cont2 ny nov final
TRANSCRIPT
-
contemporary art 12 &13 november 2 0 09 new york
-
PART IICONTEMPORARY ART
13 NOVEMBER 2 0 0 9 10 am & 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 10 am Lots 101-245
-
101 IVN NAVARRO b. 1972Large 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
artists proof and is accompanied by a certificate of authenticity signed by the artist.
Estimate $10 , 0 0 0 -15 , 0 0 0
PROVENANCE Roebling Hall, New York
EXHIBITED Hartford (Connecticut), 960 Main Street, exh.05.05.06103, October 14 -
December 5, 2005
-
102 STERLING RUBY b. 1972Untitled, 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Private Collection
-
103 MARK GROTJAHN b. 1968Untitled (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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0
PROVENANCE Blum & Poe, Los Angeles
-
104 JOHN ARMLEDER b. 1948J Painting, 2005
Acrylic, gesso, vinylique gouache and graphite on canvas. 24 1/8 x 24 1/8 in.
(61.3 x 61.3 cm). Signed, titled and dated John Armleder J Painting 2005 on
the overlap.
Estimate $10 , 0 0 0 -15 , 0 0 0
PROVENANCE World House Gallery, Middlebury (Connecticut)
This work is from the artists ongoing Dot Painting series. J Painting is
one of only two white on white dot paintings smaller than a meter
square that the artist has ever created.
-
105 JOHN McCRACKEN b. 1934Molecule, 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Acquired directly from the artist
-
10 6 DASH SNOW 1981 - 2009EAT 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 , 0 0 0 - 2 0 , 0 0 0
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 Snows 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. 1967Cremaster 4: Loughton Ram, 1994
C-print in the artists 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 artists proof.
Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0
PROVENANCE Regen Projects, Los Angeles; Collection Lambert, Geneva
EXHIBITED New York, Whitney Museum of American Art, 1995 Biennial Exhibition, March
15 - June 25, 1995 (another example exhibited); Rotterdam, Museum Boijmans Van
Beuningen, October 21, 1995 - January 1, 1996; Bordeaux, Muse dArt Contemporain,
January 26 - April 8, 1996; Kunsthalle Bern, Matthew Barney: PACE CAR for the HUBRIS PILL,
May 17 - June 23, 1996 (another example exhibited); Munich, Sammlung Goetz, Matthew
Barney-Tony Oursler-Jeff Wall, July 22, 1996 - January 31, 1997 (another example exhibited);
Deichtorhallen Hamburg, Emotion: Young British and American Art from the Goetz Collection,
October 30 - January 17, 1999 (another example exhibited); Skovvej (Denmark), Arken,
Museum for Moderne Kunst, June 3 - September 3, 2000; Sydney, Museum of
Contemporary Art, Veronicas Revenge, November 16, 2000 - March 4, 2001; Cologne,
Museum Ludwig, June 6 - September 1, 2002; Muse dArt Moderne de la Ville de Paris,
October 10, 2002 - January 5, 2003; New York, Solomon R. Guggenheim Museum, Matthew
Barney: The CREMASTER Cycle, February 21 - June 4, 2003 (another example exhibited)
LITERATURE M. Arzenton, ed., Matthew Barney Cremaster 4, Cologne, 1995, n.p.
(illustrated); N. Wakefield, R. Flood, Matthew Barney: PACE CAR for the HUBRIS PILL,
Rotterdam, 1995, n.p. (illustrated); I. Goetz, C. Meyer-Stoll, Matthew Barney-Tony
Oursler-Jeff Wall, Hamburg, 1996, p. 18 (illustrated); Z. Felix, A. Sievert, Emotion: Young
British and American Art from the Goetz Collection, Ostfildern-Ruit, 1998, p. 95 (illustrated);
N. Spector, Matthew Barney: The Cremaster Cycle, New York, 2003, p. 331 (illustrated)
-
108 SHARON CORE b. 1965Cream 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 , 0 0 0 -12 , 0 0 0
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. 1964Breakdown, 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 , 0 0 0 -12 , 0 0 0
PROVENANCE Jack Hanley Gallery , San Francisco
EXHIBITED San Francisco, Jack Hanley Gallery, Blank Generation, March 1 - 31, 2001
(Reverse)
-
110 GREGORY CREWDSON b. 1962Untitled (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 , 0 0 0 - 8 , 0 0 0
PROVENANCE Blum Helman Warehouse, New York
-
111 DAVID LACHAPELLE b. 1964Cathedral, 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 , 0 0 0 -18 , 0 0 0
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. 1932Untitled (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 , 0 0 0 -18 , 0 0 0
PROVENANCE Wako Works of Art, Tokyo; Barbara Mathes Gallery, New York;
Private Collection
-
113 LOUISE LAWLER b. 1947Untitled (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 $ 2 5 , 0 0 0 - 3 0 , 0 0 0
PROVENANCE Metro Pictures, New York; Yvon Lambert, Paris; Galera 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. 1970Untitled, 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 $ 3 0 , 0 0 0 - 4 0 , 0 0 0
PROVENANCE Galerie Almine Rech, Paris
-
115 ROSEMARIE TROCKEL b. 1952Less 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 $ 4 0 , 0 0 0 - 6 0 , 0 0 0
PROVENANCE Barbara Gladstone Gallery, New York
LITERATURE S. Stich, ed., Rosemarie Trockel, Munich, 1991, p. 96, no. 4 (illustrated)
-
116 SUE WILLIAMS b. 1954The 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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0
PROVENANCE 303 Gallery, New York; Private collection, Geneva
-
117 MIKE KELLEY b. 1954Katy 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 $ 3 0 , 0 0 0 - 4 0 , 0 0 0
PROVENANCE Galleria Emi Fontana, Milan
-
119 PAUL RUSCONI b. 1965Barack Obama, 2008
Digital screen inks on Plexiglas with c-print mounted to Sintra in the artists
wooden frame. 48 1/2 x 62 in. (132.2 x 157.5 cm). Artists blindstamp on metallic
label adhered to the reverse. This work is unique.
