contemporary art
12 & 13 november 20 0 9 new york
PART II CONTEMPORARY ART
13 NOVEMBER 2009 10am & 2pm NEW YORK
LOTS 101-364
Viewing Saturday 7 November 10am – 6pm Sunday 8 November 12pm – 6pm Monday 9 November 10am – 6pm Tuesday 10 November 10am – 6pm Wednesday 11 November 10am – 6pm Thursday 12 November 10am – 12pm
SESSION I 10am Lots 101-245 101 IVÁN NAVARRO b. 1972 Large Wall Hole, 2004 Fluorescent light tubes and fixtures, mirrors and painted wooden frame. 54 x 54 1/8 x 3 1/8 in. (137.2 x 137.5 x 7.9 cm). This work is from an edition of three plus one artist’s proof and is accompanied by a certificate of authenticity signed by the artist.
Estimate $10,000-15,000
PROVENANCE Roebling Hall, New York EXHIBITED Hartford (Connecticut), 960 Main Street, exh.05.05.06103, October 14 - December 5, 2005
102 STERLING RUBY b. 1972 Untitled, 2006 Glazed ceramic. 8 1/2 x 17 1/2 x 11 in. (21.6 x 44.5 x 27.9 cm). Inscribed “SR 06” on the underside.
Estimate $15,000-20,000
PROVENANCE Private Collection 103 MARK GROTJAHN b. 1968 Untitled (colored rainbow in black flower), 2004 Colored pencil and graphite on paper. 23 7/8 x 19 in. (60.6 x 48.3 cm). Signed, titled and dated “Mark Grotjahn Untitled colored rainbow in black flower 2004” on paper affixed to the reverse.
Estimate $20,000-30,000
PROVENANCE Blum & Poe, Los Angeles 104 JOHN ARMLEDER b. 1948 J Painting, 2005 Acrylic, gesso, vinylique gouache and graphite on canvas. 24 1/8 x 24 1/8 in. This work is from the artist’s ongoing Dot Painting series. J Painting is (61.3 x 61.3 cm). Signed, titled and dated “John Armleder J Painting 2005” on one of only two “white on white” dot paintings smaller than a meter the overlap. square that the artist has ever created. Estimate $10,000-15,000
PROVENANCE World House Gallery, Middlebury (Connecticut) 105 JOHN McCRACKEN b. 1934 Molecule, 1994 Polyester resin and fiberglass on plywood. 14 1/4 x 15 7/8 x 16 in. (36.2 x 40.3 x 40.6 cm). Inscribed “JMcCracken Molecule 1994” on the underside.
Estimate $15,000-20,000
PROVENANCE Acquired directly from the artist 106 DASH SNOW 1981 - 2009 EAT SHIT AND DIE, 2005 Fujichrome Crystal Archive print mounted on Plexiglas, found chair and vintage record player, US dollar bill, plastic mask, adhesive, “cocaine” and mirror. 45 3/4 x 33 1/2 x 19 1/2 in. (116.2 x 85.1 x 49.5 cm) as installed.
Estimate $15,000-20,000
PROVENANCE Rivington Arms, New York EXHIBITED New York, Whitney Museum of American Art, Whitney Biennial 2006: Day for Night, March 2 - May 28, 2006; Portland Arts Center, The Inside Game-a selection from PDX art collections, September 7 - October 1, 2006 LITERATURE W. Sherman, “Dash Snow’s Creative Universe,” Animal (online content), July 14, 2009 (illustrated); A. Goldstein, M. Hoskins, Dash Snow, Art We Love (online content), August 5, 2009 107 MATTHEW BARNEY b. 1967 Cremaster 4: Loughton Ram, 1994 C-print in the artist’s self-lubricating plastic frame. 33 1/2 x 23 1/2 x 1 1/2 in. (85.1 x 59.7 x 3.8 cm). Signed “Matthew Barney” on the reverse. This work is from an edition of six plus one artist’s proof.
Estimate $30,000-40,000
PROVENANCE Regen Projects, Los Angeles; Collection Lambert, Geneva Contemporary Art, Veronica’s Revenge, November 16, 2000 - March 4, 2001; Cologne, EXHIBITED New York, Whitney Museum of American Art, 1995 Biennial Exhibition, March Museum Ludwig, June 6 - September 1, 2002; Musée d’Art Moderne de la Ville de Paris, 15 - June 25, 1995 (another example exhibited); Rotterdam, Museum Boijmans Van October 10, 2002 - January 5, 2003; New York, Solomon R. Guggenheim Museum, Matthew Beuningen, October 21, 1995 - January 1, 1996; Bordeaux, Musée d’Art Contemporain, Barney: The CREMASTER Cycle, February 21 - June 4, 2003 (another example exhibited) January 26 - April 8, 1996; Kunsthalle Bern, Matthew Barney: PACE CAR for the HUBRIS PILL, LITERATURE M. Arzenton, ed., Matthew Barney Cremaster 4, Cologne, 1995, n.p. May 17 - June 23, 1996 (another example exhibited); Munich, Sammlung Goetz, Matthew (illustrated); N. Wakefield, R. Flood, Matthew Barney: PACE CAR for the HUBRIS PILL, Barney-Tony Oursler-Jeff Wall, July 22, 1996 - January 31, 1997 (another example exhibited); Rotterdam, 1995, n.p. (illustrated); I. Goetz, C. Meyer-Stoll, Matthew Barney-Tony Deichtorhallen Hamburg, Emotion: Young British and American Art from the Goetz Collection, Oursler-Jeff Wall, Hamburg, 1996, p. 18 (illustrated); Z. Felix, A. Sievert, Emotion: Young October 30 - January 17, 1999 (another example exhibited); Skovvej (Denmark), Arken, British and American Art from the Goetz Collection, Ostfildern-Ruit, 1998, p. 95 (illustrated); Museum for Moderne Kunst, June 3 - September 3, 2000; Sydney, Museum of N. Spector, Matthew Barney: The Cremaster Cycle, New York, 2003, p. 331 (illustrated) 108 SHARON CORE b. 1965 Cream Soups, 2003 C-print mounted to aluminum with Plexiglas face. 29 3/4 x 37 in. (75.6 x 94 cm). This work is from an edition of five.
Estimate $8,000-12,000
PROVENANCE Bellwether Gallery, New York EXHIBITED New York, Bellwether Gallery, Thiebauds, February 13, 2004 - March 22, 2004 LITERATURE K. Johnson, “Sharon Core ‘Thiebauds,’” The New York Times, March 5, 2004; C. Howard, “Thiebauds Bellwether,” The Brooklyn Rail (online content), March 2004 109 JIM LAMBIE b. 1964 Breakdown, 2001 Vinyl record with yarn and glue. 12 in. (30.5 cm) diameter. This work is accompanied by a certificate of authenticity signed by the artist.
Estimate $8,000-12,000
PROVENANCE Jack Hanley Gallery , San Francisco EXHIBITED San Francisco, Jack Hanley Gallery, Blank Generation, March 1 - 31, 2001
(Reverse) 110 GREGORY CREWDSON b. 1962 Untitled (butterflies and ball of larvae), 1990 C-print. 19 7/8 x 24 in. (50.5 x 61 cm) paper size. Signed “Gregory Crewdson” and numbered of 10 on the reverse. This work is from an edition of 10.
Estimate $6,000-8,000
PROVENANCE Blum Helman Warehouse, New York 111 DAVID LACHAPELLE b. 1964 Cathedral, 2007 C-print. 23 3/4 x 31 5/8 in. (60.3 x 80.3 cm). Signed “David LaChapelle” on a label adhered to the reverse. This work is from an edition of 10.
Estimate $12,000-18,000
PROVENANCE Tony Shafrazi Gallery, New York EXHIBITED New York, Tony Shafrazi Gallery, David LaChapelle: Awakened, February 24 - August 3, 2007 (another example exhibited) LITERATURE M. Barone, “David LaChapelle,” Artnet Magazine (online content), March 3, 2007 (illustrated); S. Kessler, “David LaChapelle: Renaissance Man,” Whitewall, Issue 15, Fall 2009, p. 95 (illustrated) 112 GERHARD RICHTER b. 1932 Untitled (20.2.96), 1996 Oil on color photograph. 4 x 6 in. (10.2 x 15.2 cm). Signed and dated “20.2.96-Richter” lower right and again on the reverse of the backing board.
Estimate $12,000-18,000
PROVENANCE Wako Works of Art, Tokyo; Barbara Mathes Gallery, New York; Private Collection 113 LOUISE LAWLER b. 1947 Untitled (1950-51), 1987 Cibachrome. 29 1/8 x 39 in. (74 x 99.1 cm). Signed “Louise A. Lawler” on a label adhered to the reverse. This work is from an edition of five.
Estimate $25,000-30,000
PROVENANCE Metro Pictures, New York; Yvon Lambert, Paris; Galería Pepe Cobo, Sevilla EXHIBITED Kassel, documenta 12, June 16 - September 23, 2007 (another example exhibited) LITERATURE L. Lawler, Louise Lawler: An Arrangement of Pictures, New York, 2000, n.p. (illustrated); H.J. Hafner, “Nicht Formlos Kontingent,” Artnet Magazine (online content, German edition), July 23, 2007 (illustrated) 114 ANSELM REYLE b. 1970 Untitled, 2007 Acrylic and silver PVC foil on canvas in Plexiglas box. 28 x 23 5/8 x 4 3/4 in. (71.1 x 60 x 12.1 cm).
Estimate $30,000-40,000
PROVENANCE Galerie Almine Rech, Paris 115 ROSEMARIE TROCKEL b. 1952 Less Savage Than Others, 1989 Felt and cardboard stapled over wooden plinth (in two parts). 44 1/4 x 13 7/8 x 15 1/4 in. (112.4 x 35.2 x 38.7 cm). Signed and dated “RTrockel 89” on the top of plinth. This work is unique.
Estimate $40,000-60,000
PROVENANCE Barbara Gladstone Gallery, New York LITERATURE S. Stich, ed., Rosemarie Trockel, Munich, 1991, p. 96, no. 4 (illustrated) 116 SUE WILLIAMS b. 1954 The Gaze (Grey), 1995 Acrylic on canvas. 84 x 72 in. (213.4 x 182.9 cm). Signed and dated “Sue Williams 95” on the reverse.
Estimate $20,000-30,000
PROVENANCE 303 Gallery, New York; Private collection, Geneva 117 MIKE KELLEY b. 1954 Katy Keene Drawings/Cal Living (n.11), 2000 Ink on paper. 19 x 24 in. (48.3 x 61 cm). Signed and dated “M. Kelley 2000” on the reverse.
Estimate $30,000-40,000
PROVENANCE Galleria Emi Fontana, Milan 118
119
118 RAYMOND PETTIBON b. 1957 119 PAUL RUSCONI b. 1965 No Title (Monica does her...), 1999 Barack Obama, 2008 Ink and graphite on paper. 8 7/8 x 10 in. (22.5 x 25.4 cm). Signed and dated Digital screen inks on Plexiglas with c-print mounted to Sintra in the artist’s “Raymond Pettibon 99” on the reverse. wooden frame. 48 1/2 x 62 in. (132.2 x 157.5 cm). Artist’s blindstamp on metallic label adhered to the reverse. This work is unique. Estimate $5,000-7,000 Estimate $5,000-7,000 PROVENANCE David Zwirner, New York PROVENANCE Acquired directly from the artist 120 MIKE KELLEY b. 1954 Black Garbage (Grassy Island, [Canadian]); White Garbage (Bob Lo Island), 2001 Diptych: two cibachrome prints mounted on board. 71 3/4 x 48 in. (182.2 x 121.9 cm) each. Each signed “M. Kelley” on a label adhered to the reverse. This work is from an edition of five.
Estimate $30,000-40,000
PROVENANCE Patrick Painter Editions, Hong Kong 121 CARL ANDRE b. 1935 AL 4 Blocks, 2008 Aluminum (in four parts). 2 x 7 5/8 x 4 in. (5.1 x 19.4 x 10.2 cm) each; 2 x 15 1/4 x 8 in. (5.1 x 38.7 x 20.3 cm) overall. This work is accompanied by a certificate of authenticity signed by the artist.
Estimate $15,000-20,000
PROVENANCE RULE Gallery, Denver; Private collection, St. Louis 122 GEORGE RICKEY 1907 - 2002 Inverted Column, 1966 Stainless steel kinetic sculpture. 36 x 6 x 12 in. (91.4 x 15.2 x 30.5 cm). Inscribed “Rickey 1966” on the wall mount; titled “Inverted Column” on the reverse of the wall mount. This work is unique.
Estimate $20,000-30,000
PROVENANCE Maxwell Davidson Gallery, New York LITERATURE M. Davidson III, George Rickey: The Early Years, New York, 2004, p. 209 (illustrated) 123 TERENCE KOH b. 1977 The Golden Balls of my Youth, 2007 Bronze, 24 karat gold plating and wire. 10 7/8 x 9 5/8 x 5 1/2 in. (27.6 x 24.4 x 14 cm). This work is from an edition of five plus two artist’s proofs.
Estimate $15,000-20,000
PROVENANCE Peres Projects, Berlin 124 JIM HODGES b. 1957 Another Day, 2004 23 karat gold on cut paper. 15 x 22 1/2 in. (38.1 x 57.2 cm). Signed, titled and dated “J. Hodges Another Day 2004” on the reverse.
Estimate $35,000-45,000
PROVENANCE Stephen Friedman Gallery, London 125 KAREN KILIMNIK b. 1955 The cult of Isis at Chateau Beaufort north of Paris, 1999 Water soluble oil on canvas. 8 x 10 in. (20.3 x 25.4 cm). Signed, titled and dated “Karen Kilimnik June 10 99 July 16 99 The cult of Isis at Chateau Beaufort north of Paris” on the reverse.
Estimate $18,000-25,000
PROVENANCE Emily Tsingou Gallery, London EXHIBITED London, Emily Tsingou Gallery, Karen Kilimnik, November 2 - December 20, 2000 LITERATURE K. Kilimnik, Karen Kilimnik Paintings, Zurich, 2001, pp. 148 and 149 (illustrated) 126 WILLIAM KENTRIDGE b. 1955 Untitled (from Sleeping on Glass), 1999 Charcoal, colored pencil and graphite on paper. 47 1/2 x 62 7/8 in. (120.7 x 159.7 cm)
Estimate $40,000-60,000
PROVENANCE Goodman Gallery, Johannesburg; Private collection, USA 127 TONY CRAGG b. 1949 Yellow Axe, 1981 Installation comprised of 63 found yellow plastic objects. 12 1/4 x 55 x 65 in. (31.1 x 139.7 x 165.1 cm) as installed. This work is accompanied by an artist- designed installation template.
Estimate $25,000-30,000
PROVENANCE Marisa del Re Gallery, New York 128 PETER HALLEY b. 1953 Untitled, 2004 Acrylic, Day-Glo acrylic, and Roll-a-Tex on canvas (in three parts). 70 1/4 x 45 1/8 x 3 3/4 in. (178.4 x 114.6 x 9.5 cm). Signed and dated “Peter Halley 2004” on the reverse.
Estimate $30,000-40,000
PROVENANCE Galerie Thaddaeus Ropac, Paris 129 DAMIEN HIRST b. 1965 Untitled (Spin Drawing), 2003 Pastel, acrylic ink, wax pastel, glitter, felt-tip pen and colored pencil on paper. 30 x 22 in. (76.2 x 55.9 cm). Signed “Damien Hirst” lower right.
Estimate $18,000-22,000
PROVENANCE Gifted by the artist to the previous owner; Private collection, Los Angeles 130 PETER HALLEY b. 1953 Adapter, 1998 Acrylic, metallic acrylic paint and Roll-a-Tex on canvas (in two parts). 92 1/8 x 68 1/2 x 3 3/4 in. (234 x 174 x 9.5 cm) overall. Signed twice and dated “Peter Halley 1998” on the reverse.
Estimate $60,000-80,000
PROVENANCE Mary Boone Gallery, New York LITERATURE S. Kandel, T. Nichols, C. Reynolds and P. Halley, Peter Halley: Maintain Speed, New York, 2000, p. 206 (illustrated) 131 TIM NOBLE & SUE WEBSTER b. 1966 and b. 1967 A ‘Fucking Beautiful’ Detail, 2000 Hot pink neon, hardware and transformer (in three parts). 19 1/2 x 47 1/2 x 1 1/2 in. (49.5 x 120.7 x 3.8 cm). This work is from an edition of 10.
Estimate $40,000-60,000
PROVENANCE Modern Art, London 132 JULIAN OPIE b. 1958 This is Shahnoza 39, 2006 Vinyl on wooden stretcher. 89 1/4 x 41 3/4 in. (226.7 x 106 cm). Signed “Julian Opie” on the overlap.
Estimate $60,000-80,000
PROVENANCE Barbara Krakow Gallery, Boston; Private Collection 133 CHUCK CLOSE b. 1940 Self-Portrait, 2006 Jacquard tapestry with stainless steel brackets and rod. 99 1/2 x 77 x 3 1/2 in. (252.7 x 195.6 x 8.9 cm). Signed “Chuck Close” on a label sewn to the reverse. This work is a publisher’s proof from an edition of 10 plus three artist’s and three publisher’s proofs.
Estimate $90,000-120,000
PROVENANCE The Magnolia Tapestry Project, Oakland
For over thirty years, Chuck Close’s face has emerged from tonal grids of fingerprints, pointillist dots, brushstrokes, paper pulp and countless other media. The inspiration for the present lot derives from a series of daguerrotypes begun in the mid-1990s. The technique draws its influence from two methods separated by nearly two hundred years of art history- namely the 19th century photographic technique, defined by its infinite detail and emotional resonance and the Magnolia Tapestry Project’s digitally-driven 21st century approach to weaving. This newly developed technique, a result of experiments conducted within the last decade, begins with the creation of a digital weave file and is then sent to an electronic jacquard loom for fabrication. Unlike traditional weaving, there is no ‘cartoon’ or interpretation by weavers; the loom is guided entirely by the digital file, meaning that the artist’s intention is precisely realized with no mediation. The formidable impact of Self-Portrait, with its crisp, animated detail and rich texture allows the viewer to participate in a powerful somatic experience: a wordless, intimate confrontation with a dedicated artistic pioneer.
134 ADAM FUSS b. 1961 Untitled, 2003 Gelatin silver print photogram. 87 x 55 1/2 in. (221 x 141 cm). This work is unique.
Estimate $18,000-25,000
PROVENANCE Cheim & Read, New York EXHIBITED New York, Cheim & Read, Adam Fuss: New Work, October 16 - November 15, 2003 135 CHRISTOPHER WOOL b. 1955 Untitled, 1989 Enamel on paper. 35 3/8 x 26 in. (89.9 x 66 cm). Signed and dated “Christopher Wool 89” on the reverse.
Estimate $18,000-25,000
PROVENANCE Luhring Augustine, New York; Gagosian Gallery, London 136 JOHN WATERS b. 1946 Playdate, 2006 Two figures comprised of silicone, human and synthetic hair, cotton flannel and polar fleece. Installation dimensions variable. Jackson: 15 3/4 x 26 x 15 1/2 in. (40 x 66 x 39.4 cm); Manson: 18 3/4 x 12 1/2 x 13 in. (47.6 x 31.8 x 33 cm). Signed and titled “John Waters ‘Playdate’” and numbered of five on the reverse of the Manson figure. This work is from an edition of five.
Estimate $20,000-30,000
PROVENANCE Marianne Boesky Gallery, New York EXHIBITED New York, Marianne Boesky Gallery, John Waters: Unwatchable, April 21 - John Waters, internationally-acclaimed director, filmmaker, entertainer May 20, 2006 (another example exhibited); Charlottesville, University of Virginia Art and artist brings to light his typical, quirky insight from his life in Museum, Complicit! Contemporary American Art and Mass Culture, September 1 - entertainment in the present lot titled Playdate. Here Waters captures October 29, 2006 (another example exhibited); St. Louis, Laumeier Sculpture Park, Artistically Incorrect: The Photographs and Sculptures of John Waters, October 11, 2008 - an eerie, life-like rendering of the archetypal figures Michael Jackson January 11, 2009 (another example exhibited) and Charles Manson. Informed from the artist’s everyday life, the LITERATURE R.C. Baker, “Laugh Till You Cry,” The Village Voice, May 2, 2006; D. D’Arcy, shrill dark satire exhibits itself as the viewer engages with the “John Waters: Unwatchable,” GreenCine, May 17, 2006 (illustrated); A.C. Robinson, “John Waters Unwatchable,” Gay City News, Volume 5, Issue 18, May 4 - 10, 2006 (illustrated); characters’ significance as rather unusual playdates amongst the D. Bonetti, “Camping it up with John Waters,” STLtoday.com (online content), October 12, well-heeled artworld. 2008 (illustrated); H. Barnes, “John Waters still wants to shock, but affluence is good, too,” St. Louis Beacon, 2008 (illustrated); A. Goldstein, “In Memoriam: A Retrospective of Michael Jackson’s Image in Contemporary Art,” Art We Love (online content), June 26, 2009 137 KEITH TYSON b. 1969 Oct. 2002 A Last Minute Problem...Recycling the Rubbish...(version 2), 2002 - 2007 Color Xerox, oil, watercolor and gouache on paper. 59 7/8 x 48 1/4 in. (152.1 x 122.6 cm).
