A Life of Beauty: The Collection of John Cheim

NEW YORK

T H E CO L L EC T I O N O F J O H N C H E I M

A LIFE OF BEAUTY: THE COLLECTION OF JOHN CHEIM

A Life of Beauty

15 & 16 NOVEMBER 2023 N11179/N11180

A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M NEW YORK | NOVEMBER 2023 1334 York Avenue New York, NY 10021 +1 212 606 7000 sothebys.com FOLLOW US @SOTHEBYS

TO BE SOLD IN THE CONTEMPORARY EVENING AUCTION NEW YORK | 15 NOVEMBER 2023 AND THE CONTEMPORARY DAY AUCTION NEW YORK | 16 NOVEMBER 2023

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Monday 6 November 10 AM–5 PM

Sunday 12 November 1 PM–5 PM

Wednesday 1 November 10 AM–5 PM

Tuesday 7 November 10 AM–5 PM

Monday 13 November 10 AM–5 PM

Thursday 2 November 10 AM–5 PM

Wednesday 8 November 10 AM–4 PM

Tuesday 14 November 10 AM–5 PM

Friday 3 November 10 AM–5 PM

Thursday 9 November 10 AM–5 PM

Wednesday 15 November 10 AM–1 PM

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Friday 10 November 10 AM–5 PM

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ENQUIRIES New York Ashkan.Bagestani@sothebys.com +1 212 606 7254

SPECIALISTS

ENQUIRIES

Lisa Dennison EVP | Chairman, Americas lisa.dennison@sothebys.com

SALE N U MB ER

Grégoire Billault EVP | Chairman, Contemporary Art gregoire.billault@sothebys.com

BI DS DEPARTMEN T

David Galperin SVP | Head of Contemporary Art & Co-Head of Marquee Sales, Americas david.galperin@sothebys.com Ashkan Baghestani SVP | Head of Contemporary Day Sale ashkan.baghestani@sothebys.com Carly Gamson AVP, Specialist, Contemporary Art carly.gamson@sothebys.com Kelsey Leonard VP | Head of Contemporary Evening Sale, NY kelsey.leonard@sothebys.com

N11179 + N11180 “SUNFLOWERS”

+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-SALE CO O RDIN ATO R

Jackie Dishner jacqueline.dishner@sothebys.com Rachel Hansen rachel.hansen@sothebys.com P OST SALE SERVICES

For payment, delivery and collection Kelsey Macpherson Associate Specialist, Modern & Contemporary Art kelsey.macpherson@sothebys.com Alya Sama Associate Specialist, Contemporary Art alya.sama@sothebys.com Serena Hildebrandt Associate Specialist, Contemporary Art serena.hildebrandt@sothebys.com Chris Chow Digital Cataloguer & Researcher, Contemporary Art christopher.chow@sothebys.com

+1 212 606 7444 fax +1 212 606 7043 uspostsaleservices@sothebys.com

CONTENTS 1 AUCTION & EXHIBITION INFORMATION 3 SPECIALISTS AND ENQUIRIES 6 A LIFE OF BEAUTY: THE COLLECTION OF JOHN CHEIM 24 CONTEMPORARY EVENING AUCTION 66 CONTEMPORARY DAY AUCTION 185 CONDITIONS OF BUSINESS FOR BUYERS 192 BUYING AT AUCTION 193 INFORMATION ON SALES AND USE TAX 194 IMPORTANT NOTICES GLOSSARY OF TERMS 196 INDEX

SOTHEBY’S

A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

“I don’t think of my definition as being that of an art dealer but rather someone who loves art and is involved with it in various ways. I see art as an approach to life. I am drawn to things and want to spend time with them.”

JOHN CHEIM

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or over four decades, John Cheim has been a pivotal figure in the New York art world, renowned for his steadfast dedication to the careers of several key artists of his generation. Characterized by his discerning curatorial eye, Cheim’s celebrated career has culminated in an expansive personal collection that spans categories, mediums, and artistic movements. Thoughtfully composed over the years, his holdings reflect a profound respect for the artist’s specific intention, whether formal or conceptual in nature. Indeed, in the Cheim collection, every picture tells a story.

From the resplendent abstractions of Joan Mitchell who so poetically evoked nature’s vitality, to the to the insightful and sometimes raw portraiture of Diane Arbus, Robert Mapplethorpe, Alice Neel and Alex Katz, the collection of John Cheim weaves a rich tapestry of 20th century art.

Alice Neel, John Cheim, 1979. Courtesy the Estate of Alice Neel and David Zwirner

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Throughout his formative years, Cheim was surrounded by myriad sources of artistic inspiration. As a young child, his exposure to his grandfather’s extensive personal library in San Jose, California, led to an appreciation for the aesthetic quality of books. In high school he gained the reputation of “best artist,” and later went on to study art formally at the Rhode Island School of Design where he earned his BFA in 1977.

In 1978, following an internship with curator Martha Beck at the Drawing Center, Cheim joined the Robert Miller Gallery. As a testament to his aptitude for recognizing and nurturing artistic talent, Cheim was named Director – a position he held for twenty years while continually solidifying the gallery’s reputation. The gallery had a resounding impact on the art scene in New York, creating a new genre of exhibition space – later termed the “white cube” –

that positioned art at the foreground of the viewing experience. During his tenure at Robert Miller, in 1990 Cheim curated the seminal first-ever survey of Jean-Michel Basquiat’s drawings. Here, he hung the works salon-style on a single wall where they served as evidence of the expressive intensity with which the artist approached his works on paper.

Cheim’s creative instinct and ability to discover new and meaningful narratives within the art historical canon were nowhere better exemplified than in the exhibition Alice Neel – Diane Arbus: Children in 1989, described by Roberta Smith in her New York Times review as “brilliant,” “an unusually powerful exhibition,” and “one that can trigger a deeper understanding of both the making and the seeing of art that flows effortlessly into a meditation on life

itself.” Throughout his curatorial practice, Cheim continued to instigate these sorts of provocative and unexpected pairings of artists.

Equipped with an impeccable aesthetic sensibility, Cheim became involved with catalogue design in his early days at the Robert Miller Gallery. Cheim’s publications elevated artworks beyond the page, creating visual records which immortalized the iconic exhibitions they accompanied. From Robert Mapplethorpe’s 1978 X Portfolio to Andy Warhol’s 1987 Photographs, these early publications endure as monuments of these historic exhibitions and of Cheim’s significant contribution to art history both as a publisher and curator.

Following his tenure at the Robert Miller Gallery, Cheim established Cheim & Read in 1997 with his longtime friend and collaborator Howard Read.

Their goal was impressively simple, yet remarkably untested: commit to a loyal stable of artists and develop relationships, all while managing sizable careers on an intimate scale. Cheim & Read’s approach proved immensely successful, prompting widespread appreciation and reappraisal of overlooked or underrepresented voices in the art world, strategically presented in a thoughtful and engaging way.

A consistent thread throughout Cheim’s career is his unwavering support for female artists, one that deepened after the establishment of Cheim & Read.

The gallery’s inaugural exhibition showcased Jenny Holzer’s Living series (1980-82) alongside Louise Bourgeois’ monumental Spider (1996), setting the tone for the kind of thought-provoking and boundarybreaking shows that would become their hallmark. In

2009, Cheim curated The Female Gaze: Women Look at Women, an exhibition featuring a diverse selection of artists of different generations and styles, including Marlene Dumas, Tracey Emin, Maria Lassnig and Joan Semmel among others. In 2016 Cheim staged The Female Gaze Part II: Women Look at Men giving a platform to a younger generation of artists such as Cecily Brown, Katherine Bradford, Lynette YiadomBoakye and Dana Schutz.

Female artists are represented in depth within Cheim’s own collection, elevated by the deep friendships he established with each over the course of their respective careers. Jenny Holzer, Lynda Benglis, Joan Mitchell, Louise Bourgeois; each of these artists plays a central role within Cheim’s extraordinary collection. Cheim’s holdings of

Left: Installation view of the exhibition The Female Gaze: Women Look at Women, curated by John Cheim. Cheim & Read, New York, 2009.

Above: A selection of publications designed and edited by John Cheim.

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Bourgeois capture some of the most essential images and themes from across her oeuvre in both two and three dimensions and together attest to the affinity he felt for her work. Woman with Packages is a brilliant example from the artist’s totemic Personages series and exemplifies the formal and psychological complexity for which the artist is best known through the rough evocation of the human form. Alice Neel is another artist he personally collected, including portraits of neighborhood children paired alongside superstar celebrity Jackie Curtis, as well as a poignant 1979 painting of Cheim himself.

At the heart of the collection is Joan Mitchell’s monumental masterpiece: Sunflowers. Executed in 1991, only a year before the artist’s tragically early death at the age of sixty-seven, Sunflowers stands as one of the artist’s most significant paintings to remain in private hands. In an extraordinary gesture of friendship and mutual professional respect, Mitchell gifted this work to Cheim shortly after the painting was completed. She allowed him to choose any work from her collection and he selected this magnum opus, immediately captivated by its remarkable beauty. Having remained in Cheim’s collection for over three decades, Sunflowers stands as a reminder not only of his close bond with Mitchell but also of his connoisseurial eye. Cheim’s collection also comprises works from diverse periods of Mitchell’s career; an early charcoal on paper Nude Study from 1945 provides a glimpse into her nascent artistic endeavors as a young student in Chicago, while an Untitled canvas from 1960 reflects the development of her abstract vernacular just after her move to Paris from New York. A pastel executed in 1991, the same year as Sunflowers, reveals Mitchell’s versatility and accomplishment across media. Indeed, Cheim’s appreciation for the pastels resulted the first survey of her works on paper at Cheim & Read in 1992 as well as a celebrated exhibition of pastels by Mitchell at the XXII International Sao Paulo Biennial in 1994, both curated by Cheim himself.

Previous: A letter from Joan Mitchell to John Cheim

“If art is any good it will continue to have meaning well beyond our lifetimes. We are simply passing custodians– and that in itself can be gratifying.”

JOHN CHEIM

John Cheim has stated that his greatest satisfaction has been to “live life immersed in the philosophy of art – art as a way of perceiving the meaning of life.” This sentiment resonates within the collection, a deeply personal repository teeming with emotional profundity and intimate narratives. Through his unwavering advocacy, curatorial acumen, and mentorship of artists, Cheim has made an indelible mark on the contemporary art world, one that continues to this day through the innovative programming at his Chelsea-based gallery. Now, allowing access to the sanctum of his collection, we better understand his remarkable

achievement. A breathtaking assemblage of design, ceramics, books and art, his loft is an eloquent curation of some of the luminaries of the last century and a living testament to Cheim’s own distinguished legacy.

Simply stated, the collection of John Cheim together weaves a chronicle of a life lived in communion with beautiful objects, each with distinct histories brought together by meaningful relationships. It encapsulates a remarkable odyssey, a life of beauty, that transcends the mere acquisition of art to embody the profound intersection of existence and creativity.

Left: A letter from President William “Bill” Clinton to John Cheim, 2005; An advertisement card for an exhibition curated by John Cheim at Robert Miller Gallery, 1990; A handwritten note from John Cheim.

Above: A note from John Cheim to Louise Bourgeois

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An Appreciative Salute AC R O S S T H E G R E AT D I V I D E S E PA RAT I N G T H E N OT F O R P R O F I T A N D T H E F O R P R O F I T A R T WO R L D S Robert Storr - Brooklyn - September 2023

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orry Herr Kant, but I have always distrusted

Furthermore, as recent art has demonstrated,

“taste.” Of course, in the art world it’s a word

taste isn’t necessarily “good taste.” Like others of his

on the tip of many tongues – where, given its

generation, the California “stall-kicker” Mike Kelley

derivation, it belongs. As if having it, was a

had an impeccable instinct for ferreting out “bad

kind of secret sauce to be added in conversation when

taste” which is to say he had “an eye” for egregiously

considering the mystery meats of the ineffable. Like a

distasteful eyesore-making source materials such as

condiment off the shelf on which are also arrayed little

low-grade sex comics. Had he not chosen his motifs

bottles of “quality,” “mastery,” along with - pardon the

so well his riffs on them would not have resonated so

shameless mixing of metaphors - other authoritative

deeply or so long. Cocteau famously declared that

aesthetic trump cards – under present circumstances

among the requisite gifts of avant-garde artists is

you’ll excuse the now tainted expression - that can

to know how far to go too far. Kelley’s awareness of

be played to validate works or, rather the credentials

that was unerring and bred in the bone. Moreover,

of their validators when more precise and specific

his extremely unsentimental “sentimental education”

descriptive language fails.

occurred in Detroit rather than on the Upper East or West Side of Manhattan or in the Hamptons or their

Furthermore, taste is inherently conservative

diasporic spawn West of the Hudson.

inasmuch as it is acquired only through repeated and extensive use. It is a faculty developed by wide exposure

So when I say that the art dealer John Cheim has

to and careful discrimination among artifacts of a given

impeccable taste in a wide array of art I do so in spite of

type or class. That said, it is not readily transferable

my habitual doubts about the usual parameters of such

to other types or classes of objects. Take for example

faculties and my reflex reluctance to resort to that word

Dutch painting of the Baroque era, over which men of

in praise of anyone or anything. Nevertheless, I venture

taste tested their judgements for generations before

to say so with respect to John in accordance with the

connoisseurship settled in on consensus. Currently, few

criteria set forth above: frequent, first-hand acquaintance

“experts” are qualified to confirm or dispute opinions

with the man and a parallel, time-tested faith in his

on the “best” in Rembrandt or Vermeer or Hals because

capacity to pick artists and specific works by them.

few have seen enough “up close” to know for certain

And how did I come to know him, and for how

what it is that they’re looking at. The corollary is that

long have I done so? Since both of us began to hang

exceptional taste in Dutch Masters hardly underwrites

out – unbeknownst to one another – in galleries and

statements about ancient Chinese ceramics or Postwar

museums and studios in the late 1970s and early 1980s.

American painting since intimate knowledge of the

At that time, I was an avid nobody, but John was already

aesthetic conditions and codes informing the former are

distinguishing himself as a more than reliable arbiter of

all but irrelevant to those determining the choices made

some of the most striking contemporary art emerging

by artists at work in the other areas mentioned.

or re-emerging at that period and was soon putting that

Installation view of the exhibition Jean-Michel Basquiat: Drawings, curated by John Cheim and catalogue text written by Robert Storr. Robert Miller Gallery, New York, 1990. Art © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.

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capacity to the test planning exhibitions and designing

championed were a “who’s who” of the period that

catalogs for the gallery established by Robert Miller. For

ardent feminists substantially wrote or rewrote, but his

one of the prime characteristics of the 1980s boom of

inspiration would seem to have been an uncanny affinity

which John was a bellwether, was the rediscovery and

for independent talents cutting their own paths: Joan

revival of the career of artists who had been prominent

Mitchell, Alice Neel, and Louise Bourgeois over whom

decades earlier in the 1950s and 1960s but routinely

we bonded. Later came Lynda Benglis, Nan Goldin, Eva

passed over thereafter. In collaboration with the

Hesse, Jenny Holzer, Yayoi Kusama, and Diane Arbus all

gentleman painter turned dealer Miller, whose protégé

of whom sparkled in the spaces that Miller opened on

and gallery director he became, John was stunningly

Fifth Avenue just above 56th St. and later on the corner

adept at identifying candidates for resurrection and

of Fifth Avenue and 57th Street in the Fuller Building.

That said every locus of attention in John’s world

strategies for effectuating that rebirth keyed to adroit sequencing of the excavation of their studios and

sooner or later tended to intersect with other centers

its sedimentation. This gradual unpacking of artists’

like so many radiating circles in a pond under the rain.

storage became the seasonal crop of his space, along

Thus, one of last if not the last Warhol show during the

with a ravishingly uncluttered display of his “trouvailles”

Popmeister’s lifetime consisting of stitched photographs

which in that respect paralleled the famous Surrealist

took place at the Miller Gallery in conjunction with an

sport of treasure-hunting.

exhibition of Louise Bourgeois’ current work. Talk about an odd couple, she with a black beret and he with his

Another salient fact about John’s unique abilities and insights was his penchant for and rapport with

silver white wig. But also talk about sacred monsters!!

very difficult women. One might go so far as to call

Fortunately this impromptu summit conference of

him the George Cukor of gallery directors. In fairness

eccentrics was documented by Warhol’s shutterbug

one is obliged to say that such difficulty was a primary

Boswell Paige Powell. Another remarkable exhibition

reason they had not disappeared altogether during the

that brushed against Warhol World was John’s selection

long boys’ club era of the Triumph of American Art. But

of drawings by Jean-Michel Basquiat which revealed

what choice did women determined to make a lasting

his affinities with Conceptualism theretofore largely

impact in a man’s world really have other than to be

unremarked upon in the critical frenzy over graffiti

difficult? The key examples constitute a Pantheon of

art as the return of the “primitive” to contemporary

heroines of the second 1970s wave of the women’s

art. Who knew that Basquiat was supersmart, super

movement though in John’s case feminist politics per

sophisticated in all things having to do with formal

se was not a motivation though it played a significant

appropriation not to mention hot-button political

contingency role in the reception of his exhibitions

iconography, as well as also exceedingly and playfully

and catalogs. Rather his interest was wholly and

articulate with words? In short, Basquiat was anything

emphatically aesthetic, although his preferences were

but a “noble savage” which all too many white dealers

historic as well as history-making. The women John

and art writers took him to be though they had every

Catalogue for the exhibition Joan Mitchell, Robert Miller Gallery, New York, 1989, with an inscription from the artist to John Cheim

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general public might have for suspecting that when it comes to professional opinion within institutions the fix is always, already in. Nevertheless, after being told by me what was in progress Kirk generously gave permission to go ahead with publishing the essay on Basquiat. It was to be the first of a couple of texts on Basquiat I have published, and I am indebted to John for opening a door that might not have been left ajar for me given that I didn’t hang out with Basquiat’s crowd though I had watched Keith Haring at work in the subways and later at The Center – now the Lesbian, Gay, Bisexual & Transgender Community Center - which opened with an on-site exhibition for which Keith discursively decorated the men’s room.

The overall “queering” of the art world as it presently exists was inconceivable back in the 1980s and 1990s.

Whilst witnessing the ongoing and unparalleled ferocity of the backlash against everything that offends straight white males, it is useful to be reminded that it has always taken courage and strategic skill to be anything other than that. Even in the art world, although it has long been a refuge where non-conformists of every stripe can, ostensibly, hide in plain sight. In that way John’s advocacy of “non-mainstream” talents has had reason to know better. Yet without prompting and just by

real and very positive consequences in places in this

looking hard at the work, John got it!

country where the more or less open identities of many

In those days I was not yet in the curatorial ranks

of those he believed in and promoted were anathema.

at The Museum of Modern Art in New York, so I gladly

He understood to an extent that few have that elegance

accepted John’s invitation to write the catalog essay.

is a social solvent that renders tough art and “aberrant”

Much as I had previously done for a seminal overview

images and ways of viewing things palatable, indeed

of Louise Bourgeois’ works on paper, although the

wondrously subversive. Here is a group of works chosen

show itself and the book went public after MoMA’s Kirk

by a self-made man of taste with a truly acute eye and

Varnedoe had tapped me. The rules governing conflicts

active mind. That some, in fact many of his enthusiasms

of interest and what museum men and women did

are off-beat, even sulphurous simply proves the point

outside of their day jobs were stricter then – and a good

that taste only changes when tinged with strong,

thing too since it tends to erase the grounds that the

unfamiliar, astringent if not positively distasteful flavors.

Louise Bourgeois Drawings, Robert Miller Gallery, 1988. Designed and edited by John Cheim.

Robert Mapplethorpe, John Cheim, 1978. Private Collection.

Art © Robert Mapplethorpe Foundation. Used by permission.

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A Life A Life of Beauty

of

T H E CO L L EC T I O N O F J O H N C H E I M

C O N T E M P O R A R Y A R T E V E N I N G AU C T I O N 1 5 N O V E M B E R 2 02 3 | 7:00 PM

Beauty

A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Jean-Michel Basquiat 1960 - 1988

NO HAY CRIME N © oilstick, colored pencil and paper collage on canvas 44 ½ by 27 ¼ in., 113 by 69.2 cm.

Executed in 1983.

○ ⋑ $ 1,200,000-1,800,000

P R OV E N A N C E

L I T E R AT U R E

Richard Hambleton, New York (acquired directly from the artist) Robert Miller Gallery, New York Acquired from the above in May 1992 by the present owner

Berta Sichel, "Jean-Michel Basquiat," Art Nexus, October 1992, no. 6, pp. 68, illustrated in color (detail) Richard D. Marshall and Jean-Louis Prat, Jean-Michel Basquiat, 1st ed., vol. II, Paris, 1996, no. 5, pp. 80-81, illustrated in color Richard D. Marshall and Jean-Louis Prat, Jean-Michel Basquiat, 2nd ed., vol. II, Paris, 1996, no. 5, pp. 106-107, illustrated in color Mark Heldens, "Interieur New York: De Verenigde Staat," Elle Women, June/July 1998, p. 76, illustrated in color Richard D. Marshall and Jean-Louis Prat, Jean-Michel Basquiat, Paris, 2000, 3rd. ed., vol. II, no. 5, pp. 168-169, illustrated in color Mark Heldens, "Helder en Nostalgisch," Knack Magazine, 2007, p. 45, illustrated in color

EXHIBITED

New York, New York University, Grey Art Gallery; Pittsburgh, Andy Warhol Museum; and Austin Museum of Art, The Downtown Show: The New York Art Scene 1974-1984, January 2006 - January 2007 New York, Cheim & Read, I Am As You Will Be - The Skeleton in Art, September - November 2007, n.p., illustrated in color

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as both idiosyncratic self-portraits and symbolic icons, the singular figure revealed in works such as No Hay Crimen © prevails as a key conceptual anchor for Basquiat throughout his career, appearing in and dominating the majority of his best-known masterworks. No Hay Crimen © bears an exceptional provenance that attests to Jean-Michel Basquiat’s expansive legacy on art history: first acquired by artist Richard Hambleton, Basquiat’s contemporary in the vanguard of the 1980s New York City art scene who is today recognized as the “Godfather of Street Art,” the present work has since belonged to esteemed gallerist John Cheim, who designed and edited Basquiat: Drawings, the first published book of Basquiat’s drawings coinciding with an acclaimed exhibition he curated at Robert Miller Gallery in November 1990.

harged with electric verve, Jean-Michel Basquiat’s silhouette of the skull fixes the viewer with its ruby gaze in No Hay Crimen © from 1983, epitomizing the vigorous drawing practice at the core of the legendary artist’s oeuvre. Atop his talismanic symbol, Basquiat scribbles in capital letters, “NO HAY CRIMEN © (DE CLASSE),” or “There is no crime (of class),” maintaining the enigmatic yet biting sociopolitical critique and the shorthand copyright symbol from his foundational street art origins. Furthermore, the skull-like visage in the present work is paradigmatic of Basquiat’s most iconic and timeless motif: utterly mesmerizing in its passionate intensity, the inner soul of the man appears to burst forth from his portrait in undulating red and yellow striations. Enduring

Class],” this ambiguous inscription recalls Basquiat’s renegade sociopolitical musings as SAMO, his street art alter-ego of the late 1970s under which he roamed the streets of New York and emblazoned his moniker upon the abandoned walls of the city. Like personal hieroglyphs, the text reveals Basquiat’s complex worldview that encompasses the hard-hitting social concerns of class struggle and racial discrimination; not least within art itself. Regarding Basquiat’s works on paper such as No Hay Crimen ©, curator Robert Storr writes, “His earliest images on paper show the same authoritative handwriting of his pseudonymous street tags… Heads, often skulls, chant his words.