Estimate $ 5 , 0 0 0 -7, 0 0 0
PROVENANCE Acquired directly from the artist
118 RAYMOND PETTIBON b. 1957No Title (Monica does her...), 1999
Ink and graphite on paper. 8 7/8 x 10 in. (22.5 x 25.4 cm). Signed and dated
Raymond Pettibon 99 on the reverse.
Estimate $ 5 , 0 0 0 -7, 0 0 0
PROVENANCE David Zwirner, New York
118
119
-
120 MIKE KELLEY b. 1954Black 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 $ 3 0 , 0 0 0 - 4 0 , 0 0 0
PROVENANCE Patrick Painter Editions, Hong Kong
-
121 CARL ANDRE b. 1935AL 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE RULE Gallery, Denver; Private collection, St. Louis
-
122 GEORGE RICKEY 1907 - 2002Inverted 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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0
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. 1977The 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 artists proofs.
Estimate $15 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Peres Projects, Berlin
-
124 JIM HODGES b. 1957Another 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 $ 3 5 , 0 0 0 - 4 5 , 0 0 0
PROVENANCE Stephen Friedman Gallery, London
-
125 KAREN KILIMNIK b. 1955The 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 , 0 0 0 - 2 5 , 0 0 0
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 $ 4 0 , 0 0 0 - 6 0 , 0 0 0
PROVENANCE Goodman Gallery, Johannesburg; Private collection, USA
-
127 TONY CRAGG b. 1949Yellow 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 $ 2 5 , 0 0 0 - 3 0 , 0 0 0
PROVENANCE Marisa del Re Gallery, New York
-
128 PETER HALLEY b. 1953Untitled, 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 $ 3 0 , 0 0 0 - 4 0 , 0 0 0
PROVENANCE Galerie Thaddaeus Ropac, Paris
-
129 DAMIEN HIRST b. 1965Untitled (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 , 0 0 0 - 2 2 , 0 0 0
PROVENANCE Gifted by the artist to the previous owner; Private collection, Los Angeles
-
130 PETER HALLEY b. 1953Adapter, 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 $ 6 0 , 0 0 0 - 8 0 , 0 0 0
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. 1967A 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 $ 4 0 , 0 0 0 - 6 0 , 0 0 0
PROVENANCE Modern Art, London
-
132 JULIAN OPIE b. 1958This 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 $ 6 0 , 0 0 0 - 8 0 , 0 0 0
PROVENANCE Barbara Krakow Gallery, Boston; Private Collection
-
133 CHUCK CLOSE b. 1940Self-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 publishers proof from an edition of 10 plus three artists and three
publishers proofs.
Estimate $ 9 0 , 0 0 0 -12 0 , 0 0 0
PROVENANCE The Magnolia Tapestry Project, Oakland
For over thirty years, Chuck Closes 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 Projects 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 artists
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. 1961Untitled, 2003
Gelatin silver print photogram. 87 x 55 1/2 in. (221 x 141 cm). This work is unique.
Estimate $18 , 0 0 0 - 2 5 , 0 0 0
PROVENANCE Cheim & Read, New York
EXHIBITED New York, Cheim & Read, Adam Fuss: New Work, October 16 - November 15, 2003
-
135 CHRISTOPHER WOOL b. 1955Untitled, 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 , 0 0 0 - 2 5 , 0 0 0
PROVENANCE Luhring Augustine, New York; Gagosian Gallery, London
-
136 JOHN WATERS b. 1946Playdate, 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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0
PROVENANCE Marianne Boesky Gallery, New York
EXHIBITED New York, Marianne Boesky Gallery, John Waters: Unwatchable, April 21 -
May 20, 2006 (another example exhibited); Charlottesville, University of Virginia Art
Museum, Complicit! Contemporary American Art and Mass Culture, September 1 -
October 29, 2006 (another example exhibited); St. Louis, Laumeier Sculpture Park,
Artistically Incorrect: The Photographs and Sculptures of John Waters, October 11, 2008 -
January 11, 2009 (another example exhibited)
LITERATURE R.C. Baker, Laugh Till You Cry, The Village Voice, May 2, 2006; D. DArcy,
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);
D. Bonetti, Camping it up with John Waters, STLtoday.com (online content), October 12,
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
Jacksons Image in Contemporary Art, Art We Love (online content), June 26, 2009
John Waters, internationally-acclaimed director, filmmaker, entertainer
and artist brings to light his typical, quirky insight from his life in
entertainment in the present lot titled Playdate. Here Waters captures
an eerie, life-like rendering of the archetypal figures Michael Jackson
and Charles Manson. Informed from the artists everyday life, the
shrill dark satire exhibits itself as the viewer engages with the
characters significance as rather unusual playdates amongst the
well-heeled artworld.
-
137 KEITH TYSON b. 1969Oct. 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 $ 2 5 , 0 0 0 - 3 5 , 0 0 0
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 $ 2 5 , 0 0 0 - 3 5 , 0 0 0
PROVENANCE David Zwirner, New York
EXHIBITED New York, David Zwirner, Meccatuna, September 12 - October 25, 2003
-
139 STEVEN PARRINO 1958 - 2005Untitled 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 $ 4 0 , 0 0 0 - 6 0 , 0 0 0
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 $ 2 5 , 0 0 0 - 3 5 , 0 0 0
PROVENANCE Private collection, Europe
-
141 THOMAS RUFF b. 1958Nudes wh 20, 2001
C-print face-mounted to Diasec in the artists 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
artists proofs.
Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0
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)
-
142 TONY OURSLER b. 1957Flower 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 puppets head.
Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0
PROVENANCE Acquired directly from the artist
(Detail)
-
143 MATTHEW BARNEY b. 1967Cremaster 3: Basis Found, 2002
C-print in the artists 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 artists proof.
Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0
PROVENANCE Barbara Gladstone Gallery, New York
LITERATURE N. Spector, ed., The Cremaster Cycle, New York, 2002, p. 512
-
144 JOSH SMITH b. 1976Untitled, 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Galerie Catherine Bastide, Brussels
-
145 JOSH SMITH b. 1976Untitled, 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE de Pury & Luxembourg, Zurich
-
146 RAYMOND PETTIBON b. 1957No Title (Hack Killecuda...), 1993
Ink and watercolor on paper. 19 1/2 x 15 in. (49.5 x 38.1 cm). Signed and dated
Raymond Pettibon 93 on the reverse.
Estimate $12 , 0 0 0 -18 , 0 0 0
PROVENANCE Acquired directly from the artist
147 ROXY PAINE b. 1966Untitled (Craters), 1995
Bin primer, casein and graphite on paper. 19 x 23 3/4 in. (48.3 x 60.3 cm). Signed
and dated Roxy Paine 95 lower right.
Estimate $7, 0 0 0 - 9 , 0 0 0
PROVENANCE Acquired directly from the artist
146
147
-
148 FRANZ WEST b. 1947Untitled, 1989
McCallan single-malt whiskey glass bottle wrapped in papier-mch over metal
rod. 94 x 5 x 5 in. (238.8 x 12.7 x 12.7 cm).
Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0
PROVENANCE Andr Simoens Gallery, Knokke
EXHIBITED Nice, Villa Arson, Franz West, November 19, 1995 - January 14, 1996
-
149 AGNES MARTIN 1912 - 2004Untitled, 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 $ 8 0 , 0 0 0 -12 0 , 0 0 0
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 patterns
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 artists
manipulation of an arrangement of lines, normally considered cold,
intellectual and purely formal into a serene and delicate motif that
transcends its own simplicity. Martins 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. 1958Flocked 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 $ 3 5 , 0 0 0 - 4 5 , 0 0 0
PROVENANCE Patrick De Brock Gallery, Knokke
-
151 ANDY WARHOL 1928 - 1987Plate of Food with Mans 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 $ 4 0 , 0 0 0 - 6 0 , 0 0 0
PROVENANCE The Estate of Andy Warhol, New York; Greenberg van Doren Gallery,
New York; Private collection, New York
-
152 ANDY WARHOL 1928 - 1987Tom 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Susan Sheehan Gallery, New York
-
153 ANDY WARHOL 1928 - 1987Gateau 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Susan Sheehan Gallery, New York
-
154 ANDY WARHOL 1928 - 1987Joseph 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Sandroni.Rey, Los Angeles
LITERATURE C. Defendi, F. Feldman, J. Schellmann, et. al., Andy Warhol Prints: A Catalogue Raisonn, 2003, p. 313 (illustrated), no. 111c.76 (a)
-
155 ANDY WARHOL 1928 - 1987Joseph 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Sandroni.Rey, Los Angeles
-
156 ANDY WARHOL 1928 - 1987Two 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 $10 0 , 0 0 0 -15 0 , 0 0 0
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)
(i)
-
To counter ... self doubt, starting in the late 1970s Warhol undertook
project after project, culminating in a large uncommisioned group of
black-and-white paintings and drawings in his trademark plagiarist
fashion; that is, based directly on newspaper advertisements, street
leaflets, and ordinary book illustrations. These works constitute the
present volume like all of Warhols art, these lots pictures take visual
cues from the ubiquitous Western media at the service of consumerism
and publicity, while also addressing more personal and ultimate concern:
the power of the mind for spiritual salvation, the capacity for the body to
be improved, and military geopolitics. With reconsideration of the last
years of Warhols career, when critics pressured the artist to revitalize
what they considered to be a career that had lapsed after he became the
victim of a newly-successful murder attempt in 1968, the rich implications
of this black-and-white series newly provides material for a much needed
last chapter to the Warhol story. (C. Stuckey, Heaven and Hell are Just
One Breath Away, Andy Warhol, New York, 1992, p. 10)
(ii)
-
157 ANDY WARHOL 1928 - 1987Somebody 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 $ 9 0 , 0 0 0 -12 0 , 0 0 0
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 Warhols 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 Warhols 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 Warhols 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)
-
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 semioticswhere 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 Basquiats 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
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
others lives.
(ii)
158 JEAN-MICHEL BASQUIAT 1960 - 1988Two 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 $12 0 , 0 0 0 -18 0 , 0 0 0
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)
-
46299
(i)
-
159 WILLEM DE KOONING 1904 - 1997Woman 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 $ 3 0 , 0 0 0 - 4 0 , 0 0 0
PROVENANCE Allan Stone Gallery, New York
-
160 ARSHILE GORKY 1904 - 1948Untitled, 1946
Ink wash and crayon on paper. 11 x 8 1/2 in. (27.9 x 21.6 cm).
Estimate $ 3 5 , 0 0 0 - 4 5 , 0 0 0
PROVENANCE Allan Stone Gallery, New York
-
161 WILLEM DE KOONING 1904 - 1997Bewitched 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 $ 2 0 0 , 0 0 0 - 3 0 0 , 0 0 0
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 dont feel like a non-objective painter at allit had to do with the female
painted through all the ages, all those idols. And maybe Id been stuck to
a certain extent, couldnt 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 its
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 itit really is very funnyto get stuck with a womans
knees, for instance. You say, what the hell am I going to do with that
nowits really ridiculousit 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 experienceI 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
Koonings 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 Koonings most typical forms, but the
palette and vividness of the composition awaken another sense to the
artists deepest form of expression. This work, in essence, is a true homage
to the female spirit and the artists own spirit, too.