Estimate $25,000-35,000
PROVENANCE Haunch of Venison, London; PaceWildenstein, New York; Private Collection EXHIBITED London, Tate Britain, Turner Prize 2002, October 30, 2002 - January 5, 2003 138 JASON RHOADES 1965 - 2006 Pink Lipped Custard Sucker, 2003 Neon mounted on dark red translucent Plexiglas with wire, string, lace and transformer. 25 1/4 x 46 3/4 x 2 in. (64.1 x 118.7 x 5.1 cm).
Estimate $25,000-35,000
PROVENANCE David Zwirner, New York EXHIBITED New York, David Zwirner, Meccatuna, September 12 - October 25, 2003 139 STEVEN PARRINO 1958 - 2005 Untitled for J.O., 1984 Acrylic and enamel on linen. 12 x 22 1/8 in. (30.5 x 56.2 cm). Titled and dated “Untitled for J.O 1984” on the reverse; stamped “Steven Parrino” on right turning edge.
Estimate $40,000-60,000
PROVENANCE Acquired directly from the artist 140 MARILYN MINTER b. 1948 Goldi, 2004 C-print mounted on aluminum. 51 1/8 x 37 7/8 in. (130 x 96 cm.) This work is from an edition of five and is accompanied by a certificate of authenticity.
Estimate $25,000-35,000
PROVENANCE Private collection, Europe 141 THOMAS RUFF b. 1958 Nudes wh 20, 2001 C-print face-mounted to Diasec in the artist’s wooden frame. 55 x 1/4 x 43 3/8 in. (139.7 x .6 x 110.2 cm). Signed, titled, dated “Thomas Ruff wh 20 2001” and numbered of five on the reverse. This work is from an edition of five plus two artist’s proofs.
Estimate $35,000-45,000
PROVENANCE David Zwirner, New York; Private collection, New York LITERATURE M. Winzen, Thomas Ruff 1979 to the Present, Cologne, 2001, p. 241 (illustrated); T. Ruff, Thomas Ruff Nudes, New York, 2003, p. 7 (illustrated) (Detail)
142 TONY OURSLER b. 1957 Flower Power, 1987 Hand sewn fabric collage puppet on bamboo rod, DVD and DVD player, Sony Data projector and plastic Kinetoscopes focusing device on an artist designed custom-built painted wooden plinth. 60 3/4 x 16 x 24 in. (154.3 x 40.6 x 61 cm) overall. Signed and dated “Tony Oursler 93” on the reverse of the puppet’s head.
Estimate $20,000-30,000
PROVENANCE Acquired directly from the artist 143 MATTHEW BARNEY b. 1967 Cremaster 3: Basis Found, 2002 C-print in the artist’s acrylic frame. 53 3/8 x 43 3/8 in. (135.6 x 110.2 cm). Signed and dated “Matthew Barney 02” on the reverse. This work is from an edition of six plus one artist’s proof.
Estimate $30,000-50,000
PROVENANCE Barbara Gladstone Gallery, New York LITERATURE N. Spector, ed., The Cremaster Cycle, New York, 2002, p. 512 144 JOSH SMITH b. 1976 Untitled, 2005 Acrylic and newspaper collage on wooden panel. 60 x 48 in. (152.4 x 121.9 cm). Signed and dated “Josh Smith 2005” on the reverse.
Estimate $15,000-20,000
PROVENANCE Galerie Catherine Bastide, Brussels 145 JOSH SMITH b. 1976 Untitled, 2007 Oil on canvas. 60 1/4 x 48 in. (153 x 121.9 cm). Signed and dated “Josh Smith 2007” on the reverse.
Estimate $15,000-20,000
PROVENANCE de Pury & Luxembourg, Zurich 146
147
146 RAYMOND PETTIBON b. 1957 147 ROXY PAINE b. 1966 No Title (Hack Killecuda...), 1993 Untitled (Craters), 1995 Ink and watercolor on paper. 19 1/2 x 15 in. (49.5 x 38.1 cm). Signed and dated Bin primer, casein and graphite on paper. 19 x 23 3/4 in. (48.3 x 60.3 cm). Signed “Raymond Pettibon 93” on the reverse. and dated “Roxy Paine 95” lower right.
Estimate $12,000-18,000 Estimate $7,000-9,000
PROVENANCE Acquired directly from the artist PROVENANCE Acquired directly from the artist 148 FRANZ WEST b. 1947 Untitled, 1989 McCallan single-malt whiskey glass bottle wrapped in papier-mâché over metal rod. 94 x 5 x 5 in. (238.8 x 12.7 x 12.7 cm).
Estimate $30,000-40,000
PROVENANCE André Simoens Gallery, Knokke EXHIBITED Nice, Villa Arson, Franz West, November 19, 1995 - January 14, 1996 149 AGNES MARTIN 1912 - 2004 Untitled, 1995 Graphite, ink and watercolor on onion skin paper. 11 x 11 in. (27.9 x 27.9 cm). Signed and dated “a.martin ‘95” lower right.
Estimate $80,000-120,000
PROVENANCE PaceWildenstein, New York; Private collection, New York; Anthony Meier, San Francisco; Hester van Roijen, London; Private collection, Massachusetts EXHIBITED New York, PaceWildenstein, Agnes Martin New Drawings and Watercolors, March 28 - April 27, 1996
The work of Agnes Martin can be characterized by wonderfully subtle abstractions that, despite their mechanical nature, are intensely poetic. In her grid drawings, Martin directly confronts her Minimalist contemporaries through her trademark pattern by demanding long meditative contemplation from her viewers regardless of the pattern’s seemingly simple structure. This meditative experience is at odds with the major tenets of American Minimalism.
The powerful tension the present lot exudes is due to the artist’s manipulation of an arrangement of lines, normally considered cold, intellectual and purely formal into a serene and delicate motif that transcends its own simplicity. Martin’s artistic triumph is her ability to elicit emotion from rational order; her gentle reduction of the visual image until it conveys the most basic archetypal form allows her to evoke the most fundamental emotional responses.
150 JULIAN OPIE b. 1958 Flocked Painting No. 50, 2007 Flocking on canvas. 69 1/4 x 82 7/8 in. (175.9 x 210.5 cm). Signed “Julian Opie” on the overlap.
Estimate $35,000-45,000
PROVENANCE Patrick De Brock Gallery, Knokke 151 ANDY WARHOL 1928 - 1987 Plate of Food with Man’s Chest, circa 1976 - 1986 Four gelatin silver prints stitched with thread. 21 1/4 x 27 1/2 in. (54 x 69.9 cm). Stamped with the Estate and Foundation seals and numbered “FL14.00007” on the reverse. This work is unique.
Estimate $40,000-60,000
PROVENANCE The Estate of Andy Warhol, New York; Greenberg van Doren Gallery, New York; Private collection, New York 152 ANDY WARHOL 1928 - 1987 Tom Royal, circa 1952 Ink and ink wash on paper. 23 x 29 in. (58.4 x 73.7 cm). Stamped with the Estate and Foundation seals and numbered “292.006” on the reverse.
Estimate $15,000-20,000
PROVENANCE Susan Sheehan Gallery, New York 153 ANDY WARHOL 1928 - 1987 Gateau of Marzipan, circa 1959 Ink and ink wash on paper. 23 x 29 in. (58.4 x 73.7 cm). Stamped with the Estate and Foundation seals and numbered “345.005” on the reverse.
Estimate $15,000-20,000
PROVENANCE Susan Sheehan Gallery, New York 154 ANDY WARHOL 1928 - 1987 Joseph Kennedy III, Orange, Red, Pink, Black, circa 1986 Screenprint on HMP paper. 31 1/2 x 23 7/8 in. (80 x 60.6 cm). Stamped with the Estate and Foundation seals and numbered “UP42.02” on the reverse. This work is unique.
Estimate $15,000-20,000
PROVENANCE Sandroni.Rey, Los Angeles LITERATURE C. Defendi, F. Feldman, J. Schellmann, et. al., Andy Warhol Prints: A Catalogue Raisonné, 2003, p. 313 (illustrated), no. 111c.76 (a) 155 ANDY WARHOL 1928 - 1987 Joseph Kennedy III, Orange, Red, Pink, circa 1986 Screenprint on HMP paper. 31 1/2 x 23 7/8 in. (80 x 60.6 cm). Stamped with the Estate and Foundation seals and numbered “UP42.03” on the reverse. This work is unique.
Estimate $15,000-20,000
PROVENANCE Sandroni.Rey, Los Angeles (i)
156 ANDY WARHOL 1928 - 1987 Two works: Mineola Motorcycle and Mineola Motorcycle (Negative), 1985 - 1986 Silkscreen inks and synthetic polymer paint on canvas. 16 x 20 in. (40.6 x 50.8 cm) each. (i) Stamped with the Estate and Foundation seals and numbered “PA10.127” on the overlap; (ii) stamped with the Estate and Foundation seals and numbered “PA10.119” on the overlap.
Estimate $100,000-150,000
PROVENANCE Gagosian Gallery, Beverly Hills; Gagosian Gallery, New York LITERATURE (ii) C. Stuckey, Andy Warhol Heaven and Hell Are Just One Breath Away! Late Paintings and Related Works, 1984 - 1986, New York, 1992, p. 65 (illustrated) (ii)
To counter ... self doubt, starting in the late 1970s Warhol undertook the power of the mind for spiritual salvation, the capacity for the body to project after project, culminating in a large uncommisioned group of be improved, and military geopolitics. With reconsideration of the last black-and-white paintings and drawings in his trademark “plagiarist” years of Warhol’s career, when critics pressured the artist to revitalize fashion; that is, based directly on newspaper advertisements, street what they considered to be a career that had lapsed after he became the leaflets, and ordinary book illustrations. These works constitute the victim of a newly-successful murder attempt in 1968, the rich implications present volume… like all of Warhol’s art, these lots pictures take visual of this black-and-white series newly provides material for a much needed cues from the ubiquitous Western media at the service of consumerism last chapter to the Warhol story. (C. Stuckey, Heaven and Hell are Just and publicity, while also addressing more personal and ultimate concern: One Breath Away, Andy Warhol, New York, 1992, p. 10) 157 ANDY WARHOL 1928 - 1987 Somebody Wants To Buy Your Apartment Building! (Negative), 1985 Silkscreen inks and synthetic polymer paint on canvas. 16 x 20 in. (40.6 x 50.8 cm). Stamped with the Estate and Foundation seals and numbered “PA10.118” on the overlap.
Estimate $90,000-120,000
PROVENANCE Andy Warhol Foundation for the Visual Arts, Inc., New York; Private collection, Los Angeles; Karl Hutter Fine Art, Beverly Hills EXHIBITED New York, Gagosian Gallery, Andy Warhol: B & W Paintings: Ads and Illustrations 1985 - 86, March 2 - March 30, 2002 LITERATURE C. Stuckey, Andy Warhol Heaven and Hell Are Just One Breath Away! Late Paintings and Related Works, 1984 - 1986, New York, 1992, p. 68 (illustrated)
The present lot, produced near the end of Andy Warhol’s prolific career, was highly influenced by his friendship and working relationship with Jean-Michael Basquiat. It was while working with Basquiat that Warhol developed his own graffiti-art look, and extended his 1979 Reversals methodology by reversing black and white areas when transferring images onto canvas. His advertising images are also tributes to the careers of Keith Haring and Claes Oldenburg, which embraced both Pop art and graffiti.
The significance of Warhol’s late black-and-white works based on advertising images and lettering is perhaps most apparent in these mural-scale hybrids of the sacred and the profane: the black-and-white images are Warhol’s final subversive lexicon of street art images awaiting transposition into art gallery and museum contexts where they will expand post-Pop, postmodern taste. (C. Stuckey, “Heaven and Hell Are Just One Breath Away!” in Andy Warhol: Heaven and Hell Are Just One Breath Away! Late Paintings and Related Works, 1984-1986, Gagosian Gallery, New York, Rizzoli, 1992, p. 31)
158 JEAN-MICHEL BASQUIAT 1960 - 1988 Two works: Nod and Untitled, 1986 Acrylic, oilstick, nails, metal hardware and Xerox paper collage on wood and ink and paper collage on paper. 25 1/2 x 14 1/4 x 14 in. (64.8 x 36.2 x 35.6 cm) and 13 7/8 x 8 1/2 in. (35.2 x 21.6 cm). (i) signed and dated “Jean-Michel Basquiat 86” on the reverse of box and (ii) signed and dated “Jean Michel Basquiat Sept 16 or 18th 1986” lower right. (ii) is accompanied by a color Xerox signed “Jean-Michel Basquiat” on the reverse.
Estimate $120,000-180,000
PROVENANCE William S. Burroughs, Lawrence (Kansas); Estate of William S. Burroughs, Lawrence (Kansas); Private collection, New York EXHIBITED Los Angeles County Museum of Art, Ports of Entry: William S. Burroughs and the Arts, July - October 1996 LITERATURE R. Sobieszek, W.S. Burroughs, Ports of Entry: William S. Burroughs and the Arts, 1996, p. 143 (illustrated); Galerie Enrico Navarra, ed., Jean-Michel Basquiat, Paris, 2000, pp. 252-253 (illustrated)
The artist-rebel of his time, Jean-Michel Basquiat is one of the most influential figures within post-war 20th Century art. He had the exceptional ability to create a work imbued with personal history and cultural legacy, culminating in a visceral sculptural display of magnificence. His work is charged with an identity that requires viewers to move about a piece and examine its every angle, offering an active experience instead of observed passivity. By forcing the observer to move around the work, Basquiat establishes a visual and structural play on the idea of semiotics—where the signifier and the signified enter a reciprocal relationship, making one reliant on the other, yet completely dependant on the experience of the work itself. Through the power of words and symbols, both pure and abstract, he referenced the Native American culture, the African Diaspora, and the New York Punk music generation, an unparalleled synthesis of image, text, and meaning. Much of Basquiat’s inspiration lies with the founder of the Beat Generation, William S. Burroughs, the radical and unconventional genius of the post-modern world. Burroughs was greatly respected by the culture which roamed the East Village in the 80s, his anti- establishment standing striking a cord with those exploring an unimagined future as fiercely independent individuals.
The present lot, Nod, 1986, a commanding sculptural piece with an accompanying work on paper, Untitled, 1986, is a kind of homage from Basquiat to Burroughs. The source of the title is threefold: it is first a biblical reference to the dwelling place of Cain, the original outsider in the history of man. “And Cain (following the treacherous murder of his brother Abel) went out from the presence of the Lord, and dwelt in the land of Nod, on the east of Eden.” (Genesis 4:15-16, King James (ii) Version.). Second, “Nod” is the Hebrew root of the verb “to wander,” the peripatetic lifestyle of Cain. And lastly “Nod” is also the state of heroin or opioid intoxication referred to as “being in the land of Nod” characterized by the “nodding off” into a different world. The three foundations of the title summarize the kinship between these two geniuses; both lived much of their lives as outcasts from society, were constant wanderers of innovation, and finally both men turned to drugs in their pursuit of an alternative world. Nod and Untitled serve as an emblem to this kinship, forever uniting the two men in a monumental and omnipresent work, affirming the powerful affect each had on each other’s lives. 46299
(i) 159 WILLEM DE KOONING 1904 - 1997 Woman Study, 1959 Sumi ink and graphite on paper. 10 3/4 x 8 1/2 in. (27.3 x 21.6 cm). Signed “de Kooning” lower right.
Estimate $30,000-40,000
PROVENANCE Allan Stone Gallery, New York 160 ARSHILE GORKY 1904 - 1948 Untitled, 1946 Ink wash and crayon on paper. 11 x 8 1/2 in. (27.9 x 21.6 cm).
Estimate $35,000-45,000
PROVENANCE Allan Stone Gallery, New York 161 WILLEM DE KOONING 1904 - 1997 Bewitched Woman, 1965 Oil on paper laid down on masonite. 29 7/8 x 11 in. (75.9 x 27.9 cm). Signed “de Kooning” lower left.
Estimate $200,000-300,000
PROVENANCE Noah Goldowsky Gallery, New York; Allan Stone Gallery, New York; Collection Winston and Susan McGee, Cleveland; Collection Larry Gordon, Los Angeles; Private Collection; Spanierman Gallery, New York
I don’t feel like a non-objective painter at all…it had to do with the female painted through all the ages, all those idols. And maybe I’d been stuck to a certain extent, couldn’t go on. And it did one thing for me: it eliminated composition, arrangement, relationships, light — …all this silly talk about line, color and form... — because that was the thing I wanted to get hold of. I put it in the center of the canvas because there was no reason to put it a bit on the side. So I thought I might as well stick to the idea that it’s got two eyes, a nose and a mouth and neck… I got to the anatomy and I felt myself always getting flustered. I really could never get hold of it. It always petered out… it became compulsive in the sense of not being able to get hold of it…it really is very funny…to get stuck with a woman’s knees, for instance. You say, what the hell am I going to do with that now…it’s really ridiculous…it became a problem of picture painting, because the very fact that it had word connected with it- figure of a woman- made it more precise. [Forms] ought to have the emotion of a concrete experience…I am very happy to see that grass is green. At one time, it was very daring to make a figure red or blue: I think now that it is just as daring to make it flesh-colored.
Willem de Kooning, in a 1960 BBC interview with David Sylvester, taken from M. Glimcher, Willem de Kooning Jean Dubuffet The Women, New York, 1990, pp.7 - 8.
The present lot, Bewitched Woman, executed in 1965, delights in de Kooning’s emergence from his steadfast 1950s forms of pure abstraction and delves straight into the highly stylized and fetishistic era of the 1960s with his form-filled depictions of women. The color, form and gestural splashes of brushwork evoke de Kooning’s most typical forms, but the palette and vividness of the composition awaken another sense to the artist’s deepest form of expression. This work, in essence, is a true homage to the female spirit and the artist’s own spirit, too.
162 FRANZ WEST b. 1946 Untitled, 2004 Lacquered aluminum. 21 x 56 x 46 in. (53.3 x 142.2 x 116.8 cm).
Estimate $80,000-120,000
PROVENANCE Galerie Bärbel Grässlin, Frankfurt; Private collection, USA
The past decade has witnessed an extraordinary jump in West’s international exposure, due in no small measure to the large public commissions he has completed. Among other effects, the execution of outdoor projects at Innsbruck [2000], New York [2004], and Paris [2007] has affected the size and complexity of his works…As the forms materialize from highly polished sheets, the metal is bent and buckled into submission. Shapes develop from collaged-on fragments: loops, obelisks, balls, and wedges. And then the colors come as if extracted from a Toys “R” Us catalogue, with lemon yellows, sky blues, and bubblegum pinks adding festivity to the glossy chrome bodies of these monumentally humble objects. Ambitious, demanding of high-end manufacture, but unabashedly stitched together like a salvaged car, these enormous and enormously appealing forms now populate parks and plazas on both sides of the Atlantic. D. Alexander, ed., Franz West, To Build a House You Start with the Roof: Work, 1972 - 2008, Baltimore, 2008, p. 96
Fundamentally sculptural in construction, West’s work veers frequently toward the biomorphic and prosthetic, mines the intellectualism of Freud and Wittgenstein, and possesses an awkward beauty that speaks with equal fluency to the aesthetics of painterly abstraction and trash art. The present lot, a pearlescent, delectable shade of pink delights its viewer in not only color and form but presentation as well: one is enraptured to touch, sit, and enjoy the work in its entirety. West is indeed a master of the medium here for the “flesh” of the aluminum and the “vivacity” of the paint layers enliven and play with the mundane and imagination one and the same. It is no surprise that these lively sculptures play out amongst private and public spaces worldwide, bringing the focus of West to the forefront of the international art world. (Alternate view)
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163 ANDY GOLDSWORTHY b. 1956 Leaf Horn Sweet chestnut leaves and thorns. 11 3/4 x 13 1/2 x 5 1/2 in. (29.8 x 34.3 x 14 cm).
Estimate $15,000-20,000
PROVENANCE Haines Gallery, San Francisco
164 DAVID NASH b. 1945 Birch Crack and Warp Column, 1999 Caen-y-coed Birch wood. 18 1/4 x 9 1/4 x 8 in. (46.4 x 23.5 x 20.3 cm).
Estimate $5,000-7,000
PROVENANCE Haines Gallery, San Francisco 165 FRANCESCO CLEMENTE b. 1952 Stupa, 1991 Acrylic and spray-paint on canvas and linen (in five parts). 130 3/4 x 39 1/4 in. (332.1 x 99.7 cm).
Estimate $80,000-120,000
PROVENANCE Diego Cortez Arte Limited, New York; Private collection, Boston 166 RIVANE NEUENSCHWANDER b. 1967 Untitled, 2000 Scotch tape and ants. 46 1/2 x 54 1/4 in. (118.1 x 137.8 cm).
Estimate $6,000-8,000
PROVENANCE Stephen Friedman Gallery, London 167 DORIS SALCEDO b. 1958 Atrabiliarios (Irritable), 1996 Wall installation comprised of found shoe, cow bladder and surgical thread on drywall. 47 1/4 x 32 x 1 in. (120 x 81.3 x 2.5 cm).
Estimate $18,000-25,000
PROVENANCE White Cube, London (Actual Size).
168 DR. LAKRA b. 1972 Untitled (the sun bath), 2005 Ink on vintage photograph. 7 x 5 1/2 in. (17.8 x 14 cm). Signed “Dr. Lakra” upper left.
Estimate $4,000-6,000
PROVENANCE kurimanzutto, Mexico City 169 GABRIEL OROZCO b. 1962 Untitled, 2000 Ink, watercolor and graphite on paper. 9 7/8 x 7 in. (25.1 x 17.8 cm). Signed and dated “Gabriel Orozco 2000” on the reverse.
