and readymades by Duchamp and Cornell, The Philadelphia Museum of Art Opposite: Marcel Duchamp, L.H.O.O.Q., 1930 after the 1919 original, pencil on rotogravure, Centre Pompidou, Paris

the artist—in this instance, a hand-colored collotype of Mariée dated to 1937. Instead of replicating his works by the more efficient and inexpensive methods of reproduction like lithography, Duchamp opted for the hand-hewn technique of pochoir. With this method, colors were carefully laid down by hand through a series of stencils over half-toned collotypes of original works—a process far superior, yet also more labor-intensive and costly, to other color reproductions at the time.

With the concept in mind, Duchamp continued to amass supplies and design the boxes despite the German invasion of Paris. In order to circumvent the tightened restrictions around travel and movement of property in the occupied zone, Duchamp called on his friend, collector and patron Peggy Guggenheim, who in late 1940 had fled to Grenoble. As she planned her own relocation to America, Guggenheim found that she could indeed include Duchamp’s supplies amongst her own belongings, so long as they were recorded as household effects and could find their way to her in the south of France. Duchamp then devised a scheme to smuggle his materials out of occupied Paris under the assumed identity of a childhood friend and cheese merchant—one of the few occupations allowed to transport goods out of the restricted zone. After myriad arrangements and more than a year spent securing a visa for the United States, Duchamp at last landed in New York in July 1942, where he was reunited with his Boîtes-inprogress at Guggenheim’s New York apartment.

In a letter to Louise and Walter Arensberg in the summer of 1942, Duchamp wrote:

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“…I am installing myself to begin working. From Wednesday on I will be at Peggy’s who lets me have her house for August and part of September while they are away. The cases containing the material to make 50 boxes are at her place (they came from Marseille with her furniture) – Besides those I brought one box for you, ready except for the leather case to be made and few details – hope to send it in about a month. I put an ‘original’ in each box… In all the will be 20 ‘de luxe’ boxes, each one with an original of some kind and I hope to make enough money to live a year…” (Marcel Duchamp quoted in Ecke Bonk, Marcel Duchamp, The Box in a Valise: de ou par Marcel Duchamp ou Rose Sélavy, New York, 1989, pp. 165-66).

During this period, Duchamp also met frequently with Joseph Cornell, one of the American artists he most admired. After Duchamp shared an example of La Boîte-en-Valise with him, Cornell soon began assisting with the assembly of the works—a theme that would carry on with other artists and assistants over time and in related series.

It is from this precise period spent working in Peggy Guggenheim’s apartment, with the enlisted help of Cornell, that Marcel Duchamp executed the present example, dedicated to financial advisor and collector Bernard Reis. Of the known remaining Boîtes from Series A, approximately half are in museum collections, including those of The Peggy Guggenheim Collection, Art Institute of Chicago, the Museum of Modern Art, the Philadelphia Museum of Art, Kunstmuseum, Basel and the Stedelijk Museum, among others.

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M A R C E L D U C H A M P L A BO ÎT E- E N -VALISE

T

HE CONCEPTUAL STRANGENESS CULTIVATED BY DUCHAMP’S ARTISTIC STRATEGIES LOOMS AS AN ANIMATING PRESENCE THROUGHOUT THE SCHREYER COLLECTION, AS DOES THE WORK OF THE ARTIST HIMSELF. IT IS NO ACCIDENT THEN THAT DUCHAMP’S SELF-MADE MINIATURE RETROSPECTIVE, BOÎTE-EN-VALISE, FORMS

THE COLLECTION’S GRAVITATIONAL CORE. […] NEVER COMPLACENT, DUCHAMP TURNED THE TABLES ON THE ART WORLD OVER AND OVER AGAIN, IN THE CASE OF BOÎTE-EN-VALISE PROPOSING A READYMADE VERSION OF HIS OWN CAREER IN MINIATURE THAT AT ONCE FASHIONED A COMPELLING STORY FOR THE ART HISTORICAL RECORD AND UPENDED THE IDEA OF THE READYMADE BY MAKING RE-CREATIONS OF HIS “ORIGINAL” AND NON-ORIGINAL SUBJECTS. ONE COULD SAY THAT DUCHAMP SURFED THE WATERS OF STRANGENESS, AND IN THEIR WAKE PERHAPS SINGLE-HANDEDLY INVENTED CONCEPTUAL ART.

D O U G L A S F O G L E & H A N N E K E S K E R AT H Making Strange: The Chara Schreyer Collection, New York, 2021, p. 17-18

Detail of the present work

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EVA HESSE 1936 - 1970

TO P SP OT titled and dated 1965 (on the reverse) tempera, enamel, cord, found objects (metal, plastic, porcelain), particle board and wood 27 ⅛ by 21 ¼ by 11 in. [variable] 68.9 by 54 by 27.9 cm. [variable] Executed in 1965.

$ 5,000,000-7,000,000

P R OV E N A N C E

Estate of the artist Friedrich Arnhard Scheidt, Kettwig (acquired from the above in 1972) Christie's New York, 7 November 1985, lot 199 (consigned by the above) Saatchi Collection, London (acquired in 1985) Robert Miller Gallery, New York Acquired from the above in November 1998 by the present owner

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EXHIBITED

L I T E R AT U R E

Düsseldorf, Kunstverein für die Rheinlande und Westfalen, Eva Hesse: Material Images and Drawings, August - October 1965, no. 14

Lucy R. Lippard, Eva Hesse, New York, 1976, fig. 61, no. 14, p. 46, illustrated and p. 222

Stockholm, Moderna Museet, Flyktpunkter/Vanishing Points, April - May 1984, no. 37, p. 211

Roberta Smith, "Eva Hesse: The 1965 Reliefs," The New York Times, 20 January 1989, p. C24

New York, Pat Hearn Gallery, Eva Hesse, November December 1987

Bill Barrette, Eva Hesse Sculpture: Catalogue Raisonné, New York, 1989, no. 14, pp. 46-47, illustrated in color and p. 256

New York, Robert Miller Gallery, Eva Hesse: The 1965 Reliefs, January 1989

Rosalind Krauss, The Optical Unconscious, Cambridge and London, 1993, p. 315

Valencia, IVAM Julio González and Paris, Galerie nationale du Jeu de Paume, Eva Hesse, February - June 1993, pl. 78, p. 121, illustrated in color and fig. 21, p. 178, illustrated (installed in Kunstverein für die Rheinlande und Westfalen, 1965)

Exh. Cat., Flanders, Kanaal Art Foundation (and traveling), Inside the Visible, 1994-1996, p. 496, illustrated in color

Ulm, Ulmer Museum; and Münster, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Eva Hesse: Drawing in Space - Bilder und Releifs, March October 1994, pp. 34, 49 and p. 171, illustrated in color Zürich, Galerie Hauser & Wirth, Painting from Germany, May - June 1996 New York, Robert Miller Gallery, About Painting (Part II), October 1997 San Francisco Museum of Modern Art; Museum Wiesbaden; and London, Tate Modern, Eva Hesse: A Retrospective, February 2002 - February 2003, pl. 49, no. 115., pp. 165, 171, 323 and p. 171, illustrated in color (traveled to San Francisco only)

Cindy Nemser, Eva Hesse, New York, 2002, p. 51 Barry Rosen and Renate Petzinger, eds., Eva Hesse Catalogue Raisonné, Volume II: Sculpture, New Haven and London, 2006, no. S 18, pp. 26-27, illustrated in color (detail) and pp. 56-57, illustrated in color Arthur D. Canto, "All About Eva," The Nation, 17 July 2006, p. 33 Edward Booth-Clibborn, The History of the Saatchi Gallery, London, 2009, p. 135, illustrated in color Prudence Peiffer, "Eva Hesse 1965," Bookforum, October/November 2013, p. 28, illustrated in color Ed Krčma, "Eva Hesse's Wanton Duality: Liquidity and compression in Mechanical drawings of 1965," Master Drawings, vol. LIII, 2015, fig 5, p. 371, illustrated in color Meredith Mendelsohn, "Inside Collector Chara Schreyer's Art Filled Home," Cultured, 3 October 2016, illustrated in color (installed in Chara Schreyer's residence, Marin) (online) Lorna Koski, "Dream Duo: New Book Details Collaboration of Chara Schreyer and Gary Hutton," Women's Wear Daily, 3 October 2016, illustrated in color (installed in Chara Schreyer's residence, Marin) (online) Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 17, 20, 48 and pp. 45, 46 and 219, illustrated in color (installed in Chara Schreyer's residence, Marin) Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, pp. 234-235, illustrated in color, p.

236, illustrated in color (installed in Kunsthalle Düsseldorf, 1965) and pp. 229, 415

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Below: Eva Hesse, no title, from notebook 1977.52.27, 1965. Image © Allen Memorial Art Museum, Oberlin College. Art © The Estate of Eva Hesse. Courtesy Hauser & Wirth

Opposite: Eva Hesse photographed with her reliefs An Ear in a Pond and 2 in 1, 1965. Photo Credits: Manfred Tischer

A

“ T H E . . . T R A N S F E R E N C E TO A L A R G E SCA L E A N D I N PA I N T I N G WAS A LWAYS T E D I O US . I T WAS N OT N AT U R A L . . . SO I STA RT E D WO R K I N G I N R E L I E F A N D W I T H L I N E . I VA R I E D T H E M AT E R I A LS A LOT B U T T H E ST R U CT U R E WO U L D A LWAYS B E B U I LT U P W I T H C O R D S .”

EVA H ESSE QUOT E D IN CO N V E RSAT IO N W IT H CINDY

pivotal early masterwork of the artist’s revered sculptural practice, Top Spot is the final relief Hesse constructed before returning to the United States in late 1965.

Starting in June 1964, Hesse embarked on a 15-month artist residency at an abandoned textile factory in Kettwig an der Ruhr, Germany at the invitation of German collector Friedrich Arnhard Scheidt who would later acquire the present work. Surrounded by obsolete machine parts and abandoned tools in her studio, Hesse created a limited series of fourteen reliefs. Still adhering to the realm of painting, Eva Hesse with this series reached for the first time into the threedimensional space with her art. Top Spot is the ultimate iteration of Hesse’s limited and critical suite of relief works, numerous of which now belong to international museum collections including the Museum of Modern Art, New York; Leeum Museum of Art, Seoul; Tate, London; and Museum Wiesbaden. Further testifying to its significance, Top Spot has been exhibited in many of Hesse’s most important museum exhibitions, including Eva Hesse: Materialbilder und Zeichnungen at Kunstverein für die Rheinlande und Westfalen in 1965 – her first exhibition of the relief series – and at Eva Hesse: A Retrospective at the San Francisco Museum of Art in 2002. The present work is also distinguished by its exceptional provenance, having previously been owned by Friedrich Arnhard Scheidt, – who invited Hesse to the pivotal residency in Germany – the Saatchi Collection, and most recently, Chara Schreyer, who emphasized her captivation with this seminal work: “Is Top Spot a painting or a sculpture? It pushes itself outside of the boundaries of the canvas into the space that you’re inhabiting. Hesse exploded the boundaries between sculpture and painting and did it as a woman in an art world still dominated by men in the 1960s” (Chara Schreyer quoted in Ayla Angelos, “Making Strange: The Chara Schreyer Collection,” Port Magazine, 14 January 2022 (online)).

N EMSER , A RT TAL K : CON V E RSATION S W ITH 1 5 WO M E N A RT I STS, NEW YORK 1975, P. 207

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Constructed in July 1965 just prior to Hesse’s return to New York from Germany later that year, Top Spot enters three-dimensional space with mesmerizing, winding curves and delicate lines of cord. As the very last iteration of these iconic reliefs, Top Spot represents a pivotal juncture in Hesse’s oeuvre. Trained as a painter, Hesse’s early output included explorative drawings that have come to be known as Hesse’s "mechanical drawings", investigating the synthetic structures of machine parts with elegant organic contours the reliefs mark the groundbreaking shift from two dimensions to three dimensions. Hesse reinterpreted her drawings into these multidimensional reliefs, referencing their energetic visual elements which emphasized a kinetic experience. Speaking to this transition, Hesse wrote, “The ...transference to a large scale and in painting was always tedious. It was not natural ... so I started working in relief and with line. I would vary the cord lengths and widths and I would start with threedimensional boards and I would build them out with papier mâché or kinds of soft materials. I varied the

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materials a lot but the structure would always be built up with cords” (The artist quoted in conversation with Cindy Nemser, Art Talk: Conversations With 15 Women Artists, New York 1975, p. 207).

Exhibiting subtle, unwinding forms with a seemingly effortless and monochromatic surface, Top Spot represents an important conceptual breakthrough for Hesse as she begins to understand the potential of her practice to be more aligned with sculpture than with painting. As critic Roberta Smith astutely observes about the present work, “In Top Spot – thought to be the last relief Hesse made before returning to New York – the artist attaches an almost chaotic array of found wooden fixtures, plastic pipe, metal conduit and clothbound cord (alternately coiled and dangling) to a green rectangle of particle board. She seems to be taking stock of her formal repertory before leaping ahead into the great unknown of three-dimensional, nonrectilinear space” (Roberta Smith, “Reviews/Art: Kinetic Sculpture Using Toys, Fire and Water,” New York Times, 20 January 1989, section C, p. 24). With every wavering coil of cord in Top Spot, Hesse implies fluid gesture; affixed with such materials as clamps, screws, bolts, and pipe, Hesse’s binding of cord thoughtfully mediates form and contemplates gravity.

One of the great innovative artistic minds of the last century, Hesse produced an extraordinary body of work that collapses disciplinary boundaries and forges innovative approaches to material, form, and process. From 1957–59, Hesse attended the Yale School of Art and Architecture where she studied under Josef Albers. The reliefs are described by Linda Shearer as “Hesse's first truly original statements...notable for their unusually acid and vibrant color” reflect Albers’ teachings; indeed, Top Spot perhaps most notably represents

“ T H E R E I S A P L AY F U L Q UA L I T Y I N TO P S P OT— M I S S I N G F R O M M O ST O F T H E OT H E R R E L I E F S —W H I C H I N FAC T I S N OT G E N E R A L LY C H A R AC T E R I ST I C O F H E S S E ' S WO R K . A C O LO R F U L C O N F U S I O N O F PA I N T E D C O R D S A N D M E TA L C O N D U I T P L AYS O N T H E S U R FAC E O F T H E R E L I E F.” BILL BARRETTE, EVA HESSE SCUL PTURE: CATA LOGUE RA ISONNÉ, NEW YORK, 1989, P. 4 6

Above: Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-23. Image © The Philadelphia Museum of Art, PA / Art Resource, NY. Art © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp Opposite: Francis Picabia, Fille née sans mère [Girl Born without a Mother], 1916-17. Image © National Galleries of Scotland / Bridgeman Images. Art © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris

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Albers’ Bauhaus emphasis on the value of a true understanding of the properties of materials and the principles of construction (Linda Shearer in Exh. Cat., London, The Mayor Gallery, Eva Hesse, September - October 1974, n.p.). In the present work, the relief’s initial engagement across spatial planes alludes to Hesse’s future forms and capitalizes on the ingenious manipulation of unconventional materials.

Rendered with stunning shades of sea-foam green, these materials take on a new, revolutionary presence, assuming a dreamlike allusion to the ephemeral and the bodily.

The influence of Top Spot is evident within Hesse’s oeuvre and speaks to the momentous strides she would take as a sculptor. “There is a playful quality in Top Spot — missing from most of the other reliefs — which in fact is not generally characteristic of Hesse's work,” observes Bill Barette in the catalogue raisonné of Hesse’s sculptures. “A colorful confusion of painted cords and metal conduit plays on the surface of the relief.”

(Bill Barrette, Eva Hesse Sculpture: Catalogue Raisonné, New York, 1989, p. 46). Indeed, the swirling cord in the present work recurs in Hesse’s later iconic hanging rope works, which energize and command space with a palpable psychological suspense. It is this compelling tension which propels Top Spot forward as a foundational motif, captivating in its futuristic and complex rendering.

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"IN TOP SPOT — THOUGHT TO BE THE LAST RELIEF HESSE MADE BEFORE RETURNING TO NEW YORK — THE ARTIST ATTACHES AN ALMOST CHAOTIC ARRAY OF FOUND WOODEN FIXTURES, PLASTIC PIPE, METAL CONDUIT AND CLOTHBOUND CORD (ALTERNATELY COILED AND DANGLING) TO A GREEN RECTANGLE OF PARTICLE BOARD. SHE SEEMS TO BE TAKING STOCK OF HER FORMAL REPERTORY BEFORE LEAPING AHEAD INTO THE GREAT UNKNOWN OF THREEDIMENSIONAL, NONRECTILINEAR SPACE.” ROBERTA SM ITH, “REVIEWS/ART: KIN ETIC SCUL PTURE USING TOYS, F IRE AN D WATER,” TH E NEW YORK TIMES , 20 JAN UARY 19 89, P. 24

The present work installed in Flyktpunkter/Vanishing Points, Moderna Museet, Stockholm, 1984. Image © Courtesy of Moderna Museet.

Art © The Estate of Eva Hesse.

Courtesy Hauser & Wirth

EVA HESSE’S 1965 RELIEF SCULPTURES

ART © THE ESTATE OF EVA HESSE. COURTESY HAUSER & WIRTH

IN 1965, FOLLOWING A 15-MONTH ARTIST RESIDENCY IN GERMANY, EVA HESSE EXECUTED A SUITE OF FOURTEEN RELIEFS THAT REPRESENT HER FIRST FULLY REALIZED FORAYS INTO THE SCUPTURAL REALM.

RINGAROUND

AN EAR IN A POND 1965

LEGS OF A WALKING BALL

5

ORANGEKEYED

4

TWO HANDLED

3

AROSIE

2

1

MARKED BY VIVID COLORS AND A RADICALLY INVENTIVE USE OF MATERIAL, EXAMPLES FROM THIS SUITE ARE TODAY HELD IN MANY OF THE MOST PRESTIGIOUS MUSEUM AND PRIVATE COLLECTIONS WORLDWIDE.

OOMAMABOOMBA 1965

1965

UTENSIL

SAN FRANCISCO

1965

URSULA HAUSER

THE MUSEUM OF

1965

MUSEUM OF

LEEUM SAMSUNG

COLLECTION,

MODERN ART,

PRIVATE

MODERN ART

MUSEUM OF

SWITZERLAND

NEW YORK

COLLECTION, JAPAN

TOMORROW'S

2 IN 1

1965

COOL ZONE 1965

10

H+H

9

1965

8

7

6

APPLES (5 IN WHITE)

MODERN ART, SEOUL

PINK 1965

1965

PRIVATE COLLECTION,

URSULA HAUSER

COLLECTION OF

TATE, LONDON

NEW YORK

COLLECTION,

AUDREY AND SIDNEY

WINTERTHUR, ON

SWITZERLAND

IRMAS, LOS ANGELES

PERMANENT LOAN

KUNSTMUSEUM

FROM VOLKART FOUNDATION

EVA HESSE PHOTOGRAPHED IN FRONT OF KUNSTHALLE DÜSSELDORF, 1965.

PHOTO © MANFRED TISCHER

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UP THE DOWN ROAD 1965

EIGHTER FROM DECATUR

COLLECTION OF

COLLECTION OF

1965

TONY AND GAIL

TONY AND GAIL

MUSEUM

GANZ, LOS ANGELES

GANZ, LOS ANGELES

WIESBADEN

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C-CLAMP BLUES

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COURTESY HAUSER & WIRTH

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ART © THE ESTATE OF EVA HESSE.

11

1965

OF THE PRESENT WORK AT THE OPENING

TOP SPOT 1965 THE PRESENT WORK

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Eva Hesse’s Top Spot as exhibited in Chara Schreyer’s home in Tiburon, California.

Art © The Estate of Eva Hesse.

Courtesy Hauser & Wirth

E V A H E S S E TO P S P OT

H

AVING BEEN TO THAT POINT IN TIME A PAINTER OF HIGHLY GESTURAL ABSTRACTED FIGURES RENDERED IN OILS, HESSE FOLLOWED IN THE STEPS OF JASPER JOHNS AND ROBERT RAUSCHENBERG (AND IN A CERTAIN SENSE DUCHAMP) BY ATTACHING WHAT THE CRITIC CLEMENT GREENBERG MIGHT HAVE REFERRED TO AS “INTRUDER ELEMENTS” ONTO THE SURFACE OF THESE WORKS (A NIGHTMARE OF CONTAMINATION FOR HIS DREAM OF A PURE

MODERNISM). IN THE CASE OF TOP SPOT, THE ARTIST BRINGS TOGETHER FOUND INDUSTRIAL OBJECTS SUCH AS PLASTIC PIPES, METAL CONDUIT, CLAMPS AND SCREWS, A PORCELAIN SOCKET, AND CLOTHBOUND CORD, WHICH FIND THEIR HOMES ATTACHED, PENETRATING OR JUTTING OUT OF ITS ENAMELPAINTED MINT-GREEN PARTICLEBOARD SUPPORT. THE INDIVIDUAL ELEMENTS OF THIS WORK REACH OUT BEYOND THE PICTURE PLANE INTO OUR SPACE AS ONE ADVENTURESOME LENGTH OF CORD POURS DOWN ONTO THE FLOOR. IT’S THIS ACTION OF GINGERLY PROBING THE THIRD DIMENSION THAT WOULD PRESAGE THE SUBSEQUENT MOVEMENT OF HESSE’S WORK INTO THE REALM OF PHENOMENOLOGICAL SPACE AS SHE DEVELOPED WHAT WOULD COME TO BE KNOWN AS HER MATURE POSTMINIMALIST SCULPTURAL WORK. TOP SPOT’S CREEPING APPENDAGE SPEAKS TO AN OBJECT THAT HAS EMERGED AS AN ENTITY FROM THE CONFINES OF THE PICTORIAL INTO A SPACE THAT WE ALL INHABIT.

D O U G L A S F O G L E & H A N N E K E S K E R AT H Making Strange: The Chara Schreyer Collection, New York, 2021, p. 229

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ROBERT GOBER AND SHERRIE LEVINE b. 1954 and b. 1947

U N TIT L ED, LI G H T B U L B enamel paint, beeswax and rope lightbulb: 7 ½ by 3 ½ by 3 ½ in. lightbulb: 19 by 9.4 by 9.4 cm.

Executed in 1990, this work is number 1 of 2 artist proofs from an edition of 2 plus 2 artist proofs.

$ 800,000-1,200,000

P R OV E N A N C E

Paula Cooper Gallery, New York Private Collection, San Francisco (acquired from the above in 1990) Sotheby's New York, 15 May 2002, lot 3 (consigned by the above) Acquired from the above by the present owner EXHIBITED

Washington, D.C., Hirshhorn Museum & Sculpture Garden, Culture and Commentary: An Eighties Perspective, February - May 1990, p. 122 (another example) New York, Paula Cooper Gallery, Group Show, June - July 1990 (another example) Toronto, Art Gallery of York University; Calgary, Nickle Arts Museum; and Vancouver Art Gallery, Meeting Place: Robert Gober, Liz Magor, Juan Muñoz, September 1990 - July 1991 (another example) Minneapolis, Walker Art Center and Miami Art Museum, Duchamp's Leg, November 1994 - March 1996 (another example)

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Minneapolis, Walker Art Center, Quartet: Barney, Gober, Levine, Walker, April 2005 - November 2006 (another example) Columbus, Wexner Center for the Arts, Part Object Part Sculpture, October 2005 - February 2006 (another example) Dublin, Royal Hibernian Academy, Robert Gober: Drawings and Sculpture, November 2005 - January 2006 (another example) Minneapolis, Walker Art Center, Quartet: Barney, Gober, Levine, Schütte, December 2006 - December 2007 (another example) Basel, Schaulager, Robert Gober: Work 1976-2007, May - October 2007 Houston, The Menil Collection, 20th Century Reinstallation, October 2009 (long-term loan) Los Angeles, Hammer Museum, Take It or Leave It: Institution, Image, Ideology, February - May 2014, pl. 41, pp. 98-99, illustrated in color and p. 258 (another example) New York, Museum of Modern Art, The Heart Is Not A Metaphor, October 2014 - January 2015, p. 103, illustrated in color and p. 257 (another example)

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Opposite: Another edition of the present work as installed (left) in Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C., Culture and Commentary: An Eighties Perspective, February - May 1990. Photo Credits: M. Lee Stalworth. Art © 2023 Sherrie Levine; 2023 Robert Gober

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L I T E R AT U R E

Exh. Cat., Washington, D.C., American Foundation for AIDS Research, Art Against AIDS, 1990, p. 57, illustrated (another example)

Briony Fer, The Scatter: Sculpture as Leftover; Robert Gober, Gabriel Orozco, Josiah McElheny, Columbus, 2005, p. 235, illustrated (another example)

Gregg Bordowitz, "Against Heterosexuality," Parkett, Zurich, March 1991, p. 103, illustrated in color (another example)

Brenda Richardson, Robert Gober Lexicon, New York, 2005, p. 48, illustrated

Exh. Cat., Madrid, Museo Nacional Centro de Arte Reina Sofia (and traveling), Robert Gober, 1991, p. 31 (Madrid) and p. 34 (Paris), illustrated in color (another example)

Theodora Vischer, ed., Robert Gober: Sculptures and Installations, 1979-2007, Basel, 2007, no. S 1990.02, pp. 260-261, illustrated in color

Exh. Cat., London, Serpentine Gallery (and traveling), Robert Gober, 1993, p. 42, illustrated (in installation Washington D.C., Hirshhorn Museum & Sculpture Garden, 1990)

Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 32, 35 and 218, illustrated in color (installed in Chara Schreyer's residence, Marin)

Exh. Cat., Minneapolis, Walker Art Center, Robert Gober: Sculpture + Drawing, 1999, p. 148, illustrated (another example) (in installation Washington D.C., Hirshhorn Museum & Sculpture Garden, 1990)

Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 99, illustrated in color and p. 415

Zahid Sardar, "Dialogues with Art Above the Golden Gate," Western Interiors and Design, New York, July - August 2004, p. 94, illustrated (another example)

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ontemplative, intimate, and profound, Robert Gober and Sherrie Levine’s Untitled, Lightbulb succinctly captures the conceptual rigor and disquieting facility for which both artists are widely celebrated. Executed in 1990, the present work brings together Levine’s practice of thoughtful appropriation and Gober’s career-long exploration of corporeality and household items in the ostensibly modest form of a lightbulb. This quotidian totem is a relic of Gober’s personal history, the collective history he sought to embody and the human body itself, intimately reimagining the legacy and possibilities of the Duchampian readymade and refreshing the ideation, exaltation and fetishization of the found object.

Untitled, Lightbulb marks a charged collaboration between two of the most important living American artists; underscoring its significance, two of the three other editions belong in the permanent collections of The Menil Collection, Houston and the Hammer Museum, Los Angeles. Further testifying to the critical importance of this collaboration, the present work was included in several international traveling exhibitions; most notably, Robert Gober’s monumental retrospective, Robert Gober: The Heart Is Not A Metaphor at The Museum of Modern Art, New York, in 2014-15. Here, Gober partners with Levine to transform the everyday article into an anthropomorphized mannequin of the body itself, creating a modern elegy of unmatched eloquence and emotional resonance that challenges the binaries of function and dysfunction, presence and absence, art and life.

Famously invoking the Duchampian readymade as their fulcra, the sculptural practices of both artists call upon and transform preexisting forms into icons. Unlike the polished duplication of Duchamp’s Fountain or even Gober’s early porcelain sinks, however, the present work is undeniably handmade.

Below: Jasper Johns, Light Bulb, 1960. Private Collection.

Image © Bridegman Images.

Art © 2023 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY

The milky wax that comprises the bulb imbues it with a flesh-like texture, translating the work into a metaphor for the body: the wire an artery, the bulb the brain or heart. Gober and Levine obfuscate our understanding of the readymade by reintroducing craftsmanship: manual production and industrial connotation are set against one another, referenced and subverted by the looming suggestion of a human presence, from the malleable tactility of the medium itself to the fingerprints left by the sculpting process. As such, Gober and Levine deftly play with corporeal symbolism, creating material, metaphysical connotations that are at once subtle and cerebral.

The present work also exists in critical dialogue with an extended history of figurative sculpture, from the Renaissance deification of the male nude in Donatello’s David—brought to life by the Lost Wax Method—to artists of the next generation, such as Urs Fischer and his wick-adorned Graces.

The pair’s Untitled, Lightbulb is a familiar reprisal of a recurring subject in Gober’s body of work: the lightbulb. For Gober, brought up as an altar boy in the Catholic Church, the light bulb was

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OPT2

a particularly poignant motif. “Your soul is a light bulb,” repeated the nuns who taught him.

“Every sin puts a black spot on the light bulb” (quoted in Brenda Richardson, A Robert Gober Lexicon, vol. 1, New York and Göttingen, 2005, p. 48). Correlating the soul with light, the mock illumination of the present work formalizes this religious theme with a deft playfulness. Light and virtue had been inextricably tied during his childhood, but the religious association took on a new valence with the 1980's HIV and AIDS outbreak. He lost friends and lovers, partners and peers in relentless succession, all while grappling with the stigmatization of his sexuality and the disease itself. “It seemed that every other day someone I knew or someone that a friend of mine knew was getting severely sick, really fast, and most of them were gay men,” the artist recalled. “Young men were dying all around me, from causes unknown, and the world seemed to be either in denial or revulsion.