-
162 FRANZ WEST b. 1946Untitled, 2004
Lacquered aluminum. 21 x 56 x 46 in. (53.3 x 142.2 x 116.8 cm).
Estimate $ 8 0 , 0 0 0 -12 0 , 0 0 0
PROVENANCE Galerie Brbel Grsslin, Frankfurt; Private collection, USA
The past decade has witnessed an extraordinary jump in Wests 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 worksAs 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, Wests 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)
-
163 ANDY GOLDSWORTHY b. 1956Leaf 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Haines Gallery, San Francisco
163
164
164 DAVID NASH b. 1945Birch 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 , 0 0 0 -7, 0 0 0
PROVENANCE Haines Gallery, San Francisco
-
165 FRANCESCO CLEMENTE b. 1952Stupa, 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 $ 8 0 , 0 0 0 -12 0 , 0 0 0
PROVENANCE Diego Cortez Arte Limited, New York; Private collection, Boston
-
166 RIVANE NEUENSCHWANDER b. 1967Untitled, 2000
Scotch tape and ants. 46 1/2 x 54 1/4 in. (118.1 x 137.8 cm).
Estimate $ 6 , 0 0 0 - 8 , 0 0 0
PROVENANCE Stephen Friedman Gallery, London
-
167 DORIS SALCEDO b. 1958Atrabiliarios (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 , 0 0 0 - 2 5 , 0 0 0
PROVENANCE White Cube, London
-
168 DR. LAKRA b. 1972Untitled (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 , 0 0 0 - 6 , 0 0 0
PROVENANCE kurimanzutto, Mexico City
(Actual Size).
-
169 GABRIEL OROZCO b. 1962Untitled, 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 , 0 0 0 -15 , 0 0 0
PROVENANCE kurimanzutto, Mexico City
-
170 MEYER VAISMAN b. 1960Untitled (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, 0 0 0 - 9 , 0 0 0
PROVENANCE Acquired directly from the artist
-
171 JOS DAMASCENO b. 1968Imminent 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 , 0 0 0 -18 , 0 0 0
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 Brazils
Damasceno Art, Brazzil Magazine (online content), March 2, 2005
-
172 SIGMAR POLKE b. 1941Untitled, 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Patrick Painter Editions, Hong Kong
-
173 SIGMAR POLKE b. 1941Untitled, 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Patrick Painter Editions, Hong Kong
-
174 HELMUT FEDERLE b. 1944Basics 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Acquired directly from the artist; Galerie Nchst St. Stephan, Vienna;
Tony Wuethrich Galerie, Basel
-
175 HELMUT FEDERLE b. 1944Zwei 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Galerie Nchst St. Stephan, Vienna
EXHIBITED Munich, Maximilian Verlag Sabine Knust, Helmut Federle, November
1996- January 1997
-
176 GNTHER FRG b. 1952Untitled, 1998
Acrylic on canvas. 79 x 65 in. (200.7 x 165.1 cm). Signed and dated Frg 98 on
the reverse.
Estimate $ 3 0 , 0 0 0 - 5 0 , 0 0 0
PROVENANCE Acquired directly from the artist
-
177 SERGEJ JENSEN b. 1973Untitled, 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 $ 3 5 , 0 0 0 - 4 5 , 0 0 0
PROVENANCE Galerie Neu, Berlin; Patrick De Brock Gallery, Knokke
-
178 NATHAN HYLDEN b. 1978Untitled, 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Richard Telles Fine Art, Los Angeles; art:concept, Paris
-
179 NATHAN HYLDEN b. 1978Some 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 $ 3 0 , 0 0 0 - 4 0 , 0 0 0
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. 1958Untitled, 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 , 0 0 0 -12 , 0 0 0
PROVENANCE Kunstraum Hans Widauer, Innsbruck; Private collection, New York
-
181 JOSEPHINE MECKSEPER b. 1964Untitled, 2003
Acrylic and collaged fabric on canvas. 48 x 40 in. (121.9 x 101.6 cm).
Estimate $ 8 , 0 0 0 -12 , 0 0 0
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. 1970Ulmebuckel jung (elm hummock), 2002
Stitched wool (in two parts). 3 x 24 x 24 in. (7.6 x 61 x 61 cm). Titled Ulmebuckel
jung elm hummock on a label stitched to the underside of top element; titled
Ulmebuckel jung elm hummock younger on a label stitched to the underside
of bottom element.
Estimate $ 4 , 0 0 0 - 6 , 0 0 0
PROVENANCE Meyer Riegger Gallery, Karlsruhe
183 HELEN MIRRA b. 1970Embroidered Grid, 2000
Cotton thread on paper. 12 1/4 x 12 1/4 in. (31.1 x 31.1 cm).
Estimate $1, 5 0 0 - 2 , 5 0 0
PROVENANCE Meyer Riegger Gallery, Karlsruhe
-
184 FRANK NITSCHE b. 1964MRG 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 $ 2 5 , 0 0 0 - 3 5 , 0 0 0
PROVENANCE Galerie Max Hetzler, Berlin; Patrick De Brock Gallery, Knokke
-
185
186
185 MARCIA HAFIF b. 192921 April 1963, White-grey-yellow: Italian Series No. 21, 1963
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).
Signed, titled and dated Hafif April 1963 21 on the stretcher bar.