Estimate $10,000-15,000
PROVENANCE kurimanzutto, Mexico City 170 MEYER VAISMAN b. 1960 Untitled (Turkey XXXIII), 1995 Taxidermied turkey, nylon stockings and bale of hay with twine. 29 1/2 x 36 x 19 in. (74.9 x 91.4 x 48.3 cm).
Estimate $7,000-9,000
PROVENANCE Acquired directly from the artist 171 JOSÉ DAMASCENO b. 1968 Imminent Circuit, 2005 Installation comprised of 16 solid semi-precious stones and wooden pool cue rack. Installation dimensions variable. Each stone: 8 in. (20.3 cm) diameter; overall installed dimensions. 35 x 44 x 172 in. (88.9 x 111.8 x 436.9 cm) as illustrated. This work is from an edition of three.
Estimate $12,000-18,000
PROVENANCE The Project, Los Angeles EXHIBITED The Project, Los Angeles: Imminent Circuit, March 5 - April 16, 2005 LITERATURE Brazzil Magazine, ed, “New York and LA Get to Know Brazil’s Damasceno Art,” Brazzil Magazine (online content), March 2, 2005 172 SIGMAR POLKE b. 1941 Untitled, 1983 Acrylic, spray and metallic paint on paper. 26 1/2 x 18 3/4 in. (67.3 x 47.6 cm). Signed and dated “S. Polke 83” on the reverse.
Estimate $15,000-20,000
PROVENANCE Patrick Painter Editions, Hong Kong 173 SIGMAR POLKE b. 1941 Untitled, 1983 Acrylic, spray-paint and watercolor on paper. 26 1/2 x 18 3/4 in. (67.3 x 47.6 cm). Signed and dated “S. Polke 83” on the reverse.
Estimate $15,000-20,000
PROVENANCE Patrick Painter Editions, Hong Kong 174 HELMUT FEDERLE b. 1944 Basics on Composition XXI (For Lee Harvey Oswald), 1992 Oil on linen. 15 3/4 x 19 3/4 in. (40 x 50.2 cm). Signed, titled and dated “Federle 92 Basics on Composition XXI (For Lee Harvey Oswald)” on the stretcher bar.
Estimate $15,000-20,000
PROVENANCE Acquired directly from the artist; Galerie Nächst St. Stephan, Vienna; Tony Wuethrich Galerie, Basel 175 HELMUT FEDERLE b. 1944 Zwei Gleiche Formen, Ungleich (Das Gestade Des Sees Ruhig Und Klar, Herbstliches Wasser) [Two Equal Shapes, Unequal] [The Shore of the Lake Silent and Clear, Autumnal Water], 1996 Oil on linen. 23 x 26 in. (58.4 x 66 cm). Signed, titled and dated “Zwei Gleiche Forman Ungleich Zwei Gleiche Formen, Ungleich (Das Gestade Des Sees Ruhig Und Klar, Herbstliches Wasser) Federle 96” on the reverse and stretcher bar.
Estimate $15,000-20,000
PROVENANCE Galerie Nächst St. Stephan, Vienna EXHIBITED Munich, Maximilian Verlag Sabine Knust, Helmut Federle, November 1996 - January 1997 176 GÜNTHER FÖRG b. 1952 Untitled, 1998 Acrylic on canvas. 79 x 65 in. (200.7 x 165.1 cm). Signed and dated “Förg 98” on the reverse.
Estimate $30,000-50,000
PROVENANCE Acquired directly from the artist 177 SERGEJ JENSEN b. 1973 Untitled, 2002 Bleach on jute. 71 x 43 1/2 in. (180.3 x 110.5 cm). Signed and dated “Sergej Jensen 2002” on the overlap.
Estimate $35,000-45,000
PROVENANCE Galerie Neu, Berlin; Patrick De Brock Gallery, Knokke 178 NATHAN HYLDEN b. 1978 Untitled, 2008 Acrylic on linen. 67 1/2 x 47 in. (171.5 x 119.4 cm). Signed and dated “Nathan Hylden ’08” on the reverse.
Estimate $15,000-20,000
PROVENANCE Richard Telles Fine Art, Los Angeles; art:concept, Paris 179 NATHAN HYLDEN b. 1978 Some Other Way of Counting II, 2007 Acrylic and metallic paint on linen. 94 x 67 1/2 in. (238.8 x 171.5 cm). Signed and dated “Nathan Hylden ‘07” on the reverse.
Estimate $30,000-40,000
PROVENANCE art:concept, Paris EXHIBITED Paris, art:concept, Nathan Hylden Just Something Else, September 8 - October 13, 2007 LITERATURE M. Lesauvage, Nathan Hylden, “Just Something Else,” ParisArt (online content), 2007 (illustrated) 180 HEIMO ZOBERNIG b. 1958 Untitled, 1998 Mirror mounted to cardboard on wood. 19 3/4 x 19 3/4 x 2 1/4 in. (50.2 x 50.2 x 5.7 cm). Signed and dated “Heimo Zobernig 1998” on the reverse.
Estimate $8,000-12,000
PROVENANCE Kunstraum Hans Widauer, Innsbruck; Private collection, New York 181 JOSEPHINE MECKSEPER b. 1964 Untitled, 2003 Acrylic and collaged fabric on canvas. 48 x 40 in. (121.9 x 101.6 cm).
Estimate $8,000-12,000
PROVENANCE Elizabeth Dee, New York EXHIBITED Kunstmuseum Stuttgart, Josephine Meckseper, July 14 - October 28, 2007 LITERATURE M. Ackermann, ed., Josephine Meckseper, Ostfildern-Ruit, 2007, pp. 96 and 160 (illustrated) 182
183
182 HELEN MIRRA b. 1970 183 HELEN MIRRA b. 1970 Ulmebuckel jung (elm hummock), 2002 Embroidered Grid, 2000 Stitched wool (in two parts). 3 x 24 x 24 in. (7.6 x 61 x 61 cm). Titled “Ulmebuckel Cotton thread on paper. 12 1/4 x 12 1/4 in. (31.1 x 31.1 cm). jung elm hummock” on a label stitched to the underside of top element; titled Estimate $1,500-2,500 “Ulmebuckel jung elm hummock younger” on a label stitched to the underside of bottom element. PROVENANCE Meyer Riegger Gallery, Karlsruhe Estimate $4,000-6,000
PROVENANCE Meyer Riegger Gallery, Karlsruhe 184 FRANK NITSCHE b. 1964 MRG 30, 2002 Oil on canvas. 90 1/2 x 78 5/8 in. (229.9 x 199.7 cm). Signed, titled and dated “Nitsche MRG 30-2002” on the reverse.
Estimate $25,000-35,000
PROVENANCE Galerie Max Hetzler, Berlin; Patrick De Brock Gallery, Knokke 185
185 MARCIA HAFIF b. 1929 186 SERGEJ JENSEN b. 1973 21 April 1963, White-grey-yellow: Italian Series No. 21, 1963 Untitled (Hand), 2005 Acrylic and varnish on canvas. 17 3/4 x 17 3/4 x 2 1/2 in. (45.1 x 45.1 x 6.4 cm). Neoprene and vinyl cutout affixed to linen. 15 3/4 x 12 in. (40 x 30.5 cm). Signed Signed, titled and dated “Hafif April 1963 21” on the stretcher bar. and dated “Sergej Jensen 2005” on the overlap.
Estimate $7,000-9,000 Estimate $5,000-7,000
PROVENANCE Galleria Edieuropa, Rome PROVENANCE Patrick De Brock Gallery, Knokke
186 187 FRANCIS ALŸS b. 1959 Maestro Zamora (Teacher Zamora), 1995 Gold and silver leaf and enamel on glass. 22 x 27 3/4 in. (55.9 x 70.5 cm). Signed and dated “Francis Alÿs 1995” on the reverse of the backing board.
Estimate $40,000-60,000
PROVENANCE galería OMR, Mexico City; Tilton Gallery, New York 188 JONATHAN MEESE b. 1970 Der Unbekannte Daddy (The Unknown Daddy), 2007 Oil on linen. 39 1/4 x 31 1/2 in. (99.7 x 80 cm). Initialed and dated “JM 07” lower left; signed, titled and dated “JMeese 07 Der Unbekannte Daddy” on the reverse.
Estimate $15,000-20,000
PROVENANCE Contemporary Fine Arts, Berlin 189 STEPHAN BALKENHOL b. 1957 Lady with Red Dress, 2001 Oil on carved wawa wood. 59 x 21 x 11 1/2 in. (149.9 x 53.3 x 29.2 cm) overall.
Estimate $30,000-40,000
PROVENANCE galería OMR, Mexico City EXHIBITED Costa Mesa (California), Frank A. Doyle Arts Pavilion at Orange Coast College, Seeing the Figure Anew: Selections from the Marsha and Darrel Anderson Collection, February 5 - March 20, 2009 190 FRANK NITSCHE b. 1964 Untitled, 1996 Oil on canvas. 51 1/4 x 45 1/4 in. (130.2 x 114.9 cm). Signed and dated “Nitsche 96” on the reverse.
Estimate $12,000-15,000
PROVENANCE Galerie Gebr. Lehmann, Dresden 191 CARLO MARIA MARIANI b. 1931 Il pittore mancino (The left handed painter), 1982 Oil on canvas. 79 7/8 x 68 7/8 in. (202.9 x 174.9 cm). Signed, titled and dated “Carlo Maria Mariani Il pittore mancino 82” on the reverse.
Estimate $40,000-60,000
PROVENANCE Gian Enzo Sperone, Rome; Sperone Westwater, New York; Private collection, Boston EXHIBITED Washington D.C., The Hirschhorn Museum and Sculpture Garden, October 3, 1985 - January 5, 1986; Akron Art Museum, A New Romanticism: Sixteen Artists from Italy, January 28 - April 6, 1986; Darmstadt (Germany), Institut Mathildenhöhe, Carlo Maria Mariani, December 15, 1991 - January 26, 1992; Los Angeles County Museum of Art, Carlo Maria Mariani, February 27 - May 17, 1992 192
192 LUC TUYMANS b. 1958 193 RAFAL BUJNOWSKI b. 1974 Premonition (Series II), 2003 Untitled (cookies), 2004 Colored monoprint on J. Whatman 1961 HMP paper. 21 x 17 3/8 in. (53.3 x 44.1 cm). Oil and graphite on canvas. 18 x 24 in. (45.7 x 61 cm). Signed and dated Signed and titled “Luc Tuymans Premonition” and numbered of six lower margin. “Bujnowski / 04” on the reverse. This work is from a series of six monoprints. Estimate $4,000-6,000 Estimate $10,000-15,000 PROVENANCE daniel hug, Los Angeles PROVENANCE Brooke Alexander Gallery, New York
193 194 EBERHARD HAVEKOST b. 1967 Untitled, 1997 Oil on canvas. 11 3/4 x 15 3/4 in. (29.8 x 40 cm). Signed and dated “Havekost 97” on the reverse.
Estimate $35,000-45,000
PROVENANCE Galerie Gebr. Lehmann, Dresden; Collection Höhne, Cuxhaven (Germany); Private Collection (i)
(ii)
195 WANG JINSONG AND ZHANG DALI b. 1963 Three works: (i) Parents, (ii) Dialogue Series, (iii) Dialogue Series, (i) 1998, (ii) 1999, (iii) 2003 Color photographs. (i) 23 x 25 in. (58.4 x 63.5 cm), (ii) 31 5/8 x 42 3/4 in. (80.3 x 108.6 cm), (iii) 41 x 29 1/2 in. (104.1 x 74.9 cm). (i) Titled and dated “‘PARENTS’ 1998 [in English and Chinese]” on lower left; signed “Wang Jinsong [in English and Chinese]” and numbered of 30 on lower right. This work is from an edition of 30; (ii) signed and dated “Zhang Dali 1999 [in English and Chinese]” and numbered of 10 on lower margin and on the reverse. This work is from an edition of 10; (iii) signed and dated “Zhang Dali 2003 [in English and Chinese]” and numbered of 10 on lower margin and on the reverse. This work is from an edition of 10.
Estimate $6,000-8,000
PROVENANCE Private collection, New York (iii) 196
197
196 ZHANG HUAN b. 1965 197 ZHANG DALI b. 1963 To raise the water level in a fish pond (waterchild), 1997 Two works: Dialogue Series and Demolition Series, 2003 and 2004 Chromogenic print. 37 x 48 in. (94 x 121.9 cm) paper size. This work is Color photographs. 31 5/8 x 43 1/4 in. (80.3 x 109.9 cm) and 43 1/2 x 31 5/8 in. accompanied by a label signed, titled and dated “To raise the water level in a fish (110.5 x 80.3 cm) . Each signed, titled and dated “Zhang Dali [in English and pond (waterchild) Zhang Huan 1997 Beijing [in Chinese]” and numbered of 15. Chinese]” and numbered of 10 lower right. These works are from an edition of 10. This work is from an edition of 15. Estimate $3,000-5,000 • Estimate $8,000-12,000 •
LITERATURE Xunta de Galicia and Cotthem Gallery, eds., Zhang Huan - Pilgrimage to Santiago, Santiago de Compostela, 2001, pp. 162 and 163 (illustrated); M. Chiu, K. Bu, E. Hartney, Z. Huan, Zhang Huan: Altered States, Milan, 2007, p. 37 (illustrated) 198 FANG LIJUN b. 1963 1999.6.1, 1999 Six woodblock prints and ink on paper scrolls with wooden dowels and fabric. 192 3/4 x 286 1/2 in. (489.6 x 727.7 cm) overall. Signed in Chinese lower right of each scroll. Sixth print is also titled, numbered of eight and dated “1999.6.1” lower left and center. This work is from an edition of eight.
Estimate $60,000-80,000
PROVENANCE Benefit Auction, Neue Nationalgalerie, Berlin
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199 SHI GUORUI b. 1964 Himalayas Everest 8844.43 M Nov.20.2005, 2005 Camera obscura gelatin silver print. 50 3/4 x 157 1/2 in. (128.9 x 400.1 cm). Signed, titled and dated “Himalayas Everest 8844.43 M Nov. 20.2005 Shi Guorui 2005” on the reverse. This work is unique.
Estimate $20,000-30,000 200
PROVENANCE Chinese Contemporary, New York
200 LIN TIANMIAO b. 1961 Focus III A, 2006-2007 Lithograph and silkscreen with embossing on STPI handmade paper. 49 1/2 x 40 in. (125.7 x 101.6 cm). Signed and dated “Lin Tianmiao 2007” and numbered of 20 lower right. This work is from an edition of 20.
Estimate $7,000-9,000
PROVENANCE Acquired directly from the artist 201
201 LIN TIANMIAO b. 1961 Focus XII A, 2006 - 2007 Lithograph, embossing, and flocking on hand-colored, STPI handmade paper. 50 x 40 in. (127 x 101.6 cm). Signed and dated “Lin Tianmiao 2007” and numbered of 20 lower right. This work is from an edition of 20.
Estimate $7,000-9,000
PROVENANCE Acquired directly from the artist EXHIBITED New York, Museum of Modern Art, Multiplex: Directions in Art 1970 to Now, November 2007 - July 2008; New York, Mary Ryan Gallery, Lin Tianmiao: Focus & Wu Moonching: Photographs, March 13 - May 3, 2008; Beijing, Long March Space, Lin Tianmiao: Focus, April 12 - June 15, 2008 (other examples from the edition exhibited in each case) 202
202 HAI BO b. 1962 203 HAI BO b. 1962 The Four Seasons-Winter, 2000 - 2002 They, 2000 Color photograph. 48 3/4 x 47 3/4 in. (123.8 x 121.3 cm). This work is from an edition Diptych: two gelatin silver prints. 23 7/8 x 16 3/4 in. (60.6 x 42.5 cm) each. Signed of 10. and dated “Hai Bo [in Chinese] 2000” and numbered of 20 lower right and again on the reverse. This work is from an edition of 20. Estimate $10,000-15,000 • Estimate $5,000-7,000 PROVENANCE Private Collection, New Jersey •
EXHIBITED New York, Max Protetch, Hai Bo’s Solo Exhibition, June - August 2004 PROVENANCE Private Collection, New Jersey LITERATURE Max Protetch, Hai Bo, New York, 2006, p. 17 (illustrated)
203 204 WANG JIN b. 1962 To Marry a Mule, 1995 C-print. 40 x 27 5/8 in. (101.6 x 70.2 cm). Signed, titled and dated “To Marry a Mule 1995 July 28 Beijing, Chaoyang Qu, Guang Yinxiang [in Chinese] Wang Jin [in Chinese and English]” and stamped and numbered along the lower margin. This work is an artist proof from an edition of five plus two artist’s proofs.
Estimate $15,000-20,000
PROVENANCE Acquired directly from the artist EXHIBITED New York, Asia Society Galleries and P.S. 1 Contemporary Art Center, September 15, 1998 - January 3, 1999; San Francisco Museum of Modern Art and the Asian Art Museum of San Francisco, February 26 - June 1, 1999; Monterrey, Museo de Arte Contemporáneo, July 9 - October 10, 1999; Tacoma Art Museum and the Henry Art Gallery, Inside Out: New Chinese Art, 2000, November 18, 1999 - March 7, 2000 (another example exhibited); New York, Friedman Benda, Wang Jin, March 22 - April 22, 2007 LITERATURE Paris, Centre Pompidou, ed., Alors, La Chine?, Paris, 2003 (illustrated); V. Tam, China Chic, p. 275 (illustrated); P. Lu, ed., 90s Art China, Hunan, 1999 (illustrated); M. Gao, ed., Inside Out: New Chinese Art, Berkeley, 1998, p. 32 (illustrated); H. Lu, ed., Conceptual Art, Hunan 1999, p. 58 (illustrated) ¨ 205 YE YONGQING b. 1958 Poem, 2001 Acrylic on canvas. 85 1/2 x 77 1/4 in. (217.2 x 196.2 cm). Signed and dated “Ye Yong Qing [in Chinese and English] 2001” lower right.
Estimate $15,000-20,000
PROVENANCE Acquired directly from the artist LITERATURE X. Wang, ed., Sky’s Fate, Hebei, 2005, p. 23 (illustrated); H. Lee and L. Weng, Beyond Boundaries, Shanghai, 2003, p. 176 (illustrated); H. Deng and X. Liu, eds., Chengdu Biennale 2001, Sichuan, 2001, p. 183 (illustrated) 206 FENG MENGBO b. 1966 2005L01, 2005 Acrylic and VeeJet on canvas. 98 1/2 x 83 in. (250.2 x 210.8 cm). Signed and dated “Feng Mengbo [in Chinese]” on the reverse.
Estimate $15,000-20,000
PROVENANCE Private Collection 207 HUA JIMING b. 1964 Two works: Baby and Fashion Icon, 2006 and 2007 Oil on canvas. 59 x 78 3/4 in. (149.9 x 200 cm) and 78 1/8 x 58 3/4 in. (198.4 x 149.2 cm). Signed and dated “Hua Jiming 2006 [in English and Chinese]” lower left; signed and dated “Hua Jiming 2007 [in English and Chinese]” lower right.
Estimate $6,000-8,000
PROVENANCE Acquired directly from the artist
208
208 ZHU JIAHE b. 1979 209 SHI LIFENG b. 1968 Little Red Classroom, 2008 Ferry to Happiness, 2006 Oil on canvas. 58 x 77 1/2 in. (147.3 x 196.9 cm). Signed, dated and stamped “Zhu Oil on canvas. 52 x 70 in. (132.1 x 177.8 cm). Signed and dated “Shi Lifeng 2006 [in Jiahe [in Chinese] 08” lower right. English and Chinese]” lower right.
Estimate $4,000-6,000 Estimate $7,000-9,000
PROVENANCE Acquired directly from the artist PROVENANCE Acquired directly from the artist
209 210
210 WANG QINGSONG b. 1966 Another Battle No. 1, 2001 C-print face-mounted on Diasec. 39 1/4 x 26 in. (99.7 x 66 cm). Signed and dated “Wang Quingsong 2001 [in English and Chinese] and numbered of 20 lower right. This work is from an edition of 20. Estimate $6,000-8,000 •
PROVENANCE Stux Gallery, New York EXHIBITED London, Albion, Wang Qingsong, June 6 - July 7, 2006 (another example exhibited); New York, Stux Gallery, Chinese Relativity: Part II, November 20 - December 22, 2007 (another example exhibited) LITERATURE M. Falconer, “Chinese Relativity: Part 1 at Stux Gallery, New York,” Saatchi Online TV & Magazine (online content), December 1, 2006 (illustrated); K. Roach, Wang Qingsong, London, 2006, pp. 56, 129 (illustrated)
211 CANG XIN b. 1967 Communication Series 4, Beijing, Temple of Heaven, 2000 C-print. 48 3/4 x 48 3/4 in. (123.8 x 123.8 cm). Signed, titled and dated “Cang Xin Communication Series 4, Beijing, Temple of Heaven 2000 [in English and Chinese]” and numbered of 10 along the margin. This work is from an edition of 10. Estimate $5,000-7,000 •
PROVENANCE Private Collection, New Jersey
211
212 CANG XIN b. 1967 Communication Series, 1999 Six c-prints. 23 5/8 x 19 5/8 in. (60 x 49.8 cm) each. Signed and dated “Cang Xin 1999 [in English and Chinese]” and numbered of 10 on the reverse. These works are from an edition of 10. Estimate $6,000-8,000 •
PROVENANCE Private Collection, New Jersey LITERATURE H. Du, Existence in Translation, Beijing, 2002, pp. 41 and 42 (illustrated) 213 NOBUYOSHI ARAKI b. 1940 Untitled (Tokyo Comedy), 1996 - 1997 Gelatin silver print. 35 5/8 x 28 3/8 in. (90.5 x 72.1 cm).