Or rather inhale and exhale them through gritted teeth, as if sucking in the variously dense or diffuse atmosphere they create” (Robert Storr in Exh. Cat., New York, Robert Miller Gallery, Jean Michel Basquiat: Drawings, 1981–1988, 1990, n.p.).

In No Hay Crimen ©, furious strokes of umber, ochre and cadmium red oil stick congregate against an off-white background to form a disembodied human head. The scorching gaze, bared teeth and fiercely delineated head seen in the present work express a degree of emotional intensity that evidences Basquiat’s astute observations in the psycho-spiritual states of being, an association further heightened by his tactile, stunningly immediate handling of oil stick. "What drew Basquiat almost obsessively to the depiction of the human head was his fascination with the face as a passageway from exterior physical presence into the hidden realities of man’s psychological and mental realms,” writes Fred Hoffmann. “They not only peer out as if seeing, but also invite the viewer to penetrate within." (Exh. Cat., New York, Acquavella Galleries, Jean-Michel Basquiat Drawing: Works from the Schorr Family Collection, 2014, p.

74). Glaring outwards with the skull’s bloodshot eyes, No Hay Crimen © breaks down the dichotomy between the external and internal, revealing the cacophonous innermost aspects of psychic life with intense dynamism. As Basquiat transitioned from street to studio, the skull served as one of his most resilient pictorial throughlines. In its unfiltered grit and guttural symbolism, the skull captured the vibrance of urban life with thrilling authenticity, simultaneously memorializing his past as a celebrated member of Manhattan’s graffiti vanguard and his remarkable future as contemporary art’s dazzling prodigy. Absorbing, warping and reshaping the myriad dissonant influences of the Downtown New York, Basquiat forged an extraordinarily lucid and intelligent pictorial vernacular that, while entirely his own, typified the language of the sidewalks and walls of the city with searing candor.

Above the cranial visage, Basquiat abandons none of the vehemence behind his marks as he scrawls the Spanish title of the present work in his own unmistakable handwriting: NO HAY CRIMEN [DE CLASSE]. Translating to “There is No Crime [Of

Jean-Michel Basquiat, film still from Boom For Real: The Late Teenage Years of Jean-Michel Basquiat, Magnolia Pictures, 2017. Image © Alexis Adler. Photo courtesy of Magnolia Pictures.

Jean-Michel Basquiat, Untitled, 1982. The Broad Museum, Los Angeles.

Art © 2023 Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.

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As Basquiat’s most iconographically potent symbol, the head engages two-dimensional space in No Hay Crimen © with explosive depth and electrifies the pictorial surface with the compulsive intensity at the heart of the artist’s practice. Visual and emotive force are fused as Basquiat renders a physiognomic figure that is raw and aggressive, a cacophonous melee of color and gesture held together by the unwavering confidence of the artist’s line. Jubilantly demonstrative of the radical creative pinnacle of Basquiat’s career, No Hay Crimen © is the product of a calamitously brilliant artist defined by explosive talent and impregnable ferocity. As Basquiat engages the viewer with

“His earliest images on paper show the same authoritative handwriting of his pseudonymous street tags… Heads, often skulls, chant his words. Or rather inhale and exhale them through gritted teeth, as if sucking in the variously dense or diffuse atmosphere they create.”

ROBERT STORR IN EXH. CAT., NEW YORK, ROBERT MILLER GALLERY, JEAN MICHEL BASQUIAT: DRAWINGS, 1981–1988, 1990, N.P.)

the striking gaze of his skull, the snarling face demands recognition of Basquiat’s instinctive and lauded abilities as one of the greatest artists of the Twentieth Century, and it is the indescribable and ever-present relevance of Basquiat’s mode of creation and mark on art history that prompted Glenn O’Brien to reflect: “He was the once-in-alifetime real deal: artist as prophet” (Glenn O’Brien, “Greatest Hits,” in Exh. Cat., Art Gallery of Ontario, Jean-Michel Basquiat: Now’s the Time, 2015, p. 180).

Vincent van Gogh, Head of a Skeleton with a Burning Cigarette, 1886.

Van Gogh Museum, Amsterdam. Image: Bridgeman Images Michelangelo Buonarroti, Study of a man shouting (charcoal on paper), 1525-34. Galleria degli Uffizi, Florence. Image: Bridgeman Images

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Lynda Benglis b. 1941

UNTITLE D signed and dated 6.8.70 (on the reverse) pigmented beeswax, damar resin and gesso on Masonite 36 by 5 ¾ by 2 ⅜ in., 91.4 by 14.6 by 6 cm.

Executed in 1970.

○ $ 200,000-300,000

P R OV E N A N C E

Paula Cooper Gallery, New York Mr. and Mrs. Frank H. Porter, Cleveland (acquired from the above in 1971) Christie's New York, 12 January 2005, lot 29 (consigned by the estate of the above) Jason McCoy, New York Cheim & Read, New York Acquired from the above in 2009 by the present owner EXHIBITED

Mexico, Puebla, International Museum of the Baroque, Lynda Benglis: Bodies, Matter and Soul, September 2016 March 2017, p. 58, illustrated in color New York, Cheim & Read and New York, Ortuzar Projects, Lynda Benglis: Early Work 1967-1979, October - December 2020, p. 15, illustrated in color (detail) and pp. 32-33, illustrated in color

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ripping with rich, pigmented layers of beeswax, Untitled from 1970 is a stunning example from Lynda Benglis’ seminal series of “two-brushstroke paintings” begun in 1967. Characterized by elongated, lozengeshaped encrustations of wax on Masonite supports that measure the approximate length and width of the artist’s arm, Benglis’ two-brushstroke paintings provocatively oscillate between painting and sculptural object. Untitled mimics the malleability of flesh, emphasizing the distinct tactile qualities of Benglis’ oeuvre. Concentrations of wax ebb and flow both vertically and laterally across the surface , transforming the definition of painting itself. As a centerpiece of John Cheim’s inimitable collection, the present work undoubtedly represents Benglis at a pivotal point in her career and reflects Cheim’s longtime dedication to and support of artists. Further prompting suggestions of the corporeal, Untitled is a testament to Benglis’ pioneering feminist spirit and provocative impulse to reveal the sensuality of shape and materials.

Since first garnering acclaim in the late 1960s, Benglis has become increasingly recognized as a preeminent sculptor of the late 20th century. Visceral and tactile in nature, Untitled typifies Benglis’ practice with every protrusion, drip, and billowing edge of its expertly wielded blankets of wax. Executed in 1970, just three years after the series’ conception, the present work defies a precise reading of space and depth: from afar, the waxen brushstrokes ripple in rhythmic patterns, while upon closer inspection, the accumulation of encaustic reveals a softly bulging convex shape as if hovering weightlessly above the wall. The elaborate materiality in Untitled precedes and predicts Benglis’ later thick sculptural forms, which benefit from the influence of the twobrushstroke paintings with an enriched bodily presence and enhanced understanding of depth.

The inescapable allure of Untitled is not only attributed to its visual complexity but to its very process of making. With a paintbrush the same width as the Masonite board, Benglis spread coats of pigmented beeswax from the center to the rounded edges of the panel, collecting wax encrustations along the borders and textured, coral-like clusters across the surface. Reacting against what she viewed as the austerity of Minimalism, Benglis embraced these unusual materials to reinforce gestural and gendered connotations. She similarly breathed new life into the dripping and pouring historically associated with Abstract Expressionism, which in Benglis’ hands, becomes witty and subversive rather than

emotionally cathartic. As described by Julia BryanWilson, “[Benglis] is a superb colorist, a skill amply on display in the subtle pastel gradations of pigment in her wax paintings… Across Benglis’s oeuvre, there is no such thing as ‘merely’ cosmetic – her exteriors, her understanding of the differences between intrinsic and extrinsic color, her rigorous attentions to the faces and finishes of her objects – these are not superficial considerations but rather integral to their form and meaning” (in Exh. Cat., New York, Cheim & Read, Lynda Benglis: Early Work 1967-1979, p. 2).

At once image and object, fluid and dense, controlled and excessive, Untitled ignites the senses, recalling the tactility of the human body and that of Benglis’ innovative materials. As she herself has explained, “The whole idea of making a sculpture that has a presence and a form has always interested me. In some ways thinking about nature has always interested me. My use of fluid materials is in many ways related to gravity, and I have always been involved with skins too, sort of an exoskeleton.

Related to the idea of skin, is the idea of drawing form—this has interested me because my work is all about drawing, as well as volume, or lack of volume, or air. A lot of the forms I have done, are vessels that are containing something, or not containing something, and are living and breathing” (the artist quoted in “Conversations: Lynda Benglis,” in Ocula Magazine, 28 February 2015, online).

Georgia O’Keeffe, Music, Pink and Blue No. 2, 1918. Whitney Museum of American Art, New York.

Image: Art Resource, NY. Art © 2023 Georgia O'Keeffe Museum / Artists Rights Society (ARS), NY

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Louise Bourgeois 1911 - 2010

WOMAN WITH PACK AG ES incised with the artist's initials and numbered 1/6 (on the reverse) painted bronze and stainless steel 65 by 18 by 12 in., 165.1 by 45.7 by 30.5 cm.

Conceived in 1949 and cast in 1989, this work is number 1 from an edition of 6 plus 1 artist's proof.

○ $ 1,800,000-2,500,000

Hamburg, Deichtorhallen, Louise Bourgeois Der Ort des Gedächtnisses: Skupturen, Environments und Zeichnungen 1946-1995, July - October 1996, p. 63, illustrated (another example) Salzburg, Rupertinum, Louise Bourgeois: Sculptures and Objects, July - October 1996 (another example) XXIII International São Paulo Bienal, Louise Bourgeois, October - December 1996 (another example) Rio de Janeiro, Centro Cultural Banco do Brasil, Louise Bourgeois: Sculpture, February - April 1997, p. 6, illustrated (installed in XXIII International São Paulo Bienal, 1996) and p. 8, illustrated (another example) Cologne, Josef-Haubrich-Kunsthalle, Frauenmacht und Mannerherrschaft im Kulturvergleich, November 1997 March 1998 (another example) Hanover, Dartmouth College, Jaffe-Friede & Strauss Galleries, Louise Bourgeois, February - March 1999 (another example) Madrid, Museo Nacional Centro de Arte Reina Sofía, Louise Bourgeois: Memory and Architecture, November 1999 February 2000, pl. 16, p. 134, illustrated and p. 176 (another example) Champaign, University of Illinois, Krannert Art Museum; Wisconsin, Madison Art Center; and Aspen Art Museum, Louise Bourgeois: The Early Work, May 2002 - February 2003, no. 30, p. 84, illustrated in color (another example) São Paulo, Instituto Tomie Ohtake; and Rio de Janeiro, Museu de Arte Moderna, Louise Bourgeois: The Return of the Forbidden Desire, July - November 2011 (another example) Seoul, Kukje Gallery, Louise Bourgeois: Personages, May - June 2012, p. 45, 72, illustrated in color, p. 95, illustrated (installed in New York, Peridot Gallery, 1949) (wood example illustrated) and pp. 91, 95, 97, illustrated (present example)

P R OV E N A N C E

Acquired directly from the artist in May 1990 by the present owner EXHIBITED

New York, Peridot Gallery, Louise Bourgeois, Recent Work 1947-1949: Seventeen Standing Figures in Wood, October 1949 (wood example) (titled Woman Carrying Packages) New York, Xavier Fourcade Gallery, Louise Bourgeois, Sculpture 1941-1953: Plus One New Piece, September October 1949 (wood example) Cologne, Galerie Karsten Greve, Louise Bourgeois: Bronzes of the 40's and 50s, October - November 1990, p. 126, illustrated (another example) Santa Fe, Laura Carpenter Fine Art, Louise Bourgeois Personages, 1940s/Installations, 1990s, July - September 1993 (another example) Hannover, Kestner-Gesellschaft, Louise Bourgeois: Sculptures, September - October 1994, p. 88, illustrated (wood example) Southampton, Parrish Art Museum, Between Transcendence and Brutality, September - November 1994 (another example) Philadelphia, Locks Gallery, Louise Bourgeois, October November 1994 (another example) Museum of Contemporary Art of Monterrey; Seville, Centro Andaluz de Arte Contemporaneo; and Mexico City, Museo Rufino Tamayo, Louise Bourgeois, October 1994 - August 1996, p. 54, illustrated (another example) Musée d'Art Moderne de la Ville de Paris, Louise Bourgeois: Sculptures, environments, dessins 1938-1995, June October 1995, p. 71, illustrated (another example)

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EXHIBITED

L I T E R AT U R E

Beijing, Faurschou Foundation; and Copenhagen, Faurschou Foundation, Louise Bourgeois: Alone and Together, October 2012 - February 2014, p. 21, illustrated in color (another example) (in installation), p. 133, illustrated in color and pp.

134-135, illustrated in color (detail) (another example) Stockholm, Moderna Museet; and Málaga, Picasso Museum, Louise Bourgeois: I Have Been to Hell and Back, February - September 2015, no. 17, p. 45, illustrated in color and p. 279 (another example) Philadelphia, Pennsylvania Academy of the Fine Arts, Beyond Boundaries: Feminine Forms, September 2017 January 2018 (another example) Shanghai, Long Museum West Bund, Louise Bourgeois: The Eternal Thread, November 2018 - February 2019, p. 24, illustrated in color (on the catalogue insert) and illustrated in color (in installation) Schirn Kunsthalle Frankfurt; and Humlebæk, Louisiana Museum of Modern Art, Fantastic Women: Surreal Worlds from Meret Oppenheim to Frida Kahlo, February - September 2020, p. 367, illustrated in color and p. 405 (another example) Kunstmuseum Basel, The Violence of Handwriting Across the Page, February - May 2022 (another example) Zürich, Bahnhofstrasse, Hauser & Wirth, The God That Failed: Louise Bourgeois, Barnett Newman, Mark Rothko, June - September 2023 (another example) Vienna, Belvedere, Louise Bourgeois: Persistent Antagonism / Permanente Widerredez, September 2023 - January 2024, p. 124, illustrated (another example) Sydney, Art Gallery of New South Wales, Louise Bourgeois: Has the Day Invaded the Night or Has the Night Invaded the Day?, November 2023 - April 2024 (another example) (forthcoming)

Exh. Cat., New York, Museum of Modern Art, Louise Bourgeois: Retrospective, 1982, p. 55, illustrated (installed in New York, Peridot Gallery, 1949) (wood example) Catherine Flohic and Daniel Dobbels, "Louise Bourgeois," Ninety, 1994, p. 4 (another example) Robert Pincus-Witten, "Louise Bourgeois," Artforum, November 2008 (online) (another example) Philip Larratt-Smith, ed., Louise Bourgeois: The Return of the Repressed, United Kingdom, 2012, no. 5, p. 159, illustrated (another example) Exh. Cat., Cologne, Galerie Karsten Greve, Galerie Karsten Greve: 40 Years, Cologne; 20 Years, Paris; 10 Years, St. Moritz, 2009, p. 126, illustrated (in installation) (another example) Kwon Mee-yoo, "Bourgeois' earlier workers explore solitude," The Korea Times, 4 June 2012 (online) (another example) Robert Storr, Intimate Geometries: The Art and Life of Louise Bourgeois, New York, 2016, p. 131, illustrated (installed in New York, Peridot Gallery, 1949), pp. 147, 316, 378 (another example) Qilan Shen, "Louise Bourgeois," Noblesse Art Now, 26 November 2018, p. 25, illustrated (another example) Kelly Burke, "Bourgeois spiders and Kandinsky masterpieces: Sydney set for a summer of blockbuster art," The Guardian, 13 February 2023 (online) (another example)

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with Packages has been exhibited internationally, and this example is especially notable for its remarkable provenance, having been held in the collection of the artist before its acquisition by legendary New York gallerist and curator John Cheim. A constant champion of her work, Cheim was Bourgeois’ primary dealer for nearly 40 years and was instrumental in the placement of her work in major, historic private and institutional collections. A masterful embodiment of Bourgeois’ both achingly personal and universal exploration of the human condition, Woman with Packages not only exemplifies the confessional tone of the artist’s iconic Personages series but is a powerful site for her personal history.

Widely considered the first of Bourgeois’ sculptural artistic practice, the Personages represent a critical turning point in her career, foreshadowing the artist’s imposing and life-like figures in her most iconic sculptures, including the monumental Spiders. In 1938, Bourgeois moved from Paris to New York City after marrying, the renowned art historian Robert Goldwater. Her life dramatically changed during this period: she became a mother and found herself in a new city, surrounded by predominantly male Abstract Expressionists. Now isolated from the familiarity of her life in France, Bourgeois longed for her family in Europe, and by 1946 had embarked on her series of Personages. Initially conceiving the sculptures in wood, she returned to cast them later in bronze. These anthropomorphic sculptures developed key themes that would inform the rest of her practice, testifying to their centrality and importance to the artist. Captivating in the poignant impact of their life-size presence, these sculptures represented physical and emotional personifications of her family and friends she left behind, and herself as émigré. Indeed, Bourgeois’ psychological attachment to her familial ‘surrogates’ was such that she kept most of the carved wood originals for the rest of her life.

The Personages ultimately comprised a series of approximately eighty unique wood pieces. Seventeen of these, including Woman with Packages, were first featured in Bourgeois' breakthrough exhibition at Peridot Gallery, New York, in 1949. Installed together in clusters or in isolation to recreate interpersonal social interactions, these sculptures fuse figuration, abstraction, and architecture to

vocatively epitomizing the formal and psychological complexity for which the artist is best known, Louise Bourgeois’ Woman with Packages is a paragon of her first mature sculptures, distinguished as one of the most anthropomorphic and symbolically rich of the group of totemic sculptures known as Personages. In this series, Bourgeois explores the conceptual concerns at the very heart of her oeuvre: an unflinching confrontation of her own emotions and psyche translated into sculptural form. Bourgeois’ celebrated Personages are today housed in every major museum collection worldwide, including The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Tate, London; and Fondation Beyeler, Basel; among many others.

In fact, the original wood form of the present work is incorporated in the most famous example held by the MoMA, Quarantania, I, and other examples from the bronze edition are in the collections of the Pennsylvania Academy of Fine Arts and the Nerman Museum of Contemporary Art in Kansas. Woman

Louise Bourgeois, Quarantania, 1941. Museum of Modern Art, New York.

Image: Art Resource, NY. Art © 2023 The Easton Foundation / Artists Rights Society (ARS), NY Louise Bourgeois with Personage sculptures in Louise Bourgeois, Sculpture, 1941 -1953. Plus One New Piece at Xavier Fourcade Gallery, New York, 1979. Photo © Eeva Inkeri. Art © 2023 The Easton Foundation / Artists Rights Society (ARS), NY

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“The Personages, the most distinct group of Bourgeois’ early work, have only been recently recognized as an outstanding contribution to the history of sculpture in the twentieth century. Although Bourgeois has developed her works in unprecedented directions after 1955, constantly shifting to new concepts, styles and materials, the Personages provide the key to crucial themes and concerns of her entire body of work.”

JOSEF HELFENSTEIN, “PERSONAGES: ANIMISM VERSUS MODERNIST SCULPTURE” IN: EXH. CAT., LONDON, TATE MODERN [AND TRAVELLING], LOUISE BOURGEOIS, 2007, P. 207

isolation and grief into an external, productive project of creation, resulting in a sculpture which serves to reconstruct the past and recall the missing.

Organic yet structured, otherworldly but anthropomorphic, the statuesque form of Woman with Packages represents an homage to the artist’s family, imbued with memories of her mother, a tapestry weaver. Notably, the sculpture is also selfportrait, its three packages symbolizing Bourgeois' three sons. Balanced on a tapering point, the slender body of the figure in Woman with Packages recalls a sewing needle, while her variously sized appendages suggest a woman travelling, laden with packages to

evoke a surreal encounter that exude a quasi-human majesty. Substitutes for the missing, the Personages inhabit a somewhat comforting yet uncanny human equivalence. Imbued with an intangible sense of comfort and solace, Woman with Packages acted as an emotive manifestation of the artist’s memories, a device made even more poignant by Bourgeois’ use of color in the head. The brilliant azure halo around the face of Woman with Packages suggests not only the melancholia traditionally associated with the color but also draws focus to the cerebral interiority of the sculpture itself, and the loss and longing it carries.

Within the present work, Bourgeois translates

Venus of Milo, c. 150-125 BC. Musée du Louvre, Paris. Image: Thierry Ollivier Constantin Brancusi, Mademoiselle Pogany II, 1920. Musée National d'Art Moderne, Paris.

Image: Art Resource, NY. Art © 2023 Succession Brancusi / Artists Rights Society (ARS), NY

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be ferried home. Graceful, balanced, and accented with chromatic brilliance, Woman with Packages is emblematic of the deeply personal visual lexicon that defines Bourgeois’ artistic practice. In an interview in 1989, Bourgeois described, “I have three frames of reference…my mother and father… my own experience…and the frame of reference of my children. And the three are stuck together.”

(Exhibition Catalogue, Tate Modern (and travelling), Louise Bourgeois, 2008-09, p. 127). The Personages underscore Bourgeois’ penchant for autobiographical references within her sculptures, examining loss, love and human nature itself through the surrealist forms. Painted in white, black, and an electrifying blue, the balance of the protruding, semi-biological forms in Woman with Packages evokes a particularly elegant and ethereal presence.

Standing over five feet tall, Woman with Packages mirrors the viewer, our eyes meeting its cyanlined face, drawn into its fantastical, captivating composition. Its figure quietly conveys a regal stoicism, balancing gracefully on a single point while supporting its pendulous forms. The work's tapered point, reliant on its base for support is a reflection of Bourgeois psychological vulnerability as she acclimated to life as a wife and mother in America away from her family. The simplicity of its figure finds emotional impact in its resolutely abstract yet evocatively human-like presence. Among the most visually arresting of Bourgeois’ Personages, Woman with Packages is both universal and deeply personal as Bourgeois draws upon her autobiography to articulate shared experience. Striking in its visual complexity and elegant balance, Woman with Packages embodies the very essence of Bourgeois’ series of Personages – a body of work that today is rightfully considered a landmark of twentiethcentury sculpture.

A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

George Condo b. 1957

E XISTE NTIAL TR AVE LE R (G IRL IN BLUE BOX) signed and dated 96 (lower right) oil on canvas 80 by 80 in., 203.2 by 203.2 cm.

Executed in 1996.