The government lied to the people and shrank from its duty. Families abandoned 'loved ones.'

Even the church abdicated its responsibility

Opposite: Felix GonzalezTorres, "Untitled" (Toronto), 1992. Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. Art © Estate Felix Gonzalez-Torres, courtesy Felix GonzalezTorres Foundation

to life. Gay men were left, more often than not, to take care of their own” (the artist quoted in: Theodora Vischer, Exh. Cat., Basel, Schaulager Basel, Robert Gober: Sculptures and Installations,1979-2007, 2007, p. 60). The potency of the light bulb is heighted, too, by the Judeo-Christian association between light and life. Through their ineffective bulb, Gober and Levine illuminate the tenuous reality of existence in the late twentieth-century: Untitled, Lightbulb cannot turn on, it cannot save, and it cannot bring back those who have been lost.

Swiftly responding to the body and its unfortunate weakening during the AIDS epidemic, Gober and Levine humanize the abstract restraint of Minimalism and advance an enduring exploration of interiority, the human body and Gober’s personal fascination with domestic interiors. The identification of one’s body with the light bulb begins and ends with its inept function between an art object, a referent to the mundane and human fallibility, both unflinchingly confounding and complicating our presumed visual vocabulary.

Below: Another edition of the present work installed in The Heart Is Not A Metaphor, The Museum of Modern Art, New York, October 2014 - January 2015. Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. Art © 2023 Robert Gober

“ I T I S M O ST LY T H E I L LU S I O N I S M O F H I S M AT E R I A L S T H AT E ST R A N G E S H I S T H I N G S , B U T T H I S S U P E R I M P O S I T I O N O F T H E R E A L A N D T H E I M AG I N A R Y C O N T R I B U T E S TO OT H E R C O N F U S I O N S G O B E R P U TS I N P L AY B E T W E E N T H E U T I L I TA R I A N A N D T H E A E ST H E T I C , T H E P U B L I C A N D T H E P R I VAT E , T H E L I V E D A N D T H E D R E A M E D.” HAL FOSTER, “ ROBERT G OBER: MOMA, THE MUS EUM OF MODERN ART,” A RTFORUM, 6 FEBRUARY 2018 (ONL I NE )

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CHRISTOPHER WOOL b. 1955

U N TIT L ED enamel on paper 43 ¼ by 29 ¾ in. 109.9 by 75.6 cm.

Executed in 1992.

$ 1,500,000-2,000,000

P R OV E N A N C E

Luhring Augustine, New York Private Collection, New York (acquired from the above) Luhring Augustine, New York Morey & Jennifer Chaplick, Toronto (acquired from the above) Amy Wolf Fine Art, New York Acquired from the above in July 2002 by the present owner L I T E R AT U R E

Zahid Sardar, "Inside the Gallery," San Francisco Chronicle Magazine, 7 May 2006, p. 23, illustrated in color (installed in Chara Schreyer's residence, San Francisco) Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 91 and 220, illustrated in color (installed in Chara Schreyer's residence, San Francisco) Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 318, illustrated in color and pp. 300, 420

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Left: Ed Ruscha, The End, 1991. Image © The Museum of Modern Art/ Licensed by SCALA / Art Resource, NY. Art © 2023 Ed Ruscha Opposite: Donald Judd, Untitled, 1980. Image © Tate, London / Art Resource, NY. Art © 2023 Judd Foundation / Artists Rights Society (ARS), New York

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isceral and abrupt, Untitled epitomizes Christopher Wool’s anarchic painterly enterprise. Amongst the most iconic phrases from Wool’s text series, the present work powerfully embodies the radical energy and disruptive spirit of the 1990s, the stark silhouette of each letter wholly capturing the angst and exuberance of the downtown art scene. Executed in 1992, the rebelliously dismissive edict emblazoned upon the present work serves as an explosive statement of intent for Wool’s critically acclaimed artistic project, successfully disrupting and manipulating art historical precedent with exhilarating nonchalance. In every way exemplary of Wool’s specialized approach to painting, the font and text of the present work immediately assault the viewer, while marks from the stencils and remnants of the handmade nature of the work juxtapose the formality of the capitalized letters.

Forged in the gritty crucible of 1990s downtown Manhattan, an era defined by the disruptive energy of the Punk and New Wave scenes, Untitled challenges theories of postmodern critical thinking to present the viewer with a singularly engaging and rigorous conceptual experience. Commenting upon the insurgent brilliance of Wool’s practice in wry terms highly reminiscent of the present work, New York art critic Glenn O’Brien reflects: “Christopher Wool’s paintings do that kind of job—conjuring new visions, flipping out fresh takes, constructing unheard of

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pictures that shock and thrill the curious and the jaded the way New York abstractionists did back in the Boho fifties. But this is no rehash… He’s done all this after the nominal end of abstract expressionism, the perceived end of abstract art and the declared end of painting. Quite a coup—and he’s getting away with it.” (Glenn O'Brien, "Apocalypse and Wallpaper," in H. W. Holzwarth ed., Christopher Wool, Cologne, 2012, pg. 9) Within the present work, Wool combines elements of Pop Art and Abstract Expressionism to form an entirely new artistic visual language, while simultaneously enacting an investigation into the semiotic content of words themselves. His composition and overt suggestion of the artist’s hand through irregular outlines and smudges, and slippages assert the importance of gesture, in line with such Abstract Expressionist predecessors as Jackson Pollock or Willem de Kooning; yet simultaneously, his use of stencils as a form of mechanical reproduction, as well as his appropriation of 'low-brow' phrasing and profanity, link his work inextricably to the Pop and Conceptual movements. Indeed, though it has been pushed to the edges of abstraction, Wool’s irreverent message is still legibly aggressive and jarring, compounding the attitude of punk indifference which permeates his oeuvre.

Like hastily stenciled graffiti or heralded tabloid headlines, Untitled summons the industrial severity of the urban environment. The phrase "And if you

A R T H O U S E : T H E C O L L EC T I O N O F C H A R A S C H R E Y E R | E V E N I N G AU C T I O N

don't like it you can get the fuck out of my house" comes from Eddie Murphy's famous stand-up show Raw from 1987 and is Wool's most iconic and oft-used phrases for its brash, flippant humor. Confronting the viewer with the violent force of sudden impact, the present work juxtaposes painterly entropy with commanding linguistic force to utterly annihilate presumed boundaries between image and text.

Indeed, by emphasizing the visual appearance of the letters rather than the meaning of the words, Wool transforms Untitled into a formal statement that critically examines the nature of painting as a vehicle for contemporary artistic expression. Arranged in seven rows of stacked letters, the formality of the grid barely contains the phrase as the words blend together, intensifying their potent graphic power; below, the last row leave ample areas of white surrounding, compounding the attitude of postPunk indifference which permeates the painting. As explained by Katherine Brinson: “Wool was less concerned with language as a means to transcend image, or with the problematic conjunction of text and image, than with text as image. He has long been fascinated by the way words function when removed from the quiet authority of the page and exposed to the cacophony of the city, whether through the blaring incantations of billboards and commercial signage or the illicit interventions of graffiti artists.

But with their velvety white grounds and stylized letters rendered in dense, sign painter’s enamel that pooled and dripped within the stencils, the word paintings have a resolute material presence that transcends the graphic.” (Katherine Brinson in Exh. Cat., New York, Solomon R. Guggenheim Museum (and travelling), Christopher Wool, 2013, p. 40) By obscuring the aesthetic perimeters between the hand-painted and the machine-made, Wool embraces the compromised historical narrative of painting as a primary source, then manipulates that legacy to produce thrillingly subversive masterpieces. Turning the joke on the viewer, Untitled challenges our right to expect anything from art, leveraging the inherent entropy of language to deliver a succinct statement on the larger anarchy of Wool’s painterly enterprise.

The specific genius of the artist is, unsurprisingly, best described by O’Brien: “Slowly and surely Christopher Wool has reinvented abstraction and created a radical new way of working that partakes of that clarity and that heroism, but in a way that is shockingly novel and perhaps heretically casual…This is the cool clarity of a later time.” (Glenn O'Brien, Ibid., p. 10)

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Christopher Wool’s Untitled as exhibited in Chara Schreyer’s San Francisco home.

Photo © Matthew Millman

C H R I S T O P H E R W O O L U N T IT LE D

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OOL UNDERTOOK A SERIES OF BLACK-AND-WHITE “WORD PAINTINGS” IN THE LATE 1980S THAT EMPLOYED A STANDARD SANS-SERIF CAPITALIZED STENCIL THAT WAS COMMONLY USED BY THE AMERICAN MILITARY. WOOL LIFTED PIECES OF TEXT FROM A DIVERSE RANGE OF SOURCES, INCLUDING FILMS SUCH AS APOCALYPSE NOW (“SELL THE HOUSE, SELL THE CAR, SELL THE KIDS”), THE APHORISMS OF THE RUSSIAN REVOLUTIONARY VASILY

ROZANOV (“THE SHOW IS OVER”), OR BORSCHT BELT JOKES RE-APPROPRIATED FROM PRINCE (“I NEVER HAD A PENNY TO MY NAME SO I CHANGED MY NAME”), AND PROCEEDED TO “PAINT” THESE WORDS WITH STENCILS, RUNNING THE LETTERS TOGETHER WITH NO SPACES AND BREAKING THE LINES WITHOUT ANY REGARD TO GRAMMAR OR SYNTAX. AS GLENN O’BRIEN HAS WRITTEN: “THE WORD PAINTINGS ARE HARD EDGE ON THE EDGE. IT’S NOT REDUCTION AD ABSURDUM OR A SEND-UP. IT’S PAINTING WITH ATTITUDE. IT’S NOT EXACTLY ROBERT RYMAN WITH LYRICS, OR AD REINHARDT MEETS CONCRETE POETRY, BUT IT’S UP THAT ALLEY. IT’S ABOUT THE AURA OF THE STENCIL, ABOUT ENERGY RADIATING AND SPLASHING FROM THE CONFINES OF THE CHARACTER. IT’S SIGN PAINTING WITH FEEDBACK.” IN HIS ENAMEL ON PAPER PAINTING UNTITLED (1992, P. 318) IN THE SCHREYER COLLECTION, WOOL SUMS UP HIS RADICAL TAKE ON HIS REINVENTION OF PAINTING BY OTHER MEANS: “IF YOU CANT TAKE A JOKE YOU CAN GET THE FUCK OUT OF MY HOUSE.” FUNNY, SARDONIC, AND CONFRONTATIONAL, THIS WORK TRACES A DIRECT LINE OF ANTECEDENTS THROUGH RUSCHA TO WARHOL AND, FINALLY, DUCHAMP.

D O U G L A S F O G L E & H A N N E K E S K E R AT H Making Strange: The Chara Schreyer Collection, New York, 2021, p. 300

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DONALD JUDD 1928 - 1994

U N TIT L ED signed and stamped Bernstein Bros. Inc. 69-52 (on the reverse of each unit) stainless steel and red fluorescent Plexiglas, in ten parts Each: 9 by 40 by 31 in. 22.9 by 101.6 by 78.7 cm.

Executed in 1969.

$ 6,000,000-8,000,000

P R OV E N A N C E

L I T E R AT U R E

Leo Castelli Gallery, New York

Dudley del Balso, Brydon Smith and Roberta Smith, eds., Donald Judd: Catalogue Raisonné of Paintings, Objects and Wood-Blocks 1960-1974, Ottawa, 1975, no. 229, p. 221

Hanford Yang, New York (acquired by 1973) Christie's London, 28 June 1978, lot 258 Private collection, Belgium (acquired from the above) Galerie Hans Mayer, Düsseldorf Private Collection, Germany Sotheby's New York, 14 November 2000, lot 46 (consigned by the above) Acquired from the above by the present owner

Allan Schwartzman, "Boom...and Bust," February 2001, Art & Auction, p. 38, illustrated Elizabeth Fazzare, "Chara Schreyer Makes Strange with Her Art Collection in Tiburon, California," Cultured Magazine, 11 February 2011 (online) Christopher Bagley, "We Go Inside Collector Chara Schreyer's Gallery-like Los Angeles Home," Architectural Digest, 3 November 2015, illustrated in color (installed in Chara Schreyer's residence Los Angeles) (online) Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 146, 148, 151 and 222, illustrated in color Lorna Koski, "Dream Duo: New Book Details Collaboration of Chara Schreyer and Gary Hutton," Women's Wear Daily, 3 October 2016, illustrated in color (installed in Chara Schreyer's residence, Los Angeles) (online) (detail) Catherine Wagley, "Collector Chara Schreyer: An eye for art enlivens the L.A. community" Los Angeles Times, 1 October 2017 (online) Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 139, illustrated in color, pp. 132, 141, 419

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abricated with impeccable precision in saturated magenta and silver hues, Untitled is an extraordinary embodiment of the seamless fusion of pure color, pristine industrial materiality and geometric form that distinguishes Donald Judd’s iconic stack sculptures.

Executed in 1969 in towering forty-inch scale – the largest size of this series – Untitled is the superlative example of Donald Judd’s early corpus of stacks, which boldly proclaimed a new aesthetic era upon their emergence in New York during the 1960s.

Testifying to their outright significance within Judd’s career, other early 1960’s Stack sculptures in this impressive forty-inch scale now belong to prestigious international museum collections, including the

Museum of Modern Art, New York; Art Institute of Chicago; and Moderna Museet. Vivid magenta Plexiglas layers brilliantly filter light through their iconic stainless-steel structure, creating a diffused red ambience as the austere installation dominates its surroundings with the philosophical rigors of Judd’s Minimalism. Balancing such visual opulence with Judd’s quintessential industrial means, Untitled is an early and seminal paragon of the artist’s career-long sculptural inquest into the very phenomenologies of material, space and color.

Judd executed his first stack sculpture in 1965; by the end of that decade, he had established a core vocabulary of forms through which he experimented with various permutations for the next thirty years. In the tradition of Barnett Newman, Mark Rothko and Ad Reinhardt, Judd exploited color and material within the sculptural stack structure to realize its full potential, resulting in a remarkable proliferation of closely related works. The result of this experimentation is seen nowhere better than in Untitled with its gleaming magenta Plexiglas fluorescence and industrial stainless-steel austerity, elements both powerfully augmented by the present work’s colossal architectural scale. Consisting of ten evenly spaced 40-inch units arranged vertically on the wall from floor to ceiling, the stacks of Untitled elegantly interrogate the purity of color and the physical properties of space. As Untitled lucidly demonstrates, Judd’s sculpture derives meaning from the interaction of its constituent parts: rejecting compositions founded on hierarchical balance, individual elements are neither subordinate nor dominant in relation to each other.

In Untitled, the meticulously defined space between each individual component is of equal volume to that of the units themselves, reifying negative space as a tangible element of the work in its own right. Elegantly framed by the razor edges of each stainless steel box, emptiness is transformed

Donald Judd House and Museum at 101 Spring Street, New York, circa 1974. Photo © Edmund Vincent Gillon/Museum Of The City Of New York/Getty Images Opposite: Kazimir Malevich, Suprematist Painting (Eight Red Rectangles), 1915.

Stedelijk Museum, Amsterdam. Image © HIP / Art Resource, NY

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into form itself, taking on a spatial identity both within and surrounding the sculpture. No longer a void, emptiness becomes a positive entity: a critical element of the viewer’s perception of the installation.

“If two objects are close together they define the space in between,” Judd astutely observes. “These definitions are infinite until the two objects are so far apart that the distance in between is no longer space.

But then the passerby remembers that one was there and another here. The space between can be even more definite than the two objects which establish it; it can be a single space more than the two objects are a pair” (the artist cited in Ibid., p. 80).

Widely regarded as Donald Judd’s most enduring legacy today, the stacks epitomize the new American art that emerged in the 1950s and early 1960s as the challenge to the thematic allusion and illusionism which had, for centuries, defined canonical art history. Unlike such titans of abstraction as Newman, Pollock, Rothko, and Still—all of whom he considered as immediate precedents for his practice— Judd came to the inevitable conclusion in the early 1960s that painting, no matter how abstract, how reductive, contained some degree of illusionism. In his seminal 1965 treatise “Specific Objects,” Judd writes, “It isn’t necessary for a work to have a lot of things to look at, to compare, to analyze one by one, to contemplate.

The thing as a whole, its quality as a whole, is what is interesting.” (Donald Judd, “Specific Objects,” 1965, reproduced in: Donald Judd: The Complete Writings, 1959-1975, New York 2015, p. 187) Eschewing the medium of painting entirely, Judd discovered in the medium of sculpture new opportunity to privilege the totality of a work of art.

Distinguished by its stunning palette, monumental scale, and pivotal early date, Untitled from 1969 is unequivocally among the most striking and seminal examples of Judd’s radical sculptural lexicon. Later alluding to his systematic sculptural investigation of metaphysical properties, Judd concisely wrote:

“Material, space and color are the main aspects of visual art" (The artist cited in Dietmar Elger, Ed., Donald Judd Colorist, Ostfildern-Ruit, 2000, p. 79). Untitled perfectly reifies this holistic thesis: the shimmering exterior of the stainless steel dematerializes its otherwise obdurate, opaque form, while the transparent Plexiglas both reveals the interior construction – and, through the translucent passage of light, unites the physical object with the wall support even further. The intense, almost liquid magenta chroma then fills the voids with intangible rays of light that paradoxically serve to augment the sense of tangible space. Untitled creates such a harmonious marriage between material, space and color, epitomizing the expression of Judd's complex aesthetic at its most consummate.

Opposite: Vladamir Tatlin, Cover of Pamiatnik III Internatsionala. by Nikolai Punin, 1920.

Digital Image © The Museum of Modern Art/ Licensed by SCALA / Art Resource, NY

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HEN WE THINK OF MINIMALISM WE THINK OF BRICKS, OR STACKS, OR CUBES. WE THINK OF SERIALITY AND FABRICATED INDUSTRIAL MATERIALS. WHAT WE DON’T USUALLY THINK ABOUT IS THE DEEPLY PROFOUND FULLNESS OF A SUPPOSEDLY SILENT ROOM, A STRING OF STORE-BOUGHT LIGHTBULBS CASCADING FROM THE CEILING TO FORM AN ILLUMINATED POOL ON THE FLOOR, OR AN EXTREMELY WELL-TRAVELED ALUMINUM

FLIGHT CASE ENSHRINED IN A PLEXIGLAS VITRINE. THIS IS THE STUFF OF EVERYDAY LIFE THAT ARTISTS HAVE IMBUED WITH A NEWFOUND AURA. YET THESE THINGS ARE NOT AS FAR REMOVED AS ONE MIGHT THINK FROM THE “PRIMARY STRUCTURES,” OR WHAT DONALD JUDD CALLED THE “SPECIFIC OBJECTS,” THAT LATER CAME TO BE CANONIZED AS MINIMALISM. IN THE END, MINIMAL IS AS MINIMAL DOES, AND IT DOESN’T ALWAYS LOOK THE WAY THAT WE’D IMAGINE. […] IN A STACK BY JUDD SUCH AS THE SCHREYER COLLECTION’S UNTITLED WE FIND A PERFECT EMBODIMENT OF THE ARTIST’S SPECIFIC OBJECTS IN THE WORK’S ADHERENCE TO HIS CONCEPTION OF THE OBJECTIVITY OF MATERIALS AND THEIR RELATION TO THE FORMS THAT THEY CAN TAKE. […] THE SERIALITY OF JUDD’S STACK—WITH ITS TEN PRECISELY MACHINED, HOLLOW STAINLESS STEEL BOXES FINISHED WITH RED FLUORESCENT PLEXIGLAS—RESULTS IN A VERY SPECIFIC OBJECT THAT CANNOT BE CLASSIFIED SIMPLY AS A SCULPTURE, OR, BY VIRTUE OF ITS HANGING ON THE WALL, A PAINTING. ITS VERTICALITY DWARFS US, YET IN ITS TRANSLUCENCE IT DISSOLVES INTO A STATE OF FLUX AS IF IT WAS STEAM WAITING TO CONDENSE BACK INTO LIQUID. ITS RHYTHMIC PROGRESSION IS BOTH MECHANICAL AND REMINISCENT OF A MUSICAL COMPOSITION. IT IS AN OBJECT THAT IS IN-BETWEEN, OR RATHER SOMETHING OTHER.

D O U G L A S F O G L E & H A N N E K E S K E R AT H Making Strange: The Chara Schreyer Collection, New York, 2021, p. 132

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MARK BRADFORD b. 1961

A T H O USA N D DA D D IE S initialed, titled, dated 08 and numbered (on the reverse) (of each sheet) mixed media collage on paper, in 60 parts each: 22 by 28 in. 55.9 by 71.1 cm. overall: 132 by 280 in. 335.3 by 711.2 cm.

Executed in 2008.

$ 2,000,000-3,000,000

P R OV E N A N C E

L I T E R AT U R E

Sikkema Jenkins & Co., New York

Rebecca Firestone, "Gary Hutton: Becoming an Art Collector," The Architects' Take, 26 February 2011, illustrated in color (installed in Chara Schreyer's residence, Los Angeles) (online)

Acquired from the above in 2009 by the present owner EXHIBITED

Pittsburgh, 55th Carnegie International, Life on Mars, May 2008 - January 2009, p. 407 Aspen Art Museum, Mark Bradford Merchant Posters, February - April 2010, no. 96, illustrated in color (on the cover and jacket) (detail), pp. 141-147, illustrated in color (detail), p. 148, illustrated in color and p. 153

Christopher Bagley, "We Go Inside Collector Chara Schreyer's Gallery-like Los Angeles Home," Architectural Digest, 3 November 2015, illustrated in color (installed in Chara Schreyer's residence, Los Angeles) (online) Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 150-151, 153 and 222, illustrated in color (installed in Chara Schreyer's residence, Los Angeles) Catherine Wagley, "Collector Chara Schreyer: An eye for art enlivens the L.A. community" Los Angeles Times, 1 October 2017 (installed in Chara Schreyer's residence, Los Angeles) (online) Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 242-243, illustrated in color, p. 244, illustrated in color (detail) and p. 413

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“ I L I K E TO WA L K T H R O U G H T H E C I T Y A N D F I N D D E TA I L S A N D

Opposite: Carlos Avendaño, Merchant Portraits, 2005. Courtesy Hauser and Wirth.

T H E N A B ST R AC T T H E M A N D M A K E T H E M M Y OW N . I ’ M N OT S P E A K I N G FO R A C O M M U N I T Y O R T R Y I N G TO M A K E A S O C I O P O L I T I CA L P O I N T. AT T H E E N D, I T ’ S M Y M A P P I N G . M Y S U B J EC T I V I T Y.”

Below: The present work illustrated on the front and back covers of Mark Bradford: Merchant Posters, published in accordance with the Aspen Art Museum exhibition, February - April 2010. Art © 2023 Mark Bradford

MARK BRADFORD, “ MARKET>P LACE,” A RT21, NOVEMBER 2011

DEPT: This is the back of the Fold-Out flap

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xecuted in 2008, A Thousand Daddies is a remarkable example from Bradford’s Merchant Posters, a series of décollages and works on paper in which the artist draws conceptual inspiration from local advertising signs he collects from his South Central Los Angeles neighborhood. Advertising child custody services, the signs in the present work reflect times of personal hardship, offering a window into the immense challenges facing urban communities.

Carefully arranged in an expansive grid, Bradford manipulates the surface of each sign by repeatedly adding and removing elements, such as layers of acrylic paint and heavily collaged weathered paper. What remains are traces of each poster’s text, hovering like flickers beneath the surface. Featuring text advertising a hotline for fathers to gain custody of their children, the work reads “My child says,

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SOTHEBY’S

Daddy. Child custody. Divorce, visitation. 866-77Daddy.” Repeated sixty times, each rendered in different colors and material applications, Bradford forces the viewer to look more closely. Bradford’s labor intensive and process-oriented works that address timely and urgent social and political issues such as A Thousand Daddies have earned him a reputation as one of the most important American artists working today.

In the mid-2000s, Bradford expanded the focus of his work to examine the broader economic and racial geographies of the communities in which he lived. Retrospectively commenting on the occasion of Bradford’s major 2010-2012 traveling exhibition, Robert Storr identified three foundational subjects of abstract art that Bradford has addressed in a highly personal way: “Art itself; the city; and utopia” (Robert Storr, "And what I assume you shall see…," in Exh.

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Left: Julie Mehretu, Congress, 2003. Image © The Broad Museum, Los Angeles. Art © 2023 Julie Mehretu Opposite: Robert Rauschenberg, Estate, 1963. Image © The Philadelphia Museum of Art / Art Resource, NY. Art © 2023 Robert Rauschenberg Foundation

“ THES E S I GNS AR E VERY CLE AR LY S PE AKI NG TO THE NEEDS OF T H E PEO PLE I N THE COM M UNI T Y WHO AR E PASS I NG THEM BY EVERY DAY. IT ’S N OT LI KE POPUL AR CULTUR E, WHER E I T’S ALL GLOBALI Z ED. THI S IS VERY LOCALI Z ED. AND WHAT’S FASCI NATI NG ABOUT I T I S THAT I T CH AN GES SO RAPI DLY…” MARK BRADFORD CITED IN ERNEST HARDY, "BORDER CROSS ING S, " IN EXH. CAT. , AS P EN ART M US EUM , MA RK BRA DFORD: MERCHA NT POSTERS, 20 10, P. 9

Cat., Ohio, Wexner Center for the Arts, Ohio State University (and travelling), Mark Bradford, 2010, p. 59).

The Merchant Poster paintings that Bradford began in 2006 stand amongst his most iconic, taking inspiration from advertisements hung and pasted informally around inner-city areas. Using posters, pamphlets and bulletins from the streets of the Leimert Park area that he himself occupied, Bradford recapitulates the tradition of décollage. Drawing from a revolutionary technical legacy inaugurated by the Dadaist collages of Kurt Schwitters; the Cubism of Pablo Picasso and Georges Braque; the collage paintings of Robert Rauschenberg; and later by Mimmo Rotella and the Nouveau Réalisme movement, Bradford turns away from the mainstream newspapers and movie posters to harness the expedient metamorphosis of a specific, local consumer culture.

A Thousand Daddies confronts the viewer with intricate layers of billboard paper, collage and paint that have been sanded down until they reveal just fragments of the original phrases. Displayed in a monumental grid, the work mirrors those sites

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where such ads are typically found within urban environments. In heavily working the surfaces of the signs and reimagining their content and imagery, Bradford pushes each image further towards abstraction and largely removes the original purpose of advertising a service. Each sign’s original utility partially disintegrates, leaving behind remnants of the message in the background, heavily disguised, yet eternally present. In the glimpses of truncated texts, Bradford constructs a cacophonous conversation of an ordinary yet diverse neighborhood economy, functioning away from sanitized chain stores and uniform commercial establishments. It would seem that the artist crafts a vision for an alternative utopia based on grassroots networks. Yet, as the artist explains, these signs also signal the fragility of such a concept and the vulnerability of a tight sense of community in the face of homogenized consumer capitalism: “These signs are very clearly speaking to the needs of the people in the community who are passing them by every day. It’s not like popular culture, where it’s all globalized. This is very

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localized. And what’s fascinating about it is that it changes so rapidly… Now, in two or three years in the community, there are going to be other needs and other parasitic systems that are going to come and take advantage of them. It’s in a constant state of crisis here, a constant state of fluidity” (The artist cited in Ernest Hardy, "Border Crossings," in Exh. Cat., Aspen Art Museum, Mark Bradford: Merchant Posters, 2010, p. 9) A Thousand Daddies elevates us from the street view of local merchant posters, providing a celestial map that physically overwhelms the viewer in its vast urban topography. In a labor-intensive process of tearing and overlaying, Bradford delineates zones like veins that run through and over the surface to articulate an aerial view of structures and passages that disrupt the web of images below. Marrying geometric abstraction and organic forms, the artist furiously overwrites, erases, and reveals both word and image through successive gestural layering. His result is a labyrinthine web of collaged paper that offers an investigative metaphor for the regenerative vibrancy of metropolitan life.

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ANDY WARHOL 1928 - 1987

RO RS CH ACH numbered by The Andy Warhol Foundation for the Visual Arts PA 75.083 (on the overlap) acrylic on canvas 90 by 70 in. 228.6 by 177.8 cm.

Executed in 1984.