Estimate $7,000-9,000
PROVENANCE Studio Guenzani, Milan
LITERATURE Taschen, ed., Araki, Cologne, 2002, n.p. (illustrated) 214 HIROSHI SUGIMOTO b. 1948 Hunting dog, 1980 Gelatin silver print. 19 1/8 x 23 3/4 in. (48.6 x 60.3 cm) image size. Signed “Hiroshi Sugimoto” on lower right of matte board. This work is from an edition of 25.
Estimate $12,000-18,000
PROVENANCE James Cohan Gallery, New York 215 NAN GOLDIN b. 1953 Joana and Aurelia Making Out in My Apartment, NYC, 1999 Cibachrome mounted to Plexiglas. Signed, titled and dated “Joana and Aurelia making out in my apartment, NYC 1999 Nan Goldin” on the reverse.
Estimate $8,000-12,000
PROVENANCE Acquired directly from the artist LITERATURE N. Goldin, The Devil’s Playground, New York, 2003, p. 167 (illustrated) 216 TOM FRIEDMAN b. 1965 Untitled (Road Atlas), 2005 Lambda print. 43 5/8 x 33 3/4 in. (110.8 x 85.7 cm) paper size. This work is from an edition of five plus two artist’s proofs.
Estimate $15,000-20,000
PROVENANCE Stephen Friedman Gallery, London 217 VIK MUNIZ b. 1961 (Self portrait) Lucky, 2005 C-print. 60 1/4 x 47 1/4 in. (153 x 120 cm). Signed and dated “Vik Muniz 2005” on a label adhered to the reverse. This work is from an edition of six.
Estimate $25,000-35,000
PROVENANCE Acquired directly from the artist 218 VIK MUNIZ b. 1961 Electric Chair (Pictures of Glitter), 2001 C-print. 48 x 64 7/8 in. (121.9 x 164.8 cm). Signed “Vik Muniz” and numbered of five on a label adhered the reverse. This work is from an edition of five.
Estimate $30,000-50,000
PROVENANCE Galerie Xippas, Paris EXHIBITED Santiago de Compostela, Centro Galego de Arte Contemporánea, December 18, 2003 - March 7, 2004; Dublin, Irish Museum of Modern Art, March 31 - June 13, 2004; Madrid, Fundación Telefónica, Vik Muniz, November 17, 2004 - January 9, 2005 (another example exhibited) LITERATURE Centro Galego de Arte Contemporánea, ed., Vik Muniz, Santiago de Compostela, 2003, p. 145 (illustrated); M. dos Anjos, J. Elkins, S. Rice, Vik Muniz: Obra Incompleta/IncompleteWorks, Rio de Janeiro, 2004, p. 37 (illustrated) 219
219 SARAH LUCAS b. 1962 220 COLLIER SCHORR b. 1963 Laugh?, 1998 The rivalry between God and other gods, 2002 R-print. 29 x 19 3/4 in. (73.7 x 50.2 cm). This work is from an edition of 10 plus one C-print. 47 x 37 3/4 in. (119.4 x 95.9 cm). This work is from an edition of five plus artist’s proof. one artist’s proof.
Estimate $8,000-12,000 Estimate $6,000-8,000
PROVENANCE Barbara Gladstone Gallery, New York PROVENANCE Modern Art, London LITERATURE Y. Dziewior, B. Ruf, eds., Sarah Lucas, 2005, Ostfildern-Ruit, p. 149 (illustrated) LITERATURE G. Williams, “What are you looking at?”, Tate Etc., Issue 2, Autumn 2004 (illustrated)
220 221 CINDY SHERMAN b. 1954 Untitled # 217, 1984, printed in 1990 Color coupler print. 51 x 34 in. (129.5 x 86.4 cm). Signed and dated ‘Cindy Sherman 1984/90’ and numbered of 12 on a label adhered to the reverse. This work is from an edition of 12 plus two artist’s proofs.
Estimate $20,000-30,000
PROVENANCE Metro Pictures, New York; Aspen Art Museum, Aspen LITERATURE R. Krauss, Cindy Sherman 1975 - 1993, New York, 1993, p. 238 (illustrated) 222
223
222 KIM-JOON b. 1966 Duet-dog, 2006 C-print face-mounted to Plexiglas. 55 x 39 1/8 in. (139.7 x 99.4 cm). Signed and titled “Kim Joon Duet-dog” and numbered of five on a label adhered to the backing board. This work is from an edition of five.
Estimate $6,000-8,000
PROVENANCE Hamburg Kennedy Photographs, New York
223 LAURIE SIMMONS b. 1949 Kaleidoscope House #11, 2000 Digital flex print. 24 x 16 1/4 in. (61 x 41.3 cm). Signed, titled, dated “Laurie Simmons Kaleidoscope House # 11” and numbered of five on the reverse. This work is from an edition of five.
Estimate $2,000-3,000
PROVENANCE Deitch Projects, New York 224 RUUD VAN EMPEL b. 1958 World #8, 2005 C-print mounted to aluminum with Plexiglas face. 41 5/8 x 59 3/8 in. (105.7 x 150.8 cm). This work is from an edition of nine.
Estimate $40,000-60,000
PROVENANCE Stux Gallery, New York 225 MASSIMO VITALI b. 1944 Rosignano Donna Sola, 2004 C-print with Diasec face. 70 3/4 x 86 1/4 in. (179.7 x 219.1 cm). This work is accompanied by a label signed, titled, dated “Massimo Vitali Rosignano Donna Sola 2004” and numbered of six. This work is from an edition of six.
Estimate $15,000-20,000
PROVENANCE Galerie Ernst Hilger, Vienna 226 MASSIMO VITALI b. 1944 Negresco Mare, 2005 C-print with Diasec face. 59 x 71 7/8 in. (149.9 x 182.6 cm) paper size. Signed, titled, dated “Massimo Vitali Negresco Mare 2005” and numbered of six on a label adhered to the reverse. This work is from an edition of six.
Estimate $35,000-45,000
PROVENANCE Hamburg Kennedy Photographs, New York 227
228
227 OLAFUR ELIASSON b. 1967 228 DARREN ALMOND b. 1971 Untitled (Iceland Series), 1999 Fullmoon@Arpenaz, 2001 Color photograph. 23 1/4 x 35 in. (59.1 x 88.9 cm). Signed and dated “Olafur Lambda print in the artist’s frame. 50 3/4 x 50 3/4 in. (128.9 x 128.9 cm). This work Eliasson 1999” on a label adhered to the reverse. This work is unique. is from an edition of five.
Estimate $5,000-7,000 Estimate $4,000-6,000
PROVENANCE Bonakdar Jancou Gallery, New York PROVENANCE Galerie Max Hetzler, Berlin EXHIBITED Berlin, Galerie Max Hetzler, E-Werk, Abspannwerk Buchhändlerhof, April 20 - May 26, 2001 (another example exhibited) 229 DOUG AITKEN b. 1968 distant sign, 2005 C-print mounted to aluminum in the artist’s wooden frame. 49 3/4 x 62 1/4 in. (126.4 x 158.1 cm). Signed “Doug Aitken” on a label adhered to the reverse. This work is from an edition of six.
Estimate $20,000-30,000
PROVENANCE 303 Gallery, New York 230
230 WOLFGANG TILLMANS b. 1968 Boot/foot, 1992, printed 1994 Cibachrome print. 24 x 20 in. (61 x 50.8 cm). Signed, titled, dated “Wolfgang Tillmans boot/foot photo Aug. 92 print Apr. 94” and numbered of three on the reverse. This work is from an edition of three plus one artist’s proof.
Estimate $5,000-7,000
PROVENANCE Interim Art/Maureen Paley, London LITERATURE B. Riemschneider, ed., Wolfgang Tillmans, Cologne, 1995, n.p. (illustrated); W. Tillmans, Wolfgang Tillmans if one thing matters, everything matters, London, 2003, pg. 48, no. 40 (illustrated)
231
231 WOLFGANG TILLMANS b. 1968 Kitchen after party, 1992, printed 1993 Cibachrome print. 24 x 20 in. (61 x 50.8 cm). Signed, titled, dated “Wolfgang Tillmans Kitchen after party ph.Oct 92 Pr. WT Oct 93” and numbered of three on the reverse. This work is from an edition of three plus one artist’s proof.
Estimate $5,000-7,000
PROVENANCE Interim Art/Maureen Paley, London LITERATURE B. Riemschneider, ed., Wolfgang Tillmans, Cologne, 1995, n.p. (illustrated) 232 PAUL McCARTHY b. 1945 Meat Cake 2, Odd Fellows Temple, Pasadena, CA, 1978, 1995 C-print mounted to aluminum. 37 3/8 x 25 3/4 in. (94.9 x 65.4 cm). Signed and dated “Paul McCarthy 95” on the reverse.
Estimate $10,000-15,000
PROVENANCE Acquired directly from the artist 233 PAUL MCCARTHY b. 1945 Baby Boy 2, 1982, 1996 C-print. 30 x 39 7/8 in. (76.2 x 101.3 cm). Signed and dated “Paul McCarthy 1996” and numbered of five on the reverse. This work is from an edition of five.
Estimate $20,000-30,000
PROVENANCE Tomio Koyama Gallery, Tokyo EXHIBITION Los Angeles, Museum of Contemporary Art, Paul McCarthy, November 12, 2000 - January 21, 2001 (another example exhibited) 234 PAUL MCCARTHY b. 1945 Baby Boy 1, 1982, 1996 C-print. 30 x 39 7/8 in. (76.2 x 101.3 cm). Signed and dated “Paul McCarthy 1996” and numbered of five on the reverse. This work is from an edition of five.
Estimate $20,000-30,000
PROVENANCE Tomio Koyama Gallery, Tokyo EXHIBITED Los Angeles, Museum of Contemporary Art, Paul McCarthy, November 12, 2000 - January 21, 2001 (another example exhibited) 235 RICHARD PRINCE b. 1949 Untitled (For Richard Prince Can’t Wait Pamela Anderson), 1997 Publicity photograph with felt-tip pen. 10 x 8 in. (25.4 x 20.3 cm). Inscribed “For Richard Prince Can’t Wait Pamela Anderson” on the face and reverse.
Estimate $8,000-12,000
PROVENANCE Anton Kern Gallery, New York 236 RICHARD PRINCE b. 1949 Untitled (Cowboys), 1992 Ektacolor photograph. 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm). Initialed “RP” on the reverse. This work is from an edition of 26.
Estimate $12,000-18,000
PROVENANCE Per Skarstedt Fine Art, New York; Gagosian Gallery, New York LITERATURE R. Prince, Richard Prince Adult Comedy Action Drama, Berlin, 1995, p. 231 (illustrated) 237 ANDRES SERRANO b. 1950 A History of Sex (The Mime), 1995 Cibachrome, silicone and Plexiglas in the artist’s wooden frame. 45 1/8 x 37 3/4 in. (114.6 x 95.9 cm). Signed and titled “Andres Serrano A History of Sex (The Mime)” and numbered of seven on the reverse. This work is from an edition of seven.
Estimate $20,000-30,000
PROVENANCE Paula Cooper Gallery, New York LITERATURE M. Wilson, A History of Andres Serrano: A History of Sex, Amsterdam, 1997, p. 92 (illustrated) 238 ANDRES SERRANO b. 1950 A History of Sex (Head), 1996 Cibachrome, silicone and Plexiglas in the artist’s wooden frame. 45 1/8 x 37 3/4 in. (114.6 x 95.9 cm). Signed and titled “Andres Serrano A History of Sex (Head)” and numbered of seven on the reverse. This work is from an edition of seven.
Estimate $20,000-30,000
PROVENANCE Paula Cooper Gallery, New York; juana de aizpuru, Madrid 239
239 MATTHEW BARNEY b. 1967 A Pele da Lamina, 2004 C-print in the artist’s high-density polyethylene frame. 28 3/4 x 19 1/2 x 2 1/2 in. (73 x 49.5 x 6.4 cm). Signed and dated “Matthew Barney 04” on the reverse. This work is from an edition of 50 plus 10 artist’s proofs.
Estimate $6,000-8,000
PROVENANCE Barbara Gladstone Gallery, New York EXHIBITED Palermo, Galleria Civica d’Arte Moderna, Heretic: Transcendence and Profanity in Contemporary Art, July 27 - September 20, 2006 (another example exhibited) LITERATURE D. Paparoni, Heretic: Transcendence and Profanity in Contemporary Art, Milan/Geneva, 2006, n.p. (illustrated)
240 LORETTA LUX b. 1969 240 Milo 2, 2004 Ilfochrome print. 11 7/8 x 11 7/8 in. (30.2 x 30.2 cm). Signed, titled and dated “Loretta Lux 2004 Milo 2” on the reverse. This work is a printer’s proof from an edition of 20 plus one printer’s proof.
Estimate $5,000-7,000
PROVENANCE Yossi Milo Gallery, New York; In Motion Benefit Auction, March 14, 2005 EXHIBITED Southampton (New York), Parrish Art Museum, All the More Real: Portrayals of Intimacy and Empathy, August 12 - October 14, 2007 (another example exhibited); Louisville (Kentucky), 21c Museum, Creating Identity: Portraits Today, August 14 - December 31, 2009 (another example exhibited) LITERATURE M. W. Weiss, “’All The More Real: Portrayals of Intimacy and Empathy’ at the Parrish,” Dan’s Hamptons, Issue #24, September 7, 2007 241 GREGORY CREWDSON b. 1962 Untitled (sleep walker), 1999 C-print. 47 1/2 x 59 1/2 in. (120.7 x 151.1 cm). Signed “Gregory Crewdson” on a label adhered to the reverse. This work is an artist’s proof from an edition of 10 plus two artist’s proofs.
Estimate $10,000-15,000
PROVENANCE Luhring Augustine, New York LITERATURE S. Berg, ed., Gregory Crewdson 1985 - 2005, Hanover, 2005, pl. 40 (illustrated) 242 FRANK THIEL b. 1966 Stadt 10/06/A (Berlin), 2001 Chromogenic print face-mounted to Plexiglas. 71 1/4 x 100 5/8 in. (181 x 255.6 cm). Signed, titled, dated “Frank Thiel Stadt 10/06/A (Berlin) 2001” and numbered of four on the reverse. This work is from an edition of four.
Estimate $10,000-15,000
PROVENANCE Sean Kelly Gallery, New York EXHIBITED New York, Sean Kelly Gallery, Frank Thiel, February 9 - April 6, 2002 (another example exhibited) LITERATURE F. Thiel, Frank Thiel: A Berlin Decade 1995 - 2005, Ostfildern-Ruit, 2007, p. 40 (illustrated) 243 FLORIAN MAIER-AICHEN b. 1973 Untitled (Factory), 2001 C-print. 49 1/4 x 63 3/4 in. (125.1 x 161.9 cm) paper size. Signed and dated “Florian Maier Aichen 2001” and numbered of six on the reverse of the backing board. This work is from an edition of six.
Estimate $15,000-20,000
PROVENANCE Blum & Poe, Los Angeles; Gallery MinMin, Tokyo 244 JEAN-LUC VILMOUTH b. 1952 Vue d’une chaise, 1986 Wooden chair and 19 cibachrome photographs. Chair: 32 5/8 x 14 1/2 x 14 1/2 in. (82.9 x 36.8 x 36.8 cm); photographs: 13 1/4 x 15 3/4 in. (33.7 x 40 cm) each.
Estimate $6,000-8,000
PROVENANCE Galleria Francesca Kaufmann, Milan; Private collection, Miami 245 LORNA SIMPSON b. 1960 Coiffure, 1991 Three gelatin silver prints and 10 engraved plastic plaques. 81 5/8 x 127 1/4 x 1 3/4 in. (207.3 x 323.2 x 4.4 cm) overall. Signed “Lorna Simpson” on a label adhered to the reverse of the left panel; signed and titled “Lorna Simpson coiffure” on the reverse of the center panel. This work is an artist’s proof from an edition of three plus one artist’s proof.
Estimate $15,000-20,000
PROVENANCE Sean Kelly Gallery, New York EXHIBITED Minneapolis, Walker Arts Center, November 5, 1994 - March 26, 1995; Miami, Center for Fine Arts, Duchamp’s Leg, December 2, 1995 - March 3, 1996 (another example exhibited); Los Angeles, Museum of Contemporary Art, April 16 - July 10, 2006; Miami Art Museum, October 13, 2006 - January 21, 2007; New York, Whitney Museum of American Art, February 8 - May 6, 2007; Kalamazoo (Michigan), Kalamazoo Institute of Arts, May 25 - August 19, 2007; Charleston (South Carolina), Gibbes Museum of Art, Lorna Simpson, September 7 - December 2, 2007 (another example exhibited); Washington D.C., Corcoran Gallery of Art, The American Evolution: A History through Art, March 1 - July 27, 2008 (another example exhibited) LITERATURE J. Haber, “Trying So Hard to Forget,” Haber’s Art Reviews (online content), 2007; A. Cheimets, “Parallel Evolution American History Through Art,” The Georgetown Independent, Washington D.C., March 31, 2008 SESSION II 2pm Lots 246-364 246 JIM HODGES b. 1957 Untitled (Landscape IV), 2000 - 2001 Collaged sheet music and graphite mounted on matte board. 25 1/2 x 21 1/8 in. (64.8 x 53.7 cm). Initialed “JH” lower left and numbered “4” lower right.
Estimate $18,000-25,000
PROVENANCE CRG Gallery, New York 247 CHRISTOPHER WOOL b. 1955 Untitled (R27), 1990 Alkyd on rice paper. Signed and dated “Wool 1990” on the reverse. 74 X 39 1/2 in. (188 X 100.3 cm)
Estimate $40,000-60,000
PROVENANCE Galerie Helen van der Meij, Amsterdam; Jack Hanley Gallery, San Francisco 248 CHRISTOPHER WOOL b. 1955 Untitled, 1988 Alkyd on paper. 64 3/8 X 32 1/8 in. (163.5 X 81.6 cm). Signed and dated “Wool 1988” on the reverse.
Estimate $50,000-70,000
PROVENANCE Luhring Augustine, New York; Jack Hanley Gallery, San Francisco 249
249 RAYMOND PETTIBON b. 1957 No Title (Wall Street’s Chosen Few...), 2000 Ink and watercolor on paper. 16 x 13 7/8 in. (40.6 x 35.2 cm). Signed and dated “Raymond Pettibon 2000” on the reverse.
Estimate $7,000-9,000
PROVENANCE Private Collection
250
250 RAYMOND PETTIBON b. 1957 No Title (An epitaph could not be found…), 1999 Ink and watercolor on paper. 13 1/2 x 12 1/2 in. (34.3 x 31.8 cm). Signed and dated “Raymond Pettibon 4/99” on the reverse.
Estimate $4,000-6,000
PROVENANCE Private Collection 251 ARTURO HERRERA b. 1959 Bedspray (Blue/Green), 2005 Paper cutout on paper. 62 x 71 1/2 in. (157.5 x 181.6 cm).
Estimate $30,000-40,000
PROVENANCE Brent Sikkema, New York (i)
(ii)
252 MARTIN EDER b. 1968 Two works: Untitled, 2002 Ink and graphite on paper. 11 1/8 x 8 5/8 in. (28.3 x 21.9 cm) and 11 1/8 x 8 7/8 in. (28.3 x 22.5 cm). Signed and dated “Martin Eder 8/02” on lower right; signed and dated “Martin Eder 2/02” on lower right.
Estimate $8,000-12,000
PROVENANCE Private collection, Germany LITERATURE (i) Brandenburgischer Kunstverein, ed., Memoirs of My Nervous Illness, Potsdam, 2003, n.p. (illustrated) 253 ELLEN GALLAGHER b. 1965 Untitled, 1997 Watercolor and ink on misu paper. 39 x 25 1/4 in. (99.1 x 64.1 cm). Signed and dated “Ellen Gallagher 1997” lower right.
Estimate $20,000-30,000
PROVENANCE Long Point Gallery, Provincetown (Massachusetts); Private collection, Boston EXHIBITED Provincetown (Massachusetts), Long Point Gallery, Invitational Exhibition, June 22 - July 10, 1997 254 TAL R b. 1967 Nü, 2001 Oil on canvas. 78 3/4 x 78 3/4 in. (200 x 200 cm).
Estimate $70,000-90,000
PROVENANCE Contemporary Fine Arts, Berlin EXHIBITED Horsens Kunstmuseum, Tal R: Ike Og Ancher, February 2 - April 14, 2002; Mönchengladbach, Stästisches Museum Abteiberg, Tal R: Fruitland, May 9 - June 16, 2002 LITERATURE Stästisches Museum Abteiberg , ed., Tal R: Fruitland, Mönchengladbach, 2002, n.p. (illustrated); Tal R, ed., Ike Og Ancher, Horsens, 2002, n.p. (illustrated) Photo: Jochen Littkemann/Courtesy of Contemporary Fine Arts, Berlin 255
255 KEHINDE WILEY b. 1977 St. John the Baptist II (study), 2006 Graphite on paper in the artist’s frame. 26 3/4 x 22 3/4 in. (67.9 x 57.8 cm). Signed and dated “Kehinde Wiley 06” on the reverse.