○ $ 1,000,000-1,500,000

P R OV E N A N C E

The artist Philomene Magers Gallery, Munich Acquired from the above in 2006 by the present owner EXHIBITED

Cologne, Monika Sprüth Galerie, George Condo, November 1997 - January 1998 Munich, Philomene Magers Gallery, Babylon, September October 2000 L I T E R AT U R E

Ralph Rugoff, The Imaginary Portraits of George Condo, New York, 2002, p. 102, illustrated in color Simon Baker, George Condo: Painting Reconfigured, London, 2015, no. 78, p. 82, illustrated in color

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“I wanted to capture the characters of these paintings at the extreme height of whatever moment they’re on—in that static moment of chaos—and to picture them as abstract compositions that are set in destitute places and isolated rooms.”

THE ARTIST QUOTED IN: EXH. CAT., NEW YORK, LUHRING AUGUSTINE, GEORGE CONDO: EXISTENTIAL PORTRAITS: SCULPTURE, DRAWINGS AND PAINTINGS 2005/2006, 2006, P. 8

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unique virtuosity and highly celebrated style, the composition represents surprise through a lens that is simultaneously sympathetic and jarring.

The central figure’s facial features are reminiscent of Condo’s Pod characters, which reoccur throughout his oeuvre beginning in the 1990s into his Unedited Human Disaster series. Their embellished features contort into expressions of pain, anger, and loss, that are both compassionate and revolting, encouraging the viewer to wonder at their own nature. Playfully grotesque and amusingly uncanny, Condo’s paintings allow the viewer to step beyond the borders of our aesthetic inclinations, forcing us to consider how we feel and experience our own humanity in front of the surreal reflections of his figures. As noted by curator Simon Baker, “Condo's

prodigious work that embodies the artist's career-long exploration of “artificial realism,” George Condo’s Existential Traveler (Girl in Blue Box) stands as a strong and striking painting within the artist’s Imaginary Portrait series. Endearing yet subdued, the central figure is a sublime example of the construction of fictional characters that render a fantastical reflection of our contemporary world. The girl’s short, slicked-back hair and neatly rendered dress puts the viewer at ease, reminiscent of an individual they may know personally or have seen in pop-culture. The title of the painting Existential Traveler (Girl in Blue Box) only adds to the uncanny psychological complexity that immediately returns the viewer to a specific moment in time, temporarily altering their comfort. A testament to the artist's

elicits a degree of grandeur, glowing against the background. In traditional portraiture the figure is a willing sitter, and the commissioned painter is tasked to conceal any physical or emotive flaws, depicting the sitter at their most prestigious. It is in the revelation of human emotion that Condo pulls the genre of portraiture out of the past and into the present. Here, during a private moment in an unknown city, the girl feebly peers outwards, the precise moment Condo captures in the present work. The girl stands doe-eyed totally unprepared to be observed, challenging the viewer in evoking a degree of art historical charade.

As summarized by curator Ralph Rugoff, “Over the past three decades, in canvases that articulate this kind of potent and mixed emotional charge, George Condo has explored the outer suburbs of acceptability while making pictures that, for all their outrageous humour, are deeply immersed in memories of European and American traditions of painting. Reworking outmoded pictorial techniques and styles in oil and varnish, he has fashioned a polyphonic terrain of crossreference that ranges from the Renaissance to the Baroque, from Tex Avery cartoons to Cubism and Surrealism, Abstract Expressionism and Pop. Rather than being burdened by history, he seems liberated by it” (in: Exh. Cat., London, Hayward Gallery, George Condo: Mental States, 2011, p. 11).

'unedited human disasters' can be understood as channeling the artist's interest in the imaginary psychological and moral terrain of a whole host of characters, situations and emotional states that might plausibly be found in the real world, as seen through the warped lens of reworked memories of the history of art. But although in places the connections between reality and fantasy, however distorted or reconfigured, are still somehow evident, in others, the subjects are so extreme or perverse as to resist any kind of obvious symbolic explanation" (Simon Baker, George Condo: Painting Reconfigured, 2015, London, p. 254).

In contrast to the figure’s stark presence, an ominous shadow echoes backwards painted with gentle and refined brushstrokes. The traveler and its shadow are positioned against a crisp geometric background, demonstrating Condo's mastery of the 18th-century Baroque depictions of portraiture as well as the pictorial plane. Condo embodies the dichotomy between past and present by frequently incorporating stylistic influences and formal qualities used by Old Master painters into his own work. Existential Traveler (Girl in Blue Box)

Edward Hopper, Morning Sun, 1952. Columbus Museum of Art. Image: Artothek / Bridgeman Images. Art © Heirs of Josephine N. Hopper / Artists Rights Society (ARS), NY

Pablo Picasso, Woman with Hat, 1935. Musée National d'Art Moderne, Paris.

Image: Art Resource, NY. Art © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), NY

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Joan Mitchell 1925 - 1992

SUNFLOWE RS signed (right panel, lower right) oil on canvas, in two parts overall: 110 ¼ by 157 ½ in., overall: 280 by 400 cm.

Executed in 1990-91.

○ ⋑ $20,000,000 - 30,000,000

P R OV E N A N C E

Acquired as a gift from the artist in 1992 by the present owner EXHIBITED

New York, Robert Miller Gallery, Joan Mitchell Recent Paintings, March - April 1991 Charleston, Gibbes Museum of Art, Painting, Self Evident Abstraction, May - June 1992, n.p., illustrated in color Valencia, IVAM Centre Julio González, Joan Mitchell, September - December 1997, p. 85, illustrated in color and pp. 11, 13, 17, 19 New York, Whitney Museum of American Art; Alabana, Birmingham Museum of Art; Modern Art Museum of Fort Worth; and Des Moines Art Center, The Paintings of Joan Mitchell, June 2002 - January 2004, pl. 57, pp. 192-93, illustrated in color and p. 44 New York, Cheim & Read, Joan Mitchell: Sunflowers, October - December 2008, n.p., illustrated in color Kunsthaus Bregenz; and Cologne, Museum Ludwig, Joan Mitchell Retrospective: Her Life and Painting, July 2015 February 2016, p. 131, illustrated in color Arles, Fondation Vincent Van Gogh, Soleil Chaud, Soleil Tardif: Les Modernes Indomptes (Hot Sun, Late Sun: Modernism Untamed), April - October 2018, p. 71, illustrated in color (in installation), p. 154-155, illustrated in color and p.

156, illustrated in color (detail) San Francisco Museum of Modern Art; Baltimore Museum of Art; and Paris, Fondation Louis Vuitton, Joan Mitchell, September 2021 - February 2023, pl. 123, pp. 272-273, illustrated in color and pp. 309 L I T E R AT U R E

John Russell, "Review/Art; Paintings That Liberate the Viewer's Imagination," The New York Times, 12 April 1991, p. C22 Michel Waldberg, Joan Mitchell, Paris, 1992, pp. 254-255, illustrated in color and p. 344 Michael Phillips, Painting Self-Evident: Evolutions in Abstraction, Charleston, 1992, n.p., illustrated in color

Klaus Kertess, "Joan Mitchell: The Last Decade," Art in America, No. 12, December 1992, p. 100 Klaus Kertess, Joan Mitchell, New York, 1997, pl. 109, pp. 160-161, illustrated in color Klaus Kertess, "Her Passion Was Abstract but No Less Combustible," The New York Times, sec. AR, 16 June 2002, p. 38, illustrated Siri Hustvedt, "Remembering in Colour," Modern Painters, vol. 15, Fall 2002, pp. 80-81, illustrated in color Richard Kalina, "Expressing the Abstract," Art in America, December 2002, pp. 96-97, illustrated in color Hilton Kramer, "Memories of Mitchell," Art & Antiques, vol. 26, June 2003, p. 89, illustrated in color Janet Kutner, "Daring Colors Illuminate a Fiery Abstractionist," Dallas Morning News, 28 September 2003, p. 9G Klaus Kertess, Seen, Written, New York, 2011, pp. 140-141, illustrated in color Patricia Albers, Joan Mitchell: Lady Painter, New York, 2011, n.p., illustrated in color (in the insert) Justin Kamp, "The Art Market Is Finally Catching Up with Joan Mitchell's Genius," Artsy, 26 June 2020, illustrated in color (online) Balasz Takac, "The Evolution of Joan Mitchell This Fall at SFMoMA," Widewalls, 24 April 2021, illustrated in color (online) Susan Delson, "The Artist as Athlete," The Wall Street Journal, 20 August 2021, illustrated in color (online) Alex Greenberger, "Joan Mitchell's Resplendent Paintings: How the Abstract Expressionist Resolved the Unresolvable," ARTnews, 1 September 2021, illustrated in color (online) San Francisco Museum of Modern Art, Artists on Artists: Stanley Whitney on Joan Mitchell's Fearless Career and the Drama of Painting, 3 September 2021, 3:33-5:45, illustrated in color (video) (online) Tausif Noor, "Laying Down a Foundation for Greatness," The New York Times, 13 September 2021, p. C8 Anita Katz, "Powerful abstracts by Joan Mitchell at SFMOMA," San Francisco Examiner, 13 September 2021, illustrated in color (online) Michael McCarthy, "Artist Joan Mitchell's Groundbreaking Work Is Coming To SFMOMA," San Francisco Magazine, 16 September 2021, illustrated in color (online) Sarah Cascone, "'We Wanted to Unmoor Her From the 1950s': A Joan Mitchell Retrospective at SFMOMA Shows the Artist as You've Never Seen Her Before," Artnet News, 20 September 2021, illustrated in color (online) Bridget Quinn, "Joan Mitchell, a Brilliant Painter and Contrarian at Heart," Hyperallergic, 11 October 2021, illustrated in color (online) Chadd Scott, "'Joan Mitchell' Is Everything At San Francisco Museum of Modern Art," Forbes, 31 October 2021, illustrated in color (online) Jed Perl, " Colors in Conversation" The New York Review, 4 November 2021, illustrated in color (online) Ariella Budick, "Joan Mitchell at Baltimore Museum of Art an immersive symphony of colour," The Financial Times, 6 April 2022, illustrated in color (online) Erik Verhagen, "Sur les traces de Joan Mitchell," Numero Art, October 2022–March 2023, pp. 52-53, illustrated in color

“Most stunning are Mitchell’s Sunflower paintings, which embrace van Gogh’s renderings of the flowers and reflect Mitchell’s statement that sunflowers are beautiful even when dying. Her masterful Sunflowers (1990-91), with its eloquent masses of thick paint, blends gusto and grace and captivates the eye.”

ANITA KATZ, “POWERFUL ABSTRACTS BY JOAN MITCHELL AT SFMOMA,” SAN FRANCISCO EXAMINER, 13 SEPTEMBER 2021, ONLINE

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landscapes enacted an equally acute influence upon her work. In Sunflowers, Mitchell draws upon a prismatic range of colors—not unlike those of Monet’s late garden paintings—to create striking contrasts: radiant, golden ochres tangle riotously with broad strokes of sharp cobalt, while budding shafts of earthy green mix and merge with incendiary daubs and smears of scarlet and rust, all interwoven within a smoky net of white and softest grey. The texture of the work is similarly varied, as Mitchell showcases the remarkable range of an abstract vernacular she shaped and perfected over the decades of her artistic practice.

Widely referenced in literature and featured in many of the artist’s most significant exhibitions – including the recent celebrated retrospective at the San Francisco Museum of Modern Art, Baltimore Museum of Art and Fondation Louis Vuitton in Paris – Sunflowers is a rare and significant masterwork from Mitchell’s mature métier. Having remained in the collection of John Cheim for nearly three decades, since it was gifted to him by the artist, Sunflowers also represents a deep and influential

looming upon the canvas in a shower of expressive brushstrokes and shocks of dynamic color, the magnificent Sunflowers is a profound testament to the singular creative vision and celebrated painterly acumen which characterize Joan Mitchell’s prodigious oeuvre. Painted in 1990-91, the penultimate years of the artist’s career, the present work stands as an unequivocal masterpiece of her late period and courses with the same remarkable vigor and vibrancy that marked the greatest works from her first decades.

A confident ode to the physical act of painting displayed across the artist's cherished diptych format, Sunflowers articulates Mitchell’s fusion of disparate artistic movements to create a style that is entirely her own. Though the gestural style of her American contemporaries—storied artists such as Franz Kline and Willem de Kooning—shaped her abstract painterly idiom, Mitchell’s profound appreciation for the beauty of the natural world fostered in her a strong connection to the French Impressionists and European Post-Impressionists, whose luminous

Vincent Van Gogh, Sunflowers, 1888. The National Gallery, London. Image: Bridgeman Images Joan Mitchell pictured in her Vetheuil garden, 1991. Image © David Turnley/Corbis/VCG via Getty Images.

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precision, and thin sweeping veils of translucence.

Unlike the often-spontaneous gestures of other Abstract Expressionist painters, Mitchell's later brushstrokes were deliberate and calculated. Her concentrated, delineated orbs of pigment almost seem to float across the surface, reminiscent of Henri Matisse's famed cutouts like La Gerbe (1953).

Sunflowers is a visual poetry of line, a pulsating push and pull of entangled masses waltzing their way to the foreground. The painting is a series of oppositions: short sharp dashes of green and yellow condense into globes of color, while longer tendrils of blue and teal flash outward like whip cracks, and a torrent of drips and splashes rains down across the surface, creating a cumulative effect of immense energy and dynamism. Artist Stanley Whitney describes Sunflowers thus: “You never get tired of looking at it because every area is just so active.

She’s such a physical painter. […] How she brings the drama between the dark colors and the light colors. […] And the gravity of it all – I mean, she loves the

of form and color that would coalesce into energized physical expressions. With apparent abandon, she threw, splashed, or forced paint onto the canvas in her distinctive colors and gestures: the paintings display her fondness for a palette of blue, green, orange, black, and white, together with her personal vocabulary of choppy vertical smears, washes of pastel hues, slashed aggressive hues, loops of joyful color, definite drips, thick orbs of paint, and eccentric composition.” (Richard D. Marshall quoted in Exh. Cat., New York, Cheim & Read, The Last Paintings, 2011, n.p.). Displaying an extraordinary synthesis of Mitchell’s earlier work and a more radical, free, and open configuration of abstract gesture, Sunflowers achieves a gestural dynamism rivaled only by the sensational, large-scale canvases of Willem de Kooning and Jackson Pollock.

With remarkable dexterity, here Mitchell showcases the full range of her brushstroke, variously lavishing oil onto the canvas face in thick broad strokes, intricate passages of near pointillist

Mitchell’s unparalleled career. The striking visual dynamism of the dense composition reveals the artist’s affinity for the American action painters, amongst whom she lived and worked in the initial decade of her career; as one of the few women to garner significant critical acclaim within the predominantly male Eighth Street Club, Mitchell is remembered by art history as the leading female voice of the Abstract Expressionist movement.

Across the expansive face of Sunf lowers’ dual canvases, Mitchell’s unencumbered gestural vocabulary invites the viewer to imagine the physicality of her creative process as, in bursts of physical energy and tactility that defied her ailing heath, she enacts the nuanced dialogue of her abstraction. Beneath her brush, Mitchell’s canvas ceases to be merely a surface, transforming instead into a performative arena upon which she stages a brilliantly choreographed ballet of evershifting light, color, movement, and texture. “She would open up the tenuous space of her compositions and dance ribbons of color and gesture across the surface, or construct compartmentalized passages

friendship in Mitchell’s life. Cheim, renowned among artists for his support, generosity, and curatorial acumen, began working with Mitchell through the Robert Miller Gallery in 1988. He continued to represent her and her estate, including with his own gallery, Cheim & Read, for decades, even mounting a major exhibition dedicated to her Sunflowers paintings in 2008. The two built a close friendship over these years, often visiting each other in New York and Vetheuil: “I love your loft and I love love you – thanks so very much” Mitchell once wrote to him following a dinner in her honor. Cheim acquired several works directly from the artist, including Sunflowers, which he chose following a deal with Mitchell in which she offered him any work as a gift. Thus, the present work is at once an exquisite example of the very best within the artist’s oeuvre, and also reflects the history of an important personal and professional relationship.

A monumentally epic composition of painterly prowess, sumptuous coloration, and ambitious mastery of scale, Sunf lowers unequivocally announces itself as a glorious summation to

Claude Monet, Le Bassin aux nymphéas, 1917-19. Private Collection.

Cy Twombly, Untitled, 2007. Private Collection. Art © Cy Twombly Foundation

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to exhibit the same sumptuousness of palette and exquisite awareness of light, color, and air articulated in the captivating en plein air paintings of Claude Monet, who painted the landscapes of Vétheuil years before. Profoundly inspired by the verdant idyll of the French countryside, Mitchell found the conceptual freedom to create a highly idiosyncratic painterly style which marries the ethereal with the physical, the felt with the seen. As described

by Ariella Budick, “Off in her idyllic exile … she felt free to indulge in a grand botanical abstraction.

She painted canvases of majestic size that didn’t so much copy nature as plumb her sensual, emotional and mythological terroir. When she gazed out of the window or went for a walk, she saw a fiercely animated psychic landscape” (Ariella Budick, “Joan Mitchell at Baltimore Museum of Art – an immersive symphony of colour,” The Financial Times, 6 April 2022, p. 16). Sumptuously layered and smeared upon the soaring canvas, Mitchell’s saturated strokes invoke a lush density reminiscent of Monet’s late renderings of his rose garden at Giverny; entering the elegiac final years of their careers, Mitchell and Monet produced startling canvases of energy that defy time and age. Both capture the flux and changeability of the moment within a decentralized

drips because the drips really show the gravity. […] And the great thing about this painting too, which I love about the late paintings, is the size of the brush. She has a really big thick brush. It’s not about whether this is right or wrong, beautiful or not, it just feels good. If it feels good, it stays.

She’s so sure of herself” (“Artists on Artists: Stanley Whitney on Joan Mitchell's Fearless Career and the Drama of Painting,” San Francisco Museum of Modern Art, 3 September 2021, online video).

Like the title and subject itself, Mitchell's vigorous mosaics, rich in tone, pay homage to Vincent van Gogh, seeming to match the passion and abandon of the grand master of the titular flower. Yet the genius of both painters was to exercise a subtle sense of structure amidst an ostensible excess.

While the gestural exuberance of the present work engages in an intense dialogue with the Abstract Expressionists, the exquisite beauty of Sunf lowers is rooted in Mitchell’s profound, lifelong appreciation for the beauty of the natural world. After relocating to Paris in 1959, Mitchell permanently settled upon a sprawling rural estate in the bucolic Parisian suburb of Vétheuil in 1968.

There, secluded from the dominant narrative of Abstract Expressionism, her paintings begin

another related panel, both like and different.

The range of interrelated expressions was vast and open-ended” (Exh. Cat., New York, Whitney Museum of American Art (and travelling), The Paintings of Joan Mitchell, 2002, p. 58). The present work manifests, not only the artistic impulses and influences which shaped Mitchell’s celebrated oeuvre, but the artist’s immense and unshakable passion for painting itself. Remarking upon the striking painterly bravura of Mitchell’s late works, Richard D. Marshall summarizes, “The paintings that Joan Mitchell created in the last decade of her life reveal an artist who showed no restraint. She immersed herself in them, abandoning cognizance, rationality, and objectivity. Direct and immediate, they are the work of an artist using her failing strength and strong emotion to express her intellect and her anger, as well as the joy she derived from the very act of painting” (Exh. Cat., New York, Cheim & Read, The Last Paintings, 2011, n.p.).

space constructed of multiple, flickering strokes of paint. Substance and space seem to dissolve into compositions of color and light.

A work of stunning visual presence, Sunf lowers broadcasts the inimitable creative spirit of an artist who, in the final years of her life, painted with indefatigable passion, innovation, and brilliance.

Mitchell's tackling of double canvases represents a confident but controlled impression of physical and mental landscape. Sunf lowers becomes a total sensory experience – evoking the presumable aromas of briny soil and crushed plant matter, prodding the memory of dewy morning strolls and the hot, direct light of the mid-afternoon sun.

Commenting upon the striking complexity of the late works, Linda Nochlin has remarked that “the diptych or polyptych appealed to her because of the more complex relationships it could induce: not just the play of difference and analogy within the single canvas, but response and reaction against Willem de Kooning, Untitled V, 1982. The Museum of Modern Art, New York. Image: Art Resource, NY. Art © 2023 The Willem de Kooning Foundation / Artists Rights Society (ARS), NY Henri Matisse, La Gerbe, 1953. Los Angeles County Museum of Art. Image © Art Resource, NY. Art © 2023 Succession H. Matisse / Artists Rights Society (ARS), NY

The present work installed in the exhibition Joan Mitchell, Baltimore Museum of Art, 2022. Photo: Mitra Hood. Art © Estate of Joan Mitchell

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MITCHELL'S LATE LARGE-SCALE DIPTYCHS IN MUSEUM COLLECTIONS

Beauvais, 1986 110 by 157 ½ in.

FONDATION LOUIS VUITTON, PARIS

Land, 1989 110 ¼ by 157 ½ in.

NATIONAL GALLERY OF ART, WASHINGTON, D.C.

Taillade, 1990 102 ¼ by 157 ½ in.

MUSEUM OF MODERN ART, NEW YORK

Trees, 1990 78 ⅞ by 142 in.

WALKER ART CENTER, MINNEAPOLIS

Bracket, 1989 106 ½ by 185 ¾ in.

SAN FRANCISCO MUSEUM OF MODERN ART

South, 1989 102 by 157 ½ in.

FONDATION LOUIS VUITTON, PARIS

Ici, 1992 102 ⅜ by 157 ½ in.

SAINT LOUIS ART MUSEUM

Tilleul, 1992 102 ⅜ by 157 ½ in.

CENTRE POMPIDOU, PARIS

“The diptych or polyptych appealed to [Mitchell] because of the more complex relationships it could induce: not just the play of difference and analogy within the single canvas, but response and reaction against another related panel, both like and different. The range of interrelated expressions was vast and open-ended.”

LINDA NOCHLIN, EXH. CAT., NEW YORK, WHITNEY MUSEUM OF AMERICAN ART (AND TRAVELLING), THE PAINTINGS OF JOAN MITCHELL, 2002, P. 58

River, circa 1989 110 ⅜ by 157 ⅜ in.

FONDATION LOUIS VUITTON, PARIS

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Alice Neel 1900 - 1984

JACKIE CUR TIS AS A BOY

Roslyn, Nassau County Museum of Fine Art, Alice Neel: Paintings and Drawings, March - May 1986, p. 27, illustrated in color New York, Whitney Museum of American Art; Andover, Addison Gallery of American Art; Philadelphia Museum of Art; Minneapolis, Walker Art Center; and Denver Museum of Art, Alice Neel, June 2000 - December 2001, pl. 60, p.