$ 2,500,000-3,500,000

P R OV E N A N C E

Estate of the artist (until 1997) Gagosian Gallery, New York Acquired from the above in January 1997 by the present owner EXHIBITED

New York, Gagosian Gallery, Andy Warhol Rorschach Paintings, September - October 1996, pl. 3, p. 4, illustrated L I T E R AT U R E

Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 156, 159 and 222, illustrated in color (installed in Chara Schreyer's residence, Los Angeles) Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 101, illustrated in color and pp. 26-27, 420

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Left: René Magritte, Not to be Reproduced (La reproduction interdite), 1937. Museum Boijmans Van Beuningen, Rotterdam. Image © Fine Art Images / Bridgeman Images. Art © 2023 C. Herscovici, Brussels / Artists Rights Society (ARS), New York

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ercurial, enigmatic and seductively experimental, Andy Warhol's Rorschach envelopes the viewer in a mirage of black liquescent forms, unfolding across the monumental canvas with visual, conceptual and psychological complexity. The symmetric matrices of rich, inky paint produced by Warhol's pour-andfold technique in Rorschach show an artist who is as experimental as he is productive, constantly looking for new directions and once more returning to flirt with the potential of Abstract Expressionism. Executed in a fertile late burst of creativity in 1984, Warhol’s iconic series of Rorschach paintings act as an effervescent gateway between the viewer’s and artist’s realms, between form and fantasy: with the basis for this series rooted in inkblot tests of psychological study, the present work develops a strong connection with the conscious mind, freely giving way to a spectrum of conceptual translation and emotional understanding as

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Opposite: Jackson Pollock, Number 32, 1950.

Image © bpk Bildagentur / Kunstsammlung Nordrhein-Westfalen, Düsseldorf / Art Resource, NY. Art © 2023 PollockKrasner Foundation / Artists Rights Society (ARS), New York

that when you went to places like hospitals, they tell you to draw and make the Rorschach Tests. I wish I’d known there was a set” (the artist quoted in: Rorschach, The Broad Museum, Los Angeles, ongoing (online)). In his brilliant faux-naive deadpan, he once explained: "I was trying to do these to actually read into them and write about them, but I never really had the time to do that. So I was going to hire somebody to read into them, to pretend that it was me, so that they'd be a little more... interesting. Because all I would see would be a dog's face or something like a tree or a bird or a flower. Somebody else could see a lot more" (Andy Warhol quoted in conversation with Robert Nickas, "Andy Warhol’s Rorschach Test," Arts Magazine, October 1986, p. 28).

Intrigued by the Rorschach test’s serial repetitiveness and formulaic impersonality, the artist invented his own painterly version: in a stylized and dynamic performance not dissimilar to Jackson

Pollock’s iconic drip dance, Warhol poured paint onto one side of a canvas before folding it vertically to imprint the other half. As Warhol’s assistant Jay Shriver recalls about the Rorschach paintings, “Andy painted the big ones, and that’s why he was having so much fun. … We had these huge canvases that we had to fold over and press together so that the paint was evenly distributed on both halves of the canvas… The physical energy spent laboring over these massive canvases generated a great deal of excitement in the studio.” (Jay Shriver quoted in J.D. Ketner II, “Warhol’s Last Decade: Reinventing Painting” in Exh. Cat., Milwaukee Art Museum, Andy Warhol: The Last Decade, 2009, p. 45) In the present work, the latticework of shadowy black paint unfurls in a pictorial marriage of fluidity and abstraction that indexes this chance method of splattering and compressing, dripping and dragging paint across an open field of creamy white. Divided into symmetrical

it conjures a deep variety of response and conversation.

Testifying to its significance within Warhol’s career, the present work was exhibited at Andy Warhol: Rorschach Paintings, the first comprehensive exhibition dedicated to this timeless corpus of paintings held at Gagosian Gallery in New York in 1996.

Named after the famed Swiss psychiatrist Hermann Rorschach, Warhol’s Rorschach paintings evoke a beguilingly hypnotic aura that encourages the viewer to impose their own interpretations and visions upon the open-ended symmetrical “ink blot.” Warhol draws directly from the Rorschach test, which provides ten different standardized blots of ink on paper for patients to decipher under the premise that their interpretations provide key insight into the inner workings of their consciousness. Warhol, however, had misunderstood how these tests were proctored, believing it was the patient who created these images as opposed to simply interpreting them: “I thought

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Andy Warhol, Double Elvis, 1963. Image © bpk Bildagentur / Hamburger Bahnhof - Museum für Gegenwart, Berlin / Art Resource, NY. Art © 2023 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

quadrants, Rorschach reveals the resulting mirrored image that emanates from the center point in silhouettes of black paint, viscous and opaque in certain areas, feathery and light in others. Imprecise and unpredictable, the totemic forms remain open to any form of interpretation, reminiscent of an inkblot test that creates enigmatic imagery onto which the viewer can project their own desires and fantasies.

During the last decade of his life, with the Rorschach series, Warhol deftly subverts the Pop Art mantra of art as a reflection of popular culture and turns it inward, making it a reflection of the self. Best exemplified by his first explorations of the Oxidation paintings of the late 1970s, Andy Warhol turned towards abstraction as he increasingly searched for newer, more meaningful imagery in his practice.

Driven by a career-long quest for imagery laden with meaning, Warhol here appropriates the genre of abstraction to produce a new corpus of beautiful and meaningful pictorial design. Bridging Warhol’s earlier work of celebrity and consumer culture and his later, more introspective pieces with a gesture towards Abstract Expressionism, the paintings of the Rorschach series emulate the “participatory 124

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aesthetics” of Pollock to challenge the viewer to question our perceptions and interpretations, much like a psychological study itself.

With its bravura drips, ink black splashes and mysterious forms, Rorschach remains charged with subliminal meaning as it reaches into the viewer’s subconscious mind – while simultaneously reflecting the inner psyche of the artist’s own mind. Explaining the timelessness of the Rorschach paintings, Warhol observes: "Nothing can always be the subject of something. I mean, what's nice about those paintings is you could do them every five years...anytime you wanted to, when you had the time...because there's nothing to read into them... Because even if the paints stayed the same, everything else—and everyone else-would have changed" (The artist quoted in Exh. Cat., New York, Gagosian Gallery, Cast a Cold Eye: The Late Works of Andy Warhol, October - December 2006, p. 198). Enduring today as abstract monuments to the extraordinary versatility and continuous evolution of Warhol’s career, the Rorschach paintings sees the artist masterfully balance the profound dialectic between psychological introspection and collective imagination.

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Andy Warhol’s Rorschach as exhibited at Chara Schreyer’s Los Angeles home. Art © 2023 Andy Warhol Foundation For The Visual Arts / Artists Rights Society (Ars), New York

A N D Y W A R H O L RO RSH AC H

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N 1984, WHEN GOBER WAS FIRST EXHIBITING HIS SINKS, ANDY WARHOL BEGAN WORKING ON HIS OWN PSYCHOLOGICAL BLACK HOLES IN HIS SERIES OF LARGE-SCALE RORSCHACH PAINTINGS. WARHOL WAS INITIALLY UNAWARE OF THE FACT THAT THE POPULAR PSYCHOLOGICAL TEST DEVELOPED BY THE SWISS PSYCHIATRIST HERMANN RORSCHACH IN THE EARLY TWENTIETH CENTURY CONSISTS OF TEN STANDARDIZED INKBLOTS FOR A PATIENT TO DECIPHER. THE ARTIST HAD ASSUMED THAT THE PATIENTS

WERE ASKED TO DRAW THE INKBLOTS THEMSELVES FOR THE CLINICIANS TO INTERPRET, AND AS A RESULT HE CREATED HIS OWN VERSIONS BY PAINTING HIS CANVASES ON ONE SIDE AND THEN FOLDING THEM VERTICALLY TO PRODUCE A MIRROR IMAGE. IN EFFECT, WARHOL'S UNIQUE VERSIONS INADVERTENTLY UNDERMINED THE ACTUAL RORSCHACH TEST'S SERIAL, READYMADE QUALITY AS WELL AS HIS OWN PREFERRED METHODOLOGY OF APPROPRIATING EXISTING IMAGERY FOR HIS OWN ENDS. [...] WARHOL'S RORSCHACH WORKS ARE ENIGMATIC PAINTINGS THAT WERE INTENDED TO HAVE A CONNECTION TO THE READYMADE BUT ARE IN THE END RESOLUTELY HANDMADE. IT'S IRONIC THAT AN ARTIST WHO WAS PERSONALLY AN INSCRUTABLE CIPHER WOULD CHOOSE AS HIS SUBJECT A VISUAL TOOL OF INTERPRETATION THAT WAS DESIGNED TO REVEAL AN INDIVIDUAL'S "INNER TRUTH." AS HE FAMOUSLY AFFIRMED, "IF YOU WANT TO KNOW ALL ABOUT ANDY WARHOL, JUST LOOK AT THE SURFACE OF MY PAINTINGS AND FILMS, AND ME, AND THERE I AM. THERE'S NOTHING BEHIND IT." IN A WAY, WARHOL’S DETACHMENT MAKES THESE WORKS EVEN MORE POWERFUL ENTRIES INTO THE ALREADY DECADES-OLD LEGACY OF MAKING STRANGE. THE PSYCHOLOGICAL AND MATERIAL DEPTHS (OR LACK THEREOF) OF WARHOL'S INKBLOTS AND THE RECESSES OF GOBER'S DRAINS TO NOWHERE TELL US QUITE A BIT ABOUT THE PROGRESSION OF THIS STRATEGY THROUGHOUT THE ARTISTIC PRACTICES OF THE TWENTIETH CENTURY. THESE WORKS ACT AS GATEWAYS TO ALTERNATE, OR, MORE APPROPRIATELY, PARALLEL REALITIES THAT EXIST JUST OUTSIDE OUR PERIPHERAL VISION.

D O U G L A S F O G L E & H A N N E K E S K E R AT H Making Strange: The Chara Schreyer Collection, New York, 2021, pp.26-27

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ED RUSCHA b. 1937

E TC. signed and dated 1990 (on the reverse) acrylic on canvas 84 by 84 in. 203.3 by 203.3 cm.

Executed in 1990.

$ 3,000,000-4,000,000

P R OV E N A N C E

L I T E R AT U R E

Galerie Ghislaine Hussenot, Paris

Zahid Sardar, "Inside the Gallery" San Francisco Chronicle Magazine, 7 May 2006, illustrated in color (installed in Chara Schreyer's residence, San Francisco) (online)

Paul Marciano Foundation, Los Angeles (acquired from the above in 1990) Christie's New York, 15 May 2002, lot 189 Acquired from the above by the present owner EXHIBITED

Paris, Galerie Ghislaine Hussenot, Edward Ruscha, May - June 1990

Robert Dean and Lisa Turvey, eds., Edward Ruscha: Catalogue Raisonné of the Paintings, 1988-1992, vol. 4, New York, 2009, no. P1990.31, pp. 276-277, illustrated in color Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 65, 83, 219 and 220, illustrated in color (installed in Chara Schreyer's residence, San Francisco) Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 302, illustrated in color and pp. 298-299, 418

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Left: Theo van Doesburg with Kurt Schwitters, Kleine Dada Soirée, 1922. Image © The Museum of Modern Art/ Licensed by SCALA / Art Resource, NY Opposite: John Baldessari, Goya Series: And, 1997. Image © The Museum of Modern Art/ Licensed by SCALA / Art Resource, NY. Art © John Baldessari 1997.

Courtesy Estate of John Baldessari © 2023 Courtesy John Baldessari Family Foundation, Courtesy Sprüth Magers

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lluring, ephemeral, and surreal, Etc. exemplifies Ed Ruscha’s iconic black and white paintings, epitomizing the artist’s embrace of a new technique–by way of the airbrush– that allowed him to engage with the darker and more tragicomic aspects of Hollywood culture through bold, enigmatic imagery. Throughout his career, Ruscha has maintained an extraordinary conceptual consistency that serves as the foundation for his numerous groundbreaking stylistic explorations. For all the immediacy of his images, there is an ever-present undercurrent of paradox that complicates the seemingly direct relationship between representation and meaning, inviting a moment of pause from the viewer and preventing

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any straightforward notions of reading, seeing, and comprehending. Testifying to the artist’s singular appeal and significance, Ed Ruscha is currently the focus of an acclaimed retrospective at the Museum of Modern Art. Deftly examining the complex relationship between culture, image, and text, Etc. boldly embodies the subtle interplay of aesthetic and conceptual concerns that exemplify Ed Ruscha's most seminal paintings.

Emerging out of a haze of smoky black, booming serif letters with chalky edges form a romantic silhouette. The background is a luminous gradient, a sunset turned nocturnal or photo negative. Where the smoky gray recalls Ruscha’s radical gunpowder drawings and conflates the enigmatic silhouette

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paintings of the early 1980s, the boundaries of the letters evoke the fascination with visual invisibility that appeared in his liquid word paintings from the 1960s. Ruscha’s use of the abbreviated word "etcetera" suggests further introspection, prompting questions of ambiguity and proposing more to be shared. Soft-edged and sensuous, with a palette restricted to black and gray, Etc. evokes the smoothness and blurred focus of black and white photography and old celluloid film. Etc. complicates a seemingly direct relationship between representation and meaning, provoking a moment of pause from the viewer, and preventing any straightforward notions of reading, seeing, and comprehending.

Executed in 1990, Etc. is a product of one of the artist’s most meaningful decades of rising critical and commercial acclaim and artistic growth. Constituting a new chapter in Ruscha’s career-long investigation of text and image, Etc. emerges from Ruscha’s corpus of paintings representing the beginnings, endings, and transitory shots of film. Playing on the indistinct and enigmatic shots that form the backdrop to narrative, Ruscha restrained himself to a palette of black and gray and used an airbrush to apply soft, hazy layers of pigment. The soft, sooty surface of Etc. recalls the black-and-white movies Ruscha saw as a child in Oklahoma City. Here, the word acts both as title card and as the leading character, semantically hinting at a temporal continuation, at something transient or unfinished, while commanding a powerful visual presence. Indeed, the subtly shifting grisaille gradient which both grounds and disguises the letters’ borders radiates with the same buzz as a frame of a projected analog film. ‘I like the idea of a word becoming a picture, almost leaving its body, then coming back and becoming a word again” says the artist Ruscha (Ed Ruscha quoted in: Calvin Tomkins, “Ed Ruscha’s L.A.”, The New Yorker, 2013. (online)) Originally borrowed from commercial advertising and billboards, Ruscha’s airbrush technique imparts the painting with an inimitable depth. The letters hover “in a kind of fog, in a spatial zone that is impossible to locate with any precision. Light and shadow, which would traditionally have been

“ WI TH THEI R VELVET AN D SOOTI NESS CONVEYI N G A SOF TENI NG OF FOCUS (AN D AN ENTROPI C R I S E I N NOISE LEVELS), THES E PI CTUR ES S PE AK TO A FADI NG COLLECTI VE MEMO RY, O R ALTER NATI VELY, TO A SPECT RAL AS PECT OF AN I NCR E ASIN GLY HOM OGENI Z ED AND I ND IFFEREN T CONTEM PORARY L ANDSCAPE." RALP H RUG OFF, "HEAVENLY NOI S ES " , I N E XH. CAT, LONDON, HAYWARD GALLERY, ED RUSC H A: FI FTY YEA RS OF PA INTING, 2009, P. 23

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Below: Man Ray, Untitled Rayograph (Gun with Alphabet Stencils), 1924.

The Getty Museum, Los Angeles. Art © Man Ray Trust ARS-ADAGP Right: Detail of Ed Ruscha, Etc., 1990

“ I L I K E T H E I D E A O F A W O R D B EC O M I N G A P I C T U R E , A L M O ST L E AV I N G I TS B O DY, T H E N C O M I N G B AC K A N D B EC O M I N G A W O R D AG A I N . " ED RUSC H A QUOT ED I N: CALV IN TO M KIN S, “ E D RUSC HA’S L.A.”, T H E NEW YO R K E R , 24 JU NE 2013 (O NLINE )

rendered in paintings’ most refined techniques to describe three-dimensional forms on a twodimensional place (chiaroscuro and sfumato), now tend to flatten things out.” (Briony Fer in Robert Dean and Lisa Turvey, eds., Edward Ruscha: Catalogue Raisonné of the Paintings, Volume Four: 1988-1992, New York, 2009, p. 7) Driven by the blurriness of the airbrushed image, Ruscha creates a vessel that summons individual memories and

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associations. Delineated in an attenuated serif, the present work is an ethereal floating phantom in a space that allures in its haunting ambiguity. Ruscha has seemingly frozen time and incites questions of whether the phrase is undergoing a process of uncovering or if it is sinking and nearly lost. “With their velvet and sootiness conveying a softening of focus (and an entropic rise in noise levels),” describes curator Ralph Rugoff, “these pictures speak to a fading collective memory, or alternatively, to a spectral aspect of an increasingly homogenized and indifferent contemporary landscape.” (Ralph Rugoff, "Heavenly Noises", in Exh. Cat,, Ed Ruscha: Fifty Years of Painting, London, 2009, p. 23) Etc. seems to harp on a vague American cultural nostalgia, both a textual signifier of a particular temporal moment and enthrallingly evocative of a distinct mise-en-scene.

“Rather than opening painting as a fictional space that might exist beyond the surface, [Ruscha] projects it back onto the spectator and to the space of our encounter—and to be caught in it is to find ourselves caught in the glare of the image (Briony Fer in Robert Dean and Lisa Turvey, eds., Edward Ruscha: Catalogue Raisonné of the Paintings, Volume Four: 1988-1992, New York, 2009, p.11) Aggrandized and isolated, the word is stripped of context, imploring the viewer to contemplate the transcendent power of language and image. Executed with the elemental graphic force that typifies Ruscha’s extraordinarily complex visual treatise on the conditions of painting, Etc. is an intrepid exploration of language and image that prefigures a digital culture of words on the move.

E D R U S C H A E TC.

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OR RUSCHA, LANGUAGE ITSELF, AND IN PARTICULAR TYPOGRAPHIC LANGUAGE, IS TREATED AS PLASTIC MATERIAL. HAVING FIRST INCORPORATED SLOGANS FROM ADVERTISEMENTS IN HIS EARLIEST COLLAGES OF THE 1950S, RUSCHA WOULD GO ON TO TREAT WORDS AS A KIND OF LIVING LANDSCAPE THAT COULD BE INCORPORATED INTO HIS PAINTING PRACTICE AS IF THEY WERE ELEMENTS OF A STILL LIFE. SOME OF HIS EARLIEST PAINTINGS ISOLATED SINGLE WORDS IN

NEAR-MONOCHROMATIC OR HIGHLY GRAPHIC BACKGROUNDS, AS IN PAINTINGS SUCH AS OOF (1962), HONK

(1962), OR SMASH (1963). ON THESE CANVASES WORDS ARE NEITHER LITERARY NOR POETIC. THEY ARE SIMPLY THINGS. DISCUSSING HIS RELATIONSHIP TO LANGUAGE, RUSCHA HAS SUGGESTED THAT “WORDS ARE PATTERN-LIKE AND IN THEIR HORIZONTALITY THEY ANSWER MY INVESTIGATION INTO LANDSCAPE. THEY’RE ALMOST NOT WORDS—THEY ARE OBJECTS THAT BECOME WORDS.” IN THE SCHREYER COLLECTION’S PAINTING ETC., RUSCHA PAINTS AN ABBREVIATED AND CAPITALIZED FORM OF THE WORD “ETCETERA” IN AN ITALICIZED SERIF FONT AS IT SITS ON A DARKENED HORIZON LINE REMINISCENT OF TWILIGHT. SUGGESTING THE REPETITIVE QUALITY OF OUR DIURNAL RHYTHMS AND THE TEDIUM OF LISTING THINGS AGAIN AND AGAIN, ETC. ALSO MAKES A WRY COMMENTARY ON THE CONTENT OF PAINTING: ETCETERA, ETCETERA, ETCETERA. WORDS, WORDS, AND THEN MORE WORDS. AS RUSCHA HAS SUGGESTED: “SOMETIMES FOUND WORDS ARE THE MOST PURE BECAUSE THEY HAVE NOTHING TO DO WITH YOU, I TAKE THINGS AS I FIND THEM. A LOT OF THESE THINGS COME FROM THE NOISE OF EVERYDAY LIFE.” IN THE CASE OF ETC., THIS NOISE BECOMES A KIND OF STATIC GENERATED BY THE OVERFLOW OF VISUAL LANGUAGE CONTINUALLY BOMBARDING OUR FIELD OF VISION.

D O U G L A S F O G L E & H A N N E K E S K E R AT H Making Strange: The Chara Schreyer Collection, New York, 2021, pp. 298-299

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Ed Ruscha in his Los Angeles studio, 2008.

Photo © Kate Simon.

Art © 2023 Ed Ruscha

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GEORGIA O'KEEFFE 1887 - 1986

PELVIS oil on canvas 16 by 12 in. 40.6 by 30.5 cm.

Executed in 1943.

$ 1,200,000-1,800,000

P R OV E N A N C E

EXHIBITED

Maria Chabot, Alcalde, New Mexico (acquired as a gift from the artist in November 1948)

New York, An American Place, Georgia O'Keeffe Paintings 1943, January - March 1944, no. 1, n.p. (titled Pelvis - Front)

The artist (acquired from the above in 1960) Doris Bry, New York (acquired from the above in 1969)

L I T E R AT U R E

Terry Dintenfass Inc., New York

Charles Henri Ford, ed., View, vol. IV, no. 2, Summer 1944, p. 41, illustrated in color (on the cover)

Acquired from the above in June 1977 by the present owner

Patricia Frantz Kery, Great Magazine Covers of the World, New York, 1982, no. 16, p. 15, illustrated in color Charles Henry Ford, ed., View: Parade of the Avant-Garde, New York, 1991, p. 134, illustrated in color Barbara Buhler Lynes, Georgia O'Keeffe: Catalogue Raisonné, vol. II, New Haven, 1999, no. 1047, p. 657, illustrated in color Barbara Buhler Lynes and Ann Paden, eds., Maria Chabot - Georgia O'Keeffe: Correspondence, 1941-1949, Santa Fe, 2003, pl. 3, pp. 172, 472, illustrated in color Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 49, 219, illustrated in color (installed in Chara Schreyer residence, Marin) Douglas Fogle and Hannewke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, pp. 20, 45, 417, illustrated in color (titled Pelvis IV (Pelvis Front))

Left: Title page for the exhibition checklist of Georgia O’Keeffe: Paintings - 1943, An American Place, New York, January March 1944, where the present work was exhibited

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heads,” her husband, photographer Alfred Stieglitz, wrote to a friend in 1930 (Alfred Stieglitz letter to Rebecca Strand, as quoted in Sue Davidson Lowe, “Bringing the Desert Back Home,” Art & Antiques, 1989, p. 82). These physical memories of her time in the American Southwest allowed O’Keeffe to remain productive and flourish artistically in between her visits to New Mexico.

For O’Keeffe, the power of the bones lies not in the objects themselves, but in their relationship to the surrounding sky. Her pelvis vignettes emphasize this dynamic between the tangible and intangible, juxtaposing the close-up animal fragments against the piercing blue sky. Through its positioning in relation to the sky, Pelvis develops an airborne, sculptural quality that defies the traditional plane of

still life or even landscape painting. This sculptural awareness recalls Alexander Calder’s early mobiles, which revolutionized the interplay between the object and surrounding space. O’Keeffe saw Calder’s retrospective at The Museum of Modern Art the same year she executed Pelvis, calling his show “amazingly ingenious” (Hunter Drohojowska-Philp, Full Bloom: The Art and Life of Georgia O’Keeffe, New York, 2004, p. 404). His Eucalyptus mobile, dated 1940 and featured in the exhibition, incorporates a hole within an abstract form in a manner quite analogous to Pelvis.

Simply put, “I have tried to paint the Bones and the Blue,” O’Keeffe proclaimed of her pelvis series (Ibid.). This fixation on the sky stems from the artist’s deep rooted admiration for the New Mexico landscape; however, it simultaneously reflects her high

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xecuted in 1943, the present work is the first of six pelvis compositions that O’Keeffe produced that year in an attempt to convey the “wideness and wonder of the world” as she so aptly put it (Georgia O’Keeffe, “About Painting Desert Bones,” in Exh. Cat., Georgia O’Keeffe Paintings - 1943, An American Place, New York, 1944, n.p.). From her first visit to Taos in 1929, O’Keeffe became captivated by bones and championed their potential in her art. While her visits to New Mexico remained seasonal throughout the thirties and early forties, her bone paintings transcended geographic boundaries. Treating the bones as still life objects, she shipped them from New Mexico to Lake George and arranged vignettes in her studio in order to sustain the desert inspiration during her months spent in New York. “The house is full of bones and skeleton

A collection of antlers, skulls and bones on a window sill at Georgia O’Keeffe’s home in Abiquiu, 1968. Photo © John Loengard / The LIFE Picture Collection

regard for the symbolism of the color blue within the canon of modern art. From the spiritual associations circulated by Wassily Kandinsky to the theorization of blue’s ability to create depth and volume within an illustration as disseminated by Henri Matisse, O’Keeffe recognized the potency of color choice, particularly with respect to blue. Her approach to Pelvis combines Kandinsky's and Matisse’s principles - implying an infinite atmosphere beyond the central subject while also communicating a sense of depth through her contrast of the white bones and blue sky. Fellow American modernist, Marsden Hartley, described O’Keeffe’s pelvis series as “the borderline between finity and infinity” (Drohojowska-Philp, Full Bloom: The Art and Life of Georgia O’Keeffe, p. 404).

The dichotomy that Hartley describes is central to the success of Pelvis.

While Pelvis is the first of its kind, O’Keeffe produced a number of pelvis bone paintings from 1943-47, progressively bringing the found objects closer to her eye in order to create increasingly abstract compositions with less negative space. Her engagement with pelvis sockets proved far less literal than her earlier skull compositions in the thirties, yet the approach to enlarging the pelvis bones certainly recalls her magnification of floral forms dating back to the mid-twenties. The smooth, curvilinear forms and emphasis on organic beauty present in Pelvis are characteristics of O’Keeffe’s art that persist across all stages of her oeuvre. Many critics perceived O’Keeffe’s earliest experimentations with bones as symbolic of death and decay; however the pelvis period is more so an investigation into found objects and a demonstration of the artist's affinity for her

“ W H E N I STA R T E D PA I N T I N G T H E P E LV I S B O N E S I WA S M O ST I N T E R E ST E D I N T H E H O L E S I N T H E B O N E S – W H AT I S AW T H R O U G H T H E M – PA R T I C U L A R LY T H E B LU E F R O M HOLDING THEM UP IN THE SUN AG A I N ST T H E S K Y.” G EORG IA O’ KEEFFE, “ABOUT PAINTING DES ERT BONES,” IN EXH. CAT. , G EORG IA O’ KEEF F E PA INTING S - 194 3, AN AMERICAN P LACE, NEW YORK, 194 4

Left: Georgia O'Keeffe, Summer Days, 1936.

Digital image © Whitney Museum of American Art / Licensed by Scala / Art Resource, NY. Art © 2023 Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York Opposite: Pablo Picasso, Nude Standing by the Sea, 1929. Image © The Metropolitan Museum of Art / Art Resource, NY. Art © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

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immediate surroundings. The act of close-looking and magnifying flowers from her Lake George garden has therefore manifested itself in an appreciation for bones discarded in the New Mexico desert.

In exploring the appearance of animal bones from various angles and vantage points, there is an underlying theme of mortality present within O’Keeffe’s pelvis paintings. As such, her elevation of abandoned pelvic bones prompts a correlation to Surrealist tendencies, which is further strengthened by her concern for the notion of infinity as highlighted by the usage of blue and her poetic statements surrounding the wideness of the world.

O’Keeffe’s spiritual connection to the New Mexico landscape motivated her to invoke this sense of wonder and deep emotion in her viewers, which was a mindset rooted in Surrealism at the time.

Beyond such parallels concerning O’Keeffe’s artistic motivation, on a technical level, the reduction of lines and shapes present in Pelvis anticipates the minimalist tendencies of the coming generation of abstract artists.

Upon completing the present work, O’Keeffe gifted Pelvis to Maria Chabot, a friend and rancher local to New Mexico. Not only did Chabot spearhead restoration on O’Keeffe’s Abiquiu home, but she was also a well-respected photographer and Native American arts advocate. O’Keeffe later purchased the painting back in 1960, and it was ultimately acquired

by Chara Schreyer in June of 1977 who amassed an exceptional collection of American modernism.

While other renditions of O’Keeffe’s pelvis subjects reside in major institutional collections, Pelvis has resided in private hands for nearly fifty years.

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“ T H E R E WA S N OT H I N G TO S E E I N T H E L A N D I N T H E WAY O F A F LOW E R . T H E R E W E R E J U ST D R Y W H I T E B O N E S . S O I P I C K E D T H E M U P. " G EORG IA O’ KEEFFE QUOTED IN CHARLES C. ELDREDG E, G EORG IA O’ KEEF F E: A MERICA N A ND MODERN, NEW HAVEN, 1993, P. 201

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LOUISE BOURGEOIS 1911 - 2010

H A RM L E S S WO M A N incised with the artist's signature and dated 1969 (lower edge) white marble 39 by 14 ½ by 13 ½ in. 99 by 36.8 by 7.6 cm.

Conceived in 1969 and carved in marble in 1981, this work is unique.