Estimate $6,000-8,000
PROVENANCE Roberts & Tilton, Los Angeles; Private collection, Los Angeles EXHIBITED Los Angeles, Roberts & Tilton, June 3 - July 8, 2006; Columbus Museum of Art, Kehinde Wiley: Columbus, September 8, 2006 - January 7, 2007 LITERATURE S. Van Den Burg, Kehinde Wiley, Drawings & Notes (online content), August 9, 2009 (illustrated)
256
256 PAUL P. b. 1977 Untitled (Lamplight), 2002 Oil on canvas. 24 x 18 in. (61 x 45.7 cm). Signed, titled and dated “Paul P Untitled Lamplight 2002” twice on the reverse.
Estimate $5,000-7,000
PROVENANCE Other Gallery, Winnipeg 257 JULIA JACQUETTE b. 1964 Men and Women (Fighting), 2003 Oil on linen. 30 x 30 in. (76.2 x 76.2 cm). Signed, titled and dated “Julia Jacquette Men and Women (Fighting) 2003” on the reverse.
Estimate $12,000-18,000
PROVENANCE Michael Steinberg Fine Art, New York 258 MARK LOMBARDI 1951 - 2000 Untitled (all parties-BCCI, Nugan Hand, et. al.), 1997 Graphite on paper. 10 7/8 x 14 in. (27.6 x 35.6 cm).
Estimate $10,000-15,000
PROVENANCE Pierogi, New York 259 MARK LOMBARDI 1951 - 2000 Banca Nazionale del Lavoro, Reagan, Bush, Thatcher and the Arming of Iraq c. 1979-90 2nd version, 1990 Graphite on paper. 24 1/8 x 53 7/8 in. (61.3 x 136.8 cm). Signed, titled and dated “Banca Nazionale del Lavoro, Reagan, Bush, Thatcher and the Arming of Iraq c. 1979-90 2nd version ML © MCMXCV” center left.
Estimate $25,000-35,000
PROVENANCE Pierogi, New York; Galerie Gabrielle Maubrie, Paris 260 THOMAS NOZKOWSKI b. 1944 Untitled (X-10), 1991 Oil on paper. 10 1/4 x 16 1/4 in. (26 x 41.3 cm). Signed, titled and dated “Untitled 1991 oil on paper X-10 Thomas Nozkowski” on the reverse.
Estimate $7,000-9,000
PROVENANCE Max Protetch, New York; Private Collection 261 DANIEL RICHTER b. 1962 Heidelandschaft (Heathland), 2003 Oil, graphite and adhesive on paper. 28 1/2 x 14 3/4 in. (72.4 x 37.5 cm). Initialed, titled and dated “Heidelandschaft DR 03” lower right.
Estimate $8,000-12,000
PROVENANCE Contemporary Fine Arts, Berlin; David Zwirner, New York 262
263
262 PHILIP TAAFFE b. 1955 263 PHILIP TAAFFE b. 1955 Untitled, 1987 Untitled, 1987 Ink, watercolor and gouache on paper. 27 1/2 x 39 1/2 in. (69.9 x 100.3 cm). Acrylic on paper. 22 x 34 in. (55.9 x 86.4 cm). Signed and dated “P. Taaffe 1987” lower right.
Estimate $7,000-9,000 Estimate $6,000-8,000
PROVENANCE Acquired directly from the artist; Private collection, USA PROVENANCE Galleria Cardi, Milan (ii)
(i)
(iii)
(iv)
264 RAYMOND PETTIBON b. 1957 PROVENANCE (i) Georg Kargl Fine Arts, Vienna; (ii) Galerie Jürgen Becker, Hamburg; Four works: (i) No Title (Please, no moralizing...), (ii) No Title (Baby Doll...), (iii) No (iii), (iv) Contemporary Fine Arts, Berlin Title (In the fields...), (iv) No Title (Oh, wither away...), (i) 1990, (ii) 1991, (iii) 1995, (iv) EXHIBITED (i) Bolzano (Italy), Museion, January 31 - May 18, 2003; Museo d’Arte 1997 Moderna di Bologna, Raymond Pettibon Drawings 1979 - 2003, June 26 - August 31, 2003; (i) - (iv) Vienna, Kunsthalle Wien, Raymond Pettibon Whatever it is You’re Looking for You (i) Ink on paper, (ii) ink, felt-tip pen and watercolor on paper, (iii) ink and watercolor on Won’t Find it Here, October 13 - February 25, 2007 paper, (iv) ink, colored pencil and graphite on paper. (i) 18 x 11 7/8 in. (45.7 x 30.2 cm); LITERATURE (ii), (iii), (iv) T. Miessgang, G. Matt, E. Dimendberg, Raymond Pettibon (ii) 12 3/8 x 12 in. (31.4 x 30.5 cm), (iii) 15 3/4 x 7 1/2 in. (40 x 19.1 cm), (iv) 26 1/8 x 18 7/8 Whatever it is You’re Looking for You Won’t Find it Here, Nuremberg, 2007 (illustrated) in. (66.4 x 47.9 cm). Each signed and dated on the reverse. pp. 68, 120, 220 Estimate $25,000-35,000 265 CECILY BROWN b. 1969 Cottage No 3, 1991 Oil on canvas. 36 1/5 x 31 1/8 in. (91.9 x 79.1 cm).
Estimate $20,000-30,000
PROVENANCE Acquired directly from the artist
266
(i)
(ii)
266 AMELIE VON WULFFEN b. 1966 267 AMELIE VON WULFFEN b. 1966 Two works: Untitled (White Horse) and Untitled (Tree and arch, pink), 2004 and 2003 Untitled, 2002 Ink, acrylic, watercolor and collaged photograph on paper. 22 x 29 3/4 in. (55.9 x Graphite, watercolor, oil and photographic collage on paper. 47 3/4 x 58 1/2 in. 75.6 cm) and 36 x 35 1/2 in. (91.4 x 90.2 cm). Each signed and dated on the reverse. (121.3 x 148.6 cm). Signed and dated “V. Wulffen 2002” on the reverse.
Estimate $10,000-15,000 Estimate $5,000-7,000
PROVENANCE Greene Naftali, New York PROVENANCE Private collection, Europe EXHIBITED (ii) New York, Greene Naftali, Amelie von Wulffen: Paare. Möbel. Landschaften., February 20 - March 20, 2004
267 268 NEAL TAIT b. 1965 Untitled (Dead Houses), 2000 Oil on canvas. 36 1/4 x 46 1/4 in. (92.1 x 117.5 cm). Signed, titled and dated “Untitled Dead Houses Neal 00” on the reverse.
Estimate $10,000-15,000
PROVENANCE White Cube, London 269
269 JESSICA STOCKHOLDER b. 1959 270 SHAAN SYED b. 1975 Turning Paper, 2000 And When You’re (Really) High No. 5, 2007 Acrylic, fabric, glue and linoleum on board. 40 1/2 x 50 3/4 in. (102.9 x 128.9 cm). Oil on canvas. 72 1/2 x 64 in. (184.2 x 162.6 cm). Signed, titled and dated “Shaan This work is unique. Syed And When You’re (Really) High No. 5 2007” on the reverse.
Estimate $6,000-8,000 Estimate $6,000-8,000
PROVENANCE Galerie Nathalie Obadia, Paris PROVENANCE Brown, London
270 271 JONATHAN LASKER b. 1948 Untitled, 1990 Crayon on paper. 22 1/4 x 30 in. (56.5 x 76.2 cm). Signed and dated “J. Lasker 1990” on the reverse.
Estimate $7,000-9,000
PROVENANCE Galerie Thaddaeus Ropac, Paris 272 RICHARD WOODS b. 1966 Personal History, 2001 Mixed media paint on MDF wood (in 17 parts). 119 3/4 x 240 in. (304.2 x 609.6 cm) overall. Signed and dated by the artist on the reverse.
Estimate $50,000-70,000
PROVENANCE Modern Art, London
Adding architectural motifs or caricatures back into a real building is a simple way of highlighting what’s already there. This language is used because hopefully it emphasizes that I am not making a claim that the works I make are architecture, but are playful vehicles by which we can reassess the structures that already exist. […] It’s important to me that the work has both a graphic resonance as well as a DIY aesthetic. This combination allows the works to physically sit on the existing architecture, but also to remain separate from its architectural host.
—Richard Woods, in an interview with Lily Rose, Whitewall Magazine, “Richard Woods at City Hall,” New York, July 28, 2009
Richard Woods has made a name for himself recreating the everyday world around us. Melding art, architecture and design, the artist redistributes and transforms our mundane into other worldly fine art. Playing with the idea of a commonly used item, Woods reinterprets that meaning by juxtaposing art historical references and cues from nature. In recent years, Woods has also begun creating coverings for the outside of houses, turning various homes into mock-Tudor mansions and restyling an Oxford college building as a red-brick home, making it appear both splashy and suburban at the same time. One is meant to live with the artist’s creations and enjoy it with all senses.
273 KEITH TYSON b. 1969 Studio Wall Drawing September 1999 (The consequences of addition), No. 1, 1999 Gouache, watercolor, felt-tip pen and adhesive on paper. 60 3/8 x 47 3/4 in. (153.4 x 121.3 cm). Signed “K. Tyson” on the reverse of the backing board.
Estimate $20,000-30,000
PROVENANCE Anthony Reynolds Gallery, London 274 RYAN McGINNESS b. 1971 The Greatest Good for the Greatest Number, 2006 Acrylic and urethane in Plexiglas vitrines (in nine parts). 24 1/2 x 24 1/2 in. (62.2 x 62.2 cm) each. Each signed and dated “Ryan McGinness 2006” on the overlap.
Estimate $50,000-70,000
PROVENANCE Acquired directly from the artist 275 THOMAS GRÜNFELD b. 1956 Misfit (Flamingo), 1998 Taxidermied flamingo and canine sculpture. 32 3/4 x 12 x 20 1/2 in. (83.2 x 30.5 x 52.1 cm). This work is accompanied by a certificate of authenticity signed by the artist.
Estimate $10,000-15,000
PROVENANCE Galleria Massimo De Carlo, Milan; Private collection, Switzerland EXHIBITED Cologne, Kölnischer Kunstverein, Déformation Professionelle, October 1997 LITERATURE E. Frank, “Thomas Grünfeld: The Misfits”, Antennae, Issue 7, Autumn 2008, p. 24 (illustrated); R. Altstatt, “Thomas Grunfeld at Kolnischer Kunstverein,” Art in America, March 1998; U. Grosenick and B. Riemschneider, eds., Art at the Turn of the Millennium, Cologne, 1999, p. 20, no. 01 276 SEAN LANDERS b. 1962 Half beaten down, yet cautiously optimistic, 1997 Oil on linen. 38 1/4 x 32 in. (97.2 x 81.3 cm). Signed and dated “© 1997 Sean Landers” lower right.
Estimate $30,000-40,000
PROVENANCE Andrea Rosen Gallery, New York 277 CAROL BOVE b. 1971 Christine, 2001 Ink on transparentized vellum. 40 x 30 1/2 in. (101.6 x 77.5 cm).
Estimate $9,000-12,000
PROVENANCE Team Gallery, New York 278 SHAHZIA SIKANDER b. 1969 Five works: Untitled, 1997 Gouache on rice paper. 13 5/8 x 8 in. (34.6 x 20.3 cm) - 19 1/4 x 11 3/8 in. (48.9 x 28.9 cm). Signed “Shahzia” on face.
Estimate $15,000-20,000
PROVENANCE Deitch Projects, New York 279 DANIEL HESIDENCE b. 1975 Untitled (1 7 3 6), 2005 Oil on canvas. 24 x 20 in. (61 x 50.8 cm). Signed, titled, dated “Daniel Hesidence 1 7 3 6 05” and accompanied by the artist’s hair wax sealed to the reverse.
Estimate $6,000-8,000
PROVENANCE Feature Inc., New York 280 SUE WILLIAMS b. 1954 Shoes Take a Backseat (Green, Orange, and Blue), 1998 Oil and acrylic on canvas. 96 1/8 x 104 1/2 in. (244.2 x 265 cm). Signed, titled and dated “Sue Williams Shoes Take a Backseat (Green Orange + Blue) 98” on the reverse.
Estimate $45,000-65,000
PROVENANCE Jean Bernier, Athens 281 KEITH HARING 1958 - 1990 Untitled, 1981 Watercolor and oil on paper. 38 x 50 in. (96.5 x 127 cm). Signed and dated “K. Haring 1981” on the reverse. This work is accompanied by a certificate of authenticity issued by the Estate of Keith Haring.
Estimate $30,000-40,000
PROVENANCE Tony Shafrazi Gallery, New York; Private collection, New York 282 RYAN McGINNESS b. 1971 The Transparent Reflection of Reality, 2007 Acrylic on canvas. 96 1/4 x 96 1/4 x 2 5/8 in. (244.5 x 244.5 x 6.7 cm). Signed, titled and dated “Ryan McGinness The Transparent Reflection of Reality 2007” on the overlap.
Estimate $50,000-70,000
PROVENANCE Deitch Projects, New York 283
283 SOL LEWITT 1928 - 2007 Untitled, 2001 Gouache on paper. 29 1/4 x 11 1/4 in. (74.3 x 28.6 cm). Signed and dated “S. Lewitt 01” lower right.
Estimate $15,000-20,000
PROVENANCE Gifted by the artist to the present owner
284 SOL LEWITT 1928 - 2007 Untitled, 2003 Gouache on paper. 11 1/4 x 11 in. (28.6 x 27.9 cm). Signed and dated “S. Lewitt 03” lower right.
Estimate $7,000-9,000
PROVENANCE Acquired directly from the artist
284 285 SOL LEWITT 1928 - 2007 Untitled, 2003 Gouache on paper. 30 1/8 x 29 7/8 in. (76.5 x 75.9 cm). Signed and dated “S.Lewitt 03” lower right.
Estimate $20,000-30,000
PROVENANCE Gifted by the artist to the present owner 286 SAM FRANCIS 1923 - 1994 Untitled, 1964 The space at the center of these paintings is reserved for you. Acrylic on paper. 42 1/8 x 29 1/2 in. (107 x 74.9 cm). Signed, dated “Sam Francis 1964” and stamped with the Estate seal on the reverse. This work is registered Sam Francis, aphorism referring to Edge paintings, taken from Sam with the Estate, number SF64-053. Francis, Edition Cantz, 1993 Estimate $20,000-30,000
PROVENANCE ACE Gallery, Beverly Hills The present lot, one of Sam Francis’ very first Edge pieces, is significant EXHIBITED Bern, Galerie Kornfeld und Klipstein, Sam Francis, 1976; Paris, Galerie to the artist’s personal history as it was completed prior to him moving Jean Fournier, Sam Francis de 1947 A 1988: sur Papier, October 21 - November 26, 1988; full time to Tokyo in 1965. The colors in this piece are more vibrant and Beverly Hills, ACE Gallery, Sam Francis, March 1 - July 28, 2003 LITERATURE This work will be included in the forthcoming Sam Francis catalogue auspicious than in subsequent works from the series and is a testament raisonné of works on paper to be published by University of California Press, Berkeley to the very nature of Francis’ lifelong formal discourse with color. 287 DAVID SALLE b. 1952 Songs for Sale, 2004 Oil and acrylic on canvas. 42 x 66 in. (106.7 x 167.6 cm). Signed, titled and dated “David Salle Songs for Sale 2004” on the reverse. This work is accompanied by three photographs each signed by the artist.
Estimate $70,000-90,000
PROVENANCE Acquired directly from the artist 288
288 RICHARD PETTIBONE b. 1938 Neo Plasticism Piet Mondrian Tableau No. 1 1925, 1995 Acrylic on canvas in the artist’s wooden frame. 11 3/4 x 11 3/4 in. (29.8 x 29.8 cm). Inscribed “R Pettibone 1995 Neo Plasticism Piet Mondrian Tableau No 1 1995” on the stretcher bar; stamped “Piet Mondrian Tableau No 1 1925 RP 95” on the reverse.
Estimate $8,000-12,000
PROVENANCE Michael Kohn Gallery, Los Angeles
289
289 RICHARD PETTIBONE b. 1938 Shaker One Drawer Stand and Endless Column, 1987 Carved maple and cherry wood. 55 3/8 x 17 x 14 in. (140.7 x 43.2 x 35.6 cm). Signed and dated “Richard Pettibone 1987” on the underside of back leg.
Estimate $6,000-8,000
PROVENANCE Acquired directly from the artist EXHIBITED New York, Curt Marcus Gallery, Richard Pettibone, January 11 - February 4, 1989; The Arts Club of Chicago, Richard Pettibone: Sculpture, January 31 - March 11, 2005; Philadelphia, Institute of Contemporary Art, University of Pennsylvania, April 30 - July 31, 2005; Saratoga Springs (New York), Tang Museum and Art Gallery at Skidmore College, November 19, 2005 - February 12, 2006; Laguna Beach (California), Laguna Art Museum, Richard Pettibone: A Retrospective, March 12 - May 28, 2006 LITERATURE I. Berry, M. Duncan, Richard Pettibone: A Retrospective, Saratoga Springs, 2005, p. 143 (illustrated) 290 ROBERT RAUSCHENBERG 1925 - 2008 Sling-Shots Lit #3, 1985 Lithograph and screenprint on paper and assemblage with sailcloth, Mylar, wooden lightbox, fluorescent light fixture, aluminum moveable window shade system and Plexiglas bars. 84 1/2 x 50 1/4 x 12 1/2 in. (214.6 x 127.6 x 31.8 cm). This work is from an edition of 25 plus seven artist’s proofs.
Estimate $25,000-35,000
PROVENANCE Published by Gemini G.E.L., Los Angeles EXHIBITED Portland, Elizabeth Leach Gallery, Robert Rauschenberg & Gregg Renfrow: Color Field Paintings, February 5 - 28, 2004 (another example exhibited) 291 ALFRED JENSEN 1903 - 1981 Equality III, 1972 Oil on canvas. 36 x 24 in. (91.4 x 61 cm). Signed, titled and dated “Equality III 1972 Alfred Jensen” on the reverse.
Estimate $20,000-30,000
PROVENANCE Acquired directly from the artist; Private collection, Europe; Collection Dr. & Mrs. Arvin J. Klein, San Diego; Margo Leavin Gallery, Los Angeles EXHIBITED La Jolla (California), Wenger Gallery, Alfred Jensen-One-Man Exhibit, July - August, 1978; San Diego Museum of Art, Insight: Selections from San Diego Private Collections, April 23 - June 13, 1983 292 ALLEN RUPPERSBERG b. 1944 The Singing Posters, Poetry Sound Collage, Sculpture Book, 2003 Printed Colby posters and Xerox copies. 132 x 168 1/4 x 57 1/2 in. (335.3 x 427.4 x 146.1 cm) as installed.
Estimate $15,000-20,000
PROVENANCE Acquired directly from the artist EXHIBITED L’Institut d’Art Contemporain de Villeurbanne, 8th Biennale de Lyon: Experiencing Duration, September 14 - December 31, 2005; Kunsthalle Düsseldorf, Allen Ruppersberg One of Many - Origins and Variants, December 11, 2005 - February 19, 2006 LITERATURE Kunsthalle Düsseldorf, ed., Allen Ruppersberg One of Many - Origins and Variants, Cologne, pp. 185 - 190 (illustrated) 293 RICHARD TUTTLE b. 1941 White Spacer, 1980 Graphite, ink and felt-tip pen on paper (in nine parts). 7 3/4 x 6 in. (19.7 x 15.2 cm) each; 17 1/2 x 38 1/4 in. (44.5 x 97.2 cm) overall. Signed and dated “Richard Tuttle 1980” on the reverse of top right element.
Estimate $10,000-15,000
PROVENANCE Margo Leavin Gallery, Los Angeles EXHIBITED New York, Leo Castelli Gallery, Foundation for Contemporary Performance Art 30th Anniversary Exhibition of Drawings, December 11, 1993 - January 8, 1994 294 TONY SMITH 1912 - 1980 Untitled, 1953 Ink on paper (in four parts). 5 7/8 x 3 7/8 in. (14.9 x 9.8 cm) each; 5 7/8 x 23 1/4 in. (14.9 x 59.1 cm) overall.
Estimate $15,000-20,000
PROVENANCE Matthew Marks Gallery, New York; James Kelly Contemporary, Santa Fe; Marc Selwyn Fine Art, Los Angeles 295 RONI HORN b. 1955 Hollowed Mass Group II:5, 1984 - 1985 Solid cast lead. 6 x 10 3/4 x 12 in. (15.2 x 27.3 x 30.5 cm).
Estimate $15,000-20,000
PROVENANCE Galerie Lelong, New York EXHIBITED New York, Hunter College Art Galleries, Text and Touch, October 7 - November 15, 1997 296 RICHARD TUTTLE b. 1941 Untitled (In the Air), 1976 Colored pencil on paper (in eight parts). 10 x 8 in. (25.4 x 20.3 cm) each. Each signed “R Tuttle” on the reverse except for top right.