140, illustrated in color and p. 185 Houston, Museum of Fine Arts; London, Whitechapel Gallery; and Malmo, Moderna Museet, Alice Neel: Painted Truths, March 2010 - January 2011, no. 25, pp. 156-157, illustrated in color and pp. 70, 277 Helsinki, Finnish National Gallery; The Hague, Gemeentemuseum den haag; Arles, Fondation Vincent van Gogh; and Deichtorhallen Hamburg, Alice Neel: Painter of Modern Life, June 2016 - January 2018, pp. 63, 188-189, illustrated in color New York, Metropolitan Museum of Art; Guggenheim Museum Bilbao; and San Francisco, De Young Museum, Alice Neel: People Come First, March 2021- July 2022, p. 179, illustrated in color and p. 248 Paris, Centre national d'art et de culture GeorgesPompidou, Alice Neel: The Engaged Eye, October 2022 January 2023, p. 108, illustrated in color and p. 158 London, Barbican Art Gallery, Alice Neel: Hot Off The Griddle, February - May 2023, p. 100, illustrated in color and p. 143

signed and dated 72 (lower left) oil on canvas 44 by 30 in., 111.8 by 76.2 cm.

Executed in 1972.

○ $ 1,500,000-2,000,000

P R OV E N A N C E

Private Collection, New York (acquired directly from the artist) Private Collection, New York (acquired from the above) Christie's New York, 12 November 2008, lot 186 (consigned by the above) Acquired from the above by the present owner EXHIBITED

New York, Whitney Museum of American Art, Alice Neel, February - March 1974, no. 52, n.p.

New Jersey, Summit Art Center, Paintings by Alice Neel, May - June 1974 Tokyo, Tokyu Department Store; and Osaka, Han Shin Department Store, Tokyo International Biennial, 1974: New Image in Painting, September 1974, n.p.

Pennsylvania, Glenside, Beaver College Art Gallery, Alice Neel, March - April 1976 Fort Lauderdale Museum of Art, Alice Neel, February 1978, no. 23 Milwaukee, Alverno College, Alice Neel, October - November 1978 Saratoga Springs, Skidmore College, New Art Center, Alice Neel Paintings, November - December 1978 Williamstown, Williams College Museum of Art, Paintings by Alice Neel, March 1979, p. 3 Philadelphia, Pennsylvania Academy of the Fine Arts, Alice Neel: Paintings Since 1970, January - March 1985, n.p., illustrated in color

L I T E R AT U R E

Patricia Hills, Alice Neel, New York, 1983, p. 151, illustrated in color Eleanor Heartney, "How Wide is the Gender Gap?" ARTNews, Summer 1987, p. 142, illustrated in color Celia McGee, "The Eye Has It," Home & Garden, January 1990, p. 144, illustrated in color Craig B. Highberger, Superstar in a Housedress: The Life and Legend of Jackie Curtis, New York, 2015, n.p.

John Hoberman, " A Frank Exchange of Views," The Point Magazine, 8 June 2021 (online) Tony Bravo, "Painter Alice Neel’s portraits of humanity timely in light of Ukraine invasion," San Francisco Chronicle, 12 March 2022 (online)

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“I am not a boy, not a girl, I am not gay, not straight, I am not a drag queen, not a transsexual – I am just me, Jackie.”

JACKIE CURTIS

A

Immortalized as the drag queen "Jackie" in Lou Reed's 1972 "Walk on the Wild-Side" hit single and featured in the Andy Warhol-produced 1968 film Flesh, Jackie Curtis was a gender nonconforming outsized personae and stage actor.

They radically eschewed conventional labels of gender identification and instead insisted on the performativity of gender as a cultural construct.

Curtis was first portrayed by Neel with feminine attributes in a double portrait with Ritta Redd in 1970. In the present work, Curtis is bare faced and formally posed to reveal the ambiguity of Curtis’s gender identification; here, presenting a rather boyish version clad in a baseball shirt with an ironically phallic embroidery detail. Bony hands unfurl around rich blue jeans and mauve undertones shadow Curtis’s tender face which glances back honestly towards the viewer. As one of Warhol’s close friends and Superstars, an accolade attributed to those featured in the artist’s early interrogations in film, Curtis undoubtedly exuded an aura that could not be ignored. Neel was committed to likeness, and yet equally committed to an inner truth exquisitely exemplified in this stripped-down portrait of the character that was Curtis.

s with all of her greatest works, Alice Neel’s powerful portrait, Jackie Curtis as a Boy, captures the deeply personal and individual idiosyncrasies that underpin the inner truths of her sitters from all walks of life.

Executed in 1972, the present work portrays Jackie Curtis, a gender nonconforming performer, playwright, and poet who played an active role within the Lower East Side counterculture as well as in Andy Warhol’s creative circle. A nonconformist herself, Neel gravitated towards figures who pushed cultural boundaries and often existed along the fringes of society. Neel’s psychological portrait paintings are a collaboration, a pouring in of energy from both sides—the sitter and the artist—and today, her portraits embody a universal truth that is as relevant now as when she signed each work in her instantly recognizable, curling scrawl. With an impressive exhibition history, recently included in Neel’s highly acclaimed traveling retrospective Alice Neel: People Come First organized

by The Metropolitan Museum of Art, Jackie Curtis as a Boy displays Neel’s painterly techniques at their most compelling, utilizing distortion and nonmimetic color to lend an empathetic eye towards a vulnerable rendition of queer subjectivity.

painting subjects from a mosaic of ethnic and class origins. Her timeless mastery thus lies in her ability to uncover and lay bare the thoughts, desires and vulnerabilities which individuals are naturally inclined to shield from onlookers. In Roberta Smith’s New York Times review of Neel’s “gloriously relentless” retrospective at the Metropolitan Museum of Art she describes Neel as “an early feminist, inborn bohemian, erstwhile Social Realist, lifelong activist and staunchly representational painter who bravely persisted, depicting the people and world around her” (Roberta Smith, "It’s Time to Put Alice Neel in Her Rightful Place in the Pantheon," The New York Times, April 2021).

Acutely focused and psychologically charged, Alice Neel’s portraiture strips its sitters of their posturing and self-imposed facades, laying bare their identities at the time of execution. While ostensibly a realist, Neel rejected academic exactitude and photographic likeness, never resting on straightforward reportage of the sitter's appearance. Instead, she transformed her figures through expressive brushwork and an almost Mannerist distortion, to achieve a vivid depiction of her sitter's inner psychology. Neel called herself a collector of souls, evoking her ability to draw out the spirit of a sitter and record it on canvas.

Neel took inspiration from every facet of her life,

Jackie Curtis photographed in 1970. Photo: Jack Mitchell/Getty Images

The present work installed in the exhibition Alice Neel: Painter of Modern Life, Ateneum Art Museum, Helsinki, 2016. Image: Kansallisgalleria / Jenni Nurminen. Art © The Estate of Alice Neel

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SOTHEBY’S

Curtis would don men’s drag rather than women’s, assuming male personae that were similarly rooted in desire.” (Randall Griffey, “Painting Fruit(s),” in Exh. Cat., New York, The Metropolitan Museum of Art; The Guggenheim Museum Bilbao; San Francisco, The de Young Museum, Alice Neel: People Come First, 2021-2022, p. 94).

Widely considered the most important portraitist of the twentieth-century, Neel came to the fore as painterly figuration began to leave the mainstream.

Working in her individual mode through successive generations of abstract, minimalist, and conceptual movements, Neel was staid in her determination to craft depictions that were both beautiful and bruising in their honesty. Jackie Curtis as a Boy is a testament to Neel’s insatiable desire to use her brush as a tool to memorialize people of all social classes—the revolutionary thinkers, the bohemian intelligentsia of New York’s counterculture, artists and critics, mother and children. For Neel, people come first.

Throughout her decades-long career, Neel’s milieu was dominated by intellectual, compassionate, creative, and socially active people across the spectrum of humanity. Beginning in the 1960s, the increased queer visibility resulting from the gay liberation movements in New York City coincided with the emergence of queer subjects in Neel’s portraiture. Neel’s portrayals of LGBTQ subjects flowed from her broad and steadfast humanism and her commitment to capture life’s alluring diversity.

Her sitters were not only marginalized as sexual minorities, but, for much of her lifetime, they were criminalized and subject to discrimination in society. With her empathetic portrayal of people, Neel sought opportunities to communicate desire and identity through visual codes in her work.

Jackie Curtis as a Boy is no exception, serving “as a foil to Jackie Curtis and Ritta Redd… reveal[ing] the other side of the performer’s expansive play with gender, as, depending on mood and the day,

Vincent van Gogh, Portrait de l'artiste, 1889. Musee d'Orsay, Paris. Image © Bridgeman Images

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A Life A Life of Beauty

of

T H E CO L L EC T I O N O F J O H N C H E I M

C O N T E M P O R A R Y D AY AU C T I O N 1 6 N O V E M B E R 2 02 3 | 9:00 AM

Beauty

Regarding John Cheim

BY J O E F Y F E

I

act of looking at art was to be part of a secret cult. The art historian Anita Brookner describes Baudelaire as giving the impression that “he has all the time in the world…that any form of regular activity would be an unwarranted intrusion into his mental privacy.”

Like the figure in one of Baudelaire’s later prose poems called, “The Stranger”. The second half of its lines read: …

Then Beauty?

“Her I would love willingly, goddess and immortal.”

Gold?

"I hate it as you hate your God." What, then, extraordinary stranger, do you love?

"I love the clouds the clouds that pass yonder the marvelous clouds."

f you visit him at his loft in Manhattan, he walks you around and shows you his art collection one thing at a time, sometimes picking up framed drawings and holding them in front of you. It’s like the Duke of Ferrara showing his collection in Robert Browning’s poem “My Last Duchess” but unlike that sinister aesthete depicted in the poem, John’s accompanying narrative is laconically intimate and warm. When he gets to his Richard Prince painting, for example, with the words “My Boyfriend Married a Girl” scrawled in bold letters near the top of it, he might murmur wistfully, “That happened to me, once”.

You always feel like he would be happy to keep showing you his things all day long. John’s relation to time, especially around works of art, is languorous. He revels in it. He bathes in them, as did my hero, Charles Baudelaire, for whom the

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Consider the extraordinary regard shown to Cheim & Read exhibitions over the years: much of it comes from John’s concentration on exhibitions and publications as a creative act. Like an artist, he can only think about so much at a given moment. He is intent on wandering through his loft looking at what he has, because this is where his exhibitions originate. It’s a factory of comparison and connection. In the words of Paul Klee, the task of creative activity is not to reproduce the visible but to make visible.

John understands putting some art in a room somewhere doesn’t make it visible. One needs to know it as it interacts with other works of equal strength, however different,

He posts often on social media and it’s one of the reasons I haven’t quit looking on there altogether. He puts up a lot of pictures of foliage in exquisite light. Others are often interiors with the morning coming through in his loft, with some fresh flowers near a glimpse of a painting or another work of art or the house in Amagansett. Lily pads on a pond. The sea from a window when he’s traveling. His pool in Malibu. The cliffs of Capri. An avowed nonbeliever, these posted images might be like a counterargument to organized religion: a message that heaven exists right here on earth where he is, where we are.

One never feels covetous of these views, they seem generous, and a continuity of his gallery activity.

of late de Chirico, who was such a huge influence on the late work of Philip Guston, whose work had just begun to dominate the new generation of painters.

I particularly remember Robert Mapplethorpe’s “Dick, NYC”, an unforgettable image of “cock and ball torture” as that photograph is also referred to. These are the early signs of what Robert Miller recognized as John’s sui generis sensibility, which we might define as a talent for detecting meaning in surprising and far-reaching non-verbal things. Gravitating somewhere in there is the common denominator of beauty, a word he is never shy about using.

Beauty in its joyous alienation. A seduction that reflects on real life made strange.

I write this as a painter whose foundational reference is what the painting is, what it could be, how it can be extended. The quality of painting, in the sense of what the painter Michael Boyd called it: “an apparition rising from a thing”. That definition for me extends beyond paint and canvas. The photographer William Eggleston, who also showed with John, once said, “I am at war with the obvious. “ That’s an element, too.

To return to the Mapplethorpe image for a minute, I think it made an impression as much for its transcendence as for the audacity of its imagery, much more uncommon

examining his careful selections in relation to one another, the shapes emerge from their chaos and reveal their lineaments and meanings.

The “21 Years” book that covers the gallery’s exhibitions records an astonishingly emotional and material theater within a small company of artists and artworks. This selected repertoire of players expands and contracts over time. After a period of mulling over an artist’s output, sometimes for ten years or more, his certainty eventually is absolute. Then his usual answer when you say you prefer one work over another by one of his artists the answer is simply, “I like them all”. When he leaves your studio, you always want to do more work because you feel understood.

Gallery artists production is articulated further on his watch, even posthumously, in the cases of Joan Mitchell and Ron Gorchov or more recently, Kimber Smith.

When John began directing Robert Miller Gallery I had just come to New York after studying art in Philadelphia. I saw a lot of those shows on 724 Fifth Avenue and then on 57th street in the twenty years he had there but never met him. There was a neo-surrealism exhibition with a Kenny Scharf painting of the two kids from The Jetsons suckling a wolf like Romulus and Remus. One of the first exhibitions

Post from John Cheim's Instagram, @johncheim1

Robert Mapplethorpe, Richard, NYC, 1978. Private Collection. © Robert Mapplethorpe Foundation, Used by permission

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Wild, interesting, very smart stuff. I showed there later in an exhibition entitled “Simple Marks” with some of these artists.

I went on to curate shows with John, write catalog essays, and exhibit some more, all personal high points in my life as an artist.

In my mind’s eye, I remember his gallery exhibitions like no other, as I am sure many others do also, for their individuality, their opulence, and their contrariness. I once overheard him talking about galleries that expand to have branches elsewhere, in other cities and countries. He observed that, in that regard it’s like when restaurants do that, the overall quality suffers.

On that same topic, restaurants, I just read a review of a book by the chef and writer Jacques Pépin. I was reminded of individuals that come to New York to make their mark.

There are various ways of doing this and I think how they do it is important. The way the writer described Pépin’s career seems very much like how I would describe John’s: “a casual, unanxious relationship to excellence.”

then than now. It was a beginner’s lesson in adult beauty.

That it could be ugly, voluptuous, provocative. Alongside is other possibilities of the beautiful: the homely beauty of Alice Neel, the sadistic and domestic beauty of Louise Bourgeois. There was a Louise Fishman on 57th street, several of them, with tortured paint surfaces, scraped and scarred to where one wonders how she kept going there was such desperation, or seemed so, in its handling.

Seeing a work like this in the sumptuous Robert Miller Gallery space legitimized this very sincere struggle when all around was irony and appropriation. The Milton Resnick paintings were like that too. Another case of what seemed like down and dirty, unfashionably earnest work transformed, its innate elegance revealed.

A few years later I was jolted by the new Cheim & Read, how this immediately first rank establishment could also be showing the most radical painting in New York, for the first time seeing Europeans like Otto Zitko, Claude Viallat, Ingo Meller.

Cover of Cheim & Read: Twenty One Years, New York, 2019.

Edited and designed by John Cheim and Reed Seifer.

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Diane Arbus 1923 - 1971

PUE R TO RICAN WOMAN WITH A BE AUT Y MARK , N .Y.C. signed by Doon Arbus, the photographer's daughter, annotated with the Diane Arbus Estate authentication number 4249-8-lU-1114, and with the 'a diane arbus print,' copyright and reproduction rights stamps (on the reverse); accompanied by a signed letter of authenticity from the Arbus Estate gelatin silver print 10¾ by 10¼ in., 27.3 by 26 cm.

Executed in 1965.

○ $ 40,000-60,000

P R OV E N A N C E

L I T E R AT U R E

Estate of the artist Robert Miller Gallery, New York Acquired from the above by the present owner

Doon Arbus and Marvin Israel, eds., Diane Arbus: An Aperture Monograph, New York, 1972, unpaginated, illustrated (another example illustrated) Diane Arbus, Diane Arbus: Revelations, New York, 2003, pp. 84, 184, illustrated (another example illustrated) Exh. Cat., Stockholm, Moderna Museet, Arbus, Model, Strömholm, Stockholm, 2005, p. 77, illustrated (another example illustrated) Celso Gonzalez-Falla and Sondra Gilman, Shared Vision: The Sondra Gilman and Celso Gonzalez-Falla Collection of Photography, Museum of Contemporary Art Jacksonville, 2011, p. 59, illustrated (another example illustrated)

EXHIBITED

New York, The Museum of Modern Art, New Documents, February - May 1967 (another example) Museum of Fine Arts, Houston; Canberra, National Gallery of Australia; London, Royal Academy of Arts, The Art of Photography: 1839 - 1989, February - December 1989 (another example) Los Angeles, J. Paul Getty Museum, Capturing Time: A Celebration of Photographs, December 1997 - March 1998 (another example) San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Museum of Fine Arts, Houston, Diane Arbus, October 2003 - September 2004 (another example) New York, The Museum of Modern Art, Pictures by Women: A History of Modern Photography, May 2010 - April 2011 (another example) New York, The Whitney Museum of American Art, Collected

by Thea Westreich Wagner and Ethan Wagner, 2015, p. 87, illustrated (another example) Los Angeles, J. Paul Getty Museum; Hartford, Wadsworth Atheneum; Portland Museum of Art, The Thrill of the Chase: The Wagstaff Collection of Photographs at the J. Paul Getty Museum, March 2016 - May 2017 (another example) Toronto, Art Gallery of Ontario, Diane Arbus: Photographs 1956 - 1971, February - November 2020 (another example) New York, Cheim & Read, Some People, February - June 2022

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Georg Baselitz b. 1938

UNTITLE D signed with the artist's initials and dated 14.VI.88 (lower right) pastel, graphite and gouache on paper 30 by 23 in., 76.2 by 58.4 cm.

Executed in 1988.

○ $ 80,000-120,000

P R OV E N A N C E

Galerie Michael Werner, Cologne Galerie Michael Hass, Berlin L.A. Louver Gallery, Los Angeles Acquired from the above in 2006 by the present owner EXHIBITED

Bremen, Kunsthalle, Georg Baselitz, Das Motiv, Bilder und Zeichnungen 1987-1988, no. 108, p. 80, illustrated in color Los Angeles, L.A. Louver, Group Show, March - May 2006 New York, Cheim & Read, The New Landscape, The New Still Life: Soutine and Modern Art, June - September 2006, n.p., illustrated in color

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Jean-Michel Basquiat 1960 - 1988

POR TR AIT OF JOE L BE RNARD acrylic, graphite and colored pencil on paper 41⅝ by 29½ in., 105.7 by 74.9 cm.

Executed in 1983.

○ $ 800,000-1,200,000

P R OV E N A N C E

Joel Bernard, New York (acquired directly from the artist) Robert Miller Gallery, New York Acquired from the above in 1993 by the present owner EXHIBITED

Buenos Aires, Malba - Fundación Constantini, Bye Bye American Pie, March - June 2012, no. 5, p. 115, illustrated in color New York, Cheim & Read, Some People, February - June 2022, no. 4 Paris, Galerie Gradiva, Résonance: Jean-Michel Basquiat & L'Univers Kongo, September - November 2022, p. 101, illustrated in color (detail), p. 150, illustrated in color

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Jean-Michel Basquiat 1960 - 1988

UNTITLE D (CAUCASIAN / NEG RO) oil stick, graphite and colored pencil on paper 30 by 22¼ in., 76.2 by 56.6 cm.

Executed in 1985.

○ ⋑ $ 600,000-800,000

Toronto, Art Gallery of Ontario and Guggenheim Museum Bilbao, Jean-Michel Basquiat: Now's the Time, February May 2015, p. 85, illustrated in color Provence, Château La Coste, Basquiat, August - October 2019, pp. 88-89, illustrated in color Paris, Galerie Gradiva, Résonance: Jean-Michel Basquiat & L'Univers Kongo, September - November 2022, p. 162, illustrated in color

P R OV E N A N C E

Estate of the artist Robert Miller Gallery, New York Acquired from the above in 1990 by the present owner EXHIBITED

New York, Robert Miller Gallery, Jean-Michel Basquiat: Drawings, November 1990, p. 133, illustrated in color New York, Cheim & Read, I Am The Walrus, June - July 2004 New York, Brooklyn Museum; Los Angeles, Museum of Contemporary Art and Museum of Fine Arts Houston, Basquiat, March 2005 - February 2006, p. 145, illustrated in color Santander, Fundación Marcelino Botín and Rome, Fondazione Memmo, Jean-Michel Basquiat: To Repel Ghosts, June 2008 - February 2009, pp. 108-109, illustrated in color Roslyn Harbor, Nassau County Museum of Arts, Miro/ Dubuffet/Basquiat, March - May 2010 Buenos Aires, Malba - Fundación Costantini, Bye Bye American Pie, March - June 2012, no. 7, p. 114, illustrated in color

L I T E R AT U R E

Enrique Hauser, "Basquiat's Madonna Litta," Achademia Leonardi Vinci: Journal of Leonardo's studies & Bibliography of Vinciana, Vol. 4, 1991, pl. 133, pp. 263, illustrated Exh. Cat., New York, Whitney Museum of American Art (and traveling), Jean-Michel Basquiat, October 1992 - January 1994, p. 22, illustrated Galerie Enrico Navarra, Jean-Michel Basquiat: Works on paper, Paris, 1999, pp. 318-319, illustrated in color

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“70-75 beats per minute is a normal heart rate. Once upon a time in the 80s, the pace was quicker, and Jean-Michel Basquiat's pulse was faster than most... So watch the artist use it.

For even now – and especially in drawings such as these – it is all still happening right before your eyes.”

ROBERT STORR, “TWO HUNDRED BEATS PER MIN,” IN: EXH. CAT., NEW YORK, ROBERT MILLER GALLERY, BASQUIAT DRAWINGS, 1990, N.P.

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An autodidact, Basquiat’s genius lay in his instinctual understanding of composition and unique iconographic lexicon. For Basquiat, drawing was the most direct way in which he could confront and translate his inner thoughts, and the raw immediacy of paper as a medium provided the ideal vehicle for illustrating his innate brilliance. In the words of Robert Storr, “Drawing, for him, was something you did rather than something done, an activity rather than a medium” (Robert Storr, “Two Hundred Beats Per Min,” in: Exh. Cat., New York, Robert Miller Gallery, Basquiat Drawings, 1990, n.p.). Unlike his paintings, which could be modified or corrected through overpainting, the frenetic energy of Basquiat’s works on paper allow his creative genius to exist in an unaltered fashion. His works on paper, including the present examples, are evidence of the artist’s groundbreaking of thinking and in turn, his limitless potential.

Executed in 1983, the year Basquiat truly cemented his international reputation, Portrait of Joel Bernard captures the artist at the height of his career.