$ 700,000-1,000,000

P R OV E N A N C E

The artist (until 1997) Robert Miller Gallery, New York Acquired from the above in April 1997 by the present owner EXHIBITED

Philadelphia, Temple University, Tyler Gallery, Body Electric: Four Currents, November - December 1986 L I T E R AT U R E

Exh. Cat., New York, Museum of Modern Art, Louise Bourgeois: Retrospective, 1982, p. 124, illustrated (in the artist's studio) Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 19, 45, 47, 219, illustrated in color (installed in Chara Schreyer's residence, Marin) Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 59, illustrated in color and pp. 21, 413 Camille Freestone, "This Stunning Home Is the Perfect Synthesis of Curation & Design," Coveteur, 2 February 2022, illustrated in color (installed in Chara Schreyer's residence, Marin) (online)

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Opposite: The present work in Louise Bourgeois’s Brooklyn studio, New York, August 1982. Photo © Allan Finkleman. Art © The Easton Foundation/ Licensed by VAGA at Artists Rights Society (ARS), NY

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ife with a bodily sensuousness which represents a hallmark of the artist’s practice, Harmless Woman bears eloquent testimony to Louise Bourgeois's career-long preoccupation with themes of femininity and sexual ambiguity. Conceived in 1969 and carved in marble in 1981, Harmless Woman speaks to the conceptual concerns at the very heart of Bourgeois's singular oeuvre: an unflinching confrontation of emotions and psyche translated into sculptural form. Bearing exceptional provenance, this work comes from the visionary collection of Chara Schreyer, where it has remained for over 25 years.

With heavy round breasts and protuberant belly, Harmless Woman verges on toppling over, burdened by sexuality. “Perhaps such features could arouse erotic feelings in men” says the artist, “but actually the poor devil feels ugly and helpless and not at all erotic herself” (Bourgeois quoted in: Deborah Wye, Exh. Cat., New York, The Museum of Modern Art, Louise Bourgeois, 1982, p. 28). Started in 1969,

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Below: Yves Klein, Anthropométrie de l'époque bleue, (ANT 82), 1960. Musée National d'Art Moderne, Centre Georges Pompidou, Paris. Image © Banque d'Images, ADAGP / Art Resource, NY. Art © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris

Harmless Woman emerges from a body of work that evolves towards more explicit, aggressive content while becoming more formally sophisticated. In contrast to Bourgeois's sculptures of the 1940s, slender anthropomorphic figures which barely hinted at gender, Harmless Woman is enticingly female, its marble form robust and voluptuous.

Rather than seeking elicit desire through iconography, Bourgeois “strove to expose the threat that underlies all sexual encounters, a threat implicit in instinctual curiosity and attraction, the element of apprehension that underlies arousal and anticipation.” (Robert Storr, Intimate Geometries.

The Art and Life of Louise Bourgeois, New York: The Monacelli Press 2016, p. 373).

The formal elegance of the work contrasts with the profoundly intimate and emotionally poignant impact of its presence, underscoring the fundamental tensions that define Bourgeois's highly acclaimed practice. Here, the work achieves a dynamic and tender mixture of aggression

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Venus de Milo, c. 150-125 BC. Musée du Louvre, Paris. Image © RMN-Grand Palais / Art Resource, NY

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and vulnerability, as “fleshy ripeness as a sign of female fecundity is paired with the vulnerability of having no arms or legs, with only the probe-like protuberance on her shoulders to guide or protect her” (Robert Storr, Paulo Herkenhoff, and Allan Schwartzman, eds. Louise Bourgeois, New York, 2003, p. 74). The sumptuous curves of the body give way to a daggered point where the head would be. There is an almost retaliatory aggressiveness in the angularity of Harmless Woman; the figure turns herself into a blade, embodying a capacity for violence and potential for anger that serves as a form of self-protection. Bourgeois explains, “I try to give a representation of a woman who is pregnant and who tries to be frightening…She tries to be frightening but she is frightened. She's frightened for the child she carries. And she's afraid somebody is going to invade her privacy or bother in some way and that she won't be able to defend what she’s responsible for.” (Bourgeois quoted in Deborah Wye, “Louise Bourgeois: ‘One and Others,’” in Exh. Cat., New York, The Museum of Modern Art, Louise Bourgeois, 1982, p.28) Harmless Woman is an enthralling collusion of bodily and psychological opposites in an aesthetic language: hard and soft, curved and sharp, hostile and vulnerable. Though deeply tied to the complexity of femininity, Harmless Woman resounds beyond that categorization as it poignantly expresses universal emotions of unease, anxiety, and longing. As with many of Bourgeois's sculptures, Harmless Woman is self-exploratory and expressive, the outward appearance informed by feelings of one’s body and oneself. Emblematic of the deeply personal visual lexicon that defines Bourgeois's artistic practice, Harmless Woman stands as a testament to the enduring appeal of Bourgeois's work, and her limitless capacity to provoke feeling and capture the most fundamental of human emotions in sculptural form.

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“ I T R Y TO G I V E A R E P R E S E N TAT I O N O F A WO M A N W H O I S P R EG N A N T A N D W H O T R I E S TO B E F R I G H T E N I N G … S H E T R I E S TO B E F R I G H T E N I N G B U T S H E I S F R I G H T E N E D. S H E ' S F R I G H T E N E D FO R T H E C H I L D S H E CA R R I E S . A N D S H E ' S A F R A I D S O M E B O DY I S G O I N G TO I N VA D E H E R P R I VACY O R B OT H E R I N S O M E WAY A N D T H AT S H E WO N ' T B E A B L E TO D E F E N D W H AT S H E ' S R E S P O N S I B L E FO R . " BOURG EOIS QUOTED IN DEBORAH WYE, "LOUIS E BOURG EOIS : `ONE AND OTHERS, ' IN EXH. CAT. , NEW YOR K, THE MUS EUM OF MODERN ART, LOUISE BOURG EOIS, 1982, P. 28

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Louise Bourgeois, Sainte Sébastienne, 1992. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY. Art © 2023 The Easton Foundation / Artists Rights Society (ARS), NY

L O U I S E B O U R G E O I S H ARMLESS WO MAN

F

OREMOST AMONG THE ARTISTS WHO ACTIVELY CHALLENGED THE MALE VIEW OF WOMEN AND THE UNCONSCIOUS WAS LOUISE BOURGEOIS, WHOSE CAREER ACTIVELY SPANNED EIGHT DECADES, MAKING HER A CONTEMPORARY OF BOTH THE SURREALISTS AND MANY ARTISTS STILL ACTIVE TODAY. ALTHOUGH HER WORK DEALS DIRECTLY WITH THE GENDERED BODY, ANXIETY, AND PSYCHIC TRAUMA, BOURGEOIS VEHEMENTLY REJECTED ANY ATTEMPT TO CLASSIFY IT AS SURREALIST, YET IN

MANY WAYS SHE USED THEIR OWN STRATEGIES TO INVERT AND QUESTION THEIR FOCUS ON THE FEMALE BODY. BOURGEOIS'S SCULPTURES RANGE FROM THE ABSTRACT TO THE FIGURATIVE, BUT IT IS IN HER APPROACH TO THE FRAGMENTED BODY THAT SHE MOST DIRECTLY ATTEMPTED TO EXORCISE THE OVERWHELMING ANXIETY THAT PLAGUED HER LIFE. WHILE IN MANY WAYS QUESTIONING FREUD’S CONSTRUCTION OF THE UNCONSCIOUS, SHE NONETHELESS EXPLORED ITS DEPTHS WITH A CARNIVALESQUE CELEBRATION OF THE STRANGENESS AKIN TO THE TANTALIZING DARKNESS OF THE FAIRY TALES OF THE BROTHERS GRIMM. IN THE SCHREYER COLLECTION’S SCULPTURE HARMLESS WOMAN, FOR EXAMPLE, WE SEE A STYLIZED MARBLE RENDITION OF A TRUNCATED “ARMLESS” FEMALE TORSO THAT BOURGEOIS PUNNINGLY TITLES “HARMLESS.” AN ARMLESS WOMAN IS HARMLESS? COULD THIS BE THE WOMAN-CREATED COUNTERPUNCH TO BELLMER’S LA POUPÉE? MORE AKIN IN ITS STYLIZED AND ELEGANTLY FRAGMENTED FORM TO PALEOLITHIC SCULPTURES LIKE THE VENUS OF WILLENDORF OR PRE-HELLENIC CYCLADIC FIGURINES THAN TO BELLMER’S FETISH OBJECT, BOURGEOIS’S HARMLESS WOMAN, LIKE ALL OF HER SCULPTURAL WORK, IS THE RESULT OF A PROACTIVE MATERIAL EXORCISM OF THE ARTIST’S OWN ANXIETIES AND FEARS. “MY SCULPTURE ALLOWS ME TO RE-EXPERIENCE THE FEAR,” SHE SUGGESTED, “TO GIVE IT A PHYSICALITY SO I AM ABLE TO HACK AWAY AT IT. FEAR BECOMES A MANAGEABLE REALITY. SCULPTURE ALLOWS ME TO RE-EXPERIENCE THE PAST, TO SEE THE PAST IN ITS OBJECTIVE, REALISTIC PROPORTION.” (BOURGEOIS QUOTED IN "SELF-EXPRESSION IS SACRED AND FATAL" IN CHRISTIANE MEYER-THOSS, LOUISE BOURGEOIS: DESIGNING FOR FREE FALL, ZURICH: AMMANN VERLAG, P. 195.)

D O U G L A S F O G L E & H A N N E K E S K E R AT H Making Strange: The Chara Schreyer Collection, New York, 2021, p. 21

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ANDY WARHOL 1928 - 1987

J OSEPH B EU YS signed and dated 80 (on the overlap) acrylic and silkscreen ink on canvas 40 by 40 in. 101.6 by 101.6 cm.

Executed in 1980.

$ 600,000-800,000

P R OV E N A N C E

Estate of Rupert Jasen Smith, New York Christie's New York, 8 May 1997, lot 228 (consigned by the above) Acquired from the above by the present owner L I T E R AT U R E

Alisa Carroll, Art House: The Collaboration of Chara Schreyer & Gary Hutton, New York, 2016, pp. 50 and 219, illustrated in color (installed in Chara Schreyer's residence, Marin) Douglas Fogle and Hanneke Skerath, eds., Making Strange: The Chara Schreyer Collection, New York, 2021, p. 285, illustrated in color and p. 420 Camille Freestone, "This Stunning Home Is The Perfect Synthesis Of Curation & Design", Coveteur, 2 February 2022, illustrated in color (installed in Chara Schreyer's residence, Marin) (online)

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“ FO R T H O S E W H O W I T N E S S E D [ B E U YS A N D WA R H O L ] A P P R OAC H I N G E AC H OT H E R AC R O S S T H E P O L I S H E D G R A N I T E F LO O R , T H E M O M E N T H A D A L L T H E C E R E M O N I A L AU R A O F T WO R I VA L P O P E S M E E T I N G I N AV I G N O N .”

DAVID GALLOWAY, “ BEUYS AND WARHOL: AFTERS HOCKS,” A RT IN A MERICA , JULY 1988, P. 12 1

A

bold exemplar of Andy Warhol’s iconic silkscreen portraits, Joseph Beuys from 1980 achieves a brilliant collision of likeness and divergence. Warhol and Beuys, the two giants of American and German post-war art, met for the very first time at a Warhol exhibition in May 1979 at Galerie Hans Mayer. “For those who witnessed them approaching each other across the polished granite floor,” recalls David Galloway, “the moment had all the ceremonial aura of two rival popes meeting in Avignon" (David Galloway, “Beuys and Warhol: Aftershocks,” Art in America, July 1988, p. 121). This momentous and historic moment led to one of Warhol’s most fascinating series of portraits, in which the now iconic face of Beuys was forever immortalized in the quintessentially Warholian body of silkscreen portrait paintings. In November that same year, the two artists met again, this time in New York at Beuys’ major retrospective at the Solomon R. Guggenheim Museum. It was here that the idea for this celebrated series was born, when

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Warhol captured Beuys in his habitual uniform of felt hat and sleeveless jacket in a sequence of Polaroid photographs that would form the fundamental basis of the works. Executed just one year after their initial meeting, the present work encompasses the vastly polarized yet equally radical advancements in post-war transatlantic art by “the two extreme souls of contemporary art:” Warhol and Beuys (Michele Bonuomo, Exh. Cat., Naples, Museo di Capodimonte, Vesuvius by Warhol, 1985, p. 33).

By addressing and appropriating the mass reproduction of images in popular media, Warhol effectively transformed the parameters of visual culture within America and, indeed, within Contemporary art; his iconic body of portraiture can be seen to have irrefutably influenced today’s hyperawareness of wealth, celebrity, and consumerist culture. In contrast, Joseph Beuys’ philosophically based practice sought to heighten human perception, and was characterized by his creative, participatory role in shaping society and

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politics. Born in Germany in 1921, Beuys became widely recognized for his humanistic, almost spiritual approach to anthroposophy, social philosophy and environmental trends, ultimately endeavoring to create a "gesamtkunstwerk" or what he believed was "a total work of art." Despite the stark disparities between Warhol’s and Beuys’ respective projects, their practices found a remarkable symbiosis; after their initial meeting in Düsseldorf in 1979, the two artists were to maintain an enduring respect for one another.

It was precisely at this meeting that Warhol took the Polaroid photo of Beuys that, as demonstrated in the present work, would become the source of the Pop artist’s portraiture series depicting the self-appointed shaman of the European avant-garde.

Evincing an elegant union of two distinct artistic personas, Joseph Beuys is a subtly self-referential painting, fusing Warhol’s lifelong infatuation with celebrity, consumerism and material culture with Beuys’ more somber investigations of humanism, social philosophy, and politics. Warhol, the progenitor of Pop and catalyst for a new cultural age, and Beuys, a radical who didactically transformed the landscape of both Conceptual and Performance Art, were each pioneering leaders in their own spheres, both leaving behind respectively profound legacies. They were, as Michele Bonuomo attests: “Two opposite stories, two antithetical selves [who] deliberately chose the ideal place to observe and get mixed up with each other.” (Michele Bonuomo, Exh. Cat., Naples, Museo di Capodimonte, Vesuvius by Warhol, 1985, p. 33) Warhol’s series of portraits of Beuys potently conveys this majestic union of the material and the spiritual, the artificial and the natural worlds that each artist occupied and explored.

Opposite: Joseph Beuys and Andy Warhol at Beuys by Warhol: Paintings and Prints by Andy Warhol, Schellmann & Klüser, Munich, May - July 1980.

Art © 2023 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

Below: René Magritte, L'homme au chapeau melon (Man with a Bowler Hat), 1964.

Private Collection. Image © Banque d'Images, ADAGP / Art Resource, NY. Art © 2023 C. Herscovici, Brussels / Artists Rights Society (ARS), New York

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In its refined elegance and heightened sobriety, the monochrome Joseph Beuys indicates a larger transition within Warhol’s oeuvre which would, over the next decade, grow increasingly meditative and introspective in nature. Once the sovereign chronicler of the ’60s cult of mass media and glossy fame, Warhol had, by 1980, shifted his focus to subjects of greater psychological intensity and emotive depth; marked by such series as the Last Suppers, Shadows, and Rorschachs, Warhol’s works of the 1980s draw far closer to the metaphysical concerns of Beuys’ practice than his output of the preceding decades. In particular, the artist’s own somber visage as depicted in the renowned Fright Wig self-portraits of 1986, composed just a year before the artist’s death, seems to invoke Joseph Beuys as precedent, both confronting the viewer with an unblinking stare and stark physiognomy.

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CO NTE MPO RARY DAY AUCT I O N | 16 N OVEM BER 2023

This page LOT 430

TA K E S A D A M AT S U TA N I W O R K 6 3 - K

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HILE MATSUTANI’S CARNAL SLITS MAY RECALL THE PRODUCTION OF THE VOID IN LUCIO FONTANA’S “CUT” PAINTINGS, OR ALINA SZAPOCZNIKOW’S LATE 1960S SERIES OF POLYESTER RESIN SCULPTURES LAMPE-BOUCHE, THE SPECIFIC HISTORIC, CULTURAL, AND BIOGRAPHICAL CONTEXTS OF WORK 63-K ARE ITS OWN.

HERE, RATHER THAN ALLUDING TO THE PURE IMMATERIALITY OF SPACE OR THE AGENCY FOUND WITHIN THE VULNERABILITY OF THE FEMALE BODY, MATSUTANI’S HALLUCINATORY IMAGERY AND ENGAGEMENT WITH BODILY DECAY REVEAL THE ARTIST’S UNIQUE INTEGRATION OF GUTAI’S AESTHETIC ETHOS OF ACTIVATING MATTER AND SPIRIT WITH A BASE AND CARNAL MATERIALITY, ENLIGHTENING US TO AN OPTICAL UNCONSCIOUS THAT IS SUSPENDED ON THE THRESHOLD OF RUPTURE AND EXISTENCE.

M I K A YO S H I TA K E Mika Yoshitake in Douglas Fogle and Hanneke Skerath, eds., Making Strange, New York 2021, p.83 This page LOT 401

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402

REBECCA WARREN b. 1965

W H E N G AU G U I N hand-painted bronze on artist's chosen base overall: 105 ⅜ by 19 ¾ by 21 ¼ in.; 268 by 50 by 54 cm.

Executed in 2014, this work is number 1 from an edition of 3.

$ 200,000-300,000

401

TAKESADA MATSUTANI

signed, and dated 1963 (lower left);

b. 1937

63 ¾ by 52 in.; 161.9 by 132.1 cm.

signed, titled, dated 1963 and inscribed Gutai Osaka (on the reverse) acrylic, oil, and vinyl adhesive on canvas Executed in 1963.

WO R K 6 3 - K

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$ 100,000-150,000

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JACQUELINE HUMPHRIES OO OO%

H "

UMPHRIES HAS MADE IT HER MISSION TO KEEP PAINTING VITAL IN OUR ATTENTION-ADDLED DIGITAL AGE. SHE HAS USED REFLECTIVE SILVER PAINT AND FLUORESCENT PAINT VISIBLE ONLY UNDER BLACK LIGHT TO RECREATE THE GLOW WE EXPERIENCE WHEN WE LOOK AT AN IPHONE OR COMPUTER SCREEN. SHE HAS PEPPERED HER CANVASES WITH THE

DEBRIS OF OUR DIGITAL LIVES, INCLUDING EMOTICONS, EMOJIS AND CAPTCHAS, THOSE DISTORTED PHRASES WE TYPE TO PROVE TO A WEBSITE THAT WE ARE NOT ROBOTS. MORE RECENTLY, SHE BEGAN PAINTING TINY DOTS ACROSS HER SURFACES WHILE THEY WERE STILL WET.”

JULIA HALPERIN Julia Halperin in “Artist Jacqueline Humphries: ‘They told me I had to stop painting,’” Financial Times, online, 31 May 2023.

This page LOT 403

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403

404

JACQUELINE HUMPHRIES

EVA HESSE

b. 1960

1936 - 1970

NO TITLE signed in pencil (on the reverse)

OO OO%

gelatin silver photogram

signed, titled and dated 2015 (on the reverse)

13 ⅞ by 11 in.; 35.2 by 27.9 cm.

oil on linen

Executed circa 1958, this work is unique.

100 by 111 in.; 254 by 281.9 cm.

Executed in 2015.

$ 100,000-150,000

$ 350,000-450,000 166

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E L I Z A B E T H P E Y T O N KU RT

C

OBAIN WAS EQUALLY CONSCIOUS OF THE POWER OF SELF-FASHIONING ONE’S IMAGE WHILE IN THE MAW OF THE MEDIA AND WENT TO GREAT PAINS TO RESIST THE COMMODIFICATION AND SANITIZATION THAT COMES WITH FAME, OFTEN WEARING WOMEN’S DRESSES AS HE PERFORMED IN AN ATTEMPT TO UNDERMINE THE TOXIC MASCULINE MASQUERADE

OF THE ROCK STAR. PEYTON’S PAEAN TO COBAIN IS AS MUCH A PAINTED ICON OF A SAINT AS IT IS A PIECE OF PORTRAITURE, WITH ONLY THE SINGER’S MISALIGNED EYES ALLUDING TO HIS EARLY DEMISE.

D O U G L A S F O G L E & H A N N E K E S K E R AT H Douglas Fogle and Hanneke Skerath eds., Making Strange, New York 2021, p. 278

This page LOT 405

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406

KAARI UPSON 1970-2021

B R I G H T R E D, S I X- PAC K silicone, spandex and fiberglass 25 by 22½ by 8 in.; 63.5 by 57.2 by 20.3 cm.

Executed in 2014.

$ 5,000-7,000

407

LEE LOZANO 1930 - 1999

NO TITLE signed and dated '64 (on the verso) graphite on paper 8 ¼ by 9 ⅞ in.; 21 by 25.1 cm.

Executed in 1964.

$ 20,000-30,000

405

ELIZABETH PEYTON b.1965

KURT titled (lower left); dated 1999 (lower right); signed, titled and dated May 99 (on the verso) watercolor on paper 14 ¼ by 10 ¼ in.; 36.2 by 26 cm.

Executed in 1999.

$ 100,000-150,000

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R I C H A R D S E R R A S PARROWS P O INT

I "

N TERMS OF WEIGHT, BLACK IS HEAVIER, CREATES A DENSER VOLUME, HOLDS ITSELF IN A MORE COMPRESSED FIELD. IT IS COMPARABLE TO FORGING. SINCE BLACK IS THE DENSEST COLOR MATERIAL, IT ABSORBS AND DISSIPATES LIGHT TO A MAXIMUM... TO USE BLACK IS THE CLEAREST WAY OF MARKING AGAINST A WHITE FIELD.”

RICHARD SERRA Richard Serra in Carnegie International 1991, New York 1992, p. 124

This page LOT 408

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409

PAM EVELYN b. 1996

ASSISTED STEP signed, titled and dated 2021 (on the overlap); titled (on the stretcher) oil on linen 98 ⅜ by 78 ⅝ in.; 249.9 by 199.7 cm.

Executed in 2021.

$ 10,000-15,000

410

408

RICHARD SERRA

JULIE MEHRETU b.1970

b. 1938

U N T I T L E D ( W I T H A P I EC E O F S K Y )

S PA R R OWS P O I N T

ink and felt tip pen on 2 mylar

paintstick on paper 61 ¾ by 56 in.; 156.8 by 142.2 cm.

Executed in 1997.

$ 800,000-1,200,000

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sheets over paper collage on paper 18 by 24 in.; 45.7 by 61 cm.

Executed in 1999.

$ 180,000-250,000

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411

412

LOUISE NEVELSON

ISA GENZKEN

1899 - 1988

b.1948

DAW N C O L U M N I I

K L E I N E R PAV I L LO N (R O T- G R AU)

incised with the artist's signature

concrete, brick and steel

and date 1960 (on the lateral edge)

72 by 17 ¾ by 22 ½ in.;

wood painted white

183 by 45.1 by 57.2 cm.

98 ⅝ by 8 ⅜ by 8 ¾ in.; 250.5 by 21.2 by 9.5 cm.

Executed in 1990.

Executed in 1960.

$ 300,000-500,000

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$ 250,000-350,000

413

415

LAURA OWENS

CAROL RAMA

b. 1970

1918 - 2015

UNTITLED

UNTITLED

signed, titled and dated 2002 (on the overlap)

signed and dated 1967 (lower left)

acrylic and oil on printed paper collage

ink, glass eyes and vinyl glue on canvas

on canvas

10 ¼ by 12 ⅝ in.; 26 by 32.1 cm.

36 by 32 in.; 91.4 by 81.3 cm.

Executed in 1967.

Executed in 2002.

$ 40,000-60,000

$ 200,000-300,000

414

416

LAUREN HALSEY

BRUCE CONNER

b. 1987

1933 - 2008

UNTITLED

N I G H T L A DY

signed and dated 2020 (on the reverse)

titled (on the reverse)

hand-carved gypsum on wood,

wood, fabric, paper, cardboard, wire mesh,

in 4 joined parts

acrylic, found jewelry, string, pins and

47 ½ by 47 ¾ in.; 120.7 by 121.3 cm.

stickers on fabric mounted to board

Executed in 2020.

24 by 18 in.; 61 by 45.7 cm.

$ 40,000-60,000

Executed in 1959.

$ 40,000-60,000

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S I G M A R P O L K E U N T IT LE D

S

"

INCE THE 1980S POLKE HAS DEVELOPED NEW MODES OF PICTORIAL PRACTICE THAT AFFIRM THE UNPREDUCIBILITY OF HIS PAINTINGS, WHILE REPRODUCTIONS, EITHER OF PHOTOGRAPHS OR OF GRAPHIC WORKS, CONTINUE TO SERVE HIM AS MOTIFS. ESPECIALLY CHARACTERISTIC OF THIS LATER PHASE, IS HIS USE OF ARTIFICIAL RESIN IN SUCH A MANNER

THAT IT CAUSES THE FLUCTUATION OF THE IMAGE THROUGH THE MOVEMENTS OF THE BEHOLDER. THE REFLECTIONS FROM THESE GLOSSY SURFACES, WHICH CAN BE SUCH AN IRRITANT IN VIEWING PAINTINGS BY EARLIER MASTERS, ARE EMBRACED BY POLKE AS A POSITIVE FACTOR AND EXPLOITED TO ENLIVEN THE PICTURE SURFACE IN THE MOST ENCHANTING FASHION.”

C H A R L E S W. H A X T H A U S E N Charles W. Haxthausen in Sigmar Polke: The Three Lines of Painting, New York 1997, p. 196

This page LOT 417

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417

418

SIGMAR POLKE

CHARLINE VON HEYL

1941 - 2010

b.1960

UNTITLED

AS IS

signed with the artist's initials and dated 87

signed, titled and dated 2002 (on the reverse)

(lower right); signed with the artist's initials and

oil on canvas

dated 87 (on the reverse)

82 by 78 in.; 208.3 by 198.1 cm.

polyester resin, acrylic and lacquer on fabric,

Executed in 2002.

in artist's frame 54 ¼ by 59 ½ in.; 137.8 by 151.1 cm.

$ 120,000-180,000

Executed in 1987.

$ 700,000-1,000,000

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419

420

SAM GILLIAM

LUCAS SAMARAS

1933 - 2022

b. 1936

U. S . A .

P H OTO -T R A N S FO R M AT I O N

signed, titled and dated '73

dated 7/29/76 in ink (on the reverse)

(on the reverse)

manipulated Polaroid SX-70 print

acrylic on unstretched canvas

3 ⅛ by 3 in.; 7.9 by 7.6 cm.

106 by 45 in.; 269.2 by 114.3 cm.

Executed in 1976, this work is unique.

Executed in 1973.

$ 6,000-9,000

$ 300,000-500,000

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421

422

MAN RAY

HANS BELLMER

1890 - 1976

1902 - 1975

V É N U S D E M E D I C I AVA N T L A R E S TAU R AT I O N

L A TO U P I E

plaster and rope assemblage

and numbered 0/8

on wooden base

painted bronze

inscribed with the artist's signature

height: 27 ⅞ in.; 71 cm.

height: 21 ¼ in.; 61.6 cm.

Conceived in 1936 and executed in 1971 in an

Conceived in 1938 and cast in bronze in 1968

edition of 10 plus 2 artist's proofs, published

in an edition of 8 plus 2 artist's proofs.

by the Galleria Schwarz, Milan. This work is a unique variant.

$ 120,000-180,000

$ 300,000-500,000

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R I C H A R D P R I N C E U N T I T L E D ( FA S H I O N )

T

“

HAT CAME FROM WORKING FOR TIME-LIFE PUBLICATIONS IN THE TEARSHEET DEPARTMENT, WHERE I WAS FOR SEVERAL YEARS AS A DAY JOB IN THE ’70S AND EARLY ’80S. THE JOB WAS TO TEAR UP THE MAGAZINE, TO GIVE ALL THE EDITORIAL MATERIAL, WHICH WAS CALLED HARD COPIES, TO THE PEOPLE WHO WROTE THE EDITORIAL MATERIAL. AND

AT THE END OF THE DAY WHAT I WAS LEFT WITH WAS SEVERAL MAGAZINES WORTH OF ADVERTISEMENTS. I MADE FILES, RECOGNIZING CERTAIN PATTERNS, CERTAIN COLORS, CERTAIN PRODUCTS THAT I HAD NO FEELING FOR, MOSTLY. IT REALLY BECAME,

BY DEFAULT, A SUBSTITUTE STUDIO. THE ART SUPPLIES WERE THE MAGAZINES. I WAS COLLECTING WINSTON ADS, SALEM AND NEWPORT ADS, MARLBORO. I WOULD LOOK FOR COMMONALITIES IN THE ADS. THE MORE I SAW COMMONALITIES, THE MORE I COULD BELIEVE IN IT.”

RICHARD PRINCE Richard Prince in Randy Kennedy, “Richard Prince: This Ain’t No Retrospective, It’s a Rodeo,” New York Times, online, 2 April 2020 This page LOT 423

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424

YAYOI KUSAMA b. 1929

UNTITLED acrylic on fabric with metal utensil in aluminum tray 13 by 19 by 18 in.; 33 by 48.3 by 45.7 cm.