Estimate $7, 0 0 0 - 9 , 0 0 0
PROVENANCE Galleria Edieuropa, Rome
186 SERGEJ JENSEN b. 1973Untitled (Hand), 2005
Neoprene and vinyl cutout affixed to linen. 15 3/4 x 12 in. (40 x 30.5 cm). Signed
and dated Sergej Jensen 2005 on the overlap.
Estimate $ 5 , 0 0 0 -7, 0 0 0
PROVENANCE Patrick De Brock Gallery, Knokke
-
187 FRANCIS ALS b. 1959Maestro 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 Als 1995 on the reverse of the backing board.
Estimate $ 4 0 , 0 0 0 - 6 0 , 0 0 0
PROVENANCE galera OMR, Mexico City; Tilton Gallery, New York
-
188 JONATHAN MEESE b. 1970Der 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Contemporary Fine Arts, Berlin
-
189 STEPHAN BALKENHOL b. 1957Lady 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 $ 3 0 , 0 0 0 - 4 0 , 0 0 0
PROVENANCE galera 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. 1964Untitled, 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 , 0 0 0 -15 , 0 0 0
PROVENANCE Galerie Gebr. Lehmann, Dresden
-
191 CARLO MARIA MARIANI b. 1931Il 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 $ 4 0 , 0 0 0 - 6 0 , 0 0 0
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
Mathildenhhe, Carlo Maria Mariani, December 15, 1991- January 26, 1992; Los Angeles
County Museum of Art, Carlo Maria Mariani, February 27- May 17, 1992
-
192
193
192 LUC TUYMANS b. 1958Premonition (Series II), 2003
Colored monoprint on J. Whatman 1961 HMP paper. 21 x 17 3/8 in. (53.3 x 44.1 cm).
Signed and titled Luc Tuymans Premonition and numbered of six lower margin.
This work is from a series of six monoprints.
Estimate $10 , 0 0 0 -15 , 0 0 0
PROVENANCE Brooke Alexander Gallery, New York
193 RAFAL BUJNOWSKI b. 1974Untitled (cookies), 2004
Oil and graphite on canvas. 18 x 24 in. (45.7 x 61 cm). Signed and dated
Bujnowski / 04 on the reverse.
Estimate $ 4 , 0 0 0 - 6 , 0 0 0
PROVENANCE daniel hug, Los Angeles
-
194 EBERHARD HAVEKOST b. 1967Untitled, 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 $ 3 5 , 0 0 0 - 4 5 , 0 0 0
PROVENANCE Galerie Gebr. Lehmann, Dresden; Collection Hhne, Cuxhaven
(Germany); Private Collection
-
195 WANG JINSONG AND ZHANG DALI b. 1963Three 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 , 0 0 0 - 8 , 0 0 0
PROVENANCE Private collection, New York
(i)
(ii)
(iii)
-
196
197
196 ZHANG HUAN b. 1965To raise the water level in a fish pond (waterchild), 1997
Chromogenic print. 37 x 48 in. (94 x 121.9 cm) paper size. This work is
accompanied by a label signed, titled and dated To raise the water level in a fish
pond (waterchild) Zhang Huan 1997 Beijing [in Chinese] and numbered of 15.
This work is from an edition of 15.
Estimate $ 8 , 0 0 0 -12 , 0 0 0 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)
197 ZHANG DALI b. 1963Two works: Dialogue Series and Demolition Series, 2003 and 2004
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.
(110.5 x 80.3 cm) . Each signed, titled and dated Zhang Dali [in English and
Chinese] and numbered of 10 lower right. These works are from an edition of 10.
Estimate $ 3 , 0 0 0 - 5 , 0 0 0
-
198 FANG LIJUN b. 19631999.6.1, 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 $ 6 0 , 0 0 0 - 8 0 , 0 0 0
PROVENANCE Benefit Auction, Neue Nationalgalerie, Berlin
-
199
200
199 SHI GUORUI b. 1964Himalayas 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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0
PROVENANCE Chinese Contemporary, New York
20 0 LIN TIANMIAO b. 1961Focus 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, 0 0 0 - 9 , 0 0 0
PROVENANCE Acquired directly from the artist
-
201
201 LIN TIANMIAO b. 1961Focus XII A, 2006 - 2007
Lithograph, embossing, and flocking on hand-colored, STPI handmade paper.
50x 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, 0 0 0 - 9 , 0 0 0
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
203
202 HAI BO b. 1962The Four Seasons-Winter, 2000 - 2002
Color photograph. 48 3/4 x 47 3/4 in. (123.8 x 121.3 cm). This work is from an edition
of 10.
Estimate $10 , 0 0 0 -15 , 0 0 0 PROVENANCE Private Collection, New Jersey
EXHIBITED New York, Max Protetch, Hai Bos Solo Exhibition, June- August 2004
LITERATURE Max Protetch, Hai Bo, New York, 2006, p. 17 (illustrated)
203 HAI BO b. 1962They, 2000
Diptych: two gelatin silver prints. 23 7/8 x 16 3/4 in. (60.6 x 42.5 cm) each. Signed
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 $ 5 , 0 0 0 -7, 0 0 0 PROVENANCE Private Collection, New Jersey
-
204 WANG JIN b. 1962To 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 artists proofs.
Estimate $15 , 0 0 0 - 2 0 , 0 0 0
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 Contemporneo, 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. 1958Poem, 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Acquired directly from the artist
LITERATURE X. Wang, ed., Skys 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)
-
20 6 FENG MENGBO b. 19662005L01, 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Private Collection
-
207 HUA JIMING b. 1964Two 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 , 0 0 0 - 8 , 0 0 0
PROVENANCE Acquired directly from the artist
-
208
209
208 ZHU JIAHE b. 1979Little Red Classroom, 2008
Oil on canvas. 58 x 77 1/2 in. (147.3 x 196.9 cm). Signed, dated and stamped Zhu
Jiahe [in Chinese] 08 lower right.