A fragmented figure occupies the center of the paper, exuding a ferocious, nearly autonomous energy on the page. Despite the specificity of the work’s title and inclusion of a nametag below the figure’s chest, the figure is ambiguously rendered with no

crawled and scribbled, enigmatic yet alluring, Jean-Michel Basquiat’s Portrait of Joel Bernard of 1983 and Untitled (Caucasian/ Negro) of 1985 are two instantly recognizable examples from the artist’s prolific corpus of works on paper. Held in the personal collection of legendary gallerist John Cheim, the present works together capture the exuberance and immediacy of the artist’s extraordinary drawings. As curator of Basquiat’s seminal exhibition of works on paper, Jean Michel Basquiat Drawings at Robert Miller Gallery in 1990, John Cheim undoubtedly has a remarkably refined and academic understanding of Basquiat’s oeuvre, making his inclusion of these two drawings in his personal collection a recognition of their significance within the artist’s broader output. Included in esteemed international shows, the present works were most recently exhibited together in the celebrated Résonance: Jean-Michel Basquiat & L'Univers Kongo at Galerie Gradiva in Paris in 2022. Appearing straightforward or improvised at first glance, Portrait of Joel Bernard and Untitled (Caucasian / Negro) are laden with hidden meaning, complexity, and technical rigor that firmly establish Basquiat as one of the most important artists of his generation and art history at large.

Jean-Michel Basquiat in the film ‘Downtown 81’ (1980–81/2000). Photo: MARKA/Alamy Stock Photo. Art (C) Estate of Jean-Michel Basquiat. Licensed by Artestar, New York

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definitive clarity of identity. Enshrouded in a pool of bold red acrylic, the subject’s head takes priority in the composition, standing in stark contrast to the remainder of the feverishly etched graphite body.

Basquiat tirelessly explored the formal and connotative possibilities of the head in his practice.

Beyond functioning as the site of cerebral activity, the head also serves as a polysemous symbol for his investigations of identity and race. Here, the head is crudely rendered as a mask-like block of red paint, with three vacant holes for its eyes and mouth. The adoption of the mask motif, one of the great hallmarks of Basquiat’s visual language and key formal devices in his study of heads, engages in a dialogue between traditional African masks, with their purportedly apotropaic and mythical properties, and the work of avant-garde painters such as Pablo Picasso and Henri Matisse, who were greatly inspired by then-called ‘primitive’ art. In works such as the present, Basquiat potently challenges such pre-existing tropes by reclaiming the image of the mask as a self-referential emblem.

Created two years later in 1985, Untitled (Caucasian/ Negro) presents an equally unique visual experience scrawled across its paper, erupting into the visual cacophony of symbols, signs and cyphers Basquiat wielded to create his more mature narratives.

A testament to the gravity and intent with which the artist approached his works on paper, the present work was included in the seminal exhibition JeanMichel Basquiat Drawings at Robert Miller Gallery in 1990, the artist's first posthumous exhibition and the first to be solely dedicated to his drawings.

In the present work a complex labyrinth of symbols and images fills the space above two colorfully accentuated profiles of two heads.

Reminiscent of both the magical landscapes of pictorial metaphors and signs by Paul Klee and the mechanical sketches of Leonardo da Vinci, the symbols—largely references to chemistry, engineering and other scientific instruments from pulleys and gears to springs and weights—are not only an expression of the artist’s innovative visual lexicon but are indicative of Basquiat’s most fully realized compositions. Descending from the constellation of mechanical drawings, viewers are struck by the two graphically composed heads of varying skin tones, aptly labeled “Caucasian” and “Negro.” Upon closer inspection, the bevy of scientific symbols appears to emerge exclusively from the “Caucasian” head, alluding to broader

inequities baked in systems of knowledge. The “Negro” head, on the other hand, is excluded from this suggestive osmosis, cast to the side only to look upon its privileged neighbor.

Though Basquiat never strayed into the realm of the overtly political in his art, he was eternally conscious of his black identity within a white dominated art-world, and the subject of racial (in) equality nonetheless became an unequivocal focus of his creative vision. By presenting the two figures in this way and making explicit their racial distinctions, Basquiat directly confronts and brings to light the disparate conditions of the two races at the time.

Spanning some of the most celebrated years of his career, the present works showcase the sheer range of Basquiat’s visual language within his works on paper. Brilliantly formulated in the artist’s intuitive and innovative psyche and then translated onto the surface, these drawings are as vivid and alive now as they were at the moment of their execution. As Robert Storr commented in his essay for the Robert Miller gallery show in which the works debuted: “in drawings such as these - it is all still happening right before your eyes” (Robert Storr, “Two Hundred Beats Per Min,” in: Exh. Cat., New York, Robert Miller Gallery, Basquiat Drawings, 1990, n.p.).

Boule mask, Ivory Coast, West Africa, late 19th-early 20th century.

The Israel Museum, Jerusalem. Image © Bridgeman Images

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Lynda Benglis b. 1941

BR AVO aluminum wire mesh, cotton bunting and plaster with sprayed zinc, bronze and copper 27 by 10 by 10 in., 68.6 by 25.4 by 25.4 cm.

Executed in 1973-74.

○ $ 80,000-120,000

P R OV E N A N C E

L I T E R AT U R E

Paula Cooper Gallery, New York Private Collection, New York (acquired from the above in 1974) Sotheby's New York, 3 May 1988, lot 97 (consigned by the above) Private Collection, New York (acquired from the above) Acquired from the above in 1988 by the present owner

Exh. Cat., New York, Cheim & Read, Lynda Benglis: A Sculpture Survey 1969-2004, February - April 2004, n.p., illustrated in color Caroline Hancock, Franck Gautherot and Seungduk Kim, Eds., Lynda Benglis, Dijon, 2009, p. 288, illustrated in color Anna Dickie, "A Conversation with Lynda Benglis," Ocula, 28 February 2015, illustrated in color (online) Anna Dickie and Stephanie Bailey, Eds., Ocula Conversations, Hong Kong, 2016, p. 198, illustrated in color Claudine Humblet, Post-minimalisme et Anti-form: dépassement de l'esthétique minimale, Paris, 2016, p. 179, illustrated in color Adina Glickstein, "Lynda Benglis is Back - Knots, Pours, Dildos, and All," Hyperallergic, 7 October 2020, illustrated in color (online)

EXHIBITED

Houston, Texas Gallery, Lynda Benglis, November December 1973 New York, Cheim & Read, Lynda Benglis Louise Bourgeois: Circa 70, June - August 2007, n.p., illustrated in color Wakefield, The Hepworth Wakefield Museum, Lynda Benglis, February - July 2015 Puebla, Museo Internacional del Barroco, Cuerpos, Materia y Alma: Las Esculturas de Lynda Benglis / Bodies, Matter and Soul: The Sculptures of Lynda Benglis, September 2016 - March 2017 New York, Cheim & Read and Ales Ortuzar Projects, Lynda Benglis: Early Work 1967-1979, October - December 2020, n.p., illustrated in color

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“Benglis’ metalized forms seem to germinate, to have a torque and a pulse, yet simultaneously seem devoid of any sense of interior; they are mysteriously vivified… They suggest powerful physical sensations and natural forces, such as gravitational pull or the invisible processes of growth and decay.”

SUSAN KRANE, “LYNDA BENGLIS: THEATERS OF NATURE”, LYNDA BENGLIS: DUAL NATURES, P. 52, CATALOGUE FOR EXHIBITION AT THE HIGH MUSEUM OF ART, ATLANTA

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xecuted in 1973-1974, Bravo is an early example of Lynda Benglis’s groundbreaking sculptural practice. The contrast between the work’s organic, tensile coils and its unforgiving, metallic materiality is exemplary of the alchemy that Benglis achieves through her exploration of form and matter. As one of the preeminent and radical sculptors of the late 21st century, Benglis’s visceral and evocative works have cemented her at the forefront of the post-Minimalist movement alongside her peers Louise Bourgeois, Richard Serra, Eva Hesse, and Barnett Newman.

Bravo is part of a larger series of knot sculptures, each named after the U.S. military phonetic alphabet.

Developed in the early 1970s, every work originates as a tube of wire screen, cotton bunting, and gesso that is looped around itself and tied. With each contortion,

bodily force is encoded and interlaced throughout the work’s limb-like structures. This organic quality likens Benglis’s knots to individual living organisms; in her own words, “I liked the knots in that I wanted to think about the human form, and I thought of them as people gesturing, sometimes folding their arms, and they seem almost muscular.” As in the case of Bravo, the work is further complicated by its metallic finish – lustrous surfaces that conflate the sculptural object with painterly space. This transformatory technique only serves to heighten Benglis’s investigation into the dichotomies between hard and soft, liquid and solid, that are threaded throughout her artistic output. Deftly manipulating notions of matter and density, Bravo is the sensual and beautiful result of an inventive process that eliminates previously held limitations of an artist’s capabilities.

Benglis at the Walker Art Center, 1971, working on Adhesive Projects. Photo: Storm King Art Center, 2015.

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Louise Bourgeois 1911 - 2010

NATURE STUDY #2 stamped with the artist's initials and number 4/6 (on the underside) bronze with black and polished patina 12½ by 33 by 16½ in. (31.8 by 83.8 by 41.9 cm.)

Conceived in 1985 and cast in 1994, this work is number 4 from an edition of 6 plus 1 artist's proof.

○ $ 400,000-600,000

Philadelphia, Locks Gallery, Louise Bourgeois, October November 1994 (present example) Dublin, The Irish Museum of Modern Art, From Beyond the Pale: Art and Artists at the Edge of Consensus, December 1994 - February 1995, p. 86, illustrated in color (another example) Staten Island, Snug Harbor Cultural Center, The Newhouse Center for Contemporary Art, In Three Dimensions: Women Sculptors of the 90s, July - September 1995, p. 32, illustrated (another example) Olympia, Washington State Arts Commission (permanent collection)

P R OV E N A N C E

Cheim & Read, New York Acquired from the above in 2005 by the present owner EXHIBITED

Scottsdale, Riva Yares Gallery, Louise Bourgeois, February 1987 (another example) Cincinnati, Contemporary Arts Center, Vitality of Vision: Works by Women in Sculpture, March - May 1987 (another example) Boston, School of the Museum of Fine Arts, Grossman Gallery, Undercurrents: Rituals and Translations, November December 1987 (another example) New York, Whitney Museum of American Art, Enduring Creativity, April - June 1988, p. 9, illustrated Chicago, Rhona Hoffman Gallery, Louise Bourgeois: Selected Works 1946 - 1989, September - October 1989 (another example)

L I T E R AT U R E

Stuart Morgan, Louise Bourgeois, Cincinnati, 1987, n.p., illustrated Robert Storr, Intimate Geometries: The Art and Life of Louise Bourgeois, New York, 2016, p. 424, illustrated in color

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T “Her sculpture radiates a vital spark that thoroughly absorbs the viewer, as if something inside the object were alive” DEBORAH WYE, ‘LOUISE BOURGEOIS: ‘ONE AND OTHERS,’ IN :EXH. CAT., NEW YORK, THE MUSEUM OF MODERN ART, LOUISE BOURGEOIS, 1982, P. 14).

represents control and freedom.” (Louise Bourgeois in Paul Gardner, Louise Bourgeois, New York 1994, p. 68). Entrenched in the mythology surrounding her parentage and upbringing, Bourgeois replays, reprises and replicates her memories of the psychological distress that impacted her youth in Nature Study #2. Born in Paris, she was daughter to Joséphine and Louis Bourgeois, proprietors of a tapestry repair business that first fostered the young artist’s nascent creativity. Nonetheless, her family life was fractured and unsettled. Her father was authoritarian, philandering and often cruel; his infidelity with Louise’s live-in English tutor, of which her mother was permissive, perhaps due to her chronic illness, incited an enduring sense of betrayal and abandonment later exacerbated by her mother's premature death. This perverse triangle of familial relations in her youth found its most searing expression in the highly celebrated work Bourgeois initiated during the 1980s. Marking a return of the repressed, these works, as exemplified by Nature Study #2, invoke the materials, psychological spaces and symbolic forms inextricably bound to the primal experiences of Bourgeois’s childhood and resultant ambiguities she felt towards paternity, maternity, love and power.

hick coils merge and wrap around one another in Louise Bourgeois’s Nature Study #2 from 1985, forming an intricate and immersively captivating bronze knot. Each finger-like form bends across the surface of the work and submerges into this infinitely mysterious and tangled web of shapes. Nature Study #2 is evocative in the extreme; it is a sculpture of conflict, presenting a cathartic and intimate embrace, while simultaneously evoking an oppressive feeling of intense constriction.

Indeed, Nature Study #2 is a vivid representation of the artist grappling with the dualities of her upbringing - abandonment and protection.

Nature Study #2 underscores the artist’s concerns with conceptual ideas of constriction and circularity, a prevalent theme within the artist’s mature practice. Showcasing a spiral of tubular forms tied together in a tight mass, the present work is part of a series of sculptures created between 1984 and 1986 that share the title Nature Study.

Describing the spiral form, Bourgeois notes, “The spiral is important to me. It is a twist. As a child, after washing tapestries in the river, I would turn and twist and ring them [...] Later I would dream of my father’s mistress. I would do it in my dreams by ringing her neck. The spiral – I love the spiral –

Louise Bourgeois in the studio of her home on 20th Street, New York, 1995.

Photo by Porter Gifford/Corbis via Getty Images.

Art © 2023 The Easton Foundation / Artists Rights Society (ARS), NY

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Louise Bourgeois 1911 - 2010

SPIDE R signed with the artist's initials (lower right); variously inscribed (on the verso) watercolor, gouache and graphite on paper 10 by 8 in., 25.4 by 20.3 cm.

Executed in 1994.

○ $ 100,000-150,000

2003, p. 97, illustrated in color Paris, Musée National d'Art Moderne, Centre Georges Pompidou; New York, Solomon R. Guggenheim Museum; Los Angeles, Museum of Contemporary Art and Washington D.C., Hirshhorn Museum & Sculpture Garden, Louise Bourgeois: Retrospective, March 2008 - June 2009, p. 315

P R OV E N A N C E

Acquired directly from the artist as a gift in 1994 by the present owner EXHIBITED

New York, The Brooklyn Museum, Louise Bourgeois: The Locus of Memory, Works from 1982-1993, April - July 1993 Gent, Museum van Hedendaagse Kunst, This is the show and the show is many things, September - November 1994 University of California at Berkeley, University Art Museum and New York, The Drawing Center, Louise Bourgeois: Drawings, January - June 1996, illustrated in color Madrid, Museo Nacional Centro de Arte Reina Sofia, Louise Bourgeois: Memory and Architecture, November 1999 February 2000 Kunsthaus Bregenz; Krakow, Bunkier Sztuki Gallery of Contemporary Art; Warsaw, Zacheta Gallery of Art and Berlin-Brandenburg, Akademie der Kunste, Louise Bourgeois: Drawings and Sculpture, July 2002 - August

L I T E R AT U R E

Exh. Cat., Hanover, Kestner-Gesellschaft, Louise Bourgeois: Skulpturen und Installationen, September - October 1994, no. 112, p. 169, illustrated in color Louise Bourgeois and Larry Rinder, Louise Bourgeois: Drawings & Observations, Berkely, 1995, p. 179, illustrated in color Paulo Herkenhoff, Louise Bourgeois, Rio de Janeiro, 1996, p. 33, illustrated Petra Vethman, "Als ik geen kunst zou maken zou ik sterven, an interview with Louise Bourgeois," Elegance (Amsterdam), no. 4, vol. 55, April 1998, p. 111, illustrated

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Louise Bourgeois 1911 - 2010

UNTITLE D signed with the artist's initials (lower right); inscribed ink: meant luminosity (on the verso) watercolor on paper 11¾ by 17½ in., 29.8 by 44.5 cm.

Executed in 1970.

○ $ 100,000-150,000

Kyungki-Do, The National Museum of Contemporary Art, Louise Bourgeois: The Space of Memory, September November 2000, no. 12, p. 99, illustrated in color Kunsthaus Bregenz, Louise Bourgeois: Drawings and Sculpture, July 2002 - September 2002, p. 81, illustrated in color Warsaw, Zachęta National Gallery of Art, Louise Bourgeois: Geometry of Desire, January - February 2003, p. 66, illustrated in color Berlin-Brandenburg, Akademie der Künste, Louise Bourgeois: Intimate Abstractions, June - July 2003, no. 12, n.p., illustrated in color Tokyo, The Obayashi Collection at Yu-un, Louise Bourgeois, End of Softness, March - May 2023

P R OV E N A N C E

Acquired directly from the artist as a gift circa 1987 by the present owner EXHIBITED

New York, Robert Miller Gallery, Louise Bourgeois Drawings, 1988, p. 173, illustrated in color Amsterdam, Museum Overholland, Louise Bourgeois: Works on Paper 1939-1988, October - December 1988 Frankfurter Kunstverein; Munich, Stadtische Galerie im Lenbachhaus; Lyon, Musée d’art Contemporain; Barcelona, Fundación Tàpies; Bern, Kunstmuseum and Otterlo, Kröller-Müller Museum, Louise Bourgeois: A Retrospective Exhibition, November 1989 - July 1991 Paris, Musée National d’art Moderne, Centre Georges Pompidou and Helsinki City Art Museum, Louise Bourgeois: Pensées-Plumes, February - July 1995, no. 71, p. 93 Berkeley, University of California, University Art Museum and Pacific Film Archive and New York, The Drawing Center, Louise Bourgeois Drawings, January - December 1996

L I T E R AT U R E

Louise Bourgeois and Larry Rinder, Eds., Louise Bourgeois: Drawings & Observations, Berkeley, 1995, illustrated in color (on the dust cover), p. 135, illustrated in color

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Louise Bourgeois 1911 - 2010

UNTITLE D signed (lower right) ink on paper 11 by 8½ in., 27.9 by 21.6 cm.

Executed in 1949.

○ $ 70,000-100,000

Oakland, Mills College Art Museum; Boise Museum of Art; University of Richmond, Marsh Art Gallery; Durham, University of New Hampshire; El Paso Museum of Art; Lexington, University of Kentucky Art Museum; New Orleans, Tulane University, Newcomb Gallery and Metropolitan State College of Denver, Center for the Visual Arts, True Grit: Seven Female Visionaries Before Feminism, September 2001 - April 2002, no. 7 New York, Peter Blum, Louise Bourgeois - Works on Paper from the 1940's and 1950's, September - November 2006 Schirn Kunsthalle Frankfurt and Humlebaek, Louisiana Museum of Modern Art, Fantastic Women - Surreal Worlds From Meret Oppenheim to Frida Kahlo, February September 2020, p. 359, illustrated in color

P R OV E N A N C E

Acquired directly from the artist as a gift in 1991 by the present owner EXHIBITED

New York, Robert Miller Gallery, Surreal, May - June 1983 Paris, Maeght-Lelong and Zurich, Maeght-Lelong, Louise Bourgeois: Retrospektive 1947-1984, February - May 1985 New York, Robert Miller Gallery, Louise Bourgeois, Drawings 1939 - 1987, January 1988 Museum Overholland, Amsterdam, Louise Bourgeois: Drawings 1939-1987, October - December 1988 Paris, Gallerie Lelong, Louise Bourgeois: Dessins 1940-1986, February - March 1989 Tampa Museum of Art; Little Rock, Arkansas Art Center and Southampton, The Parrish Art Museum, Between Transcendence and Brutality: American Sculptural Drawings from the 1940s and 1950s, January - November 1994 Kyungki-Do, The National Museum of Contemporary Art, Louise Bourgeois: The Space of Memory, September November 2000, no. 10, p. 98, illustrated in color

L I T E R AT U R E

John Cheim and Jerry Gorovoy, Eds., Louise Bourgeois Drawings, New York, 1988, p. 75, illustrated in color Robert Storr, Intimate Geometries: The Art and Life of Louise Bourgeois, New York, 2016, p. 268, illustrated in color

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Louise Bourgeois 1911 - 2010

LES BE AUX BL ANC S signed with the artist's initials and inscribed maybe - OK mostly (lower right); titled and dated June 7 97 (on the verso) watercolor and ink on paper 17 by 8 in., 43.2 by 20.3 cm.

Executed in 1997.

○ $ 60,000-80,000

P R OV E N A N C E

Acquired directly from the artist as a gift in 1998 by the present owner EXHIBITED

Chicago, Rhona Hoffman Gallery, Louise Bourgeois: Drawings, November - December 1997 East Hampton, Rental Gallery, The Summer Haunts My Reverie, August - September 2019

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“Drawings are thought feathers, they are ideas that I seize in midflight and put down on paper.”

LOUISE BOURGEOIS CITED IN: EXH. CAT., LONDON, TATE MODERN, LOUISE BOURGEOIS, 2007, P. 104

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– plays upon the powers of association, recollection, fantasy, and fear. For Bourgeois, catharsis was achieved through her artmaking. Her works on paper at large grapple with lifelong anxieties and confront complex childhood memories and latent emotions; the result is a poetic and nostalgic body of drawings that provoke a deep emotional response.

In Les Beaux Blancs (1997), bound locks of hair and the nape of a neck become a rumination on girlhood and innocence while a disjointed spiral in Untitled (1970) evokes a contemplation on the cyclical, or perhaps inescapable, nature of life.

Elsewhere a blood-red spider, isolated in a barren room embodies the anguish and sensitivity of motherhood in the chilling 1994 watercolor entitled Spider. The particular image of the spider remains the most iconic and consistent of Bourgeois’s symbols; its graceful yet predatory form first emerged through her drawings as early as 1947. She revisited the motif in the mid-1990s and subsequently developed it in a variety of media – most notably as monumental and haunting sculptures. While her

panning the duration of her extraordinary career and referencing a multitude of her evocative motifs, the present group from the collection of John Cheim encapsulates Louise Bourgeois’s intimate and arresting artistic explorations through the medium of paper.

Bourgeois’s dreamlike and expressive compositions demonstrate her career-long attachment to image while allowing a glimpse into her personal psyche.

Drawing has been a consistent fixture in Bourgeois’s artistic process, a sort of private diary through which she records her “pensées plumes,” or feather thoughts, as she calls them – visual ideas that she captures in mid-flight and fixes onto a highly varied range of substrates. Through drawing she articulates the complex memories and images of her past that emerge into consciousness, called up by intense emotions and articulation reflected on the sheet.

Expressed through recurrent motifs (including body parts, spirals, and spiders), the conceptual and stylistic complexity of Bourgeois’s oeuvre – employing a variety of genres, media and material

Louise Bourgeois in the studio of her apartment at 142 East 18th Street, New York, circa 1946.Art © 2023 The Easton Foundation / Artists Rights Society (ARS), NY. Photo Courtesy Hauser & Wirth, New York.

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large scale sculptures are fraught with grandeur, here in Spider, the creature is depicted on an intimate scale, her long legs elevating her within an imagined interior and looming large within the Bourgeois’s constructed framework.

The medium of drawing has always been integral to the artist's work. Beginning from a young age, Bourgeois would work in her parents’ tapestry restoration business, filling in and drawing the missing elements and patterns on tapestries waiting to be restored. For Bourgeois this formed the beginning of her artistic calling — a career that began in the late 1930s and spanned seventy years.

The preternatural language of her visual symbolism found its origins here too; the turbulence between her mother and father, including the traumatic discovery of her father’s affair and her mother's chronic illness and premature death, would go on to profoundly affect her life’s work. Her spider motif, for instance, represents her mother as the weaver and the protector.