Executed circa 1964.

$ 120,000-180,000

425

ALINA SZAPOCZNIKOW 1926 - 1973

S C U L P T U R E- B O U C H E signed with the artist's initials and dated 69 (on the underside) tinted polyester resin, glass, lightbulb and metal 18 ½ by 4 ½ by 5 ½ in.; 47 by 11.4 by 14 cm.

Executed in 1969.

$ 150,000-200,000

426

MERET OPPENHEIM, ROBERTO LUPO AND ANNA MARIA LUPO

423

RICHARD PRINCE b.1949

T H E W I S E M A KO N D E H U N T I N G FO R D I S C I P L E S signed Robert lupo / Meret Oppenheim /

U N T I T L E D (FA S H I O N) Ektacolor photograph 40 by 30 in.; 101.6 by 76.2 cm.

Executed in 1982-84, this work is number 1 from an edition of 1.

Anna maria lupo, inscribed CARONA and dated 1971 mixed media height: 26 1/4 in.; 66.7 cm.

Executed in 1971.

$ 40,000-60,000

$ 700,000-1,000,000 190

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N A M J U N E P A I K H O MAGE TO C H ARLOT TE ( NEON C ELLO)

L “

ONG BEFORE THE KOREAN-BORN ARTIST NAME JUNE PAIK BEGAN THE WORK THAT WOULD EARN HIM THE NICKNAME “FATHER OF VIDEO ART,” HE WAS A MUSICIAN. DURING THE LATE 1950S HE STUDIED COMPOSITION AND MUSIC HISTORY IN WEST GERMANY, WHERE HE MET JOHN CAGE, THE AMERICAN AVANT-GARDE COMPOSER AND WRITER. CAGE’S IDEAS ABOUT THE USE OF

NON-MUSICAL SOUND AND CHANCE TECHNIQUES IN COMPOSITION INSPIRED PAIK TO INVENT ACTION MUSIC, A HYBRID FORM THAT COMBINED TAPES AND LIVE SOUNDS WITH PROVOCATIVE THEATRICS.”

JOAN ROTHFUSS Joan Rothfuss in Douglas Fogle and Hanneke Skerath, eds., Making Strange, New York 2021, p.52 Nam June Paik's Homage to Charlotte (Neon Cello) as exhibited in Chara Schreyer's San Francisco home.

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427

NAM JUNE PAIK 1932 - 2006

428

H O M AG E TO C H A R LO T T E (N EO N C E L LO)

LAWRENCE WEINER

3 CRT televisions, neon tubing, transformer, metal wire, acrylic plastic cases and laser disc player 56 by 24 by 26 in.; 142.2 by 61 by 66 in.

Executed in 1995.

$ 100,000-150,000

1942 - 2021

A C LO T H O F C OT TO N FO L D E D O N E WAY TO O B S C U R E FO L D E D A N O T H E R WAY TO E N H A N C E S U B S EQ U E N T LY I R O N E D language and the materials referred to installation dimensions variable Executed in 2008.

$ 70,000-100,000

429

KURT SCHWITTERS 1887 - 1948

OHNE TITEL ( A B S ÄT Z E AU F G R Ü N) painted wood relief 5 ⅝ by 5 ¾ in.; 14.3 by 14.6 cm.

Executed in 1942-45.

$ 50,000-70,000

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J E F F K O O N S H OT DO G

K “

OONS PROVES HIMSELF AT ONCE THE MOST SLAVISH ADHERENT TO DUCHAMP’S LEGACY AND ALSO ITS STRONGEST AND CANNIEST MISINTERPRETER. FOR IF THE FRENCHMAN PROPOSED THAT ANY OBJECT COULD BE ART BY VIRTUE OF THE ARTIST’S DECLARATION ALONE, THEN KOONS MAKES IT SO NOT JUST BY NAMING IT AS SUCH

BUT BY INVESTING ITS DOUBLE WITH THE MOST HARD-WON AND EXACTING MIMETIC METHODOLOGIES.”

SCOTT ROTHKOPF Scott Rothkopf in Jeff Koons: Hulk Elvis, London 2009, p. 40

This page LOT 430

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430

431

JEFF KOONS

PAUL THEK

b. 1955

1933 - 1988

H OT D O G

H U R R A H VAC U I I!!

signed and dated '02 (on the overlap)

acrylic on canvas board

oil on canvas

9 by 12 in.; 23 by 30.5 cm.

108 by 84 in.; 274.3 by 213.4 cm.

Executed circa 1988.

Executed in 2002.

$ 40,000-60,000

$ 1,000,000-1,500,000

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J E A N - M I C H E L B A S Q U I AT U N T I T L E D ( B A D T O O T H A N D I V O R Y )

H “

E CONTINUALLY SELECTED AND INJECTED INTO HIS WORKS WORDS WHICH HELD CHARGED REFERENCES AND MEANINGS—PARTICULARLY TO HIS DEEP-ROOTED CONCERNS ABOUT RACE, HUMAN RIGHTS, THE CREATION OF POWER AND WEALTH, AND THE CONTROL AND VALUATION OF NATURAL ELEMENTS, ANIMALS AND PRODUCE—ALL THIS IN ADDITION

TO REFERENCES TO HIS ETHNIC HERITAGE, POPULAR CULTURE, AND RESPECT OF INFAMOUS FIGURES FROM HISTORY AND THE ENTERTAINMENT WORLD."

RICHARD MARSHALL Richard Marshall in Jean-Michel Basquiat, New York 1993, p. 15

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201

433

ANDY WARHOL 1928 - 1987

CA R C R A S H stamped © ANDY WARHOL (lower right) screenprint on HMP paper 30 ½ by 43 in.; 77.5 by 109.2 cm.

Executed circa 1978, this work is unique.

$ 180,000-250,000

434

ANDY WARHOL 1928 - 1987

U N T I T L E D (M E AT S A N D P O U LT RY ) signed by Frederick Hughes, the executor of the Andy Warhol Estate, and stamped (on the reverse) 6 gelatin silver prints stitched together 31 ½ by 27 ¼ in,; 80 by 69.2 cm.

Executed in 1976-86, this work is unique.

$ 30,000-40,000

432

JEAN-MICHEL BASQUIAT 1960 - 1988

UNTITLED (BA D TO O T H A N D I VO RY ) oil stick and graphite on paper 22 by 30 in.; 55.9 by 76.2 cm.

Executed circa 1984.

$ 1,200,000-1,800,000

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435

436

JOSEPH BEUYS

oil on metal paint bucket, ink on 3 sheets of paper (framed), 4 bars of soap, felt disks and

GERHARD RICHTER

1921 - 1986

needles, glazed ceramic brick, felt wedge,

b. 1932

copper-sulfate on cardboard box in painted

UNTITLED (VITRINE) signed and dated 1960-180 (on the lower edge of the paint can); signed, dated 1970 and inscribed To James Joyce (on a label affixed to the soap); signed and dated 1976 (on a label

wood, steel and glass vitrine 81 ¼ by 86 ¾ by 19⅝ in.; 206.4 by 220.3 by 50 cm.

Executed in 1969-83.

$ 200,000-300,000

AC H T L E R N S C H W E S T E R E N (E I G H T S T U D E N T N U RS E S) signed and dated 1971 (on the reverse of each frame) 8 gelatin silver prints, in artist's

affixed to the underside of the brick); signed

chosen frames

and dated 1969-83 (on the cardboard box)

each: 18 ⅝ by 13 ¾ in.; 47.3 by 34.9 cm.

Executed in 1971-87, this work is unique.

$ 400,000-600,000

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C A R O L B O V E SO L AR FE MIN IN E

T

“

H E SU R FAC E T R E AT M E N T, W H I C H I S SO T H I N , T U R N S T H E WHOLE THING INTO SOMETHING OTHER THAN WHAT IT IS AND IT CREATES A DISTANCE BETWEEN YOU AND IT. AT THE SAME TIME, IT’S VERY IMMEDIATE, PHYSICALLY AVAILABLE FOR YOU.

CAROL BOVE Carol Bove in 57th Biennale di Venezia, Women of Venice, Venice 2017, pp. 34-35

Carol Bove's Solar Feminine as exhibited in Chara Schreyer's Los Angeles home.

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437

439

CAROL BOVE

JEFF WALL

b. 1971

b. 1946

SOL AR FEMININE

PA S S E R BY

powder coated steel

mural-sized gelatin silver print,

55 by 118 ½ by 34⅜ in.; 139.7 by 301 by 87.3 cm.

in artist's frame

Executed in 2013.

98 ⅝ by 132 ⅞ in.; 250.5 by 337.5

$ 200,000-300,000

Executed in 1996, this print is number 2 from an edition of 2.

$ 250,000-350,000

438

RON NAGLE b.1939

I N TA N G I B L E A S S E T S ceramic, catalyzed polyurethane and epoxy resin 4 ⅜ by 6 ½ by 3 ¾ in.; 11.1 by 16.5 by 9.5 cm.

Executed in 2016.

440

LOUISE BOURGEOIS 1911 - 2010

UNTITLED signed and dated 1953 (lower right)

$ 10,000-15,000

ink, charcoal, gouache and graphite on paper 40 by 13 in.; 101.6 by 33 cm.

Executed in 1953.

$ 80,000-120,000

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442

BRUCE NAUMAN b.1941

G O O D B OY, B A D B OY 2 videotapes with color and sound and 2 TVs each TV: 23 by 30 by 21 in.; 58.4 by 76.2 by 53.3 cm.

Executed in 1985, this work is number 36 from an edition of 40.

$ 150,000-200,000

443

ROBERT GOBER b.1954

UNTITLED cast pewter 2 ¾ by 2 ¾ by 1 ¼ in.; 7 by 7 by 3.2 cm.

441

Executed in 1998-2004, this work is number 5 from an edition of 8 plus 2 artist's proofs.

DIANE ARBUS

$ 150,000-200,000

1923 - 1971

A B OX O F T EN P H OTO G R A P H S the photographer's facsimile signature label,

each approximately: 14 ¾ by 14 ¾ in.;

signed by Doon Arbus, the artist's daughter,

37.5 by 37.5 cm.

titled and dated by Neil Selkirk and

Executed in 1962-70, printed in 1971

numbered 14/50 in ink, and stamped

by Neil Selkirk, these prints are number 14

(on the reverse of each), together with

in an edition of 50.

the title and interleaving sheets printed with the photographer's facsimile signature,

$ 300,000-500,000

titles, and dates gelatin silver print, in 10 parts, with the original clear Plexiglas box

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445

ROBERT GOBER b.1954

UNTITLED each signed, dated '93 and numbered (on the reverse of each stack) photolithography on archival paper and twine in 18 bundles, arranged in 5 stacks overall: 21 by 45 ¾ by 25 in.; 53.3 by 116.2 by 63.5 cm.

Executed in 1993, this work is unique.

$ 70,000-100,000

446

DAN FLAVIN 444

FELIX GONZALEZTORRES 1 9 5 7-1 9 9 6

"UNTITLED" print on paper, endless copies 3 ¼ in. at ideal height by 11 by 8 ½ in.; 8.3 by 27.9 by 21.6 cm. (original paper size)

Installed in Sequins.

Shimmer. Rotterdam, Netherlands. 2 Sep. – 5 Dec. 2023. Cur. Eloise Sweetman and Jason Hendrik Hansma Photo: Jhoeko, courtesy of Shimmer, Rotterdam © Estate Felix Gonzalez-Torres, courtesy Felix Gonzalez-Torres Foundation

1933 - 1996

U N T I T L E D (FO R C H A R LOT T E A N D J I M B R O O KS) 2 red and blue fluorescent lights 7 by 96 by 5 in.; 18 by 244 by 12.7 cm.

Executed in 1964, this work is number 1 from an edition of 5 of which 1 was fabricated.

$ 150,000-200,000

Executed in 1991, this work is the artist's proof from an edition of 1 plus 1 artist's proof.

$ 400,000-600,000

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447

449

AGNES MARTIN

LARRY BELL

1912 - 2004

b.1939

UNTITLED

UNTITLED

signed and dated '60 (on the verso)

glass with metal binding, with Plexiglas base

ink on paper

sculpture: 20 by 20 by 20 in.

image: 8 ⅞ by 8 ⅞ in.

50.8 by 50.8 by 50.8 cm.;

22.5 by 22.5 cm.;

base: 35 by 20 by 20 in.

sheet: 11 ¾ by 9 ⅜ in.

88.9 by 50.8 by 50.8 cm.

29.8 by 23.8 cm.

Executed in 1969.

Executed in 1960.

$ 100,000-150,000

$ 100,000-150,000

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448

450

ANNE TRUITT

CARL ANDRE

1921 - 2004

b. 1935

S H E A R N O. 6

C O N Q U E S T D I S P L AYO C TO B E R 1 9 6 5 A N D R E

signed, titled and dated 7 June '76

signed and dated 1965 (lower right)

(on the verso)

typewriter carbon and graphite

acrylic on paper

on parchment paper

22 by 30 in.; 55.9 by 76.2 cm.

11 by 9 ½ in.; 27.9 by 24.1 cm.

Executed in 1976.

Executed in 1965.

$ 20,000-30,000

$ 10,000-15,000

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451

453

SOL LEWITT

DEWAIN VALENTINE

1928 - 2007

1936 - 2022

WA L L D R AW I N G # 1 1 4 , A R C S F R O M FO U R C O R N E RS AND THE MIDPOINTS O F FO U R S I D E S ( AC G 4 8)

C O L U M N M AU V E

black colored pencil wall drawing installation dimensions variable Executed in 1971.

cast polyester resin 72 by 23 ½ by 17 ⅞ in.; 183 by 60 by 45.4 cm.

Executed in 1968.

$ 50,000-70,000

$ 180,000-250,000

452

PIERO MANZONI 1933 - 1963

AC H R O M E cotton wool squares 15 1/2 by 11 1/4 in.; 39.4 by 28.6 cm.

Executed circa 1960.

$ 150,000-200,000

454

FRED SANDBACK 1943 - 2003

UNTITLED (P L A N E C O N S T R U C T I O N [TRIANGLE]) red and black acrylic yarn Installation dimensions variable Executed in 1997.

$ 100,000-150,000

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W I L L E M D E K O O N I N G STAN DIN G FIGURE

T

HERE CAN HARDLY EVER HAVE BEEN SCULPTURES MADE IN WHICH THE ENGAGEMENT WITH THE MATERIAL IS MORE RAWLY EXPOSED. AND ONE CANNOT ESCAPE THE FEELING THAT SOMEHOW THE WORK STARTS WITH THIS ENGAGEMENT, STARTS WITH IT AND ENDS WITH IT TOO. IN OTHER WORDS, THE GESTURES, THE ROLLING, PINCHING, GOUGING, FLINGING

ACTIONS THAT ONE IS CONTINUALLY READING AS ONE MOVES AROUND EACH PIECE ARE NOT AGITATIONS OF THE SURFACE OF THE PIECE BUT RATHER THE CRESTS OF VIOLENT ACTIONS THAT GO TO ITS VERY CENTER.”ºº

ANDREW FORGE Andrew Forge, Willem de Kooning Sculpture, New York 1996, p. 37

This page LOT 455

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456

JOEL SHAPIRO b.1941

UNTITLED bronze, in 2 parts figure: 64 by 71 by 36 in.

162.6 by 180.3 by 91.4 cm.; house: 34 by 32 by 22 in.

86.4 by 81.3 by 56 cm.

Executed in 1991, this work is number 2 from an edition of 3. ∏ $ 250,000-350,000

457

ARTHUR DOVE 1880 - 1946

L A N D S CA P E signed (lower center) gouache and ink on paper 5 by 7 in.; 12.7 by 17.8 cm.

Executed in 1941.

$ 30,000-50,000

458

JOSEPH STELLA

455

1877 - 1946

WILLEM DE KOONING 1904 - 1997

S TA N D I N G F I G U R E

BUILDING IN CONSTRUCTION signed (upper left and right); signed and titled (on the backing board) watercolor and graphite on paper 13 ¾ by 10 ½ in.; 34.9 by 26.7 cm.

incised with the artist's signature, date 1969/80 and number AP 2/3

$ 12,000-18,000

(on the lateral edge) bronze 32 ½ by 56 by 11 in.; 82.6 by 142.2 by 27.9 cm.

Conceived in 1969 and cast in 1980, this work is artist's proof 2 from an edition of 9 plus 3 artist proofs.

$ 1,000,000-1,500,000

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459

LOUISE LAWLER b. 1947

U N T I T L E D (G O L D JAC K I E ) signed, dated 1993 and numbered 5/5 (on the verso) c-print, in artist's chosen frame 27 ¾ by 27 in.; 70.5 by 68.6 cm.

Executed in 1993, this work is number 5 from an edition of 5.

$ 20,000-30,000

460

CHRISTIAN MARCLAY b. 1955

FACA D E F R O M T H E B O DY M I X S E R I E S) signed and dated 1991 (on the reverse) 3 record album covers stitched with thread, in artist's chosen frame 27 ¼ by 16 ¼ in.; 69.2 by 41.3 cm.

Executed in 1991.

$ 40,000-60,000

461

TINA MODOTTI 1896 - 1942

L A T ÉC H N I CA (M E L L A' S T Y P E W R I T E R) signed, annotated, and dated Mexico - 1928 in ink (on the reverse) gelatin silver print 9 ½ by 7 ½ in.; 24.1 by 19.1 cm.

Executed in 1928.

$ 120,000-180,000 222

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G I L B E R T & G E O R G E BL AC K STARE

W

E WANT PEOPLE TO BRING THEIR LIFE TO OUR EXHIBITIONS, NOT THEIR KNOWLEDGE OF ART. TRUE ART HAS TO OVERCOME AND SPEAK ACROSS THE BARRIERS OF KNOWLEDGE. WE ARE OPPOSED TO ART THAT IS ABOUT ART. A LOAD OF STRING STUCK ON A WALL ISN'T ART -- IT'S A TRICK. WE BELIEVE

THAT ART HAS A REAL FUNCTION TO ADVANCE CIVILIZATION."

GILBERT & GEORGE Gilbert & George in Gilbert & George: The Complete Pictures 1971-1985, Bordeaux 1986, p. XXXIII Gilbert & George's Black Stare as exhibited in Chara Schreyer's San Francisco home.

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462

GILBERT AND GEORGE B. 1943 AND B. 1942

B L AC K S TA R E gelatin silver print with glass cover on cardboard with black taped framed, in 31 parts overall: 61 ½ by 45 ⅞ in.; 156.2 by 116.5 cm.

Executed in 1973.

$ 250,000-350,000

463

STUART DAVIS 1892 - 1964

A B S T R AC T I O N I N H I G H K E Y signed (lower left); inscribed (on the verso) gouache and graphite on paper 11 ¾ by 9 ⅛ in.; 29.9 by 23.2 cm.

Executed circa 1931.

$ 70,000-100,000

464

MARTIN KIPPENBERGER 1953 - 1997

AM ORT SCHWEBENDE FEINDE G I LT E S Z U B E F E S T I G E N AU S D E R S E R I E D I E I . N . P.- B I L D E R signed with the artist's initial K and dated 84 (lower right); titled (center) acrylic, spray paint and silicone on canvas 62 ¾ by 52 in.; 160 by 133 cm.

Executed in 1984.

$ 350,000-450,000 226

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This page LOT 465, LOT 470, LOT 111

Richard Artschwager's Doors II (left), Pae White's Gutter Leaves, Pasadena (center) and Mark Bradford's A Thousand Daddies (right), as exhibited in Chara Schreyer's Los Angeles home.

465

466

RICHARD ARTSCHWAGER

SIGMAR POLKE

1923 - 2013

1941 - 2010

UNTITLED signed and dated 68 (lower right)

D O O RS I I

gouache, India ink and spray paint on paper

signed, titled and dated '73

37 ¾ by 25 in.; 95.9 by 63.5 cm.

(on the reverse of each)

Executed in 1968.

acrylic on Celotex in artist's frames, in 6 parts i, ii, iv, vi: 26 by 32 in.; 66 by 81.3 cm.

$ 70,000-100,000

iii, v: 32 by 26 in.; 81.3 by 66 cm.

Executed in 1973.

$ 150,000-200,000

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467

WADE GUYTON AND KELLEY WALKER

469

HASSAN SHARIF 1951 - 2016

b. 1972 and b. 1969

S P O O N S N O. 3

UNTITLED

spoons and copper

70 cast coconuts, electrical wiring and light

Executed in 2012.

bulbs 62 by 30 by 31 in.; 157.5 by 76.2 by 78.7 cm.

overall: 27 ⅝ by 31 ⅞ in.; 70.2 by 80.9 cm,

$ 20,000-30,000

Executed in 2009, this work is unique.

$ 30,000-40,000

468

KEITH TYSON

470

PAE WHITE

b.1969

b.1963

S T U D I O WA L L D R AW I N G : D O M E S T I C PA I RS - L A M P S

G U T T E R L E AV E S , PA S A D E N A

signed (on the reverse of the frame)

installation dimensions variable

acrylic, gouache, felt-tip pen, tape and paper

Executed in 2009-11.

collage on paper, in artist's chosen frame 61 ¾ by 49 ½ in.; 80.6 by 125.7 cm.

canvas, metal and soot

$ 20,000-30,000

Executed in 2000.

$ 8,000-12,000

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Liz Larner's Planchette as exhibited in Chara Schreyer's Los Angeles home.

This page LOT 471

471

473

LIZ LARNER

ALLEN RUPPERSBERG

b.1960

PLANCHETTE acrylic and papier-mâché on aluminum 61 ½ by 84 by 36 in.; 156.2 by 213.4 by 91.4 cm.

Executed in 2010.

$ 40,000-60,000

b.1944

UNTITLED POSTER OBIT ( A L I G H I E R O E B O E T T I) 5 hand-stamped ink on commercially printed poster boards each: 22 by 14 in; 55.9 by 35.6cm.

Executed in 2006.

$ 10,000-15,000

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474

ED RUSCHA

RICHARD PRINCE

b.1937

b.1949

T H E C O M P L E T E C O L L EC T I O N O F F I RS T E D I T I O N A R T I S T ' S B O O KS

UNTITLED (J O K E D R AW I N G , J E W I S H M A N)

variously signed and inscribed, in 19 parts

signed and dated '86 (on the verso)

largest: 12 ½ by 11 ⅜ by 1 ½ in.; 31.7 by 28.7 by

ink on paper

3.8 cm.

7 ¼ by 11 ½ in.; 18.4 by 29.2 cm.

Executed in 1962-72.

Executed in 1986.

$ 50,000-70,000

$ 8,000-12,000

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476

HEDDA STERNE 1910 - 2011

UNTITLED signed and dated 1955 (lower right) watercolor on paperboard 13 ⅜ by 9 ¾ in.; 34 by 24.8 cm.

Executed in 1955.

$ 8,000-12,000

475

477

ROBERT RAUSCHENBERG

JACK WHITTEN

1925 - 2008

D R AW I N G FO R A M E R I CA N C H E S S FO U N DAT I O N signed, titled and dated 1965 (on the reverse) solvent transfer, graphite, gouache, printed paper collage, tape and dirt on 2 joined

1939 - 2018

CRUSHED GRID signed, titled and dated 2013 (on the reverse) acrylic on canvas 63 by 103 in.; 160 by 261.6 cm.

Executed in 2013.

$ 250,000-350,000

illustration boards 20 by 30 in.; 50.8 by 76.2 cm.

Executed in 1965.

$ 250,000-350,000

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478

FRANZ WEST

480

SEAN SCULLY

1947 - 2012

b. 1945

SITZWUSTE

UNTITLED

lacquered aluminum

signed and dated 5.22.87 (lower right)

22 ¾ by 167 by 26 ¾ in.;

gouache on paper

57.8 by 424.2 by 67.9 cm.

12 by 18 in.; 30.5 by 45.7 cm.

Executed in 2000.

Executed in 1987.

∏ $ 250,000-350,000

$ 20,000-30,000

479

481

GÜNTHER FÖRG

JAY DEFEO

1952 - 2013

1929 - 1989

UNTITLED

UNTITLED

signed and dated 19/92 (on the reverse)

dated Jan 26 '73 and illegibly inscribed

acrylic and lead on wood

(on the verso)

59 by 43 ¼ in.; 149.9 by 109.9 cm.

gelatin silver print

Executed in 1992.

image: 8 ¾ by 6 ¼ in. 22.2 by 15.9 cm.

$ 120,000-180,000

sheet: 10 by 8 in. 25.4 by 20.3 cm.

Executed in 1972-73.

$ 12,000-18,000

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482

484

JOSEPH BEUYS

RICHARD PRINCE

1921 - 1986

b.1949

S C H L I T T E N (S L E D)

UNTITLED (FO U R WO M E N LO O K I N G I N T H E S A M E D I R EC T I O N)

signed (on the sled); stamped 37 and dated 1969 (on a label affixed to the sled) felt blanket, fabric straps with metal buckles,

signed, dated 1977 and numbered 2/10

flashlight and fat on wooden sled

(on the reverse of each)

16 by 35 ½ by 13 ¼ in.; 40.6 by 90.2 by 33.7 cm.

Ektacolor prints, in 4 parts

Executed in 1969, this work is number 37 from

each: 20 by 24 in.; 50.8 by 61 cm.

an edition of 50 plus 5 hors de commerce.

Executed in 1977, this work is number 2

$ 120,000-180,000

from an edition of 10.

$ 250,000-350,000

483

ROBERT GOBER

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CINDY SHERMAN

b.1954

b. 1954

UNTITLED

UNTITLED FILM STILL #27

signed, numbered 6/12 and dated 1976

signed, dated 1979, and numbered 6/10

(on the verso)

in pencil (on the reverse)

pigmented ink print

gelatin silver print

8 by 10 in.; 20.3 by 25.4 cm.

9 ⅜ by 6 ½ in.; 23.8 by 16.5 cm.

Executed in 1976, this work is number 6

Executed in 1979, this print is number 6 from

from an edition of 12.

an edition of 10 plus 2 artist proofs.

$ 8,000-12,000

$ 80,000-120,000

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486

488

THOMAS STRUTH

GUY PÈNE DU BOIS

b. 1954

1884 - 1958

PA N O R A M A I (B E AU G R E N E L L E , PA R I S)

T H E L AT E H O U R

signed, titled, dated 1979, and numbered 6/10

oil on canvas

in pencil (on the reverse)

16 by 20 in.; 40.6 by 50.8 cm.

ferrotyped gelatin silver print 23 ⅝ by 33 ⅛ in.; 65.1 by 84.1 cm.

signed (lower left)

$ 60,000-80,000

Executed in 1979 and printed in 1994, this print is number 6 from an edition of 10.

$ 15,000-25,000

487

FRANCESCA WOODMAN 1958 - 1981

M AC D OW E L L C O LO N Y, S U M M E R titled and dated MacDowell Summer '80 in pencil, signed by George Woodman in pencil and with the Printed by Francesca

489

BEVERLY PEPPER 1922 - 2020

S I L E N C E O F T H E DA R K steel 116 ¾ by 7 by 7 in.; 296.5 by 18 by 18 cm.

Executed in 1982. ∏ $ 40,000-60,000

Woodman estate stamp (on the reverse) gelatin silver print 5 by 5 in.; 12.7 by 12.7 cm.

Executed in 1979-80.

$ 25,000-35,000

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490

492

ROBERT HEINECKEN

SARAH MORRIS

1931 - 2006

b. 1967

F I G U R E C U B E A B S T R AC T E D

P O TO M AC PA R K WAY [CA P I TA L]

signed, titled and dated '66 in ink

signed titled and dated 2001 (on the overlap)

(on the underside of the stand)

household gloss paint on canvas

gelatin silver prints on a wood block

84 by 84 in.; 213.4 by 213.4 cm.

overall: 4 ¼ by 4 ¼ by 6 in.; 10.8 by 10.8 by

Executed in 2001.

15.2 cm.

$ 40,000-60,000

Executed in 1966.

$ 10,000-15,000

491

493

JOHN BALDESSARI

HANNAH WILKE

b.1931

1940 - 1993

R E P O S I TO RY ( Y E L LOW/ V I O L E T )

U N T I T L E D (G R O U P O F T H R E E S C U L P T U R E S)

inscribed in felt-tip pen B (on the underside) ceramic bedpan, painted in colors and

glazed ceramic

partially glazed

i: 3 by 4 ½ by 5 ½ in. ii: 2 ¾ by 4 by 6 ½ in.

overall: 16 ⅜ by 12 ⅜ by 5 in., 41.5 by 31.3 by

iii: 3 ½ by 4 by 7 in.;

12.7 cm.

i: 7.6 by 11.4 by 14 cm. ii: 7 by 10.2 by 16.5 cm.

Executed in 2002; this example is an artist's

iii: 8.9 by 10.2 by 17.8 cm.

proof aside from the edition of 48; published

Executed in 1978-79.

by Brain Multiples.

$ 10,000-15,000

$ 3,000-5,000

Copyright Marsie, Emanuelle, Damon, and Anrew Scharlatt, Hannah Wilke Collection & Archive, Los Angeles. Licensed by VAGA at Artists Rights Society (ARS), New York.