Estimate $40,000-60,000
PROVENANCE Brooke Alexander Gallery, New York 297
298
297 DONALD JUDD 1928 - 1994 Untitled, 1971 Stainless steel and Plexiglas. 4 x 27 x 23 in. (10.2 x 68.6 x 58.4 cm). Inscribed, dated “Don Judd DJ71-2028 © Gemini G.E.L 1971” and numbered of 50 and stamped on the underside. This work is from an edition of 50. Estimate $8,000-12,000 •
PROVENANCE Gemini G.E.L., Los Angeles
298 LORIS CECCHINI b. 1969 Thm (Milano), 2002 Urethane rubber. 35 x 17 x 11 in. (88.9 x 43.2 x 27.9 cm). This work is an artist’s proof from an edition of three plus two artist’s proofs and is accompanied by a certificate of authenticity signed by the artist.
Estimate $7,000-9,000
PROVENANCE Galleria Continua, San Gimignano 299 KIKI SMITH b. 1954 Untitled (Hands Waving), 2002 Lithograph and ink on paper collage with two mirrored discs on Nepal paper. 37 1/2 x 31 in. (95.3 x 78.7 cm). Signed and dated “Kiki Smith 2002” lower right.
Estimate $12,000-18,000
PROVENANCE Donated by the artist to the Expect Art Benefit Auction, New York, May 12, 2002 (i) (ii) (iii)
300 DONALD SULTAN b. 1951 Three works: (i) Wall Flowers Feb 9, 1994, (ii) Wall Flowers January 19, 1994, (iii) Wall Flowers Jan 17, 1994, 1994 Tempera and graphite on handmade paper. 11 1/2 x 8 in. (29.2 x 20.3 cm) each. Each signed, titled and dated (i) “Wall Flowers Feb 9, 1994,” (ii) “Wall Flowers January 19, 1994,” (iii) “Wall Flowers Jan 17, 1994” along left edge.
Estimate $6,000-8,000
PROVENANCE Paul Kasmin Gallery, New York 301 DONALD BAECHLER b. 1956 Untitled (Black Flowers), 2003 Acrylic and fabric collage on canvas. 24 x 24 in. (61 x 61 cm). Signed, initialed and dated “Donald Baechler 2003 DB ‘03” twice on the reverse.
Estimate $10,000-15,000
PROVENANCE Private collection, New York 302 GENE DAVIS 1920 - 1985 Untitled, 1979 Acrylic and graphite on canvas. 41 x 28 in. (104.1 x 71.1 cm). Signed, titled and dated “Gene Davis Untitled 1977” on the reverse.
Estimate $12,000-18,000
PROVENANCE Droll/Kolbert Gallery, New York; Collection Lois and David Coleman, Michigan and California; Art Resources Group, Newport Beach (California) 303 ROSS BLECKNER b. 1949 Untitled, 1999 Oil on canvas. 60 x 60 in. (152.4 x 152.4 cm). Signed and dated “Ross Bleckner 1999” on the reverse.
Estimate $30,000-40,000
PROVENANCE Acquired directly from the artist 304 KENNY SCHARF b. 1958 Stay Tuned, 1983 Oil and spray-paint on canvas. 24 x 47 3/4 in. (61 x 121.3 cm). Signed, titled and dated “Kenny Scharf Stay Tuned 1983” on the reverse.
Estimate $30,000-40,000
PROVENANCE Tony Shafrazi Gallery, New York; Nicole Klagsbrun, New York 305 DAVID SALLE b. 1952 Pale Skin, 2005 Oil on linen. 48 x 72 in. (121.9 x 182.9 cm). Signed, titled and dated “David Salle ‘Pale Skin’ 2005” on the reverse.
Estimate $50,000-70,000
PROVENANCE Mary Boone Gallery, New York 306 GEORGE CONDO b. 1957 Nihilistic Lesson #1, 1986 Tinted varnish, graphite, colored pencil and ballpoint pen on canvas. 80 1/8 x 138 in. (203.5 x 350.5 cm). Signed and dated “Condo 86” lower right. This work is accompanied by a photograph signed and titled “Condo Nihilistic Lesson #1” by the artist.
Estimate $60,000-80,000
PROVENANCE Barbara Gladstone Gallery, New York; Vrej Baghoomian Gallery, New York; Private collection, Connecticut; PaceWildenstein, New York
(Details of the present lot) 45237 307
308
307 JEAN-MICHEL BASQUIAT 1960 - 1988 Untitled, circa 1977 Ink and felt-tip pen on paper. 10 x 8 in. (25.4 x 20.3 cm). Signed “Basquiat” lower right. This work is accompanied by a certificate of authenticity issued by the Estate of Jean-Michel Basquiat.
Estimate $15,000-20,000
PROVENANCE Acquired directly from the artist
308 CARROLL DUNHAM b. 1949 Untitled (9/25/96, 10/2/96, 10/3/96), 1996 Crayon and graphite on paper. 16 1/2 x 11 1/4 in. (41.9 x 28.6 cm). Signed and dated “9/25/96, 10/2/96, 10/3/96 C. Dunham” lower edge.
Estimate $5,000-7,000
PROVENANCE Gladstone Gallery, New York; Nolan/Eckman Gallery, New York 309 ERIK PARKER b. 1968 Hello Sunshine, 2004 Acrylic and felt-tip pen on canvas. 84 x 84 in. (213.4 x 213.4 cm). Signed, titled and dated “Erik Parker ‘Hello Sunshine’ 2004” on the overlap.
Estimate $15,000-20,000
PROVENANCE Arndt & Partner, Berlin EXHIBITED Berlin, Arndt & Partner, Erik Parker - Rechanneled Sincerity, April 24 - June 19, 2004 310 HIDEAKI KAWASHIMA b. 1969 Collapse, 2004 Acrylic on canvas. 12 1/2 x 16 1/8 in. (31.8 x 41 cm). Signed, titled and dated “Kawashima [in Japanese] collapse 2004” on the overlap.
Estimate $6,000-8,000
PROVENANCE Tomio Koyama Gallery, Tokyo 311 JULIE ROBERTS b. 1963 Child, 1994 Oil and acrylic on canvas. 60 x 60 in. (152.4 x 152.4 cm). Signed, titled and dated “Julie Roberts ‘Child’ 1994” on the overlap.
Estimate $20,000-30,000
PROVENANCE Tanya Bonakdar Gallery, New York; Sean Kelly Gallery, New York 312
Artwork ©2004/Mr./Kaikai Kiki Co. Ltd., All Rights Reserved
313
312 MR. b. 1969 Two works: Sushicchi and Kita Asaka-chan, 2004 Acrylic on fiberglass reinforced plastic. 5 x 3 1/2 x 4 in. (12.7 x 8.9 x 10.2 cm) each. These works are unique.
Estimate $6,000-8,000
PROVENANCE Tomio Koyama Gallery, Tokyo
313 CEAL FLOYER b. 1968 Helix, 2003 Painted wooden shelf, plastic Helix metric circles template and 32 found objects. 11 3/4 x 7 7/8 x 5 in. (29.8 x 20 x 12.7 cm) overall.
Estimate $6,000-8,000
PROVENANCE Casey Kaplan, New York 314
315
314 WAYNE GONZALES b. 1957 315 WAYNE GONZALES b. 1957 Face Painting, 1995 Face Painting, 1995 Acrylic and metallic paint on canvas. 18 in. (45.7 cm) diameter. Signed and dated Acrylic and metallic paint on canvas. 18 in. (45.7 cm) diameter. Signed and dated “W Gonzales 1995” on the reverse. “W Gonzales 1995” on the reverse.
Estimate $7,000-9,000 Estimate $7,000-9,000
PROVENANCE Acquired directly from the artist PROVENANCE Acquired directly from the artist 316
317
316 JONATHAN SELIGER b. 1955 317 JONATHAN SELIGER b. 1955 Dear Odette, 2002 Entre Nous (Cabana), 2001 Oil, alkyd, acrylic, modeling paste and varnish on canvas. 27 x 32 1/2 x 7 1/4 in. Oil, alkyd, acrylic, modeling paste and varnish on canvas. 19 3/4 x 18 x 7 in. (68.6 x 82.6 x 18.4 cm). Signed, titled and dated “Seliger 2002 Dear Odette” on (50.2 x 45.7 x 17.8 cm). Signed, titled and dated “Seliger Entre Nous (Cabana) 2001” the underside. on the underside.
Estimate $2,000-3,000 Estimate $2,000-3,000
PROVENANCE Jack Shainman Gallery, New York PROVENANCE Jack Shainman Gallery, New York EXHIBITED Boston, Ars Libri, GDP: Gross Domestic Product, July 30 - September 28, 2008 EXHIBITED Boston, Ars Libri, GDP: Gross Domestic Product, July 30 - September 28, 2008 LITERATURE C. McQuaid, “Two new takes on packaging are in the bag,” LITERATURE C. McQuaid, “Two new takes on packaging are in the bag,” The Boston Globe, July 30, 2008 The Boston Globe, July 30, 2008 318 KENNY SCHARF b. 1958 Swoosh, 1996 Cast bronze. 16 x 14 1/2 x 7 1/4 in. (40.6 x 36.8 x 18.4 cm). Inscribed and dated “Kenny Scharf ‘96” and numbered of four along lower rear edge. This work is from an edition of four.
Estimate $18,000-25,000
PROVENANCE Tony Shafrazi Gallery, New York 319 TODD HEBERT b. 1972 Dew, Bottle, 2005 Acrylic on canvas over panel. 84 x 60 in. (213.4 x 152.4 cm). Signed, titled and dated “T. Hebert Dew, Bottle 2005” on the reverse.
Estimate $6,000-8,000
PROVENANCE Bellwether, New York EXHIBITED Ridgefield (Connecticut), The Aldrich Contemporary Art Museum, Todd Hebert: 2005 Aldrich Emerging Artist Award Recipient, October 16, 2005 - March 12, 2006 320 IÑIGO MANGLANO-OVALLE b. 1961 Paternity Test (Self-portrait with Parents), a unique work from Paternity Test (self-portrait with parents), 1999 Manglano-Ovalle’s groundbreaking DNA-Portrait series, uses Triptych: three color photographs mounted to Plexiglas. 63 x 20 in. (160 x 50.8 cm) - genomic technology to critique the infamous tradition of casta (caste) 70 x 20 in. (177.8 x 50.8 cm) each. Each signed “Iñigo Manglano-Ovalle” on a label adhered to the reverse. This work is unique. painting in eighteenth and nineteenth-century Spain. During that time, Spanish colonials commissioned casta paintings to illustrate Estimate $15,000-20,000 the different racial “mixtures” that were developing in the New World.
PROVENANCE Max Protetch, New York Himself a Spanish immigrant, Manglano-Ovalle’s work frequently explores issues of race and acculturation in the United States, of which Paternity Test (Self-portrait with Parents), is an example. 321
321 TAVARES STRACHAN b. 1979 Where, What, When (Dislocated remnants from simultaneous events #8 and #9, Providence, RI), 2006 Wooden shelves, found wooden window frames with metal fixtures and Plexiglas. 39 3/4 x 29 5/8 x 12 in. (101 x 75.2 x 30.5 cm) each element; 39 3/4 x 65 3/4 x 12 in. (101 x 167 x 30.5 cm) overall.
Estimate $7,000-9,000
PROVENANCE Pierogi, New York EXHIBITED New York, Pierogi, Factitious, June 23 - July 31, 2006
322
322 DAVID HAMMONS b. 1943 The Holy Bible: Old Testament, 2002 Book with leather bound cover. 10 3/4 x 2 3/8 x 13 3/8 in. (27.3 x 6 x 34 cm). Signed “David Hammons” and numbered of 165 inside front cover. This work is from an edition of 165.
Estimate $7,000-9,000
PROVENANCE Hand/Eye Projects, London 323 NANCY RUBINS b. 1952 Hot Water Heaters and Wire, 1993 Installation comprised of nine found water heaters, wire, insulation, pipe fittings and electrical wire. 72 x 64 x 61 in. (182.9 x 162.6 x 154.9 cm) as installed.
Estimate $15,000-20,000
PROVENANCE Acquired directly from the artist 324 BRIAN ALFRED b. 1974 Kami/Kaze, 2003 Acrylic on canvas. 72 x 95 in. (182.9 x 241.3 cm). Signed, titled and dated “Alfred ‘Kami/Kaze’ 2003” on the stretcher bar.
Estimate $7,000-9,000
PROVENANCE Max Protetch, New York EXHIBITED New York, Max Protetch, Brian Alfred, March - April 2003 325 CAMERON MARTIN b. 1970 Untitled (095), 2000 Oil on canvas. 53 1/8 x 40 in. (134.9 x 101.6 cm). Signed, titled and dated “Cameron Martin Untitled (095) 2000” on the reverse.
Estimate $10,000-15,000
PROVENANCE Kevin Bruk Gallery, Miami 326 McDERMOTT & McGOUGH b. 1952 and 1958 Turned-Down Collar. 1928., 1989 Oil on paper in handblown glass frame. 27 1/2 x 35 1/2 in. (69.9 x 90.2 cm). Signed and titled “Messers McDermott and McGough 1928” lower right.
Estimate $7,000-9,000
PROVENANCE Sperone Westwater, New York 327 MATTHEW BRANNON b. 1971 Two works: The last thing you remember was staring at the little white tile (Hers) and The last thing you remember was staring at the little white tile (His), 2006 Letterpress on paper. 24 x 18 in. (61 x 45.7 cm) each. Signed, dated and numbered “1/1 Matthew Brannon 2006” on the reverse. These works are numbered one from an edition of one.
Estimate $8,000-12,000
PROVENANCE David Kordansky Gallery, Los Angeles EXHIBITED Berlin, Jan Winkelmann, Matthew Brannon - Hyena, April 29 - June 3, 2006 328 ROBERT MELEE b. 1966 Not Sure, 2006 Plaster, enamel and canvas on wood. 67 1/2 x 26 x 19 1/2 in. (171.5 x 66 x 49.5 cm). Signed and dated “Robert Melee 2006” on the underside.
Estimate $8,000-12,000
PROVENANCE Acquired directly from the artist 329 JIM SHAW b. 1952 The Birth of a Notion, 2003 Oil on canvas. 72 1/4 x 48 1/8 x 2 1/2 in. (183.5 x 122.2 x 6.4 cm). Signed and dated “Jim Shaw 03” on the stretcher bar.
Estimate $25,000-35,000
PROVENANCE Bernier/Eliades Gallery, Athens EXHIBITED Athens, Bernier/Eliades Gallery, Jim Shaw, April 19 - May 31, 2003 330 AARON SPANGLER b. 1971 A Little Indian, 2005 Carved and painted maple. 12 x 7 x 8 in. (30.5 x 17.8 x 20.3 cm).
Estimate $10,000-15,000
PROVENANCE Zach Feuer Gallery (LFL), New York 331 AARON SPANGLER b. 1971 The Hideaway, 2005 Carved and painted maple. 48 x 60 in. (121.9 x 152.4 cm)
Estimate $20,000-30,000
PROVENANCE Zach Feuer Gallery (LFL), N ew York 332
332 IONA ROZEAL BROWN b. 1966 333 MARILYN MINTER b. 1948 blackface #47, 2003 Untitled (from Fun House Mirror Series), 1991 Acrylic and ink on paper. 50 x 38 in. (127 x 96.5 cm). Signed, titled and dated “Iona Silkscreen dry mounted on foam core board. 24 x 55 3/4 in. (61 x 141.6 cm) image Brown blackface #47 2003” on the reverse. size. Signed and dated “MMinter 1991” lower right.
Estimate $5,000-7,000 Estimate $5,000-7,000
PROVENANCE Caren Golden Fine Art, New York; Private collection, Miami PROVENANCE Private Collection
333 334 MANUEL OCAMPO b. 1965 Peu de Chiens (Few Dogs), 1991 Oil on canvas in the artist’s wooden frame. 75 1/4 x 83 3/8 in. (191.1 x 211.8 cm).
Estimate $8,000-12,000
PROVENANCE Fred Hoffman Gallery, Santa Monica 335 JITISH KALLAT b. 1974 Analgesic Studies #18, 2005 - 2007 Acrylic, oil, glitter and felt-tip pen on board. 27 x 19 1/8 in. (68.6 x 48.6 cm). Signed, titled and dated “-Jitish Kallat-Analgesic Studies-18, (2005-07)” upper left and again on the reverse.
Estimate $8,000-12,000
PROVENANCE Private Collection 336 JITISH KALLAT b. 1974 Analgesic Studies #17, 2005 - 2007 Acrylic, oil, glitter and felt-tip pen on board. 27 x 19 1/8 in. (68.6 x 48.6 cm). Signed, titled and dated “-Jitish Kallat-Analgesic Studies-17, (2005-07)” upper right and again on the reverse.
Estimate $8,000-12,000
PROVENANCE Private Collection 337
337 JANIS AVOTINŠ b. 1981 338 MATT SAUNDERS b. 1975 While, 2005 UDO (5 drawings) # 14, 2004 Acrylic on linen. 8 x 7 in. (20.3 x 17.8 cm). Signed, titled and dated “Janis Avotins Ink on mylar. 5 7/8 x 7 in. (14.9 x 17.8 cm) each; 5 7/8 x 35 3/4 in. (14.9 x 90.8 cm) ‘While’ 2005” on the overlap. overall. Each initialed and dated “MS 2004” lower right; signed, titled and dated “Matt Saunders UDO (5 drawings) #14 2004” on the reverse of the backing board. Estimate $3,000-4,000 Estimate $2,000-3,000 PROVENANCE Ibid Projects, London PROVENANCE Grimm/Rosenfeld, New York
338 339 MARCEL DZAMA b. 1974 I hear a army, 2004 Oil on linen. 16 1/8 x 20 in. (41 x 50.8 cm). Signed “Marcel Dzama” lower right; initialed, titled and dated “MD I hear a army 2004” on the stretcher bar.
Estimate $8,000-12,000
PROVENANCE Galleri Magnus Karlsson, Stockholm 340 DAN ATTOE b. 1975 Two works: Arrest and Field of indecision, 2002 and 2003 Oil on board. 5 x 7 1/8 in. (12.7 x 18.1 cm) and 5 1/8 x 7 in. (13 x 17.8 cm). Signed, titled and dated “Arrest Dan Attoe 2002” on the reverse and signed, titled and dated “Field of indecision Dan Attoe 2003”on the reverse.
Estimate $5,000-7,000
PROVENANCE Gifted by the artist to the present owner 341 WILL COTTON b. 1965 Insatiable, 1996 Oil on canvas. 56 1/4 x 84 in. (142.9 x 213.4 cm). Signed and dated “William Cotton 1996” on the overlap.
Estimate $25,000-35,000
PROVENANCE Daniel Silverstein Gallery, New York 342
343
342 TODD NORSTEN b. 1967 Gap Tooths, 2005 Oil on canvas. 66 x 54 in. (167.6 x 137.2 cm). Signed, titled and dated “Todd Norsten Gap Tooths 2005” on the reverse.
Estimate $5,000-7,000
PROVENANCE Cohan and Leslie, New York
343 TODD NORSTEN b. 1967 You Fuckers, 2005 Oil on canvas. 60 x 48 in. (152.4 x 121.9 cm). Signed, titled and dated “Todd Norsten You Fuckers 2005” on the reverse.
Estimate $5,000-7,000
PROVENANCE Cohan and Leslie, New York 344 JIM SHAW b. 1952 Two works: Dream Drawing (Batman and Superman are caught in an atomic explosion) and Dream Drawing (Then I’m Walking on an Urban Street), 1993 Graphite on paper. 12 x 9 in. (30.5 x 22.9 cm) each. Each signed, titled and dated “Jim Shaw-‘93 (Dreamed ‘87)” on the reverse.
Estimate $7,000-9,000
PROVENANCE Private collection, Miami 345 HENRY MOORE 1898 - 1986 Studies for Sculpture/Seated and Reclining Figures, 1981 Crayon, pastel, wash, conte, Chinagraph and gouache on paper. 10 3/4 x 12 in. (27.3 x 30.5 cm). Signed “Moore” lower left.
Estimate $25,000-35,000
PROVENANCE Galerie Beyeler, Basel; The Greenberg Gallery, St. Louis 346 HENRY MOORE 1898 - 1986 Studies for Sculpture, 1960 Graphite, crayon and gouache on paper. 11 3/8 x 9 3/8 in. (28.9 x 23.8 cm). Signed and dated “Moore 60” lower left.
Estimate $25,000-35,000
PROVENANCE Marisa del Re Gallery, New York; The Greenberg Gallery, St. Louis
347 MARK LOMBARDI 1951 - 2000 Joe Russo & associates, 2000 Graphite on paper. 8 1/2 x 11 in. (21.6 x 27.9 cm). Signed and dated “ML © 2000” on the reverse; titled “Joe Russo & associates” upper right.
Estimate $8,000-12,000
PROVENANCE Pierogi, New York 348 MARK LOMBARDI 1951 - 2000 Raul & Carlos Salinas, 1999 Graphite on paper. 9 x 12 in. (22.9 x 30.5 cm). Signed and dated “ML © 1999” on the reverse; titled “Raul & Carlos Salinas” lower right.
Estimate $8,000-12,000
PROVENANCE Pierogi, New York (i) (ii)
(iii) (iv)
349 MARCEL DZAMA b. 1974 Four works: Untitled; Untitled; Untitled-Camera and Untitled-The Robot Loved Her, 2001 Ink and watercolor on paper. 10 7/8 x 8 1/2 in. (27.6 x 21.6 cm) - 13 x 10 1/8 in. (33 x 25.7 cm). Each signed “Marcel Dzama” on face.