Drawing from past experiences is an essential aspect of the artist’s modus operandi. In her own words, “I need my memories. They are my documents. I keep watch over them… You have to differentiate between memories. Are you going to them or are they coming to you. If you are going to them, you are wasting

and textile works. The present vignettes capture the potent lyricism and psychological complexity of her oeuvre over the course of several decades. Unlike any artist before or since, Bourgeois' poetic and oftenpainful response to her own psychobiography takes on a powerfully universal aesthetic agenda: sexualpolitical power dynamics, gendered embodiment, and identity are enmeshed and woven into the fabric of her work. Together, this group of works on paper executed over the course of nearly half a century of artistic production provide a profound and intimate glimpse into the artist's extraordinary career.

time. Nostalgia is not productive. If they come to you, they are the seeds for sculpture” (Louise Bourgeois cited in Exh. Cat., Brooklyn, Brooklyn Museum of Art, Louise Bourgeois: The Locus of Memory: Works 1982-1993, Part 3, 1994, p. 23).

Driven by a ceaseless, innate compulsion to create works of art rooted in buried familial trauma and childhood memories, Bourgeois's production negotiates and incessantly recapitulates her psychical experiences of loss, severance, and mourning across a pioneering and plural artistic terrain of sculpture, painting, installation, drawing,

Louise Bourgeois' drawings pinned to the wall of her home on 20th Street, New York, 1962. © 2023 The Easton Foundation / Artists Rights Society (ARS), NY. Courtesy Hauser & Wirth, New York.

Louise Bourgeois: Spider, 1996. Cheim & Read, New York, inaugural exhibition, 1997. Art © 2023 The Easton Foundation / Artists Rights Society (ARS), NY. Photo courtesy Cheim & Read, New York

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William Eggleston b. 1939

UNTITLE D signed in ink (in the margin), signed in pencil and the Eggleston Artistic Trust stamp, with edition 6/20 in ink (on the reverse) dye-transfer print 17½ by 26½ in., 44.5 by 67.3 cm.

Executed circa 1975, printed in 2010, this print is number 6 from the edition of 20.

○ $ 25,000-35,000

P R OV E N A N C E

Cheim & Read, New York Acquired from the above in 2010 by the present owner EXHIBITED

New York, Robert Miller Gallery, William Eggleston, 1993 (another example) Paris, Foundation Cartier pour l'Art Contemporain, William Eggleston, November 2001 - February 2002, pl. 118, illustrated (another example) New York, Whitney Museum of Art; Munich, Haus der Kunst; Washington, D.C., Corcoran Gallery of Art; Art Institute of Chicago and Los Angeles County Museum of Art, William Eggleston: Democratic Camera: Photographs and Videos, 1961-2008, November 2008 - January 2011, p. 149, pl. 72 (another example)

Prague, Galerie Rudolfinum, Only the Good Ones: The Snapshot Aesthetic Revisited, January - April 2014 (another example) London, National Portrait Gallery, William Eggleston Portraits, July - October 2016, pp. 4-5, 93 (another example) L I T E R AT U R E

Ute Eskildsen et. al., The Hasselblad Award 1998: William Eggleston, Göteborg, 1999, n.p., illustrated (another example illustrated) Elena Ochoa Foster, Don't Call Me A Photographer!, Madrid, 2015, p. 18, illustrated (another example illustrated)

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Lucian Freud 1922 - 2011

K AI signed in pencil with the artist's initials (lower right); numbered 33/40 (lower left) Etching on Somerset wove paper plate: 27⅜ by 21½ in. (69.6 by 54.6 cm.) sheet: 31⅜ by 24⅝ in. (79.6 by 62.6 cm.)

Executed in 1991-92; this impression is number 33 from the edition of 40 plus ten artist's proofs, published by Matthew Marks Gallery.

P R OV E N A N C E

James Kirkman, London (acquired directly from the artist) Acquired from the above in 1993 by the present owner L I T E R AT U R E

Craig Hartley, Lucien Freud - Etchings: A Catalogue Raisonné 1946-1995, London 1995, no. 45, illus.

Catherine Lampert and the Whitechapel Art Gallery, Lucien Freud: Recent Work, New York 1993, p. 84, illus. (another example illustrated)

○ $ 50,000-70,000

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Adam Fuss b. 1961

UNTITLE D (FROM THE SE RIES MY G HOST) gelatin silver photogram, mounted to muslin, framed to the photographer's specifications 86⅜ by 55½ in., 219.3 by 141 cm.

Executed in 2001, this work is unique.

P R OV E N A N C E

Cheim & Read, New York Acquired from the above in 2009 by the present owner EXHIBITED

Brussels, Xavier Hufkens, Adam Fuss: My Ghost, January February 2002

○ $ 25,000-35,000

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Ron Gorchov 1930 - 2020

FORBIDDE N ISL AND signed, titled and dated 1984 (on the stretcher) oil on shaped canvas mounted on wood 76¼ by 101 by 15½ in., 193.7 by 256.5 by 39.4 cm.

Executed in 1984.

○ $ 150,000-200,000

P R OV E N A N C E

Collection of the artist Marlborough Gallery, New York (acquired from the above in 1986) Cheim & Read, New York (acquired from the above in 2021) Acquired from the above by the present owner

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SOTHEBY’S

“To me, the essence of sculpture is mass. You feel mass in sculpture. In architecture, you feel volume. And painting stresses surface. And I wanted to have some volume suggested, and some mass, but I don't like either one, and I don't want to work with either one. I want volume and mass in there, and I want it reduced to the least volume and the least mass, but to feel that it's there. So it's all for the purpose of surface.”

GORCHOV IN CONVERSATION WITH HANS ULRICH OBRIST, 2017

C

to meet you halfway, but in their own subtle way they do approach you; they ever so slightly bend themselves to the form of your visual field… Gorchov invented a new convention for painting, a convention that relaces the flat rectangle with a curved surface, at once concave and convex, and thus a new way for painting to accommodate its viewer into a spatial, visual world.”

(Barry Schwabsky, “Lucky Painter,” in Exh. Cat., New York, Cheim & Read, Ron Gorchov: The Last Paintings 2017-2020, September – December 2021, p. 7) Forbidden Island fuses abstract forms with pulsating color to create an imaginative and immersive landscape that brings into question one’s relationship with the painted surface, creating a phenomenological experience that immerses viewer in a vivid and emotionally charged world of abstraction. Drawn inwards by the indefatigable pull of the concave surface, the eye is simultaneously drawn to either side of the vast canvas, taking in as much of the carefully crafted composition as possible. The pigment dances gesturally across the surface, dripping and racing across the surface as influenced by gravity, lending an extraordinary dynamism to the work.

reating illusive depth through vivid color and a dimensional use of canvas, Forbidden Island from 1984 epitomizes Ron Gorchov’s revolutionary approach to art making.

Pale blues, peach pink and bright whites stretch exuberantly across the deliberately curved, saddleshaped canvas establishing a magnificent cacophony of shapes and colors with intricate depth. Blending the grandeur of the New York School of Abstract Expressionists who preceded him with the inventive approach of his contemporaries such as Elizabeth Murray, Frank Stella and Lynda Benglis and their experimentation with painterly sculptural forms, Ron Gorchov rejects neat categorization. Stripping the act of painting back to a primal state with raw materiality, Gorchov’s curved constructions and fields of color evoke the rough impasto-ed surfaces of Clyfford Still.

Capturing the dynamic and immersive nature of sculpture on canvas, Gorchov’s groundbreaking paintings attain a sculptural quality, as they swell outwards from the wall as if compelled by an internal force. The result is a commanding presence, no better exemplified than in Forbidden Island. As noted by Barry Schwabsky, “These paintings don’t exactly come out

Paul Gauguin, The White Horse, 1898. Musee d’Orsay Museum, Paris. Photo: Leemage/Corbis via Getty Images.

113

Eva Hesse Nan Goldin b. 1953

SKINHE AD HAVING SE X , LONDON signed, titled, dated and numbered 11/25 in gold ink (on the reverse) Cibachrome print 27 by 27 in., 68.8 by 68.6 cm.

Executed in 1978, this print is number 11 from the edition of 25.

1936 - 1970 P R OV E N A N C E

Matthew Marks Gallery, New York Acquired from the above in 2000 by the present owner EXHIBITED

New York, The Whitney Museum of American Art, Nan Goldin, I'll Be Your Mirror, 1996, p. 94, illustrated (another example) New York, Cheim & Read, Couples, January - February 2000 L I T E R AT U R E

Nan Goldin, The Ballad of Sexual Dependency, New York, 1996, p. 135, illustrated (another example illustrated) Nan Goldin and Taka Kawachi, eds., Nan Goldin: Couples and Loneliness, Kyoto, 1999, p. 2, illustrated (another example illustrated)

○ $ 5,000-7,000

signed and dated 60-61 (lower right); signed (on the verso) India ink and ink on paper 6 by 4½ in., 15.2 by 11.4 cm.

Executed in 1960-61.

Museum Wiesbaden, Künstlerinnen des 20. Jahrhunderts, September - November 1990, no. 90, p. 395, illustrated New York, Robert Miller Gallery and Paris, Galerie Renos Xippas, Eva Hesse: Gouaches 1960-1961, February - June 1991, no. 36, p. 83, illustrated New Haven, Yale University Art Gallery and Washington, D.C., Hirshhorn Museum and Sculpture Garden, Eva Hesse: A Retrospective, April 1992 - January 1993, no. 18, p. 157, illustrated New York, Yoshii Gallery, Petites Formats, May - June 1999 Pat Hearn Gallery, Part Two (1988-1994), February March 2001

P R OV E N A N C E

Estate of the artist Robert Miller Gallery, New York Acquired from the above in 1991 by the present owner EXHIBITED

London, Mayor Gallery; Otterlo, Rijksmuseum KröllerMüller and Hanover, Kestner Gesellschaft, Eva Hesse: A Retrospective of Works on Paper, May - June 1979 Cologne, Galerie Kicken-Pauseback, Eva Hesse: Objekte/ Malerei/Zeichnungen, March - April 1990

L I T E R AT U R E

Carl-Albrecht Haenlein, Ed., Eva Hesse, 1936-1970: Skupturen und Zeichnungen, Hanover, 1979, no. 43, p. 71, illustrated Anne Swartz, "Accession II: Eva Hesse's Response to Minimalism," Bulletin of the Detroit Institute of Arts, vol. 71, no. 1/2, 1997, p. 38, illustrated Exh. Cat., Kunsverein Hanover, Michael Craig-Martin: Always Now, no. 43, p. 71, illustrated Renate Petzinger and Barry Rosen, Eds., Eva Hesse Drawings, Catalogue Raisonne, 2019 - ongoing, no. D 347, illustrated in color (online)

○ $ 60,000-80,000

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115

David Hockney b. 1937

PATRICK , KE ITH , ST. MAWES signed with the artist's initials, titled and dated May 1st 1966 (lower right) ink on two joined sheets of paper 10 by 17⅞ in., 25.4 by 45.4 cm.

Executed in 1966.

P R OV E N A N C E

Kasmin Ltd., London Private Collection, London Sotheby Parke Bernet Inc., 20 October 1977, lot 244 (consigned by the above) Robert Miller, New York (acquired from the above) Acquired from the above in 1989 as a gift by the present owner EXHIBITED

London, Whitechapel Art Gallery, David Hockney: Paintings, Prints and Drawings 1960-1970, April - May 1970, D. 25, p. 93

Jenny Holzer

P R OV E N A N C E

Cheim & Read, New York Acquired from the above in 2014 by the present owner

b. 1950

EXHIBITED

SE LEC TION FROM SURVIVAL : WHAT URG E WILL SAVE US. . .

Cincinnati, Carl Solway Gallery, Jenny Holzer, Multiple Editions, September - December 2005 (another example) New York, James Cohan Gallery, A Brighter Day, June - July 2006, p. 14, illustrated in color (another example) Honolulu, The Contemporary Museum, Jenny Holzer, December 2006 - March 2007 (another example)

Danby Imperial white marble 17 by 23 by 15¾ in., 43.2 by 58.4 by 40 cm.

Executed in 2005, this work is number 10 from an edition of 10.

○ $ 50,000-70,000

○ $ 40,000-60,000

116

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Jenny Holzer b. 1950

SECRET PAG E 3 signed and dated 2014 (on the overlap) oil on linen 80 by 62 in., 203.2 by 157.5 cm.

Executed in 2014.

○ $ 70,000-100,000

P R OV E N A N C E

Cheim & Read, New York Acquired from the above in 2014 by the present owner EXHIBITED

New York, Cheim & Read, Jenny Holzer: Dust Paintings, September - October 2014, no. 17, pp. 64-67, illustrated in color Basel, Foundation Beyeler, Black Sun, October 2015 January 2016, n.p., illustrated in color

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SOTHEBY’S

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arnessing the conceptual power of language, Jenny Holzer’s art weaves a critical tapestry of words, forcing us to think acutely about our morals and the society in which we live. Executed in 2014, Secret Page 3 is a striking example of Holzer’s continued exploration and utilization of primary source material, in this case declassified government documents, which she expertly re-contextualizes and questions within her work. Here, bold coloration and abstracted forms instantly draw the viewer inward. Only upon closer gaze, the singular phrase "SECRET" comes into focus at the upper center along with innocuous pagination, “page 3,” in the lower right corner, simultaneously undermining and complicating the pictorial field, while provoking the viewer to reconsider the greater context of the work and its underlying meaning. The juxtaposition of the barely visible text with the opaque block forms that signify redacted information encourages the viewer to consider the conceptual distance between what

is hidden and what is revealed. With a deceptively simple and minimalist representation of both color and form that is rooted in art history, Holzer’s Secret Page 3 is embedded with layers of meaning.

In the years following 9/11, Holzer delved into heavily declassified government materials motivated by her desire to learn more after feeling disillusioned by the information, or lack thereof, provided by news sources about these tragic events and their fallout.

Through her exploration of these files as well as those pertaining to the United States’ involvement in Afghanistan and Iraq, Holzer was inspired to transform and recontextualize these documents.

Using redacted documents as the basis for a series of paintings and screenprints, Holzer replaces the altered sections of text with dense blocks of color, at times using vibrant tones as in the present work and at others using a heavy matte black. Related to Andy Warhol’s Death and Disaster series, Jenny Holzer’s redaction paintings simultaneously intensify and blunt the disturbing imagery or content that they elucidate.

“Jenny’s paintings exist, in part, as an act of faith that new possibilities might still open up in the world. The soul seeks beauty, they say, even when evil is grasping at us. But hope is not something that we can see in the troubled world, so we see instead the things that we must hope against, like torture. Hope isn’t optimism either – it’s a belief in working for the good. For me, Jenny’s redaction paintings create a little episode of reveries and inwardness for the onlooker, and in doing this they create hope.”

HENRI COLE, IN EXH. CAT., NEW YORK, CHEIM & READ, JENNY HOLZER: DUST PAINTINGS, 2014, P. 9

Secret Page 3, featured in Holzer’s solo exhibition Dust Paintings at Cheim & Read in 2014 is painted by hand, marking a return to painting for the artist. Pure geometric forms in bold orange are suspended over a white background, instantly evoking the revolutionary conceptual and aesthetic framework laid out by the Russian Suprematists such as Kazimir Malevich. Discussing the influence of Malevich on this series, Holzer shares, “I’ve always been astonished by the Suprematists and at what happened in early-20th-century Russian poetry, politics and art. It was a very optimistic period that crashed. As for Malevich, I do refer to his color bands, because they seem sad to me. He tried to make an entirely new order, but when Stalin came to power, he was obliged to paint the official program, which is when those bands appeared. I thought this is kind of an awful period, too, so maybe the bands can convey it.” (“Jenny Holzer interview: ‘Lack of content is the message,’” Timeout, 8 September 2014). In this context, Holzer inherits Malevich’s political subversion and adapts it to fit the geopolitical moment.

Holzer has interrogated language, and the material and immaterial consequences of words throughout her oeuvre and it remains a central part of her conceptually rigorous practice. Within this series her conscious omission of language becomes even more pronounced, instead inviting viewers to consider all the things which are being concealed.

Left: The present work installed in the exhibition Jenny Holzer: Dust Paintings, Cheim & Read, New York, 2014. Photo: Brian Buckley.

Kazimir Malevich, Painterly Realism of a Boy with a Knapsack - Color Masses in the Fourth Dimension, 1915. Museum of Modern Art, New York.

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Alex Katz b. 1927

VINCE NT 1 signed and dated '72 (on the reverse) oil on board 13½ by 15 in., 34.3 by 38.1 cm.

Executed in 1972.

P R OV E N A N C E

Robert Miller Gallery, New York Acquired from the above in 1989 by the present owner EXHIBITED

New York, Robert Miller Gallery, Alex Katz: Small Paintings from the 1950's to the Present, January 1984 New York, Cheim & Read, Some People, February - May 2022

○ $ 120,000-180,000

122

Willem De Kooning 1904 - 1997

WOMAN signed de Kooning (lower center) graphite on paper 16¾ by 13⅝ in., 42.5 by 34.6 cm.

Executed in 1952.

P R OV E N A N C E

Priscilla Morgan, New York (acquired directly from the artist) Acquired from the above in 2009 by the present owner EXHIBITED

New York, Cheim & Read, From a Collection of Abstract Works on Paper 1941-1961, October - December 2010

○ $ 60,000-80,000

123

Yayoi Kusama b. 1929

ACCUMU L ATION signed and dated 1952 (lower right); signed, dated 1952 and inscribed in Japanese (on the verso) ink on paper 11 by 9½ in., 27.9 by 24.1 cm.

Executed in 1952.

P R OV E N A N C E

Ota Fine Arts, Tokyo Acquired from the above in 2009 by the present owner

EXHIBITED

Warsaw, Zachęta National Gallery of Art, Yayoi Kusama, April - May 2004 New York, Cheim & Read, From a Collection of Abstract Works on Paper 1941-1962, 2010 Buenos Aires, Malba - Fundación Costantini; Rio de Janeiro, Centro Cultural Banco do Brasil; Brasilia, Centro Cultural Banco do Brasil; Sao Paolo, Instituto Tomie Ohtake and Mexico City, Museo Tamayo Arte Contemporáneo Internacional, Yayoi Kusama: Obsesión Infinita, June 2013 January 2015, no. 15 L I T E R AT U R E

Yayoi Kusama and Karola Grässlin, Yayoi Kusuma: Arbeiten aus den Jahren 1949 bis 2003, Cologne, 2003, p. 43, illustrated in color

○ $ 50,000-70,000

124

Jonathan Lasker b. 1948

UNIVE RSAL AFFEC T signed twice and dated 2008 twice (on the overlap) oil on canvas 75 by 100 in., 190.5 by 254 cm.

Executed in 2008.

P R OV E N A N C E

Cheim & Read, New York Acquired from the above in 2015 by the present owner EXHIBITED

New York, Cheim & Read, Abstractions by Gallery Artists, September - October 2009 New York, American Academy of Arts and Letters, Invitational Exhibition of Visual Arts, March - April 2011 Saint Étienne, Musée d'art modern et contemporain, Jonathan Lasker, March - May 2015, p. 26, illustrated in color New York, Miguel Abreu, The Poet Engineers, April - July 2021

○ $ 50,000-70,000

125

Man Ray 1890 - 1976

PE INTURE NATURE LLE signed Man Ray (lower right); signed Man Ray and inscribed 22 Peinture Naturelle (on the reverse of the frame) acrylic on Masonite, mounted in the artist's frame 12⅝ by 15¼ in., 32.1 by 37.7 cm.

P R OV E N A N C E

Private Collection Sotheby's, New York, 5 October 1988, lot 84 (consigned by the above) Robert Miller Gallery, New York (acquired from the above) Acquired from the above in 1988 by the present owner EXHIBITED

Los Angeles, Maison d'Art, Man Ray Natural Paintings, 2020, illustrated in color

○ $ 10,000-15,000

Executed in 1958.

Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work and that it will be included in the Catalogue of Paintings of Man Ray, currently in preparation.

Robert Mapplethorpe

P R OV E N A N C E

1946 - 1989

Estate of the artist Cheim & Read, New York Acquired from the above in 2000 by the present owner

UNTITLE D (SE LF- POR TR AIT)

EXHIBITED

Polaroid print 4⅛ by 5⅛ in., 10.5 by 13.2 cm.

Executed circa 1973, this work is unique.

New York, Cheim & Read, Robert Mapplethorpe Autoportrait Polaroids 1972-1974, April - June 2000 L I T E R AT U R E

Robert Mapplethorpe and Richard Marshall, Robert Mapplethorpe Autoportrait, New York, 2001, p. 3, illustrated

○ $ 8,000-12,000

126

127

Robert Mapplethorpe 1946 - 1989

KE N MOODY signed, dated, numbered 1/10 and with [MAP] 1272 in ink (on the reverse) gelatin silver print 19 by 15 in., 48.3 by 38.1 cm.

Executed in 1983, this print is number 1 from the edition of 10.

P R OV E N A N C E

Robert Miller Gallery, New York Acquired from the above by the present owner EXHIBITED

Roslyn Harbor, Nassau County Museum of Art, That 80's Show, March - July 2019 New York, Cheim & Read, Some People, February - May 2022 L I T E R AT U R E

Exh. Cat, New York, The Whitney Museum of Art, Robert Mapplethorpe, 1988, p. 123, illustrated (another example illustrated)

○ $ 10,000-15,000

128

Barry McGee b. 1966

UNTITLE D

P R OV E N A N C E

Cheim & Read, New York Acquired from the above in 2012 by the present owner

○ $ 60,000-80,000

acrylic on panel, in 14 parts overall: 69½ by 57 in., 176.5 by 144.8 cm.

Executed in 2012.

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Joan Mitchell 1925 - 1992

UNTITLE D oil on canvas 39⅜ by 39⅜ in., 100 by 100 cm.

Executed in 1960.

○ $ 2,800,000-3,500,000

P R OV E N A N C E

L I T E R AT U R E

Estate of the artist Joan Mitchell Foundation, New York Cheim & Read, New York Acquired from the above in 2005 by the present owner

Exh. Cat., New York, Cheim & Read, Joan Mitchell: Frémicourt Paintings 1960-62, May - June 2005, pl. 11, illustrated in color Exh. Cat., Milan, Palazzo Magnani, Joan Mitchell: La pittura dei Due Mondi / La peinture des Deux Mondes, 2009, p. 119, illustrated in color Holland Cotter, "Review: John Ashbery Collects: Poet Among Things" The New York Times, 25 October 2013, p. C23, illustrated in color

EXHIBITED

New York, Loretta Howard Gallery, John Ashbery Collects: Poet Among Things, September - November 2013, p. 11, illustrated in color New York, Cheim & Read, Joan Mitchell: Paintings from the Middle of the Last Century, 1953-1962, September - October 2018, no. 11, pp. 48-49, illustrated in color New York, Kasmin Gallery, Painters of the East End, July August 2019 Katonah Museum of Art, Sparkling Amazons: Frankenthaler, de Kooning, Krasner, Mitchell and the Women of Abstract Expressionism, October 2019 - January 2020, pp. 55 and 102, illustrated in color New York, David Nolan Gallery, Mad Women | Kornblee, Jackson, Saidenberg and Ward: Art Dealers on Madison Avenue in the 1960s, September - October 2022

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the otherwise male-centric world of the New York Abstract Expressionists. She moved in the same avant-garde circles as Jackson Pollock, Willem de Kooning, and Hans Hofmann, both socially and professionally, and was included in the seminal Ninth Street Show in 1951. Beginning in 1952, with her first solo exhibition at the New Gallery, Mitchell entered the artistic discourse surrounding Abstract Expressionism as an important leading voice, described as “one of America’s most brilliant ‘Action-Painters.’ At a time when many young artists are withdrawing introspectively from the bold experimentation of their elders … her art expands in the wake of her generous energy” (Irving Sandler, “Young Moderns and Modern Masters: Joan Mitchell,” ArtNews, March 1957, p. 32). This pivotal moment heralded a seminal period in Mitchell’s career, during which she moved back and forth between New York and Paris, seamlessly blending the expressive abstract machismo of the New York School with an elegant European fidelity to nature.