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HOW TO BID

CONDITIONS OF BUSINESS FOR BUYERS for New York Sales (formerly referred to as “Conditions of Sale”) 1.

Introduction

In these Conditions of Business for Buyers, “we”, “us” and “our” refers to Sotheby’s, Inc. and “you” and “your” refer to Bidders and Buyers. For New York Wine & Spirits auctions, “we”, “us” and “our” refers to both Sotheby’s, Inc. and Sotheby’s Wine. If you are an agent acting on behalf of a principal, “you” and “your” refer to both principal and agent. Capitalized terms will have the meaning set out in Condition 2.

These Conditions of Business for Buyers are the terms and conditions applicable to Bidders and Buyers in our New York auctions (both live and timed auctions).

The Conditions of Business for Buyers include the Authenticity Guarantee and any other additional conditions that are expressly stated as applicable to a sale, and they may be amended by any oral or written announcement or notice prior to or during the sale.

Our and the Seller’s relationship with Buyers and any Bidders in relation to the Lots offered in a sale is governed by these Conditions of Business for Buyers and the express representations and warranties and indemnity given by the Seller. In relation to a sale, where applicable, any reference by us to “Conditions of Sale” or “Terms of Guarantee,” should be understood to mean these Conditions of Business for Buyers and the Authenticity Guarantee, respectively. A sale contract is made directly between the Seller and the Buyer. In some cases, we act as agent for the Seller, and in some cases a Sotheby’s Group Company may own a Lot and/ or may have a legal, beneficial or financial interest in a Lot as a secured creditor or otherwise. For New York Wine & Spirits auctions, Sotheby’s Wine acts as agent for the Seller (though in some cases a Sotheby’s Group Company may own a Lot and/or may have a legal, beneficial or financial interest in a Lot as a secured creditor or otherwise), and Sotheby’s Inc. conducts the auction.

By registering for an auction, including through our Online Platforms, you agree to be bound by these Conditions of Business for Buyers.

1. BROWSE

2. REGISTER

3. BID

Go to sothebys.com or the Sotheby’s app to find works you are interested in.

Sign up to place bids.

Bid before and during the auction, from anywhere in the world.

We may change these Conditions of Business for Buyers from time to time in our sole discretion, without notice to you or to the Seller, by posting such changes on the Sotheby’s website at www.sothebys.com. It is your and the Seller’s responsibility to periodically check the Conditions of Business for Buyers for changes by clicking the link “Conditions of Business.” You will know if these Conditions of Business for Buyers have been revised since your last review by referring to the “Last Modified” date at the bottom of this page. If you do not agree to the current Conditions of Business for Buyers, you should refrain from registering to bid in an auction.

2. Defined Terms Authenticity Guarantee: the guarantee we provide as principal to the Buyer in relation to a purchased Lot, as set out in Condition 15. In relation to a sale, where applicable, any reference by us to the “Terms of Guarantee” should be understood to mean the Authenticity Guarantee.

Bidder: any person or entity registered to bid in a sale.

Buyer: the buyer of record of a Lot.

FOR ASSISTANCE WITH REGISTRATION AND BIDDING Enquiries@sothebys.com US +1 212 606 7000 UK +44 (0) 20 7293 5000 HK +852 2822 8142

Buyer’s Expenses: any costs or expenses, plus any applicable VAT, due to us from the Buyer in respect of the purchase of a Lot. Buyer’s Premium: the commission the Buyer must pay to us as part of the Purchase Price for auction Lots.

The Buyer’s Premium rate is subject to change at any

time. The current Buyer’s Premium rate for all auctions except Wine & Spirits is 26% of the Hammer Price for a Hammer Price up to and including $1,000,000, 20% of any amount of the Hammer Price in excess of $1,000,000 up to and including $4,500,000, and 13.9% of any amount of the Hammer Price in excess of $4,500,000. For Wine & Spirits auctions, the Buyer’s Premium rate is 24% of the Hammer Price for all Lots.

Buyer’s Premium is subject to any applicable VAT and/ or sales or use tax.

Catalogue: the list of Lots offered in a sale and associated information, available on our website, any Sotheby’s Group application and, in some cases, in printed form.

Hammer Price: for each auction Lot sold, the last price accepted for the Lot by the auctioneer or acknowledged by the Sotheby’s online bidding system, or in the case of a post-auction sale, the agreed sale price.

Lot: an item (or more than one item grouped as one) of property offered for sale. In some cases, a Lot may be, or may be accompanied by, an experience (an “Experience”). A Lot may be or include an NFT (or more than one NFT), and the term “NFT” may be used to refer to any such Lot. NFT: a non-fungible token established on a blockchain.

Online Platforms: our websites, any Sotheby’s Group application, and any other online means through which we enable Bidders to bid on Lots in our sales.

Overhead Premium: the fee the Buyer must pay to us as part of the Purchase Price for auction Lots, as an allocation of overhead costs relating to our facilities, property handling and other administrative expenses.

The Overhead Premium rate is subject to change at any time. The current Overhead Premium rate is 1% of the Hammer Price. Overhead Premium is subject to any applicable VAT and/or sales or use tax.

Parcel: a group of Lots of the same type and quantity of wine. There may be some discrepancies between the different Lots in a Parcel with respect to level, condition or otherwise, as set out in the catalogue descriptions for each Lot. Purchase Price: for auction Lots, the Hammer Price plus the Buyer’s Premium, Overhead Premium, any applicable VAT and/or sales or use tax, and any applicable artist resale right royalty payable by the Buyer on a qualifying Lot. Referenced Content: with respect to an NFT, the metadata (excluding any legal terms and conditions embedded or referenced therein), content, digital asset and/or physical item, if any, to which the NFT relates.

Reserve: the confidential minimum Hammer Price at which an auction Lot can be sold.

Seller: the person(s) or entity(ies) on whose behalf we are offering a Lot for sale. Where a Sotheby’s Group Company owns a Lot, Sotheby’s acts in a principal capacity as Seller.

Sotheby’s, Inc.: the company incorporated in New York, with its headquarters at 1334 York Avenue, New York, NY 10021.

Sotheby’s Group: Sotheby’s Holdings UK Limited and any entities in which it holds, from time to time, directly or indirectly, more than 50% of the issued share capital; and each, a “Sotheby’s Group Company.”

Sotheby’s Wine: the company incorporated as 72nd and York Inc., a wholly owned subsidiary of Sotheby’s, Inc., d.b.a. Sotheby’s Wine.

VAT: any applicable Value Added Tax or goods and services tax, or an amount in lieu of Value Added Tax or goods and services tax, as the case may be, at the prevailing rate.

3. The Lots (a) All Lots are offered for sale in the condition they are in at the time of the sale. You acknowledge that many Lots are of an age and type such that they are not in perfect condition. Catalogue descriptions and condition reports may refer to imperfections of a Lot or Referenced Content, but Lots or Referenced Content may have other faults not expressly referred to in the Catalogue or condition report. Illustrations are for identification purposes only and may not convey full information as to the actual condition of a Lot or Referenced Content. (b) You accept responsibility for carrying out your own inspections and investigations of Lots in which you may be interested. You should inspect a Lot before bidding to determine and to satisfy yourself as to its condition, size, description and whether it has been repaired or restored, as applicable, and we accept bids on Lots solely on this basis. Condition reports may be available to assist when inspecting Lots. Lots may be available for viewing in person at our premises or another location and viewing information will be available on our website. For any NFT Lot, in addition to the foregoing, you are solely responsible for reviewing and inspecting the smart contract, if available, prior to your purchase. (c) You acknowledge that our knowledge of each Lot is partially dependent on information provided by the Seller, and we are not able to and do not carry out exhaustive due diligence on each Lot. Information provided to you regarding any Lot, including any estimates, information in the Catalogue, condition reports, or information in respect of the age of handcoloring in maps, atlases or books, is a matter of opinion only and not a representation of fact. This information is dependent upon, among other things, the condition of the Lot, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion, research and scientific or technical analysis at the time of cataloguing. Any estimates should not be relied upon as a prediction of the selling price or value of a Lot and may be revised from time to time in our absolute discretion. (d) If the Lot is an NFT, you acknowledge and agree that our staff are not information technology or data experts, and that by bidding in the auction of the NFT, or otherwise purchasing or acquiring the NFT, you accept that NFTs are subject to inherent technological risks which may affect their performance now or in the future. You further acknowledge and agree that the characterization and regulatory scheme governing NFTs, cryptocurrencies, and blockchain technology is uncertain and undetermined, that your purchase and/or receipt of the NFT complies with applicable laws and regulations in your jurisdiction, and that new regulations or policies may materially adversely affect the sale or resale of the NFT. (e) If the Lot is an NFT, you acknowledge and agree that the NFT may be subject to resale royalties, including to a Sotheby’s Group Company, through application of the smart contract or other technical solution on any subsequent resales of the NFT. On any such resale by you, you may be obligated to collect and remit to the appropriate party resale royalties as applicable, and you are responsible for any network fees and/or gas fees that may apply to such payments as well as any transaction duties imposed by law.

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(f) We reserve the right to withdraw any Lot from an auction or to cancel an auction, whether prior to or during the auction, and we will not be liable to you for any claims, causes of action, liabilities, damages, losses, or expenses in connection with such withdrawal or cancellation. (g) Unless otherwise specified, all auction Lots are offered subject to a Reserve. The Reserve for a Lot cannot exceed the Lot’s low estimate. In a timed auction, you acknowledge that we may reduce the Reserve for any Lot at any time during the auction, provided it has been agreed with the Seller prior to any such reduction. (h) Each Lot offered will be referenced by its Lot number assigned in the Catalogue. Unless we specify otherwise, bids must be on a per-Lot basis. (i) Experiences will be fulfilled by the relevant entity or entities specified in its description in the Catalogue.

We do not plan, host, operate, fulfill, endorse, verify, vouch for, investigate or vet any Experience. For each Experience, any incidental costs and expenses such as fees for travel, food or lodging are the sole responsibility of the Buyer unless otherwise expressly stated in the Experience description. (j) The Buyer is solely responsible for identifying and obtaining any necessary export, import, firearm, endangered species or other permit for a purchased Lot. Any symbols or notices in the Catalogue reflect our reasonable opinion at the time of cataloguing and are included for informational purposes only. Without prejudice to Condition 3(k), neither we nor the Seller make any representations or warranties as to whether any Lot is subject to export or import restrictions or any embargoes. The denial of any permit or license will not justify cancellation or rescission of the sale or excuse any delay in payment. We will not deliver a firearm to a Buyer unless the Buyer has first supplied evidence to our satisfaction of compliance with this Condition. (k) DISCLAIMER OF WARRANTIES: (i) All Lots are offered for sale “AS IS,” without any guarantee, representations or warranties by us or the Seller, except for the express representations and warranties given by the Seller and the Authenticity Guarantee, which we, as principal, provide to the Buyer.

We and the Seller disclaim all implied warranties, including but not limited to merchantability and fitness for a particular purpose, except in so far as such obligations cannot be excluded by law.

Neither we nor the Seller give you any guarantee, representation or warranty as to the correctness of the Catalogue or other images or descriptions of the condition, completeness, size, quality, rarity, value, importance, medium, frame, provenance, exhibition history, or literary or historical relevance of any Lot, and no statement anywhere, whether oral or written, will be deemed such a warranty, representation or assumption of liability. Except as expressly set forth elsewhere in these Conditions of Business for Buyers, neither we nor the Seller make any representations or warranties as to whether any Lot is subject to copyright or whether the Buyer acquires any copyrights, including but not limited to, any reproduction rights in any Lot. (ii) In the case of NFTs, in addition to the above and except for the express representations and warranties given by the Seller and the Authenticity Guarantee, which we, as principal, provide to the Buyer, neither we nor the Seller make any representations or warranties as to the following: (1) whether the NFT or any Referenced Content is subject to copyright; (2) the nature, character, contents, condition, behavior, operation, performance, security, integrity, metadata,

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persistence, quality, technical details or terms of the smart contract, NFT or the Referenced Content, including without limitation any further iterations of the same; (3) that the smart contract, NFT or Referenced Content or the delivery mechanism for the NFT does not contain vulnerabilities, viruses or malware or other harmful components, or that either will function as any bidder or Buyer expects or without error or mistake; (4) the uniqueness of the Referenced Content; (5) that the NFT is reliable, correctly programmed, compatible with your or others’ computer systems, up-to-date, error-free, compatible with your digital wallet or meeting your requirements, or that defects in the NFT can or will be corrected; or (6) the accuracy or reliability of any simulation or videos depicting the intended performance of the NFT or the Referenced Content, whether displayed on our websites or on any other platform.

4. Buyer Representations and Warranties (a) You represent and warrant to us and the Seller that at all relevant times: (i) your bids on any Lot are genuine and are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with any applicable antitrust laws; (ii) your performance under these Conditions of Business for Buyers has not and will not violate any applicable law, regulation or code in any jurisdiction; (iii) regarding any Lots containing alcoholic beverages, where required by applicable law, you are properly licensed, permitted or otherwise authorized to purchase, receive, possess and/or cause to transport alcoholic beverages; (iv) your purchase of a Lot and, if you are acting as an agent on behalf of a principal, the arrangement between you and your principal, will not facilitate tax crimes; (v) you have no knowledge or reason to suspect that (1) the funds used to purchase a Lot are connected with the proceeds of criminal activity, or (2) you or your principal, if applicable (or, if you are an entity, any person(s) or entity(ies) with a beneficial or ownership interest in you), are under investigation, charged with, or convicted of any substantive or predicate money laundering or economic sanctions crime, terrorist activity, tax evasion or act in violation of any antibribery or anti-corruption laws or regulations; (vi) you (and your principal, if applicable) are not, nor are you (or your principal, if applicable) owned (in whole or in part), controlled, or acting on behalf of, an entity or individual that is: (1) the subject of economic sanctions, embargoes or other trade restrictions in any jurisdiction, including those administered and enforced by the United States, European Union or any of its member states, United Kingdom, United Nations Security Council, or other applicable sanctions authority (collectively, “Sanctions”), or (2) located, organized, or resident in a country or territory that is the subject of Sanctions (including Crimea, Cuba, Iran, North Korea, Syria, the Russian Federation and Belarus) (collectively, “Sanctioned Jurisdictions”); (vii) you (and your principal, if applicable) are currently in compliance, and for the past five years have complied, with applicable Sanctions, anti-money laundering, anti-terrorism, and anti-bribery or anticorruption laws; (viii) the Purchase Price will not be funded directly or indirectly by or from anyone that is the subject of Sanctions or located, organized, or resident in a Sanctioned Jurisdiction;

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(ix) no party directly or indirectly involved in the transaction is the subject of Sanctions or is owned (in whole or in part) or controlled by any individual or entity that is the subject of Sanctions or otherwise located, organized, or resident in a Sanctioned Jurisdiction, except as expressly authorized in writing by the government authority having jurisdiction over the purchase and with our prior express written consent; (x) if you are acting as agent on behalf of a principal, you have taken steps reasonably designed to ensure compliance with Sanctions, anti-money laundering, anti-terrorism, and anti-bribery or anti-corruption laws, including but not limited to, conducting appropriate due diligence on your principal and screening source of funds. You will retain and make available upon request the documentation evidencing such due diligence for at least five years after the purchase, and all commissions payable to you for this consignment have been authorized by your principal; (xi) your purchase will not cause (or otherwise result in) us, Sellers, or anyone else to violate any Sanctions, anti-money laundering, anti-terrorism, or anti-bribery or anti-corruption laws; and (xii) you have full legal authority without any further action or other party’s consent to enter into and perform under these Conditions of Business for Buyers and to give these representations and warranties; if you are an entity, the individual bidding on your behalf is authorized to do so and the entity is duly incorporated or formed, validly existing and in good standing in the jurisdiction where it is incorporated or formed. (b) We may, in our sole discretion, rescind the sale of a Lot if we reasonably determine that (i) any of the Seller’s representations or warranties is inaccurate, incomplete or breached; or (ii) the sale has subjected or might subject us or the Seller to liability.

5. Indemnity You shall indemnify and hold us, each Sotheby’s Group Company, our and their respective officers and employees, and the Seller harmless against any and all claims, causes of action, liabilities, damages, losses, and expenses (including but not limited to reasonable attorneys’ fees), arising out of or in connection with any inaccuracy, incompleteness or breach of any of your representations or warranties or breach of your obligations under these Conditions of Business for Buyers to the fullest extent permitted by law.

6. Bidding (a) You must create an account and provide the requested information in order to bid. We may require financial references, guarantees, deposits or other security, as we determine necessary or appropriate. (b) To bid on a Lot containing an NFT, you must have a digital wallet capable of supporting and accepting the NFT. (c) To bid on any auction Lot designated as a “Premium Lot,” you must complete the required Premium Lot pre-registration application. We must receive your application at least 3 business days prior to the commencement of the auction, and our decision whether to accept your application will be final. Online bidding may not be available for Premium Lots. (d) We advise Bidders to place their bids directly, either in person at the auction (where available) or through our Online Platforms. If you elect to bid or to participate in an auction held through an Online Platform, you are responsible for making yourself aware of all salesroom notices and announcements, which will be available on the Online Platforms.

(e) We also accept written bids and telephone bids, by arrangement with the Bids Department. A written bid, also known as an absentee bid, is where a Bidder submits a maximum bid ahead of a live auction, which will be executed on the Bidder’s behalf by the auctioneer at the lowest bid increment possible, as may be determined at the auctioneer’s discretion, and never for more than the maximum amount the Bidder indicates. Written bids and telephone bids are offered as a courtesy for no additional charge, at the Bidder’s risk and subject to our other commitments at the time of the auction. We will seek to carry out written bids, endeavoring to ensure that the first received of identical written bids has priority. We will not accept liability for failure to place written or telephone bids. (f) For certain sales, Bidders are permitted to submit via the Online Platform a maximum bid before the start of a live auction (an “Advance Bid”). Advance Bids will be executed on your behalf automatically up to your predefined maximum value in response to other bids placed on the Lot, including bids placed by us on behalf of the Seller, up to the amount of the Reserve (if applicable). The current leading bid will be visible to all Bidders; the value and status of your Advance Bid will be visible only to you, unless it is the leading bid. Once the live auction begins, the auctioneer will open bidding at the current leading bid. The system will continue to bid on your behalf up to your predetermined maximum bid, or you may continue to bid via the Online Platforms during the live auction at the next increment. (g) All bidding will be in the currency of the sale location. As a courtesy to Bidders, a currency board is operated in many salerooms for live auctions for informational purposes only. Online Bidders will not be able to see any such currency conversion board that may be displayed in the auction room. (h) We reserve the right to refuse or revoke permission to bid before or during a sale for any reason. For live auctions with bidding in person, we may refuse admission to the auction. For timed auctions, we also reserve the right to deactivate your account at any time prior to, during, or after an auction. (i) For timed auctions, live auctions with Advance Bidding, and online sales, you may cancel a bid after you place it only if (i) the description of or the condition report for the Lot has been materially revised after the bid was placed; or (ii) a notice regarding the Lot has been posted on our website after the bid was placed.

Other than in the foregoing limited circumstances, you agree that any bid you place, regardless of the means by which you have done so, is final and you will not be permitted to amend or retract it. For all auctions and sales, should your bid be successful, you irrevocably agree to pay the full Purchase Price and any applicable Buyer’s Expenses. We are not responsible for any errors that you make or that are made through your Sotheby’s account in placing a bid on a Lot. 7.

Conduct of an Auction

(a) An auction is by its nature fast-moving and bidding may progress very quickly. In a live auction, the auctioneer will commence and advance the bidding at levels and in increments the auctioneer considers appropriate (including by reference to any advance bids made). The auctioneer has discretion to vary bid increments in the auction room and on the telephone but Bidders using Online Platforms may not be able to place a bid that is less than a whole bidding increment above the previous bid. (b) In a timed auction, bidding opens at an amount that is at or below the low estimate for the Lot and escalates in bid increments that we determine. We may vary the amount of the bid increments during a timed

auction. Lots will be closed sequentially, either by the online system or, in some cases, by a live auctioneer. If closed by the online system, Lots will close sequentially in 30-second or one-minute intervals (as indicated on the sale page) unless a bid is placed within one minute of a Lot’s scheduled closing time, in which case we will extend the sale of that Lot by two minutes from the time of the last bid and such extensions may be repeated for a maximum period of two hours. The extension of any Lot’s closing time does not affect any other Lot’s closing time; therefore, it is possible that Lots will close out of numerical Lot order. (c) With respect to Parcels, at the auctioneer’s discretion, the successful Bidder of the first Lot in a Parcel will have the option, but not the obligation, to purchase in consecutive order one or more of the remaining Lots in the Parcel, each at the same successful bid price as the first Lot. If any Lots in the Parcel are not purchased, the auctioneer will open the bidding on the next unsold Lot in the Parcel, and the successful Bidder of that Lot will have the option, but not the obligation, to purchase in consecutive order one or more, if any, of the remaining Lots in the Parcel, each at the newly-established successful bid price. (d) The auctioneer (or, in a timed auction, the online system) may open bidding on any Lot by placing a bid on behalf of the Seller below the Reserve. The auctioneer and Sotheby’s representatives may further bid by placing successive or consecutive bids for a Lot up to the amount of the Reserve, or if there is an irrevocable bid on the Lot, up to the amount of the irrevocable bid. In a timed auction, such bids will be counted toward the total bid count displayed on the Online Platform. (e) The auctioneer (or, in a timed auction, the online system) may refuse or reject any bid, including bids that have previously been accepted, withdraw any Lot, or reopen or continue the bidding (including after the fall of the hammer or, in a timed auction, the close of a Lot). If the Reserve for a Lot is not met, the auctioneer may withdraw the Lot from sale, and the auctioneer or online system will announce that the withdrawn Lot has been “passed”, “withdrawn”, “returned to owner,” “unsold,” “bought-in” or the equivalent. (f) In the case of error or dispute with respect to bidding, either during or after the auction, we in our sole discretion may refuse any bid, withdraw a Lot, determine who the Buyer is, continue or re-open the bidding, cancel the sale of a Lot, or re-offer and re-sell a Lot (including after the fall of the hammer or, in a timed auction, the close of a Lot), and take such other action as we reasonably deem appropriate. In the case of any dispute, our sale record will be absolute and final. In the event of any discrepancy between any online records or messages provided to you and our sale record, our sale record will prevail. Where we decide to cancel the sale of a Lot or to re-offer and sell a Lot following an error or dispute with respect to bidding, we will notify the Buyer of such decision as soon as reasonably practicable. (g) Subject to Conditions 7(e) and 7(f), the Buyer will be: in a live auction, the highest Bidder accepted for a Lot at the fall of the hammer; in a timed auction, the highest Bidder accepted for a Lot on the close of the Lot; in the case of a Bidder bidding as agent, such Bidder’s principal will be the Buyer. This means that, subject to Condition 7(e), the sale contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer in a live auction, or on the close of a Lot in a timed auction, whereupon the Buyer becomes liable to pay the full Purchase Price and any applicable Buyer’s Expenses. The sale contract between the Seller and the Buyer of a Lot will be final at the end of the auction session.

(h) Any post-auction sale of Lots will be made pursuant to these Conditions of Business for Buyers.

8. Payment (a) Generally. (i) Buyers will be invoiced after the sale. For online Bidders, the purchase information shown in the “My Bids” section of the Sotheby’s App and in the “Account Activity” section of “My Account” on our website is provided for your convenience only. In the event of any discrepancy between the online purchase information and the invoice we send you following the sale, the invoice will prevail. We may process payments through third-party service providers, which may post operating rules related to payment on their respective websites and change such rules from time to time. For credit card payments, you authorize us, and our third-party service providers, to immediately charge your selected payment method for all amounts presented to you in the checkout and purchase process. (ii) For auction Lots, the Buyer’s Premium and Overhead Premium will be added to the Hammer Price on a per-Lot basis and are payable by the Buyer as part of the Purchase Price. (iii) The Buyer also must pay as part of the Purchase Price any applicable sales tax, compensating use tax, VAT, consumption tax, goods or services tax or other indirect taxes, luxury tax, excise tax, and duties or tariffs (collectively, “Taxes”), as well as any applicable artist resale right royalty, on the purchase of a Lot where and as required by applicable law. We will collect any applicable Taxes and artist resale right royalty on the purchase of a Lot where and as required by applicable law. The Buyer shall pay the Purchase Price in full without any deduction for taxes of any kind, unless such deduction is required by law. In any such case, the amount due to us from the Buyer will be increased to an amount that after deduction for any such taxes leaves an amount equal to the Purchase Price. (iv) Payment of the Purchase Price for a Lot and any Buyer’s Expenses is due from the Buyer in the currency of the relevant sale (except to the extent permitted in Condition 8(b)) immediately upon conclusion of the auction, notwithstanding any requirements for export, import or other permit. The Buyer’s obligation to pay the full Purchase Price and any applicable Buyer’s Expenses is absolute and unconditional and is not subject to any defenses, setoffs or counterclaims of any kind whatsoever. (v) We will not accept payment from a source other than the Buyer. If you are registered to bid as a company, your company will need to pay for any purchases in the name of the company via an accepted payment method. Partial payment for a Lot is not permitted. (vi) Title in a purchased Lot will not pass to the Buyer until we have received the full Purchase Price in cleared funds. We will release a Lot to the Buyer or Buyer’s agent after we have received from the Buyer the full Purchase Price and any applicable Buyer’s Expenses in cleared funds and appropriate identification of the Buyer and Buyer’s agent (if any), unless we are prevented from doing so by an event beyond our control. Any earlier release does not affect the passing of title or the Buyer’s unconditional obligation to pay the full Purchase Price and any applicable Buyer’s Expenses. (b) Payment in cryptocurrency: for Lots eligible for payment in cryptocurrencies, payments made in cryptocurrency shall be subject to the terms in this Condition 8(b) in addition to the terms set forth in Condition 8(a) above.

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(i) We will accept payment in cryptocurrency only for Lots designated as eligible for such in the Catalogue or by any oral or written announcement or notice prior to or during the sale, and only in the following cryptocurrencies: Bitcoin (BTC), Ether (ETH) and USD Coin (USDC). (ii) The amount due will be the cryptocurrency equivalent at the time payment is made of the amount invoiced, and Buyer will be responsible for applicable network fees required to successfully conduct the transaction on the blockchain. (iii) Any payment in cryptocurrency must be made within ten (10) business days of your receipt of the invoice from us, and payment must be made between the hours of 9:00am and 12:00pm Eastern Time, Monday through Friday (and not on a U.S. public holiday). (iv) Payment must be made from an account or digital wallet in your name maintained with one of the following platforms: (1) Coinbase Custody Trust; (2) Coinbase, Inc. (including Coinbase, Coinbase Pro and Coinbase Prime accounts); (3) Fidelity Digital Assets Services, LLC; (4) Gemini Trust Company, LLC; or (5) Paxos Trust Company, LLC. Partial payments from multiple digital wallets will not be accepted, and we may require you to provide documentation to confirm that you own the wallet used to make payment. (v) Payments in cryptocurrency will not be accepted other than in accordance with this Condition 8(b). If you make payment in cryptocurrency other than in accordance with Condition 8(b), including where we determine or reasonably believe, in our sole discretion, that any of your representations and warranties are inaccurate, incomplete or breached, we may, in our sole discretion, return those funds to you, hold you responsible for all third-party fees (including, without limitation, network fees, taxes, transfer fees, etc.), and require you to pay in the fiat currency of the sale. In addition, in the event we make any refund of Taxes to you and you paid such Taxes using cryptocurrency, you understand and agree that we may, at our sole discretion, refund you (1) the same amount(s) of the same cryptocurrency that you paid to us for such Taxes; (2) the amount(s) in fiat currency that we invoiced to you for such Taxes; or (3) the fiat currency equivalent at the time the refund is made of the amount(s) of cryptocurrency that you paid for such Taxes. In no circumstance will you be entitled to receive any appreciation on the value of the cryptocurrency that you provided to us as payment in connection with a refund. (vi) Once you initiate a cryptocurrency transaction, the transaction cannot be reversed; this is inherent in the nature of cryptocurrencies and not a policy set by us.

You are responsible for verifying that you have sent the correct amount to the correct digital wallet address. (vii) If you make payment in cryptocurrency from a digital wallet or account, you represent and warrant the following: (1) you own the digital wallet and the cryptocurrency used to make payment; (2) the digital wallet or account is not directly or indirectly hosted, operated, or otherwise controlled by anyone that is the subject of Sanctions or located, resident, or organized in a Sanctioned Jurisdiction; (3) the cryptocurrency or any other assets in the digital wallet or account used for the bid or purchase were not sourced from anyone that is the subject of Sanctions or located, resident, or organized in a Sanctioned Jurisdiction; and (4) your payment in cryptocurrency will not cause (or otherwise result in) us, Sellers, or anyone else to violate any Sanctions, anti-money laundering, anti-terrorism, antibribery or anti-corruption laws, or any other applicable

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laws. We may, in our sole discretion, refuse payment in cryptocurrency from any Buyer if we reasonably determine any of the Buyer’s representations or warranties are, or would be as a result of such payment, inaccurate, incomplete or breached.