Estimate $ 4 , 0 0 0 - 6 , 0 0 0
PROVENANCE Acquired directly from the artist
209 SHI LIFENG b. 1968Ferry to Happiness, 2006
Oil on canvas. 52 x 70 in. (132.1 x 177.8 cm). Signed and dated Shi Lifeng 2006 [in
English and Chinese] lower right.
Estimate $7, 0 0 0 - 9 , 0 0 0
PROVENANCE Acquired directly from the artist
-
210
211
210 WANG QINGSONG b. 1966Another 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 , 0 0 0 - 8 , 0 0 0 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. 1967Communication 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 , 0 0 0 -7, 0 0 0 PROVENANCE Private Collection, New Jersey
-
212 CANG XIN b. 1967Communication 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 , 0 0 0 - 8 , 0 0 0 PROVENANCE Private Collection, New Jersey
LITERATURE H. Du, Existence in Translation, Beijing, 2002, pp. 41 and 42 (illustrated)
-
213 NOBUYOSHI ARAKI b. 1940Untitled (Tokyo Comedy), 1996 - 1997
Gelatin silver print. 35 5/8 x 28 3/8 in. (90.5 x 72.1 cm).
Estimate $7, 0 0 0 - 9 , 0 0 0
PROVENANCE Studio Guenzani, Milan
LITERATURE Taschen, ed., Araki, Cologne, 2002, n.p. (illustrated)
-
214 HIROSHI SUGIMOTO b. 1948Hunting 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 , 0 0 0 -18 , 0 0 0
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 , 0 0 0 -12 , 0 0 0
PROVENANCE Acquired directly from the artist
LITERATURE N. Goldin, The Devils Playground, New York, 2003, p. 167 (illustrated)
-
216 TOM FRIEDMAN b. 1965Untitled (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 artists proofs.
Estimate $15 , 0 0 0 - 2 0 , 0 0 0
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 $ 2 5 , 0 0 0 - 3 5 , 0 0 0
PROVENANCE Acquired directly from the artist
-
218 VIK MUNIZ b. 1961Electric 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 $ 3 0 , 0 0 0 - 5 0 , 0 0 0
PROVENANCE Galerie Xippas, Paris
EXHIBITED Santiago de Compostela, Centro Galego de Arte Contempornea,
December 18, 2003- March 7, 2004; Dublin, Irish Museum of Modern Art, March 31-
June 13, 2004; Madrid, Fundacin Telefnica, Vik Muniz, November 17, 2004-
January 9, 2005 (another example exhibited)
LITERATURE Centro Galego de Arte Contempornea, 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
220
219 SARAH LUCAS b. 1962Laugh?, 1998
R-print. 29 x 19 3/4 in. (73.7 x 50.2 cm). This work is from an edition of 10 plus one
artists proof.
Estimate $ 8 , 0 0 0 -12 , 0 0 0
PROVENANCE Barbara Gladstone Gallery, New York
LITERATURE Y. Dziewior, B. Ruf, eds., Sarah Lucas, 2005, Ostfildern-Ruit, p. 149 (illustrated)
220 COLLIER SCHORR b. 1963The rivalry between God and other gods, 2002
C-print. 47 x 37 3/4 in. (119.4 x 95.9 cm). This work is from an edition of five plus
one artists proof.
Estimate $ 6 , 0 0 0 - 8 , 0 0 0
PROVENANCE Modern Art, London
LITERATURE G. Williams, What are you looking at?, Tate Etc., Issue 2, Autumn
2004 (illustrated)
-
221 CINDY SHERMAN b. 1954Untitled # 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 artists proofs.
Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0
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. 1966Duet-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 , 0 0 0 - 8 , 0 0 0
PROVENANCE Hamburg Kennedy Photographs, New York
223 LAURIE SIMMONS b. 1949Kaleidoscope 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 , 0 0 0 - 3 , 0 0 0
PROVENANCE Deitch Projects, New York
-
224 RUUD VAN EMPEL b. 1958World #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 $ 4 0 , 0 0 0 - 6 0 , 0 0 0
PROVENANCE Stux Gallery, New York
-
225 MASSIMO VITALI b. 1944Rosignano 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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Galerie Ernst Hilger, Vienna
-
226 MASSIMO VITALI b. 1944Negresco 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 $ 3 5 , 0 0 0 - 4 5 , 0 0 0
PROVENANCE Hamburg Kennedy Photographs, New York
-
227
228
227 OLAFUR ELIASSON b. 1967Untitled (Iceland Series), 1999
Color photograph. 23 1/4 x 35 in. (59.1 x 88.9 cm). Signed and dated Olafur
Eliasson 1999 on a label adhered to the reverse. This work is unique.
Estimate $ 5 , 0 0 0 -7, 0 0 0
PROVENANCE Bonakdar Jancou Gallery, New York
228 DARREN ALMOND b. 1971Fullmoon@Arpenaz, 2001
Lambda print in the artists frame. 50 3/4 x 50 3/4 in. (128.9 x 128.9 cm). This work
is from an edition of five.
Estimate $ 4 , 0 0 0 - 6 , 0 0 0
PROVENANCE Galerie Max Hetzler, Berlin
EXHIBITED Berlin, Galerie Max Hetzler, E-Werk, Abspannwerk Buchhndlerhof, April
20- May 26, 2001 (another example exhibited)
-
229 DOUG AITKEN b. 1968distant sign, 2005
C-print mounted to aluminum in the artists 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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0
PROVENANCE 303 Gallery, New York
-
230
231
230 WOLFGANG TILLMANS b. 1968Boot/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 artists proof.
Estimate $ 5 , 0 0 0 -7, 0 0 0
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 WOLFGANG TILLMANS b. 1968Kitchen 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 artists proof.