Klaus Kertess notes an affinity between Mitchell and a fellow American artist who similarly lived and worked abroad in Europe in the late 1950s and early 1960s: “In these same years, [Cy] Twombly’s expressiveness, like Mitchell’s, blossomed into fullness. The jubilant lyricism of his paintings with their frequent scatological references and discursive writerly markmaking pulsed with subjective metaphoricality. …Both Mitchell and Twombly played a major role in keeping drawing vividly alive on painting’s surface” (Klaus Kertess in Exh. Cat.,

spectacular assault of unrestrained expression and rich color, Untitled encapsulates the full force of Joan Mitchell’s singular abstract vernacular.

Executed in 1960, during a critical early moment which is widely considered the most formative period of the artist’s career, Untitled represents the pinnacle of Mitchell’s unique mode of Abstract Expressionism.

The present work is distinguished by its exceptional provenance; Untitled was held in the collection of the artist in her lifetime, then going to her Estate and eventually being acquired from the Joan Mitchell Foundation by the present owner, Mitchell's longtime gallerist, John Cheim. Untitled is further distinguished by its exhibition history, having been included in many notable exhibitions, including Joan Mitchell: Paintings from the Middle of the Last Century 19531962 at Cheim & Read in 2018. Across the impastoed surface of the canvas, luscious swathes of radiant reds and blues are tempered by strokes of earthy green which anchor the composition. This rich blend of hues generates fluid suggestions of figure and ground, the component parts of which find harmony through the lyrical choreography and Mitchell’s extraordinary abstract markmarking. For its sheer force of painterly conviction, tactile physicality and complex coloration Untitled is an exceptional example of Mitchell’s highly acclaimed paintings from the early 1960s.

In 1949, after attending the Art Institute of Chicago, Joan Mitchell moved to New York and was immediately enraptured by the city’s dynamic art scene. Mitchell was a rare female presence in

Joan Mitchell in her studio, Paris, 1956. Photo: Loomis Dean / The LIFE Picture Collection / Getty Images. Art © Estate of Joan Mitchell Claude Monet, Impression, Soleil Levant (Rising Sun), 1872. Musée Marmottan Monet, Paris. Image: Bridgeman Images

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New York, Cheim & Read, Joan Mitchell: Frémicourt Paintings 1960-1962, New York, 2005, n.p.). The complex graphic nature of Mitchell’s technique, as exemplified in Untitled, like that of Cy Twombly, possesses indisputable communicative powers.

Wholly abstract, and entirely unencumbered by figuration, Untitled conveys the clear and forceful message of Mitchell’s undeniable mastery of the art of abstraction, and her irrefutable status as the foremost female painter of the heroic generation of Abstract Expressionist artists.

Mitchell’s work from the early 1960s marked a shift in sensibility for the artist, in which she moved away from the dynamic, vigorous mark-making associated with the male Abstract Expressionists into a subtly more lyrical style inspired by her surroundings. Following her relocation to France in 1959, her chromatic range dramatically shifted, as she introduced shades of verdant green, rosy reds, lilacs and ochres, moving away from the restrictions of primary colors. In Untitled, color and form beat across every square inch of the present work with an ineffable rhythm, enveloping the viewer in a dazzling fusion of melodic lyricism with passionate mark-making. As curator David Anfam describes of Mitchell’s works from this period, “Like Athena sprung fully formed from the head of Zeus, this self-styled “lady painter” had come abreast with her erstwhile peers’ to such an extent that ‘it might be no great exaggeration to regard Mitchell in these years as the foremost female American abstractionist” (David Anfam, Joan Mitchell: Paintings from the Middle of the Last Century 1953-1962, New York, 2017, p.7).

The early 1960s simultaneously marked a period of artistic inspiration and deep personal turmoil for the artist and her works from this time, such as Untitled, are characterized by an overwhelming lyrical passion and intimate sentimentality. Her father had passed away in Chicago and her mother was diagnosed with cancer. Beneath her brush, the canvas of Untitled thus transforms into a performative arena, within which Mitchell has staged a furiously orchestrated symphony of chromatic activity, exploring pure expression.

Breathtaking in its painterly bravura, Untitled constitutes a remarkable sensory engagement with nature, revealing Mitchell’s artistic fervor and personal turmoil and providing an endlessly engrossing and dynamic visual experience.

In the present work, the vitality of nature takes center stage as her energetic brushwork conjures not only the evocation of a landscape, but also stimulates an immersive sensory experience. Of this she has said, “I paint from remembered landscapes that I carry with me — and remembered feelings of them, which of course become transformed. I could certainly never mirror nature. I would more like to paint what it leaves with me.” (Joan Mitchell quoted in: Exh. Cat., San Francisco Museum of Modern Art, Joan Mitchell, September 2021-January 2022, p. 285). The present work endures as a beacon of colorful and textural vibrancy, played out on the canvas with a sense of intimacy and urgency that is singular to Joan Mitchell. A veritable tour de force of explosive, painterly expression, Untitled embodies the sublime confluence of emotional urgency, evocative color and form that characterizes the most formidable achievements of Mitchell’s oeuvre.

“If in poetry language is both sharpened and distilled, both loaded with and emptied of meaning, then in Mitchell’s canvases the elements of paintings – paint, color and canvas – are both themselves and at the same time replete with expressive connotation. This is the dialectic struggle waged by Mitchell’s work” HELEN MOLESWORTH IN EXH. CAT., LONDON, HAUSER & WIRTH, JOAN MITCHELL: LEAVING AMERICA, NEW YORK TO PARIS 1958-1964, 2007, P. 9

Willem de Kooning, Gotham News, 1955. Buffalo AKG Art Museum © 2023 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York Cy Twombly, Untitled, 1987. Private Collection. Art © 2023 Cy Twombly Foundation

Joan Mitchell 1925 - 1992

UNTITLE D (NUDE STUDY )

P R OV E N A N C E

Estate of the artist Joan Mitchell Foundation, New York Acquired from the above as a gift in 2006 by the present owner

○ $ 15,000-20,000

signed (lower right) charcoal on paper 25 by 19 in., 63.5 by 48.3 cm.

Executed in 1945.

Joan Mitchell 1925 - 1992

PASTE L pastel on paper 22¾ by 15¼ in., 57.8 by 38.7 cm.

Executed in 1991.

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P R OV E N A N C E

Acquired directly from the artist as a gift in 1991 by the present owner L I T E R AT U R E

John Cheim, Ed., Joan Mitchell Pastel, New York, 1992, no. 7, n.p., illustrated in color

○ $ 250,000-350,000

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SOTHEBY’S

“Mitchell has fully exploited the fragile powdery effusiveness of pastel – the way it figuratively settles into and illuminates the nap of the paper surface. Pastels willing responsiveness to the varying pressures of the hand has been deployed in a startling panoply of mark making, from blurred staccato tracks, to amorphous wisps, to sinuous trajectories of athletic assertiveness. These pastels have a kind of velvet fury.

KLAUS KERTESS IN EXH. CAT., SÃO PAULO, CICCILLO MATARAZZO PAVILION, 22 BIENAL INTERNACIONAL DE SAO PAULO, 1994, P. 143

B

of the energies of color, light and line” (Klaus Kertess, Joan Mitchell, Pastel, New York, 1992, n.p.).

Each stroke of the delicate pastel takes on qualities that are almost calligraphic, with discretely varying textures as a result of the artist’s treatment of pigment, as she oscillates the deposit of medium across the sheet, heavier in some places lighter in others, as colors blur and coalesce across the impressive surface of the work. As with the most quintessential examples of Mitchell’s celebrated corpus, Pastel possesses a visual authority that summons the viewer to imagine the physicality of Mitchell’s creative process, though here on an intimate and inviting scale, while experiencing the intoxicating expressiveness of its outcome. As the artist herself noted, “I don’t set out to achieve a specific thing, perhaps to catch a motion or to catch a feeling… I try to eliminate clichés, extraneous material. I try to make it exact.

My painting is not an allegory or a story. It is more of a poem” (the artist cited in Kristine Stiles and Peter Selz, Eds., Theories and Documents of Contemporary Art, California, 1996, p. 33).

ursting with exuberant energy as vibrant cerulean blues and scarlet reds dance over oscillating shades of green and subtle yellows, Joan Mitchell’s Pastel from 1991 poetically captures the expressive capabilities of the artist's works on paper. The fragile softness of the pastel medium lends itself to a distinct richness of texture, color and transparency as each gentle movement of the artist’s hand is captured with immediacy on the surface of the sheet. Unlike other examples of pastels from this period, this work is unique in that it is edge to edge, allowing the bright, gestural strokes to fill the entirety of the sheet.

Bearing exceptional provenance having been gifted directly to the present owner, John Cheim, by the artist, the present work captures the very best of Mitchell’s draughtsmanship.

As noted by art historian and scholar, Klauss Kertess, “[Mitchell’s] pastels are like a coda to her painting; they are no less profound for the greater intimacy and directness attendant upon their smaller size. Their vital grace makes more immediately visible and accessible Mitchell’s vivid orchestration

Joan Mitchell, Champs, 1991. Centre Pompidou, Paris. Art © Estate of Joan Mitchell.

Cy Twombly, Untitled, 1952, Museum of Modern Art, New York © 2023 Cy Twombly Foundation

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Giorgio Morandi 1890 - 1964

PAESAGG IO signed Morandi (lower left) oil on canvas 14 by 14 ⅛ in., 35.6 by 35.9 cm.

Executed in 1962.

○ $ 250,000-350,000

P R OV E N A N C E

Vicenzo Ghirlandi, Faenza Private Collection, Switzerland (acquired in 2001) Acquired from the above in 2015 by the present owner EXHIBITED

Zagreb, Galerija Moderne Umjetnosti, Bolonjsko Slikarstvo XX Vijeka, May 1968, no. 70, illustrated San Francisco, Paul Thiebaud Gallery, Giorgio Morandi Paintings, November - December 2003, no. 9, illustrated in color London, Faggionato Fine Art, Giorgio Morandi Paintings, 2004 London, Imago Art Gallery, Giorgio Morandi, Through Light, September - December 2009, no. 12, pp. 72-75 and 91-92, illustrated in color p. 73 and 74-75 (detail) New York, Cheim & Read, On View: Seven Works from the Sixties, January - February 2021 New York, Cheim & Read, Summer Hours, June September 2022 L I T E R AT U R E

Lamberto Vitali, Morandi. Catalogo generale, Milan 1977, vol. II, no. 1291, n.p., illustrated Lamberto Vitali, Morandi. Dipinti. Catalogo generale, Milan 1994, vol. II, no. 1291, n.p., illustrated

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nown primarily as a painter of still lifes, Giorgio Morandi also held a strong affinity for landscape painting, a genre he explored frequently throughout his career. His canvases often portrayed the scenic countryside surrounding Bologna, where his studio was located, with a particular focus on Grizanna - an idyllic and quaint village which served as his summer haven and retreat during World War II. Morandi is one of the most recognized and talented Italian artists of his generation and his Paesaggio (Landscape) series is an essential part of his oeuvre. From the perspective of the recognized art historian Werner Haftann, "the experience of a Morandi landscape is not a psychological one but rather an experience of its own construction, a tranquil contemplation of essential structure" (Werner Haftann, Giorgio Morandi, 18901990, Milan, 1990, p. 34).

This Paesaggio painting, which emanates both a serene simplicity as well as a skillful technique, exquisitely showcases Morandi’s mature style. The delicate and earthy palette, characteristic of the artist’s practice, combined with the vibrant and circular brushstrokes infuses the tranquil scene with a captivating sense of movement. The green textured and mottled foliage, which dominates the bottom half of the canvas, balances the pale bluish gray sky and the traditional Italian smooth ivory house with its recognizable terracotta roof. The darker green central verdure as well as the stair-like shadows lead the viewer’s attention towards the entrance of the bright central structure, which serves as the primary source of light, and there invites viewers into the serene landscape. Morandi therefore reinterprets the traditional genre of landscape painting by going far beyond an objective depiction of reality, inviting viewers into his enigmatic world in which he gives a new life to common entities and allows for abstract forms to build recognizable representations.

Morandi’s landscapes, devoid of human figures and composed of geometric shapes, reflect the influence of Paul Cézanne, whose paintings prioritized a tangible and sensorial experience for its viewers. The French artist inspired Morandi to rethink the way he viewed the world which surrounded him and to reinterpret his way of visualizing works spatially on the canvas.

Nevertheless, by using two-dimensional, almost abstract shapes to compose his natural landscapes, the Italian artist also creates an innovative and more modernist interpretation of space. The absence of contours allows for the different elements of the composition to merge together naturally, in light and shadow, composing a sense of unified reality which appears to exist beyond time and space. As Renato Miracco states, “Morandi’s paintings portrays, with innumerable plays on form, the truth of an aesthetic sentiment that is common to all, eternal” (Renato Miracco, “Nothing is More Abstract than Reality,” Morandi 1890-1964, Milano 2008, p. 297).

“What remains of the natural element in Morandi’s late Paesaggi, is that perception of an untouched atmosphere, an exhilarating gush of air which takes over the fullness of the landscape, leaving the impression of a shadow, a distant memory of a treasured world, now completely interiorised” MARILENA PASQUALI, RIFLESSIONI SULL’OPERA, PIACENZA 1991, P. 62, TRANSLATED FROM THE ITALIAN

Giorgio Morandi, Still Life, 1960. Tate, London.

Art © 2023 Giorgio Morandi / Artists Rights Society (ARS), NY

Paul Cézanne, Houses in Provence: The Riaux Valley near L’Estaque, circa 1883. The National Gallery of Art, Washington D.C.

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145

A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Alice Neel 1900 - 1984

G EORG IE ARCE signed (lower left) ink and gouache on paper 14 by 11 in., 35.6 by 27.9 cm.

Executed in 1952.

○ $ 30,000-40,000

P R OV E N A N C E

L I T E R AT U R E

Robert Miller Gallery, New York Acquired from the above in 1989 by the present owner

Pamela Allara, Pictures of People: Alice Neel's American Portrait Gallery, Hanover, 1998, p. 144, illustrated Exh. Cat., Helsinki, Ateneum Art Museum/Finnish National Gallery (and travelling) Alice Neel, Painter of Modern Life, June - October 2016, p. 43, illustrated in color

EXHIBITED

New York, Robert Miller Gallery, Alice Neel, Watercolor and Drawings, December 1986 - January 1987, n.p., illustrated in color Little Rock, Arkansas Arts Center, The Face, December 1988 - January 1989, p. 48, illustrated in color New York, Robert Miller Gallery, Alice Neel: The Years in Spanish Harlem 1938 - 1961, February - March 1994 Philadelphia, Moore College of Art & Design, Alice Neel: Drawing from Life, August - December 2008, no. 25 Skärhamn, The Nordic Watercolor Museum, Alice Neel: Intimate Relations - Drawings and Watercolours 1926 - 1982, May - September 2013, p. 50, illustrated in color New York, David Zwirner, Alice Neel, Uptown, February - April 2017, p. 46 and 134, illustrated in color

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SOTHEBY’S

“We were all as strong and fragile and present as life allowed.

And Neel saw.”

HILTON ALS,“ALICE NEEL, UPTOWN: PRESS RELEASE,” 2017

A

appears entirely innocent and devoid of the physical hardness and emotional strife that would tarnish his later years. Georgie Arce ultimately epitomizes Neel’s unmatched ability to capture a moment in time, all at once showcasing the humanity of an otherwiseoverlooked individual and recording the historical but also intimate and individual realities of life in mid-century New York City.

lice Neel’s portraits are widely celebrated for their uncanny ability to capture the psychological reality and emotional depth of any individual at any particular moment in their lifetime. Though her paintings often portray important cultural and political figures, many of Neel’s most compelling images portray the lives of more quotidian characters encountered in her neighborhood on New York’s Upper West Side. Neel’s fascination for immortalizing the outwardly ordinary inspired her to revisit certain sitters over multiple years, with one of her most beloved being Georgie Arce, the subject of the present work from 1952. Neel’s portraits of Arce began as early as 1950, when he was just a young boy running her errands, and followed him until 1959, throughout his adolescence as he came of age in Spanish Harlem, struggling with the endless political injustices and ubiquitous violence of the neighborhood during this period.

The present work, disarming in its intimacy, depicts Arce in a moment of innocence, with boyish hair, twiddling hands, and a fully-buttoned coat that appears much too scrunched at the arms to be of proper fit. Though his youthful boyhood is unmistakable, he is pictured on his own and upright, across from the viewer as if seated for a conversation over dinner. Neel, in typical fashion, has represented her young neighbor through a lens of genuine interest, depicting him simultaneously with youthful naiveté and profound complexity. As an early portrait of Arce, the present work captures a tender moment as Arce sits on the cusp of adolescence.

Considering Arce’s tragic fate that would lead to a prison sentence and murder conviction, here he

Alice Neel in her New York studio with her granddaughter Olivia, surrounded by paintings, 5 January 1979.

Photo © Alfred Eisenstaedt / The LIFE Picture Collection / Shutterstock. Art © The Estate of Alice Neel Alice Neel, Georgie Arce No. 2, 1955. Collection of Lonti Ebers. Art © The Estate of Alice Neel

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Jack Pierson Raymond Pettibon b. 1957

MY FIRST ORGASM titled (lower left) ink on paper 11½ by 8 in., 29.2 by 20.3 cm.

Executed in 1984.

b. 1960

P R OV E N A N C E

Cheim & Read, New York Acquired from the above in 2004 by the present owner

P R OV E N A N C E

Robert Berman Gallery, Los Angeles Acquired from the above in 1991 by the present owner EXHIBITED

Los Angeles, Robert Berman Gallery, Reader Dearest, January - February 1991

○ $ 20,000-30,000

150

GONE signed and dated 2000 (on the reverse of the 'O' element) acrylic on plastic mounted on fiberboard, acrylic and wood collage on styrofoam, painted metal and painted wood, in 4 parts overall: 24 by 60 by 5¾ in., 61 by 152.3 by 14.6 cm.

Executed in 2000.

EXHIBITED

Tokyo, Taka Ishii Gallery, Jack Pierson, March - April 2001 New York, John Berggruen Gallery, A Way with Words, July August 2003

○ $ 30,000-40,000

151

Jack Pierson b. 1960

E VE RY HOUR

P R OV E N A N C E

Luhring Augustine, New York Regen Projects, Los Angeles Private Collection Cheim & Read, New York Acquired from the above in 2005 by the present owner

Jack Pierson b. 1960

NE VE R

P R OV E N A N C E

Regen Projects, Los Angeles Private Collection, Los Angeles Private Collection, New York Acquired from the above in 2014 by the present owner EXHIBITED

signed and dated Feb 94 P-TOWN (on the verso) oil stick on paper 26½ by 20 in., 67.3 by 50.8 cm.

Executed in 1994.

EXHIBITED

New York, Luhring Augustine, Jack Pierson, April - May 1994 Los Angeles, Regen Projects, Jack Pierson, September October 1994 Aspen Art Museum, Jack Pierson, 5 Shows from the 90's, February - May 2017

dated 21 OCT 93 PROVINCETOWN (lower center) graphite on paper 14 by 11¼ in., 35.6 by 28.6 cm.

Executed in 1993.

Los Angeles, Regen Projects, Jack Pierson, September October 1994

○ $ 5,000-7,000

○ $ 10,000-15,000

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153

A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Richard Prince b. 1949

MY BOYFRIE ND MARRIE D A G IRL titled (center left); signed, titled and dated 1995 (on the overlap) acrylic, silkscreen and graphite on canvas 58 by 74 in., 147.3 by 188 cm.

Executed in 1995.

○ $ 250,000-350,000

P R OV E N A N C E

Barbara Gladstone Gallery, New York Private Collection, New York Sotheby's New York, 15 May 2001, lot 69 (consigned by the above) Private Collection (acquired from the above) Phillips New York, 6 March 2014, lot 17 (consigned by the above) Acquired from the above by the present owner

154

Sigmar Polke 1941 - 2010

UNTITLE D

Milton Resnick P R OV E N A N C E

Michael Werner Gallery, New York Acquired from the above in 2003 by the present owner

○ $ 60,000-80,000

1917 - 2004

CAMINO

Pointdexter Gallery, New York Robert Miller Gallery, New York Acquired from the above as a gift circa 1986 by the present owner EXHIBITED

signed (lower left) oil on paper mounted on board 18¼ by 19 in., 48.3 by 48.3 cm.

Executed in 1956.

signed and dated 99 (lower right) acrylic, spray paint and dispersion on paper 39⅞ by 26⅞ in., 101.3 by 68.3 cm.

Executed in 1999.

P R OV E N A N C E

Bronxville, Sarah Lawrence College Gallery, Inner Worlds: Fantastic Landscape of the 1950s, February - April 1987 New York, Cheim & Read, Milton Resnick: Paintings 19541957, October 2021 - January 2022

○ $ 25,000-35,000

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157

A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Gerhard Richter b. 1932

G RÜN - BL AU - ROT 789 -18 signed, dated '93 and numbered 789-18 (on the reverse) oil on canvas 11⅞ by 15¾ in., 30.2 by 40 cm.

Executed in 1993.

○ $ 350,000-450,000

P R OV E N A N C E

Anthony d'Offay Gallery, London Acquired from the above in 1995 by the present owner L I T E R AT U R E

Barbara Bloom, "Gerhard Richter," Parkett No. 35, Zurich, 1993, n.p., no. 789-33 illustrated in color Hubertus Butin, Gerhard Richter Editionen 1965-1993, Bremen, 1993, p. 166-167, no. 789-69 illustrated in color Hubertus Butin and Stefan Gronert, Eds., Gerhard Richter: Editionen 1965-2004, Ostfildern-Ruit, 2004, p. 35-36, p. 229, no. 789-81 illustrated in color Hubertus Butin, Stefan Gronert and Thomas Olbricht, Eds., Gerhard Richter: Editionen 1965-2013, Ostifildern Ruit, 2014, pp. 43-44 and 252, no. 789-81 illustrated in color Dietmar Elger, Gerhard Richter: Catalogue Raisonné, Vol. 4, 1988-1994, Ostfildern, 2015, no. 789/1-115, pp. 524-525, illustrated in color

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SOTHEBY’S

“I began in 1976, with small abstract paintings that allowed me to do what I had never let myself do: put something down at random. And then, of course, I realized that it never can be random. It was all a way of opening a door for me. If I don't know what's coming – that is, if I have no hard-and-fast image, as I have with a photographic original – then arbitrary choice and chance play an important part.”