(ix) commence legal proceedings to recover the Purchase Price and Buyer’s Expenses for that Lot, or to claim damages for the Buyer’s breach of contract, together with interest and the costs of such proceedings on a full indemnity basis; and

(viii) We shall have no liability for any payment made by you in cryptocurrency that is not received by us for whatever reason.

(x) 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, and in such case, we will take reasonable steps to notify the Buyer prior to releasing such details to the Seller.

(ix) You acknowledge the risks inherent to the use of cryptocurrency, including without limitation the risk of faulty or insufficient hardware, software, and internet connections; the risk of introduction or intrusion of malicious code or software; the risk of hacking or unauthorized access to your digital wallet or information stored therein, or of theft or diversion of funds therefrom; volatility and unstable or unfavorable exchange rates; and the risk of unfavorable regulatory intervention and/or tax treatment in relation to transaction in such currency. We will have no liability for any of the foregoing.

9. Consequences of Late- or Non-payment (a) The Buyer is required to pay the full Purchase Price for a Lot and any applicable Buyer’s Expenses in cleared funds within five days of the auction. If the Buyer fails to do so without our prior agreement, the Buyer will be in default. In such case, without prejudice to any rights or remedies the Seller may have, we may in our sole discretion exercise one or more of the following rights or remedies in respect of each Lot for which the Buyer has failed to pay in full, to the fullest extent permitted by law, in addition to any and all other rights or remedies available to us or the Seller by law or in equity: (i) store the Lot at our premises or, if the Lot is an NFT, in our or the Seller’s digital wallet, or elsewhere at the Buyer’s sole risk and expense; (ii) cancel the sale of the Lot; (iii) set off any amounts owed to the Buyer by a Sotheby’s Group Company against any amounts outstanding from the Buyer in respect of the Lot or any damages suffered by us as a result of breach of contract by the Buyer; (iv) apply any deposits and/or payments made to us by the Buyer as part of the Purchase Price and Buyer’s Expenses towards such Lot or any other Lot purchased by the Buyer, or to any shortfall on the resale of any Lot pursuant to paragraph (viii) below, or to any damages suffered by us as a result of breach of contract by the Buyer; (v) reject future bids from the Buyer or render such bids subject to payment of a deposit; (vi) charge interest at the annual percentage rate of 6% above the prime rate, but in no event greater than the maximum rate permitted by law, from the date on which payment is due to the date the Purchase Price and relevant Buyer’s Expenses are received in cleared funds (both before and after judgement); (vii) retain or exercise a lien over any of the Buyer’s property that is in the possession of a Sotheby’s Group Company, in which case we will inform the Buyer, and we may thereafter arrange the sale of such property and apply the proceeds to the amount outstanding; (viii) resell the Lot at the Buyer’s expense either at auction or by private sale, with estimates and reserves set at our discretion, and in the event such resale is for less than the sum of the Purchase Price and applicable Buyer’s Expenses for that Lot, the Buyer will remain liable for the shortfall together with all costs incurred in such resale;

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(b) In the event the Buyer fails to pay any or all of the Purchase Price for a Lot and we elect to pay the Seller any portion or all of the sale proceeds, the Buyer acknowledges that we will have all of the rights that the Seller would otherwise have against the Buyer for any such amount, whether at law, in equity, or under these Conditions of Business for Buyers. (c) A defaulting Buyer will be deemed to have granted and assigned to us and each other Sotheby’s Group Company a continuing security interest of first priority in any property or money of or owing to such Buyer in the possession, custody or control of us or any other Sotheby’s Group Company, in each case whether at the time of the applicable sale, the default or if acquired at any time thereafter, and we and each other Sotheby’s Group Company may retain and apply such property or money as collateral security for the obligations due to us or to any other Sotheby’s Group Company. We and each other Sotheby’s Group Company will have all of the rights accorded a secured party under the New York Uniform Commercial Code. A defaulting Buyer hereby agrees that we and each other Sotheby’s Group Company may file financing statements under the New York Uniform Commercial Code without the Buyer’s signature.

10. Collection and Delivery of Purchases (a) The provisions of this Condition 10(a) apply to all Lots (or portions of Lots) that are not NFTs: (i) The Buyer is obliged to arrange collection of purchased Lots no later than 30 calendar days after the date of sale, or if applicable, within the time stipulated in the relevant sale information available on our website. (ii) Except as set out in this Condition 10(a)(ii), all packing and handling are at the Buyer’s risk. We will not be liable for any acts or omissions of third-party packers or shippers. For Lots from a Wine & Spirits auction where we arrange for domestic shipping at your request on your behalf, we will charge you a nonrefundable fee at a rate of 1% of the Purchase Price for all domestic shipments arranged. Such fee covers property handling and administration and bearing liability for loss or damage to the Property while in our possession. We will only be liable for breakage or loss during transit. All packages must be inspected upon receipt and breakage or loss reported to us immediately upon delivery of the property. We will not refund any shipping charges, packing charges, or fees. (iii) If you request Sotheby’s to assist with shipping purchased Lots to you, we will include a shipping quote outlining the Buyer’s shipping costs (the “Buyer’s Shipping Quote”). For international Buyers, the Buyer’s Shipping Quote will be exclusive of any taxes or duties, and it is your responsibility to ascertain and pay all international duties, custom charges, taxes, charges and tariffs owed to the appropriate government entity or that otherwise need to be paid prior to shipment and/or delivery including any thirdparty charges necessary to facilitate shipment. Once

you have accepted the Buyer’s Shipping Quote and we have received in full the Purchase Price, applicable Buyer’s Expenses and you have paid in full the amount stated in the Buyer’s Shipping Quote by the payment deadline, we will arrange shipment of the Lot to you to the address you provided on your account following conclusion of the sale. Purchased Lots cannot be delivered to P.O. boxes, and we are unable to arrange delivery to those locations specified as excluded zones in the shipping costs calculator that is available on the Online Platform. If you request delivery of a Lot to any such destination, we reserve the right to require you to collect the Lot from us or to arrange delivery of the Lot by a third-party carrier. (iv) If the Buyer pays the Purchase Price and Buyer’s Expenses but fails to collect a Lot within 30 calendar days of the conclusion of the auction, we will store the Lot at the Buyer’s expense and risk at our premises or with a third party. Regarding uncollected Lots from a Wine & Spirits auction, if a purchased Lot remains uncollected after 90 days, we may send it to our wine warehouse, upon which time applicable state and local sales tax will be charged. The Buyer hereby agrees to the Virtual Cellar Terms of Use, Storage Terms of Use and Auto-Renewal Policy with regard to the storage of such Lot(s), which can be found at https://www. sothebyswine.com/ny/storage. (v) If a purchased Lot is not collected within six months of the auction, the Buyer authorizes us, having given notice to the Buyer, to arrange a resale of the Lot by auction or private sale, with estimates and reserves at our discretion. Any such sale conducted by a Sotheby’s Group Company will be conducted under the standard Conditions of Business for Sellers and the Conditions of Business for Buyers, if any, applicable to the relevant sale. If the Lot sells, we will be entitled to deduct from the sale proceeds our standard seller’s commission and any other costs we incur in selling the Lot, and any excess will be remitted to the Buyer. (b) The provisions of this Condition 10(b) apply to all Lots (or portions of Lots) that are NFTs: (i) In order to receive an NFT, you must have a digital wallet that is capable of supporting and accepting the NFT, that you own, and to which you have access. You understand and acknowledge that not all digital wallets can support storage of a non-fungible token, and that if your wallet does not support storage of the NFT purchased by you, you may not be able to access that NFT. If you fail to provide us with an address for a digital wallet that is capable of supporting and accepting the NFT within five business days of the conclusion of the sale, we may, in our sole discretion, treat the NFT as transferred to you for purposes of Condition 11(a)(iii), treat the NFT Lot as a Lot for which the Buyer has failed to pay in full for purposes of Condition 9, and hold you responsible for all resulting third-party fees (including, without limitation, custodial fees, insurance, network fees, taxes, transfer fees, etc.). (ii) We or the Seller will mint or transfer the NFT to the digital wallet that you have specified, after you have met the conditions in Condition 8 and subject to any additional timing or criteria included in the Catalogue or other descriptions of the Lot. We or the Seller will transfer the NFT to the wallet address specified by you and are not responsible for confirming that you have supplied us with the correct or a valid address. We and the Seller are not responsible if the transfer of the NFT to your wallet fails, unless such failure is the result of us sending the NFT to a wallet address other than the one provided by you.

11. Risk and Responsibility for Lots (a) Risk and responsibility for a purchased Lot will transfer to the Buyer as follows: (i) for Lots (or portions of Lots) that are not NFTs in live auctions: on the earlier of: (1) collection of the Lot, or (2) the 31st calendar day after the sale, or if applicable, the expiry of the time specified in the special sale information available on our website, except that risk and responsibility for wine or spirits casks will transfer to the Buyer upon the fall of the hammer. For any Lots stored at a third-party location and not available for collection from our premises, your provision to us of instructions authorizing the release to you or your agent shall constitute collection by the Buyer. (ii) for Lots (or portions of Lots) that are not NFTs in timed auctions: (1) if we dispatch the Lot to the Buyer (using the method of shipping the Buyer specified for the Lot), when the Lot comes into the physical possession of the Buyer or the Buyer’s designated agent or (2) if collection by the Buyer is available, when the Buyer or the Buyer’s designated agent collects the Lot, except that in either of the foregoing, risk and responsibility for wine or spirits casks will transfer to the Buyer upon the fall of the hammer. If you choose to exercise any right you may have to cancel the contract for the purchase of the Lot (in accordance with the procedure set out at Condition 12 below), you acknowledge that the Lot is at your risk and that you should therefore insure the Lot against loss or damage until it is returned to us. (iii) For Lots (or portions of Lots) that are NFTs: After transfer of the NFT to the digital wallet specified by you, you are responsible for secure storage of the NFT in the wallet or other storage mechanism you use to receive and/or hold the NFT. You are solely responsible for any risks associated with the transferring, creating, holding, storing, or use of NFTs or a digital wallet, as applicable, including network failures or disruptions; corrupted wallet files; viruses, phishing, bruteforcing, hacking, security breaches, mining attacks, or other means of attack against the NFT; risk of losing access to the NFT due to loss of private key(s); custodial or buyer error; regulatory interference in one or more jurisdictions; token taxation; personal information disclosure; uninsured losses; failure to provide appropriate maintenance (including without limitation hosting); and other unanticipated risks. Neither we nor the Seller will not be responsible for any such risks or losses. (b) Once risk passes to the Buyer, the Buyer irrevocably releases us and each other Sotheby’s Group Company, our and their respective officers and employees, agents, warehouses and the Seller, from any and all claims, causes of action, liabilities, damages, losses, and expenses (including but not limited to reasonable attorneys’ fees) for loss of or damage to the Lot. (c) Before risk and responsibility for a purchased Lot transfers to the Buyer in accordance with this Condition 11, we assume liability for loss or damage to a Lot, subject to the exclusions set out in paragraph (d) below. In the event of loss or damage for which we have assumed liability, we will determine the extent of depreciation to the Lot, if any, caused by the loss or damage and compensate the Buyer in respect of that loss up to the amount of the Purchase Price paid by the Buyer for the Lot. (d) We will not be liable for any loss or damage (1) caused by any process undertaken by independent contractors engaged with your consent, including but not limited to for restoration, conservation, framing or cleaning; (2) caused to frames or to glass covering prints, paintings or other flat works; or (3) caused

by changes in humidity or temperature (as long as we take reasonable care in handling the Lot), normal wear and tear, gradual deterioration or inherent vice or defect (including woodworm), war, any act or acts of terrorism (as defined by our insurers), nuclear fission, radioactive contamination, or chemical, bio-chemical or electromagnetic weapons. If the Lot is an NFT, in addition to the above, we will not be liable for any loss related to damage or corruption to the Referenced Content, failure of the NFT to reference the Referenced Content, or loss of, or other security or persistence issues related to, the Referenced Content. (e) Upon your receipt of payment from us for any loss or damage to a Lot in accordance with this Condition 11, you, on your own behalf and on behalf of your insurer(s), irrevocably release us and each other Sotheby’s Group Company, our and their respective officers and employees, agents, warehouses and the Seller from all liability for loss of or damage to such Lot and irrevocably waive all rights and claims that you might have against us or any other Sotheby’s Group Company, our or their respective officers or employees, agents, warehouses or the Seller in connection with the same.

12. Consumer Cancellation (a) Timed Auction Cancellation of Purchase (i) If you are a “Consumer” (namely a person acting for purposes that are wholly or mainly outside of your trade, business, craft or profession) who habitually resides in the European Union or United Kingdom and the Seller is a “Trader” (namely a Seller acting for purposes relating to their trade, business, craft or profession, whether acting personally or through another person acting in the trader’s name or on the trader’s behalf), then you have the right to cancel your online purchase of goods (except for goods that are personalized or made to the Buyer’s specifications) (the “Consumer Cancellation Right”) for any reason during the period of 14 calendar days after you or your designated agent (other than the carrier) acquires physical possession of the Lot or, if the Lot is an NFT, after the date that you have submitted payment but before we or the Seller have initiated the transfer of the NFT to the wallet specified by you (the “Consumer Cancellation Period”). Once, however, we or the Seller have initiated the transfer of the NFT to the wallet specified by you, you agree that you will no longer have the right to cancel the sale under the terms of this Condition. By submitting a bid, you hereby consent to us transferring the NFT Lot to you immediately following your payment and that upon such transfer you will lose any right of withdrawal or cancellation you may have under the Consumer Cancellation Right. To exercise the Consumer Cancellation Right in relation to a Lot, the Consumer must (1) notify us of intention to cancel by a clear statement (e.g. a letter sent by post, fax or email or you may use the model cancellation form provided in Condition 12(c)) prior to the end of the Consumer Cancellation Period, and (2) return the Lot to us in the same condition as when you or your representative received it, by no later than 14 calendar days after providing notice of intent to cancel. (ii) You shall return the Lot or deliver it to us at such address as we may specify for the purpose, without undue delay and in any event no later than 14 calendar days from the day after which you notify us of your intention to cancel your purchase of the Lot. This deadline is met if you send back the Lot before the period of 14 calendar days has expired. You must bear the direct costs of returning the Lot. If we had arranged for the Lot to be delivered to you, we estimate that the cost of returning the Lot by the same means is likely to be similar to the cost of delivery, but it is not possible

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for us to be more accurate as to this cost due to the many variables involved in our worldwide business model and the means by which a return might be made.

Ordered on [*]/received on [*],

(iii) If the foregoing conditions for exercising the Consumer Cancellation Right are met, we will reimburse the Buyer for Purchase Price, if paid, plus standard delivery charges, if we are required to do so in accordance with the Consumer Cancellation Right.

We will not process the reimbursement unless and until the Lot is returned to us or you have supplied us with evidence of having returned the Lot to us.

Signature of Consumer(s) [only if the notification is in hard copy]

(iv) We will make the reimbursement to the Buyer using the same method of payment as the Buyer used for the initial transaction, unless expressly agreed otherwise. We will not charge the Buyer any fee in connection with processing the reimbursement.

(i) Neither we nor the Seller will be liable for errors or omissions in the glossary of terms, if any, or the Catalogue or other descriptions of the Lot, though if we discover a material error or omission in such materials prior to the auction, we will endeavor to provide a correction, time permitting.

(v) We will not reimburse the Buyer for any supplementary costs that arose if you chose a type of delivery other than the least expensive type of standard delivery offered by us or any import duties you incur as a result of you returning the Lot to us. We are entitled to deduct from the reimbursement the amount of any loss in value of the Lot that is caused as a result of unnecessary handling by you. (vi) If you exercise a Consumer Cancellation Right pursuant to this Condition 12 and you paid any amount(s) due using cryptocurrency, we may, at our sole discretion, refund you (1) the same amount(s) of the same cryptocurrency that you paid to us; (2) the amount(s) in fiat currency that we invoiced to you; or (3) the fiat currency equivalent, based on the exchange rate quoted by a financial entity designated by us, at the time the refund is made of the amount(s) of cryptocurrency that you paid. In no circumstance will you be entitled to receive any appreciation on the value of the cryptocurrency that you provided to us as payment in connection with a refund. (b) Cancellation of Delivery Services (i) If you are a Consumer who habitually resides in the European Union or United Kingdom, then you have the right to cancel the contract for any delivery services in connection with your purchase of a Lot (the “Services Cancellation Right”) for any reason during the period of 14 calendar days after the conclusion of the contract for delivery services (the “Services Cancellation Period”). (ii) If you request us to begin performance of the delivery services during the Services Cancellation Period and subsequently decide to exercise your right to cancel the provision of services during the Services Cancellation Period, you shall pay us the cost of the services that have been performed by the time you exercise your cancellation right. We will make any reimbursement due to you not later than 14 days after the date on which we are informed about your decision to cancel the services. We will make the reimbursement to you using the same method of payment as you used for the initial transaction, unless expressly agreed otherwise. We will not charge any fee in connection with processing the reimbursement. (c) To exercise a Consumer or Services Cancellation Right, you must notify us of your intention to cancel by a clear statement (e.g. a letter sent by post, fax or email) prior to the end of the Consumer or Services Cancellation Period. Alternatively, you may use the following model cancellation form: To: Sotheby’s [insert the name of the company within the Sotheby’s Group conducting the relevant sale] I/We* hereby give notice that I/We* cancel [my/our online purchase of the following goods[*]][the provision of the following delivery services [*]],

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Name of Consumer(s): Address of Consumer(s):

Date: [*] Delete as appropriate 13. Exclusions and Limitations of Liability (a) Generally

(ii) We reserve the right to withdraw any Lot before the conclusion of the sale and will have no liability to you for such withdrawal. Regarding Experiences, we reserve the right to withdraw any Experience before or after the sale, and we will have no liability to you for such withdrawal. (iii) We offer the Online Platforms as a convenience to clients. The application that enables participation via the Online Platforms is optimized for broadband connectivity (DSL or cable modem). Broadband or other internet capacity constraints, corporate firewalls and other technical problems beyond our reasonable control may create difficulties for some users including, for example, in relation to accessing an auction via the Online Platforms and in maintaining continuity of such access. Neither we nor the Seller will be liable to you for any failure to execute bids through our Online Platforms, or errors or omissions in connection therewith, including, without limitation, errors or failures caused by (1) any loss of connection between you and our Online Platforms; (2) a breakdown on or problem with our Online Platforms or other technical services; or (3) a breakdown or problem with your internet connection, computer, mobile device or system. (iv) We are not liable to you for any acts or omissions in connection with the conduct of the auction or for any matter relating to the sale of any Lot, other than as set out in the Authenticity Guarantee, or as may be required by applicable law. (v) The Seller of any Lot is not liable to you for any acts or omissions in connection with any matter relating to the sale of such Lot, other than a breach of the express representations and warranties given by the Seller. (vi) Unless we own a Lot offered for sale, we are not responsible for any breach of these Conditions of Business for Buyers by the Seller. (vii) Neither you nor we nor the Seller will be liable for any special, consequential, indirect, incidental or punitive damages. (viii) With respect to Experiences, no Sotheby’s Group Company, nor our and their respective officers and employees, will be liable for any negligent act or omission of any person or entity providing any goods or services arising out of or in connection with the fulfillment of an Experience or the Buyer’s participation in the Experience, or for any claims, causes of action, liabilities, damages, losses, or expenses (including but not limited to reasonable attorneys’ fees) arising out of or in connection with the Buyer’s interaction with the Seller or any third party in connection with an Experience.

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(ix) Without prejudice to Conditions 13(a)(i)-(viii), our and the Seller’s aggregate liability to you under these Conditions of Business for Buyers for any claim relating to a Lot will not exceed the amount of the Purchase Price of the Lot actually paid, except in the case of our willful misconduct or fraud, or in the case of death or personal injury caused by our negligent acts or omissions. (b) In addition to the terms set forth in Condition 13(a) above and without limiting Condition 3(j) above in any way, NFTs shall be subject to the additional terms in this Condition 13(b). (i) We are only selling the ownership rights to the NFT and in no way are we responsible for any resales or secondary market sales of the NFT or the Referenced Content or any iterations of the same.

Any copyright(s) in and to the NFT and Referenced Content, including but not limited to, any reproduction rights in any Referenced Content, remain with the creator(s) thereof, and the purchase of the NFT does not constitute an assignment of any copyright(s) in and to the NFT or Referenced Content. If you purchase an NFT, then, including without limitation, these Conditions of Business for Buyers, and any Listing Terms, we hereby grant you a worldwide, non-exclusive, non-transferable, royalty-free license to use, copy and display the NFT and the Referenced Content for such purchased NFT solely for the following purposes: (a) for your own personal, non-commercial use; (b) as part of a marketplace that permits the purchase and sale of your NFTs; or (c) as part of a third party website or application that permits the inclusion, involvement, or participation of your NFT. This license only lasts as long as you are the valid owner and holder of the NFT associated with the Referenced Content. If you sell or transfer the NFT to another person, this license will transfer to such other owner or holder of the NFT, and you will no longer have the benefits of such license. All rights not expressly granted herein are reserved. (ii) You agree that you may not, nor permit any third party to do or attempt to do any of the following without our (or, as applicable, our licensors’) express prior written consent in each case: (a) modify the Referenced Content for NFTs in any way, including, without limitation, the shapes, designs, drawings, attributes, or color schemes; (b) use the Referenced Content for your NFT to advertise, market, or sell any third party product or service; (c) use the Referenced Content for your NFT for any derogatory or defamatory purpose that creates harmful associations or a risk of harm, damage or liability to any of the Sotheby’s Group Companies, e.g., in connection with images, videos, or other forms of media that depict hatred, intolerance, violence, cruelty, or anything else that could reasonably be found to constitute hate speech or otherwise infringe upon the rights of others; (d) sell, distribute for commercial gain (including, without limitation, giving away in the hopes of eventual commercial gain), or otherwise commercialize merchandise that includes, contains, or consists of the Referenced Content for your NFT; (e) attempt to trademark, copyright, or otherwise acquire additional intellectual property rights in or to the Referenced Content for your NFT; (f) create, sell or attempt to create or sell fractionalized interests in the Referenced Content or any NFT; or (g) otherwise utilize the Referenced Content for your NFT for your or any third party’s commercial benefit. (iii) If the Referenced Content associated with your NFT contains third party copyrights, trade secrets, trademarks, know-how, patent rights or any other intellectual property rights recognized in any country or jurisdiction in the world (collectively, “Third Party

IP”) (e.g., licensed intellectual property from any rights holder, such as music performance rights or publicity rights), you understand and agree as follows: (a) you will not have the right to use such Third Party IP in any way except as incorporated in the Referenced Content for your NFT, and subject to the license and restrictions contained herein; (b) depending on the nature of the license granted from the owner of the Third Party IP, we may need to (and reserve every right to) pass through additional restrictions on your ability to use the Referenced Content; (c) to the extent that we inform you of such additional restrictions, you will be responsible for complying with all such restrictions from the date that you receive the notice, and that failure to do so will be deemed a breach of the license contained herein; (d) such third party owns and retains all right, title and interest in and to such Third Party IP except as expressly licensed hereunder; and (e) the licensor of such Third Party IP shall be a thirdparty beneficiary of (but not a party to), and entitled to enforce, these Conditions of Business for Buyers against you with respect to such Third Party IP. (iv) Transfer of ownership to an NFT will not guarantee that you will continue to have access to the Referenced Content to which it relates and you further acknowledge and agree to the risks associated with purchasing, using, transferring, and owning NFTs, as applicable, including, but not limited to, telecommunications, network, server, or blockchain failures, malfunctions, or disruptions; risk of losing access to the NFT due to lost or forgotten private key(s) or password(s) or corrupted wallet files; mis-typed addresses or incorrectly constructed transactions; viruses, phishing, bruteforcing, hacking, security breaches, mining attacks, or other means of cyber-security attack; custodial or buyer error; regulatory interference in one or more jurisdictions; token taxation; personal information disclosure; uninsured losses; and other unanticipated risks. (v) Neither you nor we nor the Seller will be liable for any special, consequential, indirect, incidental or punitive damages, including, as applicable, damages relating to any of the risks or disclaimed attributes set forth in Condition 13(b)(iii). In addition to the above, we will not be liable for any loss whatsoever related to damage or corruption to the Referenced Content, failure of the NFT to reference the Referenced Content, or loss of, or other security or persistence issues related to, the Referenced Content. (vi) You have sufficient understanding of NFTs, digital wallets and other storage mechanisms, cryptocurrencies, blockchain technology, and the use, characteristics, functionality, programming, and/or other material characteristics of all of the foregoing, to fully understand and agree to these Conditions of Business for Buyers and the disclaimers and risks outlined herein, or have consulted with professional advisors in relation to the foregoing such that any participation by you in the auction of any NFT constitutes an informed acceptance of such disclaimers and risks.

14. Data Protection (a) We will hold and process your personal information and may share it with another Sotheby’s Group Company for use as described in, and in line with, our Privacy Policy published on our website https://www. sothebys.com/privacy-policy or available on request by email to enquiries@sothebys.com. (b) We may film auctions or other activities on any Sotheby’s Group Company’s premises and such recordings may be transmitted over the internet via our website or other Online Platforms or social media.

Online and telephone bids may be recorded and you

agree to such recording.

15. AUTHENTICITY GUARANTEE (a) We, as principal, provide an Authenticity Guarantee to the Buyer, subject to the following terms and conditions, that the Lot is not a “counterfeit”. For these purposes, a “counterfeit” means a Lot that in Sotheby’s reasonable opinion is an imitation created to deceive as to authorship, origin, date, age, period, culture or source, where the correct description of such matters is not reflected by the description in the catalogue (taking into account any glossary of terms). No Lot shall be considered a counterfeit by reason only of any damage and/or restoration and/or modification work of any kind (including repainting or over-painting).

Notwithstanding anything to the contrary in this Condition 15, with respect to NFTs, unless otherwise set forth on the respective Lot page on our website, the Authenticity Guarantee is regarding the authorship of the Referenced Content, if any. (b) The Authenticity Guarantee is provided for a period of five years after the date of the auction (the “Guarantee Period”), except as otherwise provided in Condition 15(h) below. (c) The Authenticity Guarantee is provided solely for the benefit of the Buyer and cannot be transferred to any third party. (d) To claim under the Authenticity Guarantee, the Buyer must: (i) notify us in writing within three months of receiving any information that causes the Buyer to question the authenticity or attribution of the Lot and in any event by no later than the expiry of the Guarantee Period, specifying the Lot number and the date of the sale in which it was purchased, and providing all the information in the Buyer’s possession in support of the Buyer’s claim; and (ii) return the Lot to us or, at our direction, to the Seller or another third party, in the same condition as at the date of sale to the Buyer and be able to transfer good title in the Lot, free from any third-party interest or claim(s) arising after the date of the sale.