Estimate $ 5 , 0 0 0 -7, 0 0 0
PROVENANCE Interim Art/Maureen Paley, London
LITERATURE B. Riemschneider, ed., Wolfgang Tillmans, Cologne, 1995, n.p. (illustrated)
-
232 PAUL McCARTHY b. 1945Meat 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 , 0 0 0 -15 , 0 0 0
PROVENANCE Acquired directly from the artist
-
233 PAUL MCCARTHY b. 1945Baby 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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0
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. 1945Baby 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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0
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. 1949Untitled (For Richard Prince Cant Wait Pamela Anderson), 1997
Publicity photograph with felt-tip pen. 10 x 8 in. (25.4 x 20.3 cm). Inscribed
For Richard Prince Cant Wait Pamela Anderson on the face and reverse.
Estimate $ 8 , 0 0 0 -12 , 0 0 0
PROVENANCE Anton Kern Gallery, New York
-
236 RICHARD PRINCE b. 1949Untitled (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 , 0 0 0 -18 , 0 0 0
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. 1950A History of Sex (The Mime), 1995
Cibachrome, silicone and Plexiglas in the artists 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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0
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. 1950A History of Sex (Head), 1996
Cibachrome, silicone and Plexiglas in the artists 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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0
PROVENANCE Paula Cooper Gallery, New York; juana de aizpuru, Madrid
-
239
240
239 MATTHEW BARNEY b. 1967A Pele da Lamina, 2004
C-print in the artists 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 artists proofs.
Estimate $ 6 , 0 0 0 - 8 , 0 0 0
PROVENANCE Barbara Gladstone Gallery, New York
EXHIBITED Palermo, Galleria Civica dArte 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. 1969Milo 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 printers proof from
an edition of 20 plus one printers proof.
Estimate $ 5 , 0 0 0 -7, 0 0 0
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, Dans Hamptons, Issue #24, September 7, 2007
-
241 GREGORY CREWDSON b. 1962Untitled (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 artists proof from an edition of 10 plus
two artists proofs.
Estimate $10 , 0 0 0 -15 , 0 0 0
PROVENANCE Luhring Augustine, New York
LITERATURE S. Berg, ed., Gregory Crewdson 1985 - 2005, Hanover, 2005, pl. 40 (illustrated)
-
242 FRANK THIEL b. 1966Stadt 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 , 0 0 0 -15 , 0 0 0
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. 1973Untitled (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 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Blum & Poe, Los Angeles; Gallery MinMin, Tokyo
-
244 JEAN-LUC VILMOUTH b. 1952Vue dune 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 , 0 0 0 - 8 , 0 0 0
PROVENANCE Galleria Francesca Kaufmann, Milan; Private collection, Miami
-
245 LORNA SIMPSON b. 1960Coiffure, 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 artists proof from an edition of three plus one
artists proof.
Estimate $15 , 0 0 0 - 2 0 , 0 0 0
PROVENANCE Sean Kelly Gallery, New York
EXHIBITED Minneapolis, Walker Arts Center, November 5, 1994 - March 26, 1995;
Miami, Center for Fine Arts, Duchamps 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, Habers 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. 1957Untitled (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 , 0 0 0 - 2 5 , 0 0 0
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 $ 4 0 , 0 0 0 - 6 0 , 0 0 0
PROVENANCE Galerie Helen van der Meij, Amsterdam; Jack Hanley Gallery,
San Francisco
-
248 CHRISTOPHER WOOL b. 1955Untitled, 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 $ 5 0 , 0 0 0 -7 0 , 0 0 0
PROVENANCE Luhring Augustine, New York; Jack Hanley Gallery, San Francisco
-
249
250
249 RAYMOND PETTIBON b. 1957No Title (Wall Streets 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, 0 0 0 - 9 , 0 0 0
PROVENANCE Private Collection
250 RAYMOND PETTIBON b. 1957No 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 , 0 0 0 - 6 , 0 0 0
PROVENANCE Private Collection
-
251 ARTURO HERRERA b. 1959Bedspray (Blue/Green), 2005
Paper cutout on paper. 62 x 71 1/2 in. (157.5 x 181.6 cm).
Estimate $ 3 0 , 0 0 0 - 4 0 , 0 0 0
PROVENANCE Brent Sikkema, New York
-
252 MARTIN EDER b. 1968Two 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 , 0 0 0 -12 , 0 0 0
PROVENANCE Private collection, Germany
LITERATURE (i) Brandenburgischer Kunstverein, ed., Memoirs of My Nervous Illness,
Potsdam, 2003, n.p. (illustrated)
(i)
(ii)
-
253 ELLEN GALLAGHER b. 1965Untitled, 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 $ 2 0 , 0 0 0 - 3 0 , 0 0 0
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. 1967N, 2001
Oil on canvas. 78 3/4 x 78 3/4 in. (200 x 200 cm).