INTERVIEW WITH SABINE SCHÜTZ, 1990

W

From the late 1970s until the late 1980s, Richter created his abstract paintings almost exclusively by using a squeegee, a long and narrow scraper to draw paint across the canvas. This method resulted in an unpredictable application of oil paint, ultimately leaving the behavior of the medium to chance. At some moments creating smooth overlapping layers of paints and at others tearing into striated patches on its surface, this method ultimately creates the sensation of depth and space while blurring the actual order of application. Richter describes his

ith its bold smears of richly textured primary colors of green, blue and red, Grün-Blau-Rot stands as an exceptional and intimately scaled example of Gerhard Richter’s investigation into the compositional challenges of abstraction. Executed in 1993 in collaboration with the Swiss art magazine Parkett, the present work is part of a larger series, each executed in similar formats and differing in the compositions created by the use of Richter’s iconic squeegee technique.

abstract paintings as “fictive models, because they make visible a reality that we can neither see nor describe, but whose existence we can postulate.”

In Richter’s work, the painting sets the parameters of its own reality. Richter says he doesn't know reality, he just knows what impressions he has of reality. Impressions are always changing as is the appearance of reality always changing. His reality is paint and the different ways he can manipulate it.

As the artist expresses it, “later you realize that you can’t represent reality at all – that what you make represents nothing but itself, and therefore is itself reality” (Gerhard Richter in conversation with Rolf Schön, in: ibid., p. 59).

The mechanical, arbitrary mode of execution in Grün-Blau-Rot epitomizes Richter's bridging of the two apparently dichotomous realms of abstraction and figuration. The title and color palette of the present works immediately recalls the ‘RGB’ (red, green and blue) color model – through which the

three main light wavelengths merge to create images in analogue photography. In doing so, Grün-BlauRot perfectly embodies Richter’s declaration: “I’m not trying to imitate a photograph, I’m trying to make one. And if I disregard the assumption that a photograph is a piece of paper exposed to light, then I am practicing photography by other means. Those of my paintings that have no photographic source (e.g. the abstracts) are also photographs.” (Gerhard Richter cited in: Katja Silverman, Flesh of my Flesh, California 2009, p. 173).

Richter’s abstraction stands as the ultimate culmination to the epic journey of his career, during which he has ceaselessly interrogated the limits of representation, the nature of perception and the operations of visual cognition. Variously evoking Joan Mitchell’s exuberance and transformative color, or Jackson Pollock’s instigation of autonomous composition, Richter’s abstraction is a tour de force of conceptual rigor and exceptional beauty.

Gerhard Richter in his studio at Düsseldorf, 1981.

Photo © Brigitte Hellgoth / AKG Images. Art © 2023 Gerhard Richter

Emil Nolde, Waves, undated. Sprengel Museum, Hanover.

Image: NPL - DeA Picture Library / M. Carrieri / Bridgeman Images

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Ed Ruscha b. 1937

BL ACK HOSTESS signed and dated 1986 (lower right) dry pigment and acrylic on paper 60⅛ by 40¼ in., 152.7 by 102.2 cm.

Executed in 1986.

○ $ 200,000-300,000

P R OV E N A N C E

Leo Castelli Gallery, New York Robert Miller Gallery, New York Acquired from the above in 1987 by the present owner EXHIBITED

Munich, Westfälischer Kunstverein, 4 x 6: Zeichnungen von Edward Ruscha, June - August 1986, n.p., illustrated in color New York, Robert Miller Gallery, Ed Ruscha: New Paintings, November 1987 New York, Craig Cornelius Gallery, Moskowitz, Ruscha, Therrien, April - May 1989 New York, Whitney Museum of American Art; Los Angeles, Museum of Contemporary Art and Washington, D.C., National Gallery of Art, Cotton Puffs, Q-Tips®, Smoke and Mirrors: The Drawings of Ed Ruscha, June 2004 - May 2005, no. 175, p. 216, illustrated in color L I T E R AT U R E

Edward Ruscha, "Drawings," Paris Review, issue 29, no. 103, Summer 1987, p. 120, illustrated Thomas Beller, "Ed Ruscha," Splash, New York, 1989, n.p., illustrated in color Lisa Turvey, Edward Ruscha: Catalogue Raisonné of the Works on Paper, Volume Two: 1977-1997, New York and New Haven, 2018, no. D1986.13, p. 240, illustrated in color

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SOTHEBY’S

“In many of the works from the 1980s, Ruscha has chosen to leave words out altogether, replacing them by silhouetted images that are themselves enigmatic enough to force the issue of language into the open and by floating white rectangles or underliners whose references are often supplied by the painting's title. Here Ruscha is playing somewhat with both our familiarity with his work, and with the self-described parameters of this art up to this point, by creating the expectation of language and then purposefully not supplying it" DAN CAMERON, ED RUSCHA PAINTINGS, 1990, P. 15

A

figure so much as I am the story that’s behind it… I like the idea of taking a particular subject and not questioning its integrity, committing myself to it.’

(R. Dean and E. Wright, Edward Ruscha: Catalogue Raisonné of the Paintings, Volume Four: 1988-1992, New York 2007, p. 178).

Delicately rendered by spraying acrylic paint directly onto the surface of the sheet, Black Hostess employs a newfound technique within Ruscha’s practice. Producing a powdery effect, like that of his dried pigment works, the Silhouette series is the first time the artist employs spray paint within his oeuvre.

This development allowed for Ruscha to achieve softedged figures that allow him to successfully capture the essence of old Hollywood films, and ultimately translate a dynamic sense of movement of film within a two-dimensional plane. The result is a highly sophisticated composition that completely absorbs the viewer through an expert combination of subject, perspective, and form.

sublime example from Ed Ruscha’s Silhouette Series, Black Hostess from 1986 exemplifies the artist’s excavation of Pop culture and Hollywood movies that have defined his iconic career as a forerunner within the genre of Pop Art. In the present work, Ruscha depicts a dramatic black silhouette of a woman in a large, flowing dress, seemingly holding out her hands as if serving a platter. The figure is recognizable, yet anonymous and stands out against the sultry crimson red background. A fan of old Hollywood films since he was child growing up in Oklahoma, Ruscha was visually impacted by the nostalgic imagery of black and white American movies. Indeed, the present work is reminiscent of iconic American films like Stage Coach and High Noon, that showcase the classic female trope of a Western saloon hostess.

As the artist suggests, his figure represents, ‘...

Something symbolically, almost like a logo, or a solitary thought… I’m not working the human

John Singer Sargent, Madame X (Madame Pierre Gautreau), 1883–84.

The Metropolitan Museum of Art, New York

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Sean Scully b. 1945

L ANDLINE BE ACH signed, titled and dated 2014 (on the reverse) oil on aluminum 85 by 75 in., 215.9 by 190.5 cm.

Executed in 2014.

○ $ 700,000-1,000,000

P R OV E N A N C E

Cheim & Read, New York Acquired from the above in 2016 by the present owner EXHIBITED

New York, Cheim & Read, Sean Scully: Landline, February April 2015 L I T E R AT U R E

Kelly Grovier, Ed., Sean Scully: Bricklayer of the Soul, Ostfildern, 2015, pp. 194-195, illustrated in color

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Sculpture Garden in 2018, this remarkable cycle of works marks a pivotal shift in Scully’s practice. With its broad, sweeping brush strokes and loose, unconstrained channels of color, the Landline works show Scully’s transition away from his earlier hard-edged minimalism to his current, more expressive style - one that evokes the energy and beauty of the natural world.

An ode to land, sea, and sky and the mystifying lines that separate them, Landline Beach reaches beyond the abstract and into the sublime.

Emblazoning the aluminum surface with luminous bands of ochre, olive and teal, Scully invigorates the picture plane with the luscious ebb and flow of pure color and form. Stretching edge to edge, the exuberant color stripes represent horizon lines, capturing those momentous instances where the sky morphs into the sea, the sea into the land. The vigorous layering of oil over aluminum achieves a glimmering ‘wet’ effect of pigment on metal, adding a scintillating dimensionality that evokes the brilliance of sunlight reflecting on the calm sea. Unlike canvas, the slick nature of the metal forces Scully to move his brush quicker and more deliberately, resulting in a rich, tactile and dynamic composition that commands a heightened sense of gestural movement and emotional expression. While simple in composition, Scully’s spectrum of horizontal bands of color, their edges seamlessly shifting into the next, emanate a sense of arresting stillness and calm much like the rhythms of the natural world.

More than any artist of his generation, Scully combines the formal traditions of European painting – the brooding tones of Velásquez and the remarkable colors and brushwork of van Gogh – with an undeniably American abstract style, and no artist’s influence is arguably more visible in the present work than Mark Rothko. The suspended stacks of color and their subtle color combinations seen in Landline Beach are immediately reminiscent of Rothko’s emotive color fields, engendering a melancholic drama. Like Rothko, Scully’s

shimmering spectrum of radiant color, Landline Beach is an exceptional example of Sean Scully’s attempt to “rescue abstraction from the abstract” (Sean Scully, quoted in Roger Caitlin, “Sean Scully’s Artworks Are a Study in Color, Horizon and Life’s Sorrows”, Smithsonian Magazine, September 20, 2018, online). Executed in 2014, the present work hails from the artist’s renowned Landline series. Among the highlights of the 56th Venice Biennale, and subsequently the subject of a major exhibition at the Hirshhorn Museum and

50-year long practice. The series was originally inspired by a photograph taken by Scully on a cliff edge in Norfolk, England in 1999, in which he captured the fluid passage between the grassy cliff, the North Sea and the steely gray sky — all three elements neatly pressed into three distinct horizontal bands within the picture plane. While simple in composition, Scully’s horizontal blocks of color, cascading softly into one another, powerfully dictate the ambiance of the painting’s surroundings: while emanating the all-encompassing stillness and calm of natural phenomena, the gestural stripes embody the unceasing currents and internal movements of the cosmos.

Determined to infuse his abstraction with emotion, Scully moved past the more mechanical feel of Minimalism to a more gestural, painterly mode of

abstractions of dissolving colors are imbued with a sensitivity that extends into the spiritual. Scully says of Rothko’s work, "The sky and the sea, as well as all the experiences the artist has lived and all the stories he would like to tell are distilled into rectangles that have the solemnity of Stonehenge" (Sean Scully quoted in: Michael Auping, 'No Longer a Wall' in Exh. Cat., Washington, D.C., The Phillips Collection, Sean Scully: Wall of Light, 2005 – 2006, p. 24).

Scully’s rigorous yet intuitive practice synthesizes the traditions of classical European painting with the expressive impact of American abstraction, recreating the splendor of the natural world and offering an almost religious experience to the viewer.

The Landline series marks an evolutionary shift in Scully’s ongoing investigation of striped forms, offering a newly emotive dimension to Scully’s

Mark Rothko, No. 9 (Untitled), 1951. Private Collection. Image: © Bridgeman Images.

Art: © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), NY

Vincent van Gogh, Field with Irises near Arles, 1888. Van Gogh Museum, Amsterdam.

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“I try to paint [the] sense of the elemental coming together of land and sea, sky and land, of blocks coming together side by side, stacked in horizon lines endlessly beginning and ending - the way the blocks of the world hug each other and brush up against each other, their weight, their air, their color, and the soft uncertain space between them."

SEAN SCULLY CITED IN: EXH. CAT., WASHINGTON D.D., HIRSHHORN MUSEUM AND SCULPTURE GARDEN, SEAN SCULLY: LANDLINE, SEPTEMBER 2018 - FEBRUARY 2019, PP. 11-12

Horizontal stripes are like the horizon – resting, in repose. They are tranquil” (Sean Scully quoted in: Exh. Cat., Washington, D.C., Hirshhorn Museum and Sculpture Garden, Sean Scully: Landline, 2018, p. 12). Thus infused with an intimate sense of emotional intensity, Landline Beach encourages the viewer to explore their place within the abstracted landscape and to reflect on all their experiences, memories, and traumas in relation to it.

Condensing the splendor of the natural world into the most elemental modes of color and composition, Landline Beach brilliantly demonstrates Scully’s inimitable mastery of moderating palette, light, and movement to its purest forms without compromising vigor and liveliness, unquestionably demonstrating why he is one of the foremost abstract painters of his time.

mark-making. Building up compositions piecemeal, Scully applies multiple layers of paint to emphasize the presence of the artist’s hand. Whereas his earlier Grid paintings convey an industrial sense of living in sprawling urban jungles with their dense, often disorienting, intersections of multicolored lines, the Landline works mirror the beauty of natural phenomena through rhythmic, uninterrupted gestural bands of color. Beyond recalling the contours of the actual landscapes that inspired them, the Landline works are deepened by recent personal experience and trauma. Afflicted in 2012 with a serious back injury, Scully was left unable to paint for months. Upon his return, Scully found the sweeping, side-to-side brush strokes of Landlines less taxing on the body than the up-and-down, explaining: “vertical shapes will always convey the energy of action…

The present work installed in the exhibition Sean Scully: Landline, Cheim & Read, New York, 2015. Photo: Brian Buckley

170

Henry Taylor David Salle b. 1952

SALES G IRL S oil on canvas 102 by 78 in., 259.1 by 198.1 cm.

Executed in 1982.

P R OV E N A N C E

Galerie Ascan Crone, Berlin Acquired from the above in 1983 by the present owner

b. 1958

POR TR AIT OF IMAR A FR ANCIONI G E LLE R

EXHIBITED

Berlin, Galerie Ascan Crone, David Salle: Neue Bilder Und Aquarelle, September - October 1983, p. 15, illustrated in color

○ $ 80,000-120,000

174

signed, titled, dated 2012 and illegibly inscribed (on the reverse) acrylic on canvas 20 by 15⅞ in., 50.8 by 40.3 cm.

Executed in 2012.

P R OV E N A N C E

Gavin Brown's enterprise, New York Acquired from the above in 2015 by the present owner EXHIBITED

New York, Gavin Brown's enterprise, Call and Response, January - February 2015 New York, Cheim & Read, Some People, February - May 2022

○ $ 40,000-60,000

175

Cy Twombly 1928 - 2011

UNTITLE D signed, dated 1974 and inscribed Captiva (on the verso) wax crayon, tape and paper collage on paper 29½ by 41½ in., 74.9 by 105.4 cm.

Executed in 1974.

P R OV E N A N C E

Galerie Yvon Lambert, Paris Mr. and Mrs. Lido Cassini, Joinville le Pont Christie's, New York, 15 November 1995, lot 353 (consigned by the above) Mark Moore Fine Art, Santa Monica Acquired from the above in 1998 by the present owner

EXHIBITED

Paris, Galerie Yvon Lambert, Cy Twombly, April - May 1974 New York, Cheim & Read, Simple Marks, July - September 2003 New York, Paul Kasmin Gallery, The Name of This Show is Not Gay Art Now, June - July 2006 L I T E R AT U R E

Yvon Lambert, Cy Twombly, Catalogue raisonné des oeuvres sur papier, Volume VI, 1973-1976, Milan, 1979, no. 125, p. 121, illustrated Nicola Del Roscio, Ed., Cy Twombly: Drawings Catalogue Raisonné Volume 6, 1972-1979, Munich, 2016, no. 125, p. 116, illustrated

○ $ 120,000-180,000

Juan Uslé b. 1954

YONKE RS IMPE R ATOR signed and dated 96 (on the reverse) vinyl, dispersion and pigment on canvas 108 by 80 in., 274.3 by 203.2 cm.

Executed in 1995-96.

P R OV E N A N C E

Cheim & Read, New York Acquired from the above in 1997 by the present owner

EXHIBITED

Valencia, Instituto Valenciano de Arte Moderno, Juan Uslé; Back and Forth, October 1996 - January 1997, pp. 172-173, illustrated in color New York, Cheim & Read, Juan Uslé: Luz Aislada, April - May 1997 Burgos, Centro Cultural Casa del Cordón and Museo de Bellas Artes de Santander, Juan Uslé: Distancia Insalvable, July - September 2000, pp. 186-187, illustrated in color Madrid, Palacio de Velazquez, Juan Uslé, October 2003 January 2004 L I T E R AT U R E

Enrique Juncosa and Juan Manuel Bonet, Juan Uslé: Open Rooms, Madrid, 2003, p. 56, illustrated in color Barry Schwabsky, Juan Uslé: The Blind Entrance, Barcelona, 2016, p. 72, illustrated in color

○ $ 20,000-30,000

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A Life of Beauty T H E CO L L EC T I O N O F J O H N C H E I M

Andy Warhol 1928 - 1987

CHRIS ROYE R signed and dated 1980 (on the overlap) acrylic and silkscreen ink on canvas 40 by 40 in., 101.6 by 101.6 cm.

Executed in 1980.

This work is stamped by the Estate of Andy Warhol and numbered PO50.678 on the overlap.

○ $ 300,000-400,000

P R OV E N A N C E

Estate of Andy Warhol The Andy Warhol Foundation for the Visual Arts, Inc., New York Acquired from the above in 1993 by the present owner

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was widely known to always surround himself with the most remarkable icons of high society, likely felt drawn to Chris Royer’s classical beauty and striking presence.

Warhol began his silkscreen portraits by taking a polaroid of his subject. Always working from photographs, Warhol created this print of her likeness by utilizing compelling layers of colored paint. The result is a dynamic portrait filled with energy and vibrancy that parallels the remarkable life of the sitter. Modestly referring to himself as ‘just a travelling society painter’, Warhol’s innovative reinterpretation of portraiture is now hailed as having revived a dead art form. Indeed, Chris Royer locates itself at the intersection of tradition and popular culture, serving as both an exemplary portrait of his sitter and a memento of Royer’s important role within the history of fashion.

xecuted in 1980, Andy Warhol’s sensational portrait of fashion muse and model Chris Royer forms part of the artist’s instantly recognizable portraits of his array of glamorous socialite friends. Conceived in his signature style reminiscent of his portraits of Marilyn Monroe and Jackie Kennedy, Chris Royer showcases the famous model with a soft smile, stunning bright green eyes and quintessentially Warholian red lips.

A notable “Halstonette”, Chris Royer formed part of the charismatic group of models that encircled the dazzling fashion designer and close friend of Warhol, Roy Halston, whose designs defined the style and taste of the 1970s. Best known for inspiring Halston’s “Sarong” dress, Chris Royer belonged to history’s first internationally recognized group of models including Pat Cleveland, Billie Blair and Alva Chinn. Warhol, who

Chris Royer and Andy Warhol at the MET gala circa 1970s. Image courtesy Chris Royer.

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Andy Warhol 1928 - 1987

RORSCHACH

P R OV E N A N C E

Jon Gould, New York (acquired directly from the artist) Henry Geldzahler, New York Kohn Gallery, Santa Monica Acquired from the above in 1991 by the present owner

○ $ 150,000-200,000

signed, dated '82, and inscribed Jon (on the reverse) acrylic on canvas 20 by 16 in., 50.8 by 40.6 cm.

Executed in 1982.

Andy Warhol 1928 - 1987

DAVID signed with the artist's initials and titled (lower left) gold leaf and ink on paper 14 by 12 in., 35.6 by 30.5 cm.

Executed in 1957.

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Estate of Andy Warhol Acquired from the above in 1991 by the present owner EXHIBITED

New York, Robert Miller Gallery, Warhol Drawings, April May 1988 New York, Robert Miller Gallery, Portraits on Paper, June August 1991 New York, Cheim & Read, Some People, February - May 2022

○ $ 60,000-80,000

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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.

Enquiries@sothebys.com US +1 212 606 7000 UK +44 (0) 20 7293 5000 HK +852 2822 8142 sothebys.com/bidonline FOLLOW US @SOTHEBYS

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.

Buyer: the buyer of record of a Lot.

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.”

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.

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.

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

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.

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

FOR ASSISTANCE WITH REGISTRATION AND BIDDING

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.

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. (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.

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(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, 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)

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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; (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.

C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 1 1 7 9 + N 1 1 1 8 0

(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 thirdparty 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. (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

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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, anti-bribery or anti-corruption laws, or any other applicable 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. (viii) We shall have no liability for any payment made by you in cryptocurrency that is not received by us for whatever reason. (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

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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; (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 (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. (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

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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 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. (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. (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. (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

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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 [*]], Ordered on [*]/received on [*], Name of Consumer(s): Address of Consumer(s): Signature of Consumer(s) [only if the notification is in hard copy] Date: [*] Delete as appropriate 13. Exclusions and Limitations of Liability (a) Generally (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. (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.

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(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. (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, nonexclusive, 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,

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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 un-named 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 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.

Last Modified August 7, 2023

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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 and the irrevocable bid is not secured until after the

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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).

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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 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 uspostsaleservices@sothebys.com 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.

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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.

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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.

GLOSSARY OF TERMS The following are examples of the terminology used in this catalogue. Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact.

Please read carefully the terms of the Authenticity Guarantee and the Conditions of Business for Buyers set out in this catalogue, in particular Conditions 3 and 4.

1 GIOVANNI BELLINI In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

2 The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/ or inscription are from the hand of the artist.

3 The term bears a signature and/or date and/or inscription means that in our opinion the signature and/ or date and/or inscription have been added by another hand.

4 Dimensions are given height before width.

10/01 NBS_GLOS_IMPS CTP

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.

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DAY INDEX

Basquiat, Jean-Michel 26

Arbus, Diane 74

Benglis, Lynda 32 Bourgeois, Louise 36

Baselitz, Georg 76 Basquiat, Jean-Michel 78, 80

Condo, George 44

Benglis, Lynda 86 Bourgeois, Louise 90, 94, 96, 98, 100

Mitchell, Joan 50 De Kooning, Willem 123 Neel, Alice 60 Eggleston, William 106 Freud, Lucian 108 Fuss, Adam 109 Goldin, Nan 114 Gorchov, Ron 110 Hesse, Eva 115 Hockney, David 116 Holzer, Jenny 117, 118 Katz, Alex 122 Kusama, Yayoi 124 Lasker, Jonathan 125 Man Ray 126 Mapplethorpe, Robert 127, 128 McGee, Barry 129 Mitchell, Joan 130, 136, 137 Morandi, Giorgio 142 Neel, Alice 146 Pettibon, Raymond 150 Pierson, Jack 151, 152, 153 Polke, Sigmar 156 Prince, Richard 154 Resnick, Milton 157 Richter, Gerhard 158 Ruscha, Ed 162 Salle, David 174 Scully, Sean 166 Taylor, Henry 175 Twombly, Cy 176 Uslé, Juan 177 Warhol, Andy 178, 182, 183

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C O M P L E T E CATA LO G U I N G AVA I L A B L E AT S OT H E BYS .C O M / N 1 1 1 7 9 + N 1 1 1 8 0