In addition, we may also require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognized experts in the field, mutually acceptable to us and the Buyer. We will not be bound by any such reports and we reserve the right to seek additional expert advice at our expense. (e) We reserve, in our absolute discretion as principal, the right to reject a claim under the Authenticity Guarantee if: (i) the catalogue description was in accordance with the opinions of scholars and experts, which are generally accepted and known or privately expressed to us, as at the date of the sale, or the Lot description indicated that there was a conflict of such opinions; (ii) the only method of establishing that the Lot was a counterfeit at the date of the sale would have been by means or processes not then generally available or accepted, unreasonably expensive or impractical to use, or likely to have caused damage or loss of value to the Lot; (iii) the manner in which the Lot is said to be a counterfeit is due only to damage, restoration, modification work of any kind (including repainting or over-painting) present at the time of the sale, or the inability of the manufacturer, maker or relevant archives to confirm the authenticity and attribution of the Lot; or

(iv) the manner in which the description of the Lot is incorrect does not result in a material loss in value of the Lot. (f) Subject to the above, if we reasonably determine that the Lot is a counterfeit, we will ensure that the sale is rescinded, and that the Buyer is refunded the Purchase Price in the currency of the sale. (g) The rescission of the sale and the refund of the Purchase Price is the Buyer’s sole remedy available under the Authenticity Guarantee and is in lieu of any other remedy that might otherwise be available to the Buyer as a matter of law or in equity. (h) Additional provisions specific to Lots in Jewelry, Wine & Spirits, Tea and Books & Manuscripts auctions: (i) With respect to Lots containing any gemstone, jade or pearls, the Authenticity Guarantee is that the gemstone or pearls are genuine or of natural origin, and the Guarantee Period for any claim that the gemstone, jade or pearls are not genuine or of natural origin is 21 days from the date of the auction. (ii) With respect to Lots sold in a Wine & Spirits or Tea auction, the Authenticity Guarantee is that the producer and vintage (and for Tea, type) is as stated in the description of the Lot, and the Guarantee Period is 21 days from the date of the auction. (iii) With respect to Lots sold in a Books & Manuscripts auction, the Authenticity Guarantee also includes a guarantee to the Buyer for a Guarantee Period of 21 days from the date of the auction that, subject to Conditions 15(c)-(g), the Lot’s text and/or illustrations are not materially defective. Subject to the following exceptions, if we reasonably determine that the text or illustrations in a Lot are materially defective, we will ensure that the sale is rescinded, and that the Buyer is refunded the Purchase Price in the currency of the sale. We reserve the right to reject a claim under this Condition 15(h) if: (1) the Lot comprises an atlas, an extra-illustrated book, a volume with fore-edged paintings, a periodical publication or a print or drawing; (2) in the case of a manuscript, the Lot was not described in the Catalogue as complete; (3) the defect complained of was mentioned in the Lot description or the item complained of was sold unnamed in a Lot; (4) the defect complained of is not a defect in text or illustration, such as without limitation, damage to bindings, stains, foxing, marginal wormholes, lack of blank leaves or half titles or other conditions not affecting the completeness of the text or illustration, lack of list of plates, inserted advertisements, cancels or any subsequently published volume, supplement, appendix or plates or error in the enumeration of the plates, or is based on the age of hand-coloring in maps, atlases or books; or (5) the manner in which the text or illustrations are defective does not result in a material loss in value of the Lot. 16. Miscellaneous (a) You shall provide to us, upon our request, verification of identity and any additional information required to comply with our Know Your Client requirements, applicable law or to evidence your authority to enter into these Conditions of Business for Buyers. If you are an agent acting on behalf of a principal, you shall also disclose to us the identity of the principal and provide to us, upon our request, verification of identity and any additional information

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required to comply with our Know Your Client requirements, applicable law with respect to you and the principal or to evidence your authority to bid on behalf of and to bind the principal. We reserve the right to seek identification of the source of funds received. If we have not completed our enquiries in respect of Know Your Client, Sanctions, anti-money laundering, anti-terrorist financing or other checks as we consider appropriate concerning you (or your principal, if applicable) to our satisfaction or if we are not satisfied in our sole discretion with the results of such enquiries, we may, in our sole discretion, prohibit you or the principal from bidding, or not complete, cancel or rescind the sale of any Lot, including refusing or returning any payment, as appropriate, and take any further action required or permitted under applicable law without any liability to you. (b) You are personally liable for your bid. If you are an agent acting on behalf of a principal, you and your principal are bound by the terms of these Conditions of Business for Buyers and jointly and severally assume your obligations and liabilities under them. (c) We own the exclusive copyright to all images and written material we produce relating to each Lot. You cannot use them without our prior written permission.

We may use them as we deem appropriate, to the extent permitted by law, before, during or after the sale of a Lot. (d) The Conditions of Business for Buyers, including the Authenticity Guarantee, and the express representations and warranties and indemnity given by the Seller together are the entire agreement between us, the Seller and you with respect to the subject matter hereof and supersedes all prior or contemporaneous written, oral or implied understandings, representations or agreements relating to the subject matter of this agreement.

If any part of this agreement is deemed invalid or unenforceable, such invalidity or unenforceability will not affect the remaining provisions, which will remain in full force and effect. No act, omission or delay by us shall be deemed a waiver or release of any of our rights. (e) These Conditions of Business for Buyers are binding upon you, your estate, heirs, executors, devisees, representatives, administrators, successors and permitted assigns. (f) You may not assign or delegate your rights or obligations under these Conditions of Business without our prior written consent. (g) Notices to us should be in writing and addressed to the department in charge of the sale, quoting the reference number specified for the auction.

17. Law and Jurisdiction This agreement will be governed by and construed in accordance with the laws of the State of New York.

In the event of a dispute arising from or relating to this agreement, you agree to submit to the exclusive jurisdiction of the state courts of and the federal courts sitting in the State and County of New York, though we will retain the right to bring proceedings in a court other than the state and federal courts sitting in the State and County of New York.

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BUYING AT AUCTION The following will help in understanding the auction buying process as well as some of the terms and symbols commonly used in an auction catalogue. All bidders should read the Conditions of Business for Buyers, as well as the Glossary or any other notices.

By bidding at auction, bidders are bound by the Conditions of Business for Buyers, as amended by any oral announcement or posted notices.

1. SYMBOL KEY

□ Reserves Unless indicated by a box (□), all lots in this catalogue are offered subject to a reserve. A reserve is the confidential minimum hammer price at which a lot will be sold. The reserve is generally set at a percentage of the low estimate and will not exceed the low estimate of the lot. If any lots in the catalogue are offered without reserve, such lots will be designated by a box (□). If every lot in a catalogue is offered without a reserve, the Conditions of Business for Buyers will so state and this symbol will not be used for each lot.

○ Guaranteed Property The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by Sotheby’s or jointly by Sotheby’s and a third party. Sotheby’s and any third parties providing a guarantee jointly with Sotheby’s benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party providing a guarantee jointly with Sotheby’s may provide an irrevocable bid, or otherwise bid, on the guaranteed property. If this auction has a printed catalogue, a PDF catalogue or both and the guaranteed property symbol for a lot is not included in such catalogue or if there is no printed catalogue or PDF catalogue and the guaranteed property symbol for a lot is not included at the time the digital catalogue is initially available for viewing, then Sotheby’s will notify bidders that there is a guarantee on the lot by one or more of the following means: the lot’s specific webpage will be updated to include the guaranteed property symbol, a notice will be added to the Sotheby’s webpage for the auction, or a pre-sale or pre-lot announcement will be made indicating that there is a guarantee on the lot.

⋑ Irrevocable Bids Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, may be compensated for providing the irrevocable bid by receiving a contingent fee, a fixed fee or both.

From time to time, a Sotheby’s shareholder may be an irrevocable bidder. If the irrevocable bidder is the successful bidder, any contingent fee, fixed fee or both (as applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot will be net of any such fees. From time to time, Sotheby’s may enter into irrevocable bid agreements that cover multiple lots. In such instances, the compensation Sotheby’s will pay the irrevocable bidder is allocated to the lots for which the irrevocable bidder is not the successful purchaser.

Under such circumstances, the total compensation to the irrevocable bidder will not exceed the total buyer’s premium and other amounts paid to Sotheby’s in respect of any lots for which the irrevocable bidder is not the successful bidder. If this auction has a printed catalogue, a PDF catalogue or both and the irrevocable bid is not secured until after such catalogue is finalized or if there is no printed catalogue or PDF catalogue

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and the irrevocable bid is not secured until after the digital catalogue is initially available for viewing, then Sotheby’s will notify bidders that there is an irrevocable bid on the lot by one or more of the following means: the lot’s specific webpage will be updated to include the irrevocable bid symbol, a notice will be added to the Sotheby’s webpage for the auction, or a pre-sale or pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. From time to time, Sotheby’s or any affiliated company may provide the irrevocable bidder with financing related to the irrevocable bid. In addition, from time to time, an irrevocable bidder may have knowledge of the amount of a guarantee. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.

⊻ Interested Parties Lots with this symbol indicate that parties with a direct or indirect interest in the lot may be bidding on the lot, including (i) the beneficiary of an estate selling the lot, or (ii) the joint owner of a lot. If the interested party is the successful bidder, they will be required to pay the full buyer’s premium and overhead premium. In certain instances, interested parties may have knowledge of the reserve. If this auction has a printed catalogue, a PDF catalogue or both and the interested party’s possible participation in the sale Is not known until after such catalogue is finalized or if there is no printed catalogue or PDF catalogue and the interested party’s possible participation in the sale Is not known until after the digital catalogue is initially available for viewing, then Sotheby’s will notify bidders that an interested party may bid on the lot by one or more of the following means: the lot’s specific webpage will be updated to include the interested parties symbol, a notice will be added to the Sotheby’s webpage for the auction, or a pre-sale or pre-lot announcement will be made indicating that an interested party may bid on the lot.

◉ Restricted Materials Lots with this symbol have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. The information is made available for the convenience of bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. Please also refer to the section on Endangered Species in the information on Buying at Auction.

∏ Monumental Lots with this symbol may, in our opinion, require special handling or shipping services due to size or other physical considerations. Bidders are advised to inspect the lot and to contact Sotheby’s prior to the sale to discuss any specific shipping requirements.

✧ Premium Lot In order to bid on “Premium Lots” (in print catalogue or ✧ in the lot’s specific webpage) you may be required to complete a Premium Lot pre-registration application.

You must arrange for Sotheby’s to receive your preregistration application at least three working days before the sale. Please bear in mind that we are unable to obtain financial references over weekends or public holidays. Sotheby’s decision whether to accept any pre-registration application shall be final. If all lots in the catalogue are “Premium Lots”, a Special Notice will be included to this effect and this symbol will not be used.

⊖ US Import Tariff Please note that this lot is subject to an import tariff.

The amount of the import tariff due is a percentage of the value declared upon entry into the United States.

The amount of the import tariff is not based on the final hammer price. The buyer should contact Sotheby’s prior to the sale to determine the amount of the import tariff. If the buyer instructs Sotheby’s to arrange shipping of the lot to a foreign address, the buyer will not be required to pay the import tariff. If the buyer instructs Sotheby’s to arrange shipping of the lot to a domestic address, or if the buyer collects the property in person, or if the buyer arranges their own shipping (whether domestically or internationally), the buyer will be required to pay the import tariff. The import tariff is included in the purchase price and, where applicable, sales tax will be added to the purchase price as per our Sales and Use Tax section.

Cryptocurrency Payments We will accept cryptocurrency as payment for lots with this symbol, within the parameters specified in the Conditions of Business for Buyers (or where applicable, in the Conditions of Sale and Additional Conditions of Sale for Payment by Cryptocurrency) applicable to the sale and only on the terms and conditions set out therein as of the date of the sale. Please review those terms and conditions if you are interested in paying in cryptocurrency, and contact Post Sale Services for more information.

¤ Financing Eligible Lots with this symbol indicate that financing of up to 50% of the lot’s low auction estimate is available for eligible borrowers through Sotheby’s Finan-cial Services. More information is available at sothebys. com/bidnowpaylater or by speaking to your Sotheby’s Relationship Manager.

❖ National Heritage Lot Lots with this symbol are part of the National Heritage of Mexico and cannot be permanently exported from Mexico. Accordingly, the lot will be offered for sale in New York but will not be available in New York for inspection or delivery. The lot will be released to the buyer in Mexico in compliance with all local requirements. Prospective buyers may contact Sotheby’s representatives in Mexico City and Monterrey at sothebys.mexico@sothebys.com for an appointment to view the work.

2. BEFORE THE AUCTION Bidding in advance of the live auction For certain sales, you may bid in advance of the live auction (“Advance Bids”) on sothebys.com or the Sotheby’s App. In order to do so, you must register an account with Sotheby’s and provide requested information.

Once you have done so, navigate to your desired lot, and click the “Place Bid” button. You may bid at or above the starting bid displayed on the Online Platforms. Please note that we reserve the right to amend the starting bid prior to the start of the live auction. You may also input your maximum bid which, upon confirmation, will be executed automatically up to this predefined maximum value, in response to other bids, including bids placed by Sotheby’s on behalf of the seller up to the amount of the reserve (if applicable). The current leading bid will be visible to all bidders; the value and status of your maximum bid will be visible only to you. If the status of your bid changes, you will receive notifications via email and push (if you have enabled push notifications) leading up to the live auction. You may raise your maximum bid at any time in advance of the live auction. Please note in certain circumstances, clients who have been outbid may

be reinstated as the leading bidder and will receive notification via email or push notifications (if enabled on your device).

The Catalogue The catalogue will help familiarize you with property being offered at the designated auction.

Prospective bidders should consult sothebys.com for the most up to date cataloguing of the property in this catalogue.

Estimates Each lot in the catalogue is given a low and high estimate, indicating to a prospective buyer a range in which the lot might sell at auction. When possible, the estimate is based on previous auction records of comparable pieces. The estimates are determined several months before a sale and are therefore subject to change upon further research of the property, or to reflect market conditions or currency fluctuations. Estimates should not be relied upon as a representation or prediction of actual selling prices.

Provenance In certain circumstances, Sotheby’s may include in the catalogue the history of ownership of a work of art if such information contributes to scholarship or is otherwise well known and assists in distinguishing the work of art. However, the identity of the seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded to accommodate a seller’s request for confidentiality or because the identity of prior owners is unknown given the age of the work of art.

Specialist Advice Prospective bidders may be interested in specific information not included in the catalogue description of a lot. For additional information, please contact either a Sotheby’s specialist in charge of the sale, or Sotheby’s Client Services Department. You may also request a condition report from the specialist in charge.

Viewing Property will be available for viewing at an exhibition of the auction property or by appointment only at our New York premises or such other location as we may indicate from time to time as indicated on the webpage for the sale.

Salesroom Notices Salesroom notices amend the catalogue description after our catalogue is available.

They are announced by the auctioneer and/or posted on the sale page. Please take note of them.

Registration Sotheby’s may require such necessary financial references, guarantees, deposits and/or such other security, in its absolute discretion, as security for your bid.

If you are not successful on any lot, Sotheby’s will arrange for a refund (subject to any right of set off) of the deposit amount paid by you without interest within 14 working days of the date of the sale. Any exchange losses or fees associated with the refund shall be borne by you. Registration to bid on Premium Lots must be done at least 3 business days prior to the sale.

3. DURING THE AUCTION The Auction Auctions are open to the public (subject to any governmental health or safety restrictions) without any admission fee or obligation to bid. The auctioneer introduces the objects for sale — known as “lots” — in numerical order as listed in the catalogue.

Unless otherwise noted in the catalogue, on the sale page or by an announcement at the auction, Sotheby’s acts as agent on behalf of the seller and does not permit the seller to bid on his or her own property. It is important for all bidders to know that 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 responsive or consecutive bids for a lot. The auctioneer will not place consecutive bids on behalf of the seller above the reserve.

Absentee Bidding for Live Auctions If you do not wish to bid online during a live auction, you may place your bid ahead of time, either via sothebys.com or the App, or by submitting your bid in writing to the Bids Department. Once the live auction opens, when the lot that you are interested in comes up for sale, the auctioneer will execute the bid on your behalf, at the lowest bid increment possible, as may be determined at the auctioneer’s discretion, and never exceeding your limit. This service is free and confidential.

Advance Bidding for Live Auctions For certain live sales, where Advance Bids are accepted, if you submit an “Advance Bid” (as described above in “BEFORE THE AUCTION”), and your bid is not executed up to its maximum value before the live auction begins, your bid will continue to be executed automatically on your behalf during the live auction up to your predetermined maximum bid. You may also continue to bid via the Online Platforms at the next increment above your maximum bid. Online bidding may not be available for Premium Lots.

In Person Bidding for Live Auctions For the most up-to-date information regarding in person bidding, please call Sotheby’s or visit Sothebys.com. Bidders are encouraged to submit bids online on Sothebys.com or through the Sotheby’s App. Telephone Bidding for Live Auctions In some circumstances, we offer the ability to place bids by telephone live to a Sotheby’s representative on the auction floor. Please contact the Bid Department prior to the sale to make arrangements or to answer any questions you may have. Telephone bids are accepted only at Sotheby’s discretion and at the caller’s risk.

Calls may also be recorded at Sotheby’s discretion. By bidding on the telephone, prospective buyers consent thereto.

Online Bidding Bidders are encouraged to submit bids online on Sothebys.com or through the Sotheby’s App. For information about registering to bid on sothebys.com or through the Sotheby’s App, please see sothebys.com. Online bidding may not be available for Premium Lots.

Employee Bidding Sotheby’s employees may bid in a Sotheby’s auction only if the employee does not know the reserve and if the employee fully complies with Sotheby’s internal rules governing employee bidding.

Economic Sanctions The United States, the United Kingdom and the European Union maintain economic and trade sanctions against targeted foreign countries, groups and organizations. There may be restrictions on the import into the United States, the United Kingdom and the European Union of certain items originating in sanctioned countries. The purchaser’s inability to import any item into these countries or any other country as a result of these or other restrictions shall not justify cancellation or rescission of the sale or any delay in payment. Please check with the specialist department if you are uncertain as to whether a lot is subject to these import restrictions, or any other restrictions on importation or exportation.

Hammer Price and the Buyer’s Premium and the Overhead Premium For lots which are sold, the last price for a lot as announced by the auctioneer is the hammer price. A buyer’s premium and an overhead premium will be added to the hammer price and are payable by the purchaser as part of the total purchase price. The applicable buyer’s premium and overhead premium rates are as set forth in the Conditions of Business for Buyers.

Currency Board As a courtesy to bidders, a currency board is operated in many salesrooms. It displays the lot number and current bid in both U.S. dollars and foreign currencies. Exchange rates are approximations

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based on recent exchange rate information and should not be relied upon as a precise invoice amount.

Sotheby’s assumes no responsibility for any error or omission in foreign or United States currency amounts shown.

Results Sale results are available on sothebys.com and on the Sotheby’s App. International Auctions If you need assistance placing bids, obtaining condition reports or receiving auction results for a Sotheby’s sale outside the United States, please contact our International Client Services Department.

4. AFTER THE AUCTION Payment If your bid is successful, your invoice will be mailed to you. The final price is determined by adding the buyer’s premium, overhead premium and any other applicable charges to the hammer price on a per-lot basis. Sales tax, where applicable, will be charged on the entire amount. Payment is due in full immediately after the sale. However, under certain circumstances, Sotheby’s may, in its sole discretion, offer bidders an extended payment plan. Such a payment plan may provide an economic benefit to the bidder. Credit terms should be requested at least one business day before the sale. However, there is no assurance that an extended payment plan will be offered. Please contact Post Sale Services or the specialist in charge of the sale for information on credit arrangements for a particular lot. Please note that Sotheby’s will not accept payments for purchased lots from any party other than the purchaser, unless otherwise agreed between the purchaser and Sotheby’s prior to the sale.

Payment by Cash It is against Sotheby’s general policy to accept payments in the form of cash or cash equivalents.

Payment by Credit Cards Sotheby’s accepts payment by credit card for Visa, MasterCard, and American Express only. A 2.5% surcharge fee will be applied to the total payment plus applicable sales tax for clients who wish to pay for their purchase using a credit card at New York auctions and for New York private sale transactions. Other payment methods besides credit card do not incur a surcharge fee. Credit card payments may not exceed $200,000 per sale.

Payment by credit card may be made (a) online at https://www.sothebys.com/en/invoice-payment.html or (b) through the Sotheby’s App. Payment by Check Please contact Post Sale Services for information regarding payment by check.

Payment by Wire Transfer To pay for a purchase by wire transfer, please refer to the payment instructions on the invoice provided by Sotheby’s or contact Post Sale Services to request instructions.

Sales and Use Tax New York sales tax is charged on the hammer price, buyer’s premium, overhead premium and any other applicable charges on any property picked up or delivered in New York State, regardless of the state or country in which the purchaser resides or does business. Purchasers who wish to use their own shipper who is not a considered a “common carrier” by the New York Department of Taxation and Finance will be charged New York sales tax on the entire charge regardless of the destination of the property. Please refer to “Information on Sales and Use Tax Related to Purchases at Auction”.

Collection and Delivery Post Sale Services + 1 212 606 7444 FAX: + 1 212 606 7043

All collections and deliveries for purchased property will be handled by Post Sale Services in coordination with purchasers after the auction. Unless otherwise agreed by Sotheby’s, all property must be removed from our or our vendor’s premises (as indicated on the invoice) by the purchaser at his expense not later than 30 calendar days following the close of the auction.

As a reminder your property cannot be released until payment has been received and cleared.

Shipping Services Sotheby’s offers a comprehensive shipping service to meet all of your requirements. If you received a shipping quotation or have any questions about the services we offer please contact us.

Collecting your Property All collections and deliveries for purchased property will be handled by Post Sale Services in coordination with purchasers after the auction. Unless otherwise agreed by Sotheby’s, all property must be removed from our or our vendor’s premises (as indicated on the invoice) by the purchaser at his expense not later than 30 calendar days following the close of the auction. As a courtesy to purchasers who come to Sotheby’s to collect property, Sotheby’s will assist in the packing of lots, although Sotheby’s may, in the case of fragile articles, choose not to pack or otherwise handle a purchase.

If you are using your own shipper to collect property from Sotheby’s, please provide a letter of authorization and kindly instruct your shipper that they must provide a Bill of Lading prior to collection. Both documents must be sent to Post Sale Services prior to collection.

The Bill of Lading must include: the purchaser’s full name, the full delivery address including the street name and number, city and state or city and country, the sale and lot number.

Sotheby’s will contact your shipper within 24 hours of receipt of the Bill of Lading to confirm the date and time that your property can be collected. Property will not be released without this confirmation and your shipper must bring the same Bill of Lading that was faxed to Sotheby’s when collecting. All property releases are subject to the receipt of cleared funds.

Endangered Species Certain property sold at auction, for example, items made of or incorporating plant or animal materials such as coral, crocodile, ivory, whalebone, tortoiseshell, rhinoceros horn, rosewood, etc., irrespective of age or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to another country. Sotheby’s suggests that buyers check on their government wildlife import requirements prior to placing a bid. 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. It is the purchaser’s responsibility to obtain any export or import licenses and/or certificates as well as any other required documentation. In the case of denial of any export or import license or of delay in the obtaining of such licenses, the purchaser is still responsible for making on-time payment of the total purchase price for the lot.

Although licenses can be obtained to export some types of endangered species, other types may not be exported at all, and other types may not be resold in the United States. Upon request, Sotheby’s is willing to assist the purchaser in attempting to obtain the appropriate licenses and/or certificates. However, there is no assurance that an export license or certificate can be obtained. Please check with the specialist department or the Shipping Department if you are uncertain as to whether a lot is subject to these export/import license and certificate requirements, or any other restrictions on exportation.

The Art Loss Register As part of Sotheby’s efforts to support only the legitimate art market and to combat the illegitimate market in stolen property, Sotheby’s has retained the Art Loss Register to check all uniquely identifiable items offered for sale in this catalogue that are estimated at more than the equivalent of US$1,500 against the Art Loss Register’s computerized database of objects reported as stolen or lost. The Art Loss Register is pleased to provide purchasers with a certificate confirming that a search has been made.

All inquiries regarding search certificates should be directed to The Art Loss Register, First Floor, 63-66 Hatten Garden, London EC1N 8LE or by email at artloss@artloss.com. The Art Loss Register does not guarantee the provenance or title of any catalogued item against which they search and will not be liable for any direct or consequential losses of any nature howsoever arising. This statement and the ALR’s service do not affect your rights and obligations under the Conditions of Business for Buyers applicable to the sale.

IMPORTANT NOTICES Property Collection All collections and deliveries for purchased property will be handled by Post Sale Services in coordination with purchasers after the auction. Invoices will be issued to the successful party, which will include total purchase price, payment options, and next steps on delivery. During this time, payment for property is still due as per the Conditions of Business for Buyers. Post Sale Services will be in touch for future collection scheduling or shipping arrangements.

Property Payment All property must be paid in full before collection or release from any of our or our vendor’s premises. Payment must be made through Sotheby’s New York Post Sale Services by way of our acceptable forms of payment methods mentioned on your invoice. To arrange for payment, please contact Post Sale Services at +1 212 606 7444 or USPostSaleServices@sothebys.com. Payment will not be accepted at any offsite facility. Dealers and resale clients should fill out the appropriate forms where applicable or contact Post Sale Services with any questions.

Loss and Liability Unless otherwise agreed by Sotheby’s, all sold property must be removed from any of our premises or our vendor’s premises by the buyer at their expense no later than 30 calendar days following the auction. Buyers are reminded that Sotheby’s liability for loss or damage to sold property shall cease no later than 30 calendar days after the date of the auction.

Collection & Shipping All collections and deliveries for purchased property will be handled by Post Sale Services in coordination with purchasers after the auction.

For any in-person collections at any of our vendor’s premises, please alert Post Sale Services of your proposed collection date, ensure that all outstanding invoices have been paid for, and that you or your agent have the appropriate photo identification upon arrival.

If you are using your own shipper to collect property, please provide a letter of authorization and instruct your shipper to email their bill of lading to billsoflading@sothebys.com and ensure the correct collection location is specified.

Sotheby’s can arrange for delivery of your property through one of our contracted vendors or can coordinate pick up at our offsite location with you or your shipper directly. Please contact Post Sale Services at +1 212 606 7444 or USPostSaleServices @sothebys. com to start your collection process.

Important Notice Regarding Packing As a courtesy to purchasers who come to Sotheby’s to pick up property, Sotheby’s will assist in packing framed paintings. Sotheby’s is unable to remove canvases off stretchers or to roll works on paper.

Purchasers are advised to contact an independent painting restorer to pack works in this manner.

GLOSSARY OF TERMS The following are examples of the terminology used in this catalogue. Please note that all statements made in this catalogue are made subject to the provisions of the Conditions of Sale and Terms of Guarantee printed in this catalogue: GLOSSARY FOR PAINTINGS

Giovanni Bellini The work is, in our best judgement, by the named artist.

When the artist’s forename is not known, a series of asterisks followed by the surname of the artist, whether preceded by an initial or not, indicates that the work is, in our best judgement, by the named artist.

Attributed to Giovanni Bellini In our opinion, probably a work by the artist but less certainty as to authorship is expressed than in the preceding category.

Studio of Giovanni Bellini In our opinion, a work by an unknown hand in the studio of the artist which may or may not have been executed under the artist’s direction.

Circle of Giovanni Bellini In our opinion, a work by an as yet unidentified but distinct hand closely associated with the named artist but not necessarily his pupil.

Style of…Follower of Giovanni Bellini In our opinion, a work by a painter working in the artist’s style, contemporary or nearly contem­porary, but not necessarily his pupil.

Manner of Giovanni Bellini In our opinion, a work in the style of the artist and of a later date.

After Giovanni Bellini In our opinion, a copy of a known work of the artist.

The term signed and/or dated and/or inscribed means that, in our opinion, a signature and/or date and/or inscription are from the hand of the artist.

The term bears a signature and/or a date and/or an inscription means that, in our opinion, a signature and/ or date and/or inscription have been added by another hand.

Dimensions are given height before width.

Pictures are framed unless otherwise stated.

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EVENING INDEX

DAY INDEX

Bontecou, Lee 102

Andre, Carl 450

Nagle, Ron 438

Bourgeois, Louise 115

Arbus, Diane 441

Nauman, Bruce 442

Bradford, Mark 111

Artschwager, Richard 465

Nevelson, Louise 411

Duchamp, Marcel 106

Baldessari, John 491

Oppenheim, Meret 426

Basquiat, Jean-Michel 432

Owens, Laura 413

Gober, Robert 104

Bell, Larry 449

Gober, Robert and Levine, Sherrie 108

Bellmer, Hans 422

Paik, Nam June 427

Beuys, Joseph 435, 482

Pepper, Beverly 489

Bourgeois, Louise 440

Peyton, Elizabeth 405

Bove, Carol 437

Polke, Sigmar 466

Hesse, Eva 107

Prince, Richard 423, 474, 484

Judd, Donald 110 Conner, Bruce 416

O’Keeffe, Georgia 114 Ruscha, Ed 113

Davis, Stuart 463

Richter, Gerhard 436

De Kooning, Willem 455

Ruppersberg, Allen 473

DeFeo, Jay 481

Ruscha, Ed 472

Dove, Arthur 457 Du Bois, Guy Pène 488 Evelyn, Pam 409

Schwitters, Kurt 429 Scully, Sean 480

Stella, Frank 105 Warhol, Andy 112, 116

Samaras, Lucas 420 Sandback, Fred 454

Samaras, Lucas 103 Sillman, Amy 101

Rama, Carol 415 Rauschenberg, Robert 475

Kelly, Ellsworth 136

Flavin, Dan 446

Serra, Richard 408

Förg, Günther 479

Shapiro, Joel 456 Sharif, Hassan 469

Wool, Christopher 109 Genzken, Isa 412

Sherman, Cindy 485

Gilbert and George 462

Stella, Joseph 458

Gilliam, Sam 419

Sterne, Hedda 476

Gober, Robert 443, 445, 483

Struth, Thomas 486

Gonzalez Torres 444

Szapocznikow, Alina 425

Wade Guyton and Kelley Walker

Thek, Paul 431

467

Truitt, Anne 448 Tyson, Keith 468

Heinecken, Robert 490

Upson, Kaari 406

Hesse, Eva 404 Humphries, Jacqueline 403

Valentine, Dewain 453 von Heyl, Charline 418

Kippenberger, Martin 464 Kusama, Yayoi 424

Wall, Jeff 439 Warhol, Andy 433, 434

Larner, Liz 471

Warren, Rebecca 402

Lawler, Louise 459

Weiner, Lawrence 428

LeWitt, Sol 451

White, Pae 470

Lozano, Lee 407

Whitten, Jack 477 Wilke, Hannah 493

Man Ray 421 Manzoni, Piero 452 Marclay, Christian 460 Martin, Agnes 447 Matsutani, Takesada 401 Mehretu, Julie 410 Modotti, Tina 461 Morris, Sarah 492

Woodman, Francesca 487