Estimate $6,000-8,000
PROVENANCE (i), (ii) Artcore Gallery, Toronto; (iii), (iv) Olga Korper Gallery, Toronto (i) (ii) (iii)
350 McDERMOTT & McGOUGH b. 1952 and 1958 Three works: (i) The Primeval Visitation of Mathuew to Haines Falls, (ii) The Primeval Visitation of Paul to the Falls of Niagara, (iii) The Primeval Visitation of Simon to Kaaterskill Falls, 1985 Oil on linen. (i) 84 x 21 in. (213.4 x 53.3 cm); (ii) 46 1/4 x 63 1/2 in. (117.5 x 161.3 cm); (iii) 86 1/4 x 21 in. (219.1 x 53.3 cm). Each signed “McDermott & McGough” and titled on face.
Estimate $25,000-35,000
PROVENANCE Lucio Amelio, Naples; Private collection, Boston 351
351 YOSHITOMO NARA b. 1959 Untitled (twins), 2000 Colored pencil and graphite on line-ruled paper. 11 x 8 1/2 in. (27.9 x 21.6 cm). Signed and dated “Yoshitomo Nara 2000” lower right.
Estimate $7,000-9,000
PROVENANCE Kantor Gallery, Los Angeles
352
352 AYA TAKANO b. 1976 Cyber-ero Clothes, 1997 Ink and watercolor on paper. 9 3/4 x 7 in. (24.8 x 17.8 cm).
Estimate $2,500-3,500
PROVENANCE Teplitzky & Scott Fine Art, Denver; Private collection, Bangkok
Artwork ©1997/Aya Takano/Kaikai Kiki Co. Ltd., All Rights Reserved 353
Artwork ©2003/Mr./Kaikai Kiki Co. Ltd., All Rights Reserved
354
353 MR. b. 1969 354 YOSHIMOTO NARA AND DAVID SHRIGLEY b. 1959 and 1968 Iya chigau, 2003 Untitled (Sniff Sniff), 2002 Graphite, ink, acrylic, found adhesive stickers, McDonald’s barbecue sauce Colored pencil and felt-tip pen on paper. 10 1/4 x 9 1/8 in. (26 x 23.2 cm). Signed packet, molded plaster and mounted wooden beam on panel. 16 3/8 x 13 3/8 x 2 in. and dated “DS Nara 2002” on the reverse. (41.6 x 34 x 5.1 cm). Signed and dated “Mr. 2003” on the reverse. Estimate $3,000-4,000 Estimate $7,000-9,000 PROVENANCE Stephen Friedman Gallery, London; Private collection; Bangkok PROVENANCE Teplitzky & Scott Fine Art, Denver; Private collection, Bangkok 355
355 SEAN LANDERS b. 1962 # 1 Dad, 1999 Gouache and graphite on paper. 11 1/4 x 8 1/2 in. (28.6 x 21.6 cm). Signed and dated “Sean Landers 1999” lower right; titled “#1 Dad” on the reverse.
Estimate $7,000-9,000
PROVENANCE Andrea Rosen Gallery, New York
356
356 CHRISTIAN SCHUMANN b. 1970 Good Sport, 1999 Acrylic on canvas. 58 x 44 1/8 in. (147.3 x 112.1 cm). Signed, titled and dated “Christian Schumann Good Sport March 1999” on the overlap.
Estimate $7,000-9,000
PROVENANCE Postmasters, New York EXHIBITED New York, Postmasters, Christian Schumann: New Paintings, May 8 - June 12, 1999; Hartford (Connecticut), Wadsworth Atheneum Museum of Art, Here’s Looking at You, August - December 1999 LITERATURE J. Saltz, “Pattern & Dissipation,” Village Voice, June 15, 1999; J. Saltz, “Pattern & Dissipation,” Artnet Magazine (online content), June 22, 1999 (illustrated); M. Henry “Gotham Dispatch,” Artnet Magazine (online content), June 24, 1999 (illustrated) 357 LARI PITTMAN b. 1952 Untitled, 2004 Alkyd, acrylic and enamel on gessoed canvas. 52 x 40 in. (132.1 x 101.6 cm). Signed and dated “Lari Pittman 2004” on the reverse.
Estimate $35,000-45,000
PROVENANCE greengrassi, London; Gladstone Gallery, New York EXHIBITED London, greengrassi, Lari Pittman: Recent Works, October 7 - November 13, 2004; Nice, Villa Arson, Lari Pittman, February 26 - May 22, 2005
358 JESSICA STOCKHOLDER b. 1959 Made of Two Elements, 1990 Wood, cloth, clothes line, wire mesh, oil, enamel and acrylic paint, three green light bulbs and light fixture, Styrofoam, carpet, newspaper, magazines, glue, metal, street lamp shade and hardware. 38 x 31 x 112 in. (96.5 x 78.7 x 284.5 cm).
Estimate $10,000-15,000
PROVENANCE Tanya Bonakdar Gallery, New York 359 ADAM McEWEN b. 1965 Love Toll-Free, 2006 24 1/8 x 38 1/8 in. (61.3 x 96.8 cm). Signed and dated “Adam McEwen 2006” twice on the stretcher bar and overlap.
Estimate $7,000-9,000
PROVENANCE Nicole Klagsbrun, New York; Jack Hanley Gallery, San Francisco EXHIBITION San Francisco, Jack Hanley Gallery, My Mistake, April 18 - May 2, 2006 360 JESSICA STOCKHOLDER 1991 August, 1991, 1991 Installation comprised of found wood, metal bracket and screws, stapled leather strips, painted papier-mâché, glue, glass blocked pedestal and lamp. 54 x 22 1/2 x 11 1/2 in. (137.2 x 57.2 x 29.2 cm) overall as installed.
Estimate $10,000-15,000
PROVENANCE Jay Gorney Modern Art, New York 361
361 CHRISTIAN SCHUMANN b. 1970 362 STERLING RUBY b. 1972 Flammatory Rocking Horse, 1997 Untitled Craft Geometry Study #3, 2005 Acrylic, gouache, graphite and watercolor on paper. 26 x 40 in. (66 x 101.6 cm). Collaged inkjet print and felt-tip pen on archival paper. 13 x 19 in. (33 x 48.3 cm). Initialed and dated “CS 5.97” lower right; signed, titled and dated “Christian Signed and dated “Sterling Ruby 05” lower right. Schumann May 1997 Flammatory Rocking Horse” on the reverse. Estimate $4,000-6,000 Estimate $4,000-6,000 PROVENANCE Foxy Production, New York PROVENANCE Postmasters, New York
362 363
363 ROBERT COLESCOTT b. 1925 364 ROXY PAINE b. 1966 Amore (Love), 1989 Scumak, 2007 Painted and glazed ceramic. 12 1/2 in. (31.8 cm) diameter. Signed and dated Low density polyethylene. 14 x 28 x 27 in. (35.6 x 71.1 x 68.6 cm). “R. Colescott 1989” lower left; inscribed “Amore” on the reverse. Estimate $2,000-3,000 Estimate $4,000-6,000 PROVENANCE James Cohan Gallery, New York; Private collection, USA PROVENANCE Private collection, Tuscon
364 INDEX
Aitken, D. 229 Rauschenberg, R. 290 Alfred, B. 324 Reyle, A. 22, 114 Almond, D. 228 Rhoades, J. 138 Alÿs, F. 187 Richter, D. 261 Andre, C. 121 Richter, G. 112 Araki, N. 213 Jacquette, J. 257 Rickey, G. 122 Armleder, J. 104 Jensen, A. 291 Roberts, J. 311 Artschwager, R. 12 Jensen, S. 177, 186 Rosenquist, J. 19 Attoe, D. 340 Judd, D. 297 Rubins, N. 323 Avotinš,¸ J. 337 Ruby, S. 102, 362 Kallat, J. 335, 336 Ruff, T. 141 Baechler, D. 301 Kawashima, H. 310 Ruppersberg, A. 292 Balkenhol, S. 189 Kelley, M. 117, 120 Ruscha, E 14, 17 Banksy 28 Kentridge, W. 126 Rusconi, P. 119 Barney, M. 107, 143, 239 Kilimnik, K. 125
Bas, H. 41 Kim, J. 222 Salcedo, D. 167 Basquiat, J.M. 158, 307 Koh, T. 123 Salle, D. 287, 305 Bell, L. 11 Koons, J. 7 Sandback, F. 32 Bleckner, R. 303 Kusama, Y. 9 Saunders, M. 338 Bove, C. 277 Scharf, K. 304, 318 Brannon, M. 327 LaChapelle, D. 37, 111 Schorr, C. 220 Brown, C. 265 Lambie, J. 109 Schumann, C. 356, 361 Brown, I.R. 332 Landers, S. 276, 355 Seliger, J. 316, 317 Bujnowski, R. 193 Lasker, J. 271 Serrano, A. 237, 238 Lawler, L. 113 Shaw, J. 329, 344 Cang, X. 211, 212 Levine, S. 30 Sherman, C. 221 Cecchini, L. 298 Lewitt, S. 13, 283, 284, 285 Shi, G. 199 Clemente, F. 165 Lin, T. 200, 201 Shi, L. 209 Close, C. 133 Lombardi, M. 258, 259, 347, 348 Sikander, S. 278 Colescott, R. 363 Longo, R. 4 Simmons, L. 223 Condo, G. 27, 306 Lucas, S. 219 Simpson, L. 245 Core, S. 108 Lux, L. 240 Smith, J. 144, 145 Cotton, W. 341 Smith, K. 299 Cragg, T. 31, 127 Maier-Aichen, F. 243 Smith, T. 294 Crewdson, G. 110, 241 Manglano-Ovalle, I. 320 Snow, D. 2, 106 Mariani, C.M. 191 Spangler, A. 330, 331 Damasceno, J. 171 Martin, A. 149 Stockholder, J. 269, 358, 360 Davis, G. 302 Martin, C. 325 Strachan, T. 321 de Balincourt, J. 39 McCarthy, P. 232, 233, 234 Strunz, K. 35 de Kooning, W. 159, 161 McCracken, J. 15, 105 Sugimoto, H. 214 Dr. Lakra 168 McDermott & McGough 326, 350 Sultan, D. 300 Dunham, C. 40, 308 McEwen, A. 359 Syed, S. 270 Dzama, M. 339, 349 McGinness, R. 274, 282
Meckseper, J. 181 Taaf fe, P. 262, 263 Eder, M. 252 Meese, J. 188 Tait, N. 268 Eliasson, O. 5, 24, 227 Melee, R. 328 Takano, A. 352 Emin, T. 38 Minter, M. 140, 333 Tal R 254 Mirra, H. 182, 183 Thiel, F. 242 Fang, L. 198 Moore, H. 345, 346 Tillmans, W. 230, 231 Federle, H. 174, 175 Mr. 312, 353 Trockel, R. 115 Feng, M. 206 Muniz, V. 217, 218 Tut tle, R. 293, 296 Feng, Z. 42 Tuymans, L. 192 Fleury, S. 36 Nara, Y. 26, 351 Tyson, K. 23, 137, 273 Floyer, C. 313 Nara, Y. & Shrigley, D. 354
Förg, G. 176 Nash, D. 164 Vaisman, M. 170 Francis, S. 286 Navarro, I. 101 van Empel, R. 224 Friedman, T. 216 Neuenschwander, R. 166 Vilmouth, J.L. 244 Fuss, A. 134 Nitsche, F. 184, 190 Vitali, M. 225, 226 Noble, T. & Webster, S. 20, 21, 131 von Wulffen, A. 266, 267 Gallagher, E. 253 Norsten, T. 342, 343
Gilbert & George 10 Nozkowski, T. 260 Walker, K. 34 Goldin, N. 215 Walsh, D. 33 Goldstein, J. 25 Ocampo, M. 334 Wang, J. 204 Goldsworthy, A. 163 Oehlen, A. 29 Wang, J. & Zhang, D. 195 Gonzales, W. 314, 315 Opie, J. 132, 150 Wang, Q. 210 Gonzalez-Torres, F. 6 Orozco, G. 169 Warhol, A. 16, 18, 151, 152, 153, 154, 155, 156, 157 Gorky, A. 160 Oursler, T. 142 Waters, J. 136 Grotjahn, M. 103 Webster, S. & Noble, T. 20, 21, 131 Grünfeld, T. 275 Paine, R. 147, 364 West, F. 148, 162 Guyton\Walker 1 Parker, E. 309 Wiley, K. 255 Parrino, S. 139 Williams, S. 116, 280 Hafif, M. 185 Paul P. 256 Woods, R. 272 Hai, B. 202, 203 Pettibon, R. 118, 146, 249, 250, 264 Wool, C. 135, 247, 248 Halley, P. 128, 130 Pettibone, R. 288, 289
Hammons, D. 322 Pittman, L. 357 Ye Y. 205 Handforth, M. 3 Polke, S. 172, 173
Haring, K. 281 Prince, R. 8, 235, 236 Zhang, D. 197 Havekost, E. 194 Zhang, D. & Wang, J. 195 Hebert, T. 319 Zhang, H. 196 Herrera, A. 251 Zhu, J. 208 Hesidence, D. 279 Zobernig, H. 180 Hirst, D. 129 Hodges, J. 124, 246 Horn, R. 295 Hua, J. 207 Hylden, N. 178, 179
PHOTOGRAPHS
AUCTION 14 NOVEMBER 2009 10am & 1pm NEW YORK Viewing 7 – 13 November
Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1245 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com
GAVIN BOND Redemption, 2008 Estimate $10,000-15,000 GUIDE FOR PROSPECTIVE BUYERS No Reserve BUYING AT AUCTION Unless• indicated by a , all lots in this catalogue are offered subject to a reserve. A The following pages are designed to offer you information on how to buy at auction reserve is the confidential• value established between Phillips de Pury & Company and at Phillips de Pury & Company. Our staff will be happy to assist you. the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate. CONDITIONS OF SALE The Conditions of Sale and Authorship Warranty which appear later in this catalogue 2 BIDDING IN THE SALE govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms Bidding At Auction upon which property is bought at auction. Please be advised that Phillips de Pury & Bids may be executed during the auction in person by paddle or by telephone or prior Company generally acts as agent for the seller. to the sale in writing by absentee bid.
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AUCTION 14 NOVEMBER 2009 4pm NEW YORK Viewing 7 – 14 November
Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1268 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com
SHIRO KURAMATA “Acrylic Stool,” 1990 Estimate $70,000-90,000 4 AFTER THE AUCTION
Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips de Pury & Company in writing in advance of the sale. Payments must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$10,000.
Credit Cards As a courtesy to clients, Phillips de Pury & Company will accept American Express, Visa and Mastercard to pay for invoices of $10,000 or less.
Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips de Pury & Company has received full and cleared payment and we are not owed any other amount by the buyer. Promptly after the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 West 15th Street, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots.
Loss or Damage Buyers are reminded that Phillips de Pury & Company accepts liability for loss or damage to lots for a maximum of five days following the auction.
Transport and Shipping As a free service for buyers, Phillips de Pury & Company will wrap purchased lots for hand carry only. We will, at the buyer’s expense, either provide packing, handling and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property purchased at Phillips de Pury & Company. Please refer to Paragraph 7 of the Conditions of Sale for more information.
Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits. The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.
Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. The denial of any required license or certificate or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot. MODERN & CONTEMPORARY EDITIONS
AUCTION 15 NOVEMBER 2009 12pm NEW YORK Viewing 7 – 14 November
Phillips de Pury & Company 450 West 15 Street New York 10011 Enquiries +1 212 940 1220 Catalogues +1 212 940 1240 / +44 20 7318 4039 www.phillipsdepury.com
EXHIBITION ON VIEW Various artists, all reproductions are details.