Estimate $7 0 , 0 0 0 - 9 0 , 0 0 0
PROVENANCE Contemporary Fine Arts, Berlin
EXHIBITED Horsens Kunstmuseum, Tal R: Ike Og Ancher, February 2 - April 14, 2002;
Mnchengladbach, Ststisches Museum Abteiberg, Tal R: Fruitland, May 9 - June 16, 2002
LITERATURE Ststisches Museum Abteiberg , ed., Tal R: Fruitland, Mnchengladbach,
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
256
255 KEHINDE WILEY b. 1977St. John the Baptist II (study), 2006
Graphite on paper in the artists 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 , 0 0 0 - 8 , 0 0 0
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 PAUL P. b. 1977Untitled (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 , 0 0 0 -7, 0 0 0
PROVENANCE Other Gallery, Winnipeg
-
257 JULIA JACQUETTE b. 1964Men 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 , 0 0 0 -18 , 0 0 0
PROVENANCE Michael Steinberg Fine Art, New York
-
258 MARK LOMBARDI 1951 - 2000Untitled (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 , 0 0 0 -15 , 0 0 0
PROVENANCE Pierogi, New York
-
259 MARK LOMBARDI 1951 - 2000Banca 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 $ 2 5 , 0 0 0 - 3 5 , 0 0 0
PROVENANCE Pierogi, New York; Galerie Gabrielle Maubrie, Paris
-
260 THOMAS NOZKOWSKI b. 1944Untitled (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, 0 0 0 - 9 , 0 0 0
PROVENANCE Max Protetch, New York; Private Collection
-
261 DANIEL RICHTER b. 1962Heidelandschaft (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 , 0 0 0 -12 , 0 0 0
PROVENANCE Contemporary Fine Arts, Berlin; David Zwirner, New York
-
262
263
262 PHILIP TAAFFE b. 1955 Untitled, 1987
Ink, watercolor and gouache on paper. 27 1/2 x 39 1/2 in. (69.9 x 100.3 cm).
Estimate $7, 0 0 0 - 9 , 0 0 0
PROVENANCE Acquired directly from the artist; Private collection, USA
263 PHILIP TAAFFE b. 1955Untitled, 1987
Acrylic on paper. 22 x 34 in. (55.9 x 86.4 cm). Signed and dated P. Taaffe 1987
lower right.
Estimate $ 6 , 0 0 0 - 8 , 0 0 0
PROVENANCE Galleria Cardi, Milan
-
264 RAYMOND PETTIBON b. 1957Four works: (i) No Title (Please, no moralizing...), (ii) No Title (Baby Doll...), (iii) No
Title (In the fields...), (iv) No Title (Oh, wither away...), (i) 1990, (ii) 1991, (iii) 1995, (iv)
1997
(i) Ink on paper, (ii) ink, felt-tip pen and watercolor on paper, (iii) ink and watercolor on
paper, (iv) ink, colored pencil and graphite on paper. (i) 18 x 11 7/8 in. (45.7 x 30.2 cm);
(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
in. (66.4 x 47.9 cm). Each signed and dated on the reverse.
Estimate $ 2 5 , 0 0 0 - 3 5 , 0 0 0
PROVENANCE (i) Georg Kargl Fine Arts, Vienna; (ii) Galerie Jrgen Becker, Hamburg;
(iii), (iv) Contemporary Fine Arts, Berlin
EXHIBITED (i) Bolzano (Italy), Museion, January 31-May 18, 2003; Museo dArte
Moderna di Bologna, Raymond Pettibon Drawings 1979-2003, June 26-August 31, 2003;
(i)-(iv) Vienna, Kunsthalle Wien, Raymond Pettibon Whatever it is Youre Looking for You
Wont Find it Here, October 13-February 25, 2007
LITERATURE (ii), (iii), (iv) T. Miessgang, G. Matt, E. Dimendberg, Raymond Pettibon
Whatever it is Youre Looking for You Wont Find it Here, Nuremberg, 2007 (illustrated)
pp. 68, 120, 220
(i)
(ii)
(iii)
(iv)
-
265 CECILY BROWN b. 1969Cottage No 3, 1991
Oil on canvas. 36 1/5 x 31 1/8 in. (91.9 x 79.1 cm).
Estimate $ 2 0 , 0 0 0 - 3 0 , 0 0 0
PROVENANCE Acquired directly from the artist
-
267
266
266 AMELIE VON WULFFEN b. 1966Two works: Untitled (White Horse) and Untitled (Tree and arch, pink), 2004 and 2003
Ink, acrylic, watercolor and collaged photograph on paper. 22 x 29 3/4 in. (55.9 x
75.6 cm) and 36 x 35 1/2 in. (91.4 x 90.2 cm). Each signed and dated on the reverse.
Estimate $10 , 0 0 0 -15 , 0 0 0
PROVENANCE Greene Naftali, New York
EXHIBITED (ii) New York, Greene Naftali, Amelie von Wulffen: Paare. Mbel. Landschaften.,
February 20-March 20, 2004
267 AMELIE VON WULFFEN b. 1966Untitled, 2002
Graphite, watercolor, oil and photographic collage on paper. 47 3/4 x 58 1/2 in.
(121.3 x 148.6 cm). Signed and dated V. Wulffen 2002 on the reverse.
Estimate $ 5 , 0 0 0 -7, 0 0 0
PROVENANCE Private collection, Europe
(i)
(ii)
-
268 NEAL TAIT b. 1965Untitled (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 , 0 0 0 -15 , 0 0 0
PROVENANCE White Cube, London
-
269
270
269 JESSICA STOCKHOLDER b. 1959Turning Paper, 2000
Acrylic, fabric, glue and linoleum on board. 40 1/2 x 50 3/4 in. (102.9 x 128.9 cm).
This work is unique.
Estimate $ 6 , 0 0 0 - 8 , 0 0 0
PROVENANCE Galerie Nathalie Obadia, Paris
270 SHAAN SYED b. 1975And When Youre (Really) High No. 5, 2007
Oil on canvas. 72 1/2 x 64 in. (184.2 x 162.6 cm). Signed, titled and dated Shaan
Syed And When Youre (Really) High No. 5 2007 on the reverse.
Estimate $ 6 , 0 0 0 - 8 , 0 0 0
PROVENANCE Brown,