415 W 137 - 14 STREET NOVEMBER BET. 9TH AVE & WASHINGTON ST CONDITIONS OF SALE (c) Telephone bidders are required to submit bids on the “Telephone Bid Form,” a copy of which is printed in this catalogue or otherwise available from Phillips The Conditions of Sale and Authorship Warranty set forth below govern the de Pury & Company. Telephone bidding is available for lots whose low pre-sale relationship between bidders and buyers, on the one hand, and Phillips de Pury & estimate is at least $1000. Phillips de Pury & Company reserves the right to require Company and sellers, on the other hand. All prospective buyers should read these written confirmation of a successful bid from a telephone bidder by fax or otherwise Conditions of Sale and Authorship Warranty carefully immediately after such bid is accepted by the auctioneer. Telephone bids may be before bidding. recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. 1 INTRODUCTION Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of (d) When making a bid, whether in person, by absentee bid or on the telephone, a Sale and Authorship Warranty; (b) additional notices and terms printed in other places bidder accepts personal liability to pay the purchase price, as described more fully in in this catalogue, including the Guide for Prospective Buyers, and (c) supplements Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly to this catalogue or other written material posted by Phillips de Pury & Company in agreed in writing with Phillips de Pury & Company before the commencement of the saleroom, in each case as amended by any addendum or announcement by the the auction that the bidder is acting as agent on behalf of an identified third party auctioneer prior to the auction acceptable to Phillips de Pury & Company and that we will only look to the principal for such payment. By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these (e) Arranging absentee and telephone bids is a free service provided by Phillips de Conditions of Sale, as so changed or supplemented, and Authorship Warranty. Pury & Company to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such These Conditions of Sale, as so changed or supplemented, and Authorship Warranty bids except where such failure is caused by our willful misconduct. contain all the terms on which Phillips de Pury & Company and the seller contract with the buyer. (f) Employees of Phillips de Pury & Company and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not 2 PHILLIPS de PURY & COMPANY AS AGENT know the reserve when submitting their absentee bids and otherwise comply with our Phillips de Pury & Company acts as an agent for the seller, unless otherwise indicated employee bidding procedures. in this catalogue or at the time of auction. On occasion, Phillips de Pury & Company may own a lot, in which case we will act in a principal capacity as a consignor, or may 5 CONDUCT OF THE AUCTION have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise. (a) Unless otherwise indicated by the symbol each lot is offered subject to a reserve, which is the confidential minimum selling• price agreed by Phillips de Pury 3 CATALOGUE DESCRIPTIONS AND CONDITION OF PROPERTY & Company with the seller. The reserve will not exceed the low pre-sale estimate Lots are sold subject to the Authorship Warranty, as described in the catalogue at the time of the auction. (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following (b)The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re- basis. offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably (a) The knowledge of Phillips de Pury & Company in relation to each lot is partially appropriate. dependent on information provided to us by the seller, and Phillips de Pury & Company is not able to and does not carry out exhaustive due diligence on each lot. Prospective (c) The auctioneer will commence and advance the bidding at levels and in increments buyers acknowledge this fact and accept responsibility for carrying out inspections he or she considers appropriate. In order to protect the reserve on any lot, the and investigations to satisfy themselves as to the lots in which they may be interested. auctioneer may place one or more bids on behalf of the seller up to the reserve without Notwithstanding the foregoing, we shall exercise such reasonable care when making indicating he or she is doing so, either by placing consecutive bids or bids in response express statements in catalogue descriptions or condition reports as is consistent to other bidders. with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the (d) The sale will be conducted in US dollars and payment is due in US dollars. For the generally accepted opinions of relevant experts, in each case at the time any such benefit of international clients, pre-sale estimates in the auction catalogue may be express statement is made. shown in pounds sterling and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as (b) Each lot offered for sale at Phillips de Pury & Company is available for inspection a guide. by prospective buyers prior to the auction. Phillips de Pury & Company accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by extent appropriate given the nature and value of the lot and the bidder’s own expertise) the auctioneer will be the buyer and the striking of the hammer marks the acceptance have fully inspected the lot prior to bidding and have satisfied themselves as to both of the highest bid and the conclusion of a contract for sale between the seller and the the condition of the lot and the accuracy of its description. buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips de Pury (f) If a lot is not sold, the auctioneer will announce that it has been “passed,” & Company may prepare and provide condition reports to assist prospective buyers “withdrawn,” “returned to owner” or “bought-in.” when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions may have other faults not expressly referred to in the catalogue or condition report. of Sale and Authorship Warranty as if sold in the auction. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the 6 PURCHASE PRICE AND PAYMENT actual condition of lots. (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is (d) Information provided to prospective buyers in respect of any lot, including any 25% of the hammer price up to and including $50,000, 20% of the portion of the hammer pre-sale estimate, whether written or oral, and information in any catalogue, condition price above $50,000 up to and including $1,000,000 and 12% of the portion of the or other report, commentary or valuation, is not a representation of fact but rather hammer price above $1,000,000. a statement of opinion held by Phillips de Pury & Company. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be (b) Sales tax, use tax and excise and other taxes are payable in accordance with revised from time to time by Phillips de Pury & Company in our absolute discretion. applicable law. All prices, fees, charges and expenses set out in these Conditions of Neither Phillips de Pury & Company nor any of our affiliated companies shall be liable Sale are quoted exclusive of applicable taxes. Phillips de Pury & Company will only for any difference between the pre-sale estimates for any lot and the actual price accept valid resale certificates from US dealers as proof of exemption from sales achieved at auction or upon resale. tax. All foreign buyers should contact the Client Accounting Department about tax matters. 4 BIDDING AT AUCTION (a) Phillips de Pury & Company has absolute discretion to refuse admission to the (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately auction or participation in the sale. All bidders must register for a paddle prior to following the auction regardless of any intention to obtain an export or import license bidding, supplying such information and references as required by Phillips de Pury or other permit for such lot. Payments must be made by the invoiced party in US & Company. dollars either by cash, check drawn on a US bank or wire transfer, as follows:
(b) As a convenience to bidders who cannot attend the auction in person, Phillips de (i) Phillips de Pury & Company will accept payment in cash provided that the total Pury & Company may, if so instructed by the bidder, execute written absentee bids on amount paid in cash or cash equivalents does not exceed US$10,000. Buyers paying a bidder’s behalf. Absentee bidders are required to submit bids on the “Absentee Bid in cash should do so in person at our Client Accounting Desk at 450 West 15th Street, Form,” a copy of which is printed in this catalogue or otherwise available from Phillips Third Floor, during regular weekday business hours. de Pury & Company. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s (ii) Personal checks and banker’s drafts are accepted if drawn on a US bank and premium and any applicable sales or use taxes. The auctioneer will not accept an the buyer provides to us acceptable government issued identification. Checks and instruction to execute an absentee bid which does not indicate such maximum bid. banker’s drafts should be made payable to “Phillips de Pury & Company LLC.” If Our staff will attempt to execute an absentee bid at the lowest possible price taking payment is sent by mail, please send the check or banker’s draft to the attention of the into account the reserve and other bidders. Any absentee bid must be received at least Client Accounting Department at 450 West 15th Street, New York, NY 10011 and make 24 hours in advance of the sale. In the event of identical bids, the earliest bid received sure that the sale and lot number is written on the check. Checks or banker’s drafts will take precedence. drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips de Pury & Company. such proceedings; or (viii) release the name and address of the buyer to the seller to Bank transfer details: enable the seller to commence legal proceedings to recover the amounts due and legal costs. Citibank 322 West 23rd Street, New York, NY 10011 (b) As security to us for full payment by the buyer of all outstanding amounts due to SWIFT Code: CITIUS33 Phillips de Pury & Company and our affiliated companies, Phillips de Pury & Company ABA Routing: 021 000 089 retains, and the buyer grants to us, a security interest in each lot purchased at auction For the account of Phillips de Pury & Company LLC by the buyer and in any other property or money of the buyer in, or coming into, our Account no.: 58347736 possession or the possession of one of our affiliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable Please reference the relevant sale and lot number. law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our affiliated companies, (d) Title in a purchased lot will not pass until Phillips de Pury & Company has received we will so notify the buyer. Our security interest in any individual lot will terminate the Purchase Price for that lot in cleared funds. Phillips de Pury & Company is not upon actual delivery of the lot to the buyer or the buyer’s agent. obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing (c) In the event the buyer is in default of payment to any of our affiliated companies, of title or the buyer’s unconditional obligation to pay the Purchase Price. the buyer also irrevocably authorizes Phillips de Pury & Company to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company 7 COLLECTION OF PROPERTY as security for the payment of any outstanding amount due. Phillips de Pury & (a) Phillips de Pury & Company will not release a lot to the buyer until we have Company will notify the buyer if the buyer’s property has been delivered to an affiliated received payment of its Purchase Price in full in cleared funds, the buyer has paid company by way of pledge. all outstanding amounts due to Phillips de Pury & Company or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and 10 RESCISSION BY PHILLIPS de PURY & COMPANY the buyer has satisfied such other terms as we in our sole discretion shall require, Phillips de Pury & Company shall have the right, but not the obligation, to rescind including completing any anti-money laundering or anti-terrorism financing checks. a sale without notice to the buyer if we reasonably believe that there is a material As soon as a buyer has satisfied all of the foregoing conditions, he or she should breach of the seller’s representations and warranties or the Authorship Warranty or an contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for adverse claim is made by a third party. Upon notice of Phillips de Pury & Company’s collection of purchased property. election to rescind the sale, the buyer will promptly return the lot to Phillips de Pury & Company, and we will then refund the Purchase Price paid to us. As described more (b) The buyer must arrange for collection of a purchased lot within five days of the date fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the auction. Promptly after the auction, we will transfer all lots to our warehouse of the buyer against Phillips de Pury & Company and the seller with respect to such located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased rescinded sale. lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips de Pury & Company will upon request transfer on 11 EXPORT, IMPORT AND ENDANGERED SPECIES LICENSES a bi-weekly basis purchased lots suitable for hand carry back to our premises at 450 AND PERMITS West 15th Street, New York, New York for collection within 30 days following the date Before bidding for any property, prospective buyers are advised to make their own of the auction. Purchased lots are at the buyer’s risk, including the responsibility for inquiries as to whether a license is required to export a lot from the United States or insurance, from the earlier to occur of (i) the date of collection or (ii) five days after to import it into another country. Prospective buyers are advised that some countries the auction. Until risk passes, Phillips de Pury & Company will compensate the buyer prohibit the import of property made of or incorporating plant or animal material, such for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, as coral, crocodile, ivory, whalebone, rhinoceros horn or tortoiseshell, irrespective of subject to our usual exclusions for loss or damage to property. age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import (c) As a courtesy to clients, Phillips de Pury & Company will, without charge, wrap regulations of the countries concerned. It is solely the buyer’s responsibility to comply purchased lots for hand carry only. We will, at the buyer’s expense, either provide with these laws and to obtain any necessary export, import and endangered species packing, handling, insurance and shipping services or coordinate with shipping licenses or permits. Failure to obtain a license or permit or delay in so doing will not agents instructed by the buyer in order to facilitate such services for property bought justify the cancellation of the sale or any delay in making full payment for the lot. at Phillips de Pury & Company. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be 12 CLIENT INFORMATION liable for acts or omissions of third party packers or shippers. Third party shippers In connection with the management and operation of our business and the marketing should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least and supply of auction related services, or as required by law, we may ask clients to 24 hours in advance of collection in order to schedule pickup. provide personal information about themselves or obtain information about clients from third parties (e.g., credit information). If clients provide us with information that (d) Phillips de Pury & Company will require presentation of government issued is defined by law as “sensitive,” they agree that Phillips de Pury & Company and our identification prior to release of a lot to the buyer or the buyer’s authorized affiliated companies may use it for the above purposes. Phillips de Pury & Company representative. and our affiliated companies will not use or process sensitive information for any other purpose without the client’s express consent. If you would like further information on 8 FAILURE TO COLLECT PURCHASES our policies on personal data or wish to make corrections to your information, please (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 contact us at +1 212 940 1228. If you would prefer not to receive details of future events days of the auction, the buyer will incur a late collection fee of $35, storage charges please call the above number. of $5 per day and pro rated insurance charges of .1% of the Purchase Price per month on each uncollected lot. 13 LIMITATION OF LIABILITY (a) Subject to subparagraph (e) below, the total liability of Phillips de Pury & (b) If a purchased lot is paid for but not collected within six months of the auction, the Company, our affiliated companies and the seller to the buyer in connection with the buyer authorizes Phillips de Pury & Company, upon notice, to arrange a resale of the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. item by auction or private sale, with estimates and a reserve set at Phillips de Pury & Company’s reasonable discretion. The proceeds of such sale will be applied to pay (b) Except as otherwise provided in this Paragraph 13, none of Phillips de Pury & for storage charges and any other outstanding costs and expenses owed by the buyer Company, any of our affiliated companies or the seller (i) is liable for any errors or to Phillips de Pury & Company or our affiliated companies and the remainder will be omissions, whether orally or in writing, in information provided to prospective buyers forfeited unless collected by the buyer within two years of the original auction. by Phillips de Pury & Company or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or 9 REMEDIES FOR NON-PAYMENT otherwise, by Phillips de Pury & Company or any of our affiliated companies in (a) Without prejudice to any rights the seller may have, if the buyer without prior connection with the conduct of the auction or for any other matter relating to the sale agreement fails to make payment of the Purchase Price for a lot in cleared funds of any lot. within five days of the auction, Phillips de Pury & Company may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips de Pury & (c) All warranties other than the Authorship Warranty, express or implied, including Company’s premises or elsewhere at the buyer’s sole risk and expense at the same any warranty of satisfactory quality and fitness for purpose, are specifically excluded rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any by Phillips de Pury & Company, our affiliated companies and the seller to the fullest partial payment of the Purchase Price as liquidated damages; (iii) reject future bids extent permitted by law. from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase (d) Subject to subparagraph (e) below, none of Phillips de Pury & Company, any of our Price is received in cleared funds; (v) subject to notification of the buyer, exercise a affiliated companies or the seller shall be liable to the buyer for any loss or damage lien over any of the buyer’s property which is in the possession of Phillips de Pury beyond the refund of the Purchase Price referred to in subparagraph (a) above, & Company and instruct our affiliated companies to exercise a lien over any of the whether such loss or damage is characterized as direct, indirect, special, incidental buyer’s property which is in their possession and, in each case, no earlier than 30 days or consequential, or for the payment of interest on the Purchase Price to the fullest from the date of such notice, arrange the sale of such property and apply the proceeds extent permitted by law. to the amount owed to Phillips de Pury & Company or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission and all (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the sale-related expenses; (vi) resell the lot by auction or private sale, with estimates liability of Phillips de Pury & Company or any of our affiliated companies to the buyer and a reserve set at Phillips de Pury & Company’s reasonable discretion, it being in respect of any fraud or fraudulent misrepresentation made by any of us or in respect understood that in the event such resale is for less than the original hammer price of death or personal injury caused by our negligent acts or omissions. and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the 14 COPYRIGHT hammer price and buyer’s premium for that lot, together with interest and the costs of The copyright in all images, illustrations and written materials produced by or for Phillips de Pury & Company relating to a lot, including the contents of this catalogue, none of Phillips de Pury & Company, any of our affiliated companies or the seller shall is and shall remain at all times the property of Phillips de Pury & Company and such be liable for loss or damage beyond the remedy expressly provided in this Authorship images and materials may not be used by the buyer or any other party without our prior Warranty, whether such loss or damage is characterized as direct, indirect, special, written consent. Phillips de Pury & Company and the seller make no representations incidental or consequential, or for the payment of interest on the original Purchase or warranties that the buyer of a lot will acquire any copyright or other reproduction Price. rights in it.
15 GENERAL (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements.
(b) Notices to Phillips de Pury & Company shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips de Pury & Company.
(c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives.
(d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.
16 LAW AND JURISDICTION (a) ThThe rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conflicts of law rules.
(b) Phillips de Pury & Company, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply.
(c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips de Pury & Company.
AUTHORSHIP WARRANTY
Phillips de Pury & Company warrants the authorship of property in this auction catalogue for a period of five years from date of sale by Phillips de Pury & Company, subject to the exclusions and limitations set forth below.
(a) Phillips de Pury & Company gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property created prior to 1870, unless the property is determined to be counterfeit (defined as a forgery made less than 50 years ago with an intent to deceive) and has a value at the date of the claim under this warranty which is materially less than the Purchase Price paid; (iii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iv) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; or (v) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use.
(b) In any claim for breach of the Authorship Warranty, Phillips de Pury & Company reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips de Pury & Company. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips de Pury & Company agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us.
(c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips de Pury & Company in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips de Pury & Company in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction.
(d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips de Pury & Company, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law. This means that PHILLIPS de PURY & COMPANY
Chairman Senior Partners Advisory Board Simon de Pury Michael McGinnis Maria Bell Dr. Michaela Neumeister Janna Bullock Chief Executive Officer Lisa Eisner Bernd Runge Partners Lapo Elkann Aileen Agopian Ben Elliot Sean Cleary Lady Elena Foster Alexander Payne H.I.H. Francesca von Habsburg Rodman Primack Marc Jacobs Olivier Vrankenne Malcolm McLaren Tiffany Wood Ernest Mourmans Aby Rosen Christiane zu Salm Princess Gloria vonThurn undTaxis Jean Michel Wilmotte Anita Zabludowicz
WORLDWIDE OFFICES
NEW YORK PARIS BERLIN 450 West 15 Street NewYork NY 10011 USA C/O Pro First 15 Rue de la Paix 75002 Paris France Auguststrasse 19 10117 Berlin Germany +1 212 940 1200 +1 212 924 5403 fax +33 1 42 78 67 77 +33 1 42 78 23 07 fax +49 30 880 018 42 +49 30 880 018 43 fax
LONDON MUNICH GENEVA Howick Place London SW1P 1BB United Kingdom Maximiliansplatz 12a 80333 Munich Germany 23, quai des Bergues 1201 Geneva Switzerland +44 20 7318 4010 +44 20 7318 4011 fax +49 89 238 88 48 0 +49 89 238 88 48 15 fax +41 22 906 80 00 +41 22 906 80 01 fax SPECIALIST AND SERVICE DEPARTMENTS
CONTEMPORARY ART MODERN AND CONTEMPORARY EDITIONS NEW YORK NEW YORK Michael McGinnis, Worldwide Director +1 212 940 1254 Kelly Troester, Worldwide Co-Director +1 212 940 1221 Aileen Agopian, New York Director +1 212 940 1255 Cary Leibowitz, Worldwide Co-Director +1 212 940 1222 Jean-Michel Placent +1 212 940 1263 Jannah Greenblatt +1 212 940 1332 Timothy Malyk +1 212 940 1258 Joy Deibert +1 212 940 1333 Chin-Chin Yap +1 212 940 1250 JEWELRY Sarah Mudge, Head of Part II, New York +1 212 940 1259 Roxana Bruno +1 212 940 1229 NEW YORK Sara Davidson +1 212 940 1262 Nazgol Jahan, Worldwide Director +1 212 940 1283 Maria Bueno +1 212 940 1261 Carmela Manoli +1 212 940 1302 Peter Flores +1 212 940 1223 Heather Zises +1 212 940 1290 (Uli) Zhiheng Huang +1 212 940 1288 GENEVA Eugenia Ballvé +1 212 940 1303 Carolin Bulgari +41 22 906 80 00 LONDON Veronica Lota +41 22 906 80 05 Anthony McNerney, Head of Evening Sale, London +44 20 7318 4067 LONDON Peter Sumner, Head of Day Sale, London +44 20 7318 4063 Lane McLean +44 20 7318 4032 Laetitia Catoir +44 20 7318 4064 Silke Taprogge +44 20 7318 4012 Ivgenia Naiman +44 20 7318 4071 THEME SALES Fiona Biberstein +44 20 7318 4013 Tiffany Wood, Worldwide Director +49 30 880 018 42 Siobhan O’Connor +44 20 7318 4093 NEW YORK Catherine Higgs +44 20 7318 4089 Corey Barr, New York Manager +1 212 940 1234 Raphael Lepine +44 20 7318 4078 Anne Huntington +1 212 940 1210 Tanya Tikhnenko +44 20 7318 4065 Stephanie Max +1 212 940 1301 Sarah Buchwald +44 20 7318 4085 Steve Agin, Consultant +1 908 475 1796 Phillippa Willison +44 20 7318 4070 LONDON DESIGN Tobias Sirtl, London Manager +44 20 7318 4095 NEW YORK Arianna Jacobs +44 20 7318 4054 Marcus Tremonto +1 212 940 1268 George O’Dell +44 20 7318 4040 Alex Heminway, New York Director +1 212 940 1269 CHAIRMAN LONDON Tara DeWitt +1 212 940 1265 Rodman Primack +44 20 7318 4017 Meaghan Roddy +1 212 940 1266 Stephanie Abraitis +1 212 940 1268 MANAGING DIRECTORS LONDON Finn Dombernowsky, London +44 20 7318 4034 Alexander Payne, Worldwide Director +44 20 7318 4052 Charlie Horne, New York +1 212 940 1292 Ben Williams +44 20 7318 4027 PRIVATE SALES Domenico Raimondo +44 20 7318 4016 Christina Scheublein +1 212 940 1248 Ellen Stelter +44 20 7318 4021 Marcus McDonald +44 20 7318 4014 PARIS Johanna Frydman +33 1 42 78 67 77
PHOTOGRAPHS NEW YORK INTERNATIONAL SPECIALISTS AND REPRESENTATIVES Vanessa Kramer, New York Director + 1 212 940 1243 Berlin & Munich Dr. Michaela Neumeister +49 89 238 88 48 10 Shlomi Rabi + 1 212 940 1246 Brussels & Paris Olivier Vrankenne +32 486 43 43 44 Caroline Shea + 1 212 940 1247 Paris Leonie Moschner +33 6 85 53 92 03 Sarah Krueger + 1 212 940 1245 London Ivgenia Naiman +44 20 7318 4071 Charlie Scheips, International Consulting Director + 1 212 940 1245 Brooke de Ocampo +44 777 551 7060 Carol Ehlers, Consultant + 1 212 940 1245 Los Angeles Mimi Won Techentin +1 310 600 9192 LONDON Maya McLaughlin +1 323 791 1771 Lou Proud +44 20 7318 4018 Milan Laura Garbarino +39 339 478 9671 Sebastien Montabonel +44 20 7318 4025 Eugenia Bertelè +39 02 3669 5895 Alexandra Bibby +44 20 7318 4087 Moscow Svetlana Marich +7 495 225 88 22 Helen Hayman +44 20 7318 4092 Shanghai/Beijing Jeremy Wingfield +86 135 0118 2804
SALE INFORMATION
AUCTIONS ADMINISTRATOR Part I Sale, Thursday November 12 2009 at 7pm Eugenia Ballve +1 212 940 1303 Part II Sale, Friday November 13 2009 at 10am & 2pm PROPERTY MANAGERS VIEWING Jeffrey Rausch +1 212 940 1367 Saturday 7 November 10am – 6pm Barrett Langlinais +1 212 940 1362 Sunday 8 November 12pm – 6pm Monday 9 November 10am – 6pm PHOTOGRAPHY Tuesday 10 November 10am – 6pm Kent Pell, Morten Smidt Wednesday 11 November 10am – 6pm Thursday 12 November 10am – 12pm CATALOGUES Allyson Melchor +44 20 7318 4039 +1 212 940 1240 VIEWING & AUCTION LOCATION Catalogues $60 at the Gallery/£30 450 West 15 Street New York NY 10011 [email protected]
SALE DESIGNATION ABSENTEE AND TELEPHONE BIDS In sending written bids or making inquiries please refer to this Rebecca Lynn +1 212 940 1228 +1 212 924 1749 fax sale as NY010409 or Contemporary Art Part I Sale and NY010509 [email protected] or Contemporary Art Part II Sale. CLIENT ACCOUNTING WORLDWIDE DIRECTOR Sylvia Leitao +1 212 940 1231 Michael McGinnis +1 212 940 1254 Buyers Accounts Nicole Rodriguez +1 212 940 1235 NEW YORK DIRECTOR Seller Accounts Aileen Agopian +1 212 940 1255 Barbara Doupal +1 212 940 1232 Nadia Somwaru +1 212 940 1280 SPECIALISTS Jean-Michel Placent New York +1 212 940 1263 CLIENT SERVICES Timothy Malyk +1 212 940 1258 +1 212 940 1200 Chin-Chin Yap New York +1 212 940 1250 Sarah Mudge New York Head of Part II +1 212 940 1259 SHIPPING Dr. Michaela Neumeister Munich +49 89 238 88 48 10 Steve Orridge +1 212 940 1370 Olivier Vrankenne Brussels & Paris +32 486 43 43 44 Beth Petriello +1 212 940 1373 Laura Garbarino Milan +39 339 478 9671 Jennifer Brennan +1 212 940 1372 Leonie Moschner Paris +33 6 85 53 92 03 Robert Rogan +1 212 940 1374 Brooke de Ocampo London +44 777 551 7060 Anthony McNerney Head of Evening Sale London +44 20 7318 4067 PRINCIPAL AUCTIONEER Peter Sumner Head of Day Sale London +44 20 7318 4063 Simon de Pury 0874341 Laetitia Catoir London + 44 20 7318 4064 Silke Taprogge London +44 20 7318 4012 AUCTIONEERS Rodman Primack London +44 20 7318 4017 Aileen Agopian 1199037 Ivgenia Naiman London +44 20 7318 4071 Sarah Mudge 1301805 Fiona Biberstein London +44 20 7318 4013 Alexander Gilkes 1308958 Nadia Breuer Sopher New York & Australia +1 917 319 4741 Ellen Stelter UK Mimi Won Techentin Los Angeles +1 310 600 9192 Rodman Primack UK Maya McLaughlin Los Angeles +1 323 791 1771 Jeremy Wingfield Shanghai/Beijing +86 135 0118 2804 E-MAIL ADDRESSES All Phillips de Pury & Company e-mails are BUSINESS MANAGER first initial and last name @phillipsdepury.com Roxana Bruno +1 212 940 1229 (e.g., [email protected])
CATALOGUER PART I www.phillipsdepury.com Sara Davidson +1 212 940 1262 Please note that all lots are offered and sold subject to (i) the Standard Terms and Conditions, and (ii) Special Terms and Conditions applicable to this sale as described CATALOGUER PART II within this sale catalogue. The Standard Terms and Conditions and Special Terms and Maria Bueno +1 212 940 1261 Conditions should be fully read and understood prior to bidding at the auction. All lots are sold “AS-IS.” All lots are offered subject to a reserve unless otherwise indicated. ADMINISTRATOR PART I Peter Flores +1 212 940 1223
ADMINISTRATOR PART II (Uli) Zhiheng Huang +1 212 940 1288
Front Cover Andy Warhol, Brillo Box, 1964, Lot 16 (detail) Title Page Olafur Eliasson, 1m3 light, 1999, Lot 5 Back Cover Yayoi Kusama, Infinity Nets (T.W.A.), 2000, Lot 9 (detail)
CONTEMPORARY ART 12 & 13 & 12
NOVEMBER CONTEMPORARY ART 2009 NEW YORK 2009 12 & 13 NOVEMBER 2009 NEW YORK NY 010409/
NY
WWW.PHILLIPSDEPURY.COM 010509